This book presents the essence of Werner Kraus's many years of research and studies. It contains a fascinating essay about Raden Saleh's spectacular life as a painter, scholar, art & education reformer, collector & preserver, and combines it with a rich documentation of his works providing a whole host of illustrations, pictures and portraits of Raden Saleh - many more than those shown in the exhibition, and some of them published for the first time.
"Exploration of a "rare, emotionally intense way of life" in which artists like Raden Saleh and Walter Spies abandon the cultures that created them and adopt an exotic alternative"--
Developed as an exploratory study of artworks by artists of Singapore and Malaysia, Retrospective attempts to account for contemporary artworks that engage with history. These are artworks that reference past events or narratives, of the nation and its art. Through the examination of a selection of artworks produced between 1990 and 2012, Retrospective is both an attribution and an analysis of a historiographical aesthetic within contemporary art practice. It considers that, by their method and in their assembly, these artworks perform more than a representation of a historical past. Instead, they confront history and its production, laying bare the nature and designs of the historical project via their aesthetic project. Positing an interdisciplinary approach as necessary for understanding the historiographical as aesthetic, Retrospective considers not only historical and aesthetic perspectives, but also the philosophical, by way of ontology, in order to broaden its exposition beyond the convention of historical and contextual interpretation of art. Yet, in associating these artworks with a historiographical aesthetic, this exposition may be regarded as a historiographical exercise in itself, affirming the significance of these artworks for the history of Singapore and Malaysia. In short, which history rarely is, Retrospective is about the art of historicisation and the historicisation of art.
A constellation of thoughts by 25 established and emerging scholars who plot the indices of modernity and locate new coordinates within the shifting landscape of art. These newly commissioned essays are accompanied by close to 200 full-colour image plates.
Modern Art of Southeast Asia: Introductions from A to Z features 60 concise and accessibly written accounts of the key ideas and currents underlying modern art in the region. These are accompanied by over 250 beautifully reproduced artworks from the collection of National Gallery Singapore, and other public and private collections in Southeast Asia and beyond. The book offers an informative first encounter with art as well as refreshing perspectives, and is a rewarding resource for students.
Administrative rule is a type of rule centered on devising and implementing regulations governing how we live and how we conduct ourselves economically and politically, and sometimes culturally. The principle feature of this type of rule is the important question about how things should be arranged and for what purpose becomes a bureaucratic matter. Histories of the global south are rarely used to explain contemporary political structures or phenomena. This book uses histories of colonial power and colonial state-making to shed light on administrative government as a form of rule. Prem Kumar Rajaram eloquently presents how administrative power is a social process and the authority and terms of rule derived are tenuous, dependent on producing unitary meaning and direction to diverse political, social and economic relationships and practices.
Images of the Tropics critically examines Dutch colonial culture in the Netherlands Indies through the prism of landscape art. Susie Protschky contends that visual representations of nature and landscape were core elements of how Europeans understood the tropics, justified their territorial claims in the region, and understood their place both in imperial Europe and in colonized Asia during the nineteenth and early twentieth centuries. Her book thus makes a significant contribution to studies of empire, art and environment, as well as to histories of Indonesia and Europe. Surveying a rich visual culture developed over a period of some 350 years of Dutch colonial engagement with Indonesia Susie Protschky demonstrates how views of the archipelago’s environment were far from simple topographical souvenirs. Rather, this book reveals how images of the tropics visually articulated colonial attempts to legitimize and historicize what were in fact continually changing and contested claims to Dutch territorial sovereignty in the Indies. Further, colonial images of nature were routinely inflected with diverse cultural preoccupations, among them the constitution of gender, class and racial boundaries in Indies society; the tenor of sexual mores in the tropics; and the political role of religion in the archipelago. Landscape art thus indexed colonial views on a range of pressing social and political concerns.
Putting movement at the center of our political and practical perspectives is to consider several issues related to the movement itself, including questions about the concept of “pure” culture. The migrant—s/he who moves—is seen as an “intruder” and a threat to cultural norms, but other frightening social mutations such as environmental problems or the growing place of artificial intelligence in societies are just some examples of evolving cultural and social identity, observable in each temporality, each geographical area and even in each discipline, and make it possible to study the different aspects of the dynamic movement that is at the origin of social changes. This volume explores the ways in which populations confronted with such social changes are affected, and which consequently can foster new ways of individual or collective decision-making.
