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Progressive societies place emphasis on the holistic development of its people in the cultivation of mind, body, soul and spirit. Throughout history, great civilizations are marked not only by material wealth but also the flourishing of artistic and cultural expressions. PETRONAS’ role as custodian of the country’s oil and gas resources encompasses its mission to develop and add value to Malaysia’s petroleum assets while contributing to the wellbeing of the people and nation. In support of this principle of holistic development, PETRONAS is privileged to play its part in supporting arts and culture through GALERI PETRONAS as part of its greater commitment to the development of people of Malaysia. In this respect, GALERI PETRONAS as an important icon in the Malaysian art landscapes, provides crucial arts engagement platform for Malaysian artists and audiences. Since its inception GALERI PETRONAS has given continuous support for the development of emerging Malaysian artists, art practices and expertise in art support infrastructure. PETRONAS believe that by uplifting our Malaysian heritage of arts through GALERI PETRONAS, we would inspire Malaysians to greater appreciation and awareness of the beauty and value inherent in our own artistic heritage. We also encourage the appreciation of arts and culture from different societies, as our philosophy centers on the promotion of a holistic individual and a progressive society able to interact as a global citizen. Therefore, our arts and culture programmes promote the sharing of traditions of various peoples and timeframes – blending East and West, modern and traditional. Arts and culture are dynamic elements, and while we seek to preserve them in their pure and authentic state, we also work to develop a new generation of practitioners who refine and find new applications for the arts, to create political and social awareness, for healing and wellness, to spark creativity, intelligence and imagination; to promote unity and harmony through greater understanding of our cultural identities and appreciation of the beauty in each other’s customs and traditions. In this manner, the PETRONAS Art Collection has brought together traditional and contemporary artworks by established and emerging Malaysian artists and artworks of different mediums, such as textiles, crafts, sculptures, paintings, and photography, which are displayed and documented to create awareness and develop appreciation of the richness of Malaysian visual arts. Over the last few decades the PETRONAS corporate art collection has grown considerably to include works from Malaysia’s modern masters and as a corporate gallery, it would be a difficult and challenging undertaking to exhibit our complete collection to the public and art enthusiast. With the publication of the book; Convergence: Past, Reality and Future, it is hoped that we are able to widen the accessibility of our PETRONAS Art Collection to the people. Equally important is the pursuit of art development in Malaysia. A key component to this endeavour is the research and writing efforts that culminates into a book publication. These scholastic efforts in turn greatly assist the students of art where the publication will serve as a repository for future references and hopefully new knowledge. PETRONAS wishes to add our contribution through the publication of Convergence: Past, Reality and Future to this noble and sustainable cause. We hope that the publication Convergence: Past, Reality and Future will further make art in its various forms more accessible to the general public and will touch the lives of Malaysians from all walks of life, and nurture a more sophisticated, culturally-aware and enlightened society. It is also our hope that the publication would be a good addition to the growing publication on Malaysia fine arts. Lastly, the book is our effort to recognize the Malaysian artistic talents and salutes these artistic standards that have grown in tandem with the growth of Malaysia as a nation.
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.
Liu Kang (1911-2004) and Ho Ho Ying (1936-) are important painters in Singapore's art history. But along with their creative practices, they also played key roles as art writers and critics. These selected writings, mostly drawn from the Chinese-language press, document important phases in Singapore's art history.