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In 1981, the Filipino artist and curator Raymundo Albano adopted the expression “Suddenly Turning Visible” to describe the rapid transformation of Manila’s urban landscape. The visibility that Albano evoked was aspirational, driven by a desire for rapid economic growth in which art had a critical role. This catalogue traces this story through three influential art institutions: the Cultural Center of the Philippines, the Alpha Gallery in Singapore and the Bhirasri Institute of Modern Art in Bangkok. It presents in rich detail artworks from the period, an anthology of primary documents and interviews with curators, artists and architects, revealing the links between architecture, modern art and the role of institutions in Southeast Asia.
See Me, See You is the world’s first exhibition of early video installation of Southeast Asia, spanning the early 1980s to the early 1990s. This catalogue traces the journeys and evolving identities of the ten artists featured in the show and their pivotal experiments with the moving image, which incorporate readymade objects and cathode-ray tube television monitors as well as performative and participatory elements. Their artworks encapsulate the techniques and materials of their generation and mark the emergence of video installation as a form in the region. The publication features interviews, essays, rare archival images and texts, as well as a timeline that highlights the definitive technological moments and inventions that propelled television and video in global and regional contexts.
Intersections, Innovations, Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations, Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art.Bundle set: A Reader in Singapore Modern and Contemporary ArtRelated Link(s)
This book challenges existing notions of what is "American" and/or "Asian" art, moving beyond the identity issues that have dominated art-world conversations of the 1980s and the 1990s and aligning with new trends and issues in contemporary art today, e.g. the Global South, labor, environment, and gender identity. Contributors examine both historical and contemporary instances in art practices and exhibition-making under the rubric of "American art in Asia." The book complicates existing notions of what constitutes American art, Asian American (and American Asian) art. As today’s production and display of contemporary art takes place across diffused borders, under the fluid conditions of a globalized art world since transformed by the COVID-19 pandemic, new contexts and art historical narratives are forming that upend traditional Euro-American mappings of center-margins, migratory patterns and community engagement. The book will be of interest to scholars working in art history, American studies, Asian studies and visual culture.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
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.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
Who spoke of the modern in Southeast Asia? When and where was the modern written? How was it written? How was it received? This collection brings together nearly 300 texts that were originally published between the late 19th to late 20th centuries, selected by a group of scholars as responses to questions such as these. The texts were produced chiefly in various locations in the region, by artists, critics, historians and curators in 11 languages, many of which had never before been translated into the English language. Years in the making, this publication is the first to present such breadth and depth of art writing in the region of Southeast Asia, and will be a valuable resource to students, teachers, scholars and those interested in Southeast Asian studies and art history. Looking from inside the region, the rich fecundity of art discourses becomes clear if for example we compare the 1843 text by Raden Saleh from what is now Indonesia with the 1946 text of S. Sudjojono, allowing a historical grasp of modernity from two of its original texts, or across the region to the 1971 text on Malaysia by Piyadasa. The tyranny of physical, cultural, and temporal separation are thus overcome. It is to the great credit of the editors that they have enabled this for us, and this work will be a basic art historical reference both inside and beyond the region for some time to come. —John Clark, Emeritus Professor of Art History, University of Sydney Needed now more than ever, this collection opens up new worlds in the guise of a region called Southeast Asia. Each carefully selected text offers a new point of access to thinking through, across, beyond and with the elusive idea of the “modern.” A signal achievement, this volume is both a rich introduction to the region as well as a vital resource for anyone genuinely committed to art histories that generate new spaces rather than settle for existing realms. —Joan Kee, Professor, History of Art, University of Michigan
In recent years, the Dallas Museum of Art has expanded its collection of South Asian art from a small number of Indian temple sculptures to nearly 500 works, including Indian Hindu and Buddhist sculptures, Himalayan Buddhist bronze sculptures and ritual objects, artwork from Southeast Asia, and decorative arts from India's Mughal period. Artworks in the collection have origins from the former Ottoman empire to Java, and architectural pieces suggest the grandeur of buildings in the Indian tradition. This volume details the cultural and artistic significance of more than 140 featured works, which range from Tibetan thangkas and Indian miniature paintings to stone sculptures and bronzes. Relating these works to one another through interconnecting narratives and cross-references, scholars and curators provide a broad cultural history of the region. Distributed for the Dallas Museum of Art
Peter Rowe and Yun Fu’s second volume on the modernization of architecture in the Far East deals with Southeast Asia and Austronesia, including the 12 nation states of Vietnam, Cambodia, Laos, Myanmar, Thailand, Malaysia, Singapore, Indonesia, Brunei, East Timor, Philippines and Taiwan, as well as the ocean peoples of Polynesia, Melanesia and Micronesia. The modern architecture of these culturally and nationally heterogenous regions echoes local vernacular traditions and colonial as well as postcolonial hegemonies from both the East and the West. The book tells the stories of these separate roots and their culmination into contemporary architectural production, analyzing the distinctiveness and quality of approx. 65 building projects that have emerged in the past half century.