PUBLICATIONS Jul–Dec 2023
On cover:
Patrick Ng Kah Onn. Detail of Self-Portrait . 1958. Oil on paper, 50 x 76 cm. Collection of National Gallery Singapore. This acquisition was made possible with donations to the Art Adoption & Acquisition Programme. © Family of Patrick Ng
All artworks featured in this publication are from the collection of National Gallery Singapore, unless otherwise specified. All artwork images have been provided through the courtesy of the National Heritage Board, Singapore, unless otherwise mentioned. Copyright of content in this publication may reside in persons and entities other than, and in addition to, the Gallery. Materials in this publication may not be reproduced in part or in whole without written consent of the Gallery. Published May 2023. All information correct at time of print.
All prices shown in this publication are subject to change and exclude local taxes.
NEW | ART 3 | RESEARCH 7 | CHILDREN’S 8 RECENTLY PUBLISHED | ART 9 | RESEARCH 20 | GENERAL 22 | CHILDREN’S 25 BACKLIST | ART 27 | RESEARCH 37 | GENERAL 38 | CHILDREN’S 40 DISTRIBUTORS 43 CONTENTS
ABOUT NATIONAL GALLERY SINGAPORE PUBLICATIONS
National Gallery Singapore is a visual arts institution which oversees the largest public collection of modern Southeast Asian art. Situated in the heart of the Civic District, the Gallery is housed in two national monuments—City Hall and the former Supreme Court— that have been beautifully restored and transformed into this exciting venue.
Reflecting Singapore’s unique heritage and geographical location, the Gallery features Singapore and Southeast Asian art from Singapore’s National Collection in its long-term and special exhibitions. The Gallery also works with international museums to jointly present Southeast Asian art in the global context, positioning Singapore as a regional and international hub for visual arts.
With its own in-house publishing team, the Gallery publishes books on the visual arts of Singapore and Southeast Asia. The Gallery’s core genres include exhibition catalogues, Southeast Asian art research, general titles and children’s books.
ABOUT SINGAPORE ART MUSEUM PUBLICATIONS
Singapore Art Museum (SAM) has built one of the world’s most important public collections of Southeast Asian contemporary artworks, with a growing component in international contemporary art. Publishing on contemporary Southeast Asian art-making and art-thinking, the SAM imprint comprises exhibition catalogues, artist monographs, research publications and general titles.
2
Tropical: Stories from Southeast Asia and Latin America
Edited by Shabbir Hussain Mustafa
Approx. 230 mm × 152 mm
Approx. 250 pages, paperback
ISBN: 978-981-18-7153-5
USD 40 | GBP 30 | SGD 50
Expected publication: November 2023
Tropical: Stories from Southeast Asia and Latin America brings together more than 200 artworks and primary documents by over 100 artists across the 20 th century, tracing the cultural and conceptual conditions under which claims of vanguardism first emerged in the Global South. By attending to the manners in which words and images are organised on canvas, paper, film and wood, to sensations artists presented vis-à-vis histories of colonial subjugation, this exhibition catalogue offers insights into how even the most restrictive of conditions may experience the simultaneity of magic and realism, revolution and subversion. The so-called Tropical is a geographically expansive term that has always resisted precise definitions; its ability to entangle with all sorts of political and cultural desires has made it permanently plural and contradictory. The polyphonic nature of “stories” is adopted to enable both fiction and non-fiction, as well as philosophical, technological and mythical narratives. Beyond clime, this richly illustrated book ventures the tropical as a palpable, material, strategic, relational and radical space.
3 NEW | ART | GALLERY
Hendra Gunawan. Tjitji. 1949. Oil on paper laid on masonite board, 64 × 69 cm.
See Me, See You: Early Video Installation of Southeast Asia
Edited by Cheng Jia Yun and Clarissa Chikiamco
Approx. 230 × 152 mm
Approx. 300 pages, paperback
ISBN: 978-981-18-5728-7
USD 40 | GBP 30 | SGD 50
Expected publication: November 2023
See Me, See You is the world’s first-ever retrospective survey of early video installation in 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 exhibition and their pivotal experiments with the moving image, which variously 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 moments and inventions that propelled video installation in global and regional contexts.
Apinan Poshyananda. How to Explain Art to a Bangkok Cock. 1985, remade 2019. Installation view, Suddenly Turning Visible: Art and Architecture in Southeast Asia 1969–1989, 2019. Image courtesy of Joseph Nair/Memphis West Pictures.
4 NEW | ART | GALLERY
Ng Teng Fong Roof Garden Commission Series
The Ng Teng Fong Roof Garden Commission series invites one leading international artist each year to present a site-specific work that reflects upon our region's rich cultural heritage and complex histories from a contemporary perspective.
Shilpa Gupta
Edited by Adele Tan
248 × 174 mm
120 pages, paperback
ISBN: 978-981-18-6827-6 (PB) | 978-981-18-6828-3 (digital)
USD 23 | GBP 20 | SGD 25
Expected publication: August 2023
The latest title in this book series presents Indian artist Shilpa Gupta’s monumental inflatable sculpture, Untitled. The sculpture depicts the dualities of our innermost struggles and the externalities around us. This book includes a curatorial essay that situates Gupta’s new work in relation to her art practice and other global sociopolitical forces as well as a full colour photo documentation of the sculpture against the backdrop of Singapore’s skyline. It also features a guest essay written by a well-known mental health professional who engages with the artist’s take on the human conditions. The last section of the book is a set of colourfully illustrated activity sheets, co-developed with an art therapist, that children and adults can use to navigate their emotions and responses towards conflict and other difficult issues.
See also the four other titles in the Ng Teng Fong Roof Garden Commission series (p. 28)
5 NEW | ART | GALLERY
Liu Kuo-sung: Experimentation as Method
Edited by Cai Heng
Approx. 275 × 205 mm
Approx. 296 pages
English and Chinese
ISBN: 978-981-18-5568-9
USD 40 | GBP 30 | SGD 50
Expected publication: August 2023
With a career spanning more than 70 years, Liu Kuo-sung is a pioneering figure in modern Chinese ink. He has forged new ways of thinking about the legacy of Chinese painting through his non-traditional brush methods, and experiments with the materiality of ink and paper.
This bilingual exhibition catalogue features full-colour reproductions of over 60 works across Liu’s career, newly commissioned essays by leading scholars, and rare archival materials documenting key episodes of Liu’s engagement with international and regional art discourses.
6 NEW | ART | GALLERY
刘国松：实验悟道
The Modern in Southeast Asian Art: A Reader
Edited by T.K. Sabapathy and Patrick Flores
244 × 182 mm
Two volumes, 1326 pages, paperback
ISBN: 978-981-14-0664-5
USD 90 | GBP 72 | SGD 120
Published with NTU Centre for Contemporary Art
Published May 2023
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 19 th to late 20 th 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 13 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.
978-981-14-0664-5 978-981-18-6811-5 THE MODERN IN SOUTHEAST ASIAN ART A R E AD ER VOLUME Art History, Art,
READER
ASIAN ART VOLUME I EDITED BY T.K. Sabapathy and Patrick Flores propaganda One of our colleagues has said: art is art, propaganda propaganda; the two cannot be mixed up. A propaganda work only has temporary value, serving a day-to-day and common purpose. A propaganda work often made in hurryandisnotartinitstruesense.Art is pure, divine, eternal and transcends mattersofdailylife,etc.... Another colleague, however, has said that propaganda and art are one. ThereWethinkthetwoabovementionedopinions both contain errors. Art and propaganda are neither completely different,noraretheyexactlythesame.Ifartis thewhole,thenpropagandaisjust part. Propaganda type of art. Propaganda art partofartingeneral.Andanywork ofartalsohassomelevelofpropagandistic value. However, saying this does not lead to the conclusion that art and propaganda are one. Propaganda, when reaches certain high level, will become Some Issues and Dilemmas Regarding Literature and Art Trường Chinh Thistextisthepublishedextractof speechbyTrườngChinh(1907–1988),preandwarhadbrokenout,asFrenchforcesattemptedtore-taketheirformercolony (the First Indochina War, 1946–1954). The Việt Minh, national front organisaassembledthefightagainsttheFrench.Itsheadquarterswerein remotebasearea innorthernVietnam,wherethisspeechwaspresented. TrườngChinhwasnotonlyaleadingpoliticalfigure,hewasoneofthemostimportant cultural theorists for the Communist Party in Vietnam. According to the culturalhistorianKimNgocBaoNinh(b.1965),thefulltextofTrườngChinh’s1948 speech, createdtheframeworkfortheParty’sculturalactivitiesfordecadestocome.Criticallyforthevisualarts,thetextestablished socialistrealismasthecorrectstyleforcreation,andemphasisedtheimportanceof appealingto massaudience.Theextractedversiondealtwithissuesthatwereparticularlysensitivein1948,especiallywhethertherewas distinctionbetweenartistic workandpropaganda.ThepainterTôNgọcVân(1906–1954),whowasalsoactive intheViệtMinh,hadpreviouslyarguedthatartandpropagandashouldbetreated asseparate,thusreserving spaceforapoliticalartisticcreation.Here,TrườngChinh refutesthisview.TôNgọcVâncontinuedtotakeissuewithcertainpointsraisedby beeffectivecritics.Ultimately,however,intheincreasinglyideologicalenvironment ofNorthVietnam, wastheParty’spositionthatwouldprevail. degree,has clearlypropagandisticcharacter. Therefore, there can be makers of propaganda who are not or have not yet become artists; but there cannot be artistswhoareinnowaypropagandists. Somepeoplealsosay:artistruth,while propaganda more or less deceitful. Thus art and propaganda are different. That not correct! Although art is truth, some art is full of truth, of justice truthful art. Art that serves “art” that not really art. Propaganda also has two types: the propaganda of the reactionary invaders antitruth propaganda. The propaganda of the just cause clearly truth. The propaganda of the just cause is certainly very likely to reach the position ofpureart! In any case, while we strongly agree that some propaganda works are made quickly for immediate use, there are alsopropagandaworksthatarecarefully and slowly made to cultivate their artisticvalue.Thoughthereareworksoflitto immediately serve the resistance that nonetheless still have some artistic value,weshouldnotconfuseartingeneralwithpropagandaart. Any artist or writer who has the necessaryconditionsandtheinspiration,and wants to carefully and slowly create work of “eternal” artistic value, please go ahead. One thing is for certain: If realisticandfaithfultothecurrenttimes themoreartistic valuetheworkhas,themorestronglyit willpropagandise. resistance, the masses, because their level of understanding of art is still low, often demand low-quality, easy propaganda works. If we satisfy the masses, then we cannot help but lower the level of art; and if we continue to do that, whatwillartbe? Please allow me to respond: having livedundertheoppressiveregimeofthe French colonialists for so many years, themassesofourcountryofcoursehave poor understanding of art. However, works of a high artistic value. If our works depict reality in lively way, the masses will certainly understand, feel andenjoythem. Thefeelingsofthemassesareverypure, sincere and passionate. The masses are only indifferent to works of art that are not truthful, or are stagnant, affected, overly complex or ridiculous, and they hatefreaksoftheimagination. ourcountry’sartistsis: realisminliteratureandart? Inourview,socialistrealismdepictsthe objective truth of society. However, in objective truth, we have to highlight “typical features in typical situations” (Engels). Moreover, also necessocialtransformation,theobjectivetendencyofsocialevolution. Inhiswritingtitled“CreativeFreedom,” AlekseyTolstoywrote: Thedutyofartists… drawingout from reality what is typical, something that can be noticed immediately by readers; collecting events, concepts and conflicts in one lifelike image and pointing out a real paththatleadsto realfuture. The attitude of realism an objective translation of longer version of be confusion the original transHearing the news that the Artists’ and Sculptors’ Council is to hold meetingonthe29thofthismonth,therecametomymindseveral points that would like to raise, while welcoming the news of themeeting. Out of the long list, there are couple of things that need to be addressedurgently:thescarcityandhighpricesofartsupplies,andof holdingexhibitions. Asweareallaware,artistsherearethepoorestofthedirtpoor. Addedtothat,wearenotdoing tradethatbringsinmoney;we keeponpaintingbecausewecannothelpourselves,andtomakeourselves better artists, and thus we have to buy the materials we need at whatever cost. The price of art supplies now is more or less closing in on gold prices: we pay 50 kyats for a tube of paint, 120 kyats for brush. (At that time a family can live on 200 kyats month.) We pay thesepricesnotbecausewecanwellaffordit,butbecauseweneedthe materialsasanaddictcravesdrugs. Oninquiringwhythetoolsofsuch dirtpoorprofessionshould be so high in price, some say they are luxury goods; some tell us that they were left unclaimed by the department concerned for so long, thatstoragefeesatthewarehouseswenthigherandhigher. beg the esteemed members of the Arts Council: am sure you are aware that these are NOT luxury goods. They are necessities for A Letter to the Artists’ and Sculptors’ Council Paw Oo Thet Thewriterofthisappealletter,PawOoThet(1936–1993),isoneofBurma’smost popularmodernartists,and bestknownforhisvernaculargenrescenespaintedin comicstyleinwatercolours.Hewritesherein1970as representativeoffellowartiststotheArtists’andSculptors’Counciltoappealfortheregulationofartsupplies’ availabilityandcost,andtoseekpermissionforartiststoholdprivateshows(which werenotsubjectedtothesamepunishingcensorshipmeasuresaspublicexhibitions under the military government). The benefits of this appeal’s successful outcome are couched in socialist ideological terms, and the artist is emphatically presentednessofthisdemarcationinBurma,ofwhichtheauthorwassurelyaware.Theletter shedslightonthechallengesfacedbyartistsundertheBurmaSocialistProgrammetionemployedwiththeauthorities,whosearbitraryregulationofthevisualartsonly exacerbatedanalreadyKafkaesquestateofaffairs. people like us; and that we are the dirt poor. Please beg you to considerthisproblematthemeeting. About exhibiting our works, we are allowed this one time in the wholeyear;andevensometimes,whenitwascancelled,allourhopes weredashed. am sure you are aware that in art, there are two types: the artist, and the commercial illustrator. The latter can have constant work, but we artists need to have exhibitions so that we can support ourselves, better our talents. And if we are allowed only one time year, and about four paintings each, to show, that surely too seldom,toolittle. So beg that we be allowed to hold group or solo shows of IntheslogansofourSocialistsystem,weannouncethatartisfor thepeople;thatself-dependenceisglorious;thatloveofanylabouris honorable.Ifsoloorgroupshowsofafewcanbepermitted,thinkof how much the love of art could spread among the people. The artist canalsoservehiscountrybetter. EsteemedCouncilmembers:honeyissweetwhereveritwasgathered;inthesameway,artisart,whethershowninsmallorbigshows. Letusservethecountryandletusholdexhibitions.
A
THE MODERN IN SOUTHEAST
7 NEW | RESEARCH | GALLERY
Elements of Art with Animals Series
The Elements of Art with Animals series introduces young art lovers to the rudiments of art, which are essential in creating and analysing all works of art.
Bird and Monkey’s Art Day by the Sea
265 × 210 mm
32 pages, paperback
Illustrated throughout
ISBN: 978-981-18-4914-5
USD 14 | GBP 11 | SGD 18
Expected publication: June 2023
Trace the sweeping lines of a flapping sail and follow the streamlined shapes of boats in the sea—how do artists use lines and shapes to convey movement and moods? Join Bird and Monkey, your feathered and furred friends, as they leap into, jump out of and whirl around different Southeast Asian artworks. Learn how artists command elements of art to create masterpieces on this fantastical journey into the heart of art.
Yeo Hoe Koon. Sailing. 1975. Gouache on paper, 52 × 62 cm. Gift of Mandarin Art Galleries Pte Ltd.
Written and illustrated by Dinaz Cassim
Suitable for children aged 5 to 10
8 NEW | CHILDREN’S | GALLERY
Living Pictures: Photography in Southeast Asia
Edited by Charmaine Toh
295 × 230mm
384 pages, paperback
319 colour illustrations
ISBN: 978-981-18-4044-9 (PB) | 978-981-18-6543-5 (digital)
USD 40 | GBP 30 | SGD 50
This richly illustrated catalogue considers the power of photography and its mobilisation within systems of knowledge and representation. Rather than just thinking about what photographs show, Living Pictures asks: what do photographs do? It acknowledges that photographs have lives—they move and they act—and in the process, they affect the world around them. This catalogue accompanies the world’s first-ever survey of the medium’s histories across Southeast Asia, from its earliest beginnings in the 19 th century until its diverse contemporary manifestations. Special emphasis is placed on photography’s creation, circulation and consumption, as well as how these processes have shaped the visual regimes of the region. In addition to essays by the curators and interviews with artists and photographers featured in the exhibition, the catalogue showcases new research by leading international scholars focusing on the interdisciplinary intersections between photography and art history, archaeology and cultural theory.
9 RECENTLY PUBLISHED | ART | GALLERY
Nothing Is Forever: Rethinking Sculpture in Singapore
Edited by Seng Yu Jin, Cheng Jia Yun, Lim Shujuan and Joleen Loh
280 × 198 mm
274 pages, paperback
123 colour and 21 b/w illustrations
ISBN: 978-981-18-2152-3
USD 40 | GBP 30 | SGD 50
Published July 2022
How can we understand sculpture and its many practices? From the spiritual to the monumental and conceptual, these three-dimensional objects play a variety of roles. Through scholarly essays, new interviews and a selection of primary documents, this catalogue traces the evolution of sculpture in Singapore from the 19 th century to the present, examining how objects can bridge materiality and performance.
10 RECENTLY PUBLISHED | ART | GALLERY
Ever Present: First Peoples Art of Australia
Edited by Tina Baum
290 × 240 mm
248 pages, paperback
177 colour illustrations
ISBN: 978-0-642-33488-6
SGD 50
Published by National Gallery of Australia
June 2022
For distribution within Singapore only
This beautifully illustrated catalogue features important artworks produced by the First Peoples of Australia, which demonstrate a vast diversity of practice and explore key aspects of Aboriginal and Torres Strait Islander culture and experience. The catalogue highlights critical issues of identity, dispossession and land rights, experiences of colonisation and resistance, the continuing impact of structural racism, and draws out links between First Peoples art of Australia and the history of Southeast Asia.
Chua Mia Tee: Directing the Real 蔡名智：映真
Edited by Clarissa Chikiamco, Lim Shujuan and Seng Yu Jin
280 × 190 mm
240 pages, paperback
81 colour illustrations
English and Chinese
ISBN: 978-981-18-0622-3
USD 40 | GBP 30 | SGD 50
Published November 2021
“The painter assumes the role of a scriptwriter, director and actor to freely shape the subject’s image.”
—Chua Mia Tee
Through character, narrative and composition, visionary artist Chua Mia Tee goes beyond mere representation to construct iconic images of Singapore’s changing landscapes and its inhabitants. Chua’s writings, collected for the first time in this catalogue alongside full-coloured plates and curatorial essays, lend insight to a prolific artistic practice beginning in the 1950s. One of Singapore’s most acclaimed artists, Chua was conferred the Cultural Medallion award in 2015.
11 RECENTLY PUBLISHED | ART | GALLERY
Something New Must Turn Up: Six Singaporean Artists after 1965
Eng Tow
Chng Seok Tin
Goh Beng Kwan
Mohammad Din Mohammad
Jaafar Latiff
Edited by Seng Yu Jin
250 × 200 mm
116–160 pages each, paperback 65–210 colour illustrations each
ISBN:
Eng Tow: 978-981-14-8005-8
Chng Seok Tin: 978-981-14-8000-3
Goh Beng Kwan: 978-981-14-8003-4
Mohammad Din Mohammad: 978-981-14-8002-7
Jaafar Latiff: 978-981-14-8001-0
USD 23 | GBP 20 | SGD 25
Published July 2021
12 RECENTLY PUBLISHED | ART | GALLERY
The Something New Must Turn Up series spotlights innovative artistic practices in post-independence Singapore.
Something New Must Turn Up is a series of catalogues comparing the practices of artistic forerunners in post-independence Singapore. Through their groundbreaking explorations of media, ranging from collage and printmaking to installation and digital art, these artists actively expanded the boundaries of art.
Each standalone catalogue traces the individual journeys that these artists undertook as they strove to be continuously “new.” Bringing together essays, interviews, full-coloured plates and archival material, the series offers a comparative perspective of how artists critically engaged with the conditions of multiculturalism, developmentalism and modernisation in post-independence Singapore.
13 RECENTLY PUBLISHED | ART | GALLERY
Georgette Chen: At Home in the World
Edited by Russell Storer
270 × 216 mm
212 pages, hardback
150 colour and 54 b/w illustrations
ISBN: 978-981-14-4922-2
USD 40 | GBP 30 | SGD 50
Published June 2021
Paris, Shanghai and New York: Georgette Chen, one of Singapore’s foremost artists, once counted these cultural capitals as home and cut her teeth as a painter there. Chen eventually found in Singapore “a veritable paradise,” enchanted by its tropical climes and unexpected forms. These remarkable and cosmopolitan life experiences have informed Chen’s uniquely syncretic artistic practice and aesthetic style. With over 100 full-colour image plates and archival material, along with critical essays, this monograph brings new perspectives on her independent artistic voice and vital role as an educator in the development of modern art in Singapore.
14 RECENTLY PUBLISHED | ART | GALLERY
Antony Gormley
Edited by Russell Storer and Qinyi Lim
240 × 200 mm
100 pages, hardback
40 colour illustrations
ISBN: 978-981-18-1544-7
USD 28 | GBP 22 | SGD 30
Published October 2021
The Antony Gormley catalogue presents works from the artist’s largest-ever exhibition in Singapore. The publication explores the practice of an indisputably monumental figure in contemporary sculpture, and is anchored by soaring photographs of Gormley’s most-recent work, the latest Ng Teng Fong Roof Garden Commission, titled Horizon Field Singapore .
Seeing the Kites Again: The Wu Guanzhong Donation Collection
又见风筝：吴冠中捐赠作品集
350 × 250 mm
296 pages, hardback
127 colour and 1 b/w illustrations
English and Chinese
ISBN: 978-981-09-7498-5
USD 165 | GBP 125 | SGD 200
Published November 2015
Wu Guanzhong has gone further than any of his contemporaries in fusing Western and Chinese art traditions, and stands as one of the greatest artists of 20 th -century China. A prolific artist and essayist, Wu was one of the few Chinese artists to have established a name for himself both in Asia and the West. This beautiful volume featuring essays, over 100 artwork images and a detailed biographical timeline celebrates Wu’s art, life, remarkable achievements and donation to Singapore—the single largest donation made by the artist to any public museum.
15 RECENTLY PUBLISHED | ART | GALLERY
Siapa Nama Kamu?
Art in Singapore since the 19 th Century
Edited by Low Sze Wee
290 × 250 mm
310 pages, hardback
285 colour and 28 b/w illustrations
ISBN: 978-981-09-7352-0
USD 58 | GBP 44 | SGD 70
Published November 2015
Published to accompany National Gallery Singapore’s inaugural exhibition Siapa Nama Kamu?, this catalogue presents a survey of Singapore art from the 19 th century to the present, charting major themes across broad time periods. Over 400 works of art in a wide range of media are brought together to trace the ebb and flow of the history of Singapore art. Curatorial essays provide insight into the exhibition that considers the parameters of time and nation in relation to the history of art in Singapore.
Between Declarations and Dreams: Art of Southeast Asia since the 19 th Century
Edited by Low Sze Wee
290 × 250 mm
294 pages, hardback
278 colour and 28 b/w illustrations
ISBN: 978-981-09-7349-0
USD 58 | GBP 44 | SGD 70
Published November 2015
Between Declarations and Dreams is National Gallery
Singapore’s inaugural exhibition of the art of Southeast Asia from the 19 th century to the present. This richly illustrated catalogue tracks the broad time periods and thematic sections of the exhibition through more than 300 artwork images. The selection of essays provides an extensive discussion on the exhibition and offers curatorial insight to a task that is at once monumental and intricate— the positing of an art history of a region as diverse as Southeast Asia.
16 RECENTLY PUBLISHED | ART | GALLERY
Siapa Nama Kamu? Art in Singapore since the 19 th Century: Selections from the Exhibition
Edited by Sara Siew
225 × 175 mm
120 pages, paperback
101 colour and 9 b/w illustrations
ISBN: 978-981-09-7384-1
USD 10 | GBP 8 | SGD 12
Published November 2015
Siapa Nama Kamu? weaves together a rich and captivating narrative of artworks in a broadly chronological sequence, covering Singapore’s art history from the 19 th century to the present. This handy guide presents an overview of the exhibition through 100 key works. Beautifully reproduced in full colour and accompanied by curatorial texts, it tells the story of nearly two centuries of art in Singapore—one of diverse influences, shared impulses and ceaseless flux.
Between Declarations and Dreams: Art of Southeast Asia since the 19 th Century: Selections from the Exhibition
Edited by Sara Siew
225 × 175 mm
120 pages, paperback
105 colour and 2 b/w illustrations
ISBN: 978-981-09-7385-8
USD 10 | GBP 8 | SGD 12
Published November 2015
Between Declarations and Dreams at National Gallery
Singapore is the first long-term exhibition devoted to the historical development of art in Southeast Asia from a regional perspective. This portable album presents an overview of the exhibition through a selection of 100 works that speak of points of connection and diversity in art across Southeast Asia. Accompanying curatorial texts flesh out the themes and sections of the exhibition, providing a thoughtful look at the art of this region.
17 RECENTLY PUBLISHED | ART | GALLERY
Lonely Vectors
Edited by Joella Kiu, Kenneth Tay and Mi You
180 × 120 mm
176 pages, paperback
64 colour illustrations
ISBN: 978-981-18-3711-1
USD 23 | GBP 20 | SGD 25
Published June 2022
Lonely Vectors takes its cue from Singapore Art Museum’s new space at the Tanjong Pagar Distripark as a site of the global economy and its choreography of movements. However, its interests in global flows extend beyond the circulation of goods and commodities to consider the bodies and histories unmoored and set adrift by this world in motion. From the construction of special economic zones to patterns of migration, from seed distribution to peasant solidarity against mega-plantations, Lonely Vectors points to the different ways we desire to connect with one another.
18 RECENTLY PUBLISHED | ART | SAM
The Gift: Collecting Entanglements and Embodied Histories
Edited by June Yap, Joella Kiu
260 × 210 mm
164 pages, paperback
and
Selene Yap
52 colour and 1 b/w illustrations
ISBN: 978-981-18-0923-1
USD 30 | GBP 25 | SGD 35
Published October 2021
The Gift captures the Singapore segment of the curatorial project Collecting Entanglements and Embodied Histories . Focusing on ideas of inter-relation and exchange manifest in history, geography and identity, this catalogue features the works of 15 artists in an examination of how the act of giving is performed, remembered and entangles. Collecting Entanglements and Embodied Histories is a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin and Singapore Art Museum, initiated by the Goethe-Institut. The exhibitions are curated by Anna-Catharina Gebbers, Grace Samboh, Gridthiya Gaweewong and June Yap.
The Gift of Entanglement Firstofall,thegiftonlyeverappears onthehorizonoftheother.compromised himself in spite of innumerable difficulties, (a man) with pair of fierce eyes.” This meeting between the Korean-born pioneer of video art and the German “reclusive sage” is preserved in photograph by Manfred Tischler covering the exhibition’s catalogue. be an enduring relationship, resulting in numerous collaborations over the years as well as intersections between their practices. In fact, even after Beuys’ passing in 1986, their relationship continued, registered in homage within Paik’s artworks as exemplified Venice Biennale in 1993. Representing Germany together with Hans Haacke, the pavilion receivedexhibition considers within its broader project of exchange and Collecting Entanglements and Embodied Histories Referencing Marco Polo’s journey from Venice to Ulan Bator, Crimean Tatar who Saved Life of Joseph Beuys Not Yet Thanked by German Folks (c. 1993). As for Beuys, the connection between Europe and Asia was embodied in its concatenation, Eurasia, to express utopic yet desired link between global cultures and, more personally, feeling of closeness and kinship with its place and people—specifically the Tatars who were key in his narrative of transformation, and the basis for his aesthetic choice of fat and felt; even as, under scrutiny, this narrative would seem somewhat mythic. It goes without saying that Eurasia as historyancestry since the 15th century, marked by the arrival of first the Portuguese, Dutch and then British. While Nam June Paik opens this essay, his work is not shown within this exhibition. Instead, his significance in aspects relevant to the subject of the gift: felt intensity that neither visible nor always there. Of the former, this profundity is sensed in the emotionally-charged recurrences of Beuys in Paik’s works. As for absences—or the conditions of non-presence—it productive space for the historical narrative: of that which is past its time and which takes interesting shape in recollection, imagination and projection, to reappear in new forms and guis-his works in Singapore.
19 RECENTLY PUBLISHED | ART | SAM
National Gallery Singapore Art Writing
This new, peer-reviewed imprint celebrates the diverse voices and genres of writing that create the discourse of art in Southeast Asia, both historically and in the present. Going beyond conventional art history, books in this imprint include compilations of artist writings, art criticism and experimental approaches to the image.
I Am An Artist (He Said)
Written by Araya Rasdjarmrearnsook
135 × 205mm
496 pages, paperback
ISBN: 978-981-18-2396-1
USD 25 | GBP 20 | SGD 35
Published October 2022
“To be an artist is … just like shit in a clogged toilet, stubborn shit that can’t decide whether it wants to be flushed or to stick around” writes acclaimed artist Araya Rasdjarmrearnsook. Composed as an irreverent dialogue between masculine and feminine narrators, this book of essays is an fusion of art criticism, feminist theory, art pedagogy, gossip and autofiction. It presents an insider account of Southeast Asia’s contemporary artists being catapulted into international circuits since the 1990s. Araya’s provocative prose is translated from Thai for the first time by Kong Rithdee.
20 RECENTLY PUBLISHED | RESEARCH | GALLERY
History and Imagination: Modern Photography from Singapore
Edited by Charmaine Toh
280 × 190 mm
116 pages, paperback
69 colour illustrations
ISBN: 978-981-18-0631-5
USD 30 | GBP 25 | SGD 35
Published September 2021
History and Imagination presents the works of four Singapore photographers: Tan Lip Seng, Lee Lim, Lim Kwong Ling and Lee Sow Lim. These amateur photographers were active members of camera clubs in the 1950s and 1960s, a period of rapid political and urban change in newly independent Singapore. Navigating the desire to document the emerging nation against the conventions of pictorial photography, scholarly essays and full-colour plates trace how their images parallel a newfound search for independence from British rule and the anxieties of modernity.
21 RECENTLY PUBLISHED | RESEARCH | GALLERY
empathy I prefer quietude
The Artist Speaks Series
The Artist Speaks: Kim Lim
The Singapore-born British artist Kim Lim devoted her practice, spanning over four decades, to abstract sculpture and printmaking. She held an enduring interest in the qualities of light, space and rhythm, which she explored across a wide range of materials. The artist's visual lexicon was informed by the organic forms and rhythms found in nature, as well as her travels across Asia and Europe. This title sees her artistic ideas and processes from the 1950s to the 1990s take centre stage. It traces the development of Lim's practice through writings, photographs of works taken by Lim in her home studio, and an interview with her sons, o ering a rare glimpse into her personal and artistic life.
The Artist Speaks series presents an intimate look at artists through their words and works, tracing the ideas, in uences and experiences—as told by artists themselves—that shape their practice.
Kim L i m
The Artist Speaks:
Kim Lim
230 × 160 mm
88 pages, paperback 30 colour and 24 b/w illustrations
ISBN: 978-981-14-5178-2
USD 23 | GBP 20 | SGD 25
Published March 2022
Known primarily as a sculptor who produced abstract wooden pieces and stone-carved works, Kim Lim channelled natural materials into paradoxical expressions of stillness and motion, substance and weightlessness. Her practice explores the relationship between art and nature, drawing inspiration from her varied travels across Asia and her life in Europe. In this publication, her process of shaping materials into contours of curves, lines and surfaces over three decades of artistry takes centre stage. Writings, sketches and notes shed new light on her masterpieces, offering a glimpse into Lim’s personal and artistic life.
COVER IMAGE Artist’s undated photograph of Day (1966) taken in Singapore. Stainless steel, enamel paint and zinc coating; 216 x 106.5 106.5 cm. Gi of Lim Koon Teck. The artist in her studio, c. late 1960s. suspect that my empathy is temperamental; I prefer an art that has quietude and containment. This describes classical Western art, the art of the Greek orders and of Brancusi and Matisse, as much as it does the art of the East. […] But sculpture of all times and societies deals with many of the same basic issues and shares attitudes or declares quite opposite positions about such matters as the relationship of space and mass. The obvious differences, subject matter and superficial treatment, often hide important similarities and sympathies. For me, the experiences of sculpture, West and East, taught me what sculpture is about. Experience gave me the motive to go on. suspect that my empathy is temperamental; prefer an art that has quietude and containment. This describes classical Western art, the art of the Greek orders and of Brancusi and Matisse, as much as it does the art of the East. […] But sculpture of all times and societies deals with many of the same basic issues and shares attitudes or declares quite opposite positions about such matters as the relationship of space and mass. The obvious differences, subject matter and superficial treatment, often hide important similarities and sympathies. For me, the experiences of sculpture, West and East, taught me what sculpture is about. Experience gave me the motive to go on. It’s interesting that she was the only woman, and the only non-white artist amidst an all-male line-up in the Hayward Annual ). It was really seminal moment for her to be the only woman exhibiting amongst influential white men in British art show—she broke through the glass ceiling there. As understand it, it was highly contentious, as Bill selected her and that was perceived as nepotism as she was his wife. But it really wasn’t like that, my dad had huge amount of respect for Kim as an artist, and thought she was the best. Those were his exact words when I asked him about it, he thought she was far better an artist than many others. Nonetheless, the following Hayward Annual included a greater representation of women, and she was on its all-female selection panel. That was truly a defining moment for gender emancipation in the arts. It was the first exhibition comprising mostly of women at a major British institution, caused by her having been the only woman in the year before. JL The exhibition drew controversy because of selected artists, only Kim Lim’s involvement in organising the exhibition—together with Tess Jaray, Liliane Lijn, Gillian Wise Ciobotaru and Rita Donagh—to raise public consciousness of women artists in Britain was rare instance as she otherwise disclaimed the role of public feminist. Both of them didn't want their works to be defined by who they were. She declined the invitation from Rasheed Araeen to participate in The Other Story which focused on Asian, African and Caribbean artists in post-war Britain as she didn’t want to be perceived as “Other. JL clear that she never wanted to be “othered,” to use her words, as a “woman” or “foreigner.” As far as her practice was concerned, she was invested in the viewer’s direct experience of her works. She was very conscious of not being pigeonholed. It's nice that as woman and as a person of colour who is part of the Asian diaspora, she's being reappraised. It's nice that their works are getting that opportunity now. But for both her and for Bill, they were anxious for their work to be taken outside the frameworks of gender, race or nationality. But I think that it was amazing that Kim exercised that with her work, and incorporated these pan-Asian cultural references. Her works have Chinese, Middle Eastern, Indian and Cycladic references, but particularly with the early wood carvings and later stone works, the Japanese aesthetic was very strong, whether that’s intentional or not. Maybe that was her way of not wanting to perpetuate the same animosity that the last generation had. Artistic Le acy Even though she is well represented across British institutional collections today, this has not necessarily translated to greater representation or visibility in art historical narratives or in discourses of sculpture in Britain or Singapore, for that matter. It is only in recent years that there have been increasing attempts to re-appraise and recontextualise Kim Lim’s works. Why do you think there has been greater interest in her work in the past It's because of a number of different things. Firstly, it’s a testament to the timeless quality of her work. Kim’s works resonate with people on multiple levels: they’re both feminine and powerful, abstract and rooted in nature. There’s an intuitive thing that people have with it, where they want to just hold and touch it. Secondly, this zeitgeist of affirming diversity, including gender, has helped. There is no question that art was quite It’s interesting that she was the only woman, and the only non-white artist amidst an all-male line-up in the Hayward Annual ). It was a really seminal moment for her to be the only woman exhibiting amongst influential white men in a British art show—she broke through the glass ceiling there. As I understand it, it was highly contentious, as Bill selected her and that was perceived as nepotism as she was his wife. But it really wasn’t like that, my dad had a huge amount of respect for Kim as an artist, and thought she was the best. Those were his exact words when asked him about it, he thought she was far better an artist than many others. Nonetheless, the following Hayward Annual included greater representation of women, and she was on its all-female selection panel. That was truly defining moment for gender emancipation in the arts. It was the first exhibition comprising mostly of women at a major British institution, caused by her having been the only woman in the year before. JL The exhibition drew controversy because of selected artists, only Kim Lim’s involvement in organising the exhibition—together with Tess Jaray, Liliane Lijn, Gillian Wise Ciobotaru and Rita Donagh—to raise public consciousness of women artists in Britain was a rare instance as she otherwise disclaimed the role of public feminist. Both of them didn't want their works to be defined by who they were. She declined the invitation from Rasheed Araeen to participate in The Other Story which focused on Asian, African and Caribbean artists in post-war Britain as she didn’t want to be perceived as “Other. JL clear that she never wanted to be “othered,” to use her words, as a “woman” or “foreigner.” As far as her practice was concerned, she was invested in the viewer’s direct experience of her works. She was very conscious of not being pigeonholed. It's nice that as a woman and as person of colour who is part of the Asian diaspora, she's being reappraised. It's nice that their works are getting that opportunity now. But for both her and for Bill, they were anxious for their work to be taken outside the frameworks of gender, race or nationality. But think that it was amazing that Kim exercised that with her work, and incorporated these pan-Asian cultural references. Her works have Chinese, Middle Eastern, Indian and Cycladic references, but particularly with the early wood carvings and later stone works, the Japanese aesthetic was very strong, whether that’s intentional or not. Maybe that was her way of not wanting to perpetuate the same animosity that the last generation had. Artistic Legacy Even though she is well represented across British institutional collections today, this has not necessarily translated to greater representation or visibility in art historical narratives or in discourses of sculpture in Britain or Singapore, for that matter. It is only in recent years that there have been increasing attempts to re-appraise and recontextualise Kim Lim’s works. Why do you think there has been a greater interest in her work in the past It's because of a number of different things. Firstly, it’s testament to the timeless quality of her work. Kim’s works resonate with people on multiple levels: they’re both feminine and powerful, abstract and rooted in nature. There’s an intuitive thing that people have with it, where they want to just hold and touch it. Secondly, this zeitgeist of affirming diversity, including gender, has helped. There is no question that art was quite a
22 RECENTLY PUBLISHED | GENERAL | GALLERY
The Artist Speaks series presents an intimate look at artists through their words and workings, tracing the ideas, influences and experiences—as told by artists themselves—that underlie their aesthetics.
The Artist Speaks:
Lee Wen
The Artist Speaks:
Chua Ek Kay
Edited by Bruce Quek
230 × 160 mm
128 pages, paperback
Illustrated throughout
ISBN: 978-981-14-2532-5
USD 23 | GBP 20 | SGD 25
Published April 2020
Written by Low Sze Wee
230 × 160 mm
128 pages, paperback
26 colour and 26 b/w illustrations
ISBN: 978-981-11-6797-3
USD 23 | GBP 20 | SGD 25
Published 2019
The second and third titles in The Artist Speaks series respectively delve into the performance artist Lee Wen’s body of provocative, thought-provoking and sharply satirical works over three decades, and ink practioner Chua Ek Kay’s innovative Chinese ink painting practice, informed by a lifetime of tireless study and rumination. Both titles feature the artists’ writings and sketches, which offer personal insight into their lives and perspectives.
See also The Artist Speaks: Georgette Chen on p. 39.
23 RECENTLY PUBLISHED | GENERAL | GALLERY
Words on Art Series
The Words on Art series is dedicated to examining the intersections between visual and literary art.
the world anew
Written by Koh Buck Song
200 × 125 mm
80 pages, paperback
42 colour illustrations
ISBN: 978-981-18-4045-6
USD 20 | GBP 15 | SGD 22
Published February 2023
Singapore poet and writer Koh Buck Song casts his ever-curious eye over the Gallery’s artworks, events and spaces against the backdrop of the Covid-19 pandemic, drawing on the haiga (a 16th -century Japanese art form combining haiku verse with ink and watercolour sketches) for many of his poems. Both humorous and poignant, the resulting collection captures with energy and optimism snapshots of life during this watershed event.
This is the third book by a poet-in-residence at the Gallery in its Words on Art series, dedicated to examining intersections between the visual and literary arts.
24 RECENTLY PUBLISHED |
|
The Words on Art series includes Ayatana and regarding (see p. 40).
GENERAL
GALLERY
Awesome Art Series
The Awesome Art series makes art accessible to the young and young at heart, inspiring hours of creativity at home or in the classroom.
Awesome Art Thailand: 10 Works from the Land of the Smiling Elephant Everyone Should Know
Written by Clare Veal Suitable for children aged 9 to 12 265 × 210
mm
64 pages, paperback
Illustrated throughout
ISBN: 978-981-14-8425-4
USD 14 | GBP 11 | SGD 18
Published September 2021
Are you ready for an adventure? Ride with Chang the elephant through 10 sensational works of art from Thailand! Discover the country’s amazing art history through rare photographs, exciting paintings, incredible installations and more! You might even learn more about yourself along the way.
Awesome Art Thailand: 10 Works from the Land of the Smiling Elephant Everyone Should Know is part of the Awesome Art series produced by the National Gallery Singapore. It represents the Gallery’s continued commitment toward presenting and advancing discourse on the art of Southeast Asia.
See p. 40–41 for other wonderful titles in the Awesome Art series
25 RECENTLY PUBLISHED | CHILREN’S | GALLERY
Art for Tinies Series
Art for Tinies is a series of fun and eye-catching illustrated board books with larger-than-life artworks for little art lovers and their grown-up companions.
I Want to Play House
Eat with Your Eyes
Written by Low Lai Chow
Illustrated by Jeanette Yap
Suitable for children aged 3 to 6
200 × 160 mm
36 pages, board book
Illustrated throughout
ISBN: 978-981-18-2975-8
USD 13 | GBP 10 | SGD 15
Published April 2022
Written by Low Lai Chow
Illustrated by Jeanette Yap
Suitable for children aged 3 to 6
200 × 160 mm
36 pages, board book
Illustrated throughout
ISBN: 978-981-14-5544-5
USD 13 | GBP 10 | SGD 15
Published September 2020
Feast your eyes on delectable delights and discover the magic of a home through modern art!
I Want to Play House and Eat with Your Eyes form part of the Art for Tinies series, which brings together stories, illustrations and works of art seamlessly under playful themes. Each title features 14 artworks from National Gallery Singapore accompanied by simple text and images that make learning about art enjoyable.
26 RECENTLY PUBLISHED | CHILREN’S | GALLERY
Nam June Paik
Edited by Sook-Kyung Lee and Rudolf Frieling
246 × 189 mm
176 pages, paperback
111 colour and 48 b/w illustrations
ISBN: 978-184-97-6635-7
SGD 47.20
Published October 2019 by Tate
For distribution within Singapore only
Matisse & Picasso
Written by Jane Kinsman and Simeran Maxwell
267 × 230 mm
196 pages, paperback
81 colour and 21 b/w illustrations
ISBN: 978-06-4233-4855
SGD 50
Published May 2020 by National Gallery of Australia
For distribution within Singapore only
Suddenly Turning Visible: Art and Architecture in Southeast Asia (1969–1989)
Edited by Shabbir Hussain Mustafa and Seng Yu Jin
230 × 152 mm
312 pages, paperback
119 colour and 82 b/w illustrations
ISBN: 978-981-14-0652-2
USD 40 | GBP 30 | SGD 50
Minimalism: Space. Light. Object.
Edited by Eugene Tan and Russell Storer
292 × 230 mm
280 pages, hardback
154 colour and 65 b/w illustrations
ISBN: 978-981-11-6680-8
USD 45 | GBP 35 | SGD 55
27 BACKLIST | ART | GALLERY
Ng Teng Fong Roof Garden Commission: Cao Fei
Edited by Sam I-shan
240 × 200 mm
60 pages, hardback
17 colour illustrations
ISBN: 978-981-14-4941-3
USD 23 | GBP 20 | SGD 25
Published August 2020
Ng Teng Fong Roof Garden Commission: Charles Lim Yi Yong
Edited by Adele Tan
240 × 200 mm
60 pages, hardback
38 colour illustrations
ISBN: 978-981-11-6790-4
USD 23 | GBP 20 | SGD 25
Ng Teng Fong Roof Garden Commission: Rirkrit Tiravanija
Edited by Russell Storer
240 × 200 mm
60 pages, paperback
17 colour illustrations
ISBN: 978-981-11-6454-5
USD 23 | GBP 20 | SGD 25
Ng Teng Fong Roof Garden Commission: Danh Vo
Edited by Charmaine Toh
240 × 200 mm
58 pages, hardback
17 colour illustrations
ISBN: 978-981-11-2236-1
USD 23 | GBP 20 | SGD 25
28 BACKLIST | ART | GALLERY
Lim Cheng Hoe: Painting Singapore
Edited by Low Sze Wee
287.5 × 230 mm
160 pages, paperback
100 colour and 8 b/w illustrations
ISBN: 978-981-11-6825-3
USD 40 | GBP 30 | SGD 50
Colours of Impressionism: Masterpieces from the Musée d’Orsay
Edited by Marine Kisiel and Paul Perrin
295 × 230 mm
208 pages, paperback
142 colour and 10 b/w illustrations
ISBN: 978-981-11-4515-5
USD 40 | GBP 30 | SGD 50
Between Worlds: Raden Saleh and Juan Luna
Edited by Russell Storer
295 × 230 mm
208 pages, paperback
Available in two cover designs
120 colour illustrations
ISBN: 978-981-114684-8
USD 40 | GBP 30 | SGD 50
Reframing Modernism: Painting from Southeast Asia, Europe and Beyond
Edited by Low Sze Wee, Horikawa Lisa and Phoebe Scott
300 × 240 mm
248 pages, hardback
218 colour illustrations
ISBN: 978-981-09-9561-4
USD 73 | GBP 56 | SGD 90
29 BACKLIST | ART | GALLERY
Strokes of Life: The Art of Chen Chong Swee 生机出笔端：陈宗瑞艺术特展
Edited
by
Low Sze Wee and Cai Heng
305 × 240 mm
212 pages, paperback
100 colour and 1 b/w illustrations
English and Chinese
ISBN: 978-981-11-2373-3
USD 40 | GBP 30 | SGD 50
Rediscovering Treasures: Ink Art from the Xiu Hai Lou Collection 袖中有东海：袖海楼水墨藏珍
Edited by Low Sze Wee and Cai Heng
305 × 240 mm
192 pages, paperback
61 colour illustrations
English and Chinese
ISBN: 978-981-11-2374-0
USD 40 | GBP 30 | SGD 50
A Fact Has No Appearance: Art Beyond the Object
Edited by Clarissa Chikiamco, Russell Storer and Adele Tan
280 × 200 mm
100 pages, paperback
40 colour and 2 b/w illustrations
ISBN: 978-981-09-8433-5
USD 23 | GBP 20 | SGD 25
Earth Work 1979
Edited by Charmaine Toh
280 × 200 mm
100 pages, paperback
6 colour and 23 b/w illustrations
ISBN: 978-981-09-8282-9
USD 23 | GBP 20 | SGD 25
30 BACKLIST | ART | GALLERY
Wu Guanzhong: Beauty Beyond Form 吴冠中：大美无垠
Edited
by Low Sze Wee
285 × 230 mm
192 pages, paperback
67 colour and 12 b/w illustrations
English and Chinese
ISBN: 978-981-09-8135-8
USD 40 | GBP 30 | SGD 50
Chua Ek Kay: After the Rain 蔡逸溪：雨后
Edited by Low Sze Wee
285 × 230 mm
208 pages, paperback
52 colour and 2 b/w illustrations
English and Chinese
ISBN: 978-981-09-7353-7
USD 40 | GBP 30 | SGD 50
Iskandar Jalil: Kembara Tanah Liat (Clay Travels)
Edited by Low Sze Wee and Seng Yu Jin
305 × 240 mm
364 pages, hardback (collector’s edition)
186 colour illustrations
ISBN: 978-981-11-0189-2 (hardback)
USD 270 | GBP 205 | SGD 330
Light & Movement Portrayed: The Art of Anthony Poon
290 × 250 mm
262 pages, paperback/hardback
200 colour and 3 b/w illustrations
ISBN: 978-981-08-3545-3
USD 35 | GBP 28 | SGD 45 (paperback)
USD 60 | GBP 45 | SGD 75 (hardback)
31 BACKLIST | ART | GALLERY
Paperback
The Story of Yeh Chi Wei (2 Volumes)
Edited by Yeo Wei Wei
Volume 1 (hardback)
280 × 220 mm
296 pages, 150 colour illustrations
ISBN: 978-981-08-5026-5
Volume 2 (CD-ROM)
695 pages, 200 colour illustrations
ISBN: 978-981-08-5929-9
English and Chinese
USD 58 | GBP 44 | SGD 70
Liu Kang: Colourful Modernist
Edited by Yeo Wei Wei
275 × 205 mm
296 pages, paperback/hardback
290 colour and 1 b/w illustrations
ISBN: 978-981-08-8674-5 (paperback)
USD 35 | GBP 28 | SGD 45
ISBN: 978-981-08-8675-2 (hardback)
USD 60 | GBP 45 | SGD 75
Realism in Asia: Volume One
Edited by Yeo Wei Wei
245 × 210 mm
88 pages, paperback
34 colour illustrations
ISBN: 978-981-08-5349-5
USD 23 | GBP 20 | SGD 25
Latiff Mohidin: Pago Pago (1960–1969)
Edited by Shabbir Hussain Mustafa and Catherine David
320 × 220 mm
214 pages, hardback
85 colour illustrations
ISBN: 978-981-11-4517-9
USD 45 | GBP 35 | SGD 55
32 BACKLIST | ART | GALLERY
Latiff Mohidin: Journey to Wetlands and Beyond
Edited by Francis Dorai and Ibrahim Tahir
287 × 257 cm
160 pages, hardback
ISBN: 978-9-81426-002-2
USD 48 | GBP 38 | SGD 60
The Artists Village: 20 Years On
Edited by Kwok Kian Woon and Lee Wen
297 × 210 mm
88 pages, paperback
ISBN: 978-9-81081-384-0
USD 23 | GBP 20 | SGD 25
Manit Sriwanichpoom: Phenomena & Prophecies
Written by Tan Boon Hui, Dr. Wiroon Tungcharoen, Ark Fongsmut, et al.
177 × 250 mm
140 pages, paperback
ISBN: 978-9-81086-693-8
USD 18 | GBP 13 | SGD 20
Ming Wong: Life of Imitation
Written by Tan Boon Hui, Tang Fu Kuen, Russell Storer, et al.
287 × 257 mm
120 pages, paperback
ISBN: 978-9-81085-546-8
USD 70 | GBP 52 | SGD 85
33 BACKLIST | ART | SAM
Natee Utarit: After Painting
Written by Michelle Ho, Tan Boon Hui and Iola Lenzi
286 × 258 mm
172 pages, paperback
ISBN: 978-9-81086-692-1
USD 45 | GBP 35 | SGD 55
Singapore Contemporary Artists Series: Vincent Leow
Written by David Chew, Tan Boon Hui, Gilles Massot, et al.
250 × 180 mm
80 pages, paperback
ISBN: 978-9-81426-041-1
USD 28 | GBP 22 | SGD 30
Amanda Heng: Speak to me, Walk with Me
Written by Tan Boon Hui, Michelle Ho, Lee Weng Choy, et al.
250 × 180 mm
228 pages, paperback
ISBN: 978-9-81070-087-4
USD 28 | GBP 22 | SGD 30
Hyung Koo Kang: The Burning Gaze
Written by Tan Boon Hui and Jungkwon Chin
260 × 285 mm
84 pages, paperback
ISBN: 978-9-81089-994-3
USD 23 | GBP 20 | SGD 25
34 BACKLIST | ART | SAM
Terms & Conditions
Edited by Savita Apte
257 × 185 mm
93 pages, hardback
ISBN: 978-9-81076-842-3
USD 23 | GBP 20 | SGD 25
Thai Transience
Written by Tan Boon Hui, Apinan Poshyananda, M.R. Chakrarot Chitrabongs, et al.
282 × 260 mm
144 pages, paperback
ISBN: 978-9-81074-850-0
USD 23 | GBP 20 | SGD 25
Time of Others
Edited by Hashimoto Asuza, Murakami Juri, Sano Meiko and Furuichi Yasuko
240 × 178 mm
148 pages, hardback
USD 23 | GBP 20 | SGD 25
After Utopia: Revisiting the Ideal in Asian Contemporary Art
Written by Tan Siuli, Louis Ho and Dr Farish A. Noor
257 × 185 mm
112 pages, hardback
ISBN: 978-9-81110-215-8
USD 28 | GBP 22 | SGD 30
35 BACKLIST | ART | SAM
Still Moving: A Triple Bill on the Image (box set)
Time Present: Photography from the Deutsche Bank Collection
107 pages, paperback
ISBN: 978-9-81092-218-4
Image & Illusion: Video Works from the Yokohama Museum of Art
53 pages, paperback
ISBN: 978-9-81092-219-1
After Image: Contemporary Photography in Southeast Asia
89 pages, paperback
ISBN: 978-9-81092-217-7
255 × 185 mm
USD 48 | GBP 38 | SGD 60
Medium at Large: Shapeshifting Material & Methods in Contemporary Art
Written by Joyce Toh, Tan Siuli and Louis Ho
257 × 185 mm
128 pages, hardback
ISBN: 978-9-81110-214-1
USD 28 | GBP 22 | SGD 30
Xu Beihong in Nanyang
Written by Kwok Kian Chow, Liao Jingwen, Chow Yian Ping, et al.
280 × 128 mm
344 pages, paperback
ISBN: 978-9-81080-180-9
USD 70 | GBP 52 | SGD 85
Thrice Upon A Time: A Century of Story in the Art of the Philippines
Written by Tan Boon Hui, Joyce Toh, Patrick Flores, et al.
125 × 179 mm
160 pages, paperback
ISBN: 978-9-81084-383-0
USD 45 | GBP 35 | SGD 55
36 BACKLIST | ART | SAM
Visual Culture 02: Urban Peels
Written by Naomi
280 × 210 mm
Wang
124 pages, paperback
Illustrated throughout
ISBN: 977-2-25115-040-7
USD 14 | GBP 11 | SGD 18
Writing the Modern: Selected Texts on Art & Art History in Singapore, Malaysia & Southeast Asia 1973–2015
Written by T.K. Sabapathy
250 × 175 mm
428 pages, paperback
ISBN: 978-981-11-5763-9
USD 48 | GBP 38 | SGD 60
The Asian Modern
Written by John Clark
235 × 175 mm
Approx. 500 pages, paperback
496 colour illustrations
ISBN: 978-981-14-0607-2
USD 45 | GBP 35 | SGD 55
Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990
Edited by Stephen H. Whiteman, Sarena Abdullah, Yvonne Low and Phoebe Scott
248 × 172 mm
332 pages, paperback
64 colour and 39 b/w illustrations
ISBN: 978-0-909952-92-1
USD 32 | GBP 26 | SGD 40
Published with Power Institute
37 BACKLIST | RESEARCH | SAM | GALLERY
Charting Thoughts: Essays on Art in Southeast Asia
Edited by Patrick Flores and Low Sze Wee
235 × 175 mm
484 pages, paperback
174 colour and 20 b/w illustrations
ISBN: 978-981-11-2865-3
USD 35 | GBP 28 | SGD 45
Modern Art of Southeast Asia: Introductions from A to Z
Written by Roger Nelson
245 × 180 mm
280 pages, paperback
261 colour illustrations
ISBN: 978-981-11-4725-8
USD 35 | GBP 28 | SGD 45
Migration, Transmission, Localisation: Visual Art in Singapore (1886–1945)
Written
by
Yeo Mang Thong
250 × 187.5 mm
248 pages, paperback
In English, translated from Mandarin
136 colour and 150 b/w illustrations
ISBN: 978-981-11-2925-4
USD 30 | GBP 25 | SGD 35
National Gallery Singapore: Art Spaces
Written by Pauline Ang
110 × 165 mm
64 pages, paperback
65 colour illustrations
ISBN: 978-1-85759-987-9
USD 10.95 | GBP 9 | SGD 11.25
38 BACKLIST | RESEARCH | GENERAL | GALLERY
The Making of National Gallery Singapore
Written by Pauline Ang
315 × 290 mm
168 pages, paperback
152 colour and 39 b/w illustrations
ISBN: 978-981-09-7343-8
USD 58 | GBP 44 | SGD 70
The Artist Speaks: Georgette Chen
Written by Joanna Lee
230 × 160 mm
128 pages, paperback
78 colour and 12 b/w illustrations
ISBN: 978-981-11-6759-1
USD 23 | GBP 20 | SGD 25
Warm Nights, Deathless Days: The Life of Georgette Chen
Written and illustrated by Sonny Liew
Suitable for children aged 8 and above
253 × 185 mm
48 pages, paperback
Illustrated throughout
ISBN: 978-981-09-1091-4
USD 20 | GBP 15 | SGD 22
Unfettered Ink: The Writings of Chen Chong Swee 妙笔丹青：陈宗瑞文集
Edited by Low Sze Wee and Grace Tng
215 × 145 mm
252 pages, paperback
1 colour and 11 b/w illustrations
English and Chinese
ISBN: 978-981-11-2375-7
USD 30 | GBP 25 | SGD 35
39 BACKLIST | GENERAL | GALLERY
Liu Kang: Essays on Art and Culture
Edited by Sara Siew
235 × 150 mm
256 pages, paperback
24 b/w illustrations
ISBN: 978-981-08-7675-3
USD 26 | GBP 21 | SGD 28
Words on Art: regarding
Written by Madeleine Lee
200 × 125 mm
74 pages, paperback
23 colour illustrations
ISBN: 978-981-11-6642-6
USD 20 | GBP 15 | SGD 22
刘抗： 文集新编
编辑: 萧佩仪
235 × 150 mm
252页，平装
24黑白插图
ISBN: 978-981-08-8099-6
USD 26 | GBP 21 | SGD 28
Words on Art: Ayatana
Written by Edwin Thumboo
200 × 125 mm
84 pages, paperback
20 colour illustrations
ISBN: 978-981-14-2215-7
USD 20 | GBP 15 | SGD 22
For more information about the Words on Art series, see p. 12.
Awesome Art Singapore: 10 Works from the Lion City Everyone Should Know
Written by Ryan How
Suitable for children aged 9 to 12
265 × 210 mm
64 pages, paperback
Illustrated throughout
ISBN: 978-981-11-8708-7
USD 14 | GBP 11 | SGD 18
40 BACKLIST | GENERAL | CHILDREN’S | GALLERY
Awesome Art Malaysia: 10 Works from the Land of Mountains Everyone Should Know
Written by Rahel Joseph and Jo Kukathas
Suitable for children aged 9 to 12
265 × 210 mm
64 pages, paperback
Illustrated throughout
ISBN: 978-981-11-8709-4
USD 14 | GBP 11 | SGD 18
Awesome Art Philippines: 10 Works from the Country of 7,000 Islands that Everyone Should Know
Written
by
Norma O. Chikiamco
Suitable for children aged 9 to 12
265 × 210 mm
64 pages, paperback
Illustrated throughout
ISBN: 978-981-14-2533-2
USD 14 | GBP 11 | SGD 18
Awesome Art Vietnam: 10 Works from the Land of the Clever Turtle that Everyone Should Know
Written by Ann Proctor
Suitable for children aged 9 to 12
265 × 210 mm
64 pages, paperback
Illustrated throughout
ISBN: 978-981-14-8424-7
USD 14 | GBP 11 | SGD 18
Awesome Art: The Next 20 Works from Southeast Asia Everyone Should Know
Written by Sara Siew
Suitable for children aged 9 to 12
270 × 215 mm
92 pages, hardback
Illustrated throughout
ISBN: 978-981-11-2927-8
USD 23 | GBP 20 | SGD 25
For more information about the Awesome Art series, see p. 25.
41 BACKLIST | CHILDREN’S | GALLERY
A Day at the Gallery
Written by Felix Cheong
Illustrated by twisstii
Suitable for children aged 3 to 6
146 × 203 mm
44 pages, hardback
Illustrated throughout
ISBN: 978-981-14-5543-8
USD 14 | GBP 11 | SGD 18
Do Gallery Sitters Sit All Day?
Things People Really Do in a Museum
Written by Ryan How
Illustrated by Anngee Neo
Suitable for children aged 7 and above
250 × 250 mm
36 pages, paperback
Illustrated throughout
ISBN: 978-981-11-4514-8
USD 18 | GBP 13 | SGD 20
Artsy: Fun with Southeast Asian Art
Suitable for children aged 4 to 7
297 × 210 mm
48 pages, paperback
Illustrated throughout
ISBN: 978-981-11-2803-5
USD 13 | GBP 10 | SGD 15
42 BACKLIST | CHILDREN’S | GALLERY
SINGAPORE
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43 DISTRIBUTORS DISTRIBUTORS
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45 DISTRIBUTORS DISTRIBUTORS
National Gallery Singapore Publications
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Tanjong Pagar Distripark
Singapore 089065
www.singaporeartmuseum.sg/about/publications
