Publications Sales Catalogue Jul–Dec 2022

On cover:

Vincent M. Hoisington. Entrepreneur. Undated. Polyurethane paint on aluminium, 180 × 104 × 14 cm. Gift of Agnes Hoisington.

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 April 2022. All information correct at time of print.

All prices shown in this publication are subject to change and exclude local taxes.

NEW | ART 3 | GENERAL 4 | RESEARCH 5 RECENTLY PUBLISHED | ART 8 | RESEARCH 20 | GENERAL 22 | CHILDREN’S 24 BACKLIST | ART 28 | RESEARCH 37 | GENERAL 39 | CHILDREN’S 41

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.

S. Chandrasekaran. பூமி (Earth) #04. 1994. Terracotta, 21 × 20 × 4.5 cm. Collection of the artist.

Nothing is Forever: Rethinking Sculpture in Singapore

Edited by Seng Yu Jin, Cheng Jia Yun, Lim Shujuan and Joleen Loh Approx. 287 × 230 mm Approx. 200 pages, paperback ISBN: 978-981-18-2152-3 USD 40 | GBP 30 | SGD 50 Expected publication: 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.

Living Pictures: Photography in Southeast Asia

Edited by Charmaine Toh Approx. 287 × 230 mm Approx. 300 pages, paperback ISBN: 978-981-18-4044-9 USD 40 | GBP 30 | SGD 50 Expected publication: November 2022

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.

Rong Wong-Savun. Rama I Bridge. c. 1958, printed 2017. Gelatin silver print on paper, 25.6 × 25.7 cm. Collection of National Gallery Singapore.

Words On Art Series

The Words on Art series is dedicated to examining the intersections between visual and literary art.

Koh Buck Song

Written by Koh Buck Song

200 × 125 mm

Approx. 80 pages, paperback ISBN: 978-981-18-4045-6 USD 20 | GBP 15 | SGD 22

Expected publication: September 2022

In this title, Singapore poet and writer Koh Buck Song casts his unerring eye over the Gallery’s artworks, events and spaces to create a refined series of poems. Drawing on the haiga (a style of Japanese painting often accompanied by a haiku) for many of his poems, he blends word and image to elegant effect.

The Words on Art series includes

Koh Buck Song

Koh Buck Song

Mock-up design

The Modern in Southeast Asian Art: A Reader

Edited by T.K. Sabapathy and Patrick Flores 244 × 182 mm

Two volumes, approx. 1350 pages, paperback ISBN: 978-981-14-0664-5

USD 70 | GBP 52 | SGD 85

Published with NTU Centre for Contemporary Art Expected publication: September 2022

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 12 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 and scholars of Southeast Asian studies and art history.

National Gallery Singapore: Art Writing

I Am an Artist (He Said)

Written by Araya Rasdjarmrearnsook

Translated by Kong Rithdee

Edited by Roger Nelson and Chanon Kenji Praepipatmongkol Approx. 230 × 160mm Approx. 280 pages, paperback ISBN: 978-981-18-2396-1 USD 30 | GBP 25 | SGD 35

Published with Singapore Art Museum Expected publication: 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 uncategorisable fusion of art criticism, feminist theory, art pedagogy, gossip and autofiction. It is also an invaluable insider account of Southeast Asia’s contemporary artists being catapulted into international circuits since the 1990s. Araya’s provocative prose is lyrically translated from Thai for the first time by Kong Rithdee, one of Thailand’s most influential cultural critics.

Araya Rasdjarmrearnsook and her dogs. Photo by Eakarach Prangchaikul.

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.

Philippine Figurine: Image, Ornament, Art

Written by Patrick Flores Paperback

ISBN: 978-981-18-4046-3 USD 30 | GBP 25 | SGD 35 Expected publication: October 2022

This compelling collection of essays is a mediation on “the figurine,” theorised as a means to rethink concepts of art, ornament, the decorative and the devotional, and their postcolonial implications. Each of the seven essays is a close reading of a particular image, ranging from the annual procession of the Black Nazarene in Quiapo, Manila, to the work of the 19 th -century painter Juan Luna, to the patronage of former First Lady Imelda Marcos. Written by leading curator and historian of Southeast Asian art Professor Patrick Flores, the book is enlivening reading for those with an interest in art theory and the postcolonial condition of the image in the Global South.

The procession of the Black Nazarene of Quiapo, Manila, 9 January 2011. Courtesy of Veejay Villafranca.

Ever Present: First Peoples Art of Australia

Edited by Tina Baum 270 × 210 mm

Approx. 224 pages, paperback 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, from time immemorial to today. As suggested by the title, Ever Present shows the deep interconnections between past and present, as well as the extraordinary resilience and pride the First Peoples of Australia have shown in recent times. Grouped thematically to explore key aspects of Aboriginal and Torres Strait Islander culture and experience—such as ancestors and creators, country and constellation, community and family, culture and ceremony, trade and influence, and resistance and colonisation—the artworks also demonstrate a vast diversity of practice. The catalogue highlights critical issues of identity, dispossession and land rights, experiences of colonisation and resistance, as well as the continuing impact of structural racism: pressing concerns not only in Australia but globally today. This publication also draws out selected links connecting First Peoples art of Australia to the broader history of Southeast Asia.

This publication accompanies an exhibition of the same title presented by the National Gallery of Australia and Wesfarmers Arts, in collaboration with the National Gallery Singapore.

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. Alongside full-coloured plates and curatorial essays in this catalogue are Chua’s writings collected together for the first time. Cogent and stirring, Chua’s own words bring revelatory insight to a prolific artistic practice that has started since the 1950s. One of Singapore’s most acclaimed artists, Chua was conferred the Cultural Medallion award in 2015, Singapore’s highest accolade recognising artistic excellence and contribution to the arts.

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.

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

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.

Nam June Paik

Edited by Sook-Kyung Lee and Rudolf Frieling

246 × 189 mm

176 pages, paperback ISBN: 978-184-97-6635-7 SGD 47.20

Published October 2019 by Tate For distribution within Singapore only

Considered to be the founder of video art, Nam June Paik (1932–2006) was a visionary who foresaw the importance of mass media and new technology, and its impact on visual culture. His innovative yet entertaining work continues to be a major influence on art and culture today. This catalogue features works, archival materials and writings, illuminating his pivotal roles in radical aesthetics and experimental practices, as well as in the proliferation of performative and collaborative art practices.

Matisse & Picasso

Written by Jane Kinsman and Simeran Maxwell

196 pages, paperback 81 colour and 21 b/w illustrations ISBN: 978-06-4233-4855

Published May 2020 by National Gallery of Australia For distribution within Singapore only

The extraordinary relationship between Henri Matisse and Pablo Picasso is one of the most important and eventful narratives in modern art. Between them, they set the course of Western art history in the first half century, where Renaissance one-point perspective and realism were abandoned for radical ideas about depicting the third dimension. Their artistic rivalry and collaboration began the new story of modernism. This publication examines the paths of these two artists over the years and the way they each responded to the other’s work.

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

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.

Ng Teng Fong Roof Garden Commission Series

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 Published November 2016

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

Published August 2018

Danh Vo and Rirkrit Tiravanija present the first two inaugural outdoor installations in the Ng Teng Fong Roof Garden Commission series. In each accompanying catalogue, essays by leading scholars and curators with full-colour images relate the artist’s newly commissioned work to broader themes in their practices. Issues of cross-cultural identity are foregrounded in these two titles: the Vietnamese-born Danish artist Danh Vo often draws from personal experiences to explore historical, social or political themes, particularly about late 20 th -century Vietnamese history, while Rirkrit Tiravanija’s nomadic life between Chiang Mai, New York and Berlin is a constant negotiation of cultures, and a source of inspiration for his practice.

The Ng Teng Fong Roof Garden Commission series invites one leading international artist each year to present a site-specific work that reflects upon Southeast Asia’s rich cultural heritage and complex histories from a contemporary perspective.

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 Published April 2019

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

The third and fourth catalogues in the series take on different formats in presenting the artists’ new commissions: Charles Lim Yi Yong’s Sea State 9: proclamation garden and Cao Fei’s Fú Chá kinetic installation. Lim’s title includes annotated photographs of over 30 plant species featured in Sea State 9, whose transplantation, adaptation to survive and eventual disposal tell the stories of Singapore urban and coastal developments. Cao Fei’s title adopts the format of an artist’s book, and it includes the artist’s wrtitings and a poem by the artist Liao Huilan. Both titles include curatorial essays and full-colour plates.

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 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.

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.

Lonely Vectors

Edited by Joella Kiu, Kenneth Tay and Mi You 180 × 120 mm

Approx. 208 pages, paperback ISBN: 978-981-18-3711-1 USD 23 | GBP 20 | SGD 25 Expected publication: 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, from the uneven flow of land and water to the cosmologies and worlds lost to us over time, Lonely Vectors points to the different ways we desire to connect with one another.

The Gift: Collecting Entanglements and Embodied Histories

Edited by June Yap, Joella Kiu and Selene Yap 260 × 210 mm 164 pages, paperback 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.

c.1930. Woodblock print on paper, Tadashige Hanga Kan (Ono Tadashige Print Museum).

Indeed the archetypical socialist print im the late 1920s, were also later evaluated by Suyama Keiichi as follows: “Because in the age of proletarian art is demanded clear strongly inflammatory painting, her darkly melancholic Already in 1930, contemporary prole ception of Soviet

The Asian Modern

Chapter Nine 312 SpecialFeaturesofGulammohammed Sheikh developed conventionally as painter 1955to1963andhisoverseaspostgraduatetrain inginLondonfrom1963to1966.Hereturnedto historyandbecameveryactiveinartpublishing. manypolemicalpiecestothejournal and in 1963, edited special issue on visual art for sorofPaintingatBarodain1982.Inparallelwith critiques,essaysandpoemsinGujurati,Sheikh’s own painting moved away from an impastoed analyticalfigurativismbeforehisLondonera 9.1) and in which traces of late 1950s École de maybeinferred. InLondon,hedevelopedanal particularly reminiscent of the work of David Hockney and R.B. Kitaj, and on his return home, againstan“Indian”sky fig. 9.2 duced in London, which form kind of arma ture for later figural representations, soon to be ual historical understandings of both Mughal anddelightedin fig. 9.3 To anticipate slightly the future turning points in Sheikh’s work, in summary: the syn optic, spaces of domestic and urban narratives frame views the viewer can compose as various narratives; returntosingleviewswithoutfram ing,butwhichincludediscontinuouseventsand times,inthelate1980s;andfromthemid-1990s, magus/saint figure Kabir, with whom he identi through magical allegories of India’s civilisation anditsmodernhistory become increasingly prevalent during the late

spiritfightingwouldbetherightthing, [but]thisworkdoesn’tgobeyond bourgeois workandiftheproletariat tobeproudofthe proletariatI’drather stopped[rightnow].

9.1 Gulammohammed ellow Sky 9.1

century:acombinationofartistsofmyType Eight, cosmopolitan who importantly draws endogenous sources and content, and is em

From 2000, Sheikh also works in digital me dia where multiple images can be digitally col printeddirectlyingouachecoloursonpaper fig. After earlier small-format accordion painted books and miniature shrines by 2008, in Kaavad: Traveling Shrine: Home Sheikh brought togetherreferencestomanyofthesepastworks, paintings for very large multimedia portable shrineof244×732centimetres,whichunfoldsin 34panels As Kavita Singh movingly concludes about CITY: Memory, Dreams, Desire, Statues and

Speaking Tree‐1

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 Published March 2021

In this expansive study, John Clark draws on decades of his research on modern art cultures across Asia from 1850 to the present day. The Asian Modern uses an artist-centric approach, by way of meticulous case studies, to create a new comparative paradigm for the narration of art.

“Affiliations of place,” claims John Clark, rather than “genealogies of time,” is key to clarifying the category of “the Asian Modern.” […] The transfer is from an extractive art history obsessed with pedigree and derivations, on the one hand, to a redistributive art history, on the other, that is possible only through the reciprocities and fundamental obligations between persons and things. Absent the latter, there can be no future for art history in Asia.

—Patrick Flores, Professor of Art Studies, University of the Philippines, introduction to The Asian Modern John Clark is Emeritus Professor in Art History at the University of Sydney, the author of five books and editor or co-editor of another five. His Asian Modernities: Chinese and Thai Art of the 1980s and 1990s (2010) won the Best Art Book Prize of the Art Association of Australia and New Zealand in 2011. He is also active as a curator.

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.

from Singapore

empathy I prefer quietude

The Artist Speaks Series

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.

Artist Speaks: Kim Lim

The artist in her studio, c. late 1960s.

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.

about. Experience gave me the motive to go on.

Studio International: Journal Modern Art 176 905 (November 1968):

which focused on Asian, African and Caribbean artists in post-war Britain as she didn’t want to be perceived as “Other.

Kim L i m

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. Artist’s undated photograph of Day (1966) taken in Singapore. Stainless steel, enamel paint and zinc coating; 216 x 106.5 x 106.5 cm. Gi of Lim Koon Teck.

The Artist Speaks: Kim Lim

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.

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.

Hayw

Hayw

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

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

230 × 160 mm

She wanted, first and foremost, to be seen as an artist. She has made it 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

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

which focused on Asian, African and Caribbean artists in post-war Britain as she didn’t want to be perceived as “Other. She wanted, first and foremost, to be seen as an artist. She has made it 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 Le 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

Approx. 96 pages, paperback ISBN: 978-981-14-5178-2 USD 23 | GBP 20 | SGD 25

Expected publication: 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.

The

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—

The Artist Speaks: Lee Wen

The Artist Speaks: Chua Ek Kay

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

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 practitioner 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 (p. 40).

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 Expected publication: 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.

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 Published October 2020

Discover wonderful works of modern Southeast Asian art by forming different shapes with a handy tangram. Play along with Cindy and her family, or take your tangram with you on your own day at the Gallery!

Awesome Art Series

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

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 Published February 2021

Did you know that Thailand is the only country in Southeast Asia to have never been colonised? And that the art of Vietnam is one of great innovation and daring, featuring works coloured with tree sap and spun from worm cocoons? Come discover the art of Thailand and Vietnam! These illustrated volumes encourage children to appreciate art through 10 iconic artworks from each country, covering photography, painting and even a sculpture of hundreds!

The Awesome Art series represents National Gallery Singapore’s commitment towards presenting and advancing discourse on the art of Southeast Asia.

See also: Awesome Art: The Next 20 Works from Southeast Asia Everyone Should Know (p. 42).

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 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 Published April 2020

Awesome Art Indonesia: 10 Works from the Archipelago Everyone Should Know

Come discover the art of the Philippines and Indonesia! These fully illustrated volumes encourage children to appreciate art through 10 iconic artworks from each country, covering sculpture, photography and painting. Fascinating facts about artists’ lives, bold illustrations and fun activities help make art concepts easy to enjoy and understand.

Written by Yvonne Low Suitable for children aged 9 to 12 265 × 210 mm

64 pages, paperback Illustrated throughout ISBN: 978-981-14-2534-9 USD 14 | GBP 11 | SGD 18

Published March 2020

Complete your collection with these other titles: Awesome Art Singapore and Awesome Art Malaysia (p. 42).

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

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

For more information about the Ng Teng Fong Roof Garden Comission series, see pages 12–3.

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

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

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

Yayoi Kusama: Life is the Heart of a Rainbow

Edited by Russell Storer 280 × 200 mm 116 pages, paperback 60 colour and 15 b/w illustrations ISBN: 978-981-11-2855-4 USD 30 | GBP 25 | SGD 35

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

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 Paperback

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

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

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

Cheong Soo Pieng: Visions of Southeast Asia

Edited by Yeo Wei Wei 275 × 205 mm

280 pages, hardback 296 colour and 5 b/w illustrations ISBN: 978-981-08-9599-0 USD 60 | GBP 45 | SGD 75

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

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)

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

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

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

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

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

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

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

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

Visual Culture 02: Urban Peels

Written by Naomi Wang

280 × 210 mm

124 pages, paperback Illustrated throughout ISBN: 977-2-25115-040-7 USD 14 | GBP 11 | SGD 18

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

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

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

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

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

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

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

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

The Artist Speaks: Chua Ek Kay

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

For more information about The Artist Speaks series, see pages 22–3.

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

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

For more information about the Words on Art series, see page 4.

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

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

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

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

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

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

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

For more information about the Awesome Art series, see pages 26–7.

SINGAPORE

Alkem Company (S) 1 Sunview Road #01-27 Eco-tech @ Sunview Singapore 627615

Tel: +65 6265 6666 Fax +65 6261 7875 enquiry@alkem.com.sg www.alkem.com.sg

NORTH AMERICA

Penn State University Press 820 North University Drive University Support Building 1, Suite C University Park, PA 16802-1003

Tel: +1 (800) 326 9180 Fax: +1 (814) 863 1408 orders@psupress.org http://www.psupress.org/

EUROPE AND WORLD (EXCLUDING SOUTHEAST ASIA)

Prestel UK Prestel Publishing Ltd. 16-18 Berners Street, London, W1T 3LN Tel: +44 (0) 20 7323 5004 Fax: +44 (0) 20 7323 0271 sales@prestel-uk.co.uk : Prestelpublishing : Prestel_UK

Will Westall, Sales & Distributed Lists Manager: wwestall@prestel-uk.co.uk

Distribution

Grantham Book Services (GBS)

Trent Road, Grantham, Lincolnshire, NG31 7XQ

Tel: +44 (0) 1476 541080 (UK Customer Services) Tel: +44 (0) 1476 541082 (Export Customer Services) Fax: +44 (0) 1476 541061 (UK Customer Services) Fax: +44 (0) 1476 541068 (Export Customer Services) orders@gbs.tbs-ltd.co.uk (UK Customer Services) export@gbs.tbs-ltd.co.uk (Export Customer Services) www.granthambookservices.co.uk

UNITED KINGDOM

Greater London Henry Thompson 43 New River Crescent, London, N13 5RD Tel: +44 (0) 20 8882 7389 Mobile: +44 (0) 7770 796088 henry@henrythompsonbooks.co.uk

East Anglia/Home Counties/South Gillian Hawkins Hawkins Publishing Services 12 Parkview Cottages Crowhurst Lane End Oxted, Surrey RH8 9NT Tel: +44 (0) 1342 893029 Mobile: +44 (0) 7810 648891 Gill.hawkins.hps@btinternet.com

West/South West Midlands/South Wales Ian Tripp 28, Llwyncelyn Parc Porth Rhondda CF39 9UA Tel: +44 (0) 7970 450162 iantripp@ymail.com

North Midlands, North Wales, Scotland Jim Sheehan

Signature Book Representation 29 Saville Road, Skelmanthorpe Huddersfield, HD8 9EG Tel: +44 (0) 845 862 1730 Fax: +44 (0) 161 683 5270 Mobile: +44 (0) 7970 700505 jim@signaturebooksuk.com

Ireland John Fitzpatrick 58 New Vale Shankill Republic of Ireland Dublin D18 KF30 Republic of Ireland Mobile: +353 (0) 87 2469859 johnfitz.books@gmail.com

EUROPE

Germany, Austria and Switzerland Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany

Tel: +49 (0) 89 41360 Fax: +49 (0) 89 4136 2335

France

Interart

1, Rue de l’Est F-75020 Paris

Tel: +33 (0) 1 434 93 660 Fax: +33 (0) 1 434 9 41 22 commercial@interart.fr

Netherlands

Jan Smit Boeken Eikbosserweg 258 1213 SE Hilversum The Netherlands Tel: 0031 (0) 35 6219267 Mobile: 0031 (0) 6 20618964 jan@jansmitboeken.info

Belgium

Exhibitions International Art & Illustrated Books Warotstraat 50 B-3020 Herent Belgium

Tel: +32 16 296 900 Fax: +32 16 296 129 orders@exhibitionsinternational.be www.exhibitionsinternational.be

Italy

Penny Padovani

N.A. La Chiesa no. 9 52044 Pergo di CORTONA (AR) Italy Mobile: +39 345 353 6837 penny@padovanibooks.com

Greece and Cyprus

Isabella Curtis

4 Odos Plutarchou Athens 106 76 Greece

Tel: +30 210 7218995 Mobile: +30 6974884237 Isabella@padovanibooks.com

Spain and Portugal

Christopher Humphrys Calle Teodoro de Molina 9 Apartado 83 29480 Gaucin, Malaga, Spain Tel: +34 (952) 151 462 Mobile: +34 6920 57642 humph4hra@gmail.com

Eastern Europe

Kinga Jambroszczak Obibook Pulawska 25/25 05-500 Piaseczno, Poland Tel: +48 503052075 kinga@obibook.com http://www.obibook.com

Scandinavia Suzanne Bach-Marklund Sæbjørnsvej 27, 1 tv. 2880 Bagsværd Denmark Tel: +45 27892007 suzanne@bach-marklund.com

OCEANIA

Australia Peribo 58 Beaumont Road Mount Kuring-Gai, NSW 2080

Australia

Tel: +61 (0) 2 9457 0011 Fax: +61 (0) 2 9457 0022 info@peribo.com.au

New Zealand

Andrew Tizzard

Nationwide Book Distributors

351 Kiri Kiri Road, Oxford, North Canterbury 7495 PO Box 65 Oxford North Canterbury 7443 New Zealand Tel: +64 3 312 1603 andrew@nationwidebooks.co.nz www.nationwidebooks.co.nz

LATIN AMERICA

Latin America, Mexico and Caribbean Nicolas Friedmann Representaciones Editoriales

Rbla. Badal 64 Ent. 1 08014 Barcelona, Spain Tel: +34 6374 55006 nicolasfriedmann@gmail.com

ASIA, AFRICA

China, Hong Kong, Japan, Korea and Taiwan Zita Chan

Some Books Limited 1104A, Kai Tak Commercial Building #317-319 Des Voeux Road Central Hong Kong Tel: +852 63004787 zita.chan@somebooks.com.hk

India, Bangladesh, Sri Lanka and Southeast Asia

Andrew White

The White Partnership 6 Newlands Road Tunbridge Wells TN4 9AT UK Tel: +44 (0)7973 176046 andrew@thewhitepartnership.org.uk

Pakistan Anwar Iqbal

Book Bird Publishers Representatives Lower Ground, 36 B Abdalians Society Nazaria e Pakistan Avenue, Lahore 54770 Tel.: +92 (0) 42 35956161 Mobile: +92 (0) 343 8464747 anwer.bookbird@gmail.com

South Africa and Sub-Saharan Africa Penguin Random House South Africa Rosebank Office Park, Block D 181 Jan Smuts Ave, Parktown North, 2193 PO Box 52013, Saxonwold, 2132 Johannesburg South Africa Tel: +27 11 327 3550 queries@penguinrandomhouse.co.za

Middle East, Israel and North Africa Kit Clothier 1 The Stables Southcott Village LU7 2PR, UK Mobile: +44 (0) 782 514 2487 kit@fennecbooks.co.uk