Intersections, Innovations, Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations, Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art.

Contents:

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  Foreword: Connections and Ruptures

  
  


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  Preface

  
  


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  Acknowledgements

  
  


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  Editors' Notes

  
  


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  Translator's Notes

  
  


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  About the Authors

  
  


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  About the Editors

  
  


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  About the Translators

  
  


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  The Modern and its Histories in Singapore Art (Jeffrey Say and Seng Yu Jin)

  
  


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  Modernisms at the Crossroads:

  
  
  
  
  • Introduction (Kwok Kian Chow)
  
  
  • Singapore, Johore and the 'Exotic' 1930–1935 (Jonathan Black and Brenda Martin)
  
  
  • Art as a Sharp Weapon (Ho Ho Ying)
  
  
  • Tretchikoff Brush with the Golden Touch (Author Unknown)
  
  
  • Japanese Occupation of Singapore (Stanley Warren)
  
  
  • Beauty of Nanyang: An Observation of Nanyang from an Emotional Perspective (Marco Hsu)
  
  
  • The Nanyang Artists: Some General Remarks (T K Sabapathy)
  
  
  • Trip to Bali (Liu Kang)
  
  
  • Georgette Chen (1906–1993), A Pioneer Artist (Jane Chia)
  
  
  • Chinese Artists in Singapore and Malaysia (Michael Sullivan)
  
  
  • The Arts in the Emergent Period of 'Nanyang Consciousness' (1926–1934) (Chung Yi)
  
  
  • A Diverse Discussion on Chinese and Western Painting (Chen Chong Swee)
  
  
  • Drawing Inspiration from History, We Need to Embrace International Art (Shi Xiang Tuo)
  
  
  
  


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  Art Worlds in the Making and Their Marginalisations:

  
  
  
  
  • Introduction (Seng Yu Jin)
  
  
  • Sir Stamford Raffles (Charles Burton Buckley)
  
  
  • A Recollection of the Founding of Our School (Lim Hak Tai)
  
  
  • Ruminations (Richard Walker)
  
  
  • Post-Independence Art in Singapore (1959–1984) (Chia Wai Hon)
  
  
  • The Malay Artist (Sudar Majid)
  
  
  • Modern Art, Painters and Us (Abdul Ghani Hamid)
  
  
  • The Emergence of Women's Art (Shuai Min Feng)
  
  
  • Foreword for the Chinese High School Arts Association Exhibition Catalogue (Author Unknown)
  
  
  • Foreword for the Modem Art Society 1970 Exhibition Catalogue (Ho Ho Ying)
  
  
  • Introduction for the Inaugural Exhibition of Alpha Gallery (Arthur Yap)
  
  
  • Art 76 Inaugural Exhibition (Constance Sheares)
  
  
  • Thoughts of an Art Collector (Frank Sullivan)
  
  
  
  


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  Contestations of the 'New':

  
  
  
  
  • Introduction (Low Sze Wee)
  
  
  • Political Cartoons and Cartoonists (Dai Yin Lang)
  
  
  • Cartoons and Society (Weng Yi)
  
  
  • Low Kway Soo (Song Ong Siang)
  
  
  • The Visual Arts: Painting, Sculpture and Architecture (Tony Beamish)
  
  
  • Our Art (Mohd Salehuddin)
  
  
  • Woman Artists Show Their Colours (Chew Mei-Lin)
  
  
  • Some Thoughts on Nanyang. Art, and the Nanyang Academy of Fine Arts (Georgette Chen Liying)
  
  
  • Cheong Soo Pieng (Cheng U Wen)
  
  
  • Art and Life (Han Gao Shan)
  
  
  • Abstractionism in Painting (Yeh Chi Wei)
  
  
  • Post-Nanyang Style (HoHo Ying)
  
  
  • On Singapore Photography and the Fifth Pan-Malayan Photographic Exhibition (Kouo Shang-Wei)
  
  
  • An Interview with Ng Eng Teng (T K Sabapathy)
  
  
  • An Analysis of the Local Art Scene and a Discussion of Its Creative Directions (Heng Mei)
  
  
  
  


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  Index

  
  

Readership: Students and researchers in the fields of Art History/Curatorial Studies/Museum Studies/History/Literature; general public interested in similar fields.

Key Features:

• There is currently no other book on Singapore modern art. As such, it is a valuable contribution to the historiography of Singapore art


• Key texts in Chinese have been translated and published for the first time


• The book illuminates and provides insights into hitherto overlooked or marginalised information, such as the practices of Malay artists and challenges prevailing writings, and the emphasis placed on the Nanyang movement in the development of modern art in Singapore


• The book contains primary texts which would be useful to students, teachers and researchers