Expanding the Singaporean discourse: Exploring artist materials from the 1950s to 1970s

References

• Agrawal OP 1975, ‘An Asian view of conservation’, Museum, vol. 27, no. 4, pp. 157–160.
   Google Scholar
• Caple, C 2000, Conservation skills: judgement, method and decision making, Routledge, Abingdon.
   Google Scholar
• Chen, G 1961, Georgette Chen to Dorothy Lee, undated [Letter] Held at: National Gallery Singapore Resource Centre.
   Google Scholar
• Chen, G 1967, ‘To the class of 1967’, Nanyang Academy of Fine Arts 2 Graduation Magazine, Singapore, p. 44.
   Google Scholar
• Clark J 1998, Modern Asian art, University of Hawaii Press, Honolulu.
   Google Scholar
• Cotte S, Tse N & Inglis A 2016, ‘Artists’ interviews and their use in conservation: reflections on issues and practices’, AICCM Bulletin, vol. 37, no. 2, pp. 107–118.
   Google Scholar
• Gomez Lobon, M 2010, ‘A life of experimentation: an insight into Cheong Soo Pieng’s painting materials and techniques’, viewed 20 July 2020, <https://www.roots.sg/-/media/Roots/Images/resources/publications/hcc/projects-and-case-studies/files/the-life-of-experimentation-an-insight-into-cheong-soo-piengs-painting-materials-and-techniques.pdf?la=en&hash=BC83BEA3D217A53307C964B66911DC0FA665A525>.
   Google Scholar
• Hou SP & Ma P 2015, The story of Cheong Soo Pieng, Oxford Graphic Printers Pte Ltd, Singapore.
   Google Scholar
• Hsü, M 1999, A brief history of Malayan art, Millennium Books, Singapore.
   Google Scholar
• Koay, S 2011, ‘Singapore: multi-cultural cross roads’, in ASEAN Committee on Culture and Information (ed.), Visual arts in ASEAN: continuity and change, ASEAN Committee on Culture and Information, Kuala Lumpur, pp. 161–200.
   Google Scholar
• Kobayashi A 2019, ‘Growth of regional trade in modern Southeast Asia: the rise of Singapore, 1819–1913’, in K Otsuka & K Sugihara (eds), Paths to the emerging state in Asia and Africa, Springer Singapore, Singapore, pp. 95–113.
   Google Scholar
• Koh, HT 2008, ‘How Pelikan pens a brand new success story’, My Paper, 23 June 2008.
   Google Scholar
• Kwa CG 2017, ‘The 19th-century “origins” of Singapore art’, in SW Low & P Flores (eds), Chartering thoughts: essays on art in Southeast Asia, National Gallery Singapore, Singapore, pp. 34–43.
   Google Scholar
• Kwa CG & Ke M (eds) 2019, A general history of the Chinese in Singapore, World Scientific, Singapore.
   Google Scholar
• Kwok KC 1996, Channels and confluences: a history of Singapore art, Singapore Art Museum, Singapore.
   Google Scholar
• Lim J 2012, ‘Chinese merchants in Singapore and the China trade, 1819–1959’, Chinese Southern Diaspora Studies, vol. 5, pp. 79–115.
   Google Scholar
• Low Y 2015, ‘Becoming professional artists in postwar Singapore and Malaya: developments in art during a time of political transition’, Journal of Southeast Asian Studies, vol. 46, no. 3, pp. 463–484.
   Web of Science ®Google Scholar
• Low, SW & Mustafa, SH 2015, ‘Some introduction remarks’, in S Siew & National Gallery Singapore (eds), Siapa nama kamu? Art in Singapore since the 19th century: selections from the exhibition, National Gallery Singapore, Singapore, pp. 8–29.
   Google Scholar
• Masahiro U 2017, ‘The birth of “Fine Art” in Southeast Asia, 1900–1945’, in SW Low & P Flores (eds), Chartering thoughts: essays on art in Southeast Asia, National Gallery Singapore, Singapore, pp. 130–139.
   Google Scholar
• Mashadi A 2010, Encountering Cheong Soo Pieng, NUS Museum, Singapore.
   Google Scholar
• Mustafa, S 2016, ‘The question of art in Singapore’, in National Arts Council (ed.), Singapore’s visual artists, National Arts Council, Singapore, pp. 9–11.
   Google Scholar
• O’Donnell E, Tse N & Ahmad A 2015, ‘Material availability and painting practice: a case study of Singapore artist Georgette Chen’, AICCM Bulletin, vol. 36, no. 2, pp. 147–159.
   Google Scholar
• Ong, ZM 2006, ‘A history of the Nanyang Academy of Fine Arts (1938–1990)’, Masters thesis, National University of Singapore, Singapore.
   Google Scholar
• Ong, ZM 2015, ‘Nanyang reverie’, in Siew S & National Gallery Singapore (eds), Siapa nama kamu? Art in Singapore since the 19th century: selections from the exhibition, National Gallery Singapore, Singapore, pp. 42–53.
   Google Scholar
• Piyadasa R 1979, ‘The Nanyang Academy of Fine Arts’ in Muzium Seni Negara Malaysia (ed.), Pameran Retrospektif Pelukis-Pelukis Nanyang, Muzium Seni Negara, Kuala Lumpur, pp. 24–36.
   Google Scholar
• Sabapathy TK 1993, ‘Contemporary art in Singapore: an introduction’, in C Turner (ed.) Tradition and change: contemporary art of Asia and the Pacific, University of Queensland Press, St. Lucia, p. 84.
   Google Scholar
• Sasaki, M 2012, ‘Growth of Indonesian art market: art for art’s sake’, Masters thesis, Lund University, Sweden.
   Google Scholar
• Seng YJ 2017, ‘Cultural wars in Southeast Asia: the birth of the critical exhibition in the 1970s’, in SW Low & P Flores (ed.), Chartering thoughts: essays on art in Southeast Asia, National Gallery Singapore, Singapore, pp. 214–232.
   Google Scholar
• Siew S & Lee J (eds) 2018, The artist speaks: Georgette Chen, National Gallery Singapore, Singapore.
   Google Scholar
• Streeton NLW 2017, ‘Writing histories for late-medieval objects: the engagement of conservation with theoretical perspectives on material culture’, Studies in Conservation, vol. 62, no. 7, pp. 419–431.
   Web of Science ®Google Scholar
• Taniguchi Y 2020, ‘Cultural identity and the revival of values after the demolishment of Bamiyan’s Buddhist wall paintings’, in M Nagaoka (ed.), The future of the Bamiyan Buddha Statues, Springer, Cham, pp. 51–70.
   Google Scholar
• Taylor NA 2011, ‘Art without history? Southeast Asian artists and their communities in the face of geography’, Art Journal, vol. 70, no. 2, pp. 6–23.
   Web of Science ®Google Scholar
• Taylor J & Stevenson S 1999, ‘Investigation subjectivity within collection condition surveys’, Museum Management and Curatorship, vol. 18, no. 1, pp. 19–42.
   Google Scholar
• Tse, N 2010, ‘The characterisation of oil paintings in tropical Southeast Asia’, PhD thesis, University of Melbourne, Melbourne.
   Google Scholar
• Tse, N & Sloggett, R 2008a, ‘A preliminary understanding of the behavior of oil paintings in tropical Southeast Asia’, in J Bridgland (eds), Preprints, ICOM Committee for conservation 15th triennial conference: New Delhi, 22–26 September 2008, Allied Publishers Pvt. Ltd., New Delhi, pp. 641–650.
   Google Scholar
• Tse N & Sloggett R 2008b, ‘Southeast Asian oil paintings: supports and preparatory layers’, in J Townsend, T Doherty, G Heydenreich & J Ridge (eds), Preparation for painting: the artist’s choice and its consequence, Archetype Books, London, pp. 161–170.
   Google Scholar
• Wong, KF 2004, ‘Reimagining China: history painting of Xu Beihong in early twentieth century’, Masters thesis, University of Hawaii, Hawaii.
   Google Scholar
• Yeo, WW (ed.) 2010, Cheong Soo Pieng: visions of Southeast Asia, National Art Gallery, Singapore.
   Google Scholar
• Yeo MT 2019, Migration, transmission, localisation: visual art in Singapore (1886–1945), National Gallery Singapore, Singapore.
   Google Scholar