Publications Sales Catalogue Jan–Jun 2023

On cover:

Green Moon. 1972. Ink and colour on paper, 87 × 87 cm. Collection of The Liu Kuo-sung Foundation. Image courtesy of The Liu Kuo-sung Foundation.

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 Oct 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 | RESEARCH 4 | GENERAL 6 | CHILDREN’S 7 RECENTLY PUBLISHED | ART 8 | RESEARCH 18 | GENERAL 20 | CHILDREN’S 21 BACKLIST | ART 23 | RESEARCH 32 | GENERAL 34 | CHILDREN’S 36

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.

Liu Kuo-sung: Experimentation

as Method

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 nontraditional 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.

3 NEW | ART | GALLERY

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.

Philippine Figurine: Image, Ornament, Art

Written by Patrick Flores Paperback

ISBN: 978-981-18-4046-3 USD 30 | GBP 25 | SGD 35 Expected publication: June 2023

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, this second title in the National Gallery Singapore Art Writing imprint is enlivening reading for those with an interest in art theory and the postcolonial condition of the image in the Global South.

See also I Am An Artist (He Said), the first title in the Art Writing imprint, on p. 19.

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

The Modern

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: April 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 and scholars of Southeast Asian studies and art history.

in Southeast Asian Art: A Reader

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

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

Expected publication: January 2023

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

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

Written and illustrated by Dinaz Cassim Suitable for children aged 5 to 10 Approx. 36 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 furry 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.

’Rong Wong-Savun. Rama I Bridge. c. 1958, printed 2017. Gelatin silver print on paper, 25.6 × 25.7 cm.

Living Pictures: Photography in Southeast Asia

Edited by Charmaine Toh Approx. 287 × 230 mm 388 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.

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.

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, 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.

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.

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 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 megaplantations, 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.

Chapter Five toknowwhatproletarianperformingartwas arts), but when the moment arrived various fantasiesarose. thoughtitwouldbeterrible to be forced to go in that direction. realized my own will was not very strong. knewtera. probablywentinhopingtohear sysantithetical [bourgeois] type […]. There were veryfewpeoplethere[thirteen]. listenedto the socialist sociology of Nakagawa Toshio. theatretheory.

kyo,whichformedafocusforallkindsofavantsuch theatricality also comes out in Ono’s court What is interesting in Ono’s

Ono Tadashige.

(War the Streets). 11.5 15.3 cm. University Art Collection, Chau Chak Wing Museum, The University Sydney, UA2007.4.

theory and participation was more important to drew sets and took part in several small avantgardetheatreproductionsin1928to1929. EvenifOnowasinvolvedwithproletarianart from 1928 to 1932, one should not thereby conbyhisleft-wingpeers.Commentingon oneHonmonFūjin(analias)wrote: It’s strange; it seems as if we look at mounmostpartareallmixedupandcannotbedisbe clearly grasped these are no more than trivialsentimentalfeeling.Theyarethestrugitstreason,thattheyareclearlyandcorrectly [but]thisworkdoesn’tgobeyond bourgeois workand theproletariatistobeproudofthe

Transitions through World War II -

ages of Käthe Kollwitz, discussed widely since Suyama Keiichi as follows: “Because in the age of proletarian art is demanded clear strongly inflammatory painting, her darkly melancholic andbittermotifs

to

1967tobeemployedasateacherofart

inLondonfrom1963to1966.

the late 1960s and 1970s, Sheikh contributed in 1963, edited special issue on visual art for the Gujurati

Kshitij he became Profes-

art history teaching, and the writing of art own painting moved away from an impastoed analyticalfigurativismbeforehisLondonera Paris painting, such as that of Nicolas De Stäel,mostcheekilyflatSchoolofLondonnarrativism, particularly reminiscent of the work of David Hockney and R.B. Kitaj, and on his return home, set the erotic plenitude of flowers and trees Figures of self and friends were also introduced in London, which form kind of armature for later figural representations, soon to be placedinanIndianurbansettinginwhichgradand Trecento Sienese painting are played with To anticipate slightly the future turning points in Sheikh’s work, in summary: the synfoundin1980–1981,inwhichmulti-event,multinarratives;areturntosingleviewswithoutframing,butwhichincludediscontinuouseventsand Sheikh increasingly narrativises the populistfig. 9.4 and at almost the same time, works through magical allegories of India’s civilisation anditsmodernhistory To summarise, Sheikh exemplifies what will

Gulammohammed Sheikh. Summer Encounter

Four—given his training abroad—and Type Eight, cosmopolitan who importantly draws endogenous sources and content, and embedded in the institutions of his own country, From 2000, Sheikh also works in digital media where multiple images can be digitally collaged, either to produce an image that can be 9.6) oras modeldesignforatapestry fig. 9.7 fig. 9.8 by 2008, in Kaavad: Traveling Shrine: Home Sheikh brought leading workshop team making oil and acrylic shrineof244 732centimetres,whichunfoldsin 34panels Sheikh’s expansive view of life, in looking at the

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 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.

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.

National Gallery Singapore Art Writing 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 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.

empathy I prefer quietude

The Artist Speaks Series

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.

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. […]

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

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

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 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 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 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 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 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 major British institution, caused by her having been the only woman in the year before.

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 a public feminist.

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

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.

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

or a “foreigner.” As far as her practice was concerned, she was invested in the viewer’s direct experience of her works.

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

She was very conscious of not being pigeonholed. It's nice that as 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 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 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

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.

p. 35.

Lee Wen and The Artist Speaks: Chua Ek Ka y on

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 pp. 36–7 for five other wonderful titles in the Awesome Art series.

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.

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

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

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: 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: 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

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

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

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

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

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

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

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

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

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

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 Artist Speaks: Lee Wen

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

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 page 20.

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

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 page 7.

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

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 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 Indonesia: 10 Works from the Archipelago Everyone Should Know

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

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 page 21.

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

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

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