Anne Goh | Nanyang Technological University (original) (raw)
Papers by Anne Goh
As we hurtle forward towards an ever more advanced society through the constant push for technolo... more As we hurtle forward towards an ever more advanced society through the constant push for technological advancements, the COVID-19 pandemic acted as a catalyst that accelerated the art market's integration into the digital realm. This paper will investigate the reconfiguration of inequalities resulting from digitalisation, from the perspective of the artist, museum, commercial art gallery, art fair and collector, and examine how these art market participants navigate the disruptions in the social and
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Identifying the transnational and transcultural aesthetics of Chinese diasporic art in Singapore : a study of Cheong Soo Pieng's works and experiences, 2021
This paper investigates Chinese diasporic modern art in Singapore through analysing Cheong Soo Pi... more This paper investigates Chinese diasporic modern art in Singapore through analysing Cheong Soo Pieng's (Xiamen, 1917 — Singapore, 1 July 1983) works and experiences before and after relocating from China to Singapore in 1946. Despite the extensive scholarship on the patterns of Chinese emigration and on the adaptation and behaviour of diasporic Chinese, there has been comparatively lesser attention directed to the examination of diasporic Chinese art practices globally, with existing research mainly focusing on diasporic Chinese contemporary art. Diasporic Chinese modern art globally remains overlooked, with only a few exceptions. The objective of this study is to consolidate the social, political and cultural complexities that diasporic Chinese artists have to navigate to forge their transcultural identities and transnational visual lexicons, and also to contribute to a more comprehensive understanding of Southeast Asian modern art history.
The history of art goes in tandem with the progress of society. The emphasis in this paper was to think about the epoch and the glocal circumstances in which an artwork was produced. Using the artist's travels as departure points, and then breaking the artist's oeuvre into thematic sections, while concurrently drawing in different social, political and cultural contexts, this three-pronged approach creates a structured and systematic methodology that can be utilised for the interdisciplinary study of Chinese diasporic art practices.
Using this approach, this study examines the multifaceted inspirations from which Cheong derived his imageries — Chinese, Japanese and Western painting aesthetics, Chinese oracle bond script, wayang kulit, different religions, motherhood, Po Mo splashed ink painting style, primordial chaos, colour field painting and geometricism. This inquiry demonstrates how Cheong merged various diverse influences to formulate his own hybrid identity. Adeptly navigating the complex intricacies of these influences enabled him to achieve a unique transnational and transcultural pictorial language.
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As we hurtle forward towards an ever more advanced society through the constant push for technolo... more As we hurtle forward towards an ever more advanced society through the constant push for technological advancements, the COVID-19 pandemic acted as a catalyst that accelerated the art market's integration into the digital realm. This paper will investigate the reconfiguration of inequalities resulting from digitalisation, from the perspective of the artist, museum, commercial art gallery, art fair and collector, and examine how these art market participants navigate the disruptions in the social and
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Identifying the transnational and transcultural aesthetics of Chinese diasporic art in Singapore : a study of Cheong Soo Pieng's works and experiences, 2021
This paper investigates Chinese diasporic modern art in Singapore through analysing Cheong Soo Pi... more This paper investigates Chinese diasporic modern art in Singapore through analysing Cheong Soo Pieng's (Xiamen, 1917 — Singapore, 1 July 1983) works and experiences before and after relocating from China to Singapore in 1946. Despite the extensive scholarship on the patterns of Chinese emigration and on the adaptation and behaviour of diasporic Chinese, there has been comparatively lesser attention directed to the examination of diasporic Chinese art practices globally, with existing research mainly focusing on diasporic Chinese contemporary art. Diasporic Chinese modern art globally remains overlooked, with only a few exceptions. The objective of this study is to consolidate the social, political and cultural complexities that diasporic Chinese artists have to navigate to forge their transcultural identities and transnational visual lexicons, and also to contribute to a more comprehensive understanding of Southeast Asian modern art history.
The history of art goes in tandem with the progress of society. The emphasis in this paper was to think about the epoch and the glocal circumstances in which an artwork was produced. Using the artist's travels as departure points, and then breaking the artist's oeuvre into thematic sections, while concurrently drawing in different social, political and cultural contexts, this three-pronged approach creates a structured and systematic methodology that can be utilised for the interdisciplinary study of Chinese diasporic art practices.
Using this approach, this study examines the multifaceted inspirations from which Cheong derived his imageries — Chinese, Japanese and Western painting aesthetics, Chinese oracle bond script, wayang kulit, different religions, motherhood, Po Mo splashed ink painting style, primordial chaos, colour field painting and geometricism. This inquiry demonstrates how Cheong merged various diverse influences to formulate his own hybrid identity. Adeptly navigating the complex intricacies of these influences enabled him to achieve a unique transnational and transcultural pictorial language.
Bookmarks Related papers MentionsView impact