Clare Veal | The University of Sydney (original) (raw)
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Research Papers by Clare Veal
Ambitious Alignments: New Histories of Southeast Asian Art, edited by Stephen H. Whiteman, Sarena Abdullah, Yvonne Low and Phoebe Scott , 2018
Collected Papers from the Symposium: Archival Turn, Taipei: Spring Foundation and Taipei Fine Arts Museum, 2018
***Previously published as 'The Photographic Conditions of Contemporary Thai Art', in the Taipei ... more ***Previously published as 'The Photographic Conditions of Contemporary Thai Art', in the Taipei Fine Arts Museum Journal, no. 34, 2017.***
This paper takes as a point of departure, Rosalind Krauss’ essay ‘The Photographic Conditions of Surrealism’, in which she describes the relationship between photography’s indexical function and its position as the example par excellence of Surrealist artistic practice. In the same way, this paper examines changing attitudes in Thailand towards photography’s artistic status and presumed indexicality as paradigmatic examples of a transformation from the modern to the contemporary. Photography’s crucial role in this shift is located in key alterations to the medium’s functions and perceptions of its artistic legitimacy. On the one hand, the acceptance of photography as an art form reflects developments in imbricated networks of legitimation, occurring with the rise of international education and exhibition opportunities in the post-Cold War period. On the other hand, the conditions of photography itself, or rather its ontology, produce a conceptualisation of the contemporary as manifested in a desire for proximity with difference. In examining works by a number of contemporary Thai artists, I argue that photography’s visualisation of the ‘optical unconscious’ allows one to fulfil this desire for contemporaneity, while also pointing to the limits of representation as a means of asserting coevality.
Trans Asia Photography Review, Sep 2013
Journal of Aesthetics and Culture, 2014
Modern Art Asia, Dec 2012
Silpakorn Journal of Fine Arts, Sep 2013
Edited Volumes by Clare Veal
Books by Clare Veal
Southeast of Now: Directions in Contemporary and Modern Art in Asia, 2019
“Editorial introduction: Gender in Southeast Asian Art Histories” in Southeast of Now Journal, Vo... more “Editorial introduction: Gender in Southeast Asian Art Histories” in Southeast of Now Journal, Vol. 3 No. 1 (March 2019): 1-11.
Shorter Essays by Clare Veal
Ng Teng Fong Roof Garden Commission: Rirkrit Tiravanija, Singapore: National Gallery of Singapore, 2018
Retold-Untold Stories: Phaptawan Suwannakudt, 2016
วันว่าง(เปล่า) Days of (Endless) Meaninglessness: Phaptawan Suwannakudt, 2014
Book Reviews by Clare Veal
Journal of Southeast Asian Studies, 2018
Southeast of Now: Directions in Modern and Contemporary Art, 2017
Encyclopedia Entries by Clare Veal
Routledge Encyclopedia of Modernism , 2016
Routledge Encyclopedia of Modernism, 2016
Ambitious Alignments: New Histories of Southeast Asian Art, edited by Stephen H. Whiteman, Sarena Abdullah, Yvonne Low and Phoebe Scott , 2018
Collected Papers from the Symposium: Archival Turn, Taipei: Spring Foundation and Taipei Fine Arts Museum, 2018
***Previously published as 'The Photographic Conditions of Contemporary Thai Art', in the Taipei ... more ***Previously published as 'The Photographic Conditions of Contemporary Thai Art', in the Taipei Fine Arts Museum Journal, no. 34, 2017.***
This paper takes as a point of departure, Rosalind Krauss’ essay ‘The Photographic Conditions of Surrealism’, in which she describes the relationship between photography’s indexical function and its position as the example par excellence of Surrealist artistic practice. In the same way, this paper examines changing attitudes in Thailand towards photography’s artistic status and presumed indexicality as paradigmatic examples of a transformation from the modern to the contemporary. Photography’s crucial role in this shift is located in key alterations to the medium’s functions and perceptions of its artistic legitimacy. On the one hand, the acceptance of photography as an art form reflects developments in imbricated networks of legitimation, occurring with the rise of international education and exhibition opportunities in the post-Cold War period. On the other hand, the conditions of photography itself, or rather its ontology, produce a conceptualisation of the contemporary as manifested in a desire for proximity with difference. In examining works by a number of contemporary Thai artists, I argue that photography’s visualisation of the ‘optical unconscious’ allows one to fulfil this desire for contemporaneity, while also pointing to the limits of representation as a means of asserting coevality.
Trans Asia Photography Review, Sep 2013
Journal of Aesthetics and Culture, 2014
Modern Art Asia, Dec 2012
Silpakorn Journal of Fine Arts, Sep 2013
Southeast of Now: Directions in Contemporary and Modern Art in Asia, 2019
“Editorial introduction: Gender in Southeast Asian Art Histories” in Southeast of Now Journal, Vo... more “Editorial introduction: Gender in Southeast Asian Art Histories” in Southeast of Now Journal, Vol. 3 No. 1 (March 2019): 1-11.
Ng Teng Fong Roof Garden Commission: Rirkrit Tiravanija, Singapore: National Gallery of Singapore, 2018
Retold-Untold Stories: Phaptawan Suwannakudt, 2016
วันว่าง(เปล่า) Days of (Endless) Meaninglessness: Phaptawan Suwannakudt, 2014
Journal of Southeast Asian Studies, 2018
Southeast of Now: Directions in Modern and Contemporary Art, 2017
Routledge Encyclopedia of Modernism , 2016
Routledge Encyclopedia of Modernism, 2016
Panel co-convened by Yvonne Low, Roger Nelson, Clare Veal. Presented at AMSN3: Modernist Work. Th... more Panel co-convened by Yvonne Low, Roger Nelson, Clare Veal. Presented at AMSN3: Modernist Work. The Third Biennial Conference of the Australasian Modernist Studies Network. 29-31 March 2016. University of New South Wales, Sydney.
This panel aims to explore modernist developments in relation to the rise of new actors during times of political transitions in three closely related Southeast Asian countries: Cambodia, Indonesia and Thailand. Often, the work of the artists cannot be viewed in isolation from networks of patronage, and especially from state patronage, as emerging nations struggle to define cultural and national identities. The papers in this panel aim to re-evaluate historiographical and curatorial discourses of modern art in Southeast Asia by reconsidering the impact that patronage had on formalizing and legitimizing the " work " of artists and the cultural productions of its time.
