Publication for NAFA Symposium 2011 - New Asian Imaginations organised by Nanyang Academy of Fine Arts, 2011, https://www.nafa.edu.sg/New-Asian-Imaginations/mobile/index.html , 2011
Whilst there has been considerable research on Singapore artists and groups, not much study has b... more Whilst there has been considerable research on Singapore artists and groups, not much study has been done on the possible links between patronage and artists’ practice. This paper examines some case studies of relationships between artists and their patrons (or lack thereof) in Singapore. By outlining such ties, some answers may be found to questions such as how the artists first met their patrons, what support artists received and what type of works were admired and collected by patrons. Hopefully, future research will throw greater light on the roles played by private and public patrons in the development of artistic practice in Singapore.
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Papers by Sze Wee Low
In the past, such questions were seldom posed in the writing of Singapore’s art history because more attention was paid on artists’ individual practice in the form of monographic exhibitions or publications. However, in recent years, there has been growing interest in the history of specific art societies or collectives such as the Equator Art Society, Ten Men Group and The Artists Village, as researchers sought to understand how these groups functioned within the larger socio-cultural landscape.
In the past, such questions were seldom posed in the writing of Singapore’s art history because more attention was paid on artists’ individual practice in the form of monographic exhibitions or publications. However, in recent years, there has been growing interest in the history of specific art societies or collectives such as the Equator Art Society, Ten Men Group and The Artists Village, as researchers sought to understand how these groups functioned within the larger socio-cultural landscape.