It has been observed that students of the 3D Animation programme at LASALLE College of the Arts tend to produce work that lacks stylistic exploration. This could be due to the conventional approach of the software adopted by students - one that involves texturing (colouring) each object individually before lighting them together in a virtual scene. When colouring each isolated object without being able to envisage the overall design, students tend to let the software dictate the visual style of their work.

Representations of the end of the world gain currency in moments of social crisis. But such representations are more often the product of political strategies than of uncontrolled social anxieties. This chapter refers on early colonial religious drama in Mexico and on the Shi’ite ritual performances of Ta’ziyeh in order to highlight the extent to which theatrical characterisations and representations of the end of times, its agents, the afterlife, and the powers that control them may get weaponised on the grounds of creating a sense of apocalyptic agency.

This paper examines the early sculptural and installation practices of renowned Thai artist and writer, Araya Rasdjarmrearnsook (b. 1957). Although most scholarly and curatorial attention has focused on Araya’s moving image works, particularly those that involve corp hope of developing a chronological account of Araya’s artistic development, but is instead an attempt to read her early three-dimensional works through insights gleaned from her later artistic and literary practice. Specifically, in examining Araya’s work from an inter-medial persp between moving and static bodies.

25 YEARS OF THE SUBSTATION features the accounts of 25 artists and people who have been associated with The Substation since its founding in 1990. The book is organised around 25 words, which serve as entry points for an extended conversation about The Substation, its stakeholders, and Singaporean society and the arts.

Citation: 
Wong, Audrey. 25 Years of the Substation: Reflections on Singapore’s First Independent Art Centre. Ethos Books, 2015.

This special issue of Southeast of Now: Directions in Contemporary and Modern Art in Asia, on the topic of gender and its intersections with art history, emerges and extends from numerous discussions held during the Gender in Southeast Asian Art Histories Nelson, Clare Veal and Stephen H. Whiteman, with invaluable support from numerous staff at the Power Institute and elsewhere in the University of Sydney. While we were inspired by the symposium in Sydney, this issue is emphatically not a conventional conference proceeding discussed there.

This paper comprises a review of The Museum of Emotion, an exhibition of works by the French-Algerian artist, Kader Attia, which was held at the Hayward Gallery, London, February–May 2019. The show charted Attia’s interdisciplinary practice from the past two decades, which has dealt broadly with transnational histories of colonialism, violence, oppression and dispossession. As the Museum of Emotion demonstrated, in Attia’s works these histories are not confined to the past.

The paper looks at erasure and abstraction as forms of phenomenological trace in the art works and processes of artists, filmmakers and composers. It begins with Lady Macbeth’s guilt, manifested in the imaginary washing of recurring blood spots, exemplifying the act of erasure and memory within the psychological self.

ISSUE is an international peer-reviewed art journal focused on exploring issues in contemporary art and culture. This annual publication is an inter- and trans-disciplinary journal that carries a curated set of scholarly articles, essays, interviews and exhibitions on disciplines ranging from contemporary art, design, film, media, performance and cultures. The eighth volume of ISSUE is themed, Erase.

Research involving fashion theory, or the consumption and use of fashion products, requires a study into material culture as the communication of symbolic values. Within the study of fashion, material culture is defined as a meaning-making process developed through the exchange of symbolic values embedded within fashion objects (Crane & Bovone, 2006).

This book chapter looks at the cultural history of the Singapore Arts Festival from 1959 to 2017. It studies the role of the arts festival in nation building and the formation of Singapore's cultural identity as a multicultural and multiethnic enterprise. Through a close study of key moments, the chapter establishes the relationship between state enterprise and cultural rootedness, and social access and political agency as key engines of artistic development in postcolonial Singapore.
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