#CuratorTakeover Instagram Photos & Videos

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5 hours ago

#repost @currentseenroc @mara__ahmed on her #art series #ThisHeirloom in her @tedxroc talk ‘the edges that blur’: . Art can help us #imagine a better #world That’s what I tried to do with this series: it’s a bridging of #memories but also an #effacement of #borders I’m sure that many of you are thinking: if not borders, then what? . what about the idea of #love ? I like its capaciousness, its ability to come clean about all that has happened in the #past , in order to move #forward together. Love has no use for borders and #walls It’s about diffusion, melding, and #harmonizing it doesn’t hem in, it spreads outward. . . #ThisHeirloom will be exhibited at #DouglassAuditorium @540westmain and part of @currentseen oct 4 – nov 17 . . Image: Some of the materials used in Ahmed's collage work. Courtesy of the artist. . . #CurrentSeen #Biennial #RBNL #BigIdeasSmallVenues #Rochester #NewYork #Art #ContemporaryArt #NewCuratorialVoices #CuratorTakeover #Curatorslife

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Yesterday

Thanks for following along! Next #curatortakeover on Sept.28 & 29 will feature @cecily_culver and her project #BestFootForward @mara__ahmed ’s #art series #ThisHeirloom is about #subverting #borders and imagining a #free and connected #world @currentseen #rochesterny ’s small venue #biennial is also about eliminating #divisions and connecting the city via a #diversity of #artistic and #curatorial voices. #ThisHeirloom is co-curated by @blk_amanda and will be shown at #DouglassAuditorium @540westmain . @currentseen opens on #october 4, 6-9pm and runs until #november 17 - www.currentseen.org Join us for the opening and be part of this coming together of art and #povs Image: 'My maternal great-grandfather, Adbul Majeed Qureshi' . . #CurrentSeen #Biennial #RBNL #BigIdeasSmallVenues #Rochester #NewYork #Art #ContemporaryArt #NewCuratorialVoices #CuratorTakeover #Curatorslife

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2 days ago

@mara__ahmed on her #art series #ThisHeirloom in her @tedxroc talk ‘the edges that blur’: . Art can help us #imagine a better #world That’s what I tried to do with this series: it’s a bridging of #memories but also an #effacement of #borders I’m sure that many of you are thinking: if not borders, then what? . what about the idea of #love ? I like its capaciousness, its ability to come clean about all that has happened in the #past , in order to move #forward together. Love has no use for borders and #walls It’s about diffusion, melding, and #harmonizing it doesn’t hem in, it spreads outward. . . #ThisHeirloom will be exhibited at #DouglassAuditorium @540westmain and part of @currentseen oct 4 – nov 17 . . Image: Some of the materials used in Ahmed's collage work. Courtesy of the artist. . . #CurrentSeen #Biennial #RBNL #BigIdeasSmallVenues #Rochester #NewYork #Art #ContemporaryArt #NewCuratorialVoices #CuratorTakeover #Curatorslife

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5 days ago

Thanks for following our first [CURATOR STORIES] > [CURRENT SEEN] Stay tuned for our next one with @mara__ahmed on Sept. 16 & Sept. 17 . . “Visit the Liquor Store space October 4 - November 17 & see 20 experimental videos flickering across several monitors at once. Due to the nature of the video loops, Games For Windows will never look exactly the same twice. Feel free to contact me (Nilson ) at nilsonthomascarroll [at] gmail with any comments, ideas, or rumors.” 👾 @nilson_in_zanarkand #currentseen #biennial #RNBL #curatortakeover #nilsoncarroll #gamesforwindows #videogames #experimentalvideos #vsw #contemporaryart #rochesterny Artwork: ‘mario in vapor world’ by Drew Mounce

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6 days ago

This is day 2 of our [CURATOR STORIES] > [CURRENT SEEN] Nilson Carroll talks more about Games For Windows 👾👾👾 Join the conversation by following our feed and comment with questions for this Rochester curator! 👇 . . “My hope is that through Games For Windows, a new energy around new media/games-related #art emerges in Rochester & that these #artists can share and #collaborate with each other.” - @nilson_in_zanarkand Artwork: ‘Counter-Charge’ by Alex Hovet ( @alexvhovet ) . . #currentseen #biennial #RNBL #curatortakeover #nilsoncarroll #gamesforwindows #videogames #experimentalvideos #vsw #contemporaryart #rochester #ny #curatorslife #meetthecurator #videocuration

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1 weeks ago

[CURATORSTORIES] > [CURRENT SEEN] What’s most exciting about Games For Windows is that it’s visible from the sidewalk 24/7. The artists' work is freed from the confines of established “art spaces” and shared with the public free of cost. Artwork: ‘Intimacy Mod 6’ by Kara Gut #currentseen #biennial #RNBL #curatortakeover #nilsoncarroll #gamesforwindows #videogames #experimentalvideos #vsw #contemporaryart #rochesterny

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3 weeks ago

Today’s our second #CuratorTakeover , this time with Fiona Orsini, who recently co-curated our @vamuseum + @riba display, Into the Blue. Fiona will be talking all about the architectural and social history of baths, pools and lidos through the #RIBACollections Head over to our stories for more. Questions for Fiona? Give us a shout and she’ll do her best to answer them! . Image: The oriental baths in Leeds designed by Cuthbert Brodrick in 1866 and demolished in 1969, RIBA Collections . #architecture #architect #curator #architecturaldrawing #yearofthelido #leeds #lidolove #architecturalphotography #architecturalhistory #history

1k13
last month

This sounds interesting! Repost from @riba using - Today we’re introducing our #CuratorTakeover , a regular series where we’ll get to hear directly from the people working with the #RIBACollections Today Shumi Bose, who co-curated the recent @vamuseum + @RIBA display ‘A Home for All’, will be talking about #100yearsofcouncilhousing in celebration of the centenary of the Housing Act, which marked the emergence of a national approach to public housing on a whole new scale. Head over to our stories for more. . Image: Dawson’s Heights, designed by Kate Macintosh, in a 1973 photograph by Sam Lambert. Architectural Press Archive / RIBA Collections. . #architecture #architect #architecturalhistory #architecturaldrawing #architecturalphotography #curator #housing #housingact #addisonact #socialhousing #councilhousing #brutalism #modernism

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last month

Give a hand for @matthewtmclaughlin and his Curator Takeover this past week! 👏👏👏 . There's not much time left to see "Crossing Boundaries and Breaking Borders: DMV Printmaking." Swing by Tuesdays through Sundays, 11AM to 4PM. Free and open to all. . 📸 by Greg Staley . . #alperinitiative #aumusuem_katzen #dcartists #dcart #dmvart #acreativedc #myDCcool #freeindc #dmvprintmaking #crossingboundaries #breakingborders #dmvprintmakers #alpertakeover #curatortakeover #artisttakeover #printmaking #screenprint #collage #lithography #woodcut #monotype #contemporaryart #dcmuseums

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last month

#Repost @alperinitiative • • • • • Eric Celarier’s works utilize the Japanese process of fish printing with found detritus to create impressions of a possible future through bio-mechanical evolution. . . . These will be on display at the NoMa Lobby, along with 30-40 others like them, starting July 22- early October.1200 First Street, NE Washington, DC 20002. . Biosphere 13, silk on paper and wood, 16"x 20", 2019. . #alperinitiative #aumusuem_katzen #dcartists #dcart #dmvart #acreativedc #myDCcool #freeindc #dmvprintmaking #crossingboundaries #breakingborders #dmvprintmakers #alpertakeover #curatortakeover #artisttakeover #printmaking #silkprint

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last month

Good morning Alper Initiative followers! I ( @matthewtmclaughlin ) am starting my takeover with an intro to where I’m teaching this summer, the University of Maryland print studio. Currently, I’m teaching a 6 week course in Screenprinting. . With this takeover I’ll be posting about the different forms of printmaking along with new images of work by the artists in “Crossing Boundaries and Breaking Borders: DMV Printmaking” to give examples. . I’ll be here through Thursday, so make sure to check back in for new posts. . . . #alperinitiative #aumusuem_katzen #dcartists #dcart #dmvart #acreativedc #myDCcool #freeindc #dmvprintmaking #crossingboundaries #breakingborders #dmvprintmakers #alpertakeover #curatortakeover #artisttakeover #printmaking #screenprint #umd #umdart

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May 2019

As mentioned in previous posts this week, Dorothea Lange was traveling the country for her work with the Farm Service Agency (FSA ). While she did most of her work in the west, she did visit the southeast—including North Carolina, Georgia, and Alabama—on more than one occasion and there she saw a different type of agricultural system, yet one that was equally as oppressive as what was happening in California. Lange witnessed a sharecropper system where a laborer was essentially indentured to a landowner, most of the time it was an African American that was working for a white landowner. She saw the inequities of that labor system and the obvious connections to the past and to slavery. She took several photographs of both white landowners and African Americans, and when you see these portraits in "The Deep South" section of "Dorothea Lange: Politics of Seeing," there's such a sense of inner-strength and dignity that her camera is able to show. These images are some of the most compelling works in the #FristDLange exhibition. Thank you for taking a deeper look at the works in "Dorothea Lange: Politics of Seeing" with me the past few days! I hope you will visit this exhibition often before it closes on May 27 - Best, @kdelmez , curator at #theFrist #DorotheaLange #FristArtMuseum #USHistory #thepwoerofphotography #thedeepsouth #Instagramtakeover #Curatortakeover

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March 2019

🆘 It's the last weekend of In The Belly Of The Whale ... 😭 We are being joined in the gallery today by @daleadcockstudio and @henryhusseystudio the two will be in conversation from 3pm. It's a free public event so pop by to find out more about what happens when you are engulfed in the belly of the whale 🐋 #InTheBellyOfTheWhale #artisttalk #Artevents #curatortakeover #artist #artistrun #talk #eventsinlondon #eastlondongallery #Transition #trapped #Inthebellyofthewhale #brexit #wecanfixthis

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February 2019

Tomorrow, Project Manager Najia Bagi will do a live #CuratorTakeover to chart the beginning of the new Akram Zaatari inspired project, Activating our Archives. ⠀ ⠀ Join the conversation by following our feed and the hashtag #activatingourarchives and see how lead artist Sunil Shah and our fourteen participants start to explore the notion of archive in relation to individual and collective identities. #AkramZaatari #thescript #activatingourarchives #archive #takeover #artproject #participatoryart #digitalarchives #tellyourstory #joinourconversation @sunilphoto @najiabagi Image by Sunil Shah

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February 2019

The countdown is on ⏲️ The curator of our next exhibition @henryhusseystudio will be taking over our Instagram account tomorrow until the private view on Friday evening 🙌 Keeping tuned to see 'In The Belly Of The Whale' unfold. 🎨 ⠀ Exhibition features Dale Adcock and Michael MaCgarry 🍾 Join us on Friday 22 for the preview, from 6.30pm🍾⠀ #inthebellyofthewhale #transitiontwo #takeover #curatortakeover #artiattakeover #artistspace #artistrun #daleadcock #michaelmacgarry #henryhussey #painting # #video #art ' #privateviewgallery

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February 2019

Ahead of our next exhibition In The Belly Of The Whale' the projects Curator @henryhusseystudio Will be taking over our Instagram account for the installation of the show. Tune in Monday 15 February for more! 🐳 🐳 🐳 'In The Belly Of The Whale' opens Saturday 23. Join us on Friday 22 for the preview, from 6.30pm⠀ Image: Dale Adcock: Lean (2013 )⠀ ⠀ @daleadcockstudio @michael_macgarry @henryhusseystudio #inthebellyofthewhale #transitiongallery #transitionart #takeover #curatortakeover #artiattakeover #artistspace #artistrun #daleadcock #michaelmacgarry #henryhussey #painting #hero #Privateview #Premier #comesee #londonart #Artnight

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February 2019

***Curator Takeover*** Steven Lindsay has been one of the gallery’s best-selling artists from recent years and is one of my personal favourites. Receiving deliveries of his new work is always an exciting moment. Steven’s control and understanding of his medium is instantly apparent, and with an economy of brush marks is able to create realistic and beautifully observed human figures and portraits with oil on canvas. Though classically trained at the Glasgow School of Art, the composition, presentation and frequent leftfield subject matter of Steven’s work makes his work very stylish and contemporary and has rightfully made his work highly regarded and collectable with our customers. It’s a privilege to be one of Steven’s few UK galleries. . . . . . . . . #thebiscuitfactory #thebiscuitfactorygallery #curatortakeover #2dcurator #stevenlindsay #artistsinstgram #artist #artgram #originalpainting #painting #portrait #contemporaryart

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February 2019

***Curator Takeover***⠀ Keith Salmon spends much of his time walking mountains in Cumbria and Scotland and works full time as an artist selling his paintings of these locations in galleries across the UK. There are no individually rendered rocks or detailed focal points in his work and yet with his oil washes and subtle shifts in colour he captures a very real sense of what it feels like to be up high with rain clouds roiling in and breaks of intense sunlight illuminating the mountain sides. To my mind he is one of the very best contemporary artists capturing this true experience of the mountains.⠀ ⠀ I find Keith a truly remarkable artist and especially when you learn that despite beginning to lose his sight some years ago and now being registered blind he continues to explore and experience the mountains for himself and continues to successfully create stunning works of art. Recently Keith has made pioneering work with Microsoft to help explore sound works to help visually impaired people experience his work in new ways.⠀ ⠀ Keith's work is also available on the #Ownart scheme which allows you to spread the cost over 10 months, interest free.⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ #thebiscuitfactory #thebiscuitfactorygallery #curatortakeover #artgram #artnewcastle #painting #2dcurator #keithsalmon #originalartwork #originalpainting #artistsofinstagram #landscape #landscapepainting #artist

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February 2019

***Curator Takeover*** It’s very exciting to be the curator of original prints at the gallery as we have one of the largest collections of printmakers and their work in the country. We exhibit the work of many highly skilled artists from across the UK and beyond with an incredibly diverse range of subject and style. Some of our most recent additions to the collection are the beautiful and atmospheric screen prints by Irish artist Aidan Flanagan. Expressing his passion for the beauty of the natural world around him, I find his landscapes both romantic and evocative. To my eye his work has a sense of effortlessness which belies the complexity of the very skilfully layered and exquisitely drawn work. The opportunity to buy such brilliantly crafted work from an artist from as little as £70 is amazing. I think it’s timeless work you could live with and enjoy for ever more. Get in touch with the gallery if you would like to find out more about his work. . . . . . . . . #thebiscuitfactory #thebiscuitfactorygallery #artgram #curatortakeover #2dcurator #printmaking #printmaker #Aidenflanagan #irishartist #originalprint #affordableart #landscape #landscapeprint #artsagram #artistsofinstagram

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February 2019

***Curator Takeover*** 👋 Hello, I'm Sam, the 2D curator at The Biscuit Factory, I've been working for the gallery for 12 years. It has been a great pleasure working with so many talented artists over the years. I’m very lucky to have been able to work with artists at the start of their careers and with some of the most acclaimed painters and printmakers in the country. It‘s also great to meet all our customers and to see the unique, handmade art work heading off to be cherished for countless years to come. . . . . . . . . . #thebiscuitfactory #thebiscuitfactorygallery #curatortakeover #2dcurator #artcurator #artgallery #painting #printmaking #originalart #artcollection

2309
January 2019

***Curator Takeover***⠀ This is currently my favourite work of childishly sophisticated adornment. The pieces are mixed media, largely involving crayon shards suspended in resin. The smooth gleaming surfaces with vivid sweet colours are extremely tactile and make a bold statement.⠀ ⠀ I love how playful this necklace by @fernrobinson designermaker is. Suspended in the chunky resin pendant are actual crayon shavings giving it a great little pop of colour. Fern calls her work ‘childishly sophisticated’ and is inspired by toys and child’s play.⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ #thebiscuitfactory #thebiscuitfactorygallery #curatortakeover #jewellerycurator #curatortoppicks #fernrobinson #handmadejewellery #jewelleryartist #jewellerymaker #resin #resinjewellery #statementjewellery #Valentinesgiftidea

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January 2019

***Curator Takeover*** I fell in love with these earrings from artist @caratonkin ’s ‘vesper collection’ when they came in to the gallery. The collection is inspired by the roaring 20s and channels a flapper girl style. I like the uniqueness of the graduated gold and oxidised drops- very Great Gatsby! ⠀ These earrings are actually available to buy with the #Ownart scheme too, so you can have a brand new piece to add to your jewellery collection and spread the cost over 10 months, interest free.⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ .⠀ #thebiscuitfactory #thebiscuitfactorygallery #curatortakeover #instgramtakeover #handmadejewellery #jewelleryartist #jewellerymaker #CaraTonkin #gatsby #jewellerycollection #artgram #affordableart #artfinance #valentinesgifts #valentinesgiftideas

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January 2019

***Curator Takeover*** 👋🏻 Hi, I’m Megan, and I’ve been the jewellery curator at the Biscuit Factory for the last year and a half. I’ve had the pleasure of working with some amazing jewellers, all with completely unique styles and ways of working. It’s amazing to be able to work with such beautiful objects day to day- my jewellery wish list never stops growing! . . . . . . . #thebiscuitfactory #thebiscuitfactorygallery #curatortakeover #instagramtakeover #jewellerycurator #jewelleryexhibition #handmadejewellery

968
January 2019

Love live music? ⠀ ⠀ #CuratorTakeover - Modern Art Oxford’s Assistant Curator, Jonathan Weston explains why the gallery is supporting UK #IndependentVenueWeek this week. ⠀ ⠀ ‘Modern Art Oxford's longstanding history with music and experimental sound has seen many fantastic emerging and established bands from Oxford and further afield develop their sound. I feel that music plays an important role in people’s lives. Having the opportunity to connect audiences with new music whilst at the same time supporting and working with talented and dedicated musicians, bands and local promoters is a huge strength to Modern Art Oxford as an organisation and public space. Now more than ever bands and musicians are playing a pivotal role in challenging the turbulent social and political landscape in the UK, imploring future generations to actively engage with these critical areas of debate.’ - @jonathanweston_ Assistant Curator, Modern Art Oxford. ⠀ ⠀ #livemusic #venue #sound #liveperformance #indie #acoustic #folk #classical #electronic #rock #artmusic #musicians #supportlocal #independentmusic #tuesdaymotivation @matthewmaltese

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December 2018

Ciao a tutti! I am Mattia Solari, contemporary art curator and writer, currently working @galleriedelleprigioni where I curated #PoeticBoomBoom the upcoming show about #visualpoetry opening on December 12th! Join me for the week before the opening to gain an insider view of the preparations of the show! #curator #curatortakeover #contemporaryart #artmuseum #visualpoetry #art #poetry #galleriedelleprigioni #treviso #artgallery #poeticboomboom

792
November 2018

@croghans has been a King Street institution for over 100 years. Not only do they have a fabulous selection of fine jewelry, the 4th generation of Croghan's girls are designing attainable accessories for all with their @goldbugcollection I hope that you enjoyed following along. Think about where you spend your dollars this holiday season because your purchases make a difference in the community. - @charlestonshopcurator // Postcards and Photo by @annrhettphotography #CuratorTakeover #TakeoverTuesday #buylocalmonth #shoplocalchs

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November 2018

Want to impress your guests or find that perfect hostess gift? @gdchomeinteriors has endless options and 3 convenient locations to shop at in Mt. Pleasant, Kiawah, and West Ashley. Photo @libbywilliamsphotos #CuratorTakeover #TakeoverTuesday #buylocalmonth #shoplocalchs

410
November 2018

Follow me on @lowcountrylocal today as I takeover their Instagram and share some of my favorite local boutiques. Remember to shop local this season and make an impact in your community! Earrings @jahdemade Sweater @leoandsage 🎄 📷 @libbywilliamsphotos

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November 2018

Hey everyone! It's Andrea Serrano of @charlestonshopcurator taking over today. I love supporting the local businesses here in Charleston, especially when it comes to shopping. Since the holidays are pretty much here I wanted to share a few local boutiques that are perfect for gifts, or dropping hints. I'm wearing a pair of handmade earrings from @jahdemade Andy, the designer has the prettiest studio on Queen Street where you can shop from her many designs or get a custom piece made. Photo @libbywilliamsphotos #CuratorTakeover #TakeoverTuesday #jahdemade #shoplocalchs #buylocalmonth

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August 2018

[curator takeover #29] Before Tze Peng settled on his preferred mode of abstraction with calligraphic aesthetics as his later 100x100cm trees, he used the monumentality of his large works to evoke the monumentality of the trees themselves. This particular tree was repeated at least twice, with surviving sketches. This leads us to believe that, unlike his other abstract trees, this was a specific tree that caught Tze Peng's eye. Can anyone living near Kallang identify this tree? Psst, this is Melvin's favourite painting. - YJ

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August 2018

[curator takeover #28] Another mural-sized work of this period, Tze Peng evokes the traditional image of a landscape painting. Tze Peng's Guilin shows a momentary reflection on traditional ink techniques, such as level-distance composition and textural brushtrokes. Painting on a vertical format, however, Tze Peng achieves an inage with highly personal flair, especially in the random and expressive dripping of ink that characterised the large paintings of this period. -YJ

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August 2018

[curator takeover #27] This exhibition will provide a rare chance to experience 4 mural-sized paintings by Tze Peng. This particular painting was the first Singapore scene that Tze Peng completed with his new brushstrokes, vision, and pictorial style achieved in the Infinite Gestures period of 2005-6. Particularly noteworthy are the abstracted trees on the top of the image and the way Tze Peng used muddy strokes of colour to evoke the Singapore River, all of which are reminiscent of other more abstracted paintings of this period. - YJ

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August 2018

[curator takeover #26] In 1981, Tze Peng retired as principal to focus his time and energy on his project to record as much kampong scenes in his paintings as he could, before they dissapeared in the face of urban redevelopment. Completed in the late-70s/early-80s, this painting reflects the mature pictorial style that Tze Peng developed before embarking on the journey of a full-time artist. Particularly noteworthy was Tze Peng's economic use of colour and epigraphic calligraphy strokes. In case you missed it, these three paintings happen to show three ways Tze Peng painted banana trees, across these three periods. Compare and contrast! -YJ

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August 2018

[curator takeover #25] Around 1972-3 (multiple accounts are hazy on this point ), Tze Peng moved towards a concentrated effort on his inks. At this time, he spent time with Tan Choh Tee in Chen Wen Hsi's studio, and that friendly interaction must have enhanced his thoughts about the medium. This painting comes from the start of this period. Some of his later characteristic use of epigraphic lines can be discerned, though the use of colours were still reminiscent of his watercolour practice. The image, however, has already become one that we recognise as a Tze Peng painting, one that would continue to develop as he concentrated on ink techniques. - YJ

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August 2018

[curator takeover #24] Hi, I'm back! Today's post will be a series of kampong scenes, from different periods of Tze Peng's earlier career. This piece is dated 1968, the earliest known dated Chinese ink painting, and also a rare example of Tze Peng utilising the literati painting tradition. He uses the Haipai method of mogu (沒骨:"no bones" ) application of colour in the trees, also appending a self-composed colophon that reflects the themes of the painting. Tze Peng was then the Principal of Sin Min School in Pasir Ris. In the weekends, he would venture out to the neighbouring Malay kampongs to paint en plein air, having been inspired by Li Keran's realist use of Chinese ink. This would become the modus operanti of Tze Peng's paintings until the early 2000s. - YJ

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July 2018

[curator takeover #23] We are ready for you tomorrow! Redefining the Archaic: The Art of Lim Tze Peng opens tomorrow at 1030, see you there! This has been a fruitful and harrowing experience. The research for the book threw up many new perspectives about Tze Peng, including his early practice, his period of oils 2002-2004, the way art materials defined as much as he did them, and a touching willfulness and optimism in the quest to protect his heritage - a sentiment I'm sure still resonates with us. Quoting our inhouse do-it-all Peilin, 我們不吃不喝不睡也做不完 (WE CAN'T FINISH EVEN IF WE DON'T EAT DRINK AND SLEEP ). But we've done it, so see you tomorrow! - YJ

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July 2018

[curator takeover #22] We're almost ready! Black and gold tables to match Black and Gold, an overwhelming calligraphy executed in 2012. The artists age does not show at all, as he drags the heavy acrylic paint over a layer of black calligraphy. - YJ

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July 2018

[curator takeover #21] Our friendly neighbourhood scroll mounter Meitian is putting a backing onto a recent Tze Peng calligraphy. A selection of these would be shown in the opening as part of the charity drive for the President's Challenge and Sian Chay Medical Institute. Speaking of scroll mounters, it was in a place like this where Tze Peng's ink en plein air paintings were first exposed. Whilst drying on the wall, visitors to the scroll mounter's studio (often artists themselves ) were confused and critical of Tze Peng's mix of eastern media and western perspective. - YJ

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July 2018

[curator takeover #20] Amongst the visitors to Inroads was the director of the National Art Museum of China, Fan Di'an. Fan was excited at the sight of Tze Peng's works, viewing them as a successful innovation of the ancient medium of Chinese ink. Fan immediately arranged to have Inroads moved to NAMoC in 2009. In the same year, Inroads was also shown at Liu Haisu Art Museum in Shanghai, to great acclaim. For Tze Peng, the chance to exhibit amongst the pantheon of Chinese art history was a great source of comfort and confidence, allowing him to carry on his new painting style, transplanting it onto his older compositions. - YJ

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July 2018

[curator takeover #19] By 2008, Tze Peng's abstract pictorial image has settled on tangled tree roots and branches, presented on a colour background that is reminiscent of his Ten Men Group days. The exhibition consolidated and cohesed Tze Peng's abstract direction, presenting it in a comprehensive manner to the Singapore audience. Held first at Art Retreat, then NTU, Inroads reified Tze Peng's latter style, one that he would still execute today. - YJ

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July 2018

[curator takeover #18] Today will be the story of two exhibitions. In 2006, the aged Tze Peng held Infinite Gestures at STPI, shocking the audience with a series of boldly new ink paintings that defied the figurative nature of his familiar street scenes. These works reflected Tze Peng's old age, now confined to his studio. This allowed him to work with massive sizes, resulting in aleatoric ink streaks and a rough epigraphic flavour. Bold and inventive, this exhibition was also highly varied in style. Tze Peng's artistic direction will cohese a few years later, in Inroads, 2008. - YJ

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July 2018

[curator takeover #17] The gestural quality of Tze Peng's earlier oil experiments resulted in a series, c.2002-2006, that played on this effect. If we remember that Tze Peng used highly calligraphic lines to paint his street scenes in the 70s and 80s, this use of gestural oil brush strokes to paint kampong houses and trees seem to come from the same aesthetic idea. Perhaps a carry-on project would be to assemble as many of Tze Peng's oils as possible, and see whether the chronology fits our measured hypothesis. - YJ

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July 2018

[curator takeover #16] Tze Peng's abstract trees are one of his hallmarks, combining the abstract beauty of trees and calligraphic strokes. But did you know that this stylistic development began not in inks but in oils? Around the period 2002-2004, Tze Peng's oils saw a variation in style. This may be because of his 2000 residency in Paris, where he studied the oils of Old Masters. Rather than the Impressionists-influenced style of before, Tze Peng moved towards the use of thick impasto strokes, very similar in tone with the epigraphic calligraphy lines he so loved. This is one of the more exciting discoveries of this book. Tze Peng's oils are not just side hobbies, but also form an important series from where his celebrated latter inks developed. Pieces from this period has recently made its way to auction. Maybe you own one? Here's a new story to tell your friends. - YJ

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July 2018

[curator takeover #15] This oil is miles away from our mental image of Tze Peng's paintings. Given the level of abstraction in it, it's a shock (for me at least ) to find out that it was painted in the 1969s, as part of the Ten Men Group. The Ten Men Group were an informal collection of artists that travelled around the region, holding exhibitions of their completed works upon their return. The Group was heavily influenced by the elder figure Yeh Chi Wei, particularly in the use of colour as a bordering device. This would remain evident in Tze Peng's works throughout his career. The epigraphic flavour is also reminiscent of Tze Peng's stele-school aesthetics, don't you think? - YJ

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July 2018

[curator takeover #14] The official lunch item of Helutrans dwellers is Outram Park Yah Hua Bak Kut Teh. I especially recommend the pig's stomach soup. "Drink bak kut teh in aircon shiok sia", thus spake Hongwei. Am open to other nearby food recs though... - YJ

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July 2018

[curator takeover #13] A little birdie took a snapshot of the chaos in the office. We're in a maelstrom of publication madness... Any caffeine related deliveries would be very much appreciated. - YJ

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[curator takeover #12] Busy lining up the works for hanging tomorrow - that's my weightlifting for the week done. I'm particularly satisfied with this wall, what say you? - YJ

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[curator takeover #11] Tze Peng's 'reverse calligraphy' series utilises such an image to evoke the ancient beauty of Chinese calligraphy, going far beyond the history of brush and paper. However, he cleverly presents us with a conceptual dissonance. Rather than using the seal/clerical script that his ink rubbing aesthetic evokes, Tze Peng uses a fluid xingshu script that points towards the antithesis of stele-style calligraphy. We think that this image much resembles a seal, and Tze Peng's seal at the bottom reinforces this. - YJ

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[curator takeover #10] Stelae rubbings such as these were what Tze Peng studied from - the "ancient stones" in question. This particular one, Shimen Ming 石門銘 was one that Tze Peng studied. We can definitely make out a lot of characteristics in the engravings that carried over to Tze Peng's xingshu calligraphy. Being a transitional stele between the archaic clerical script and the regular form we recognise now, Tze Peng must have taken inspiration from how ancient linear beauty can be expressed in more contemporary scripts. Tze Peng's stele study began under Wong Jai Ling, who gifted him the Broader Discourses on the Oars of Art 廣藝舟雙楫, written by Qing reformer and art theorist Kang Youwei. Kang was then concerned about recovering the "true" Chinese past, in the face of the collapse of Chinese civilisation. The stele-style calligraphy he advocated was connected with the ability to read true ancient texts and uncover true ancient Confucianism, and became especially popular amongst the reformist diaspora. Refreshing to put Tze Peng's work in a historical perspective, isn't it? - YJ

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[curator takeover #9] In case you're wondering about the title of the book/exhibition, we have chosen the Chinese title 古石存心 and translated it to Redefining the Archaic. The Chinese title hints towards Tze Peng's artistry in three ways. 1. Tze Peng's early studio name was 古石齋 - the studio of ancient stone. This refers to his study of stelae engravings. 2. Many of Tze Peng's exhibitions include the word 心 (heart ), including his landmark 心向 (Inroads ) of 2008-9. We thought it'll be nice to pay homage to this. 3. It also reflects Tze Peng's entire oeuvre, where he digests the aesthetics of stelae calligraphy and presents it in a number of ways. In this way, it 存心 (remains in his heart ). Pic.: Mr Melvin Poh with Tze Peng, after Tze Peng wrote the calligraphy for our book title. Look out for it! - YJ

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[curator takeover #8] Seal of approval. Tze Peng's trademark seal, most commonly used in his later large-scale works. The seal carving is in Qi Baishi's style, itself inspired by the bursts of aleatoric beauty a bold knife can inspire. We think it's perfect for Tze Peng's latter style. - YJ

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[curator takeover #7] 五顏六色. Recognise any colours in your collected Tze Peng painting/calligraphy? Tze Peng's ink materials bear mentioning. It was not only a greater size that allowed Tze Peng to achieve his abstract revolution, but also new and more vibrant colours. We were told this included some Japanese colours which were more opaque and bright than Chinese colours. If you want to try your hand at this, our bet would be to approach Sibaozhai of Bras Basah, Tze Peng's long-time supplier. - YJ

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[curator takeover #6] Spotted in Tze Peng's studio: a mask (Balinese? ) that we recognise from some of his paintings! Bali, for Tze Peng, is a special place - "an other Eden, demi-paradise". Bali allowed Tze Peng to rediscover the Singapore he lost amidst the redevelopment of the 80s, where he could immerse himself in its fantastical landscape. Has anyone ever compared an 80s Singapore scene with a Bali painting? We found that the ephemeral quality in the Bali paintings were especially revealing of his romanticisation of this land. The trees in Bali, too seemed to tend towards abstraction - a quality one would not expect in a painting of that period! - YJ

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[curator takeover #5] Books books books... Which is your favourite? Being a historian by training, I found it useful to sort Tze Peng's oeuvre not only according to chronology, but also to the time it was first shown to the public. Much of these are recorded through exhibition catalogues. Some chronological anomalies thus emerge. Despite having his Paris residency in 2000, Tze Peng's Paris paintings were only shown in 2006, at @nafa_sg Similarly, his works of the 1970s were only first shown on a great scale in 2010. My favourite catalogue, however, is Infinite Gestures of 2006. Vis-à-vis the style in the public eye, the ink expressions of this exhibition were really daringly new. No wonder the audience were then a bit baffled... Anyone remember being to that show? -YJ

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[curator takeover #4] Morning lim kopi ownself read ownself. Check out lianhezaobao's zbw section - a four page Lim Tze Peng report! - YJ

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[curator takeover #3] Another surprise find. After being so familiar with the artist's works, it's completely refreshing to see a prepatory study for it. At once, we concretely see the amount of thought put into the final painting. Anyone has a finished painting of this? We know that it's from the works that formed Infinite Gestures, 2006. The method of using calligraphy as foliage, though, continues till much later. I, for the moment, would be really happy to have even this framed and on my wall. It's bounded in the sketchbook though... - YJ

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[curator takeover #2] 路邊?洛邊? We are stumped. Five points and a kopi o siew dai for whoever deciphers this (clue: Tze Peng was copying Tang poems in this series ) This was first exhibited in Infinite Gestures, 2006, the first showing of Tze Peng's large scale calligraphy - a hint towards the hutuzi of 2008, perhaps. - YJ

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