Ng eng teng biography of william

  • Hailed as the Grandfather of Singaporean Sculpture, the late Ng Eng Teng was one of Singapore's most important artists from the pioneer generation.
  • Ng Eng Teng, the grandfather of Singapore's sculpture was known for his figurative sculptures and his versality.
  • A perceptive inquiry into Ng's life and work, from his beginnings at the Nanyang Academy of Fine Arts to his idiosyncratic depictions of the human body.

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    The WEATHER on TUESDAY: Showers in the late morning and afternoon affecting most areas. WEATHER OUTLOOK: WEDNESDAY & THURSDAY: Morning and early afternoon showers can be expected.   WATER TIDES (this month)  High tide 2.39am  2.6m   1.28pm   2.9m   SUN Sunrise  6.47am  Sunset 6.51pm   MOON  Moonrise   11.28pm   Moonset  11.03am    PSI: 27 (good)   TEMPERATURE: 25

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    Our history

    The Museum’s roots can be traced back to 1955, when the University Art Museum was established at the University of Malaya. beneath the direction of Michael Sullivan, the Museum’s first curator (1954-1960), the collection was instrumental to the teaching and study of Art History at the University.

    Established before Singapore’s independence in 1965, NUS Museum may be regarded as a prototypical museum institution; its historical trajectory mirroring significant periods in the history of Singapore and the University in its search to reflect Malayan or national identity within the context of its geography and inter-cultural encounters.

    Over the decades, the Museum’s collections came to be located in various settings within the University campus and beyond. In 2000, a permanent home was established with the opening of the University Cultural Centre, with the Museum’s three permanent collections moving to this dedicated facility in 2002.

    NUS Museum also manages the NUS

  • ng eng teng biography of william

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    ST, 28th June 2011 (Click image to enlarge)

    Some Thoughts

    Public art as a contemporary term may demand a broader definition to include the formal, and actions involving the performative, contextual, interventive and deconstructive strategies as attempts to render, re-render or destablise an aesthetic experience in relation to environs and social dynamics. In that sense a discussion on 'modern' monumental sculptures may not be interesting. I would be wrong. Ong Soh Chin's article (Sculpting a National Identity, ST, 28 June 2011) may be rather typical in its references to arts and heritage policies, and governmental schemes and incentives, but she does make an interesting point about the social value of public art; not in terms that a public sculpture is a clever piece of object elegantly positioned into a landscape and performing an art educational function, but rather ways it which it may define a site as a 'place' that meaningfully locate social interactions and in which memo