Author: sun76695@gapps.uwcsea.edu.sg

In Georgette Chen’s paintings, she uses her husband’s last name – “Chen” – to sign her artworks instead of her Chinese name – “Zhang Liying”. NAFA said that a lot of artists in South East Asia have known Georgette by her Chinese name, and it could have attracted more tourists to the gallery if the advertisement uses her Chinese name. However, I think the reason why Georgette uses “Chen” to sign her artworks, even after her divorce from Eugene Chen, maybe due to her signature’s influence on the Western audience then. She already established an audience in Paris using Chen, and perhaps she doesn’t want to “give up” her fame by changing her signature on newer artworks. Or perhaps, the reason why she uses “Chen” is because of Eugene Chen’s influence on her philosophy and artistic expression.

The “retrospective” brochure is not only promotional but also informational and reveals a lot about Singapore culture and how Singapore wants to frame itself not only as the financial capital of South East Asia but also as the cultural capital, using this significant figure in contemporary art history – Georgette Chen.

The sample artworks on the front and back pages subtly find its target audience – Singaporeans and foreigners who are interested in this Nanyang painting style.

The brochure provides context for audience to better understand the artist and the exhibition.

“Free” admissions for children younger than 6 may signal the National Gallery “planting seeds” for future young artists. In the future, these young artists can be cultivated and present Singapore more as a global cultural and art center. “Free” admissions for Singaporeans may reveal National Gallery’s nudge for Singaporeans to explore about their national artistic culture – as citizens of a country not often visit its own museums.

This brochure/artist reveals a lot about the “Singaporean Identity” – in which Georgette Chen is a very good representative. It has the sense of presenting Georgette Chen as a “national hero”.

As Singapore is known for its multiculturality, this brochure blends Georgette’s works depicting different races, traditions, dishes, and scenaries – further enhancing the idea of Singapore being a cultural capital; given more foriengers visit museums than locals, this image can change foreigners’ perception of viewing this country, improving its global image further.

 

https://nus.edu.sg/newshub/news/2020/2020-12/2020-12-27/ARTIST-st-27dec-pA25.pdf

I believe this article discussing Georgette Chen’s “life-story” and artworks is effective at spreading awareness of this Singaporean “national figure” to the public, in preparation for her exhibition at The National Gallery. It is a publicity release.

The article was published in 2020 – 27 years after Georgette Chen’s death – showcased her accomplishments, developed the idea of her journey as a painter, and expanded on her personal friendship links around the globe.

I would personally say that this article classifies more into a eulogy than an obituary. Although it was published 27 years after her death, it included all the things a eulogy expects – providing context and her importance/relevance to the audience. However, what is different between this article and a typical eulogy is that a eulogy is often hosted for people who are directly related to the person who passed away, whereas the audience of this eulogy/publicity release is the public who are interested in Georgette Chen’s artworks/painting style (Nanyang Style)/life & history.

(Source)

I would pick “Aunt Julia and The Scriptwriter” & Chuck Close – both works focus on the global issue of “Art, creativity and imagination”, as both show the effect of development in their creators (Vargas Llosa & Chuck Close) on their works (AJATS & Self-Portrait) and styles/text type (bildungsroman & portrait paintings).

Specifically, I would choose perhaps the page about Marito finally getting married to Aunt Julia in church, and Chuck Close’s old self-portrait.

One weak spot that I think I should focus on if I am planning for this IO is that perhaps digging deeper into the layers of why the author/artist create the style of work that they do – their intentions and their progression (development from earlier stages to current styles).

Perhaps there’s some sort of intertextuality between Llosa creating the character of Camacho – arguably Llosa’s young self-portrait – to “make fun” of his youth, and Close changing styles as he aged, in a sense “making fun” at his younger self, too.