ARTS MANAGEMENT / MA ARTS & CULTURAL MANAGEMENT /
MA ART HISTORY/MA ASIAN ART HISTORIES / MA ART THERAPY

 

MA ARTS & CULTURAL MANAGEMENT Course Details >>

Boopathy Vijay Ganesan
yellowvijay@gmail.com
boopathyvijay.g@gmail.com

Arts-Related Experience:
2011 Head of Department Fashion Technology, Gurudev Collage of Arts & Science India
2010 Event Manager, Retail Apparel Manufacturer Presentation (RAMP) Fashion Show, Tirupur

Thesis Title:
Addressing Gaps in Tirupur Domestic Market by Conducting a Buyer Seller Meet and Fashion Show

Thesis Abstract:
Indian retail industry is poised for growth. Retail apparel sector in particular has a great opportunity with alignment of Indian economy to globalised markets. With the whole world eyeing the Indian retail market to earn their pie of profits, this study investigates the background, current status and the potential of Tirupur’s knitwear market to explore the opportunities in fast growing domestic retail space. This study analyses Tirupur’s growth story to become a renowned knitwear export hub and compares its export capabilities with its capabilities to explore the growing domestic retail market. In this paper the problems faced by Tirupur’s market to explore the potential of domestic retail market is discussed. Through various research methodologies, it recommends and implements an event called Retail Apparel Manufacturing Presentation (RAMP) – a sourcing show comprising Buyer Seller Meet and Fashion Show as a solution to address the gaps identified in Tirupur’s domestic market. This paper also analyses the impact of RAMP sourcing show on the market by conducting surveys and interviews and concludes by recommending ways to improve the event in years to come.

 

Jovyn Lee Chia Yin
mezzovyn@gmail.com

Arts-Related Experience:
2011 International Networking Assistant Manager, Singapore International Foundation
2010 Arts Engagement Manager, National Arts Council
2009 Creative Arts Manager, Yellow Ribbon Community Art Exhibition, Singapore Prison Service

Thesis Title:
Curating Text and Space in Contemporary Visual Arts — Two Arts Exhibitions as Case Studies

Thesis Abstract:
The role of the curator is becoming increasingly demanding and multi-faceted, with being an aesthetician, educator, critic, art historian, audience developer and negotiator amongst its many other roles. For most of the museums that do not have electronic exhibition guides, the exhibition wall text and space remains the central tool in helping the adult museum visitor appreciate contemporary art in the museum. Through the case study of two contemporary art exhibitions at the Singapore Art Museum (SAM) in 2010 where in-depth interviews with five curators and a museum programmer, together with visual analysis of two contemporary art exhibitions and textual analysis of the media release of the exhibition were used to investigate how curatorial practices, specifically on text and space, can enhance the educational experience for an adult in a contemporary art museum. This research concludes with the importance of a central theme or idea that anchors each exhibition for clear communication and how space and museum wall texts should relate back to this central theme to create an educational experience in the museum.

 

Liang Cheng Yi
catwala@yahoo.com

Thesis Title:
Comparing Design Industries Between Taiwan and Singapore – Partners or Competitors?

Thesis Abstract:
The aim of this research paper is to study the design sectors in Singapore and Taiwan and to identify valuable lessons that both can learn from each other. Design industry has been selected as the focus area of study because it is the largest component of creative industry. Both countries identified creative industry as a critical driving force that will fuel the economy as both countries are transforming into knowledge-based economy. The methodology for the research includes analysis of statistical data, interviews and SWOT analysis. The statistical data were extracted from studies conducted by renowned international bodies and the published data from both governments. The reason why these sources of statistical data, largely at macroscopic level, were chosen is because the aim of this study is to examine the design industry at the national level with regards to national policies. Taiwanese society essentially survives on a bottom-up mode. Singapore on the other hand is top down. Six interviews were conducted in Taiwan and four interviews were conducted in Singapore. A summary of these interviews showed that design education is critical to the success of design industry. For this, the author noted that the design awareness index developed by Ernst and Young (commissioned by DesignSingapore) is a good measurement of intangible benefits that can be adopted by both governments. Both governments also embrace universal design concept as both are experiencing an aging society. Regarding international rankings, Singapore leads Taiwan in design competitiveness that has strong correlation with national competitiveness. Taiwan in reality has a significantly stronger industrial base that provides ample opportunities for Taiwanese designers to manifest their design capabilities. This could be one of the reasons why Taiwanese designers are winning more international awards in the industrial and product design area than their Singaporean counterparts.

 

Mukta Ahluwalia
ahlu.mukta@gmail.com

Arts-Related Experience:
2011 Curatorial Assistant, Singapore Art Museum

Thesis Title:
Renaissance Public and Contemporary Visual Arts: Situating Contemporary Art in Singapore Society

Thesis Abstract:
Singapore government aims to make Singapore a creative, dynamic hub of the East, on par with cities like New York and London by 2015. It envisioned that the “Singaporean [citizen] has an adventurous spirit, an inquiring and creative mind and a strong passion for life”. London and New York have nurtured and promoted Contemporary Visual Arts (CVA), and hence they are widely accepted and supported by the society. While in Singapore, there is no clear focus to promote CVA with the local population, even though CVA is used symbolically at the international arenas.

In a recent research by the author, contemporary visual artists reported that neither artists nor their art has any intrinsic value in the Singapore society. Most artists interviewed felt that aesthetic in Singapore is still the realistically painted object and that there is lack of communication between CVA and the audience. The present research aims to explore the attitude and perception of the public towards CVA in Singapore and gauge the level of support that is available to the artists.

Carol Scot in her study says that apart from instrumental value (social and economic objectives), museums also have what Frey calls non-user values (existence value, option value, and bequest value), intrinsic value (emotional), and institutional value. The same values can be applied to CVA to rationalise the funding by the policy bodies.

The research aims to understand why there is low community engagement with the contemporary visual arts. Contemporary visual artists produce tangible artifacts of contemporary culture and hence should be relevant to the people. Do outreach programmes by NAC contribute to developing a CVA audience? What values do contemporary visual artists hold for the masses? What more can be done to increase their engagement and participation? These are the questions that this essay endeavours to understand and to identify the issues that may be neglected in the existing quantitative data.

 

Sium Yeap Tong
gnotpaey@yahoo.comm

Thesis Title:
The Future of Ink Paintings in Singapore: The Marketing and Marketability of It and the Case for Contemporary Ink Paintings

Thesis Abstract:
This thesis examines the future of ink paintings in Singapore as well as the marketing and marketability of it. Attempts were made to understand the evolution of the art form from Nanyang style to contemporary ink paintings and whether it can develop its own national identity.

Qualitative interviews were conducted with arts practitioners including artists and gallery owners. Research information was collected and verified against other books, journals, articles, newspapers as well as websites. Although quantitative data on the Chinese Ink Paintings market in Singapore was unavailable, the research treated a subset of the total available information on visual arts industry as that of the ink painting industry.

Research findings revealed the role of the new 4Ps of Chinese ink paintings marketing mix – parentage, patronage, profile, potential, and an additional 2Cs – controversy and charity. Focus was also on the buying aspect – who, why, and the pricing mechanism in relation to market value. Pricing should also consider the Veblen effect. After considering all the key elements, variables and constraints, a buying evaluation guide was introduced incorporating all these factors.

Recommendations were given on how to grow the arts market in general (including the ink paintings market too). Tax incentives to encourage companies and individuals (similar to UK’s Own Art programme) to buy local art as well as interest-free loan subsidies could be considered. The spill-over economic benefits of these schemes would trickle down the entire producer-consumer value chain. The ‘hidden cost of rewards’ theory suggests that rewards related to output, e.g. selling a painting, would motivate more output. Artist resale rights – droite de suite – or artist’s royalties should be considered as it would be fair and in accordance with the Berne Convention, administered by the World Intellectual Property Organization.

Ink paintings should be introduced into the school curriculum to cultivate good values and morals among the students. More arts awards and contests could be organised to generate more constructive arts criticism and the much needed media buzz for the arts industry. Alternative arts housing and exhibition spaces would provide a collaborative environment for artists to share ideas and compete in a friendly manner. Future research should focus on data collection related to the consumer/audience in the arts market to facilitate future analysis.

This thesis concluded that the future of ink paintings depends on the development of new styles, techniques and themes. Singapore artists should consider unique and contemporary themes built on the solid foundations of traditional Chinese Ink Paintings and our rich cultural heritage.