Painting
Websites/Multiple Documents
| Title: | | Htein Lin's site |
| Author/creator: | | Htein Lin |
| Language: | | English |
| Source/publisher: | | Htein Lin |
| Format/size: | | html etc |
| Date of entry/update: | | 19 December 2007 |
|
| Title: | | Pansuriya (Pansodan and Suriya galleries) website and blog |
| Description/subject: | | "Pansodan and Suriya galleries are a project of Aung Soe Min and Nance Cunningham.
Find Pansodan Gallery on the upper block of Pansodan Street in the heart of downtown Yangon, just a few doors down from the Panorama Hotel. We're on the first floor.
Find Suriya Gallery in Chiang Mai on Huay Kaew. No. 2, Hotel Bua Luang, Soi Bua Luang (the same soi as Holiday Garden, off Huay Kaew Road. Look for the spray-paint Suriya Art Gallery sign before you get to the hotel gate, or park in the Nice Nails/Mr Chan and Miss Pauline's Pizza parking lot and walk through the gate to No. 2)" |
| Language: | | English |
| Source/publisher: | | Pansuriya |
| Format/size: | | html |
| Date of entry/update: | | 11 April 2009 |
|
Individual Documents
| Title: | | Shan Exile Exhibits Art in Chiang Mai |
| Date of publication: | | July 2010 |
| Description/subject: | | "A Burmese artist from a prominent Shan family is currently exhibiting his paintings in Chiang Mai in northern Thailand. Sawan Yawnghwe is the grandson of Sao Shwe Thaik, the first president of the Union of Burma following independence in 1948, who was assassinated following Gen Ne Win’s military coup in 1962. Fleeing persecution in Burma, Sawan’s family went into exile when he was an infant, first in Chiang Mai, then in Canada..." |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 18, No. 7 |
| Format/size: | | html |
| Date of entry/update: | | 30 August 2010 |
|
| Title: | | Burmese Artists Exhibit in Kyoto |
| Date of publication: | | December 2009 |
| Description/subject: | | "Three Burmese artists, including The Irrawaddy’s cartoonist and illustrator Harn Lay, will show their work this month at an exhibition in Kyoto, Japan.
The other two are Yei Myint and Kaung Su. Yei Myint, who studied at the State School of Fine Arts in Mandalay, has exhibited extensively abroad and currently has a one-man show, entitled “Van Gogh Visits Pagan,” at the Suvannabhumi Gallery in Chiang Mai.
Kaung Su studied at the State School of Fine Arts in Rangoon and is well known for his “Black Face” series.
Gallery owner Mar Mar selected the works of the three artists for the Kyoto exhibition, which runs from Dec. 18—23." |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 17, No. 9 |
| Format/size: | | html |
| Alternate URLs: | | http://www.irrawaddy.org/print_article.php?art_id=17329 |
| Date of entry/update: | | 28 February 2010 |
|
| Title: | | The Galapagos Islands of Art’ |
| Date of publication: | | November 2009 |
| Description/subject: | | First comprehensive history of Burmese painting uncovers an aesthetic treasure house...
"When his diplomat father died in the early 1990s, Andrew Ranard inherited a small collection of Burmese paintings, and in a visit to Burma in 1994 he acquainted himself firsthand with the artists and their work. His research took him into an artistic world that was then little known outside Burma..." |
| Author/creator: | | Jim Andrews |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 17, No. 8 |
| Format/size: | | html |
| Alternate URLs: | | http://www.irrawaddy.org/print_article.php?art_id=17144 |
| Date of entry/update: | | 28 February 2010 |
|
| Title: | | Graffiti Gains Ground |
| Date of publication: | | October 2009 |
| Description/subject: | | Graffiti artists move further into the mainstream in Burma with an exhibition of their work opening at the end of September at Rangoon’s New Zero Space Gallery...
"“We want to promote graffiti as an artistic movement,” said the gallery’s Ko Aye Ko.
The young artist, whose work will also be on show, said graffiti in Burma reflected the tensions and despair felt by the country’s youth.
Contemporary artists such as Nyein Chan Suu and Kaung Suu will display their work inside the gallery, while an outside wall will provide a surface for other spray painters to show their talent.
The graffiti phenomenon first surfaced in Burma about nine years ago and won followers in Burma’s pop art and music scene and in commercial design. Although a successful exhibition of graffiti was held at the French Cultural Center in Rangoon in 2007, it remains an underground art movement..." |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 17, No. 7 |
| Format/size: | | html |
| Date of entry/update: | | 28 February 2010 |
|
| Title: | | Naked Defiance |
| Date of publication: | | June 2009 |
| Description/subject: | | "Artists pay scant attention to regime restrictions by tackling a taboo genre...
ENCOURAGED and emboldened by an increasing interest in their work among Western art enthusiasts and collectors, some Burmese artists are venturing into a genre that breaks with the past and bravely flouts official disapproval.
It’s literally naked defiance. These artists are tackling an aesthetic subject that has been treated openly in the West for centuries—the nude..." |
| Author/creator: | | Jim Andrews |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 17, No. 3 |
| Format/size: | | html |
| Date of entry/update: | | 24 June 2009 |
|
| Title: | | Motion Pictures |
| Date of publication: | | February 2009 |
| Description/subject: | | "Burmese artist captures traditional dances on canvas...
IN his latest solo exhibition, Nay Myo Say, one of Burma’s best known contemporary artists, has again demonstrated his outstanding skill in depicting the essence of Burmese classical dancing and Buddhist ritual..." |
| Author/creator: | | Yeni |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 17, No. 1 |
| Format/size: | | html |
| Date of entry/update: | | 16 February 2009 |
|
| Title: | | Tears and Paint |
| Date of publication: | | August 2007 |
| Description/subject: | | Migrant artist shares his earnings with the refugees who people his canvases...
"Suffering from depression and weighed down by the hardships of life in Burma, Maung Maung Tinn finally decided to leave his home town, Moulmein, capital of Mon State. That was in 1994.
“I felt I had no future there, so I left my home,” the soft-spoken painter said. The child of a Shan father and Karen mother, Maung Maung Tinn felt hopelessness at not being able to help his parents and grandparents. They were helping to pay for his studies at Moulmein University, while he did his best to lighten the load on them by working as a clerk in a government-owned electricity plant.
Like many other Burmese, he made for Mae Sot, in Thailand, where he rapidly found employment at Dr Cynthia Maung’s Clinic, working at first as a chef, preparing meals for patients and medical staff, and then becoming a trained medic and health worker in the clinic’s outpatient department.
His real talent surfaced, however, during his free time—hours he spent drawing and painting. He had shown promise at school, inspired by such famous Burmese artists as Wa Thone and Myo Myint..." |
| Author/creator: | | Aung Zaw |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol 15, No. 8 |
| Format/size: | | html |
| Date of entry/update: | | 02 May 2008 |
|
| Title: | | Art in Captivity |
| Date of publication: | | May 2006 |
| Description/subject: | | Burma’s political prisoners find some measure of freedom in jail through resourceful self-expression |
| Author/creator: | | Yeni |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 14, No. 5 |
| Format/size: | | html |
| Date of entry/update: | | 28 December 2006 |
|
| Title: | | Modern Burmese Painting According to Bagyi Aung Soe |
| Date of publication: | | 2006 |
| Description/subject: | | Abstract: "Rangoon-based artist Bagyi Aung Soe (1924-1990) has been regarded
by fellow artists as a pioneer of modern art in Burma. Influenced
by precepts practiced at Rabindranath Tagore's Ã
¡antiniketan, he
elaborated an original painting approach and style synthesizing
diverse artistic approaches, which neither adhered exclusively
to the European or Burmese artistic tradition nor regurgitated
twentieth-century Western artistic innovations. Despite his renown
within Burma, his idiom remains little understood both within and
beyond Burma because of a lack of awareness of his motivations and
their context. This article attempts to elucidate Bagyi Aung Soe's
interpretation of modernity in Burmese painting, and with reference
to his works and writings, examine the modernity of his art." |
| Author/creator: | | Yin Ker |
| Language: | | English |
| Source/publisher: | | "Journal of Burma Studies" Vol. 10, (2005/06) |
| Format/size: | | pdf (6.2; 13.2MB - original) |
| Alternate URLs: | | http://www.niu.edu/burma/publications/jbs/vol10/index.shtml (original, heavy file -- the main URL is to a version reduced by the Adobe reduce file size function)
http://www.grad.niu.edu/Burma/webpgs/abstractsVol10.html (JBS Vol. 10) |
| Date of entry/update: | | 31 December 2008 |
|
| Title: | | Art in Exile |
| Date of publication: | | June 2005 |
| Description/subject: | | Burmese paintings find their home in a Chiang Mai gallery...
"It’s a sad reflection on the Rangoon regime’s restrictive policies on artistic expression that one of Southeast Asia’s finest collections of contemporary Burmese art isn’t to be found in Burma, but in Chiang Mai, northern Thailand.
All the works in Lashio-born Mar Mar’s collection—more than 400 paintings, drawings and collages by 50 or so artists—were created in Burma, but many of them could never be displayed publicly there. They include paintings deemed “political” and nudes that would offend the puritanical tastes of the Rangoon generals..." |
| Author/creator: | | Jim Andrews |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 13, No.6 |
| Format/size: | | html |
| Date of entry/update: | | 28 April 2006 |
|
| Title: | | A Very Burmese Way |
| Date of publication: | | May 2005 |
| Description/subject: | | Harry Priestley goes to Rangoon to take a look at the development and current state of modern art in Burma and finds that there is life beyond the buffalo...
"The man wipes his brow and studies the painting. Two robed monks are disappearing into a melting pastel-orange sunset while in the foreground a buffalo, head cocked quizzically, stares out. After a brief conversation with his companion, the man asks the stall holder to wrap the piece and pulls out a fan of fifty dollar bills. He takes the package and before the pair have climbed into a taxi, the empty wall space has been filled with another, almost identical painting. In Rangoon, where the average wage is somewhere in the region of a dollar a day, art can mean good business.
Kyaw Zay Yar sells his paintings from his brother’s stall at downtown Rangoon’s Bogyoke Market and, despite it being only April, reckons to have already sold nearly 150 pieces this year. Passionate in declaring his love for contemporary abstract artists like Nyein Chan Su (“So strong and free, he’s the best”), Kyaw Zay Yar is first and foremost a man looking to provide for his young family—and churning out monks and sunsets helps him do just that. “I paint like this because it’s good business,” he says. “Foreigners like to buy beautiful scenes, so that’s what I paint..." |
| Author/creator: | | Harry Priestley |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 13, No. 5 |
| Format/size: | | html |
| Date of entry/update: | | 27 April 2006 |
|
| Title: | | Kunst (um) zu leben - Ein Reise- und Ausstellungsbericht aus und zu Burma |
| Date of publication: | | December 2004 |
| Description/subject: | | »Identities versus Globalisation?
Positionen zeitgenössischer Kunst aus Südostasien«, von der Heinrich-Böll-Stiftung organisierten Kunstausstellung mit fast sechzig Werken aus zehn südostasiatischen Ländern.
key words: art, globalisation, galleries in Burma |
| Author/creator: | | Andrea Fleschenberg |
| Language: | | Deutsch, German |
| Source/publisher: | | Südostasien Jg. 20, Nr. 4 - Asienhaus |
| Format/size: | | pdf |
| Date of entry/update: | | 01 March 2005 |
|
| Title: | | Creation in Isolation: The Life and Career of Bagyi Aung Soe |
| Date of publication: | | May 2004 |
| Description/subject: | | "Solitary and destitute throughout his life, Bagyi Aung Soe probably never imagined the impact of his work on future Burmese artists and the success many now enjoy...
Today, more than a decade after the death of illustrator, actor, teacher, and, above all, artist Bagyi Aung Soe (1923-1990), paintings by Burmese artists are fetching record prices in the local and international markets.
Bagyi (Burmese for “painting”) Aung Soe did not live to see his own work on display in museums and private galleries or to see his fellow artists shine in international art exhibitions. It probably never occurred to him that it could be so. When he passed away in Rangoon in 1990, he had just witnessed some of the most appalling events in recent Burmese history. Hope in his homeland’s future was bleak; the health of the country’s art community was the furthest thing on most people’s minds. Yet, he continued to express and create—if only on any scrap of paper that he could get his hands on..." |
| Author/creator: | | Yin Ker |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy", Vol. 12, No. 5 |
| Format/size: | | html |
| Date of entry/update: | | 01 August 2004 |
|
| Title: | | The Renaissance of Burmese Art |
| Date of publication: | | February 2004 |
| Description/subject: | | "Under the authoritarian government that lasted from 1962 to 1988, Burma’s artists were down and out. But with Burmese paintings now fetching tens of thousands of US dollars on international markets, Burmese art is up and coming..." |
| Author/creator: | | Kyaw Zwa Moe |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy" Vol. 12, No. 2 |
| Format/size: | | html |
| Date of entry/update: | | 09 June 2004 |
|
| Title: | | Mentor and Tormentor |
| Date of publication: | | September 2001 |
| Description/subject: | | "Paw Thit could have taught Kyaw Win much about the meaning of art; instead Burma�s best-loved
art critic is behind bars, a victim of the system the inscrutable Kyaw Win represents.
No Burmese artist or art lover could ever fail to recognize the title of A Quest for Beauty, a celebrated book
of art criticism by a writer of rare gifts named Paw Thit. This excellent handbook of Burmese art history,
covering every imaginable "ism", has earned the admiration of countless aficionados of the fine arts in
Burma. Certainly, a passionate amateur painter like Maj-Gen Kyaw Win, deputy to Military Intelligence (MI)
chief Lt-Gen Khin Nyunt, could be counted among those who can truly appreciate Paw Thit�s sensitivity to
line and color, light and shade, perspective and depth of artistic vision. And if Paw Thit ever had a chance
to review Kyaw Win�s work on display at the G. V. Gallery, in Rangoon�s exclusive Golden Valley suburb, he
would no doubt offer words of encouragement to this dedicated dilettante. Cutting a dignified but kindly
figure, he might make a critical comparison to the work of U Lun Kywe, Burma�s most famous impressionist
painter, while acknowledging that Kyaw Win had true talent and an eye for beauty. Sadly, however, this
encounter is unlikely to ever take place. For Paw Thit, Burma�s most respected art critic, is none other than
U Win Tin, a veteran journalist who was once one of Daw Aung San Suu Kyi�s most valued advisors�a role
that has cost him his freedom. For a dozen years now, U Win Tin, a.k.a. Paw Thit, has been a political
prisoner in Rangoon�s infamous Insein Prison. Held in solitary confinement for more than a decade, but
unbent in his convictions, he continues to exert inestimable influence on Burma�s artistic community..." |
| Author/creator: | | San San Tin |
| Language: | | English |
| Source/publisher: | | "The Irrawaddy", Vol 9. No. 7 |
| Format/size: | | html |
| Date of entry/update: | | 03 June 2003 |
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