2024 was so topsy-turvy I honestly haven’t really put my mind to reflecting on what I have achieved or experienced this year. To celebrate the end of 2024, new beginnings, and 10 years of Wording Art, I should acknowledge my major milestone of 2024, which was completing my PhD in art history!

I have shared at different points about my experience pursuing a PhD at NTU Singapore. It’s funny how time flies and I graduated in July 2024. Yet with all of the strange feels of post-submission, post-defence, and post-graduation, and moving on to a new chapter in life, it felt like I needed more time to finally share about being PhDone.

| Cover picture: Me staring at the wonderful shelves of books on British Art in Hatchards, Piccadilly, London |

My PhD Research on Angelica Kauffman: The Last Stages

Over the last 5 years, I have spent many hours thinking, researching, and writing about the Swiss-Austrian artist Angelica Kauffman. My PhD research focused on Kauffman’s self-portraits from her London period (1766–1781), considering how these images tell us about the ways she viewed herself as a professional female artist in late eighteenth-century London. That’s the one-line summary!

Writing up my dissertation in 2022-23 was both enlightening and frustrating. But that, to me, is really what writing is all about. Figuring out how to structure my chapters, subheadings, flow, which images should go where, titles… There was a lot to learn and experiment with, and I’m so glad I had an entire year all to myself just to focus on writing. It’s a rare experience to have dedicated time for writing, and to be given feedback on my dissertation by supervisors and a panel of examiners alike.

2024 started with me working on revisions on my dissertation, before prepping for an oral defence. I had to condense years of research and hundreds of pages into a 30-minute presentation, before fielding questions by the examiners. I think the word ‘defence’ is especially apt here, because at points it did feel like I had to ‘defend’ my arguments and ideas. My defence was held online, which I did not expect! It’s funny how so many events can now be held online in a post-covid world…

Two weeks after my defence, I flew to London to see the Angelica Kauffman exhibition at the Royal Academy of Arts, which you can also read more about in my blog post. It felt like the most fitting way to bring my PhD chapter to a close! Other than at the Royal Academy, I saw more of Kauffman’s works at the Now You See Us: Women Artists in Britain, 1520–1920 exhibition at Tate Britain. I also visited the gorgeous, revamped National Portrait Gallery to view what is probably Kauffman’s most famous self-portrait from her London period.

Graduation and Moving On…

Luckily things went well, and I made it for graduation! It really was the best day~~

I think with the completion of the PhD, there’s a strange feeling of finding my footing again. After months of tracking my hours of writing every day, it felt like I needed to reset and find a new routine again. I’ve seen only a few people online acknowledge this post-PhD limbo — and it’s so real! At this point of writing, I’m so glad to have moved through this stage, and I have now started a new job. Perhaps a bit shockingly, it’s bittersweet to me that I might miss a bit of PhD life in some ways.

Guest Post & Podcast Episode

With that, I’m happy to bring my PhD chapter to a proper close in 2024. While I haven’t shared much of my actual research on this blog, I have had the opportunity to share about it on other platforms!

In June 2024, I wrote a guest post on Art Herstory about Angelica Kauffman and her works centred on art, music and poetry. In this post, I explore some of my new, personal favourites among Kauffman’s artworks. I didn’t discuss most of these images in my dissertation, so it was nice to have another platform to write about a different aspect of Kauffman’s oeuvre. I would love it if you go here to read my guest post Angelica Kauffman: Art, Music and Poetry.

In November 2024, I spoke on a podcast episode with High Impact Thesis, a platform that hosts a diverse selection of researchers from NTU Singapore. In this one-hour long episode, I talk about my research on Angelica Kauffman’s London self-portraits, as well as:
🏛 What led me into art history and my research topic on Kauffman
🎨 Kauffman’s motivations in moving to London in her twenties
👩‍🎨 Women artists in eighteenth-century London and how they were perceived then and now
🗽 Allegory, Muses, and the art of imitation
🖼 Kauffman’s practice of imitation in her self-portraits (like the one at the National Portrait Gallery pictured below), and the particular influence of Raphael

I would love it if you would like to listen to my podcast episode on Spotify at this link!

Certainly though, it’s not yet the end of the road for me and my research on Kauffman! After spending years reading, thinking, writing, and discussing her artworks, my interest and passion about Kauffman is still as strong as ever. Maybe this is the true sign of having completed a PhD — that you don’t really get tired of talking about a specialised subject again and again… And the best part is that I can now officially say that I’m a bona fide art historian! 😉

The post PhDone | My Research on Angelica Kauffman appeared first on Wording Art.

Perhaps the one-line summary is this: Doing a PhD is always going to be difficult, and doing anything in a pandemic makes everything more difficult still — but I recognise how incredibly blessed I’ve been with all the people, opportunities and support I’ve been surrounded with, and I truly value all of these.

Now let’s rewind to October 2020: I’d shared that I’d passed my Qualifying Exam for my art history research master’s at Nanyang Technological University (NTU) in early September that year. That was only the beginning of the gruelling process that was converting my master’s to a PhD. I’m not sure if this practice exists in other educational systems, but I’d also think that it’s not usual or easy at all. I didn’t share about any of this earlier, because there were just so many moving pieces hanging in the balance and I didn’t want to jinx anything LOL!

In October 2020, I then sat for my conversion exercise (yet another report and presentation), prepared a PhD research proposal and had an interview in November 2020 (similar to what I did when applying for my masters!), and then waited… The news came through in mid-January 2021 that my conversion was successful, and a week later, the news that I was given a NTU scholarship sent me over the moon! Took a deep breath to take it all in, before finding out that I was going to have to dash for yet another qualifying exam in April 2021. Went into a happy daze (just briefly, the PhD life waits for no one) when I was confirmed as a PhD candidate in late April!

Luckily, the timing worked out well as all of these happened when the Covid situation was doing much better, and it was a lot easier to go into campus to get my writing done. Things got more cautious from May, and flitting around many different things — classes, conference applications, assignments — to the background of restless Covid definitely takes its mental toil. I love that canvas print of Which step have you reached today, which I saw at Chapter 55 (restaurant in Tiong Bahru), up above in the cover picture. Almost every day, I go from ‘I won’t do it’ to ‘I’ll try’…

But! I’m now heading into my final fourth year of my postgraduate studies, and what a time to celebrate the good things and the breakthrough days when I get to the top three steps of that ‘do it’ staircase.

So, I think one thing I wanted to put in words (so I can remember it for posterity) is why I decided to go for a PhD and a conversion. I don’t think anyone has asked me about this in an official capacity, and what I really appreciate about postgrad interviews is that they keep the focus on research. The seed of this conversion idea was planted early on in my first semester (thanks to my professors’ foresight), and it was really in May 2020 that I fully committed to the the plan and went full-out to fulfil the crazy schedule outlined above.

Funnily enough, my main two reasons for doing the PhD conversion remained within the same two ‘categories’ that also made up my decision to take up my master’s at NTU. The first, primary reason is related to my own research: I knew I was — and still am! — in the right place to do the research I want to do (Angelica Kauffman’s self-portraits + eighteenth-century British art) as I seriously do have the best supervisor and advisory committee, and I’m comfortable in this environment and NTU’s fantastic facilities. You could say that the UK would perhaps be more fitting because the art and the archives that I need to see are located there, but the unexpected twist in the story with Covid meant that museums and archival centres had to close, and many things shifted online… And as it became more apparent that the pandemic was going to go on for longer than anyone could have expected, I was feeling uncertain about expecting to finish my MA in mid-2021.

And on my research, it only seemed that I was getting more engrossed in it all the time — and this is probably the most important factor to me in doing a PhD and sticking it out. I’d kept to the same topic throughout the MA and in converting to the PhD, but the research kept growing in many interesting ways and I wanted to keep the momentum and take my topic further by upscaling it into a PhD. I have mentioned before that there is often the initial feel to build a super-broad topic for the research proposal and the feedback you get is always to narrow, narrow it down! And then when you get accepted into the MA/PhD program and work on it further, the topic grows and changes in ways unknown yet again… It doesn’t seem to make sense, but it’s definitely what I’ve experienced!

Another thing I’ve noticed is that my research seems to be getting increasingly personal — the appeal of working on Kauffman and eighteenth-century London in the first place was that there seemed to be no relation to my actual twenty-first-century life in Singapore/Hong Kong and it was refreshing to be working on a clean slate. Yet I realise that my interest in looking at Kauffman’s London self-portraits and my approach in doing so reflects my own thoughts and feelings… I’m not too sure how to explain this, but maybe it will become clear to me when I’m finally done writing the dissertation in mid-2023?

The second main reason, on unavoidable, pragmatic terms, is related to costs and financial matters. Any postgraduate degree is pricey in one way or another (plus opportunity costs), and I was hoping to leverage on ‘saving’ a year in completing a PhD by converting my MA. In any case, receiving the news of my scholarship made it the best night of my life and it’s really been life-changing, and I don’t take it for granted at all. So, so thankful.

Now that I’m doing a PhD — which still feels surreal — what other highlights then? Turning things online has been so helpful in opening up access to hearing more talks, participating in events, etc. across the world for free — although I openly profess I’m still a Zoom noob (I like MS Teams more).

The biggest highlight of 2022 would definitely be finally making it to London to get my hands on the archives in May! I’m also (slowly) sharing more of all the art and museums I saw and visited during my time there on the blog, which was just such an immersive experience.

Ah, so now it’s a matter of writing and completing the dissertation, putting my thoughts together… Let’s see what other thoughts I’ll have about the writing process in the coming academic year!

The post PhD in a Pandemic appeared first on Wording Art.

‘But I don’t want to go among mad people,’ Alice remarked.

‘Oh, you can’t help that,’ said the Cat: ‘we’re all mad here. I’m mad. You’re mad.’

‘How do you know I’m mad?’ said Alice.

‘You must be,’ said the Cat, ‘or you wouldn’t have come here.’

I was thinking about this quote to sum up my feelings of these crazy times of staying home, but things have gotten so much better since Phase 2 began in Singapore, and I’m able to venture out again! Then, I realised this quote is perfect (as a joke, or maybe quite real) for talking about what I’m up to doing my master’s degree!

This post is a kind of follow-up to my May 2018 post, Prospect and Refuge | In Architecture, Art, and In Life, which I wrote to ground myself among all the things in my life that were happening. What’s happened since then? In the same month, I was rejected from the master’s programme I’d applied to, and continued on my job-hunting process as I was between jobs. In June 2018, I decided to apply for a master’s again — this time round, with a better sense of preparedness, since my first application was a bit of a spontaneous decision. Somehow through the months, I managed to land my next job after many applications, apply for three master’s programmes… and then, had to make my decision on where I wanted to go.

So, here I am now — I’m almost a year into my master’s by research (research-based master’s / MPhil / whatever term exists for this) in art history at the very beautiful architectural marvel that is the School of Art, Design and Media, at Nanyang Technological University in Singapore. To be honest, this was the most unexpected option that I would have thought to have gone on, for so many reasons.

As my academic study increasingly consumes my life, I’ve been wanting to share more about the process of applying for postgraduate programmes, and in actually doing one. This blog has always been a great outlet for me to talk about anything art-related that interests me, but I’ve never talked much about academia on this space. How is it like studying art history in Asia? How is it like doing a master’s in Singapore? How did I go into research? These are questions that I’ve been reflecting on, and I think writing about it is a good way to balance out my academic work.

I want to give a more personal view into the course of doing postgraduate studies, specifically in art history. There’s a lot that I want to talk about, and I will be sharing more in upcoming posts — see the new ‘Academia’ category! If you’re an art history student, and looking to go into this rabbit hole of postgrad life, or you’re already in it (!), I hope that these posts will be helpful or insightful to you in some way.

And since a large part of postgraduate life is about reading, the cover picture is a candid picture taken by my sister of me at The Moon, a bookstore-cum-cafe, back in November 2019 when they dedicated their front display to art books, and I happened to be engrossed in a book about methods in art history, I kid you not. More to come!

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This illustration was the first image I saw in my first Fine Arts class. Western art history – made simple! Back then, my professor said we would know all about the various artists and their smiley face representations by the end of the class. I hadn’t even heard of almost all of the artists stated here, but I’m happy to say that I’m familiar with most of the artists now, except Rembrandt. My bad.

A lot of my friends, when they find out what I’m studying, like to ask, “So what do you do exactly?” or they exclaim, “Really?! I did art in high school, and I did so badly!” I never have a good response to the first question, I just don’t know what to say, and when I hear the second statement, I always think I wished I had the option to take art in high school, since I wasn’t enjoying math and science much anyway…

So it got me thinking about why I like what I do, or why should people study art history? Everyone has their own reasons, and I wanted to share about mine.

| Cover picture: Donald Seitz, History of Art, 1991, illustration |

I’ve always loved stories. And they come in all shapes and forms, in books, TV, and a good history story. History is interesting that way, when my dad tells me stories of his dad going through the war. It’s just not that fun when you’re reading about the same war in a history textbook. And having to memorize dates and names and titles and places and go to exams to spill it all out. Not for me.

The great thing about art is how history is incorporated into it. Art can be identified by the century, the region, the movement, the style. For example, I could be looking at a painting of a couple in a vast field, but I could tell you that it was painted by the French artist Millet in 1859 during the nineteenth century, in the style of Realism when the reflection of nature in art continued, but new ideas of what constituted beauty emerged. That’s history right there.

Jean-François Millet, The Angelus, 1859, Musée d’Orsay, Paris, France.

For contemporary art too, one day someone is going to look at an artwork and go, that was painted in 2015 in that style back then. With time, the numerous artworks in the various mediums and styles we see today are going to be neatly categorized by century and movement and a new art term that people come up with to explain the period.

Art is informative and it’s so much easier to absorb history stories when looking at works of art, rather than going through long, dry passages of history text. (Though books of any topic are winners in their own right.) But that’s only the background information. What you see in an artwork itself contains other stories, unique to our own interpretations.

You could argue that fine arts is in the same way made up of the boring bits like memorising titles of artworks, artists’ names, years, centuries and mediums. All that is true but having a picture to go along with it makes all the difference. I really like how we get to somewhat see how things were like back then. The way people looked, dressed, their jobs, their social activities, their interiors, and so on.

One thing that I was curious about was art in wartime. When you learn about wars in the typical history fashion, it’s always about aggressors and victims, people fighting, people suffering and all that. But what about the people left at home? It’s like an entire period of the war solely belongs to the battlefield. And it turns out, art still goes on, though not far from the topic of war.

Unknown artist, Entry of Marshal Oyama, Commander-in-Chief, into Mukden; Mukden Railway Station after the Battle, 1905, color lithograph, collotype and letterpress; ink on card stock (postcard), Museum of Fine Arts, Boston.

I think that studying Fine Arts has made me look at things differently, too. There is always a conception that art is supposed to be beautiful, show delightful things to viewers. And that was probably the norm in a time long past, but it certainly isn’t now. Art can reveal the bad, ugly stuff, too. And it makes for an interesting way of looking at things, that I can somehow see things in an alternative way, even in real life.

Like when I was in Shanghai at the Free Trade Zone, and large blouts of dark gray fumes were coming out of giant factory buildings, released into the clear blue sky. Yes, pollution and industralization and I’m not discounting any of that, but I was weirdly encaptured by it. Maybe because it was the first time seeing it so close and so clearly, and maybe it was the color contrast, the tubular gray slowly moving into the clear blue and dissipating into thin air. I couldn’t take my eyes off it for a while. It sounds weird, I know. But it was just interesting.

Art is, in a sense, interdisciplinary to me. There are so many topics in art expressed in different ways and approached from different angles. A large part of studying art involves considering the socio-historical context, meaning social issues present in a historical period that influences the art made then. There could be politics involved as well. Paintings of war or battles are definitely political, but artworks could be interpreted as political even if the artist did not have the intention to do so. Not all artworks necessarily contain all of these factors, but there is always more than one thing going on in an artwork.

Technology also brings about new styles and mediums, such as photography. The combination of mediums also creates a new kind of visual. Entry of Marshal Oyama, Commander-in-Chief, into Mukden; Mukden Railway Station after the Battle is a mix of a painting and a photograph of the same Mukden location printed on a postcard, like a before and after of the Russo-Japanese War, but the after is painted instead of photographed to make it seem less real, maybe? And it certainly looks and feels very different from an oil painting made from a different culture though made in the same year.

WIth (oil) paintings, I find it interesting to think how the layers of paint applied can determine the style of the work and how it would look like. When I first learned about Monet’s paintings, I was wondering how the different colors used could manage to make the reflection of sunlight in the water look so natural in a digital image. Seeing his works in real life though, the reflections still look very naturalistic when the artwork is viewed at a distance, but when you go up close, you can see the many almost random dabs of paint in different colors that somehow cohesively form the effect of reflection. Monet totally won me over with that. My favourite Western artist ever!

Claude Monet, Parliament, Reflections on the Thames, 1905, oil on canvas, Musée Marmottan, Paris, France.

Monet’s work comes along only a few decades after Millet, and the style has moved on from Realism to Impressionism. What I find so fascinating is that an artwork can be analyzed on its own, or within the historical period it belongs to, or within the entire history of that particular art type (Western art, for example).

I could keep going on, but I guess the idea is that art can be viewed and thought about in so many different directions, and there are many other parts to it that I’m still discovering. Fine Arts, Art History, or anything to do with the word Art, is always discounted as “impractical,” and “not useful for a job” in a school context. It’s sadly underrated, but I strongly believe that art is of value and learning about it is of value, too.

My sister always reminds me that university is the best time to learn whatever you want. The things I learnt in school before university were out of necessity, though still important, but I didn’t have the liberty to choose what I wanted to do. University is great for that reason, and I think that every subject taught matters.

I just hope to let others see why I like Fine Arts so much. Outside of school too, I think everyone can learn about and appreciate art and I’m hoping to do that for a long, long time.

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