this exhibition - The Edge Galerie

SHARED PASSION
ART OF YUSOF GHANI
FROM THE DATUK SERI KALIMULLAH HASSAN COLLECTION
AND THE YUSOF GHANI COLLECTION
15 January - 13 February, 2015
Tel: +6-03-7721 8000പപEmail: [email protected]പപwww.theedgegalerie.com
G5-G6, Mont’Kiara Meridin, 19 Jalan Duta Kiara, Mont’Kiara, 50480 Kuala Lumpur
CONTENTS
Foreword
4
Artist’s Biodata
Preface
6
Index
8
Acknowledgements
Introduction
10
Collection of
Datuk Seri
Kalimullah Hassan
42
Collection of
Yusof Ghani
74
78
80
Detail from Mengalun. Refer to page 62
4
FOREWORD
CORPORATE FUNDAMENTALS
IN ACQUIRING ART
A
s a corporate figure, Datuk Seri Kalimullah
Masheerul Hassan, chairman of ECM Libra
Financial Group Bhd, really needs no introduction. But as an art collector, his engagement with
artists and the art world has yet to be documented.
Kalimullah confesses to having started buying art
out of a sense of obligation to help support local artists when he was the editor-in-chief of a newspaper
group and was asked to open art shows.
He credits his wife with influencing him in his
choice of art acquisitions as she has been a collector
for 20 years.
But by being in the financial industry, he has certain fundamental ideas about what to collect. He
has a preference for paintings by established artists
whose works are considered “blue-chip stocks” as
they have proved to have a certain value and which
can ultimately offer “dividend” in the end.
Kalimullah professes to not have the kind of
knowledge that astute collectors like Dr Steve Wong
have of the local art scene. For example, Wong
knows the background of even emerging artists and
the history behind certain works. Therefore, Kalimullah doesn’t resort to “stock-picking” the works of unknown or emerging artists.
Nevertheless, Kalimullah has his own sources of
information. For example, he is well aware of whose
works have seen a remarkable rise in prices at auctions in a certain period.
Like many collectors who prefer to buy what they
personally like and can live with, Kalimullah tends to
purchase art that catches his eye. And when it comes
to the art of Yusof Ghani, there is something that
draws him to the modernist’s works.
Although the corporate collector can buy directly from the artist and frequently acquires works
based on the latter’s recommendations, he also
buys at local auctions, chiefly when a desirable work
of the artist has turned up.
EXPRESSIONISTIC
Born in 1950, Yusof Ghani is one of the most celebrated modernists in Malaysia. His expressionistic style of
painting has produced many distinctive and significant
series that have been much sought-after by serious
collectors over the past three decades. Invariably, his
paintings revolve around “kinetic” figures, masks and
faces as well as landscapes and seascapes but each is
seemingly imbued with its own vortex.
Yusof’s popular series include Siri Tari, Topeng,
Wayang, Hijau, Segerak, Biring and, most recently, Ombak. On Nov 23, his painting, Biring Series
LXVI, was sold at an international auction in Hong
Kong for HK$212,500 (RM94,455).
The artist grew up in Johor and furthered his
studies in the US. He received his bachelor of fine
arts, majoring in graphic art, from George Mason
University in Virginia and his master of fine arts from
the Catholic University of America in Washington DC.
Yusof was also a lecturer and associate professor
at the Fine Art Department at UiTM in Shah Alam,
where he began his teaching career.
Presented by The Edge, this exhibition combines
the collections of two distinguished personalities
who are well known in their respective fields yet share
the same passion for art.
As part of The Edge Media Group, The Edge and
The Edge Galerie continue to build bridges for art lovers to enjoy major works of art in exclusive collections.
Ho Kay Tat
Publisher & Chief Executive Officer
The Edge Media Group
December, 2014
5
PREFACE
COLLECTING
EYE-CATCHING ART
I
started collecting art more than 10 years ago.
My wife has been at it longer.
I have a personal preference for figurative
art. My wife prefers abstract. Hence, I have built up a
collection of Burmese art, which is mainly figurative
but because of my wife’s influence, I have come to
appreciate abstract art as well.
On Malaysian artists, I have quite a bit of the
works of Khalil Ibrahim, Ismail Latiff, Ismail Mat Hussin and Datuk Chuah Thean Teng. I also have a few
works by Datuk Ibrahim Hussein, Latiff Mohidin and,
of course, Yusof Ghani.
I am not really an avid collector like many others I
have met. I don’t have vast knowledge of the history
or background of artists and their works like some
serious collectors.
But it’s a passion I have developed and I buy
what catches my eye — if I can afford it. I buy from
wherever I am travelling and have collected one or
two works from well-known artists in India, Sri Lanka,
Cuba, Turkey, Vietnam and Indonesia, and from galleries in New York, Los Angeles and London.
My wife complains that I have too many pieces
but when I hear of the collections of other collectors,
I tell my wife ours is very small — fewer than 500
works.
I noticed Yusof Ghani’s works many years ago and
I should have started buying them back then. But unfortunately, like I said earlier, I only became attracted
to abstract art a few years ago and my first purchase
of his work was probably three years ago. It was a
Segerak sketch for my office. I don’t know why but I
suddenly just liked it.
Then I started prowling auction houses and galleries and bought the Ombak series, Topeng, Wajah, Siri Tari and after meeting Yusof and becoming sort of friends, I started acquiring series that I did
not have in my collection.
6
I like Yusof’s expressive brushstrokes. Like the Siri
Tari works, and they have become so expensive
now. I wish I had bought more when I started collecting 10 years ago.
Now they are difficult to come by. I also like the
Topeng and Wajah series, although they are not a
favourite of my family or many of my friends. And I
like the Biring works.
My favourite is the Topeng painting that I own;
and of course, the Siri Tari works. My latest acquisition is a Siri Tari oil painting that I bought in an
auction in November.
I try to have at least one piece from each of his
series since he started and I now have all. I am trying
to build up my Siri Tari and Biring series. Let’s see
what the cat drags in.
I cannot articulate what draws me to Yusof’s
works, just the same way I cannot articulate why I like
Latiff Mohidin’s works.
I have become friends with many of the artists
whose works I collect. I knew the late Datuk Ibrahim
Hussein well.
I was introduced to Pak Latiff some time ago by
Datuk Tong Kooi Ong. Initially with Pak Latiff, it was
more an investment. But after buying the first two
from him, the paintings grew on me. I wish I had
bought some when Ibrahim was around. But I could
not afford his paintings then and was not passionate
enough about art at the time.
I also collect the works of many of the younger
artists as well as watercolour specialists like Ma’amor
Jantan, Chow Chin Chuan and the late Tan Choon
Ghee.
I have many of the works of Burmese grandmasters like Min Wae Aung, Khee Min Saw and Zaw Min,
whose works are like Chang Fee Ming’s but only a
fraction of the latter’s in pricing, and the phenomenal
young artist Khin Zaw Latt.
My displays are haphazard. In my office, I have
the works of various artists, including Yusof Ghani.
His are spread all over — in my house, my children’s
apartments, in our office boardroom. Totally haphazard. I suppose I will have to organise it better but at
the moment, I am content with what my eyes see.
Datuk Seri Kalimullah Hassan
Chairman
ECM Libra Financial Group Bhd
Kuala Lumpur
December, 2014
7
INTRODUCTION
SHARED PASSION
A
unique collaboration between two distinct
personalities — senior artist Yusof Ghani and
corporate collector Datuk Seri Kalimullah
Hassan — this exhibition offers an insight into the
kind of works an artist considers to be among his best
and what a private collector favours.
The idea for the exhibition came about after one
of many long chats between the artist and the collector on what prompts an artist to create and what
inspires a collector to acquire an artwork.
Yusof, who has been painting and exhibiting
since the 1980s, has established a close rapport with
Kalimullah, who has been buying his paintings for
years.
The two met for the first time several years ago
and Yusof felt it would be interesting to have both
their collections displayed side by side in an exhibition. Needless to say, Kalimullah was intrigued. After
all, they share a passion for art.
This exhibition features paintings from Yusof’s
earliest series, for example Tari, to his most recent
— Ombak. It also includes works from his Wajah and
Segerak series that he had kept aside over the years.
Apart from showing the artist’s thought process
and progress through the years, the exhibition also
highlights the aesthetic aspect of Kalimullah’s collection.
Of the 15 works picked from Yusof’s collection,
five are from his Wajah series (completed between
2008 and 2009), four from his Segerak Series V
(completed this year) and six from the Ombak series
(also completed this year).
Twenty-two works were initially chosen from
Kalimullah’s collection but they were finally whittled
down to 15. These paintings are from series that are
not in Yusof’s selection and include Siri Tari (completed in the late 80s and early 90s), Siri Topeng
(completed in the 90s and 2012), Wayang (completed in the late 90s), Hijau (2000), Segerak (completed in 2006 and 2014), Biring (2007), and Ombak
(completed in 2008 and 2013).
8
OMBAK
Yusof divides his Ombak series, which was nine years
in the making, into three phases. It was, first and foremost, inspired by the destruction wreaked in Aceh
by the 2004 tsunami. Overwhelmed by grief after
watching the aftermath on TV and listening to his
son-in-law’s accounts of his visits to the devastated
area, Yusof chose to picture the tragedy in his mind.
He painted the landscape and then he “became
the wave, coming into the picture, just letting go of
that feeling of misery, the pain I felt, into that painting”.
The second phase focused on the fragility of life,
its ups and downs. Yusof likened it to the waves of
the ocean, about which nothing is certain.
The final phase revolved around the beauty of nature. “The wave, the water, the flow, the rhythm, the
harmony that you see in nature, I wanted to capture
that. I also want to put this in the exhibition to show
the different period and time. Because paintings and
expressions involve a lot of emotion, my mood sometimes changes with the time. Such periodic changes
give different expressions,” says Yusof.
He likens the titling of his works to childbirth,
where a child is given his or her name after being
born. Sometimes, he chooses not to title his works
at all, fearing that the title will give away too much of
their meaning. Yusof prefers to let the viewers interpret the paintings on their own, to put their ideas into
the manifestation of his thoughts on canvas.
He says it was essential for him to move from
one series to another as he felt that if he did not
evolve, everything would become monotonous
and onerous. Everything would feel like it had been
done before and he found no challenge in that.
Yusof often chooses not to follow through with his
sketches when he paints. And on the rare occasion
that he does sketch, the outcome hardly mirrors his
initial drawings.
His works are expressive and never rushed. At
times, for hours on end, he would stand in front of
a blank canvas, trying to imagine the whole picture
that will unfold with the strokes of his brush and splatters of the paint.
“Sometimes, you get a little bit angry, then you
start to paint differently, the colours you use, the energy is also different,” the artist points out. “Sometimes,
there’s a force that pushes you to a level that is much
heavier, with feelings of more pain, more aggression,
more energy. I just follow the force. I never try to control it, I let it go. And that’s the interesting part. It’s like
a dialogue between you and the painting.”
EPHIPANY
Painting, for Yusof, is a documentation of the journey of life and a process of discovery. He paints
what he sees and as an intrepid traveller, he picks
up on the different cultures he comes into contact
with, absorbing the atmosphere, the elements and
the idea of it all.
Yusof feels his works when he was younger
would have had a different energy level, a different
flow in thought process.
Over the decades, he considers what he has
produced to be a diary of his thoughts, a reflection
of his emotions. And they differ from series to series, decade to decade.
“When I look at my old works, I always remember that period, that time, that stage, that emotion.
Through your experience, it’s also a prediction; you
can see what’s going to happen — that also makes
it different now as an older person, as a senior. When
you get older, there’s more definition as well. There’s
no more experimentation. It’s more definite, more
focus. It’s still interesting to experience the process,
through the years.”
Yusof recalls with fondness his younger days in his
hometown of Pontian in Johor. In school, he says he
was the “hero” or “champion” whenever art classes were held. And at 13, he hitchhiked his way to
Penang with just RM10 in his pocket — “no more, no
less” — in pursuit of adventure.
Later, he pursued his studies in graphic design and
fine art in the US. And he became a teacher in a tertiary institution for nearly three decades before opting
to become a full-time artist.
“My mind,” says Yusof, “I tend to think a lot, so
much so that sometimes I don’t want to know any
more about the world because I’m so sensitive. So,
all these things I let go by painting. I always tell myself, if I don’t paint, I don’t know what will happen
to me.”
Success has brought ample rewards to the wellknown modernist. He has built a spacious art gallery,
called Tapak, on a lot adjacent to his contemporary
detached house in Shah Alam. Here, he exhibits
works of other artists periodically. But it is his own
works, especially major paintings from his famous series, which take centre stage.
For the duration of this exhibition, some of Yusof’s
prized works will be featured in The Edge Galerie
along with the significant works that caught the eye
of Kalimullah.
9
10
COLLECTION OF
DATUK SERI
KALIMULLAH
HASSAN
11
SIRI TARI
DRAWING - #89,
1989
24cm x 33.5cm
Ink on paper
12
13
SIRI TARI
DRAWING - #89,
1989
24cm x 33.5cm
Mixed media on paper
14
15
SIRI TARI
LAMBAK III
1993
92cm x 62cm
Mixed media on canvas
16
17
SIRI TOPENG
DRAWING - #27-97
1997
40cm x 27cm
Mixed media on paper
18
19
SIRI TOPENG
TOPENG DUA
2012
91cm x 61cm
Oil and acrylic on canvas
20
21
WAYANG SERIES
INDERA
1997
97cm x 122cm
Mixed media on canvas
22
23
WAYANG SERIES
DRAWING - #12-96
1996
38cm x 28cm
Ink on paper
24
25
HIJAU SERIES
RIMBUN LAWAS
2000
122cm x 122cm
Oil on canvas
26
27
SEGERAK SERIES
DRAWING - #18-06
2006
28cm x 22cm
Ink on paper
28
29
SEGERAK SERIES
DRAWING - #19-06
2006
28cm x 22cm
Ink on paper
30
31
SEGERAK SERIES V
NO. 2
2014
143cm x 193cm
Oil and charcoal on canvas
32
33
BIRING SERIES
DRAWING - NO. 5
2006
50cm x 40cm
Mixed media on canvas
34
35
BIRING SERIES
DRAWING - NO. 6
2006
50cm x 40cm
Mixed media on canvas
36
37
WAJAH SERIES
HYDRAFINITY
2008
152cm x 178cm
Oil on canvas
38
39
OMBAK SERIES
DELITUA
2013
91cm x 102cm
Mixed media on silk
40
41
42
COLLECTION OF
YUSOF GHANI
43
WAJAH SERIES
ENTOURAGE V
2008
165cm x 140cm
Oil on canvas
44
45
WAJAH SERIES
AGONY OF ACHEH I
2008
168cm x 147cm
Oil on canvas
Collage on jute
46
47
WAJAH SERIES
AVENGER
2009
152cm x 122cm
Oil on canvas
48
49
WAJAH SERIES
PLAYWRIGHT
2009
152cm x 152cm
Oil on canvas
50
51
WAJAH SERIES
TRANQUIL I
2009
122cm x 183cm
Oil on canvas
52
53
SEGERAK SERIES V
NO. 1
2014
167cm x 152cm
Oil and charcoal on canvas
54
55
SEGERAK SERIES V
NO. 18
2014
127cm x 127cm
Oil and charcoal on canvas
56
57
SEGERAK SERIES V
NO. 25
2014
81cm x 66cm
Oil and charcoal on canvas
58
59
SEGERAK SERIES V
NO. 26
2014
81cm x 66cm
Oil and charcoal on canvas
60
61
OMBAK SERIES
MENGALUN
2014
91cm x 91cm
Oil on canvas
62
63
OMBAK SERIES
LABUK SUGUT
2014
91cm x 91cm
Oil on canvas
64
65
OMBAK SERIES
PINAWAN
2014
91cm x 91cm
Oil on canvas
66
67
OMBAK SERIES
KEPALAI
2014
122cm x 153cm
Oil on canvas
68
69
OMBAK SERIES
INANAM
2014
122cm x 153cm
Oil on canvas
70
71
OMBAK SERIES
PULUTAN
2014
122cm x 153cm
Oil on canvas
72
73
YUSOF GHANI
b. 1950
EDUCATION
1983
Master of Fine Art (Painting)
Catholic University of America, Washington DC, USA
1981
Bachelor of Fine Art (Graphic Art)
George Mason University, Virginia, USA
SELECTED SOLO EXHIBITIONS
2014
OMBAK “BREATH OF LIFE”
Museum and Art Gallery, Bank Negara Malaysia
1998
WAYANG II
Artfolio Gallery, Singapore
CAPTURED MOMENT
Embassy of Malaysia, Washington DC, USA
1997
WAYANG
Galeri Citra, Kuala Lumpur, Malaysia
TOPENG – WAYANG
Jenkins Johnson Gallery, San Francisco, USA
2013
TOPENG DUA
Chan Hampe Gallery, Raffles, Singapore
2011
TAMAN
Puncak Art Gallery, Shah Alam, Malaysia
2010
WAJAH II
Galeri Nasional, Jakarta, Indonesia
2009
WAJAH
Richmond Art and Cultural Center, Vancouver, Canada
1995
TOPENG II
Galeri Citra, Kuala Lumpur, Malaysia
2008
SEGERAK IV
Rotunda, Exchange Square, Hong Kong
1994
WORK ON PAPER
Galeri Shah Alam, Malaysia
2007
BIRING
Wei Ling Gallery, Kuala Lumpur, Malaysia
1993
TOPENG
Galeri Citra, Kuala Lumpur, Malaysia
2006
SEGERAK III
Wei Ling Gallery, Kuala Lumpur, Malaysia
1992
WORK ON PAPER
Galeriwan, Kuala Lumpur, Malaysia
2005
SEGERAK II
Tapak, Shah Alam, Malaysia
1989
TARI
Galeri Citra, Kuala Lumpur, Malaysia
2004
SEGERAK
Art Case Gallery, Kuala Lumpur, Malaysia
1984
PROTEST
Anton Gallery, Capitol Hill, Washington D.C., USA
SEVEN MASTERPIECES FROM TARI TO HIJAU
Elm Quay Fine Arts, Kuala Lumpur, Malaysia
1983
SIRI TARI
Slavia Regina, Catholic University of America,
Washington D.C., USA
2002
HIJAU 1998-2002
Galeri Petronas, KLCC Twin Towers, Kuala Lumpur, Malaysia
2002
TARI – DRAWING 1993-1996
Elm Quay Fine Arts, Kuala Lumpur, Malaysia
2001
TOPENG – CLASSIC WORK ON PAPER 1995-1997
Elm Quay Fine Arts, Kuala Lumpur, Malaysia
HIJAU – RENIK
Art Case Galleries, Kuala Lumpur, Malaysia
2000
HIJAU – RHYTHM OF NATURE
Art Case Galleries, Kuala Lumpur, Malaysia
HIJAU – RHYTHM OF NATURE
Artfolio Gallery, Singapore
1999
74
TOPENG UNVEILS
Elm Quay Fine Arts, Kuala Lumpur, Malaysia
1996
WORK ON PAPER III
Maybank Art Gallery, Kuala Lumpur, Malaysia
TOPENG III
Takashimaya Gallery, Singapore
SELECTED GROUP EXHIBITIONS
2014
DUALITY II – YUSOF GHANI & ATIQA YUSOF
Kuzminki Park, Moscow, Russia
DESTINATION II
Museum of Fine Art, Hanoi, Vietnam
2013
2012
2000
LIGHT & REFLECTION
Art Case Gallery, Kuala Lumpur, London, Kensington,
San Francisco and New York
1999
V’SPARTIO
Artfolio Gallery, Singapore
ART EXCHANGE
Mulae Art Gallery, Seoul, South Korea
MALAYSIAN ART
Atrium Gallery, London, United Kingdom
LINK – JAPAN, HOLLAND, INDONESIA, MALAYSIA
Tokoh Museum, Johor Bahru, Malaysia
EARTH
Puncak Art Gallery, Shah Alam, Malaysia
ASIAN PAINTING
Earl Lu Gallery, Singapore
1998
MALAYSIA-VIETNAM CONTEMPORARY
Hanoi Museum of Fine Art, Hanoi, Vietnam
RUPA MALAYSIA
Brunei Gallery, London, United Kingdom
CONTEMPORARY MALAYSIA ART
Abu Dhabi Cultural Art Center, Abu Dhabi, UAE
2011
KALAM III
Puncak Art Gallery, Shah Alam, Malaysia
2010
TIGER SHOW
Wei Ling Gallery, Kuala Lumpur, Malaysia
1997
SPICES
Pace Gallery, Kuala Lumpur, Malaysia
INAUGURAL EXHIBITION
Jenkins Johnson Gallery, San Francisco, USA
1996
KALAM: THE IMPRESSIONS OF CALLIGRAPHY
Chandan Gallery, Kuala Lumpur, Malaysia
A CELEBRATION OF NATURE
Galeri Petronas, KLCC Twin Towers, Kuala Lumpur, Malaysia
1995
STARHILL SCULPTURE FESTIVAL
Starhill Gallery, Kuala Lumpur, Malaysia
PAPER CURTAIN
Atrium Gallery, Singapore
1994
8th TRIENNALE
India Museum of Modern Art, New Delhi, India
2009
2008
WARNA: THE MALAYSIAN CONTEMPORARY ART
EXHIBITION IN HONG KONG
Hong Kong National Library, Causeway Bay, Hong Kong
WARNA: THE MALAYSIAN CONTEMPORARY ART
EXHIBITION IN HONG KONG
Malaysia Building, Wanchai, Hong Kong
2007
TRIPTYCH OF MINDS
The Gallery @ Starhill, Kuala Lumpur, Malaysia
2006
MIND, BODY and SOUL
Wei Ling Gallery, Kuala Lumpur, Malaysia
18@8 Kuala Lumpur
Karachi, Amin Gulgee Gallery, Karachi, Pakistan
2003
MALAYSIA-THAILAND Contemporary Art
RCK Tower, Bangkok, Thailand
2002
JEJAK KEMBALI
Australian High Commission, Kuala Lumpur, Malaysia
IMAJAN MALAYSIA
Maybank Art Gallery, Kuala Lumpur, Malaysia
2001
SOUTHEAST ASIAN PICTURES
Christies International, Singapore
ARUS
Sun Jin Gallery, Singapore
GETARAN JIWA
Museum of Antropology, Madrid, Spain
1993
IMPRESSION OF NUSANTARA
Ginza Pocket Park Gallery, Tokyo, Japan
1992
ISLAMIC ART
National Art Gallery, Kuala Lumpur, Malaysia
1991
TRIPTYCH OF MIND
Singapore Art Museum, Singapore
1990
TITIAN 3
National Art Gallery, Bangkok, Thailand
1989
INTERNATIONAL ART EXHIBITION & WORKSHOP
Kuching Civic Center, Kuching, Malaysia
1988
CONTEMPORARY PAINTINGS OF MALAYSIA
Pasific Asia Museum, Los Angeles, USA
BAGHDAD INTERNATIONAL ART FESTIVAL
Saddam Art Center, Baghdad, Iraq
1984
ARTIST CALL
Gallery Intae, Washington D.C., USA
75
AWARDS
KELAB DARUL EHSAN
Kuala Lumpur, Malaysia
1985
MALAYAN BANKING
Kuala Lumpur, Malaysia
MAJOR, UNICEF Art Asia
Kuala Lumpur, Malaysia
MINOR, PNB Art Competition
Kuala Lumpur, Malaysia
1981
MOST CREATIVE PROJECT
(GRAPHIC ART)
George Mason University,
Virginia, USA
Dr BURT ARMANDA
SCHOLARSHIP
George Mason University,
Virginia, USA
PUBLIC COLLECTIONS
AMERADA HESS
Kuala Lumpur, Malaysia
ANTON GALLERY
Washington DC, USA
ARTFOLIO GALLERY
Singapore
ASCOT
Kuala Lumpur, Malaysia
BANK NEGARA
Kuala Lumpur, Malaysia
BASF
Kuala Lumpur, Malaysia
CCM
Kuala Lumpur, Malaysia
CHANGI AIRPORT
Singapore
CONCORDE HOTEL
Shah Alam, Malaysia
DIGI TELECOMMUNICATION
Kuala Lumpur, Malaysia
EARL LU GALLERY
Singapore
EQUATORIAL HOTEL
Penang & Kuala Lumpur, Malaysia
GALERI CITRA
Kuala Lumpur, Malaysia
GALERI SHAH ALAM
Shah Alam, Malaysia
GALERI NASIONAL JAKARTA
Indonesia
HEI TECH VILLAGE
Subang Jaya, Malaysia
HIJJAZ KASTURI & ASSOCIATES
Kuala Lumpur, Malaysia
ISTANA MESTIKA
Shah Alam, Malaysia
ISTANA NEGARA
Kuala Lumpur, Malaysia
JENKINS JOHNSON GALLERY
San Francisco, USA
76
MALAYSIA MINING CORPORATION
Kuala Lumpur, Malaysia
BIBLIOGRAPHY
CATALOGUES AND PERIODICALS
2006
MALAYSIAN AIRLINES
Kuala Lumpur, Malaysia
MTC
Kuala Lumpur, Malaysia
SEGERAK III
Wei-Ling Gallery
Exhibition catalogue
by Lim Wei-Ling
NATIONAL ART GALLERY
Kuala Lumpur, Malaysia
ORIENTAL BANK
Kuala Lumpur, Malaysia
2002
PAREMBA
Kuala Lumpur, Malaysia
PETRONAS REFINERY
Melaka, Malaysia
YUSOF GHANI, HIJAU
– RHYTHM OF NATURE II
Artfolio Gallery, Exhibition
catalogue by Associate Prof Dr Dzul
Haimi Md. Zain
PETRONAS KLCC
Kuala Lumpur, Malaysia
SHERATON HOTEL
Subang Jaya, Malaysia
1998
SILTERRA CORPORATION
Malaysia
SPANCO CORPORATION
Kuala Lumpur, Malaysia
TREASURE OF RAINFOREST
A Malaysian Art Experience,
Malaysia Timber Council, Sept
1996
STANDARD CHARTERED BANK
Kuala Lumpur, Malaysia
STATE DEVELOPMENT CORPORATION
Kuching, Malaysia
TOKYO GAS
Tokyo, Japan
WISMA PUTRA
Putrajaya, Malaysia
YOUTH CENTER
Washington DC, USA
YTL CORPORATION
Kuala Lumpur, Malaysia
ZAIN & CO.
Kuala Lumpur, Malaysia
WAITING FOR THE DUST
TO SETTLE
Asian Art News, September /
October.
THE MASK MAN
Sun Magazine, April 12
1995
THE MASK OF YUSOF GHANI
Yusof Ghani Topeng II, Galeri Citra,
Exhibition Catalogue
1993
LOOKING FOR A NEW
DIRECTION
by Karim Raslan, Asian Art News,
January / February
UMW TOYOTA
Kuala Lumpur, Malaysia
UNILEVER
Kuala Lumpur, Malaysia
RUPA MALAYSIA –
CONTEMPORARY MALAYSIAN
ART
by Redza Piyadasa, National Art
Gallery / Brunei Art Gallery, London
SOUTH EAST ASIAN PICTURES
Christie’s International Singapore,
Auction Catalogue, May 18
SINGAPORE ART MUSEUM
Singapore
SOUTHERN BANK
Kuala Lumpur, Malaysia
MAN OF ART
by Keith Leong, Art Corridor,
September / October
YUSOF GHANI, HIJAU
– RHYTHM OF NATURE
Art Case Galleries, Exhibition
catalogue by Mohamad Khalil
Amran
PERBADANAN NASIONAL BERHAD
Kuala Lumpur, Malaysia
SAPURA HOLDINGS
Kuala Lumpur, Malaysia
18@8
Kuala Lumpur-Karachi
Wei-Ling Gallery / Amin Gulgee
Gallery
Exhibition catalogue
by Li-En Chong
TOWARDS AN ALTERNATIVE
VISION, THE IDEAS OF
MALAYSIAN ART SINCE 1980
edited by T K Sabapathy, pg 79-80
Vision & Idea: Relooking Modern
Malaysia Art
IMPRESSION OF NUSANTARA
Contemporary Malaysian Art
Exhibition
Catalogue essay by Ginza Pocket
Park, Tokyo
1992
1989
1987
STOKING THE FIRE OF ART
Yusof Ghani: Painting, Drawings
& Installation Works
New Sunday Times, August 30
REVIEWS
2006
SIRI TARI
Essay by Hijjas Kasturi, Exhibition
catalogue
TWENTY-FIVE YEARS OF
MALAYSIAN ART
Exhibition catalogue, National Art
Gallery, Kuala Lumpur
2003
2001
1998
SPIRIT SHOW
The Star, Li-en Chong, March 5
1991
1+FIGURES
New Straits Times, Loke Poh Lin,
March 7
REVELATIONS OF THE MIND
Singapore Straits Times,
T K Sabapathy, August 23
1990
PROTEST IN ART
New Straits Times, Ooi Kok Chuen,
January 21
1989
YUSOF GHANI’S SEVEN
MASTERPIECES FROM TARI TO
HIJAU
The Star, May 22
2002
FURY UNLEASHED
New Straits Times, July 9
2001
SEAMEO SPAFA
Seminar on Socio-Cultural Analysis
and Interpretation of SEA Folkfore.
Yogyakarta
WINDOW TO YUSOF GHANI’S
ARTISTIC WORKING
The Star, S Vinotha, April 17
A POWERFUL VISUAL
EXPERIENCE
The Star, Victor Chin, March 12
2000
GREEN MAN
The Malay Mail, Wilson Henry,
August 25
SINGAPORE ART FESTIVAL
Lecture, Slide Presentation
and Exhibition
2010
WAJAH
Tapak, Shah Alam
2008
SEGERAK IV
Ming Sun Wan
& The Gallery@Star Hill
Hong Kong & Kuala Lumpur
2004
PUTTING THE MESSAGE ON
PAPER
The Star, Briggite Rozario,
August 24
SEAMEO SPAFA
Workshop on Public Art: Purpose,
Promotion and Persuasion. Bangkok
BOOKS
2007
THE PASSION OF AN ANGRY
MAN
The Star, Lim Chia Ying, March 4
STOKING THE FIRE OF ART
New Straits Times, Ooi Kok Chuen,
August 30
YUSOF GHANI WORLD OF
CHAOS
New Straits Times, Ooi Kok Chuen,
March 12
RESEARCH AND SEMINARS
2002
1992
BIRING
Wei-Ling Gallery, Kuala Lumpur
HIJAU
Galeri Petronas, Kuala Lumpur
1999
CAKERAWALA NUSANTARA –
Poetry & Art
(Antology of Poems & Paintings)
Maybank Kuala Lumpur
1997
YUSOF GHANI: DRAWINGS
Rusli Hashim Fine Art, Kuala Lumpur
1996
YUSOF GHANI:
SIRI TARI – TOPENG
Rusli Hashim Fine Art, Kuala Lumpur
SOUTHEAST ASIAN ART
Reoder Publications, Australia
THE HAUNTING
The Washington Post, Jo Ann Lewis,
August 12
NATURE IN FULL FORCE
New Straits Times, Ooi Kok Chuen,
September 15
MAKING AN ARTISTIC
STATEMENT
The Star, Victor Chin, September 10
1999
UNVEILING THE WORK OF YUSOF
GHANI
The Star, Salina Khalid, July 10
1997
WAYANG ON SHOW
The Sun, Michelle Woo, October 9
REVEALING IN COLOUR &
DRAMA
Sunday Star, J Anu, September 28
1996
SEGERAK
Utusan Publications
and Distributors Sdn Bhd
Kuala Lumpur
2002
1984
YUSOF PAINTS A TRIBAL
STATEMENT
New Straits Times, Sharmin
Varghese, March 17
GROTESQUE INTERPRETATION
OF MASK AS OBJECTS OF
WORSHIP
Singapore Straits Times, Swie
Wong, March 23
1995
YUSOF UNVEILING THE MASK
The Star, Shahrin Shamsuddin,
August 27
EXPRESSIONS FROM THE HEART
The Edge, Sharmin Varghese,
August 21
THE MASK MAN
The Sun Magazine, Y A Ghani,
April 12
1994
YUSOF’S INTO UNMASKING
HYPOCRISY
New Straits Times, Zieman, May 3
1993
THE MASK OF IRONY
The Star, Briggite Rozario, July 28
77
INDEX
78
Agony of Acheh I
46
Avenger
48
Delitua
40
Drawing -#12-96
24
Drawing -#18-06
28
Drawing -#19-06
30
Drawing -#27-97
18
Drawing -#89
12
Drawing -#89
14
Drawing # no.5
34
Drawing # no.6
36
Entourage V
44
Hydrafinity
38
Inanam
70
Indera
22
Kepalai
68
Labuk Sugut
64
Lambak III
16
Mengalun
62
No.1
54
No.18
56
No.25
58
No.26
60
Pinawan
66
Playwright
50
Pulutan
72
Rimbun Lawas
26
Segerak V no.2
32
Topeng Dua
20
Tranquil I
52
79
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19 Jalan Duta Kiara, Mont’ Kiara
50480 Kuala Lumpur
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Email: [email protected]
EXHIBITION PERIOD:
15 January -13 February, 2015
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COVER
Indera, 1997, 97cm x 122cm, mixed media on canvas
BACK COVER
Pulutan, 2014, 122cm x 153cm, oil on canvas
80