Tang Da Wu

File:Goldsmiths Main Building.jpg – photographed in May 2006]]

Tang Da Wu was born Thang Kian Hiong in Singapore in 1943,{{citation|title=About the Artists: DA WU TANG (b. 1943, Singapore)|url=http://www.nac.gov.sg/eve/eve12.asp|archive-url=https://web.archive.org/web/20080118195550/http://www.nac.gov.sg/eve/eve12.asp|archive-date=18 January 2008|publisher=National Arts Council|year=2007|access-date=19 October 2008}}. the eldest of four sons. His second brother Thang Kiang How is himself a visual artist based in Singapore.{{citation|title=Thang Kiang How|url=http://www.mass.org.sg/thang-kiang-how.html|archive-url=https://web.archive.org/web/20110325115241/http://www.mass.org.sg/thang-kiang-how.html|archive-date=25 March 2011|publisher=Modern Art Society, Singapore|access-date=7 April 2011|url-status=dead}}. His father was a journalist with the Chinese daily newspaper Sin Chew Jit Poh{{citation|author=Adeline Chia|title=Tang's dynasty|newspaper=The Straits Times|date=7 August 2008}}.It is not known whether he has any sisters: Chia, "Tang's Dynasty". He studied at a Chinese-medium school,{{citation|title=Arts and Culture Prize: TANG Da Wu|url=http://www.asianmonth.com/prize/english/winner/10_04.html|publisher=Asian Month|year=1999|access-date=20 October 2008|archive-url=https://web.archive.org/web/20090424055914/http://www.asianmonth.com/prize/english/winner/10_04.html|archive-date=24 April 2009|url-status=live}}. but disliked English and mathematics and was often scolded by his teachers. He preferred playing after school with neighbourhood children and learned to speak Malay and Chinese from them. He also enjoyed drawing, and gained confidence when his secondary school paintings were accepted in art competitions.{{citation|author=Sadao|first=Ogura|title=Forum: My challenge, my Asia|url=http://www.asianmonth.com/prize/english/lecture/pdf/10_01.pdf|year=1999|archive-url=https://web.archive.org/web/20081031051843/http://www.asianmonth.com/prize/english/lecture/pdf/10_01.pdf|publisher=Asian Month|access-date=20 October 2008|archive-date=31 October 2008|url-status=live}}.

In 1968, Tang was awarded a diploma in youth and community works from the National Youth Leadership Institute. Two years later, in 1970, his first solo exhibition of drawings and paintings sponsored by the Singapore Art Society was staged at the Singapore Chinese Chamber of Commerce and Industry.{{citation|title=[Tang Da Wu: Artist CV]|url=http://www.artsasia.com.my/exhibits/06tangdawu/smallsite/artistcv.htm|archive-url=https://web.archive.org/web/20080210004356/http://www.artsasia.com.my/exhibits/06tangdawu/smallsite/artistcv.htm|archive-date=10 February 2008|publisher=Valentine Willie Fine Art|year=2006|access-date=18 October 2008}}. Subsequently, he went to the United Kingdom to study, majoring in sculpture. He graduated with a Bachelor of Fine Arts (BFA), with first class honours, from the School of Fine Art, Birmingham Polytechnic, in 1974. While abroad he changed his name to Da Wu, which is Mandarin for "big mist".{{citation|title=Tang Da Wu, the Artists Village|url=http://www.usp.nus.edu.sg/post/singapore/arts/painters/channel/24.html|archive-url=https://web.archive.org/web/20071120185040/http://www.usp.nus.edu.sg/post/singapore/arts/painters/channel/24.html|archive-date=20 November 2007|publisher=University Scholars Programme, National University of Singapore|date=May 2000|access-date=18 October 2008}}. Tang later returned to the UK and attended advanced courses at the Saint Martins School of Art.{{citation|contribution=Tang Da Wu (1943– )|editor=Tommy Koh|editor-link=Tommy Koh|title=Singapore: The Encyclopedia|location=Singapore|publisher=Editions Didier Millet in association with the National Heritage Board|year=2006|isbn=978-981-4155-63-2|page=547}}. He received a Master of Fine Arts (MFA) in 1985 from Goldsmiths' College, University of London, and a doctorate in 1988.{{citation|author=Sharifah Arfah|title=Faces of Singapore|newspaper=New Straits Times|date=28 January 2006}}.

Tang is married to an Englishwoman, Hazel McIntosh.{{citation|author=Adeline Chia|title=First artist colony|newspaper=The Straits Times|date=7 August 2008}}. They have a son, Ben Zai, known professionally as Zai Tang, who is a sound artist living in the UK.{{citation|author=David Chew|title=Pushing boundaries; Familiar sights and sounds get a new twist from local audio-visual artist Zai Tang|newspaper=Today|date=8 September 2006|page=58}}.

Returning to Singapore in 1979 after completing his undergraduate studies, Tang engaged in performance art, works of art that are composed of actions performed by the artist at a certain place and time. The following year, he staged a work of installation art called Earthworks at the National Museum Art Gallery. This comprised two works, The Product of the Sun and Me and The Product of the Rain and Me, which were made up of dishes of earth, lumps of soil, and pieces of soiled and water-stained linen which he had hung in gullies at Ang Mo Kio, a construction site in the process of being turned into a public housing estate. Installation art uses sculptural materials, and sometimes other media such as sound, video and performance, to modify the way a particular space is experienced.

In 1988, Tang founded The Artists Village, originally located at 61B Lorong Gambas in rural Ulu Sembawang, in the north part of Singapore. The first art colony to be established in Singapore, its goal was to inspire artists to create experimental art. Tang described the Artists Village as:

{{Quote|... [an] alternative venue dedicated to the promotion and encouragement of experimental and alternative arts in Singapore. It endeavors to establish an open space for artists to mature at their own pace, and to provide a conducive environment which allows them to experiment, experience and exchange ideas.Quoted in {{citation|author=T.K. Sabapathy|title=The Space: An Introduction|location=Singapore|publisher=Artists Village|year=1992|page=1}}, and in {{citation|author=T.K. Sabapathy|chapter=Contemporary Art in Singapore: An Introduction|editor=Caroline Turner|title=Tradition and Change: Contemporary Art of Asia and the Pacific|location=Queensland|publisher=University of Queensland Press|year=1993|isbn=978-0-7022-2583-3|page=83 at 86}}: see {{citation|author=Lynn Gumpert|title=A Global City for the Arts? – Singapore|url=http://findarticles.com/p/articles/mi_m1248/is_n12_v85/ai_20094661/pg_1?tag=artBody;col1|newspaper=Art in America (reproduced on FindArticles)|date=December 1997|access-date=23 October 2008}} {{Dead link|date=October 2010|bot=RjwilmsiBot}}.}}

T.K. Sabapathy noted: "The Village was a beacon, and Da Wu both a catalyst and mentor."Sabapathy, "Contemporary Art in Singapore", p. 88: see Gumpert, "A Global City for the Arts?". Among the artists who moved to the Village were Ahmad Mashadi, Faizal Fadil, Amanda Heng, Ho Soon Yeen, Lim Poh Teck, Tang Mun Kit, Wong Shih Yaw, Juliana Yasin and Zai Kuning.{{citation|author=Lynn Gumpert|title=A Global City for the Arts? – Singapore|url=http://findarticles.com/p/articles/mi_m1248/is_n12_v85/ai_20094661/pg_1?tag=artBody;col1|newspaper=Art in America (reproduced on FindArticles)|date=December 1997|access-date=23 October 2008}} {{Dead link|date=October 2010|bot=RjwilmsiBot}}. They were among the first contemporary artists in Singapore, and also among the first to begin practising installation art and performance art. Tang mentored younger artists and exposed them to artistic developments in other parts of the world. He also organized exhibitions and symposia at the Village, and arranged for collaborations with the National Museum Art Gallery and the National Arts Council's 1992 Singapore Festival of the Arts. Although The Artists Village lost its original site in 1990 due to land development,{{citation|author=Mayo Martin|title=Village people: Their legacy lives on: The Artists Village turns 20. Is it now time to call it a day?|url=http://www.todayonline.com/articles/271632.asp|archive-url=https://archive.today/20081023135402/http://www.todayonline.com/articles/271632.asp|url-status=dead|archive-date=23 October 2008|newspaper=Today|date=19 August 2008}} . it was registered as a non-profit society in February 1992 and now stages events in various public spaces.{{citation|title=About us|url=http://www.tav.org.sg/About_Us.htm|archive-url=https://web.archive.org/web/20070630165113/http://tav.org.sg/About_Us.htm|archive-date=30 June 2007|publisher=The Artists Village|year=2005|access-date=23 October 2008}}.

File:Tang_Da_Wu,_Don't_Give_Money_to_the_Arts.jpg]]

In January 1994, artist Josef Ng cut off his pubic hair with his back to the audience during a performance protesting the media's coverage of gay issues. The event was reported by The New Paper, and the resulting public outcry over its perceived obscenity led the National Arts Council (NAC) to cease funding unscripted performance art. After that, Tang and other performance artists practised their art mostly abroad, although some performances were presented in Singapore as dance or theatre. Interviewed in August 2001, T. Sasitharan, co-director of the Practice Performing Arts School, said that a review of the NAC's policy was "long overdue" and noted that although Tang had received the Fukuoka Asian Culture Prize in 1999, "the art form he practises is de facto banned in Singapore". The NAC eventually reversed its no-funding rule on performance art in September 2003.{{citation|author=Clarissa Oon|title=Look back, look forward|newspaper=The Straits Times|date=27 August 2001}}; {{citation|author=Clarissa Oon|title=Hello, yellow fellow|newspaper=The Straits Times|date=21 October 2003}}; {{citation|author=Cheah Ui-Hoon|title=Coming in from the cold|newspaper=The Business Times (Singapore)|date=28 November 2003}}.

In August 1995, the President of Singapore Ong Teng Cheong visited Singapore Art '95, an exhibition and sale of artworks by Singapore artists. Tang wore a black jacket emblazoned on the back with "Don't give money to the arts" in yellow and handed a note to the President that read, "I am an artist. I am important."{{citation|author=Sian E. Jay|title=Ironic twist to Substation fund-raiser|newspaper=The Straits Times|date=15 November 2000}}. Although Tang was prevented from speaking to the President by an aide-de-camp, he later told the media he wished to tell the President that artists are important and that public money funded the "wrong kind of art", art that was too commercial and had no taste.{{citation|title=Pay more attention to the arts – President|newspaper=The Straits Times|date=12 August 1995}}.

Tang was the subject of one episode of artist Ho Tzu Nyen's documentary television series 4x4 Episodes of Singapore Art, which was broadcast on Arts Central (present-day Okto channel) in October 2005.{{citation|author=Clara Chow|title=Four to the fore|newspaper=The Straits Times (Life!)|date=27 September 2005}}; {{citation|author=Dana Lam Yoke Kiew|title=Arts series a good show [letter]|newspaper=The Straits Times (Life!)|date=4 November 2005}}. He was also one of the four artists representing Singapore at the 2007 Venice Biennale. He presented an installation, Untitled, consisting of two beds positioned upright, the trunks of plantain trees, a portable ancestral altar, a handmade album of drawings and photographs, and other found objects. Drawings of people and faces were strapped to the beds and wrapped around the tree trunks. The installation was accompanied by a recording by Tang's son, Zai Tang, of sounds captured in Venice during a single day. The work was described by the National Arts Council as suggestive of "the restlessness, rootlessness, spiritual wandering and emotional estrangement that mark the travelling life".See also {{citation|author=Adeline Chia|title=Bien there, done that ... now what?|newspaper=The Straits Times (Life!)|date=26 April 2007}}. In 2007, a work by Tang consisting of ink paintings around a well, and representing the erosion of village communities by urban development, was acquired by the Queensland Art Gallery for its Gallery of Modern Art.{{citation|title=Recent acquisitions – Australian, International and Asian and Pacific Collections|url=http://www.qag.qld.gov.au/exhibitions/current/recent_acquisitions|publisher=Queensland Art Gallery|year=2007|access-date=21 October 2008|url-status=dead|archive-url=https://web.archive.org/web/20080929022623/http://qag.qld.gov.au/exhibitions/current/recent_acquisitions|archive-date=29 September 2008}}. From January to June 2016, Tang presented Earth Work 1979 at the National Gallery Singapore, a re-staging of his 1979 exhibition, the first recorded instance of Singapore land art. The exhibition includes "Gully Curtains", where Tang placed large pieces of fabric between gullies and let the rain and sun mark the fabric.{{cite news|last1=Shetty|first1=Deepika|title=National Gallery's two new exhibitions on groundbreaking South-east Asian modern art includes Tang Da Wu's solo show|url=http://www.straitstimes.com/lifestyle/national-gallerys-two-new-exhibitions-on-groundbreaking-south-east-asian-modern-art|access-date=10 February 2016|work=The Straits Times|publisher=Singapore Press Holdings|date=21 January 2016|archive-url=https://web.archive.org/web/20160125180923/http://www.straitstimes.com/lifestyle/national-gallerys-two-new-exhibitions-on-groundbreaking-south-east-asian-modern-art|archive-date=25 January 2016|url-status=live}} His work Tiger's Whip (1991) is also displayed at the National Gallery's DBS Singapore Gallery.{{cite web|title=Tiger's Whip|url=https://www.nationalgallery.sg/artworks/artwork-detail/1993-01665/tigers-whip|website=National Gallery Singapore|access-date=10 February 2016}} In 2017, Tang started the performance-art group Station House Da Opera, comprising more than 60 art educators, students, and fellow local artists.{{cite web |title=Letters to Theo |url=https://www.esplanade.com/festivals-and-series/visual-arts/2018/letters-to-theo |website=Esplanade |access-date=10 September 2019}}

Known for his reticence, Tang remains an enigmatic person. In an August 2008 interview with the Straits Times, fellow artist Vincent Leow said of Tang: "He's a very hands-on person, very improvisational and has good ideas. But he doesn't really talk much. You can't really tell who he is."

Tang has expressed concern about environmental and social issues through his art, such as the works They Poach the Rhino, Chop Off His Horn and Make This Drink (1989), Under the Table All Going One Direction (1992) and Tiger's Whip, also known as I Want My Penis Back (1991). He first presented the latter work, an installation and performance piece, in 1991 in Singapore's Chinatown. It consisted of ten life-sized tigers made from wire mesh covered with white linen. Tang, wearing a sleeveless white garment, would perform amidst them as poacher, tiger, and man consuming the tiger's penis. File:Tiger's Whip.jpg]]

A modified version of the work was further developed as an installation during the two-week A Sculpture Seminar organised by Tang in 1991 to discuss ideas about sculpture, with many artists from The Artists Village participating.{{cite book|last1=Toh|first1=Charmaine|title=Siapa Nama Kamu? Art in Singapore Since the 19th Century|date=2015|publisher=National Gallery Singapore|isbn=9789810973841|editor1-last=Low|editor1-first=Sze Wee|page=92|chapter=Shifting Grounds}} Tang brought one of the tigers from his earlier performances of Tiger's Whip as a teaching tool, and participants contributed their thoughts on its form and structure. This process led to the creation of the final form of the installation, collaboratively developed and exhibited during A Sculpture Seminar, as a single tiger pouncing on a rocking chair, with a trail of red fabric akin to a stream of blood. In February 1995, the Museum chose Tiger's Whip to represent Singapore at the Africus International Biennale in Johannesburg, South Africa.{{citation|author=Phan Ming Yen|title=American glass sculptor's work will be on permanent display|newspaper=The Straits Times|date=2 February 1995}}; {{citation|author=Leong Weng Kam|title=Aces go places – Singapore artists making their mark overseas|newspaper=The Straits Times|date=19 February 1995}}. Another of Tang's works in the Singapore Art Museum is an untitled sculpture often called Axe (1991), which is an axe with a plant growing out of its wooden handle.{{citation|title=Five must-see exhibits|newspaper=The Straits Times (Life!)|date=7 August 2008}}. It is regarded as an early example of found object art in Singapore.{{citation|author=Seng Yu Jin|title=It takes a village to shape an arts scene|newspaper=The Straits Times (Life!)|date=13 September 2008}}.

A focus of Tang's art is the theme of national and cultural identities, I Was Born Japanese (1995) being an example. Tang notes that he has had four nationalities. He was issued with a Japanese birth certificate as he was born during the Japanese Occupation of Singapore. He became a British national after World War II, a Malaysian citizen when Singapore joined the Federation of Malaysia in 1963, and a Singaporean citizen when Singapore gained full independence in 1965. While living in the UK he was conscious of his Chinese identity, but later on he took the view that he might not be fully Chinese since China had been occupied by the Mongols and Manchurians: "I'm not sure if I'm 100% Chinese blood. I'm sure my ancestor has got mixture of Mongolian and even Thai and Miao people {{sic}}. We are all mixed, and this is true. But I always like to think that there is only one race in the world. We are all one human race." Another of Tang's performances, Jantung Pisang – Heart of a Tree, Heart of a People,Jantung is Malay for "core" or "heart", while pisang means "banana": {{citation|author=R.J. Wilkinson|author2=A.E. Coope|author3=Mohd. Ali bin Mohamed|contribution=jantong; pisang|title=An Abridged Malay–English English–Malay Dictionary|edition=Pocket|location=London|publisher=Macmillan & Co.|year=1963|pages=104, 212}}. centres around the banana tree. He was inspired by the fact that the banana is used widely in Southeast Asia as an offering to bring blessings, but is also feared as it is associated with ghosts and spirits. He also sees banana trees as a reminder of the lack of democracy in certain parts of the world: "Democracy in many Asian countries and Third World countries is as shallow as the roots of a banana tree. We need to deepen [democracy]."{{citation|title=New Asian artists lauded at events marking Fukuoka culture awards|newspaper=Yomiuri Shimbun|date=6 October 1999}}.

Tang has participated in numerous community and public art projects, workshops and performances, as he believes in the potential of the individual and collective to effect social changes. He has said: "An artist should introduce to others what he sees and learns of something. His works should provoke thoughts, not to please the eyes or to entertain, much less for decoration."

Tang received a Singapore International Foundation art grant to participate in the International Art Symposium in Meiho, Japan, in October 1994.{{citation|author=Lee Yin Luen|title=SIF's $230,000 helps smoothen road for talented Singaporeans|newspaper=The Straits Times|date=10 May 1995}}. In March the following year, he received a trophy and S$20,000 from the Japanese Chamber of Commerce and Industry Foundation.{{citation|title=Japanese business group gives out $211,000|newspaper=The Straits Times|date=31 March 1995}}. For his originality and influence in performance art in Southeast Asia, among other contributions, Tang won the Arts and Culture Prize in 1999 at the 10th Fukuoka Asian Culture Prizes which were established by Fukuoka and Yokatopia Foundation to honour outstanding work of individuals or organizations to preserve and create the unique and diverse culture of Asia.{{citation|title=Tang Da Wu bags Arts and Culture Prize|newspaper=The Straits Times|date=14 July 1999}}.

Some of the information in the table above was obtained from {{citation|title=[Tang Da Wu: Artist CV]|url=http://www.artsasia.com.my/exhibits/06tangdawu/smallsite/artistcv.htm|archive-url=https://web.archive.org/web/20080210004356/http://www.artsasia.com.my/exhibits/06tangdawu/smallsite/artistcv.htm|archive-date=10 February 2008|publisher=Valentine Willie Fine Art|year=2006|access-date=18 October 2008}}.

{{Reflist|30em}}

• {{citation|title=About the Artists: DA WU TANG (b. 1943, Singapore)|url=http://www.nac.gov.sg/eve/eve12.asp|archive-url=https://web.archive.org/web/20080118195550/http://www.nac.gov.sg/eve/eve12.asp|archive-date=18 January 2008|publisher=National Arts Council|year=2007|access-date=19 October 2008}}.
• {{citation|title=Arts and Culture Prize: TANG Da Wu|url=http://www.asianmonth.com/prize/english/winner/10_04.html|publisher=Asian Month|year=1999|access-date=20 October 2008}}.
• {{citation|last=Chia|first=Adeline|title=First artist colony|newspaper=The Straits Times|date=7 August 2008}}.
• {{citation|last=Chia|first=Adeline|title=Tang's dynasty|newspaper=The Straits Times|date=7 August 2008}}.
• {{citation|last=Gumpert|first=Lynn|title=A Global City for the Arts? – Singapore|url=http://findarticles.com/p/articles/mi_m1248/is_n12_v85/ai_20094661/pg_1?tag=artBody;col1|newspaper=Art in America (reproduced on FindArticles)|date=December 1997|access-date=23 October 2008}}{{Dead link|date=August 2021 |bot=InternetArchiveBot |fix-attempted=yes }}..

• {{citation|last=Masahiro|first=Ushiroshoji|title=Fast moving Asian contemporary art: Tang Da Wu and his works|url=http://www.asianmonth.com/prize/english/lecture/pdf/10_05.pdf|publisher=Asian Month|year=1999|access-date=20 October 2008}}.
• Toh, Charmaine (2017). [https://www.academia.edu/39603585/Going_Home_Negotiating_Identity_in_Tang_Da_Wus_work Going Home: Negotiating Identity in Tang Da Wu's work]. Cultural Connections. retrieved 17 April 2023
• Toh, Charmaine (2022). [https://muse.jhu.edu/pub/43/article/851962 Tang Da Wu: Performance and Pedagogy.] Southeast of Now: Directions in Contemporary and Modern Art in Asia 6 (1), 195-202.  doi:10.1353/sen.2022.0010, retrieved 17 April 2023.
• {{citation|last=Yeo|first=Alicia Kay Ling|title=Information on Singapore artist Tang Da Wu|url=http://rpe.nl.sg/Arts/3d13fd25-4f49-4340-ab25-7aee8c32b6ca.aspx|publisher=Reference Point Enquiries Bank, National Library, Singapore|date=7 August 2008|access-date=20 October 2008|url-status=dead|archive-url=https://web.archive.org/web/20110826100815/http://rpe.nl.sg/Arts/3d13fd25-4f49-4340-ab25-7aee8c32b6ca.aspx|archive-date=26 August 2011}}.

• {{citation|last=Sabapathy|first=T.K.|chapter=Contemporary Art in Singapore: An Introduction|editor-last=Turner|editor-first=Caroline|title=Tradition and Change: Contemporary Art of Asia and the Pacific|location=Queensland|publisher=University of Queensland Press|year=1993|isbn=978-0-7022-2583-3|pages=83–92}}.
• {{citation|last=Sabapathy|first=T.K.|title=Trimurti and Ten Years After|location=Singapore|publisher=Singapore Art Museum|year=1998}}.
• {{citation|author=Singapore Art Museum|author-link=Singapore Art Museum|title=Telah Terbit (Out Now): Southeast Asian Contemporary Art Practices during the 1960s to 1980s|location=Singapore|publisher=National Heritage Board|year=2007|isbn=978-981-05-7623-3}}.
• {{citation|script-title=ja:タン・ダ-ウ展 |title=Tang Da-Wu |location=Fukuoka|publisher=Fukuoka-shi Bijutsukan|year=1991|language=ja}}.
• Toh, Charmaine (2016). [https://www.jstor.org/stable/j.ctv1k3np6j Tang Da Wu: Earth Work 1979], Singapore: National Gallery Singapore. doi.org/10.2307/j.ctv1k3np6j.
• {{citation|last=van Fenema|first=Joyce|title=Southeast Asian Art Today|location=Singapore|publisher=Roeder Publications|year=1996|isbn=978-981-00-6002-2}}.

• {{citation|title=Art therapy helps people express their frustrations|newspaper=The Straits Times|date=16 June 1994}}.
• {{citation|last=Leow|first=Jason|title=Art taken for a ride at HDB estates – around your place|newspaper=The Straits Times|date=14 June 1996}}.
• {{citation|title=Through the artists' eyes|newspaper=Business Times (Singapore)|date=28 October 2000}}.
• {{citation|last=Sreshthaputra|first=Wanphen|title=Art fest a big hit with Singaporeans: A diverse range of media is employed but the quality of the works on display is mixed|newspaper=Bangkok Post|date=3 January 2002}}.

• {{citation|title=Australian Legend [by] Tang Da Wu|url=http://www.postcolonialweb.org/singapore/arts/painters/tangdawu/4.html|archive-url=https://web.archive.org/web/20071223220206/http://www.scholars.nus.edu.sg/landow/post/singapore/arts/painters/tangdawu/4.html|archive-date=23 December 2007|publisher=Postcolonial Literature and Culture Web, University Scholars Programme, National University of Singapore|date=April 2000|access-date=25 February 2009}}.
• {{citation|title=Map of South America [by] Tang Da Wu|url=http://www.postcolonialweb.org/singapore/arts/painters/tangdawu/2.html|archive-url=https://web.archive.org/web/20070702173845/http://www.postcolonialweb.org/singapore/arts/painters/tangdawu/2.html|archive-date=2 July 2007|publisher=Postcolonial Literature and Culture Web, University Scholars Programme, National University of Singapore|date=April 2000|access-date=25 February 2009}}.
• {{citation|title=Woman with Snake in a Cage by Tang Da Wu|url=http://www.postcolonialweb.org/singapore/arts/painters/tangdawu/3.html|archive-url=https://web.archive.org/web/20070704181954/http://www.scholars.nus.edu.sg/landow/post/singapore/arts/painters/tangdawu/3.html|archive-date=4 July 2007|publisher=Postcolonial Literature and Culture Web, University Scholars Programme, National University of Singapore|date=April 2000|access-date=25 February 2009}}.

{{Visual art in Singapore}}

{{Authority control}}

{{DEFAULTSORT:Tang, Da Wu}}

Category:Singaporean artists

Category:Singaporean installation artists

Category:Singaporean painters

Category:Singaporean sculptors

Category:Alumni of Goldsmiths, University of London

Category:Alumni of Birmingham City University

Category:Singaporean people of Chinese descent

Category:1946 births

Category:Living people

Category:Singaporean performance artists