Full-time Curator and Researcher

• Curator, University Museum & Art Gallery(UMAG), HKU
• Research Assistant Professor, Academy of Visual Arts (AVA),Hong Kong Baptist University (HKBU)
• Honorary Assistant Professor, HKU
• Associate Curator, UMAG, HKU
• Research Fellow, UMAG, HKU

Part-time Lecturer

• Dept. of Fine Arts, HKU
• Dept. of Visual Studies, Lingnan University (LU)
• Centre for China Studies, CUHK
• School of Design, PolyU

Research/ Teaching Positions

• Prof. Michael Sullivan, St. Catherine College, University of Oxford
• Institute of Oriental Studies, Oxford
• Center for Learning and Enhancement And Research, CUHK
• Art Museum CUHK
• The Dept. of Fine Arts, CUHK

Art History/ Conservation Internships

• Hong Kong Museum of Art
• Metal and Coins Dept., the British Museum
• Archaeology Museum, Volos, Greece
• Rare Book Collection, University College London (UCL) Library
• Special Collection, UCL

Jinmotang Chinese Calligraphy Publication Grant 

Exhibition Project Grant, United In Bookplates 眾票成城, Hong Kong Arts Development Council  

Teaching and Learning Mini-grant Awards: 1st award on “Art Within Communities” , 2md award on “Pokfulam Village Object and Heritage Art and Conservation Project”

Visiting Fellow at the Needham Research Institute, Cambridge

Research Project Grant: Black Tigers: Reception of Chinese Rubbings in Europe

HKBU Library Digital Scholarship Grant An Endangered Traditional and Cross-cultural Art Form: Bookplates and Hong Kong

Hong Kong University Grant Council Teaching & Learning Grant 2016-19 Triennium (Co-Project Investigator) Capitalizing on Hong Kong’s position in the Art world

Research Project Grant: Black Tigers: Reception of Chinese Rubbings in Europe

Hong Kong Baptist University Research Start-up Grant 

Friends of the Princeton University Library Research Grant

Visiting Scholar at The Institute of History and Philology (IHP) of Academia Sinica, Taipei

Centre for Chinese Studies Research Grant for Foreign Scholars in Chinese Studies, Taiwan

Au Ping Reyes Award Oxford 

KS Scholarship, Oxford University

Bei Shan Tang Foundation Scholarship

Universities’ China Committee in London Research Grant

The British Chevening Scholarship

(1) Authored or Edited Books/ Online Archive and Image Database

• 2024 NG S.W. and Matterson, C. eds., Fong Chung-Ray’s Retrospective Art Exhibition through Texts, Textures, Collages and Scriptures《象外經心：馮鍾睿的藝術回顧展 》 (Bilingual). Hong Kong: Hong Kong University Museum and Art Gallery
• 2024 NG S.W. and Matterson, C. eds., Enduring Strength and Passion: The Chinese and Western Art of Ting Yin Yung 《困乏多情 香江藝緣：丁衍庸的中西藝術》 (Bilingual). Hong Kong: Hong Kong University Museum and Art Gallery (UMAG)
• 2023 Kings Inscriptions. Contemporary Interpretations 吳秀華編： 《皇帝碑刻‧ 當代啟迪》 香港： 藝術推廣辦事處 (Bilingual)
• 2019 NG, S.W. (ed.), Peregrination in Bookplates: Bookplates and Hong Kong 《到此票遊——藏書票與香港》 (Bilingual) Hong Kong: HKBU Library
• 2019 (Online database launched) NG, S.W. ed., A Disappearing Art: Bookplates and Hong Kong (Researched based Archive and Image Database of Hong Kong Bookplates) https://digital.lib.hkbu.edu.hk/bookplate/home
• 2017 NG, S.W. (ed.), The Art of Prints x Especially for Books: Special Exhibition on International Ex Libris《「以書為家」 X 另類版畫》 香港：香港浸會大學圖書館。 https://issuu.com/hkbulibexh/docs/the-art-ofprints
• 2016 吳秀華編： 《澐山‧真意：陶澐書畫回顧》 。香港：香港大學美術博物館

(2) Recent Journal Articles and Book Chapters

2023-2024

• 香港大学饶宗颐学术馆编， 〈 清代宮廷繪畫的滿族特色〉 ，《 饒宗頤教授百歲華誕國際學術研討會論文集》（北京: 中華書局）
• 〈 逆流而上：超出期許現代藝術及其教育的先驅丁衍庸藝術〉， 《困乏多情 香江藝緣：丁衍庸的中西藝術》 。香港：香港大學美術博物館。 Against the Current: The Art of Ting Yin Yung as a Pioneer of Modern Art and Its Education in Hong Kong, in NG S.W. and Matterson, C. eds.,Enduring Strength and Passion: Tin Yin Yung and His Chinese and Western Art. Hong Kong: Hong Kong University Museum And Art Gallery. (Bilingual)

2022

• 2022〈 書的「真」顏如玉：從個人儒雅玩意到社會參與的藏書票藝術〉， 《田家炳中華文化中心通訊》 ， 第 9 期， 2022 年 3 月， 頁 5-9。 ISSN2707-6432 https://www.hkmu.edu.hk/as/tc/research/tkpccc/publications/

2021

• 〈 無障礙‧非常事：藝術共融與藝術治療在香港〉， 《 臺灣美術學刊》 ， 台中市：台灣美術館，頁 33-70。 Barrier-free is Unusual: Social Inclusion through Arts and art Therapy in Hong Kong, Journal of Taiwan Museum of Fine Arts, No.119, May 2021, pp.33-70. ISSN1015-8421
• 〈香港大學美術博物館早期歷史及繪畫蒐勸藏與二十世紀香港畫壇〉 ， 《 美術館中的美術史：群眾・ 知識的全球化流動學術研討會論文集》 。 國立台灣美術館， 台灣藝術史研究學會出版， 頁69-89。

2020

• Chinese Calligraphy in Ming China, H. Fujita & C. Guth (eds.), Encyclopedia of East Asian Design (London, N.Y. Oxford, Sydney: Bloomsburg Visual Arts, 2020), pp.26–29.

2019

• 〈 北山堂藏文人思想與花鳥繪畫〉， 莫家良、何嘉誼主編。 《北山汲古——中國繪畫》 。香港：香港中文大學文物館， 頁 248–251。 A Study of Bird–and–flower paintings from Bei Shan Tang Collection,
• Harold Mok and Ho, K.Y. (eds.), The Bei Shan Tang Legacy: Chinese Paintings, 3 Vols. (Chinese). (Hong Kong: Art Museum, Chinese University of Hong Kong, Sep 2019), pp.248–251. ISBN: 978-988-19493-2-5 The Early History and the Ink Painting Collection of Hong Kong’s Oldest University Museum and the First Public Art Museum: Hong Kong University Museum And Art Gallery (UMAG)’, Arts of Asia (Hong Kong), May/Jun Issue 2019, pp.94–102.
• 〈 後現代的當代藝術：貼地的時代見證〉 ，《田家炳中華文化中心通訊》 第 3 期， 2019 年 3 月， 頁16–20。 Postmodern ? Contemporary? The Down-to-earth Evidence to Show the Changes of Time, Newsletter of OUHK Tin Ka Ping Centre of Chinese Culture (Chinese).
• (From Bookplates to Community Art: The Overlooked Local Artworks in the City), Sarah Ng and Andy Cheng (eds.), Peregrination in Bookplates: Bookplates and Hong Kong (Hong Kong), Jun 2019, pp.16–17 (Bilingual).〈從香港藏書票到社區藝術：被忽略的香港藝術〉，《到此票遊——藏書票與香港》。
• The Development of Ex libris (Bookplate) in Hong Kong, Hong Kong Ex–Libris Association (HKEA) ed., Loving Ex Libris: A Collection of International Bookplates, pp.8–11(Bilingual).〈藏書票在香港的發展〉 ,《情牽方寸三十載》。
• 〈藏書票在香港〉，《藝術香港》。 (Bookplates in Hong Kong), Art Hong Kong (Chinese) (Hong Kong), May/Jun 2019, 頁 58–61.
• 〈 二十世紀中日藝術交流的足跡： 足立全康與足立美術館〉《藝術香港》。 (Traces of the Artistic Exchange in the Twentieth century: Adachi Museum of Art & Adachi Zenko, the museum’s founder), Art Hong Kong (Hong Kong), Mar/Apr 2019, 頁 90–93(Chinese).
• 〈 香港「水墨裝置」與水墨藝術的發展——香港藝術家蔡海鷹的水墨山水〉，《藝術香港》， 2019年 1/2 月, 頁 82–86。 Ink Installation in Hong Kong: Choi Hoying’s Contemporary Ink, Art Hong Kong. (Chinese).

2018

• 〈 二十世紀香港畫壇一隅〉 吳為山， 林陽， 耿晶等編《中國美術館館刊》 ，頁 81–89。 A Facet of Hong Kong Twentieth-century Ink Art Scene), Wu, Lin, Gen, Huang, Na, et al (eds.), National Art Museum of China Journal, Nov/Dec 2018, pp.81–89 (Chinese).
• The Contemporary Ink Art of Choi Hoiying: From Paintings to Installation Art， Cheng, Wong and Ho (eds.), Spiritual Explorations in Ink (Hong Kong: Kubrick, Dec 2018), pp.8–15 (Bilingual).〈 「墨」我兩忘：從「卧遊」到「魂遊」的蔡海鷹水墨藝術〉 鄭月華， 黃淑琪， 何影朗編《墨與神遊：當代水墨藝術新空間》 。
• The UMAG Painting Collection and Artistic Development in Twentieth–Century Hong Kong’, Chris. Matterson (ed.), Tradition to Contemporary: Ink Painting and Artistic Development in 20th Century China (Bilingual) (Hong Kong: Hong Kong University Museum & Art Gallery (UMAG) of the University of Hong Kong, 2019), pp.11–24 (Bilingual). 〈香港大學美術博物館藏中國繪畫與二十世紀畫壇〉 ， 《鑑古賞今：香港大學美術博物館與二十世紀香港畫壇》 。
• The Pursuit of an Ideal Scholar’s Studio by Modern and Contemporary Literati’, in Liang Yi Museum (ed.), Ink and Wood: Modern Chinese Paintings in the Scholar’s Studio (Bilingual) (HK: Liangyi Museum)(2018), pp.4– 9 (Bilingual).〈 文人追求的現當代書房〉 ， 《墨躍珍木： 文房中的中國現代水墨》 。
• The Early History and the Ink Painting Collection of Hong Kong’s Oldest University Museum and the First Public Art Museum: Hong Kong University Museum & Art Gallery (UMAG), Arts of Asia. Hong Kong: Arts of Asia Publications Limited, 49(3), pp.94–102.

2017

• 〈 香港藏書票簡史〉 ， 《典藏‧古藝術》 ，頁 200–201。 The History and Collecting of Ex–libris in Hong Kong, Dianzhang (Art & Collection). Taiwan, Mainland and Hong Kong, vol.296 (May 2017), pp.200–201 (Chinese).
• Exhibition Review on ‘Alisan Fine Arts: 35 Years’, in Orientations (Hong Kong), Vol. 48 Number 2, Mar/Apr 2017.
• Regarding Nature as a Teacher: The Traditional and the Contemporary in TENG Pu–Chun’s Painting’ Emerson Wang (ed.) Rock the Dream, Spirit of Ink: Teng Pu–Chun, (Taipei: Chini Gallery, Sep 2017), pp.26–41 (Bilingual). 王焜生編〈外師造化：鄧卜君筆下的傳統與當代〉 ， 《墨幻搖滾》 。
• Eternal Relationship: My Love for and with Books, A Brief History of Ex–libris in Hong Kong’ Sarah Ng (ed.) The Art of Prints x Especially for Books: Special Exhibition on International Ex–libris (Apr, 2017), pp.1–7 (Bilingual). 〈情繫於書：香港藏書票簡史〉 ， 吳秀華編《以書為家 X 另類版 畫：國際藏書票特展》 。
• From Mindscapes to Landscape: Visionary Spaces Beyond Landscapes, Mak, C. and Hayashi, S. (eds.), Artist– Monk IKKO FUKUYAMA. Tokyo and Hong Kong, Jan. 2017, pp.2–15 (Bilingual). 〈福山一光的意境山水〉 ， 《畫僧— —福山一光》 。
• An Inherited Legacy of Landscape Painting’, Exhibition Review, AM POST, Jan/Feb, 2017.
• Reading Chinese Landscape through Paintings and Digital Art (Bilingual)’, Art Hong Kong (Hong Kong), Mar/Apr 2017.
• An Inherited Legacy of Landscape Painting, AM Post, Jan/Feb 2017.
• 〈 威尼斯雙年展之旅〉。 An Exhibition Review on Venice Biennial, AM730 Newspaper Column Article, Jun 20, 2017.
• 〈漫遊瑞士藝術小城〉。 Art in the Small Town in Switzerland, AM730 Newspaper Column Article, 27 Jun 2017.

2016

• From Expressionism to Hyperrealism: Chen Xi’s So We Remember’, Mattison, C. (ed.), Chen Xi: Be memorized Series. Hong Kong: UMAG, HKU, 2016, pp.18–25 (Bilingual). Re-envisioning the Past in the Present’ in Christopher Mattison (ed.), Nostalgia for Ancient Times: Contemporary Chinese Art (Bilingual) (Hong Kong: UMAG, Oct 2016), pp. 4–14 (Bilingual). 〈立今觀古〉 ，《思古——中國當代藝術》 。

2015

• Art in Time: Chinese Contemporary Ink Painting,’ in Silent Poetry: Chinese Contemporary Ink. Hong Kong, Hong Kong University Museum & Art Gallery, 2015, pp.15–29 (Bilingual). 《無聲詩：當代中國藝術》 。
• 陳淑霞《此在》 。 Creating Her Own Truth on Canvas – Being-there with Chen Shuxia, Being-There. Hebei, 2015, pp.15–33 (Bilingual).
• Exhibition Review: Conforming to Vicinity: A Cross-Strait Four-Region Artistic Exchange Project 2014, A.M. Post, Jan./Feb..2015.

2014

• A Perfect Ending for Conforming to Vicinity Exhibition, Cross-strait Four-region Artistic Exchange Project 2014 (Hong Kong: Hong Kong University Museum & Art Gallery) (Nov., 2014). 〈 「因地制宜」的完美結局〉 。 (Bilingual)
• Contemporary Art in the Four Regions through the Lens of Art History: A Study of Conforming to Vicinity Exhibition’, Symposium Proceeding of Conforming And Confronting: Arts Around The Cross–Strait Four– Regions 〈 從藝術史角度看兩岸四地的當代藝術——「因地制宜」展〉 ， 《「因地制宜」展會議論文集》 。 (HK & Shenzhen, Nov.2014). (Bilingual)
• The Reception of Rubbing Collections in Ming China’, Shigetoshi Osano (ed.), Between East and West: Reproduction in Art (Crakow: ISRA Publishing, 2014), pp.313–318.
• Contemporary Art by Hong Kong Artists in the Cross-strait Four-regions: Conforming to Vicinity,’ in Museum Column, A.M. Post , Nov./Dec..2014, pp.18–21.

2012 and before

• New Perspectives in Understanding the Art of Calligraphy in China, in Michelle Huang (ed.), Beyond Boundaries: East & West Cross-Cultural Encounters. UK: Cambridge Scholars Publishing, Jan.2012.
• Literacies in the humanities: The student voice. Higher Education Research and Development, Higher Education Research & Development (Co-author: Prof. Carmel McNaught) (Sydney, Aug. 2011) Publisher: Research and Development Society of Higher Education.
• A Study on the School of Lingnan and Guohua hui’, in Lingnan School Conference Proceedings, 2009. (Chinese, Guangzhou, 2010).
• 〈淳化閣帖與明代書風〉莫家良編《書海觀瀾 II》 。 A Study of the Impact of the Chunhua ge tie on the Style of Ming Calligraphy, Harold Mok (ed.), Shuhai guanlan II. Hong Kong, 2009, pp.343–374 (Chinese).
• 《收藏‧拍賣》 。 A Study on the Double Beauty II: Qing Dynasty Couplets from the Lechangzai Xuan Collection’, Shoucang yu Paimai (Collecting. Auction). Guangzhou, Oct. 2007. (Chinese)