2 Firing the Canon
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Terminologies of "Modern" and "Contemporary" "Art" in Southeast Asia's Vernacular Languages: I
Terminologies of "Modern" and "Contemporary" "Art" in Southeast Asia's Vernacular Languages: Indonesian, Javanese, Khmer, Lao, Malay, Myanmar/Burmese, Tagalog/Filipino, Thai and Vietnamese Thanavi Chotpradit, J. Pilapil Jacobo, Eileen Legaspi-Ramirez, Roger Nelson, Nguyen Nhu Huy, Chairat Polmuk, San Lin Tun, Phoebe Scott, Simon Soon, Jim Supangkat Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 2, Number 2, October 2018, pp. 65-195 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2018.0015 For additional information about this article https://muse.jhu.edu/article/707954 [ Access provided at 30 Sep 2021 15:25 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. RESEARCH REPORT Terminologies of “Modern” and “Contemporary” “Art” in Southeast Asia’s Vernacular Languages: Indonesian, Javanese, Khmer, Lao, Malay, Myanmar/Burmese, Tagalog/Filipino, Thai and Vietnamese THANAVI CHOTPRADIT, J PILAPIL JACOBO, EILEEN LEGASPI-RAMIREZ, ROGER NELSON, NGUYEN NHU HUY, CHAIRAT POLMUK, SAN LIN TUN, PHOEBE SCOTT, SIMON SOON AND JIM SUPANGKAT Abstract This research report offers introductory accounts of the terminologies of “modern” and “contemporary” “art” in nine Southeast Asian languages. The project asks: What are the words used to refer to “modern”, “contemporary” and “art” in Southeast Asia? What do these terms denote and connote? When and how did they historically emerge? How do terminologies align or differ in the region’s many vernaculars? How do ideas of modernity, contemporaneity and art itself become mobile and take flight when shifting between languages? There are many dis- crepancies in the nature of these nine languages, as well as in the sources available on them, and the style, tone and scope of each author’s contribution. -
Master Thesis Programme: MA Art and Culture ECTS: 20 ECTS Supervisor: Prof
The Future of Artistic Institutions Attitudes Towards a Communal Shift ; Ruangrupa Case Study Student: Melodie Ratelle Student number: 2594080 Email: [email protected] Date: 03-07-2020 Type of paper: Master thesis Programme: MA Art and Culture ECTS: 20 ECTS Supervisor: Prof. dr. A. Crucq Specialization: Contemporary Art in a Global Perspective Declaration: I hereby certify that this work has been written by me, and that is it not the product of plagiarism or any other form of academic misconduct. Table of Contents INTRODUCTION ......................................................................................................................1 I. The History of Artist Collectives and Alternative Art Spaces ............................................1 II. Hypothesis........................................................................................................................3 III. Theoretical framework ..................................................................................................3 IV. Expected outcome .........................................................................................................6 1. Twentieth Century Institutional Critique: Working Together for a Louder Voice .................8 1.1. Contextual Indonesian Art .............................................................................................8 1.2. Socially Engaged Art and Contextual Art .................................................................... 12 2. Redefining the Art “Space” ............................................................................................... -
Traversing the Boundaries?
TRAVERSING THE BOUNDARIES? ART AND FILM IN INDONESIA WITH PARTICULAR REFERENCE TO PERBATASAN / BOUNDARIES: LUCIA HARTINI, PAINTINGS FROM A LIFE JENNIFER ANN DUDLEY B.A. (Hons), Flinders University 1970 This thesis is presented for the degree of Doctor of Philosophy, Murdoch University, 2006. Disclaimer This doctoral dissertation was prepared for publication under conditions of extreme duress compounded by a virus-infected memory stick resulting in the inadvertent printing of several undetected typographical errors and syntactical “re-arrangements”. Because the subsequent listing of all errata is impossible, attention is drawn to the following pages where these problems have affected both the meaning of the argument and important substantiating details: 13, 31, 54, 67, 68, 69, 88, 95 fn., 110 fn., 142, 171, 182, 183 fn., 196, 211 fn., 229 (whole page), 237, 250, 276, 290, 317 fn.. Jennifer Dudley ii STATEMENT I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. All sources are acknowledged in the footnotes and the bibliography. Signed: ……………………………………………………………… Jennifer Ann Dudley iii ABSTRACT The repressive political conditions of the New Order state and the social dislocation caused by rapid industrial and technological development unquestionably affected the nature of artistic and cultural production in Indonesia. This thesis considers the dynamic of these conditions within a focused long-term study of the art and life of Indonesian “Surealis” painter, Lucia Hartini. My doctoral dissertation comprises this thesis and the forty-two minute documentary film Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) which I filmed in Indonesia and presents Lucia Hartini and her art in the context of her times from the historical standpoint of Reformasi and millennial change. -
Defining Experiences. Feminisms and Contemporary Art In
Defining Experiences: Feminisms and Contemporary Art in Indonesia by Wulandani Dirgantoro Ssn. (ITB), Master of Art Curatorship (Melbourne) Asian Languages and Studies Program School of Humanities Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Tasmania May 2014 Declaration of Originality This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. Signed Date 06 May 2014 WulandaniWl d iDi Dirgantoro Authority of access This thesis is not to be made available for loan or copying for two years following the date this statement was signed. Following that time the thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. Signedg Date 06 May 2014 Wulandani Dirgantoro ii Statement of Ethical Conduct The research associated with this thesis abides by the international and Australian codes on human and animal experimentation, the guidelines by the Australian Government's Office of the Gene Technology Regulator and the rulings of the Safety, Ethics and Institutional Biosafety Committees of the University. I have obtained ethics approval from the Office of Research Sciences. Approval no. H0011178 Signed Date 06 May 2014 Wulandani Dirgantoro iii Statement regarding published work contained in thesis Sections of this thesis have been presented at the 2008 Asian Studies Association of Australia Conference in Melbourne, the 2008 Women in Asia Conference in Queensland, and the 2010 European Southeast Asian Studies Conference in Gothenburg, Sweden. -
AJSSH2020(9.1-01).Pdf
Asian Journal of Social Sciences & Humanities Vol. 9(1) Feb-May 2020 __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ THE INFLUENCE OF WESTERN ART DEVELOPMENT TOWARDS THE EMERGENCE OF NEW FINE ART MOVEMENT IN INDONESIA Anna Susilowati Indonesian Institute of the Arts Surakarta, INDONESIA. [email protected] ABSTRACT New Fine Art Movement in Indonesia has been currently conducting resistance action against senior artists over the compartmentalizing tradition based on the media or its art medium, i.e. painting on canvas, sculpture, and graphics. The opportunities for renewing the art using any new media are not at least appreciated. In 1974 senior artists still emphasized painting as the highest art form that they did not provide any way for alternative media which highly developed at that time in the West. Abstract, cubical, and decorative paintings depicting nature, tradition, batik, and family life were such themes and content of paintings appreciated by Jakarta Arts Council. Those paintings look calm without any problems, but they mostly do not reflect what was actually happening in the community at that time. This unsatisfying situation