DOCSLIB.ORG

7.1 Sudjojono (14.12.1913, Or 1917-25.3.1986) [Note: Sources for the Following Are Largely SY [Hardiwadoyo] Sanento Yuliman, 1981 & Sidharta, 2006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
7.1 Sudjojono (14.12.1913, Or 1917-25.3.1986) [Note: Sources for the Following Are Largely SY [Hardiwadoyo] Sanento Yuliman, 1981 & Sidharta, 2006 The Asian Modern, Volume II © John Clark, 2014 1 7.1 Sudjojono (14.12.1913, or 1917-25.3.1986) [Note: sources for the following are largely SY [Hardiwadoyo] Sanento Yuliman, 1981 & Sidharta, 2006. MB is interview with Sri Nasti Rukmawati & Mia Bustam, at former’s home in Cinere, 13. 12. 2010, and RP is interview with Mrs Rose Pandanwangi and daughters at home in Cirendeu, 14. 12. 2010. S is Sudjojono]. Thanks to Siobhan Campbell, Matt Cox, Werner Kraus, Yvonne Low, and Adrian Vickers for further suggestions and additions. Precursor discourses domestic Role of European artists living in Java, ‘tourist painters’, drawing teachers at colonial high schools [Allgemene Middelbare School] teachers had Middelbare Onderwijus diplomas and teaching licenses. Their presence could not substitute for criticism and intellectual discourse [Supangkat in Sidharta, 2006, 253,] Under Dutch colonial rule only three Indonesians received the Middlebare Akte, official certificate for teaching painting: RJ Katamsi, first head of ASRI; Siafei Soemardja, first Indonesian teacher at Balai Pendidikan Universitas Guru Gambar Bandung, predecessor of Faculty of Arts and Design at ITB; Soemarno [Wiyanto, 2010, 98: Middlebare Akte, Bandung: Institut Teknologi Bandung, Galeri Soemardja, 2010] Signs of modern art seen in Dutch painters Jan Frank, Piet Ouburg, Sudjojono and PERSAGI. Pirngadie (1875-1936) of central Javanese aristocracy, student of Du Chattel, a resident Dutch painter, known as a landscapist and illustrator, especially for J.E. Jasper and Pirngadie, De Inlandsche Kunstnijverheid in Nederlandsch Indië, 5 vols, Den Haag: Mouton, 1912-1927. A direct teacher of Sudjojono and Suromo. Abdullah Surio Subroto (1878-1941) child of an aristocrat adopted by a Javanese doctor Mas Ngabehi Wahidin Sudiorhusodo. Abdullah began medical studies but switched to the Academy of Fine Arts after going to Holland. Taught several painters including his own son Basuki Abdullah (1915-1993) who also studied at Academie voor Beldeende Kunsten, Den Haag, and in Paris and Rome. And in 1930 also taught Wahdi Sumanta (b.1917) a landscapist from Bandung. Wakidi (ca 1889 Palembang – 1979, Sumatra Barat) studied at kweekschool in Bukit-Tinggi Sumatra then in 1903 with Dutch painter Van Dijk in Semarang, Java. Landscapes depict vast fields centred on mountains, without people. Precursor discourses foreign See Regnault Collection in 1939 below in chronology: artists seen included Messimo Campigli, Marc Chacgall, Giorgio de Chirico, Kees van Dongen, Charles Dufresne, Raul Dufy, Léonard Foujita [Tsuguharu], Paul Gauguin, Vincent van Gogh, Vassily Kandinsky, Jean Lurçat, Jules Pascin, Pablo Picasso, Constant Permeke, Odilon Redon, Maurice Utrillo, Ossip Zadkine. Stylistic Issues *antecedence of endogenous and exogenous, nested endogeny *Singularity or plurality of styles Supangkat thinks Sudjojono took over three tenets of Courbet’s Realism manifesto: The Asian Modern, Volume II © John Clark, 2014 2 1 against conservative idealism and bourgeois taste – this became a stance against the taste of the Dutch colonists. 2 [goal of art] to liberate individuals from oppressive collective conventions, norms and values – these were translated by S into rights for independence of th4 nation. 3 explore the dark side of the oppressed people – became the theme of social lives of natives under colonialism characterized by injustice, discrimination, harassment and struggle for identity. [Supangkat in Sidharta, 2006, 258-259]. Sudjojono believed in subjectivity: Honesty (sensitivity of the heart of hearts), that he always talked about, reflected an attempt to control subjectivity so that it wouldn’t fall into egocentrism [ibid 259] This art of painting was not based on an ideology, but on sympathy and empathy. In painting, the belief is expressed in expressive accentuation, spontaneous and emotional brush strokes, the use of bleak and dark colours, and the depiction of reality within dramatic situations. [ibid. 259]. Art worlds 1778 foundation of Bataviaasch Genootschap van Kunsten en Wetenschappen (Batavian Society of Arts and Sciences). 1902 Nederlandsch-Indische Kunstkring in Batavia, called Bataviasche Kunstkring from 1916. Reports of its exhibitions published in Java Bode. Art circles likewise founded in other cities from after 1900. 1926 founding of Vereeniging van Beeldende Kunstenaars in Bandung. 1930 thirty kunstkringen existed in the Bond van Nederlandsch-Indische Kunstkringen with 10,000 members, all Europeans. [SY, 1981, 67] 1940 founding of a drawing and painting club (name unknown) in Batavia, rented a space behind the Kolff bookstore on Noordwijk in Batavia. Gathered on Wednesday evenings to paint; dissociated themselves from the ‘Beautiful Indies’ painters and oriented themselves entirely towards contemporary European developments’ *art schools, salons, patrons Beynon, Abdullah, Hofker, Jan Willem Sluiter (1873-1946) mentioned later as admired by S Training for artists *teachers Marsudi Yudhokusumo in Sumatra and later Java Seteleng-Seteleng 1950 gives teachers as M.Pirngadi, 1928 and C.Yazaki in 1935. Contemporary discourses with period of artist’s activity Artists exhibited at Bataviaschen Kunstkring from Collectie Regnault 1937, 1938, 1939-40: 1937 Else Berg, Heinrich Campendonck, Massimo Campigli, Hendrik Chabot, Hermine David, Charles Dufresne, James Ensor, Le Fauconnier, Edmond Goerg, Geor Grosz, Jan van Herwijnen, Bob Humblot, Raoul Hynckes, H. van Kruiningen, Herman Kruyder, Joseph Kutter, Marie Laurencin, Willem Paerels, Constant Permeke, Olga Sacharoff, Wim Schumacher, Gustav de Smet, Quirijn van Tiel, Henri van der Velde, Maurice de Vlaminck, H. Wiergsma, Matthieu Wiegman, Piet Wiegman, Piet van Wijngaerdt The Asian Modern, Volume II © John Clark, 2014 3 1938 Massimo Campigli, Marc Chacgall, Stefaan Couwenberg, Kees van Dongen, T. van Doorn, Vincet van Gogh, Gerard Hordijk, Frits F. A. Klein, Antoon Kruysen, Joseph Kutter, Freddie Langeler, Albert Marquet, Frans Masereel, Constant Permeke, Pablo Picasso, Willem Jilts Pol, Quirijn van Tiel, Gerard van Velde, Matthieu Wiegman 1939-40 Willy Boers, Francisco Borès, Massimo Campigli, Marc Chacgall, Charles Dufresne, Othon Friesz, Leo Gestel, Vincent van Gogh, Georg Grosz, Gerard Horduk, Jean Hugo, Wassily Kandinsky, Hermat Kruyder, Jaen Lurçat, Louis Marcoussis, Willem Paerels, Constant Permeke, Valentine Prax, Slavado, Quirijn van Tiel, Mario Toszi, Gerard van Velde, J. J. Voskuil, Ossip Zadkine. 1920s’ - 1940s’ exhibitions of modern and other European art in the Dutch Indies It has become clear from recent research, chiefly by Siobhan Campbell with some notes and queries from Adrian Vickers, Werner Kraus, and John Clark, that the following exhibitions took place in the Dutch Indies in the 1920s to early 1940s. This new information is based on articles from newspapers in Dutch published in the Netherlands and others published in the Dutch Indies. 1922 There was a collection of paintings in the Volksraad (People’s Council) building. These included the Landsverzameling paintings, including the 18th century portraits, however the modern art in the coffee room was owned by the Volksraad [Indische Courant, 18 December 1937]. Shortly after the Volksraad was established in 1918, an appeal was made for works of art to adorn the walls of the building to which artist Willem van der Does donated ‘Maanlichte nacht op de reede van Batavia’ in 1922 [De Preanger-Bode, 11 February 1922]. In 1923 works by three Indies painters, Strasser, Mooyen and J.Dooyewaard, from their 18 January 1923 exhibition were gifted to the Volksraad building [Bataviaasch Nieuwsblad, 19 January 1923]. The Volksraad collection included portraits of former presidents and a portrait of the Dutch queen by Willem Bastiaan Tholen [Het Vaderland, 14 January 1931]. The portraits were usually by Dutch artists including Willy Sluiter and Piet van der Hem. The first time an Indies artist was commissioned to produce a portrait was in 1933 when Henry (Henri) van Velthuysen painted dr. Meyer Ranneft, followed by the portrait by Jan Frank of Mr. Spit in 1936 and Charles Sayers of W.H. van Helsdingen [De Indische Courant, 26 June 1933; 24 April 1940; Bataviaasch Nieuwsblad, 26 March 1936, 3 August 1940]. 1925 July. The Volksraad passed the Wiessing motion to establish a collection of paintings from Dutch museums in the Indies. The proposed collection was to be housed on the top floor of the Kunstkring Batavia building. Ongoing debate regarded the availability of a suitable museum building in the Indies and the management of the collection [De Indische Courant, 6 July 1925, 18 November 1925, 29 August 1929; Bataviaasch Nieuwsblad, 16 January 1926]. 1929 exhibition in Batavia of modern paintings from Germany, Tentoonstelling hedendaagsche Duitsche kunst in Nederlandsch-Indië [Deutsche Kunst der Gegenwart], under the auspices of the Social-Democratic Weimar Government, curated and with a catalogue by Elisabeth Delbrück. It was opened by the Governor General and the German Ambassador, there were catalogues in German and Dutch and the exhibition toured to nine cities, being open to Indonesians, including local schoolchildren. Works included those by Karl Hofer, The Asian Modern, Volume II © John Clark, 2014 4 Max Pechstein, Max Slevogt, Emil Nolde, Otto Dix and Karl Schmidt-Rottluff. [Bataviaasch Nieuwsblad, 3 July 1929; De Indische Courant, 15 July 1929; J. De Loos- Haaxman, Verlaat Rapport Indië…, 1968, 99]. Catalogus is in Rijksbureau voor Kunsthistorische Documentatie. 1930 Official
Load more

Recommended publications
  • Surrealist Painting in Yogyakarta Martinus Dwi Marianto University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 Surrealist painting in Yogyakarta Martinus Dwi Marianto University of Wollongong Recommended Citation Marianto, Martinus Dwi, Surrealist painting in Yogyakarta, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1995. http://ro.uow.edu.au/theses/1757 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] SURREALIST PAINTING IN YOGYAKARTA A thesis submitted in fulfilment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by MARTINUS DWI MARIANTO B.F.A (STSRI 'ASRT, Yogyakarta) M.F.A. (Rhode Island School of Design, USA) FACULTY OF CREATIVE ARTS 1995 CERTIFICATION I certify that this work has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Martinus Dwi Marianto July 1995 ABSTRACT Surrealist painting flourished in Yogyakarta around the middle of the 1980s to early 1990s. It became popular amongst art students in Yogyakarta, and formed a significant style of painting which generally is characterised by the use of casual juxtapositions of disparate ideas and subjects resulting in absurd, startling, and sometimes disturbing images. In this thesis, Yogyakartan Surrealism is seen as the expression in painting of various social, cultural, and economic developments taking place rapidly and simultaneously in Yogyakarta's urban landscape.
    [Show full text]
  • Guide to the Asian Collections at the International Institute of Social History
    Guide to the Asian Collections at the International Institute of Social History Emile Schwidder & Eef Vermeij (eds) Guide to the Asian Collections at the International Institute of Social History Emile Schwidder Eef Vermeij (eds) Guide to the Asian Collections at the International Institute of Social History Stichting beheer IISG Amsterdam 2012 2012 Stichting beheer IISG, Amsterdam. Creative Commons License: The texts in this guide are licensed under the terms of the Creative Commons Attribution-Noncommercial 3.0 license. This means, everyone is free to use, share, or remix the pages so licensed, under certain conditions. The conditions are: you must attribute the International Institute of Social History for the used material and mention the source url. You may not use it for commercial purposes. Exceptions: All audiovisual material. Use is subjected to copyright law. Typesetting: Eef Vermeij All photos & illustrations from the Collections of IISH. Photos on front/backcover, page 6, 20, 94, 120, 92, 139, 185 by Eef Vermeij. Coverphoto: Informal labour in the streets of Bangkok (2011). Contents Introduction 7 Survey of the Asian archives and collections at the IISH 1. Persons 19 2. Organizations 93 3. Documentation Collections 171 4. Image and Sound Section 177 Index 203 Office of the Socialist Party (Lahore, Pakistan) GUIDE TO THE ASIAN COLLECTIONS AT THE IISH / 7 Introduction Which Asian collections are at the International Institute of Social History (IISH) in Amsterdam? This guide offers a preliminary answer to that question. It presents a rough survey of all collections with a substantial Asian interest and aims to direct researchers toward historical material on Asia, both in ostensibly Asian collections and in many others.
    [Show full text]
  • Asas Legalitas Dalam Pemidanaan Pelaku Pencurian (Studi Komparasi Hukum Pidana Islam Dan Hukum Pidana Positif)
    ASAS LEGALITAS DALAM PEMIDANAAN PELAKU PENCURIAN (STUDI KOMPARASI HUKUM PIDANA ISLAM DAN HUKUM PIDANA POSITIF) \ SKRIPSI DIAJUKAN KEPADA FAKULTAS SYARI’AH DAN HUKUM UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA YOGYAKARTA UNTUK MEMENUHI SEBAGIAN SYARAT MEMPEROLEH GELAR SARJANA STRATA SATU DALAM ILMU HUKUM ISLAM OLEH : ATIKA NUR ANNISA NIM : 14360038 PEMBIMBING I : Dr. H. FUAD, M. A. PEMBIMBING II: FUAD MUSTAFID, S.Ag., M. Ag PRODI PERBANDINGAN MAZHAB FAKULTAS SYARI’AH DAN HUKUM UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA YOGYAKARTA 2018 M/ 1439 H ABSTRAK Pencurian merupakan suatu tindakan yang terlarang, baik menurut hukum Islam maupun hukum positif. Untuk melindungi hartanya dari tindak pidana pencurian, manusia membuat aturan yang mengatur hal tersebut. Dorongan untuk adanya aturan ini yang melahirkan gagasan asas legalitas, dimana tidak ada tindak pidana dan tidak ada hukuman apabila sebelumnya tidak ada aturan yang mengaturnya. Hukum pidana positif mengatur secara jelas untuk tindak pidana pencurian yaitu mulai Pasal 362 sampai dengan Pasal 367 KUHP. Adapun pencurian dalam Islam memiliki dua pembagian hukuman yaitu had dan takzīr. Legalitas dalam had telah jelas tercantum dalam al-Qur‟an surat al-Maidah (5): 38, adapun untuk takzīr tidak ada kejelasan aturan yang mengaturnya, sehingga seolah-olah dalam hukuman takzīr ini tidak mempunyai legalitas. Penelitian ini merupakan penelitian pustaka (library research), yakni penelitian yang mendasarkan sumber-sumber datanya pada sumber-sumber pustaka. Sifat penelitian yang digunakan adalah deskriptif-komparatif.
    [Show full text]
  • President Richard Nixon's Daily Diary, July 16-31, 1969
    RICHARD NIXON PRESIDENTIAL LIBRARY DOCUMENT WITHDRAWAL RECORD DOCUMENT DOCUMENT SUBJECT/TITLE OR CORRESPONDENTS DATE RESTRICTION NUMBER TYPE 1 Manifest Helicopter Passenger Manifest 7/30/1969 A 2 Manifest Helicopter Passenger Manifest from Don- 7/30/1969 A Maung Airport, Bangkok 3 Manifest Helicopter Passenger Manifest – 7/23/1969 A Appendix “B” 4 Manifest Helicopter Passenger Manifest – 7/24/1969 A Appendix “A” 5 Manifest Helicopter Passenger Manifest – 7/26/1969 A Appendix “B” 6 Manifest Helicopter Passenger Manifest – 7/27/1969 A Appendix “A” COLLECTION TITLE BOX NUMBER WHCF: SMOF: Office of Presidential Papers and Archives RC-3 FOLDER TITLE President Richard Nixon’s Daily Diary July 16, 1969 – July 31, 1969 PRMPA RESTRICTION CODES: A. Release would violate a Federal statute or Agency Policy. E. Release would disclose trade secrets or confidential commercial or B. National security classified information. financial information. C. Pending or approved claim that release would violate an individual’s F. Release would disclose investigatory information compiled for law rights. enforcement purposes. D. Release would constitute a clearly unwarranted invasion of privacy G. Withdrawn and return private and personal material. or a libel of a living person. H. Withdrawn and returned non-historical material. DEED OF GIFT RESTRICTION CODES: D-DOG Personal privacy under deed of gift -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- NATIONAL ARCHIVES AND RECORDS ADMINISTRATION *U.S. GPO; 1989-235-084/00024 NA 14021 (4-85) rnc.~IIJc.I'" rtIl."I'\ttU 1"'AUI'4'~ UAILJ UIAtU (See Travel Record for Travel Activity) ---- -~-------------------~--------------I PLACi-· DAY BEGA;'{ DATE (Mo., Day, Yr.) JULY 16, 1969 TIME DAY THE WHITE HOUSE - Washington, D.
    [Show full text]
  • Śāntiniketan and Modern Southeast Asian
    Artl@s Bulletin Volume 5 Article 2 Issue 2 South - South Axes of Global Art 2016 Śāntiniketan and Modern Southeast Asian Art: From Rabindranath Tagore to Bagyi Aung Soe and Beyond YIN KER School of Art, Design & Media, Nanyang Technological University, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Art Education Commons, Art Practice Commons, Asian Art and Architecture Commons, Modern Art and Architecture Commons, Other History of Art, Architecture, and Archaeology Commons, Other International and Area Studies Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation KER, YIN. "Śāntiniketan and Modern Southeast Asian Art: From Rabindranath Tagore to Bagyi Aung Soe and Beyond." Artl@s Bulletin 5, no. 2 (2016): Article 2. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. South-South Śāntiniketan and Modern Southeast Asian Art: From Rabindranath Tagore to Bagyi Aung Soe and Beyond Yin Ker * Nanyang Technological University Abstract Through the example of Bagyi Aung Soe, Myanmar’s leader of modern art in the twentieth century, this essay examines the potential of Śāntiniketan’s pentatonic pedagogical program embodying Rabindranath Tagore’s universalist and humanist vision of an autonomous modernity in revitalizing the prevailing unilateral and nation- centric narrative of modern Southeast Asian art.
    [Show full text]
  • Cover Page the Handle
    Cover Page The handle http://hdl.handle.net/1887/30115 holds various files of this Leiden University dissertation Author: Suryadi Title: The recording industry and ‘regional’ culture in Indonesia : the case of Minangkabau Issue Date: 2014-12-16 Glossary adaik / adat FORKASMI custom, tradition associated with a particular ethnicity abbreviation of Forum Komunikasi Artis dan Seniman Minang (Communication Forum for Minangkabau Adat Perpatih Artists), an organization of Minangkabau artists in customary law practised in Malaysia’s state of Negeri Pekanbaru, Riau Sembilan, brought in from Sumatra as early as the 14th century, covering broad areas of daily life, including gamaik /gamad the selection of leaders through a democratic process, song genre that incorporates elements drawn from marriage laws, and community cooperation and rules Portuguese and other Western music, and from the Indian, Niasan, and Minangkabau communities in the alam takambang jadi guru port of Padang; it is a duet between a male and a female the whole of nature becomes the teacher: Minangkabau singer, who avoid physically touching each other. life philosophy Its song lyrics are mostly composed in allegoric and metaphoric pantun verses, and tend to be romantic and ASIRINDO nostalgic in character abbreviation of Asosiasi Industri Rekaman Indonesia (Association of Indonesian Recording Industries), gandang which has branches in several provinces, including West two-headed drum Sumatra goyang ngebor Bahasa Minangkabau Umum erotic dance with special ‘drilling’ (ngebor) movements a dialect of the Minangkabau language used in urban centres like Padang, as a medium of communication harato pusako tinggi among Minangkabau from various areas of West Sumatra heirlooms, especially land, incorporated into the holdings of an extended matrilineal family bansi a small end-blown bamboo flute (e.g.
    [Show full text]
  • Katalog Pameran Indonesia Semangat Dunia
    PAMERAN SENI KOLEKSI ISTANA KEPRESIDENAN REPUBLIK INDONESIA 4 5 DAFTAR ISI | CONTENT SAMBUTAN MENTERI 5 SEKRETARIS NEGARA | FOREWORD FROM MINISTRY OF THE STATE SECRETARY KURATORIAL | CURATORIAL 8 KARYA | ARTWORK 17 PERUPA | ARTIST 94 4 5 SAMBUTAN Assalamu’alakum warahmatullahi lukis, patung dan seni kriya, keunggulan budaya Nusantara wabarakatuh, buah karya dari 34 perupa sekaligus memberikan semangat Salam Sejahtera bagi kita semua. Indonesia dan mancanegara. kepada masyarakat untuk terus berkreasi dan berinovasi. Dengan ucapan puji dan syukur Berbeda dengan dua pameran kepada Tuhan YME, kami bangga terdahulu, penyelenggaraan Saya ucapkan terima kasih dan dapat menghadirkan kembali pameran kali ini akan penghargaan yang tinggi pameran seni koleksi Istana menampilkan beragam karya kepada semua pihak yang telah Kepresidenan Republik Indonesia seni, tidak hanya lukisan namun berpartisipasi dalam pameran ini. yang ketiga sebagai bagian beberapa koleksi seni patung Semoga pameran ketiga ini dapat dari rangkaian peringatan HUT dan seni kriya karya para terlaksana dengan lancar dan Kemerdekaan RI yang ke-73. maestro dunia. sukses, serta mendapat apresiasi yang lebih baik dari masyarakat Pameran ketiga ini Pameran koleksi seni Istana luas. Terima kasih. diselenggarakan dalam rangka Kepresidenan ini diharapkan dapat menyambut perhelatan besar memberikan pemahaman yang Wassalammu alaikum Asian Games ke- 18 pada 18 lebih luas tidak sebatas pada nilai warahmatullahi wabarakatuh. Agustus 2018 di mana Indonesia keindahan dan pemaknaan karya, dipercaya
    [Show full text]
  • Authentication, Attribution and the Art Market: Understanding Issues of Art Attribution in Contemporary Indonesia
    Authentication, Attribution and the Art Market: Understanding Issues of Art Attribution in Contemporary Indonesia Eliza O’Donnell, University of Melbourne, Australia Nicole Tse, University of Melbourne, Australia The Asian Conference on Arts & Humanities 2018 Official Conference Proceedings Abstract The widespread circulation of paintings lacking a secure provenance within the Indonesian art market is an increasingly prevalent issue that questions trust, damages reputations and collective cultural narratives. In the long-term, this may impact on the credibility of artists, their work and the international art market. Under the current Indonesian copyright laws, replicating a painting is not considered a crime of art forgery, rather a crime of autograph forgery, a loophole that has allowed the practice of forgery to grow. Despite widespread claims of problematic paintings appearing in cultural collections over recent years, there has been little scholarly research to map the scope of counterfeit painting circulation within the market. Building on this research gap and the themes of the conference, this paper will provide a current understanding of art fraud in Indonesia based on research undertaken on the Authentication, Attribution and the Art Market in Indonesia: Understanding issues of art attribution in contemporary Indonesia. This research is interdisciplinary in its scope and is grounded in the art historical, socio-political and socio-economic context of cultural and artistic production in Indonesia, from the early twentieth century to the contemporary art world of today. By locating the study within a regionally relevant framework, this paper aims to provide a current understanding of issues of authenticity in Indonesia and is a targeted response to the need for a materials- evidence based framework for the research, identification and documentation of questionable paintings, their production and circulation in the region.
    [Show full text]
  • “The Era of Asia, the Art of Asia”
    PRESS RELEASE | HONG KONG | 25 OCTOBER 2 0 1 3 FOR IMMEDIATE RELEASE ASIAN 20TH CENTURY AND CONTEMPORARY ART FALL AUCTIONS 2013 PRESENTING “THE ERA OF ASIA, THE ART OF ASIA” With highlights including the most complete collection of Zao Wou-Ki Rare Zeng Fanzhi triptych Hospital Triptych No.3 A series of classic paintings by Indo-European artists A special sale of Asian 20th Century and Contemporary works on paper |Asian 20th Century and Contemporary Art (Evening Sale), James Christie Room, November 23, Saturday, 7pm, Sale 3255| |Asian 20th Century Art (Day Sale), James Christie Room, November 24, Sunday, 10am, Sale 3256| |A Special Selection of Asian 20th Century & Contemporary Art (Day Sale), Woods Room, November 24, Sunday, 2:00pm, Sale 3259| |Asian Contemporary Art (Day Sale), James Christie Room, November 24, Sunday, 4:00pm, Sale 3257| Hong Kong - On November 23 and 24, Christie‘s Hong Kong will present 900 lots in four sales of Asian 20th Century & Contemporary Art during its Autumn 2013 season. Building on the success of the ―East Meets West‖ concept of the past two seasons, the upcoming Asian 20th Century & Contemporary Art sales are titled ―The Era of Asia, The Art of Asia.‖ They will showcase a broad range of distinctive works of art that illustrate the artistic blending of East and West, from works by Asian modernist masters to boundary-pushing creations from new contemporary talent. The Evening Sale will revolve around the theme of ―The Golden Era of Asian 20th Century and Contemporary Art‖ and will comprise a series of early works from the 1950s and 1960s by iconic modern painters, as well as a group of important pieces created by contemporary artists during the late 1980s and early 1990s.
    [Show full text]
  • Pelaksanaan Program Kehumasan Dalam Rangka Peningkatan Partisipasi Masyarakat Di Sekolah Menengah Kejuruan Piri 1 Yogyakarta
    PELAKSANAAN PROGRAM KEHUMASAN DALAM RANGKA PENINGKATAN PARTISIPASI MASYARAKAT DI SEKOLAH MENENGAH KEJURUAN PIRI 1 YOGYAKARTA SKRIPSI Diajukan kepada Fakultas Ilmu Pendidikan Universitas Negeri Yogyakarta untuk Memenuhi Sebagian Persyaratan guna Memperoleh Gelar Sarjana Pendidikan Oleh Istiqomah NIM 12101241026 PROGRAM STUDI MANAJEMEN PENDIDIKAN JURUSAN ADMINISTRASI PENDIDIKAN FAKULTAS ILMU PENDIDIKAN UNIVERSITAS NEGERI YOGYAKARTA JANUARI 2017 PELAKSANAAN PROGRAM KEHUMASAN DALAM RANGKA PENINGKATAN PARTISIPASI MASYARAKAT DI SEKOLAH MENENGAH KEJURUAN PIRI 1 YOGYAKARTA SKRIPSI Diajukan kepada Fakultas Ilmu Pendidikan Universitas Negeri Yogyakarta untuk Memenuhi Sebagian Persyaratan guna Memperoleh Gelar Sarjana Pendidikan Oleh Istiqomah NIM 12101241026 PROGRAM STUDI MANAJEMEN PENDIDIKAN JURUSAN ADMINISTRASI PENDIDIKAN FAKULTAS ILMU PENDIDIKAN UNIVERSITAS NEGERI YOGYAKARTA JANUARI 2017 i PERSETUJUAN *PELAKSANAAN Skripsi yang berjudul PROGRAM SAN DALAM RANGKA PENINGKATAT{ PARTISIPASI MASYARAKAT DI SEKOLAH MENENGAH KEIURUAN PIRI I YOGYAKARTA" yang disusun oleh Istiqomalq NIM 12101241026 ini telah disetujui oleh dosen pembimbing untuk diujikan. 15 November 2A16 A.J., M.Pd. 199903 t 002 11 SURAT PERNYATAAI\I Dengan ini saya menyatakan bahwa skripsi ini benar-benar karya saya sendiri. Sepanjang pengetahuan saya tidak terdapat karya atau pendap at yangditulis atau diterbitkan orang lain, kecuali dengan acuan atau kutipan dengan mengikuti tata penulisan karya ilmiah yang telah lazim. Tanda tangan dosen penguji yang tertera dalam halaman pengesahan adalah asli. Jika tidak asli, saya menerima sanksi ditunda yudisium pada periode berikutnya. Yogyakarta, 5 I amtarl_ 2017 Yang menyatakan, W Istiqomah NrM 12101241026 lll MOTTO Dan bahwasannya seorang manusia tiada memperoleh selain apa yang telah diusahakannya. (Q.S. An Najm: 39) Setiap orang boleh memiliki harapan yang menjadi harapan orang lain, namun kita harus mewujudkannya dengan usaha keras sendiri.
    [Show full text]
  • Vente Octobre 2012 « Collection D’Un Amateur »
    VENTE OCTOBRE 2012 « COLLECTION D’UN AMATEUR » Vente realisée en collaboration entre La Suite Subastas et SVV Jean-Emmanuel Prunier Maison de ventes à Louviers 20 OCTOBRE 2012 À 12 :00 à BARCELONE Tableaux et dessins des XIXème and XXème siècles – Arts Décoratives – Hermès Lots 1-79 et 125-197 : Tableaux, dessins et arts décoratives Lots 80-124 Hermès et Louis Vuitton Exposition: Du 6 au 19 Octobre Conde de Salvatierra, 8 08006 Barcelona ESPAGNE Horaire: Du lundi au vendredi: De 10 à 14 h. et de 16:30 à 20:00 h. Samedi: De 10 à 14 h. et de 17 à 20:00 h. Notice importante: Les frais acheteur on changé, actuelement 21’78 % (TTC) sur le prix de marteau. Le prix indiqué sur chaque lot, est le prix de départ aux enchères, et non une estimation. Les ordres d’achats seron prises à partir de ce prix là ou en dessus mais pas en dessous du prix indiqué. Les clients intéressés à recevoir un condition report d’un lot, devront contacter avec la salle des ventes. Contact: La Suite Subastas Adresse: Conde de Salvatierra, 8 08006 Barcelona España Tel. + 34 93 300 14 77 Fax. + 34 93 300 27 60 www.suitesubastas.com mail: [email protected] www.facebook.com/LaSuiteSubastas 001 Ricard Opisso Sala (Tarragona, 1880 - Barcelona,1966) "Excistencialistes de Saint-Germain de Prés" Gouache sobre papel. Firmado y titulado. Medidas: 29 x 36,5 cm. Prix de mise en vente: 1.500 € euros 002 Ricard Opisso Sala (Tarragona, 1880 - Barcelona,1966) "Carruaje" Acuarela sobre papel.
    [Show full text]
  • BIBLIOGRAPHY Commons People Maanagingbidin, Crystal
    Cover Page The handle http://hdl.handle.net/1887/73550 holds various files of this Leiden University dissertation. Author: Juliastuti, N. Title: Commons people: managing music and culture in contemporary Yogyakarta Issue Date: 2019-05-21 BIBLIOGRAPHY COMMONS PEOPLE MAANAGINGbidin, Crystal. MUSI (2016).C AND CULTUREAren’t These IN CONTEM Young, RPichORARY Women YOGYAKARTA Doing Vain Things Online?: Influencer Selfies as Subversive Frivolity. Social Media + Society, April-June 2016, 1-17. Agamben, Giorgio. (2009). “What is an Apparatus?” and Other Essays. Stanford: Stanford University Press. Allen, Gwen. (2011). Artists’ Magazines: An Alternative Space for Art. Cambridge and London: The MIT Press. Al Rahab, Amiruddin. (2014). Ekonomi Berdikari Sukarno [Sukarno’s Berdikari Economy]. Jakarta: Komunitas Bambu. Anderson, Benedict. (2006). Imagined Communities: Reflections on the Origin and Spread of Nationalism. London and New York: Verso. Ang, Ien. (1991). Desperately Seeking the Audience. London and New York: Routledge. Antariksa. (2005). Tuan Tanah Kawin Muda: Hubungan Seni Rupa-Lekra 1950-1965. [A landlord married young: The relation between visual art and Lekra 1950-1965]. Yogyakarta: Yayasan Seni Cemeti. Aribowo, Taufiq. (2016). Netlabel, Kurasi dan Pengarsipan [Netlabel, Curation, and Archiving]. In Hermiasih L. (Ed.), Ensemble: Mozaik Musik dalam Masyarakat [Ensemble: The Mosaic of Music in Society] (pp.103-115). Yogyakarta: LARAS – Studies of Music in Society in collaboration with Tan Kinira. Asmaning, Titah. (2014). Walk the Folk: Picnic, music, stories, and walking. Retrieved from http://majalahcobra.com/blog/walk-the-folk-piknik- musik-kisah-dan-jalan-kaki.html/ -- (2015). Walk the Folk #2: A magic celebration of the ordinary day. Retrieved from http://majalahcobra.com/blog/walk-the-folk-2- perayaan-ajaib-tentang-hari-yang-biasa.html Barendregt, Bart.
    [Show full text]