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Contemporary works of Heri Dono, an Indonesian artist.
This volume analyzes mediated articulations of “cosmopatriotism” in East and South-East Asian popular cultures and arts. Cosmopatriots navigate between a loyalty to the home country and a sense of longing for and belonging to the world. Rather than searching for the truly globalized cosmopolitans, the authors of this collection look for the postcolonial, rooted cosmopolitans who insist on thinking and feeling simultaneously beyond and within the nation. The cultural sites they discuss include Hong Kong, Indonesia, China, Singapore, the United States, South Korea and Australia. They show how media from both sides of the arbitrary divide between high art and popular culture – including film, literature, the fine arts, radio, music, television and mobile phones – function as vehicles for the creation and expression of, or reflection upon, intersections between patriotism and cosmopolitanism.
Indonesian art entered the global contemporary art world of independent curators, art fairs, and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural, and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theater) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions, and collectors in the local art scene and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for the global relevance of Indonesian art.
Living Art: Indonesian Artists Engage Politics, Society and History is inspired by the conviction of so many of Indonesia’s Independence-era artists that there is continuing interaction between art and everyday life. In the 1970s, Sanento Yuliman, Indonesia’s foremost art historian of the late twentieth century, further developed that concept, stating: ‘New Indonesian Art cannot wholly be understood without locating it in the context of the larger framework of Indonesian society and culture’ and the ‘whole force of history’. The essays in this book accept Yuliman’s challenge to analyse the intellectual, sociopolitical and historical landscape that Indonesia’s artists inhabited from the 1930s into the first decades of the new millennium, including their responses to the COVID-19 pandemic. The inclusion of one of Yuliman’s most influential essays, translated into English for the first time, offers those outside Indonesia an insight into a formative period in the generation of new art knowledge in Indonesia. The volume also features essays by T. K. Sabapathy, Jim Supangkat, Alia Swastika, Wulan Dirgantoro and FX Harsono, as well as the three editors (Elly Kent, Virginia Hooker and Caroline Turner). The book’s contributors present recent research on issues rarely addressed in English-language texts on Indonesian art, including the inspirations and achievements of women artists despite social and political barriers; Islam- inspired art; artistic ideologies; the intergenerational effects of trauma; and the impacts of geopolitical change and global art worlds that emerged in the 1990s. The Epilogue introduces speculations from contemporary practitioners on what the future might hold for artists in Indonesia. Extensively illustrated, Living Art contributes to the acknowledgement and analysis of the diversity of Indonesia’s contemporary art and offers new insights into Indonesian art history, as well as the contemporary art histories of Southeast Asia and Asia more generally.
Pursuing a new and timely line of research in world art studies, Humor in Global Contemporary Art is the first edited collection to examine the role of culturally specific humor in contemporary art from a global perspective. Since the 1960s, increasing numbers of artists from around the world have applied humor as a tool for observation, critique, transformation, and debate. Exploring how humorous art produced over the past six decades is anchored in local sociopolitical contexts and translated or misconstrued when exhibited abroad, this book opens new conversations regarding the functioning of humor and the ways in which art travels across the globe. With contributions by an impressive array of internationally based scholars covering six major continental regions, the book is organized into four distinct geographical sections: Africa and the Middle East, Asia and Oceania, South and North America, and Europe. This structure highlights the cultural specificity of each region while the book as a whole offers a critical perspective on the postcolonial, globalized art network. Reflecting on present-day processes of globalization and biennialization, which confront viewers with humorous art from a variety of cultures and countries, this book will provide readers with a culturally sensitive understanding of how humor has become vital to many contemporary artists working in an unprecedentedly interconnected world.
Oei Hong Djien, Indonesia's distinguished art collector hailling from Magelang, Central Java, is also a writer. From 1990 to the present day, which spans a period of about 20 years, he has written numerous pieces on art. Most are introductions to exhibition catalogues; some are texts for speeches, lectures and discussions; others are articles that have appeared in the catalogues of auction house, magazines and books.
First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
A Companion to Asian Art and Architecture presents a collection of 26 original essays from top scholars in the field that explore and critically examine various aspects of Asian art and architectural history. Brings together top international scholars of Asian art and architecture Represents the current state of the field while highlighting the wide range of scholarly approaches to Asian Art Features work on Korea and Southeast Asia, two regions often overlooked in a field that is often defined as India-China-Japan Explores the influences on Asian art of global and colonial interactions and of the diasporic communities in the US and UK Showcases a wide range of topics including imperial commissions, ancient tombs, gardens, monastic spaces, performances, and pilgrimages.
The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories.