Language : English
Published : 2017-08-15
Pages : 286
Contemporary Indonesian Art: Artists, Art Spaces, and Collectors
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.
About the Author
Yvonne Spielmann is a visiting research fellow at NTU Center for Contemporary Art, Singapore. She was Dean of Faculty of Fine Arts at Lasalle College of the Arts in Singapore. Previously she was Research Professor of New Media at the University of the West of Scotland, and Professor of Visual Media at Braunschweig University of Art. She holds the 2009 Lewis Mumford Award for Outstanding Scholarship in the Ecology of Technics and the 2011 Swedish Prize for Swedish-German Scientific Cooperation.
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About the Author
Thomas Vogel specializes in creativity and creative thinking, strategic communication, experience design and branding on the Internet. Formerly a Professor of Media Design at the Department of Media Management at the University of Applied Sciences Wiesbaden, Germany, he now teaches courses in creativity and creative thinking and directs the masters program in Global Marketing Communication and Advertising at Emerson College. He is a creativity consultant and a founding partner of mediaman, a digital marketing agency.
During a career that spanned more than forty years, from the late 1960s until his death in 2012, Michael Asher created site-specific installations and institutional interventions that examined the conditions of art’s production, display, and reception. At the Art Institute of Chicago, for example, he famously relocated a bronze replica of an eighteenth-century sculpture of George Washington from the museum’s entrance to an interior gallery, thereby highlighting the disjunction between the statue’s symbolic function as a public monument and its aesthetic origins as an artwork. Today, Asher is celebrated as one of the forerunners of institutional critique. Yet because of Asher’s situation-based method of working, and his resistance to making objects that could circulate in the art market, few of his works survive in physical form. What does survive is writing by scholars and critics about his diverse practice. The essays in this volume document projects that range from Asher’s environmental works and museum displacements to his research-based presentations and reflections on urban space. ContributorsMichael Asher, Sandy Ballatore, Benjamin H. D. Buchloh, Jennifer King, Miwon Kwon, Barbara Munger, Stephan Pascher, Birgit Pelzer, Anne Rorimer, Allan Sekula
About the Author
Jennifer King is Associate Curator at the Los Angeles County Museum of Art.
This handsome catalogue presents the Dutch artist Theo Van Doesburg (1883-1931) as a nomadic propagandist on a quest for a new aesthetic that, in conjunction with contemporary science and technology, sought to reform the world. Van Doesburg was a central figure of the De Stijl movement, characterized by a pared-down aesthetic centered in basic visual elements such as geometric shapes and primary colors, and this book highlights the artist’s collaborations with other leading members, including Piet Mondrian, Bart van der Leck, and Georges Vantongerloo. It also traces the stylistic trajectory of the artist’s career from his Neo-Plasticist and Dadaist creations to his Elementarist and Conrete artworks and brings together art, architecture, cinema, poetry, literature, design, and typography to illuminate Van Doesburg’s enduring contributions to De Stijl.
About the Author
Gladys C. Fabre is an art historian, curator, and author specializing in 20th-century modernity and the avant-gardes.
This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York’s downtown art and punk scenes of the 1970s to 1990s, arguing that xerography — including photocopied posters, mail art, and zines — changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine’s gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.
About the Author
Kate Eichhorn is Associate Professor of Culture and Media Studies at the New School. She is the author of The Archival Turn in Feminism.