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A grassroots perspective on Yogyakarta's art world

Published online by Cambridge University Press:  14 September 2015

Abstract

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Copyright © The National University of Singapore 2015 

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References

1 In 2007 Sotheby's New York, sold Chapter of a new century: Birth of PRC by contemporary Chinese artist Zhang Xiaogang for US$3 million. Prior to this his works generally sold for no more than US$30,000. See Eddy Soetriyono, ‘How long will the prices of contemporary art continue to rise?’, C-Arts, 6 May 2008, http://c-artsmag.com/betac-artsmag/index.php/articles/view/16; and Stefano Baia Curioni, ‘A fairy tale: The art system, globalization and the art fair movement’, in Contemporary art and its commercial markets: A report on current conditions and future scenarios, ed. Maria Lind and Olav Velthuis (Berlin: Sternberg, 2012), pp. 132–3.

2 The term is used as a generalisation here; defining the precise characteristics and definitions of contemporary Indonesian art is beyond the scope of this research.

3 See Yuliana Kusumastuti, ‘Market forces: A case study of contemporary art practice in Indonesia’ (M.A. thesis, Charlies Darwin University, 2006), p. 31; Asmudjo Irianto, ‘Tradition and the socio-political context in contemporary Yogyakartan art of the 1990s’, in Outlet: Yogyakarta within the contemporary Indonesian art scene, ed. Jim Supangkat (Yogyakarta: Cemeti Art Foundation, 2001), p. 71; Jogya Art Fair, ‘ART|JOG|11: Focus|Group|Discussion’, transcript of a focus group discussion held at the Indonesian Visual Art Archive, Yogyakarta, 17 July 2011, p. 1.

4 Sabine B. Vogel, ‘Bridging the world: The role of art criticism today’, in The global contemporary and the rise of new art worlds, ed. Hans Belting, Andrea Buddensieg, and Peter Weibel (Karlsruhe: Center for Art and Media, 2013), p. 258.

5 Hans Belting claims that ‘globalisation is the single most important event in today's art scene.’ See Belting, ‘Contemporary art as global art: A critical estimate’, in The global art world: Audiences, markets and museums, ed. Hans Belting and Andrea Buddensieg (Germany: Hatje Cantz Verlag, 2009), p. 68.

6 Ibid., p. 48; Charlotte Bydler, The global artworld inc.: On the globalization of contemporary art (Uppsala: Uppsala University, 2004), p. 150.

7 Howard S. Becker, Art worlds (Berkeley: University of California Press, 1982).

8 Tradition and change: Contemporary art of Asia and the Pacific, ed. Caroline Turner (St Lucia: University of Queensland Press, 1993), p. xiv.

9 M. Dwi. Marianto, ‘Yogyakartan art: Trends prior to the third millennium’ (p. 162), and Irianto, ‘Tradition and the socio-political context’ (p. 71), in Supangkat, Outlet.

10 Clark, Christine, ‘Turning of the tide: Thirty years of contemporary Indonesian art, 1975–2005’, Art and Australia 51, 1 (2013): 121Google Scholar.

11 See Amudjo J. Irianto, ‘Eyeing Indonesian contemporary art’, in Indonesian eye: Contemporary Indonesian art, ed. Serenella Ciclitira (Milan: Skira, 2011), pp. 23–7; Agung Hujatnika, ‘Indonesian contemporary art in the international arena’, in Belting et al., The global contemporary, pp. 338; Susan H. Ingham, ‘Powerlines; Alternative art and infrastructure in Indonesia in the 1990s' (Ph.D. diss., University of New South Wales, 2007); Jim Supangkat, ‘A brief history of Indonesian modern art’, in Turner, Tradition and change, pp. 47–57; Jim Supangkat, Indonesian modern art and beyond (Jakarta: Yayasan Seni Rupa Indonesia, Museum Universitas Pelita Harapan and Edwins Gallery, 1996).

12 Hujatnika, ‘Indonesian contemporary art’, p. 337.

13 Rizki Zaelani, ‘Yogyakartan art of the 1990s: A case study in the development of Indonesian contemporary art’, in Outlet, pp. 107–36; Irina Vogeslang, ‘The art market bubble of contemporary Indonesian art: Part of a global development?’, in Global studies: Mapping contemporary art and culture, ed. Hans Belting, Jacob Birken, Andrea Buddensieg and Peter Weibel (Germany: Hatje Cantz Verlag, 2011), pp. 90–91. In 2012, at the Christie's Asian 20th Century Art (Day Sale) auction in Hong Kong, the seventh-highest price of the sale (HKD$3,860,000) went to Indonesian artist S. Sudjojono's Ngaso. On the previous night, Barong dance by Indonesian artist Affandi achieved HKD$4,220,000, the second-highest price for the artist at auction. See Nick Forrest, ‘Why Indonesian artists are hot property’, Art market blog with Nic Forrest, 6 Jan. 2012, http://www.artmarketblog.com/2012/01/06/why-indonesian-artists-are-hot-property-artmarketblog-com/.

14 Sumartono, ‘The role of power in contemporary Yogyakartan art’, in Outlet, p. 32.

15 The fieldwork for the initial study was conducted during two visits in July and November 2013. Interviews with artists were conducted over two weeks in November 2013. The questions centred on ArtJog, an annual art fair in Yogyakarta, which was the focus of the thesis. However, what emerged from the fieldwork and interviews extended beyond the art fair and is presented here as a separate extension of that research.

16 Bambang Witjaksono and Satriagama Rakantaseta, interview, Yogyakarta, 22 Nov. 2013.

17 David P. Chandler et al., The emergence of modern Southeast Asia: A new history (Honolulu: University of Hawai‘i Press, 2005), pp. 123–36.

18 Bambang Witjaksono and Satriagama Rakantaseta, interview, Yogyakarta, 22 Nov. 2013.

19 My first-hand observations were only of artists visiting Yogyakarta from Bandung and Jakarta. There were fundamental stylistic differences in their art; however, I cannot be sure if this was the norm or the exception through my limited observation.

20 Heri Dono, interview, Yogyakarta, 24 Nov. 2013.

21 Bambang Witjaksono and Satriagama Rakantaseta, interview, Yogyakarta, 22 Nov. 2013; Farah Wardani, ‘ART|JOG|11; Focus|Group|Discussion’, p. 17.

22 Iwan Effendi and Maria (Ria) Tri Sulistyani, interview, Yogyakarta, 18 Nov. 2013.

23 Bambang Witjaksono and Satriagama Rakantaseta, interview, Yogyakarta, 22 Nov. 2013.

24 Heri Dono, interview, Yogyakarta, 24 Nov. 2013. The hospitality that was extended to me was an example of his generous nature. For the interview I visited Heri's studio and home. Upon leaving, I was gifted a large bag of mangoes picked fresh off his trees.

25 Eddi Prabandono, interview, Yogyakarta, 26 Nov. 2013.

26 Farhan Siki, interview, Yogyakarta, 25 Nov. 2013.

27 Iwan Effendi and Maria Tri Sulistyani, interview, Yogyakarta, 18 Nov. 2013.

28 Heri Dono, interview, Yogyakarta, 24 Nov. 2013.

29 Bambang Witjaksono and Satriagama Rakantaseta, interview, Yogyakarta, 22 Nov. 2013.

30 ArtJog 2013 was held at Taman Budaya, Yogyakarta, from 6 to 20 July 2013.

31 For a more in-depth discussion on the history and format of ArtJog, see: Denise Tsui, The art fair in Indonesia: A case study (M.A. thesis, University of Melbourne, 2014), pp. 20–30.

32 Bambang Witjaksono and Satriagama Rakantaseta, interview, Yogyakarta, 22 Nov. 2013.

33 Ibid.

34 Ibid.

35 Ibid.

36 Iwan Effendi and Maria (Ria) Tri Sulistyani, interview, Yogyakarta, 18 Nov. 2013.

37 Ibid.

38 Ibid.

39 Iwan Effendi and Maria (Ria) Tri Sulistyani, interview, Yogyakarta, 18 Nov. 2013.

40 Farhan Siki, interview, Yogyakarta, 25 Nov. 2013.