INDONESIAN CONTEMPORARY ART IMAGES: Images in the History of Western Art

INDONESIAN CONTEMPORARY ART IMAGES: Images in the History of Western Art

 BERNETT Newman, one of the top American artists, the first man ever said being an artist was when he carved a line above the ground surface using a chip. Incision line can be regarded as the first image. Pictures seem to always accompany the journey of civilization and human culture. Therefore, not surprisingly, the picture becomes very important region and can not be separated from the world of art and artists. Actually, "drawing", such as graffiti, sketching, making charts and so is one way of artists (and designers) in visualize the ideas in his head. Therefore, the real draw is also an effort pengkongkretan imagination, the idea of an artist. Of course every form of art is a form pengkongkretan sesugguhnya the artist's ideas, but because the image occupies a privileged position in the process is a concrete visualization of the earliest, spontaneous and direct. This was expressed vividly by G. Sidhartha Soegijo: "One of the most direct way to connect your thinking process, which took place in the abstract, with a visual form, the concrete, is through pictures."
In a similar vein, Kate Macfarlane and Katharine Stout said: "It is to drawing many artists turn Pls That they want are not sure how to Proceeds with a particular line of inquiry, or how to realise an Ambitious proposals. As Avis Newman suggests, drawing Offers the most direct access to the Intimate workings of the artist's mind: 'I have always understood drawing to be, in essence, the materialisation of a continually mutable process, the movements, rhythms, and partially comprehended the ruminations of the mind: the operations of thought. For this reason alone, drawing will from the always be at the heart of the visual arts'. "
Images become an important part in the journey of Western art since the Renaissance up to modern times. Academy of art in Europe since the 16th century until the 19th century emphasized the importance of drawing as the backbone of painting and sculpture. What is known as akademisme, none other than the formulation of and approach to art that emphasizes the importance of drawing ability for an artist. It can be seen from the relics of pictures of famous European painters since the Renaissance to the era of modern art. Therefore, it is surprising that the picture-or rather art image into a new category of autonomous art in recent years.
Presumably, the function of preparatory drawings as preparatory work to produce a painting of a picture-making medium or submerged beneath the disokongnya arts categories, namely painting, sculpture and graphic art. Into the device preparatory drawings made needed, but once placed not as an end. Despite the picture, or drawing ability is crucial in painting and sculpture, but it is more intertwined with the process of preparation in the execution of the painting. Of course that is considered more important is the end result or the final goal, ie painting or sculpture. The end goal is supremacy, and fine art in the tradition of what the end is primary, as described by Mortimer J. Adler: "These are the arts That Came to Be Called later the fine arts, Pls the word 'fine' is understood to mean 'finish' and to signify That the works Produced by These Things Were arts to be enjoyed for their own sake, not to be Used as means to further ends. "
Since the Renaissance drawing skills become an important part in the painting. Since the Renaissance painting well into the category of high art (high art) is autonomous. So not surprisingly in this era of modern art, painting is the most important category of art. Ironically, the supremacy of painting which is achieved through timeless dukugan from the image. Presumably, because for too long commissioned paintings and sculptures cause of status or position of the image becomes problematic, as stated by Emma Dexter, "Yet the medium's status has always been problematic, due to its servitude to the arts of painting and sculpture, as well as its association with preparation and incompletion. "
Famous French painter Ingres once said about the importance of drawing to painting, "If I Were to put a sign above my door, it would read the School of Drawing, and I'm certain That I would Produce painters." It seems to be universally applicable. Is it not also been proved by the Center for Teacher Education University Images (opened in 1947) which became the forerunner of art ITB?
To become an autonomous art category was a picture still requires a long journey. Modern art is more concerned with the concept, the place the picture-as-the preparatory process is not important. From the Renaissance until the late 19th century drawing virtuositas seem to be imperative for artists to produce works of high quality painting and sculpture. Instead of modern artists actually suspect things related to aspects of skills, including drawing skills. Deanna Petherbridge, an image area prefesor in diametrical explain the situation between the classic academic approach to popular belief against modern times who mendestruksi academic approach, "The practice of art in this century has been no less closely tied to education than it has in other times. Eighteenth-century neoclassicism, for example, is as closely Allied with the spread of the Academies. As modernism has been with the destruction of the academic system. The academy, As We all know, was posited on the teaching of life drawing, in fact learning art in the West since the Renaissance has been entirely to do with the question of disegno-composisitional as both drawing and design. "
So not surprisingly, for the modernist artist, an image, especially in an academic approach to areas that are not important. Of course modern artists still need a visualization for the ideas and thoughts, but this should not be applied via a sophisticated drawing skills. Drawings or sketches produced by modern artists, conceptual and avant garde does not show such images virtuositas artists in previous centuries. Formalism and the search for the essence of painting has shifted the importance of drawing as a preparatory process for the painting. Therefore, in terms of drawing skills ala akademisme (anatomical drawing ability) is lost and not more important in times of modern art and the era of neo-avant-garde, ie periods of transition from modern art to contemporary art.
Similarly, in these times of fine arts academies in the West looked debriefing skills, including drawing increasingly irrelevant, and drastically reduce the subject to draw. This is known as de-Skilling relates (note from the subject of art) with the direction and priorities in terms of concept. Process towards de-Skilling is apparently in accordance with the paradigm of modern art, and in some cases then also demonstrated by the contemporary art-particularly in works that are transgresif. Despite later also proved that contemporary art also indicates that contrary to the tendency of characters de-Skilling, namely the re-emergence (revival) the need for skill or skills.
Images For Autonomous Region in Contemporary Art
Once in the late '60s until the '80s images are considered less important in the scope of art education, then the '90s was marked by anxiety because of the less ability to draw students of art. There are attempts to "back to basic", ie to restore the image as an important variable in visual arts including visual arts in higher education. This is for example shown by a conference held by the Tate Gallery in 1993-1994 regarding the role of drawing in Fine Art Education. It was then marked by the opening of the course is also drawing on some art colleges in the West.
In the past, we know that the peak of modern painting by abstract expressionism demonstrated through the deadlock. Further development as indicated by Pop Art, Conceptual Art and Minimal Art is a transitional period of modern art contemporary art menunju. Opposition in the context of artistic and spiritual sublimation of painting causes painting in the early 70s to get the stigma, and for some time experienced the nadir. Performances, happenings, eart art, and sculptural forms in sculpture in the extended sense into the main field. This was then followed by the new media art. But slowly but surely painting again showed his resurrection. In contrast to the period of modern painting, contemporary painting rose by placing himself as the likely medium-representational rather than as essential entities and sublime art.
Plurality of contemporary art shows itself by accepting every possible art, both in terms of thinking (theory), concepts, mediums, materials and space and the origin of the artist's presence. Proved that contemporary art is increasingly showing its global face. Of course can not be denied permanent presence of the forces behind the determinants of production and consumption practices of contemporary art. For example, can not be denied that the revival of painting can not be separated from the proliferation of art markets, and was marked by widespread art-fair in the world economic centers, including new economic centers.
Interestingly, the rise of a picture or a more precise picture of art in this decade is suspected Puspa not be separated from the come-backnya painting. Painting see opportunities that contemporary art with a belief in pluralism and "anything can" (anything goes) has no reason to deny the existence of painting. Presumably, having seen it, the artists who are interested in drawing as a possible medium of contemporary art began to show itself. Therefore, Emma Dexter, editor of Vitamin D (book compilation of artists drawing the most comprehensive currently) believes that the popularity of art images to some extent caused by the re-popular art of painting: "In painting's slipstream followed the shy sibling, pictures, arriving without any Apologies or explanation . Figure Had never been widely theorized in its own right, allowing the field to be open for the artists to make of it what they want choice. "
In addition, the popularity of art images dodorong identified by reverse flow on the things that is more moderate and modest, after the practice of art 70s until the 90s preoccupied with aspects of monumental art. This was stated by Emma Dexter: "But first drawing Pls autonomously started to emerge in the mid-1990s, it was Also the perfect medium to contrast with the sort of art That preceded it. Circa 1990, contemporary exhibition Were dominated by a form of monumentalism, one That ironically trumpeted its decosntruction of the monument yet aped the monument's hunger for the space, power and theatricality. "
Contemporary Indonesian Art Images
In the context of modern Indonesian art images or word pictures occupy an important position. Before the term of art or applied art and popular, then the "image" is a term often used to refer to a variety of two-dimensional art. Of course we still remember the existence of Persagi, stands for the unity of Indonesia image experts, although that is mainly practiced painting. The term can refer to the image of painting because the painting was always describe someone or something, the painting is a picture or a picture of something. It also shows that the term image, especially in the context of Indonesian culture of the past have a broader sense of understanding drawing. Sanento Yuliman deceased skillfully explains it: "The first thing to keep in mind in discussing the pictures is that the word" image "has a broad scope of understanding. Which appeared on the television screen when the plane turned on, which looks at the movie screen when playing movies, as well as in daily and magazine photographs, paintings, maps, plans, charts, etc., were all in the Indonesian language is called "image".
Today the picture seems narrower sense of the term, especially in the field of contemporary Indonesian art, drawing closer to understanding the English language. However, what is expressed Sanento Yuliman shows that the potential of any medium of art-as-drawing region (representation) any matter or thing that issue is easily accepted for a long time. Therefore, not surprising that the image area or category of art as an autonomous readily accepted by society. This was indicated by the reception that is open enough to the works of art images. Evidently, when this became popular a few young artists simply use the technique / medium images in the works.
This exhibition will mark what is described by Laura Hoptman, "it marks a moment Pls Also drawing has changed from a primary mode of expression for the most inventive and influential, artists of the time." Evidently, the face of Indonesian contemporary art is marked by the works who worked with the engineering drawings and images in the same category, or in this case more appropriately called art drawings. Perhaps the term art image too much, because in English just called drawing, not a drawing-art. However, the mention of art images is an emphasis, as well as terms of painting and sculpture which is the equivalent of the term painting and sculpture. Thus, it is clear that this exhibition about the drawings as works of art, especially in the context of contemporary art.
However, this time, not easy to define explicitly limits of art images. In some ways moving images into art within the limits of painting. It was for example shown by several world-class contemporary art whose work is regarded as a drawing, but also diketegorikan as painting. By Emma Dexter works by Marlene Dumas and Elizabeth Payton shows the quality of "between" (drawing and painting): "In the case of Dumas, drawing has always featured heavily in her Exhibitions, the juxtaposition Between the more final and 'developed' form of painting and the immediacy of the image being an essential element in the presentation of her work. In other cases, artists Elizabeth Peyton and Poor 'Katharina Wulff have blurred the distictions Between drawing and painting, transferring Some of the fragility and immediacy of drawing into painting on their. Using thin paint or combining media to leave the white ground uncovered, Thus Gaining an increased sense of immediacy and responsiveness from a medium often associated with closures and ponderausness.
Explanation Similar indicated by Deanna Petherbridge, who refer the work of David Salle and Anish Kapoor: "Salle's triptych 'walking the dog' of 1982 is in oil and acrylic on cotton, although it is andoubtedly drawn in line, and Kapoor's gouaches and molded paper, pieces from his Tate exhibition of 1989 are designated 'image' althought they want have nothing to do with online. "
With the absence of specification of the medium, it is quite difficult to establish the exact definition images. We seem to "understand" what's that picture, but really so? Because what we call the images can be quite diverse and distinct character. On the other side of the liquid limit is precisely the image of a blessing, because it will widen the possibilities of art images, did not matter if it overlaps with the territory or other medium. Is not the atmosphere of contemporary art at the boundary is marked by a dislike for the certain and definitive?
Previously known that in the past image until the condition has not been autonomous. However, if the current image into a medium that "autonomous" certainly not in a sense analogous to the autonomy of art is stiff. Because the art as an autonomous region is considered as a construction be imagined by the modern art-which proved to be achieved. The meaning of the picture as an autonomous art is the existence of the picture as an end-not as an expression of their art or sketches preparatori. Because of that character that the art of drawing into the final medium (done as a work of art) is not followed by formulatif or absolute terms about the "truth" of art images. Art images follow the rules of a pluralist contemporary art: all kinds of possibilities right to live drawing arts. Therefore, according to observers, the art of image making steady progress very rapidly, so that its boundaries were expanded, which in terms of drawing Emma Dexter is called within an expanded field-term reminds us of the sculpture in the expanded field.
Should be recognized Exhibition of Contemporary Art Preview not attempt to examine the extent to which menyuruk artists translate or find the possibility of art images. The direction taken in this exhibition are more modest, which indicates that the image can become an autonomous media for artistic expression in the context of contemporary art. Therefore, once again, the mention of art is the emphasis that the media image or photograph is the preferred technique of the artist in producing works of art. In other words, this exhibition emphasizes that the works shown are the works with the ultimate goal is "a work of art" that is "finished", not merely eskperimentasi picture. In an effort to put the picture-which is viewed as a process preparatori for painting and sculpture, or visualization of the early ideas as a work of "art image" which autonomously then put it as the possibility of representation seems to be the top choice in this exhibition.
So, in this exhibition, the content of representation becomes an alibi that the work shown is a work of art. In other words, this exhibition confirms that the technique of drawing any content, subject matter or issue shall be performed with maximum voiced. Because of that, not without reason that artists were asked to present the possibility of drawing techniques on canvas. This of course did not menciderai image understanding, because that term drawings on paper, shows that this is one possibility as well as the possibility of drawing on canvas. Besides it has also been shown by many artists who use drawing techniques on canvas in his later works. However Canvas has an aura that is more than paper. Of course this requires above all that the picture is not on paper lower. In the end is a matter of choice, some artists choose to remain menampikan artwork using paper drawings.
However, regardless of the context and content of its representation, the case diversity, exploration and the concept of gembar also become an important part that accompanies this exhibition. The diversity and variety of approaches pictures shown in this exhibition, both from the most conventional sense, until enough experimental art drawings. Similarly, the works appear difficult to distinguish images with painting. It must be accepted as a reflection of the variety of meaning and possibilities of art images.
In addition, quite interesting that the popularity of art images appear when the new media art is an important part in contemporary art. Apparently there are mutual relations, complement and supplement each other. The development of digital technology seems to cause the service image of the painting process, especially the art of painting realism that re-today. popular lately become greatly reduced. Currently penyapan process and workmanship painting and sculpture more easily assisted with digital devices such as digital cameras, computer software and LCD projectors. This is even more liberating task of drawing as a means or auxiliary media for painting. Perhaps because of that, lately a lot of artists use drawing as an autonomous region, as the terminal end of the practice of his art. Interestingly, even drawing any current artists utilize the help of photos and an LCD projector in the process is the preparation and execution of art's drawing.
Of course we realize that this exhibition will not be able to provide a comprehensive picture and inlukisf about the true nature of art images in the field of Indonesian art. However, as much as possible the diversity of art strived images can be shown. It was shown from the picture that shows mastery of art forms with the pull of the expressive and artistic line up works similar to a comic image.
As already mentioned in the beginning that the picture is always with civilization and human culture. All kinds of images in the tradition of culture is generally a picture, whether it be painting, rajahan, or carved in various materials. Because it was considered important to show the art images from the realm of tradition, and it seems Bali is the most appropriate area to be selected. However in Bali pictures as an art form tradition can survive and penetrate into the modern era. It was shown how the legendary Balinese artists and many other kinds of Lempad can mengindividuasi grip of tradition becomes a work of drawing a personal yet still can show the identity and character to Balian. ***
(Note these plans to be an introduction in the exhibition catalog of the exhibition Contemporary Art Preview held in 2009 at the National Gallery of Indonesia, Jakarta) *) The author is the Curator and staff Faculty of Arts and Design, ITB. / Indonesian Art News