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.

Gets to the heart of what is unique about Indonesian art. Exploring the work of established and emerging artists in Indonesia's vibrant art world, this book examines why so many artists in the world's largest archipelagic nation choose to work directly with people in their art practices. While the social dimension of Indonesian art makes it distinctive in the globalized world of contemporary art, Elly Kent is the first to explore this engagement in Indonesian terms. What are the historical, political, and social conditions that lie beneath these polyvalent practices? How do formal and informal institutions, communities, and artist-run initiatives contribute to the practices and discourses behind socially engaged art in Indonesia? Drawing on interviews with artists, translations of archival material, visual analyses, and participation in artists' projects, this book presents a unique, interdisciplinary examination of ideologies of art in Indonesia.

A complete survey of Indonesian contemporary art. Indonesian Eye presents the most exciting works by emerging Indonesian artists in the most exhaustive way and comprehensively discusses their distinguishing characteristics differentiated from other contemporary art in Asia and the Western world. As an illustrated study, the book features seventy five up and coming artists and five essays to explain vibrant and dynamic art scene in Indonesia as an undiscovered jewel of Asian contemporary arts. Four pages will be given to each artist to allow the audience to experience more diverse spectrum of young artists' works never introduced before outside Indonesia. Each artist's section will have a brief descriptive text on the artist and his/her work and detailed captions.

Frits Liefkes (1930-2010) lived with Indonesian art. His house in The Hague was full of it. Bought almost entirely at auctions and from art dealers in the Netherlands during a period of four decades, on his death he bequeathed his collection to Rijksmuseum Volkenkunde in Leiden. This book presents some of his most beautiful and interesting objects. Reflecting his special interests, golden jewellery and wonderful textiles are particularly well represented in a collection that portrays the skilled craftsmanship of Indonesian artisans.

An overview of the traditional and modern crafts of Indonesia--a vitally important facet of Indonesian life

This book provides the first comprehensive study of feminisms and contemporary arts in Indonesia. While Indonesian contemporary arts are currently on the rise in the global art scene, no in-depth study has been done on the works of Indonesian women artists and the feminist strategies they employ when operating within the Indonesian art world. Focusing on Arahmaiani, Titarubi, and IGAK Murniasih amongst others, this pioneering work uses feminist reading to analyse the works of Indonesian women artists historically and today. It also illuminates the sociocultural and political contexts in which the artists worked and a nuanced understanding of local feminisms in Indonesia. These artists achieve this in feminist terms by orienting their works towards the production of positive images of the female body, expression of female desire, and adherence to certain universal principles such as erotic appeal and inclusiveness in attempting to formulate or convey a conceptual ideal.

A seminal publication focusing on the modern art of Japan, China, India, Thailand, and Indonesia. A significant and challenging contribution to the discussion of the advent of modernism in Asia.

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.