The Development of Umi Dachlan’s Works and their Circulation in the Secondary Market

• Main Author: GERRIETTE HENRIETTE TOELLE (NIM: 17014023), CHRISTINE
• Format: Final Project
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/26262
• Institution: Institut Teknologi Bandung

The appreciation for abstract works had been increasing after the late 20th century. Inside the auction houses at Asia, abstract works from Indonesia is dominated by works from Bandung artists one of them is Umajah Dachlan or best known as Umi Dachlan (1942-2009). Umi as the main discourse in this research is a woman painter with works dominated by abstract canvases. After having education directly from ITB’s senior painters such as Ahmad Sadali and Mochtar Apin from 1961 until 1968, she also studied textile at the Gerrit Rijweg Academy Holland from 1977 until 1979. Since the 1972 she had been very actively engaged in exhibitions with works that corelate her as an abstract painter from Bandung. <br /> <br /> This research is centered in the study of Umi Dachlan’s works inside the secondary art market. Formulation for the problems placed in the research is Umi Dachlan’s development of works along her lifetime and to see the difference in Umi’s artwork’s aesthetic between her works that made it inside the auction circulation, and outside the auction’s circulation. Beside the two main discourse, this research will also comprehend her works’ circulation inside the auction system. The research is applied to secondary art market formed in auction houses, including data from early 2001 until 2018. <br /> <br /> Methodologies applied in the research is qualitative within a descriptive approach. The theories applied in this research are Iconography by Erwin Panofsky, Critical Performance by Feldman and The Market of Symbolic Goods by Pierre Bourdieu followed by the development of Blue Chip terminology under the secondary art market. <br /> <br /> The research concludes that contextually proposing the Iconography theory, works from the matador series by Umi is the series with deepest personal contents compared to her other work. The auction cycle in Asia does not perform all Umi’s varieties of works, thus the works known by the public are limited to only her abstracts. These series inside the secondary market does not show a stabilized fluctuation statistically, concluding that Umi’s works cannot be identified as a part of the blue chips of Indonesia.