CONTEMPORARY ARTS DISCOURSE AND PRACTICES IN THE VISUAL ARTS MAGAZINE (2004-2012)
The conception and practice (genre and object) of works of art, artists, curators, and collectors are just a few examples of the topics covered by the discourse of contemporary art. One art institution positions different parties in the constellation of conflicts between artistic output and the m...
Saved in:
| Main Author: | |
|---|---|
| Format: | Theses |
| Language: | Indonesia |
| Online Access: | https://digilib.itb.ac.id/gdl/view/71758 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Institution: | Institut Teknologi Bandung |
| Language: | Indonesia |
| Summary: | The conception and practice (genre and object) of works of art, artists, curators,
and collectors are just a few examples of the topics covered by the discourse of
contemporary art. One art institution positions different parties in the
constellation of conflicts between artistic output and the market. In this instance,
one of the institutions in the social realm of art's infrastructure is the mass media.
Therefore, the mass media is considered as one of the channels in comprehending
contemporary art as discourse and practice, including as a medium of
appreciation and popularization of the discourse and practice of contemporary
art itself. In this case, a magazine from the mainstream media deliberately chose
to focus on the subject of art. Visual Arts was the label given to it when it first
appeared in Indonesia in 2004. The journal itself published 56 issues over the
course of eight years, from 2004 to 2012.
Starting from that case, this study examines the emergence of Visual Arts
magazine, followed by a study of contemporary art discourse and practice in it.
Through textual analysis, this research finds the role of Visual Arts magazine in
coloring contemporary art discourse. Examples include the emergence of
linguistic tendencies on (1) the conception, definition, and history of
contemporary (in) Indonesian art; (2) contemporary artists; (3) contemporary art
exhibitions; and (4) the contemporary art market. In addition, there is a tendency
for special discussions that are ongoing, ranging from art appreciation, fake
paintings, and global contemporary art polemics.
Through this research, it appears that the discourse on contemporary art that
appears in Visual Arts magazine has proven to be one aspect and version of the
history of Indonesian art. In addition, this study seeks to describe an almost
neglected area of study in the history of art in Indonesia, namely the power of the
mass media in art as an important channel as well as one of the benchmarks for
the reception of fine arts in Indonesia. Finally, a broad perspective can be
achieved by viewing the field of contemporary art discourse as an important part
of the dialectic of agency and structure in the social field of art in Indonesia. |
|---|