The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art
The modem as defined by Baudelaire refers to the current or contemporary developments. Modern art starts with artworks that represent the vignettes of daily life in the privacy of private studios in Paris to the beauty of modern life seen from multiple surroundings. The appropriation and mutati...
| Main Authors: | , |
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| Other Authors: | |
| Format: | Book Section |
| Language: | English |
| Published: |
Leutikaprio
2015
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| Subjects: | |
| Online Access: | http://eprints.usm.my/30930/ http://eprints.usm.my/30930/1/Book_chapter_leutikaprio.pdf |
| _version_ | 1848876440016125952 |
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| author | Abdullah, Sarena Thiruchelvam, Chelliah |
| author2 | Effendi, Tonny Dian |
| author_facet | Effendi, Tonny Dian Abdullah, Sarena Thiruchelvam, Chelliah |
| author_sort | Abdullah, Sarena |
| building | USM Institutional Repository |
| collection | Online Access |
| description | The modem as defined by Baudelaire refers to the current
or contemporary developments. Modern art starts with
artworks that represent the vignettes of daily life in the
privacy of private studios in Paris to the beauty of modern
life seen from multiple surroundings. The appropriation
and mutation of modernity by Africans, Arabs, lndians,
and Asians, for example, do not indicate Westernization
but rather an actjve participation in the construction of
modemism by non-European sources. Jim Supangkat
terms it as "multi-rnodernism" in which he argues for nonEuropean
modernism to be contextualizcd, articulated, and
theorized within their own specific historicity (Supangkat,
1997). Within this context, this paper attempts to discuss
the context of early modernity of modern art specifically
in Indonesia and Malaysia. ms paper will argue that
modernity does not only belong to the West but it can
be multiplied and pluralized over its Western origin.
Therefore, this paper upholds that modern art that was
accepted and developed in the non-Wcstem world is a form
of a discursive formation, which continues to be 'underconstruction'
that is multifaceted and yet an intricate subject
of study, in which this paper attempts to unfold. |
| first_indexed | 2025-11-15T16:59:34Z |
| format | Book Section |
| id | usm-30930 |
| institution | Universiti Sains Malaysia |
| institution_category | Local University |
| language | English |
| last_indexed | 2025-11-15T16:59:34Z |
| publishDate | 2015 |
| publisher | Leutikaprio |
| recordtype | eprints |
| repository_type | Digital Repository |
| spelling | usm-309302017-09-20T09:55:54Z http://eprints.usm.my/30930/ The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art Abdullah, Sarena Thiruchelvam, Chelliah NX1-820 Arts in general The modem as defined by Baudelaire refers to the current or contemporary developments. Modern art starts with artworks that represent the vignettes of daily life in the privacy of private studios in Paris to the beauty of modern life seen from multiple surroundings. The appropriation and mutation of modernity by Africans, Arabs, lndians, and Asians, for example, do not indicate Westernization but rather an actjve participation in the construction of modemism by non-European sources. Jim Supangkat terms it as "multi-rnodernism" in which he argues for nonEuropean modernism to be contextualizcd, articulated, and theorized within their own specific historicity (Supangkat, 1997). Within this context, this paper attempts to discuss the context of early modernity of modern art specifically in Indonesia and Malaysia. ms paper will argue that modernity does not only belong to the West but it can be multiplied and pluralized over its Western origin. Therefore, this paper upholds that modern art that was accepted and developed in the non-Wcstem world is a form of a discursive formation, which continues to be 'underconstruction' that is multifaceted and yet an intricate subject of study, in which this paper attempts to unfold. Leutikaprio Effendi, Tonny Dian Ramli, Mohammad Izzuddin 2015 Book Section PeerReviewed application/pdf en http://eprints.usm.my/30930/1/Book_chapter_leutikaprio.pdf Abdullah, Sarena and Thiruchelvam, Chelliah (2015) The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art. In: Satu Rumpun Banyak Tunas: Kumpulan Pemikiran Generasi Muda Indonesia dan Malaysia. Leutikaprio, Yogyakarta, Indonesia, pp. 204-231. ISBN 978-602-371-053-9 |
| spellingShingle | NX1-820 Arts in general Abdullah, Sarena Thiruchelvam, Chelliah The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art |
| title | The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art |
| title_full | The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art |
| title_fullStr | The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art |
| title_full_unstemmed | The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art |
| title_short | The Locality and the Immediate Realities: Tracing Modernity in Indonesian and Malaysian Modern Art |
| title_sort | locality and the immediate realities: tracing modernity in indonesian and malaysian modern art |
| topic | NX1-820 Arts in general |
| url | http://eprints.usm.my/30930/ http://eprints.usm.my/30930/1/Book_chapter_leutikaprio.pdf |