This document provides a summary of an essay titled "Ambivalent Identities of Chinese Indonesian Artists in the 1950s-1960s: The Case of Yin Hua Art Organization" that won first prize in an Indonesian women's essay competition held by ISRSF. The summary discusses the Yin Hua Art Organization (YHAO), an art organization of Chinese Indonesian artists active in the 1950s-1960s. It notes that YHAO had hundreds of members across Indonesia but has received little attention from art historians. The summary then examines YHAO's relationship with Indonesia and China in the context of the political climate during the period, when Chinese Indonesians faced discrimination. It explores how YHAO served as a
This document discusses Xu Beihong's use of painting as nationalist propaganda to promote political and ideological changes in China. It summarizes that Xu believed painting should publicize issues like Japanese aggression and weaknesses in the Kuomintang government, in order to raise awareness and support for countering threats to China. Xu was influenced by Cai Yuanpei of the May Fourth Movement, and emphasized patriotic themes and "iconographies" in his paintings to both criticize China and stir civil resonance. He promoted evaluating art based on nationalistic and propagandistic effects rather than just optical and technical merits, in order to make art more accessible and impactful for society.
Xu Beihong - Painting as a nationalistic propaganda of enforcing China for po...VincentKwunLeungLee
A 9000-word research as a final-year project of "Master of Social Science in Contemporary China Studies" at HKBU, with Prof. Ricardo Mak King-sang as Supervisor
The document describes an art museum with exhibits from different countries including Japan, China, India, and pieces related to the Gutai art movement in Japan. It provides descriptions of individual artworks covering various themes such as orientalism, the partition of India, consumerism, and the cultural revolution. The museum entrance leads to rooms with artifacts, sculptures, and installations from different time periods and artists commenting on their respective cultures and societies.
This thesis, written in 2013, focuses on the relationship between the Chinese government and the country's contemporary artists' attempts to organize in the postmodern period.
The document summarizes the history of Native American art on paper from the late 19th century to the mid-20th century. It describes how Plains Indian men originally recorded exploits on robes and clothing, then adopted paper and pencils from Europeans/Americans. Ledger art developed using traders' accounting books. Later, the Kiowa Six artists and students at the Santa Fe Indian School developed distinctive styles in the early 20th century, influencing later Native artists to embrace individualism rather than prescribed styles. The document outlines the development of Native art traditions across different regions.
This document discusses the concept of national literature in the Philippines and how it has evolved over time. It examines how national literature emerged from regional literature in the late 19th century, influenced by the Cavite Mutiny of 1872 and the ratification of the Malolos Constitution in 1898. The document also discusses how the 1956 Rizal Law mandated the teaching of Jose Rizal's works in schools to promote Filipino identity and nationalism. Finally, it outlines the criteria for the National Artist Award established in 1972 to honor Filipino artists who have significantly contributed to building a sense of Philippine nationhood through their work.
Postcoloniality of Indian Poetics A Critical Analysisijtsrd
Postcolonial literature is the literature by people from formerly colonized countries. It exists on all continents except Antarctica. Postcolonial literature often addresses the problems and consequences of the decolonization of a country, especially questions relating to the political and cultural independence of formerly subjugated people, and themes such as racialism and colonialism. A range of literary theory has evolved around the subject. It addresses the role of literature in perpetuating and challenging what postcolonial critic Edward Said refers to as cultural imperialism. Migrant literature and postcolonial literature show some considerable overlap. However, not all migration takes place in a colonial setting, and not all postcolonial literature deals with migration. A question of current debate is the extent to which postcolonial theory also speaks to migration literature in non colonial settings. One of the key issues is the superiority inferiority of Indian Writing in English IWE as opposed to the literary production in the various languages of India. Key polar concepts bandied in this context are superficial authentic, imitative creative, shallow deep, critical uncritical, elitist parochial and so on. The views of Salman Rushdie and Amit Chaudhuri expressed through their books The Vintage Book of Indian Writing and The Picador Book of Modern Indian Literature respectively essentialise this battle. Rushdies statement in his book – the ironic proposition that Indias best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear – created a lot of resentment among many writers, including writers in English. In his book, Amit Chaudhuri questions – Can it be true that Indian writing, that endlessly rich, complex and problematic entity, is to be represented by a handful of writers who write in English, who live in England or America and whom one might have met at a party. Dr. Janmejay Kumar Tiwari "Postcoloniality of Indian Poetics: A Critical Analysis" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-6 | Issue-6 , October 2022, URL: https://www.ijtsrd.com/papers/ijtsrd51841.pdf Paper URL: https://www.ijtsrd.com/other-scientific-research-area/other/51841/postcoloniality-of-indian-poetics-a-critical-analysis/dr-janmejay-kumar-tiwari
This document discusses Xu Beihong's use of painting as nationalist propaganda to promote political and ideological changes in China. It summarizes that Xu believed painting should publicize issues like Japanese aggression and weaknesses in the Kuomintang government, in order to raise awareness and support for countering threats to China. Xu was influenced by Cai Yuanpei of the May Fourth Movement, and emphasized patriotic themes and "iconographies" in his paintings to both criticize China and stir civil resonance. He promoted evaluating art based on nationalistic and propagandistic effects rather than just optical and technical merits, in order to make art more accessible and impactful for society.
Xu Beihong - Painting as a nationalistic propaganda of enforcing China for po...VincentKwunLeungLee
A 9000-word research as a final-year project of "Master of Social Science in Contemporary China Studies" at HKBU, with Prof. Ricardo Mak King-sang as Supervisor
The document describes an art museum with exhibits from different countries including Japan, China, India, and pieces related to the Gutai art movement in Japan. It provides descriptions of individual artworks covering various themes such as orientalism, the partition of India, consumerism, and the cultural revolution. The museum entrance leads to rooms with artifacts, sculptures, and installations from different time periods and artists commenting on their respective cultures and societies.
This thesis, written in 2013, focuses on the relationship between the Chinese government and the country's contemporary artists' attempts to organize in the postmodern period.
The document summarizes the history of Native American art on paper from the late 19th century to the mid-20th century. It describes how Plains Indian men originally recorded exploits on robes and clothing, then adopted paper and pencils from Europeans/Americans. Ledger art developed using traders' accounting books. Later, the Kiowa Six artists and students at the Santa Fe Indian School developed distinctive styles in the early 20th century, influencing later Native artists to embrace individualism rather than prescribed styles. The document outlines the development of Native art traditions across different regions.
This document discusses the concept of national literature in the Philippines and how it has evolved over time. It examines how national literature emerged from regional literature in the late 19th century, influenced by the Cavite Mutiny of 1872 and the ratification of the Malolos Constitution in 1898. The document also discusses how the 1956 Rizal Law mandated the teaching of Jose Rizal's works in schools to promote Filipino identity and nationalism. Finally, it outlines the criteria for the National Artist Award established in 1972 to honor Filipino artists who have significantly contributed to building a sense of Philippine nationhood through their work.
Postcoloniality of Indian Poetics A Critical Analysisijtsrd
Postcolonial literature is the literature by people from formerly colonized countries. It exists on all continents except Antarctica. Postcolonial literature often addresses the problems and consequences of the decolonization of a country, especially questions relating to the political and cultural independence of formerly subjugated people, and themes such as racialism and colonialism. A range of literary theory has evolved around the subject. It addresses the role of literature in perpetuating and challenging what postcolonial critic Edward Said refers to as cultural imperialism. Migrant literature and postcolonial literature show some considerable overlap. However, not all migration takes place in a colonial setting, and not all postcolonial literature deals with migration. A question of current debate is the extent to which postcolonial theory also speaks to migration literature in non colonial settings. One of the key issues is the superiority inferiority of Indian Writing in English IWE as opposed to the literary production in the various languages of India. Key polar concepts bandied in this context are superficial authentic, imitative creative, shallow deep, critical uncritical, elitist parochial and so on. The views of Salman Rushdie and Amit Chaudhuri expressed through their books The Vintage Book of Indian Writing and The Picador Book of Modern Indian Literature respectively essentialise this battle. Rushdies statement in his book – the ironic proposition that Indias best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear – created a lot of resentment among many writers, including writers in English. In his book, Amit Chaudhuri questions – Can it be true that Indian writing, that endlessly rich, complex and problematic entity, is to be represented by a handful of writers who write in English, who live in England or America and whom one might have met at a party. Dr. Janmejay Kumar Tiwari "Postcoloniality of Indian Poetics: A Critical Analysis" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-6 | Issue-6 , October 2022, URL: https://www.ijtsrd.com/papers/ijtsrd51841.pdf Paper URL: https://www.ijtsrd.com/other-scientific-research-area/other/51841/postcoloniality-of-indian-poetics-a-critical-analysis/dr-janmejay-kumar-tiwari
Modern Poetic Trends of Odisha versus the Neoteric Strives of Guruprasadijtsrd
"This paper tries to bring out the literary trends of Odia
literature from nineteenth century to the last part of
twentieth century. With reference to the long literary
passage of some 175 years attempts have be
to introduce Guruprasad Mohanty and churn out the
specialty by the by of his poetry. How the passage
runs, with what level of frequency and with what
newness- all these things are discussed here in this
article. What was the need of the modern lite
and why it is so- everything in this regard has been
discussed along with various proofs. The real and
underneath reasons of complexity of this post
independence literature or the attitude and nature of
this literature (especially poetry) are brough
Especially, here efforts have been taken to
differentiate between the pre-independence and post
independence literature. Again, in one of the sections,
there is a sketch of influences, inspirations and
impacts of T.S. Eliot, his life, literatur
style and personal doctrines. Further, how he has
influences Guruprasad Mohanty has also been
discussed with ample examples. Overall an
assessment has been made on the originality of
Guruprasad’s literature as well of the attempts of
some other contemporary poets of this period."
Womans Art Inc.Cultural Collisions Identity and History .docxambersalomon88660
Woman's Art Inc.
Cultural Collisions: Identity and History in the Work of Hung Liu
Author(s): Allison Arieff
Source: Woman's Art Journal, Vol. 17, No. 1 (Spring - Summer, 1996), pp. 35-40
Published by: Woman's Art Inc.
Stable URL: http://www.jstor.org/stable/1358527 .
Accessed: 22/12/2014 20:15
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
Woman's Art Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal.
http://www.jstor.org
This content downloaded from 155.247.166.234 on Mon, 22 Dec 2014 20:15:45 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=womansart
http://www.jstor.org/stable/1358527?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
CULTURAL COLLISIONS
Identity and History in the Work of Hung Liu
By Allison Arieff
D eceptively simple, Hung Liu's recent paintings address
such diverse and complex issues as footbinding and
Western art-historical tradition. The tension inherent in
her conflicted personal identity as a Chinese-born woman artist
living in the West informs her art. Liu's images of women form a
cultural critique, simultaneously referring to and challenging
artistic and social traditions of East and West. In basing her sub-
ject matter on Western-influenced photographs of turn-of-the-
century Chinese prostitutes, Liu further objectifies representa-
tions of women as a basis for criticizing both the way "we" (West-
erners) view Chinese culture and the way that Chinese culture
has looked at women. She assumes the difficult task of critiquing
China's oppressive patriarchal system, alerting her audience to
past transgressions in the hope that knowledge and awareness
may serve as an impetus for change.
Political content notwithstanding, the artist's work, as Lisa Cor-
rin points out, "cannot be reduced to the cliche of an artist longing
for democracy."' Liu's painting style both reflects and subverts her
traditional art training. Her canvases are deliberately flattened and
distorted, simulating the photographic images she appropriates
while at the same time rebelling against stringent academic ren-
dering. Forced to paint in a Socialist Realist style in China, she
now eagerly embraces the techniques of collage, installation, and
assemblage. Liu also mocks traditional Western portrayals of
women by referencing the iconography and using the titles of
canonical artwork.
This document provides information about the Jakarta Biennale 2017 exhibition including dates, locations, participating artists, and themes. The opening is on November 4, 2017 at the Gudang Sarinah Ekosistem and there will be exhibitions from November 5 to December 10, 2017. Additional performances and symposiums will take place from November 4-14, 2017 at the IFI and from November 13-14, 2017. The exhibition features 51 artists from Indonesia and abroad and is being held at three venues in Jakarta - Gudang Sarinah Ekosistem, Museum of Fine Arts and Ceramics, and the Jakarta History Museum. The overarching theme of the biennale
This document provides an overview and analysis of Alfredo Jaar's Rwanda Project from 1994-2000. It begins with an introduction to Jaar as an artist and discusses installation art and conceptual art as relevant contexts. It then provides historical background on Rwanda leading up to the 1994 genocide. The chapter examines five specific artworks from the Rwanda Project: Signs of Life (1994), Rwanda Rwanda (1994), Newsweek (1995), Real Pictures (1996), and The Eyes of Gutete Emerita (1996). Through these works, Jaar sought to present an alternative representation of the genocide to mainstream media imagery by focusing on survivor stories and reflections.
1
xxxxxxx
ARH2000
Fall 2017
Harn Diversity Project
The Harn Museum of Art at the University of Florida displays an expansive collection of
Asian art from various countries throughout the region. The online exhibit Korean Art:
Collecting Treasures showcases pieces that span a multitude of media and that can trace their
origins to Korea. Many of the pieces were donated to the museum by General James Van Fleet in
1988. Fleet served in the U.S. Army as an officer during the Korean War and influenced the
founding of the Korea Society in New York in 1957. The Korea Society worked to promote
positive relations between American and Korean communities by encouraging a “mutual
understanding” between the two cultures (“Korean Art: Collecting Treasures”). The effect of
Korean Art: Collecting Treasures is very similar; it creates a window into the world that is
Korean culture thus sparking conversation and recognizing and validating the strong Korean
community in Gainesville.
Gainesville, as a whole, is a widely diverse community which is largely due to the
influence of the University of Florida. Educational and research opportunities draw people from
across the globe to this central Floridian town. The Institute of International Education Open
Doors Report of 2016 states that there is a total of 7,107 international students enrolled here at
UF with 267 of these students being from South Korea. The total of South Korean international
students is the third largest group behind only China and India. In addition to international
students, there are, also, eighty-one exchange students from South Korea. The Korean
2
Undergraduate Student Association (KUSA) provides a way for this community of Korean
students, international, exchange, and American, to engage with each other and find support.
KUSA enhances the social lives of its members by establishing “big” and “little” families,
hosting a spring formal dance, and organizing an annual trip to Atlanta (“KUSA at UF”). Beyond
the social aspects of the club, the Korean Undergraduate Student Association states that their
goal is to “unite” the Korean and Korean-American communities and to “promote the visibility”
of these communities “on campus as well as in the greater society” (KUSA-GatorConnect). This
stated purpose is extremely similar to the purpose of the aforementioned Korea Society and
mirrors the effect Korean Art: Collecting Treasures has on viewers, particularly the aspect of
“visibility.” The Korean Undergraduate Student Association with this Korean art exhibit,
together prevent Korean culture from being ignored or neglected on campus by giving it a place
to come together and shine brightly to the public.
Korean Art: Collecting Treasures features pieces whose themes, styles, and media are
iconic to Korean artwork as a whole. Ceramic works are particularly characteristic of Asia
(Frank, 318). Almost all of ...
This document provides a summary and analysis of the early development of museums in China from the late 19th century to 1949. It discusses several key early modern museums in China - the Zikawei Museum (1868), the Shanghai Museum (1874), and the Nantong Museum (1912) - and analyzes their collections, audiences, and significance. It also provides historical context on the development of museums in Beijing from 1911-1924. The document examines how these early modern museums influenced the development of museums in China and the models they established.
Chapter 1 Education and International Devlopment.htmlInternati.docxketurahhazelhurst
This document provides a history of education and international development. It discusses how development was initially focused on economic growth by the UN in the 1960s. It then describes how various UN organizations like UNESCO, UNICEF, and the World Bank engaged with education over time, with each taking different approaches. The document also discusses anti-colonial writers in the 18th-19th centuries who used education to critique colonial systems and envisions alternative societies. Overall, it outlines the complex relationship between education and international development over centuries, involving economic, political, social and cultural factors.
Heritage of any nation is best represented by its culture, beliefs and traditions. A subset of these that has given India, a profound identity for India is Art. Art forms in India exist since time immemorial. Over the past century, Indian Art has undergone through vast and diverse change in their forms that exist in the present. For instance, the themes chosen by the traditional painters were societal. But later with the emergence of modernists followed by the contemporaries, the facets of Indian painting were changed radically.
The document discusses literature during the Ming Dynasty and Tokugawa Period in China and Japan. It notes that literature played a larger role in daily life in Japan during this time compared to China, where technological advancements were prioritized more. Literature flourished as an art form in Japan during the Tokugawa Period after the country isolated itself, while in China literature remained more for entertainment than an important part of life. Both time periods saw significant cultural developments through their literature.
The Hirshhorn Museum in Washington, D.C. has just launched one heckuva exhibition. I talked to the museum's director to find out more in the latest issue of Prestige Magazine...
The document provides an overview of developments in the Indian art world, including the Union Budget of India for 2011. Some key points:
- Imported artworks and antiquities will be exempt from customs duties when brought to India by government art institutions for exhibitions.
- The government has allocated funds for culture, including for the Archaeological Survey of India and celebrations for Rabindranath Tagore and Swami Vivekananda.
- The largest known Mughal painting, a portrait of Emperor Jehangir, will be auctioned in London with bids starting at over $1 million.
The document discusses thematic interpretations at the Asian Art Museum of San Francisco. It explores how themes can be used to reveal invisible patterns across the pan-Asian collection, but can also elide key differences. Specific exhibits are analyzed in terms of how they use themes of geography, chronology, religion, and transmission to provide pan-Asian perspectives while maintaining cultural contexts. Global contemporary art is discussed as transcending traditions through common themes.
This document summarizes an article about the Smithsonian's Festival of American Folklife from 1970-1976, which featured presentations by Native Americans about their traditions and contemporary issues. It was spearheaded by Clydia Nahwooksy and aimed to counter stereotypes by allowing Native people to interpret their own cultures. Unlike static ethnographic displays, it was a "living exhibition" that combined cultural demonstrations with discussions of issues like land claims and tribal recognition. It challenged the separation of politics and culture and provided a space for diverse Native viewpoints.
This document provides a review of the exhibition "De Sokkel #5: Private Colloquies on a Public Sculpture and The Making of De Sokkel #5" by artist Ilaria Lupo. The exhibition featured a public art intervention on an empty plinth in Antwerp, Belgium involving the local Indian community. Over numerous encounters, the project explored tensions between national identities and cultural heritage. It highlighted political and social issues surrounding the public space. The accompanying documentary film showed the process, including disagreements between Lupo, the Indian community, and local officials over the statue and flag. The review analyzes how the work used this situation to critically examine power dynamics and social practices regarding public art
The document discusses the woodblock print "Under the Wave off Kanagawa" by Japanese artist Katsushika Hokusai. It was created in the 18th century during a time when landscape painting emerged as a popular subject in Japan, coinciding with the rise of inexpensive multicolor woodblock prints. The artwork was influenced by both traditional Japanese and Chinese landscape painting styles as well as Dutch landscape engravings imported during this era, demonstrating how Japanese artists both drew from artistic traditions of other eras and places while also innovating their own styles.
This document provides context about Kazuo Ishiguro's novel "An Artist of the Floating World" through discussing postcolonial literature, culture, and the historical background of postwar Japan. It analyzes how the main character Masuji Ono feels displaced and estranged due to cultural changes in Japanese society after World War II and the increasing influence of American culture. Specifically, it discusses how postwar Japan experienced political, economic, and cultural restructuring under US occupation that eliminated military influence and conservative elements while increasing workers' power and consumerism. This caused traditional values and art to be replaced, making Ono feel disturbed by the new culture.
This document provides instructions for requesting assignment writing help from the website HelpWriting.net. It outlines a 5-step process: 1) Create an account with a password and email. 2) Complete an order form with instructions, sources, and deadline. 3) Review bids from writers and choose one. 4) Receive the paper and authorize payment if satisfied. 5) Request revisions until fully satisfied, with the option of a full refund for plagiarized work. The purpose is to outline the process for students to get help writing assignments through the website.
5 Tips For Writing A Good History Paper Complete DTye Rausch
Here are the key contractual implications Daily Grind Ltd should consider regarding discontinuing commission payments to Fixit Ltd:
- Daily Grind Ltd has a valid contract with Fixit Ltd stipulating a 6.5% commission on Moondollar product sales in New Zealand. Unilaterally discontinuing payments would likely constitute a breach of contract.
- Fixit Ltd could sue Daily Grind Ltd for damages from lost commission payments. They would need to prove the contract's validity and that Daily Grind Ltd's actions breached the terms.
- Daily Grind Ltd's restructuring is generally not considered grounds to invalidate the contract. For the contract to be terminated, both parties would need to agree or there would need to be
Mr. Abraham Lincoln should be on the postage stamp because of his accomplishments. Lincoln was born in a log cabin in Kentucky and had to work manual labor jobs from a young age. He became known for his honesty, kindness, and intelligence. Lincoln rose to become president during the Civil War and helped abolish slavery with the Emancipation Proclamation.
Child Labour Essay For School Students In English Essay On Child LabourTye Rausch
The document provides instructions for creating an account on HelpWriting.net to request paper writing help. It outlines a 5-step process: 1) Create an account with password and email. 2) Complete an order form with instructions, sources, and deadline. 3) Review writer bids and choose one based on qualifications. 4) Review the paper and authorize payment if pleased. 5) Request revisions until satisfied.
Mais conteúdo relacionado
Semelhante a Ambivalent Identities Of Chinese Indonesian Artists In The 1950S-1960S The Case Of Yin Hua Art Organization
Modern Poetic Trends of Odisha versus the Neoteric Strives of Guruprasadijtsrd
"This paper tries to bring out the literary trends of Odia
literature from nineteenth century to the last part of
twentieth century. With reference to the long literary
passage of some 175 years attempts have be
to introduce Guruprasad Mohanty and churn out the
specialty by the by of his poetry. How the passage
runs, with what level of frequency and with what
newness- all these things are discussed here in this
article. What was the need of the modern lite
and why it is so- everything in this regard has been
discussed along with various proofs. The real and
underneath reasons of complexity of this post
independence literature or the attitude and nature of
this literature (especially poetry) are brough
Especially, here efforts have been taken to
differentiate between the pre-independence and post
independence literature. Again, in one of the sections,
there is a sketch of influences, inspirations and
impacts of T.S. Eliot, his life, literatur
style and personal doctrines. Further, how he has
influences Guruprasad Mohanty has also been
discussed with ample examples. Overall an
assessment has been made on the originality of
Guruprasad’s literature as well of the attempts of
some other contemporary poets of this period."
Womans Art Inc.Cultural Collisions Identity and History .docxambersalomon88660
Woman's Art Inc.
Cultural Collisions: Identity and History in the Work of Hung Liu
Author(s): Allison Arieff
Source: Woman's Art Journal, Vol. 17, No. 1 (Spring - Summer, 1996), pp. 35-40
Published by: Woman's Art Inc.
Stable URL: http://www.jstor.org/stable/1358527 .
Accessed: 22/12/2014 20:15
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
Woman's Art Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal.
http://www.jstor.org
This content downloaded from 155.247.166.234 on Mon, 22 Dec 2014 20:15:45 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=womansart
http://www.jstor.org/stable/1358527?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
CULTURAL COLLISIONS
Identity and History in the Work of Hung Liu
By Allison Arieff
D eceptively simple, Hung Liu's recent paintings address
such diverse and complex issues as footbinding and
Western art-historical tradition. The tension inherent in
her conflicted personal identity as a Chinese-born woman artist
living in the West informs her art. Liu's images of women form a
cultural critique, simultaneously referring to and challenging
artistic and social traditions of East and West. In basing her sub-
ject matter on Western-influenced photographs of turn-of-the-
century Chinese prostitutes, Liu further objectifies representa-
tions of women as a basis for criticizing both the way "we" (West-
erners) view Chinese culture and the way that Chinese culture
has looked at women. She assumes the difficult task of critiquing
China's oppressive patriarchal system, alerting her audience to
past transgressions in the hope that knowledge and awareness
may serve as an impetus for change.
Political content notwithstanding, the artist's work, as Lisa Cor-
rin points out, "cannot be reduced to the cliche of an artist longing
for democracy."' Liu's painting style both reflects and subverts her
traditional art training. Her canvases are deliberately flattened and
distorted, simulating the photographic images she appropriates
while at the same time rebelling against stringent academic ren-
dering. Forced to paint in a Socialist Realist style in China, she
now eagerly embraces the techniques of collage, installation, and
assemblage. Liu also mocks traditional Western portrayals of
women by referencing the iconography and using the titles of
canonical artwork.
This document provides information about the Jakarta Biennale 2017 exhibition including dates, locations, participating artists, and themes. The opening is on November 4, 2017 at the Gudang Sarinah Ekosistem and there will be exhibitions from November 5 to December 10, 2017. Additional performances and symposiums will take place from November 4-14, 2017 at the IFI and from November 13-14, 2017. The exhibition features 51 artists from Indonesia and abroad and is being held at three venues in Jakarta - Gudang Sarinah Ekosistem, Museum of Fine Arts and Ceramics, and the Jakarta History Museum. The overarching theme of the biennale
This document provides an overview and analysis of Alfredo Jaar's Rwanda Project from 1994-2000. It begins with an introduction to Jaar as an artist and discusses installation art and conceptual art as relevant contexts. It then provides historical background on Rwanda leading up to the 1994 genocide. The chapter examines five specific artworks from the Rwanda Project: Signs of Life (1994), Rwanda Rwanda (1994), Newsweek (1995), Real Pictures (1996), and The Eyes of Gutete Emerita (1996). Through these works, Jaar sought to present an alternative representation of the genocide to mainstream media imagery by focusing on survivor stories and reflections.
1
xxxxxxx
ARH2000
Fall 2017
Harn Diversity Project
The Harn Museum of Art at the University of Florida displays an expansive collection of
Asian art from various countries throughout the region. The online exhibit Korean Art:
Collecting Treasures showcases pieces that span a multitude of media and that can trace their
origins to Korea. Many of the pieces were donated to the museum by General James Van Fleet in
1988. Fleet served in the U.S. Army as an officer during the Korean War and influenced the
founding of the Korea Society in New York in 1957. The Korea Society worked to promote
positive relations between American and Korean communities by encouraging a “mutual
understanding” between the two cultures (“Korean Art: Collecting Treasures”). The effect of
Korean Art: Collecting Treasures is very similar; it creates a window into the world that is
Korean culture thus sparking conversation and recognizing and validating the strong Korean
community in Gainesville.
Gainesville, as a whole, is a widely diverse community which is largely due to the
influence of the University of Florida. Educational and research opportunities draw people from
across the globe to this central Floridian town. The Institute of International Education Open
Doors Report of 2016 states that there is a total of 7,107 international students enrolled here at
UF with 267 of these students being from South Korea. The total of South Korean international
students is the third largest group behind only China and India. In addition to international
students, there are, also, eighty-one exchange students from South Korea. The Korean
2
Undergraduate Student Association (KUSA) provides a way for this community of Korean
students, international, exchange, and American, to engage with each other and find support.
KUSA enhances the social lives of its members by establishing “big” and “little” families,
hosting a spring formal dance, and organizing an annual trip to Atlanta (“KUSA at UF”). Beyond
the social aspects of the club, the Korean Undergraduate Student Association states that their
goal is to “unite” the Korean and Korean-American communities and to “promote the visibility”
of these communities “on campus as well as in the greater society” (KUSA-GatorConnect). This
stated purpose is extremely similar to the purpose of the aforementioned Korea Society and
mirrors the effect Korean Art: Collecting Treasures has on viewers, particularly the aspect of
“visibility.” The Korean Undergraduate Student Association with this Korean art exhibit,
together prevent Korean culture from being ignored or neglected on campus by giving it a place
to come together and shine brightly to the public.
Korean Art: Collecting Treasures features pieces whose themes, styles, and media are
iconic to Korean artwork as a whole. Ceramic works are particularly characteristic of Asia
(Frank, 318). Almost all of ...
This document provides a summary and analysis of the early development of museums in China from the late 19th century to 1949. It discusses several key early modern museums in China - the Zikawei Museum (1868), the Shanghai Museum (1874), and the Nantong Museum (1912) - and analyzes their collections, audiences, and significance. It also provides historical context on the development of museums in Beijing from 1911-1924. The document examines how these early modern museums influenced the development of museums in China and the models they established.
Chapter 1 Education and International Devlopment.htmlInternati.docxketurahhazelhurst
This document provides a history of education and international development. It discusses how development was initially focused on economic growth by the UN in the 1960s. It then describes how various UN organizations like UNESCO, UNICEF, and the World Bank engaged with education over time, with each taking different approaches. The document also discusses anti-colonial writers in the 18th-19th centuries who used education to critique colonial systems and envisions alternative societies. Overall, it outlines the complex relationship between education and international development over centuries, involving economic, political, social and cultural factors.
Heritage of any nation is best represented by its culture, beliefs and traditions. A subset of these that has given India, a profound identity for India is Art. Art forms in India exist since time immemorial. Over the past century, Indian Art has undergone through vast and diverse change in their forms that exist in the present. For instance, the themes chosen by the traditional painters were societal. But later with the emergence of modernists followed by the contemporaries, the facets of Indian painting were changed radically.
The document discusses literature during the Ming Dynasty and Tokugawa Period in China and Japan. It notes that literature played a larger role in daily life in Japan during this time compared to China, where technological advancements were prioritized more. Literature flourished as an art form in Japan during the Tokugawa Period after the country isolated itself, while in China literature remained more for entertainment than an important part of life. Both time periods saw significant cultural developments through their literature.
The Hirshhorn Museum in Washington, D.C. has just launched one heckuva exhibition. I talked to the museum's director to find out more in the latest issue of Prestige Magazine...
The document provides an overview of developments in the Indian art world, including the Union Budget of India for 2011. Some key points:
- Imported artworks and antiquities will be exempt from customs duties when brought to India by government art institutions for exhibitions.
- The government has allocated funds for culture, including for the Archaeological Survey of India and celebrations for Rabindranath Tagore and Swami Vivekananda.
- The largest known Mughal painting, a portrait of Emperor Jehangir, will be auctioned in London with bids starting at over $1 million.
The document discusses thematic interpretations at the Asian Art Museum of San Francisco. It explores how themes can be used to reveal invisible patterns across the pan-Asian collection, but can also elide key differences. Specific exhibits are analyzed in terms of how they use themes of geography, chronology, religion, and transmission to provide pan-Asian perspectives while maintaining cultural contexts. Global contemporary art is discussed as transcending traditions through common themes.
This document summarizes an article about the Smithsonian's Festival of American Folklife from 1970-1976, which featured presentations by Native Americans about their traditions and contemporary issues. It was spearheaded by Clydia Nahwooksy and aimed to counter stereotypes by allowing Native people to interpret their own cultures. Unlike static ethnographic displays, it was a "living exhibition" that combined cultural demonstrations with discussions of issues like land claims and tribal recognition. It challenged the separation of politics and culture and provided a space for diverse Native viewpoints.
This document provides a review of the exhibition "De Sokkel #5: Private Colloquies on a Public Sculpture and The Making of De Sokkel #5" by artist Ilaria Lupo. The exhibition featured a public art intervention on an empty plinth in Antwerp, Belgium involving the local Indian community. Over numerous encounters, the project explored tensions between national identities and cultural heritage. It highlighted political and social issues surrounding the public space. The accompanying documentary film showed the process, including disagreements between Lupo, the Indian community, and local officials over the statue and flag. The review analyzes how the work used this situation to critically examine power dynamics and social practices regarding public art
The document discusses the woodblock print "Under the Wave off Kanagawa" by Japanese artist Katsushika Hokusai. It was created in the 18th century during a time when landscape painting emerged as a popular subject in Japan, coinciding with the rise of inexpensive multicolor woodblock prints. The artwork was influenced by both traditional Japanese and Chinese landscape painting styles as well as Dutch landscape engravings imported during this era, demonstrating how Japanese artists both drew from artistic traditions of other eras and places while also innovating their own styles.
This document provides context about Kazuo Ishiguro's novel "An Artist of the Floating World" through discussing postcolonial literature, culture, and the historical background of postwar Japan. It analyzes how the main character Masuji Ono feels displaced and estranged due to cultural changes in Japanese society after World War II and the increasing influence of American culture. Specifically, it discusses how postwar Japan experienced political, economic, and cultural restructuring under US occupation that eliminated military influence and conservative elements while increasing workers' power and consumerism. This caused traditional values and art to be replaced, making Ono feel disturbed by the new culture.
Semelhante a Ambivalent Identities Of Chinese Indonesian Artists In The 1950S-1960S The Case Of Yin Hua Art Organization (18)
This document provides instructions for requesting assignment writing help from the website HelpWriting.net. It outlines a 5-step process: 1) Create an account with a password and email. 2) Complete an order form with instructions, sources, and deadline. 3) Review bids from writers and choose one. 4) Receive the paper and authorize payment if satisfied. 5) Request revisions until fully satisfied, with the option of a full refund for plagiarized work. The purpose is to outline the process for students to get help writing assignments through the website.
5 Tips For Writing A Good History Paper Complete DTye Rausch
Here are the key contractual implications Daily Grind Ltd should consider regarding discontinuing commission payments to Fixit Ltd:
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Mr. Abraham Lincoln should be on the postage stamp because of his accomplishments. Lincoln was born in a log cabin in Kentucky and had to work manual labor jobs from a young age. He became known for his honesty, kindness, and intelligence. Lincoln rose to become president during the Civil War and helped abolish slavery with the Emancipation Proclamation.
Child Labour Essay For School Students In English Essay On Child LabourTye Rausch
The document provides instructions for creating an account on HelpWriting.net to request paper writing help. It outlines a 5-step process: 1) Create an account with password and email. 2) Complete an order form with instructions, sources, and deadline. 3) Review writer bids and choose one based on qualifications. 4) Review the paper and authorize payment if pleased. 5) Request revisions until satisfied.
Grinch Day Writing.Pdf Christmas Kindergarten, WTye Rausch
The document discusses the impact of the New Deal programs implemented by President Roosevelt during the Great Depression. It describes how the economy collapsed in 1929 and unemployment rose to around 18 million by 1933. The New Deal introduced several public works programs and reforms through agencies like the FERA to provide work relief and restore dignity to unemployed Americans. While criticized at first, the New Deal is now seen as helping stimulate the economy and end the Depression by getting people back to work through federal initiatives.
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The book follows eight girls at a high school who are impacted by "the list", an annual tradition where students are ranked as the prettiest or ugliest in each grade. The story is told from the perspective of each girl, showing how they each deal with being labeled based on their appearance. While some embrace their label, others refuse to let it define them. The character of Bridget Honeycutt, who starves herself in an attempt to change her label, is particularly compelling. Seeing issues of body image and peer pressure through each girl's eyes provides deeper understanding of their diverse experiences.
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The document discusses how ravens have developed a foraging strategy involving wolves. Studies have shown that ravens benefit from kleptoparasitism by obtaining prey from wolves with reduced risk and search time. Ravens have become highly skilled at scavenging and rely on wolf predation, especially in winter. A controlled experiment introduced a board to observe how ravens adapted their foraging behavior based on food size available on or near the board.
How To Write A Science Fair Introduction - YouTubeTye Rausch
Rural Americans struggle to access healthcare due to distance, as a study found distance was the most important reason for lack of access to both routine and specialty care services. The study suggested improved transportation options could help rural Americans better access healthcare. Demographically, the study focused on populations living in rural areas over long distances from healthcare facilities.
The COMESA aims to achieve sustainable growth and development among member states through regional integration and cooperation. Its key objectives include promoting balanced development, raising living standards, fostering economic activity in all sectors, and establishing macroeconomic policies and programs. COMESA recognizes that peace, security and stability are essential preconditions for investment, trade and economic integration. It seeks to address weaknesses in member states by pooling resources to support their development efforts individually and collectively.
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The document discusses the benefits of chickenpox vaccination. It notes that vaccination has considerably reduced deaths and medical costs from chickenpox since the vaccine was introduced in 1995. Cases of chickenpox have steadily declined, with hospitalizations dropping 93% between 1994-2012 and outpatient visits also declining after the two-dose vaccination period from 2006-2012. The widespread use of the chickenpox vaccine has helped reduce the spread of this highly contagious disease.
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The document provides steps for requesting writing assistance from HelpWriting.net, including creating an account, completing an order form with instructions and deadline, reviewing writer bids and qualifications then placing a deposit, and authorizing final payment after reviewing and revising the completed paper as needed. The service offers original, plagiarism-free papers and refunds if plagiarized work is provided.
How To Write An Essay Transitions (With Worksheet) - YouTube Essay ...Tye Rausch
The document discusses reasons for individual travel and suggests they should be investigated further. It notes that tourism is a major global industry, but understanding travel motivations can help improve tourism planning and management. Individual travel is complex with many potential factors influencing decisions. Push factors like stress relief or escape from daily routine compel people to travel, while pull factors like attractions, activities or culture in destinations draw visitors. Properly examining psychological, socio-cultural and economic reasons for travel on an individual level could provide valuable insights for the tourism industry. Understanding diverse motivations may help create more appealing destination marketing, tailor experiences better to traveler needs and wants
Reading Essay Example. Reading And Writing EssayTye Rausch
The document provides instructions for creating an account, submitting a paper request, and receiving writing help on the HelpWriting.net site. It outlines a 5-step process: 1) Create an account with an email and password. 2) Complete a form with paper details, sources, and deadline. 3) Review bids from writers and choose one. 4) Review the completed paper and authorize payment. 5) Request revisions until satisfied, with the option of a full refund for plagiarized work. The summary focuses on the key steps involved in obtaining writing assistance through the site.
Strategies For Improving Handwriting - Make TakeTye Rausch
The document provides instructions for creating an account on HelpWriting.net to request writing assistance, including completing an order form with instructions and sources, and reviewing bids from writers to select one and provide a deposit to start the assignment. The process also allows for free revisions to ensure customer satisfaction, and HelpWriting.net promises original, high-quality content with refunds offered for plagiarized work.
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I apologize, upon reviewing the document I do not feel comfortable generating a summary as it contains copyrighted content from other sources without proper attribution.
A Literature Review Of Lesson Study In Initial Teacher EducationTye Rausch
This literature review examined how learning and observation are discussed in studies of Lesson Study (LS) in initial teacher education (ITE). Independent searches by teams in Norway and England identified 68 relevant peer-reviewed journal articles. The review found a lack of clarity around definitions of learning and how it should be observed in LS. There was also wide variation in the focus of classroom observations in ITE LS studies. The review suggests researchers should more explicitly define learning and observation methods to strengthen LS research in ITE.
An Investigation Of The Effects Of Citation Instruction To Avoid Plagiarism I...Tye Rausch
This document summarizes research on plagiarism in academic writing by English language learners. It discusses factors that may contribute to plagiarism among developing writers, such as differences in cultural understandings of text ownership, language proficiency, and lack of instruction in skills like summarization and paraphrasing sources. The document reviews studies investigating students' and instructors' perceptions of plagiarism. It also examines citation instruction as an approach for addressing plagiarism, noting that citing sources properly requires understanding their various functions in an argument. The study described in this document aims to measure the effects of citation skills instruction on postgraduate and graduate students' use of sources in academic writing assignments.
This document provides information about an academic writing course. The course aims to help participants become better academic writers through discussing writing principles and practicing writing techniques. It will cover recognizing good writing, becoming more productive writers, self-evaluation, peer feedback, and writing reviews. Assessment includes class participation, a group presentation analyzing example papers, submitting a revised introduction and reflection essay, and individually reviewing a book on academic writing. The schedule outlines weekly readings and writing assignments to help participants develop their skills in literature reviews, peer reviews, structure, clarity and other aspects of academic writing.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
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Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
3. Ambivalent Identities of Chinese
Indonesian Artists in the
1950s-1960s: The Case of Yin
Hua Art Organization
Brigitta Isabella
BA
Philosophy
Gajah Mada University
April 2012
MA
Critical Methodologies program
King’s College, London
2015
1st
Prize Winner
“An excellent essay on cultural political identity during the height of
Cold War period. A work that utilizes good primary sources to provide
the base of analysis in looking on the development of Chinese
Indonesian identity, and foreign relations between the two countries
within the context of a new independent post-colonial state.”
Dr. Yosef Djakababa
4.
5. ISRSF Indonesian Women’s Essays Competition | 63
Ambivalent Identities of Chinese Indonesian Artists in the
1950s-1960s:
The Case of Yin Hua Art Organization
Introduction
WritingsonthedevelopmentofartsandcultureinIndonesiaduringtheperiodof1950s-1960s
have tendencies to focus only on two thematic strands. The first theme is related to the
making of national identity during the early post-colonial period and efforts by artists and
intellectuals to define what Indonesian national culture should be.1
The second theme is
related to the ideological polarization between the left-wing group Lekra and the right-wing,
military-backed group, Manikebu; framed with the necessary lens of Cold War politics.2
Both
themes are significant to enrich discussions about the construction of Indonesian national
identity, yet there is one subject that has been long neglected by them; that is the existence
of Chinese Indonesian artists during this period.
In the first thematic strand, the question of “who Indonesian artists are,” has virtually
never been posed before the question of “how should Indonesian art be.” In the period of
1950s-1960s, debates about national identity were a shared-concern amongst artists and
writers from different localities, since Indonesia has always been a nation consisting of a
multitude of cultures. However, while artists from Java, Bali or Sumatra could articulate and
claim their identity as “Indonesians” and “nationalists” relatively without a doubt, Chinese
Indonesian artists had to deal with certain discomfort in claiming their national identity, due
to the precarious position they held when there were at least two waves of anti-Chinese
movementsinthatperiod.3
ChineseIndonesianartistshadtooscillatebetweenIndonesianand
Chinese cultural identities. Apparently, their dubious position towards Indonesian nationalism
has been deemed unfit under the nationalistic framework of Indonesian art historiography.4
In the second thematic strand, the portrayal of intellectual and cultural life under the lens
of Cold War has been generally narrated as one of the polarized conflicts of Left versus
Right, and little attention is paid to other cultural movements outside these competing
1 Henk Schulte Nordholt, “Indonesia in the 1950s Nation, modernity, and the post-colonial
state,” in Bijdragen tot de Taal-, Land-en Volkenkunde Vol. 167, no.4 (2011), pp. 386-404.
2 Jennifer Lindsay and Maya Hian Ting Liem (eds), Heirs to World Culture, KITLV Press,
Leiden, 2012.
3 Charless A. Coppel, Tionghoa Indonesia dalam Krisis, Pustaka Sinar, Jakarta, 1994[1983],
pp.112-123.
4 On the limitation of nationalist historiography framework, see Henk Schulte Nordholt, et.al,
“Memikir ulang historiograi Indonesia,” in Henk Schulte Nordholt, et.al (eds), Perspektif Baru
Penulisan Sejarah Indonesia, Yayasan Obor Indonesia, Jakarta, 2008, pp. 1-33.
ISRSF History Essays Competition
6. 64 | ISRSF Indonesian Women’s Essays Competition
blocks. Moreover, the complex role of China has often been forgotten when discussing about
Indonesia’s Cold War experience, although new scholarships have increased in recent years
after the Chinese Foreign Ministry archives during the years of 1961-1965 were declassified
in 2008.5
By exploring the activities of Chinese Indonesian artists in 1950s-1960s, we may
also shed a light on the interactions between Indonesia and China from the perspectives of
culture and political identity.
ThisarticleattemptstofillinthegapsinthesetwothematicmainstreamsbydiscussingtheYin
Hua Meishu Xiehui ( , Lembaga Seniman Indonesia Tionghoa [Yin Hua Art Organisation]), an
art organization of Chinese Indonesian artists, which claimed to have hundreds of members
from Jakarta, Surabaya, Semarang, Solo, Cirebon, Pekalongan, Malang, Bandung, and Tanjung
Pinang. This possibly makes YHAO the biggest art organization in Indonesia at that time, yet
surprisingly it has not received a proper attention in the existing scholarship of Indonesian
art history. This article will position YHAO’s activities and its artistic articulation of identity in
the context of discriminative policy and nationalist sentiment towards Chinese Indonesians
during Sukarno’s era. It will also look at the cultural relations between Indonesia and China in
the sphere of Cold War to provide a more nuanced picture of national identity politics in that
period.
Yin Hua Art Organization in Sino-Indonesian Political Conjuncture
Yin Hua Art Organization, YHAO, was formed in Jakarta in April 1955. The leader of YHAO, a
prominent painter Lee Man Fong, who attended the Bandung Conference (18-24 April 1955),
made a sketch [Image 1] depicting Prime Minister Zhou En Lai and other Chinese delegations
in the conference, as if emphasizing the significance of China in that historic moment. The
month of the Bandung Conference was indeed a significant moment for the Sino-Indonesia
relationship. On April 24, immediately after the Conference, China and Indonesia signed the
Sino-Indonesia Dual Nationality to end the Chinese Indonesian’s dual nationality problem.
A few days before the Conference, on April 13, Lembaga Persahabatan Indonesia-Tiongkok
(Indonesia-China Friendship Organization), led by Prijono, a politician from Partai Murba who
served as a minister in all cabinets in Sukarno’s government,6
was launched and introduced
to the public in Jakarta.
5 Taomo Zhou, “Ambivalent Alliance: Chinese Policy towards Indonesia, 1960–1965,” The
China Quarterly, 221 (2015), p. 3.
6 More on Prijono’s academic and political backgrounds, see Adrian Vickers, A History of Mod-
ern Indonesia, Cambridge University Press, Cambridge, 2007, pp. 146-147.
ISRSF History Essays Competition
7. ISRSF Indonesian Women’s Essays Competition | 65
Image 1 Lee Man Fong, Delegasi R.R.T dalam Konferensi AA di Bandung (PRC Delegation in AA Conference in Bandung),
size unknown, 1955. Source: YHAO first exhibition catalogue, 1956.
A book published by the friendship organization in 1956 shows that it had established
branches in many Indonesian cities and organized several artists’ exchanges and exhibitions
both in China and Indonesia, with the intention to “foster an intimate relationship and
cultural understanding between the people of both countries.” Support from the friendship
organization for the establishment of YHAO was not mentioned at all in the book, although
the book reported a one-time funding assistance for the exhibition of one of YHAO’s member,
Lee Sian Yun in December 1955. Therefore, whether the formation of YHAO was part of
supporting the official Sino-Indonesian ‘friendship’ enforcement or purely an independent
initiative is still unclear.
Nevertheless, YHAO was certainly used to become one of the symbolic bridges for Sino-
Indonesian relationship--not to mention the background of Sukarno’s famously known
passion for art that China must had already been aware of. In December 1955, a number
YHAO’s members were invited to Sukarno’s presidential palace in Bogor [Image 2]. Less
than a month afterwards, on January 7-14, 1956, YHAO held its first exhibition at Hotel Des
Indes, Jakarta, where Sukarno attended the opening. The China ambassador to Indonesia,
Huang Zhen (in office from November 1954 - June 1961), who was apparently a graduate of
Shanghai Art College, was also present at the exhibition opening.7
7 Henk Ngantung, “Pameran Lukisan2 Lembaga Seniman Yin Hua,” Harian Rakjat, January 14
1956, p.3.
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Image 2 Members of Yin Hua Artists Organization with Sukarno in front of the presidential palace in Bogor, 18 December
1955. Source: YHAO first exhibition catalogue, 1956.
One of the main sources for this article is the catalogue of YHAO’s first exhibition. The
catalogue is thick and filled with a lot of images. It can be considered as a luxurious publication
compared to the standard format of exhibition catalogues at that time. From the catalogue
we can learn that YHAO received a support from China or at the very least, was noticed by the
Chinese government. The first pages of YHAO’s exhibition catalogue show a congratulatory
inscription in Chinese that reads, “Create more and better artworks, for greater overseas
Chinese patriotic solidarity” signed by the Chinese political figure, He Xiangning. There is also
a New Year greetings cum advertisement from Bank of China and China Insurance Company.
Not so long after YHAO’s first exhibition, 10 members of YHAO visited China for five months
in 1956. The travel was supported by the friendship organization, which was also assisting
many non-Chinese artists and writers in Indonesia to visit China. An exhibition after YHAO’s
member trip to China was held in Hotel Des Indes, June 1957. This time, the exhibition
was officiated by Jakarta’s Mayor Sudiro. Harian Rakjat, a left-wing newspaper, reported
that Sukarno attended the exhibition and praised how, ‘[T]he exhibition has a high value’.8
Such official state endorsement confirms YHAO’s position as a bridge for fostering Sino-
Indonesian relationship. The vice leader of YHAO, Ling Nan-Lung, recalled that after their trip
to China, YHAO received an offer from the Soviet government to visit Russia. The invitation
was rejected; signaling that YHAO was politically committed to China.9
8 “Pameran Seni Rupa Persahabatan Indonesia – RRT,” Harian Rakjat, June 24, 1957, p.2.
9 Interview with Agus Dermawan, 2016. Researcher and curator Agus Dermawan talked with
Ling Nan-Lung, the vice le ader of YHAO whom he met in Jakarta in the mid-1990s. A record-
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interest in politics. However, Dermawan acknowledges that given the negative fabrication of
China and communism during the New Order era, some artists who lived with the trauma of that
interest in politics. However, Dermawan acknowledges that given the negative fabrication of
China and communism during the New Order era, some artists who lived with the trauma of that
era might refused to be associated with any politically charged issues. Dermawan also mentioned
that most of Chinese artists destroyed their archives out of fear upon the anti-Chinese hysteria in
Indonesia post-1965.
The policy of China towards Chinese Indonesians was two-fold. On the one hand, China was
showing interest in the ethnic Chinese community in Indonesia by providing channels of
political and cultural solidarity amongst overseas Chinese community.10
In the case of YHAO,
it can be seen through the official endorsement and travel support to the artists’ group. On
the other hand, China was also signaling its attempt to end its claim to all overseas nationals’
unity and patriotism in order to lower potential risks from the common negative association
of Chinese with communism in Indonesia.11
Moreover, China restrained the overseas Chinese
from interfering in local politics, but as Hong Liu (2006) exposed, China’s cultural diplomacy
was trying hard to influence Indonesian artists and intellectuals to follow China’s version of
revolution.12
Clearly it was rather hard for YHAO to play down the negative association of
Chinese with communism, as on the state-diplomatic level, the China government was very
aggressive in propagating its ideology.
Indonesian government was also taking part in advocating a close cultural tie with China.
Sukarno even employed Lee Man Fong as his palace painter in 1960 and commissioned him
to decorate the walls of the newly built Hotel Indonesia.13
However, due to the deteriorating
economic situation, Indonesian domestic policy was unsympathetic to the rights of Chinese in
Indonesia. On paper, after 1955 the Chinese in Indonesia could freely choose either Indonesian
or Chinese nationality. But, throughout the 1950s-1960s, the government established many
discriminative policies that made most Chinese in Indonesia felt alienated and unwanted—
not only in Indonesia but also when they were forced to return to China.14
When the national
forces from both Chinese and Indonesian governments showed an ambivalent attitude
towards the Chinese Indonesian, the articulation of identity in the works for YHAO’s artists
were also pulled in ambivalent directions.
ing of his conversation with Ling Nan-Lung is not available. In my interview with Dermawan,
he recounts that most of the Chinese artists that he interviewed said that YHAO had no
10 Zhou, p.12.
11 Zhou, p.13.
12 See Hong Liu, China and the Shaping of Indonesia 1949–1965, NUS Press, Singapore, 2011,
for a thorough overview of China–Indonesia cultural diplomacy.
13 Agus Dermawan, Melipat Air: Jurus Budaya Pendekar Tionghoa, Penerbit KPG, Jakarta,
2016, p.57
14 Coppel, pp.57-58.
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The Articulation of Ambivalent Identities in YHAO’s Artworks
A contemporary and prominent scholar of Chinese studies, Indonesian-born Wang Gungwu
(2001), addresses multiple attachment in relation with the history and identity of overseas
Chinese:whichhistoryshouldtheyfollowtoarticulatethepresentexistenceoftheiridentity?15
The Chinese in Indonesia were not only forced to choose Chinese or Indonesian nationality,
but also faced with another two options: the history of their ancestors in China or the history
of the place where they currently live. Unlike the option of national citizenship, the option
of history that Chinese in Indonesia must choose could not be decided through an exclusive
either/or basis.
This dilemma, interestingly, creates a distinctive character that contributes to the unfinished
visual vocabulary of Indonesian modern art. For example, it strikingly appears in the works of
Lee Sian Yun, who painted Indonesian daily life scenes in Chinese scrolls format. Lee Sian Yun,
like Lee Man Fong and many YHAO members, reproduced the character of Chinese painting
with oil on hardboard, not Chinese ink on handscroll as it was traditionally made. A Chinese
Indonesian art critic, C.M. Hsu, deemed Lee Sian Yun’s works “Tandjidor” (1955) [Image 3] as
a social realist painting16
, but it is certainly not the kind of social realist art which can be traced
to China or Soviet’s socialist realism. Tanjidor as a subject of painting is also a clever choice.
Tanjidor is part of the Betawi ethnic music, which is highly influenced by Portuguese music
culture. Tandjidor is often played during Chinese celebration of Cap Go Meh in Jakarta and
Cirebon. On the surface, Tandjidor seems like an Indonesian indigenous culture, but eventually
it is a mixture of foreign influences, which makes Indonesian culture unique.
Image 3 Lee Sian Yun, Tandjidor, size unknown, oil on hardboard, 1955. Photo from Claire Holt’s archive, New York Public
Library digital collection.
15 Wang Gungwu, “Orang Etnis Cina Mencari Sejarah” in I. Wibowo (ed.), Harga yang
Harus Dibayar: Sketsa Pergulatan Etnis Cina di Indonesia, Gramedia, Jakarta, p.16.
16 C.M. Hsu, “Pameran Seni Lukis Lee Sian Yun”, Harian Rakjat, December 17, 1955,
p.3.
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However, within the precarious political circumstances that Chinese Indonesians had to face
in their daily life, there is a sense that YHAO was trying hard to seek for Sukarno’s patronage.
This can be seen in artworks in the 1956 exhibition that polished the image of Sukarno,
as represented by the works of Ling Nan-Lung [Image 4] and Tjio Tek Djin [Image 5], both
entitled “P.J.M. Presiden Dr. Ir. Soekarno.” Oey Sian Yok, a regular art contributor to the weekly
magazine, Star Weekly, criticized these works as “merely a competition to get attention
from the authority, not to mention the quality of the portrait is not that high”.17
Sian Yok’s
argument was probably right, but more importantly, her view attests to the fact that Chinese
communities in Indonesia did not have homogenous political and cultural orientations.18
Image 4 (left) Ling Nan-Lung, Patung P.J.M Presiden Dr. Ir. Soekarno, size unknown, 1955.
Image 5 (right) Tjio Tek Djin, P.J.M Dr. Ir. Soekarno, oil on canvas, 208x147cm, 1955.
Source: YHAO first exhibition catalogue, 1956.
In another occasion, Sian Yok also criticized the homogenous tendency of YHAO’s artists
in their choice of subjects, which is their likings for local landscapes and naked Balinese
women [Image 6 & 7]. To note, the depiction of naked women in paintings is hardly a
traditional Chinese aesthetic. These objects, according to Sian Yok, were merely depicting
touristic impressions of Indonesia. Besides debunking the image of beautiful Indonesia,
Sian Yok also considered that individual character could not be invented through copying
Western abstract art without careful understanding. Sian Yok’s view on aesthetic identity
is in a similar train of thoughts with the prominent painter S. Sudjojono, who is known for
orientating the kepribadian (character/personality) of Indonesian art through the concept of
17 “Pameran Lukisan Seniman Yin Hua,” Star Weekly, No. 524 1956, p.33.
18 On the heterogeneity of Chinese Indonesians’ political orientation, see Leo Suryadinata,
Political thinking of the Indonesian Chinese, 1900-1995, Singapore University Press, Singapore,
1997.
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jiwa ketok (visible soul).19
Sian Yok’s view represents that the search for a collective identity
was also a main concern for Chinese Indonesian artists amidst their ambivalent cultural
status as Chinese, Indonesian, as well as a part of the global community of artists influenced
by Western aesthetic.
Image 6 (left) Lim Kwi Bing, Up and Down, Oil on hardboard, size unknown, 1956.
Image 7 (right) Thung Kiat-Goan, Market Day, Oil on hardboard, size unknown, 1956
Source: YHAO first exhibition catalogue, 1956.
Closing Statement
ThevisualheterogeneityofartworksbyYHAOmembersdemonstratesthesearchforidentity
amongst the Chinese Indonesian artists, and it was conveyed in their ambivalent articulation
of identities. It is marked by the tension of dual attachment with Chinese and Indonesian
nationalism, the intertwining notions of home and elsewhere, and the creative integration
of Chinese and Western painting techniques in depicting (or problematizing) the image of
Indonesian peoples and landscapes. This double discourse unsettles the totalizing concept
of Indonesia as a nation-state, which was produced as a large scale, all-encompassing
unified collective identities that were obsessed with a guarantee of authenticity. Disturbing
the stable and continuous identity of a nation would raise inner differences, contradictions
and segmentations—histories of difference, which a nation like Indonesia always has.
Nevertheless, Chinese Indonesians community has long been the subject of suspicion
19 On Sudjojono’s conception of jiwa ketok, see S. Sudjojono, Kami Tahu Kemana Seni Lukis
Indonesia Akan Kami Bawa, Penerbit Indonesia Sekarang, Yogyakarta, 1948.
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and ethnic violence given the blurred status of insider and outsider that is embedded in
their identity. This sentiment is a part of economic competition and political instability in
Indonesia. After the catastrophe of 1965, Chinese Indonesians received negative status as
comrades of communists and consequently betrayers, whose patriotism was constantly put
into question. Their transnational network made Chinese people appeared conspiratorial.20
Such negative images hence discouraged most of Chinese in Indonesia from participating in
public politics or cultural activism for a long time. When the New Order government led the
country in 1967, all Chinese-related cultural expressions, from family name to language,
were strictly banned. YHAO then disappeared and many of Chinese artists in Indonesia had
to live in exile with stateless status. Their part of history in the histories of Indonesian art
could not be freely spoken until the Reformasi era. The absence of their narratives can now
be spoken, and it raises an important issue for us to think of an identity which is not sealed
in the closed totality of Indonesian nationalism.
20 Coppel, pp. 286-292.
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Bibliography
Archival materials
Jerome Robbins Dance Division, The New York Public Library. “158-9. Exhibition. Lee Siang Yun. Balai Budaja,
Djakarta, Dec 10, 1955; 160-1. Pelukis, Lee Siang Yun.” The New York Public Library Digital Collections. 1955 -
1957. http:/
/digitalcollections.nypl.org/items/510d47dd-d434-a3d9-e040-e00a18064a99
Pameran Seni-lukis Lembaga Seniman Yin Hua. (1956). [Exhibition catalogue]
Pameran Seni Rupa Buah Tangan Seniman Hoakiau di Indonesia jang Telah Berkundjung ke Tiongkok. (1957).
[Exhibition leaflet]
Perkenalan Lembaga Persahabatan Indonesia-Tiongkok. (1956). [Book Report]
Newspapers
Hsu, C.M. (1955). Pameran Seni Lukis Lee Sian Yun. Harian Rakjat, December 17, p.3.
Ngantung, Henk. (1956). Pameran Lukisan2 Lembaga Seniman Yin Hua. Harian Rakjat, January 14, p.3.
Pameran Lukisan Seniman Yin Hua. (1956). Star Weekly, No. 524, p.33.
Pameran Seni Rupa Persahabatan Indonesia - RRT. (1957). Harian Rakjat, June 24, p.2.
Interviews
Interview between the author with Agus Dermawan T. in Jakarta, December 27, 2016.
Books and Journals
Coppel, Charles. (1983). Indonesian Chinese in crisis. Kuala Lumpur: Oxford University Press.
Dermawan T, Agus. (2016). Melipat Air: Jurus Budaya Pendekar Tionghoa. Jakarta: Penerbit KPG.
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Pergulatan Etnis Cina di Indonesia. Jakarta: Gramedia, pp.1-34.
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Sudjojono, S. (1948). Kami Tahu Kemana Seni Lukis Indonesia Akan Kami Bawa. Yogyakarta: Penerbit Indonesia
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Suryadinata, Leo. (1997). Political thinking of the Indonesian Chinese, 1900-1995. Singapore: Singapore University
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Zhou, Taomo. (2015). Ambivalent Alliance: Chinese Policy towards Indonesia, 1960–1965. The China Quarterly,
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