Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali
on
Authors:
I Wayan Adnyana
Abstract:
“This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual artistic appropriations between the two parties; (2) make Bali only as their work studios based on various specific considerations, the visual style of the work becomes the dominant discourse—Bali is only a mere object or locus; (3) decide to marry Balinese women, some even become Indonesian citizens, established authority over mini Bali in the families they build, visual styles tended to be Bali portraits.”
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References
- Adnyana, I Wayan. 2015. Pita Maha: Gerakan Sosial Seni Lukis Bali ’30-an, Disertasi Doktor, Program Pascasarjana ISI Yogyakarta, Yogyakarta.
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- Morabilito, The Damien Hirst Suite, http://www.morabitoartvilla.com/damien-hirst-suite, diakses 13/03/2019.
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PDF:
https://jurnal.harianregional.com/kajianbali/full-48813
Published
2019-04-27
How To Cite
ADNYANA, I Wayan. Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali.Jurnal Kajian Bali (Journal of Bali Studies), [S.l.], v. 9, n. 1, p. 55-70, apr. 2019. ISSN 2580-0698. Available at: https://jurnal.harianregional.com/kajianbali/id-48813. Date accessed: 08 Jul. 2024. doi:https://doi.org/10.24843/JKB.2019.v09.i01.p03.
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Issue
Vol 9 No 1 (2019): WACANA KRITIS BUDAYA BALI
Section
Articles
Copyright
This work is licensed under a Creative Commons Attribution 4.0 International License
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