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This anthology explores artistic practices and works from a diverse and vibrant region. Scholars, critics, and curators offer their perspectives on Southeast Asian art and artists, aiming not to define the field but to Illuminate its changing nature and Its Interactions with creative endeavors and histories originating elsewhere. These essays examine a range of new and modern work, from sculptures that Invoke post-conflict trauma In Cambodia to Thai art Installations that Invite audience participation and thereby challenge traditional definitions of the "art obJect." In this way, the authors not only provide a lively stUdy of regional art, but challenge and expand broad debates about international and transnational art.
This anthology explores artistic practices and works from a diverse and vibrant region. Scholars, critics, and curators offer their perspectives on Southeast Asian art and artists, aiming not to define the field but to Illuminate its changing nature and Its Interactions with creative endeavors and histories originating elsewhere. These essays examine a range of new and modern work, from sculptures that Invoke post-conflict trauma In Cambodia to Thai art Installations that Invite audience participation and thereby challenge traditional definitions of the "art obJect." In this way, the authors not only provide a lively stUdy of regional art, but challenge and expand broad debates about international and transnational art.
Introduction: Who Speaks for Southeast Asian Art? by Nora A. Taylor 1. The Southeast Asian Modem: Three Artists by John Clark 2. Vietnamese Modem Art: An Unfinished Journey by Boitran Huynh-Beattie 3. The Cultural Politics of Modem and Contemporary Islamic Art in Southeast Asia by Kenneth M. George 4. Thai Artists, Resisting the Age of Spectacle by Sandra Cate 5. Many Returns: Contemporary Vietnamese Diasporic Artists-Organizers in Ho Chi Minh City By Viet Le 6. Of Trans(national) Subjects and Translation: The Art and Body Language of Sopheap Pich by Boreth Ly 7. Titik Pertama, Titik Utama-First Dot, Main Dot: Creating and Connecting in Modern/Indigenous Javanese/Global Batik Art by Astri Wright 8. Turns in Tropics: Artist-Curator by Patrick D. Flares 9. The Assumption of Love: Friendship and the Search for Discursive Density by Lee Weng Choy 10. Uncommon Sense: "Empty the Visual from Eyes of Flesh" by Flaudette May V. Datuin 11. Mnemotechnical Politics: Rithy Panh's Cinematic Archive and the Return of Cambodia's Past by Ashley Thompson 12. Interview with Jay Koh and Chu Yuan by Grant Kester Contributors
Nora A. Taylor is Alsdorf Professor of South and Southeast Asian Art at the School of the Art Institute of Chicago. She is the author of Painters in Hanoi: An Ethnography of Vietnamese Art and editor of Studies in Southeast Asian Art: Essays in Honor of Stanley O'Connor, as well as articles on modern and contemporary Vietnamese Art. Boreth Ly is Assistant Professor of Southeast Asian Art History and Visual Culture at the University of California, Santa Cruz. He has published articles on the ancient as well as contemporary art, photography, and film of Southeast Asia and its diaspora.
"The anthology edited by Nora Taylor and Boreth Ly emerges at a time when Southeast Asian contemporary art is gaining increasing visibility on the global art stage... This volume serves as a reflective and critical body of essays that illuminates ways in which these developments may be questioned and understood."-Pamela Nguyen Corey, Journal of Asian Studies (May 2013) "This collection of brilliant, multidisciplinary essays offers entry points and perspectives from which we can begin to appreciate the shared attributes and histories of Southeast Asian art. Rich with information, these essays and their multifaceted views of art practices, curatorship, ideologies, and infrastructures will be indispensable for an in-depth understanding of the ASEAN Community."- Professor Dr. Aplnan Poshyananda, Deputy Secretary-General, Ministry of Culture, Thailand "In its scope and range of intellectual interests, this volume is nothing short of pathbreaklng in its approach to contemporary art in Southeast Asia, one of the most exdtlng fields of inquiry today. Of special interest is the broad methodological relevance of this volume to readers concerned with anthropology, art history, visual culture, religious studies, and political sclence. I have no doubt that this volume will be a seminal touchstone upon which future studies of contemporary art in Southeast Asia will be based. Provocative in the best sense of the word, this collection of essays does much to complicate our ever-evolvlng sense of what 'contemporary art' means."-Professor Joan Kee, History of Art, University of Michigan at Ann Arbor, coeditor of Contemporaneity and Art In Southeast Asia
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