S U D J O J O N O : P RI V AT E F A C E A N D P U B LI C P E R S O N A – TAASA Review June 2012
Matt Cox T o date, the history of Indonesian modern art has been largely recounted within a model of anthropocentrism in which the biographical details of artists’ lives are invoked as representative of national successes.
Frequently the biographical details of the artists’ lives, etched retrospectively, do not match with the narrative content of the works of art produced by them at the time.
Krauss very convincingly argues against art historians’ insistence on using biographical data to explain artists’ production (Krauss 1988, 23-40). A similar criticism of overtly anthropological and ethnographical approaches to art history is also currently gaining currency in discourses of contemporary Southeast Asian art...