The task of publicizing graphic art<\/p>\n
By Chandra Johan<\/p>\n
JAKARTA (JP): Graphic art, or the use of a printing technique
\nto produce art in multiple copies, has yet to gain the popularity
\nof painting. Awareness of the art among the public remains
\nlimited, and there are few collectors.<\/p>\n
Many art observers contend that it is time to increase the
\nnumber of exhibitions of graphic art -- including shows spanning
\nthe country -- to fuel the development of the art.<\/p>\n
The tools needed to create the art mean it cannot develop as
\neasily as painting did in studios from the 1940s to 1970s.
\nThankfully, however, academic institutions such as the Indonesian
\nArts Institute (ISI) of Yogyakarta and the School of Visual Art
\nand Design of the Bandung Institute of Technology (ITB) already
\nhave complete sets of tools and have produced several
\naccomplished graphic artists, most of them relatively young.<\/p>\n
Some of the graphic artists are doing their part to promote
\nthe art by starting small studies, among them the graphic art
\nstudio Red Point, managed by artists who are ITB alumni.
\nExperienced artists have founded Gugus Grafis.<\/p>\n
Despite the developments, people like Dwi Marianto, Diddo
\nKusdinar and many others claim the status of graphic art in the
\ncountry remains stagnant.<\/p>\n
The pessimistic attitude is expressed in almost every
\nexhibition about the art, most recently in the discussion held by
\nLontar Gallery a few months ago in relation to the graphic
\nexhibition Teleport. It led to complaints and expressions of
\nfutile anger. Who knows to whom that complaint and anger was
\ndirected?<\/p>\n
The major graphic art exhibition Bias Sahaja (Simple
\nRefraction), showing in the three cities of Jakarta, Bandung and
\nYogyakarta, opened last Nov. 15 at the National Gallery and is
\nanother effort to promote the art among the public. Like the
\nprevious exhibition, many artists, numbering at least 40, took
\npart.<\/p>\n
It started with the usual introductory notes (what is graphic
\nart?), gave an explanation about its origins and, last but not
\nleast, received complaints.<\/p>\n
One of the senior coordinators of the exhibition's organizing
\ncommittee, Diddo Kusdinar, said the effort to create appreciation
\namong the public was continuous, done through educational
\ninstitutions as well as the government, foreign cultural
\ninstitutions and art centers. However, Diddo said fine art
\ngalleries -- especially those which are commercially oriented --
\ndo not play a role in accommodating and offering the works of
\ngraphic artists to the public.<\/p>\n
Diddo is probably right, because fine art galleries in
\nIndonesia cannot really be called \"visual art\" galleries, as in
\ndeveloped countries, where there are bound to be a number of
\ngalleries that have prepared a place for graphic works. Our fine
\nart galleries can generally only be called \"painting\" galleries.
\nNot to mention graphic, and other fine artworks like ceramics and
\nstatues which are not ready to be integrated into galleries in
\nIndonesia.<\/p>\n
However, it must be remembered there are also many graduates
\nfrom graphic art studios who live wholly in this world.
\nGenerally, if they do not work in the applied art field (as a
\ndesigner), they prefer to participate in the art of painting and
\ntend to choose this profession or the profession of graphic
\ndesigner, whether it is because the tools are easier to get or
\nthis field is already appreciated by the community, so it is
\n\"safer\".<\/p>\n
The lethargy in the field can also be seen in the activities
\nof its artists, individually rather than as a group like now. As
\nthey say, life is survival of the fittest and only the strong
\nsurvive. Individual activity of a graphic artist could be said to
\nbe rare, even nonexistent. If it exists, it is done by senior
\nartists like Haryadi Suadi, T. Sutanto or Soeromo, or artists who
\nare clearly idealistic and have high integrity, such as Marida
\nNasution.<\/p>\n
A comment by Firman Lee, a graphic artist who, for whatever
\nreason, did not participate in this exhibition, must be
\nconsidered.<\/p>\n
\"What must be done by graphic artists nowadays is not merely
\ngroup exhibitions, but solo exhibitions, as is the case with
\npainters. I am sure the galleries will get used to it in the
\nfuture,\" said the Jakarta Arts Institute (IKJ) lecturer, who has
\nexhibited his graphic works at Lontar Gallery.<\/p>\n
Although many artists participated in the exhibition, only a
\nfew senior artists were involved, among them Haryadi Suadi, T.
\nSutanto, Diddo Kusdinar, Setiawan Sabana, Hidayat, and Chairin
\nHayati.<\/p>\n
There were also several artists who are starting to get a
\nname, like Tisna Sanjaya, Agung Kurniawan, Herry Dim, Redha
\nSorana, Marida Nasution and Mella Jarsma. The rest are artists
\nwith integrity and dedication to the field, including Devy
\nFerdianto, Agung Hanafi, Johannes Christiawan, Kurniasari, Oscar
\nSastra, Aminuddin Siregar, Anne Nurfarina, Arie, Arif Hidayat,
\nArif Yuristiawan, A. Christine, Bambang Witjaksono, Daru S, Deden
\nHendan, D.E.S.S.W.A.F, Dian K.A., Dina.R, Dirgo B.N., Eddi
\nPrabandono, Elly Wardana, Erwin Indrawan, Fuluz, Githa Rizal,
\nInnocentia, J. Christiawan, Kokok Es, Kurniasari, Mewiyanti,
\nNuning D. A., Roumy T, Sonny, S. Pahlevi, Yari T. Hudayana and
\nYopi Gunawan.<\/p>\n
Although there are many participants, the exhibition did not
\nsurpass the exhibition in 1987 in Bandung which had 50 artists.<\/p>\n
A few older graphic artists like AD Pirous and Kaboel Suadi,
\nfor example, were absent in the exhibition this time. A few
\nothers who participated previously are not involved anymore.<\/p>\n
More than 100 works are exhibited. Most used the technique of
\nwood-cutting (wood and hardboard). Screen printing was second
\nmost popular, while the third was etching, dry point or mixed
\nmedia. There were only four lithographs. The number of techniques
\nused looked unchanged comparing it from period to period. This
\nalso shows the difficulties of the participants in experimenting
\nwith graphic tools that are not easily purchased by them, such as
\nthe lithograph machine.<\/p>\n
The exhibition showed many styles and trends -- as many, it
\ncould be said, as the number of participants. If we could discern
\nthe differences simply and quickly, perhaps we could get several
\ngroups.<\/p>\n
Receiving the most attention was the category of fantasy and
\nabsurdity, represented in the works of Haryadi Suadi, T. Sutanto,
\nAgus Kondeskeh, Dirgo B. Nugroho and Johannes Christiawan. Social
\ncriticism infused the works of Arif Yuristiawan, Daru. S. and
\nEddi P. whose works are on the same level with formalism and
\nrealism. The rest are decorative (Hidayat, Anne Nurfarina) with
\nthe least attention paid to abstract (S. Pahlevi) and optic-art
\n(Diddo Kusdinar).<\/p>\n
The exhibition, which closes on Nov. 26, may trigger greater
\nawareness about graphic art and, if it not too daunting a task,
\ncould spawn more exhibitions to spread the word.<\/p>",
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