Musthofid, Jakarta – It is an all-women work: Women writing a compilation about women artists. The essays are also presented by women and so is the foreword.
As it is titled Indonesian Women Artists: The Curtain Opens, the book tries to break through the barrier of subordination in order to raise awareness about the existence of women artists in the predominantly male contemporary art world of Indonesia.
The book, written by journalist Clara Bianpoen, historian Farah Wardani and art curator Wulan Dirgantoro, recounts the lives and work of 34 notable artists who are regarded as having made a major contribution to the development of Indonesian contemporary art.
Among them, Ay Tjoe Christine, Diah Yulianti, Dyan Anggraeni, Erica Estu Wahyuni and Laksmi Shitaresmi are – in their 30s – the youngest on the list while Emiria Soenassa, I GAK Murniasih, Masmundari and Tridjoto Abdullah have gained a tribute in the book years after their passing.
Browsing through this coffee-table book, which is published by Yayasan Senirupa Indonesia (YSRI), readers will find it eye-catching, with colorful images of the works and their creators in several poses.
The text narrates the artists' lives through their mastery of media and techniques that range from painting, photography, prints, bronze, ceramics and glass to fiber and cloth. It also showcases the diversity in their forms: painting, sculptures, three-dimensional objects, installations and digital media.
But all these works might never have reached the attention of art lovers, and the artists might have been forgotten had the compilation not been produced by the writing trio.
"Indonesian women artists have been overlooked in the past 70 years and this book aims to put them on the map," Carla said.
Carla added that she relied on her knowledge of Indonesian art gained through over 18 years of research and discussion to assist her in deciding who should make it onto the shortlist.
YSRI Chairwoman Miranda Goeltom sets out her opinion in the foreword: "The book testifies to the fact that women artists have indeed been present and active within national art circles, something that many may have doubted due to the lack of attention given to them."
Essays
Apart from in-depth accounts about the artists and an exposition of what has motivated and inspired their creativity, readers are provided with two essays by notable art writers Toety Heraty and Enin Supriyanto on the social and cultural background of Indonesian contemporary art.
Toety, in her essay Face a Woman, Mask of a Man, recalls how the patriarchal system influenced creation. She underscores her view by making a comparison between Dyan Anggraeni and Kartika Affandi.
Both are from different generations, yet both are said to be survivors of social pressure who express their views in their own, typical way, through painting.
Enin points out the need to bring forward Kartini, who is known in the history of Indonesian struggle as a figure fighting for the emancipation of women, and her sister Roekmini, in discussion on the history of Indonesian Modern art.
Enin also gives a brief review on some works that expose the sexuality of the female body, to look into the perspective of the women on their artistic journey.
"The female body becomes an arena for identity struggles, both individually and socially. The female body, complete with the issue of its reproductive functions, is present as an important part of that identity issue," she notes.
In the introductory notes the trio of writers divide the history of Indonesian Modern Art into several chronological phases with specific artists cited.
The 280-page, lavishly packaged book should be regarded as an informative reference amid the sparsity of publications on women artists.
While it is possible that some artists of equal standing may have been omitted, as stated by the writers, the book has been hailed as a breakthrough in providing the groundwork for future study of women's perspectives in Indonesian art.