{"id":{"repo_id":"ohiolink","oai_identifier":"oai:etd.ohiolink.edu:ohiou1364899327"},"canonical_url":"https://search.dev.ndltd.org/etd/ohiolink/oai:etd.ohiolink.edu:ohiou1364899327","repository":{"repo_id":"ohiolink","name":"OhioLINK","base_url":"https://etd.ohiolink.edu/acprod/odb_etd/ws/oai/oai"},"display":{"title":"Art and Youth Culture of the Post-Reformasi Era: Social Engagement, Alternative Expression, and the Public Sphere in Yogyakarta","abstract":"This thesis examines the development of contemporary art in Yogyakarta, Indonesia in the post-Reformasi era. Focusing on communities who consider themselves \"alternative\" to the mainstream commercial art world, I examine three aspects of art in Yogyakarta including collective organization, alternative space, and the public sphere. Based on six months of research involving semi-structured interviews and participant observation, carried out from January 2012 – June 2012, I argue that the artists and groups described can be related to ideas of socially engaged art and do-it-yourself (DIY) practice. This examination stems from a discussion of Indonesian modern art history focused on the development of sanggar (artist groups) during the revolutionary era that contributed to the establishment of a collective tradition in Indonesia that again manifested itself in the work of Reformasi era groups, Apotik Komik and Taring Padi. Today, in the post-Reformasi era, the individuals and groups discussed legitimate their work through the support of an increasingly wide network throughout Indonesia and abroad. It is through the support of this peer-to-peer network that these artists are able to imagine the possibility of art to have an impact on Indonesian society, thus becoming socially engaged artists.","abstract_html":"This thesis examines the development of contemporary art in Yogyakarta, Indonesia in the post-Reformasi era. Focusing on communities who consider themselves "alternative" to the mainstream commercial art world, I examine three aspects of art in Yogyakarta including collective organization, alternative space, and the public sphere. Based on six months of research involving semi-structured interviews and participant observation, carried out from January 2012 – June 2012, I argue that the artists and groups described can be related to ideas of socially engaged art and do-it-yourself (DIY) practice. This examination stems from a discussion of Indonesian modern art history focused on the development of sanggar (artist groups) during the revolutionary era that contributed to the establishment of a collective tradition in Indonesia that again manifested itself in the work of Reformasi era groups, Apotik Komik and Taring Padi. Today, in the post-Reformasi era, the individuals and groups discussed legitimate their work through the support of an increasingly wide network throughout Indonesia and abroad. It is through the support of this peer-to-peer network that these artists are able to imagine the possibility of art to have an impact on Indonesian society, thus becoming socially engaged artists.","abstract_has_math":false,"creators":["Bruhn, Katherine L."],"institution":"Ohio University","degree_name":"Master of Arts (MA)","degree_level":"masters","degree_discipline":"Asian Studies (International Studies)","degree_department":null,"school":null,"contributors":["Collins, Elizabeth"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-06-12","date_published":"2013-06-12","updated_at":"2026-07-24T03:37:16Z","subjects":["Art History","Asian Studies","socially engaged art","Indonesia","alternative art spaces","street art","public art","participation","collective organization"],"languages":["English"],"rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. 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This examination stems from a discussion of Indonesian modern art history focused on the development of sanggar (artist groups) during the revolutionary era that contributed to the establishment of a collective tradition in Indonesia that again manifested itself in the work of Reformasi era groups, Apotik Komik and Taring Padi. Today, in the post-Reformasi era, the individuals and groups discussed legitimate their work through the support of an increasingly wide network throughout Indonesia and abroad. It is through the support of this peer-to-peer network that these artists are able to imagine the possibility of art to have an impact on Indonesian society, thus becoming socially engaged artists."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf","p.124","4.86 MB"]},{"key":"dc:title","label":"Title","values":["Art and Youth Culture of the Post-Reformasi Era: Social Engagement, Alternative Expression, and the Public Sphere in Yogyakarta"]}]}],"canonical_facts":{"dc:contributor":["Collins, Elizabeth"],"dc:creator":["Bruhn, Katherine L."],"dc:date":["2013-06-12"],"dc:description":["This thesis examines the development of contemporary art in Yogyakarta, Indonesia in the post-Reformasi era. Focusing on communities who consider themselves \"alternative\" to the mainstream commercial art world, I examine three aspects of art in Yogyakarta including collective organization, alternative space, and the public sphere. Based on six months of research involving semi-structured interviews and participant observation, carried out from January 2012 – June 2012, I argue that the artists and groups described can be related to ideas of socially engaged art and do-it-yourself (DIY) practice. This examination stems from a discussion of Indonesian modern art history focused on the development of sanggar (artist groups) during the revolutionary era that contributed to the establishment of a collective tradition in Indonesia that again manifested itself in the work of Reformasi era groups, Apotik Komik and Taring Padi. Today, in the post-Reformasi era, the individuals and groups discussed legitimate their work through the support of an increasingly wide network throughout Indonesia and abroad. 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