The hybrid art identity framework through artists’ practices in integrating hybrid art knowledge in the Malaysian arts scene
Hybrid art is an interdisciplinary through combination of media and techniques in order to produce a creative artwork. In Malaysia, the first hybrid art exhibition was held in 2005 at National Visual Art Gallery (NVAG) followed by a second exhibition in 2007 at Sabah Art Gallery. Since then, there i...
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| Format: | Thesis |
| Language: | English |
| Published: |
2019
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| Subjects: | |
| Online Access: | http://psasir.upm.edu.my/id/eprint/78405/1/FRSB%202019%205%20ir.pdf |
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| Summary: | Hybrid art is an interdisciplinary through combination of media and techniques in order to produce a creative artwork. In Malaysia, the first hybrid art exhibition was held in 2005 at National Visual Art Gallery (NVAG) followed by a second exhibition in 2007 at Sabah Art Gallery. Since then, there is no new edition of hybrid art exhibition conducts by the Hybrid Art Group. For more than 10 years does hybrid art still exist in Malaysia’s art scene? This scenario has inspired the researcher to study about the existence of hybrid art practices in local art scene. So, the issue in this study is the existence of hybrid art practices in Malaysia’s art scene. This research focuses on the artists who are not from the Hybrid Art Group. This situation has led the research to investigating the artists’ practices and the integration of hybrid art knowledge in the Malaysian art scene. The components of this study comprise of artists’ practices, integration of hybrid art knowledge and establishment of hybrid art identity. The artists’ practices were examined based on the perceptions of media diversity, experimentation and hybrid art knowledge in Malaysia art scene. 10 artists were involved with face-to-face interviews and 35 respondents which were artists and postgraduate art students had answered the questionnaires in order to get the results of their practices. Meanwhile, the integration of hybrid art knowledge involves the responses from curator and audiences. For the curator category, there were 8 curators involved in interviews and the studies on representation, commercial and future of hybrid art practices. Meanwhile, audience’s awareness focuses on the perception toward the selected hybrid artworks that exhibited in NVAG. So, there were 150 respondents had answered the questionnaires for the audience’s category. In addition, researcher also had interviewed an art collector, an art conservator and 8 art academicians and the purpose is supported the artists and curator’s feedback about the hybrid art knowledge. All the data were analyzed using Statistical Package for Science Social (SPSS) software version 20.0 in order to obtain the descriptive statistics, principal component analysis and hierarchical cluster analysis. The artists’ practices result revealed aesthetic complexity, knowledge dimension, experimental knowledge, community and innovative integration being practised by them. As the artists’ practices integrated with hybrid art knowledge, the results showed that the important components were hybrid practice, hybrid exhibition, hybrid environment, technical collaboration, art support, conservation, commercialization, art talk, art community, audience’s participation, art education and art references. A framework was developed and named as “The Framework of Hybrid Art Identity”. The purpose to validate the framework was to examine the hybrid art knowledge in establishing the hybrid art identity. The validation was studied from the angles of application, benefit and ease of implementation. Out of those 3 angles, researcher had selected the results from ease of implementation and it showed that the artistic integration and public engagement serves as the strategy to develop the hybrid art identity. Lastly, the recommendations are suggesting that the local art scene should focus on commercialization and conservation of hybrid artwork for the sake of maintaining the hybrid art in Malaysia. |
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