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Bruce Carpenter: presenting Indonesian art & culture to the world – life as art asia
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- Most searched keywords: Whether you are looking for Bruce Carpenter: presenting Indonesian art & culture to the world – life as art asia Updating Bruce Carpenter A lust for life and adventure, along with a generous dose of savvy have propelled New York City born and bred Bruce W. Carpenter around the planet. The son of a young American soldier who returned from WWII with an upper class English bride, Carpenter found himself torn between the idealism and…
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Art Appreciation: Meet Bruce Carpenter – Indonesia Expat
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- Most searched keywords: Whether you are looking for Art Appreciation: Meet Bruce Carpenter – Indonesia Expat Updating An interview with the author and co-author of more than 20 books and numerous articles on Indonesian art, culture and history, Bruce Carpenter.
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Bruce Carpenter – Les Editions du Pacifique
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- Summary of article content: Articles about Bruce Carpenter – Les Editions du Pacifique A student of art history and fluent in four languages, Carpenter has been a resent of Bali since the early 1970s when he arrived from Europe as an … …
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Books by Bruce W. Carpenter (Author of Lempad of Bali)
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- Summary of article content: Articles about Books by Bruce W. Carpenter (Author of Lempad of Bali) Bruce W. Carpenter has 10 books on Goodreads with 84 ratings. Bruce W. Carpenter’s most popular book is Lempad of Bali. …
- Most searched keywords: Whether you are looking for Books by Bruce W. Carpenter (Author of Lempad of Bali) Bruce W. Carpenter has 10 books on Goodreads with 84 ratings. Bruce W. Carpenter’s most popular book is Lempad of Bali. Bruce W. Carpenter has 10 books on Goodreads with 84 ratings. Bruce W. Carpenter’s most popular book is Lempad of Bali.Bruce W. Carpenter has 10 books on Goodreads with 84 ratings. Bruce W. Carpenter’s most popular book is Lempad of Bali.
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Interiors | Bruce Carpenter’s home in Bali | Stefano Scatà Photographer
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Ethnic Jewellery from Indonesia by Bruce Carpenter – Bali Advertiser
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- Summary of article content: Articles about Ethnic Jewellery from Indonesia by Bruce Carpenter – Bali Advertiser After settling down in Bali in 2000, he realized that he had accumulated several hundred outstanding pieces of ethnic jewellery, and in 2008 began vetting each … …
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Bruce Carpenter | 1 Artworks at Auction | MutualArt
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- Summary of article content: Articles about Bruce Carpenter | 1 Artworks at Auction | MutualArt Bruce Carpenter is an artist. The maker’s first piece to be offered at auction was “2 Works: Sfeer en Bekoring Bali Hotel Den Pasar; Schilder van Bali” at … …
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Bruce Carpenter: presenting Indonesian art & culture to the world
Bruce Carpenter
A lust for life and adventure, along with a generous dose of savvy have propelled New York City born and bred Bruce W. Carpenter around the planet.
The son of a young American soldier who returned from WWII with an upper class English bride, Carpenter found himself torn between the idealism and glory of old Britain and the cosmopolitan metropolis of his birth. In the end, the creative cauldron that was NYC in the 60s & 70s would be the winner.
“I found my sanctuary in the great museums and then seminal art scene of the “City” where I was introduced to the Underground Art Scene and the Beat Poets. This would lead on to the first happenings, the precursor of installations, in Soho lofts, Andy Warhol’s Factory, experimental theatre and film,” says Carpenter, who eventually channelled his creativity into filmmaking. Carpenter was also an eyewitness and full-blown inductee into the Woodstock Generation, having attended the concert, and the Age of Aquarius. He played in a Blues band and was a member of several theatre groups.
Lempad of Bali: the illuminating line – Carpenter, Darling, Hinzler, McGowan, Vickers, Widagdo
The election of Richard Nixon and the resurgence of the conservative right, along with the death of a brother who served during the Vietnam War, precipitated a leap across the Atlantic Ocean to the city of Amsterdam where idyllic hippie dreams were still raging on. After experiencing one long and miserable Northern European winter, Carpenter succumbed to exotic tales of the mystic East recited by a new breed of young travellers.
In 1974 he sold his camera and bought a one-way ticket to Bangkok. During the next 18 months he would explore the east crisscrossing the Malay Peninsula and Indonesia starting in Sumatra. Together with the Swiss artist-photographer, Charles Junod, they would scout out wild destinations and create surreal installations that they photographed. These would tour Europe in an exhibition of surreal photography sponsored by the Canon Gallery.
When Carpenter arrived on the island paradise of Bali, Kuta was no more than a small village set in coconut groves adjacent to the beach. “There was a handful of homestays with a cast of international bohemian suffers and roaming hippies as the guests,” he recounts. The two most dangerous moving objects were falling coconuts and the deer-like Balinese cow.
Miguel Covarrubias Sketches: Bali – Shanghai – Adriana Williams & Bruce W Carpenter
For the next decade Carpenter led a nomadic lifestyle with regular visits to Bali. In the early 1980s, after meeting Dr. Stanley Kripper, he began organizing cultural tours under the auspices of the Institute of Noetic Sciences in Sausalito. These specialized in visits to traditional healers and religious figures and would end with a book on traditional Balinese healing co-authored with Krippner and Dr. Denny Thong the head of Bali’s mental hospital in Bangli.
In 1985 Carpenter settled in Ubud and began working on a series of research and art projects usually tied with the art, history and culture of Indonesia. As his reputation grew he was invited to author and co-author a growing number of books. In 1993 he gained wide attention as the author of Willem G. Hofker, Painter of Bali (1993), the first major book on an expatriate artist on Bali. Several other books on expatriate artists soon followed including the acclaimed, W.O.J. Nieuwenkamp, the First European Artist in Bali (1997).
“Often in life, its not what you know, but who you know,” says Carpenter. Through a serious of discussions with key figures in the hotel industry in Bali Carpenter was to be granted a wonderful opportunity after he convinced the management of the Four Seasons Resort in Jimbaran that luxury hotels were the natural heirs of the mantle once held by the royal palaces as patrons of the arts. The result was the opening of the Ganesha Gallery, the first dedicated art gallery on the premises of a hotel in 1992. This was hailed as an excellent cultural bridge between the guests and Indonesian modern and traditional art.
Emilio Ambron: An Italian Artist in Bali – Bruce W. Carpenter
Initially the resort attracted wealthy and sophisticated international clientele and with the charismatic Carpenter as the figurehead of Ganesha and his sharp eye for art, the timing was perfect and it became an immediate success.
For a 15-year period the gallery held 12 exhibitions a year, an unheard of phenomenon in Indonesian art, confirming it as the fine art gallery in Bali. In its heyday well-heeled guests and local collectors purchased quantities of art, however over the years as the profile of the guests changed, along with events such as the Gulf War, 9/11 and the Bali bombings, and its market gradually faded. This experience for Carpenter gifted him with enormous experience and knowledge, along with connections and an international reputation.
In the meanwhile Carpenter would also begin publishing a series of books on the traditional arts of Indonesia, including Mentawai Art, Batak Sculpture, Nias Sculpture and two books on traditional jewellery. “I am a firm believer that expatriates should contribute to the country they live in. I was blessed with a deep knowledge and appreciation of Indonesian arts and culture which is fast disappearing and I have taken it upon myself to try to record as much of it as possible.
W.O.J Nieuwenkamp: First European Artist in Bali – Bruce W. Carpenter
In all, Carpenter has written and co-authored over twenty books and scores of articles on Indonesian art, culture and history. However, with the recent release of the book Lempad of Bali – The illuminating Line, the first fully comprehensive study on the master of Balinese traditional artist, Gusti Nyoman Lempad (1862-1978), on the 20th September 2014 at Museum Puri Lukisan, he admits, “this has by far been the most challenging project I have engaged in in my life.”
“As the book concept and project manager my list of tasks was unprecedented. I had to oversee interactions with over forty institutions and collectors in eight different countries, each with different requirements, along with dealing with six authors, one of whom is dead!” Carpenter says. “Our endeavour was to include the broadest range of Lempad’s works available in the book, therefore the detective work required was unbeknown to us and consequentially enormous.” The beautiful volume of over 424 pages is the culmination of more than six years work for the team of dedicated and respected academics and professionals.
“Bali deserves to have world class art exhibitions, books and events to create more interest in its immense and unique culture,” Carpenter states.
“I am dedicated to the publication of illustrated books on the traditional arts of Indonesia which have disappeared or are disappearing. We honor the past by recording its brilliance. I also feel it is important to urge young Indonesians to do the same. It is ironic that westerners play such a critical role in the studies of Indonesian art. This should change.”
Opinionated and articulate Carpenter counts many, including the rich and famous, as friends. A father of two he cuts both a dashing and unusual figure. His trailblazing journey through life is rich in colourful tales that are steeped in the exotic, mysterious and dynamic.
Indonesian Tribal Art – Bruce W. Carpenter
Words: Richard Horstman
*Author’s note: No part of the written content of this website may be copied or reproduced in any form, along with article links uploaded to other websites, for any commercial purposes without the written permission of the author. Copyright 2020
Art Appreciation: Meet Bruce Carpenter
Author and co-author of more than 20 books and numerous articles on Indonesian art, culture and history, Bruce W. Carpenter is considered a leading expert in the field of Indonesian studies. His publications include Willem G. Hofker, Painter of Bali (1994), W.O.J. Nieuwenkamp First European Artist in Bali (1997), Batak Sculpture (2007), Ethnic Art of Indonesia (2010), Gold Jewellery of the Indonesian Archipelago (2011), Nias Sculpture (2013), Lempad of Bali, the Illuminating Line (2014) and Indonesian Tribal Art (2015).
Can you tell us how and why you landed in Indonesia?
My first Indonesian experience was at the New York World’s Fair in 1964. As an imaginative young boy I was mesmerized by the spectacular Indonesian pavilion, the construction of which had been personally overseen by Sukarno, the first president. I didn’t understand much but I knew I wanted to go there.
That opportunity arose in the 1970s after university. Nobody had bothered to tell me that the purpose of going to school was to earn a living so I had studied oriental art and history. Unemployable and adventurous I headed to Amsterdam, where I had my second meeting with Indonesia at the Tropical Museum. As a second winter came around I decided to flee the northern climes and headed east based on tips provided by early travellers on the hippie trail that led to Bali, where I landed in 1975.
Tell me about your early travels in the archipelago.
After a sojourn in Thailand and Malaysia I took a boat to Medan and immediately headed up to Prapat on the shores of Lake Toba. I arrived on full moon night and was amazed to hear Batak singers belting out a variety of tunes that echoed across the waters in splendid harmony. In the following year I would voyage to Java, Bali, Borneo, Sulawesi, the Lesser Sundas and beyond.
Bali was the penultimate sanctuary – a place of beauty, grace and rest. As thousands before, and millions after, I was smitten by the romance and fell head over heels. It is hard to believe that there was no electricity outside of Denpasar. Up until around 1994, communications with the outside world were abominable.
How and why did you start writing?
My grandfather was a high professor at Cambridge University who was a leading authority of Middle Eastern culture and languages. I much admired him and hoped to follow in his footsteps, although my career as a hippie took me off the usual track. My first book co-authored with Dr. Denny Thong and Stanley Krippner was about Balinese traditional healing. Stanley and I actually wrote an article on analyzing Balinese dreams that was published in the magazine Shaman’s Drum, which later included one of Robin Lim’s articles.
Trained in art history I was aghast that so little was being published about Indonesian art and artists. I actually researched my book on W.O.J. Nieuwenkamp next, although it was published later. In the process I met Maria Hofker, the widow of Dutch artist, Willem. Friends of Rudolf Bonnet and Walter Spies, they had lived a remarkable life in Bali from 1938-1942, which abruptly and tragically ended with the Japanese invasion. She invited me to author a book on her husband. It was a great success. I would also like to believe it played a key role in the remarkable prices achieved by Hofker paintings today.
With time I turned to my true love, Indonesian art, producing an average of one book every year or two.
Lempad of Bali took many years to accomplish. What were some of the challenges inherent in the development of this massive and comprehensive tome on this master of traditional art?
I visited Lempad during my first trip and eventually become a close friend of his eldest son, I Gusti Made Simung, who I, along with numerous other expatriates, considered a brilliant and humorous mentor of all things Balinese. All of us spoke of the need for a book and expected John Darling to accomplish this task.
This early idea would only begin taking shape around 2006 at the time of the 50th anniversary of the Museum Puri Lukisan, when I was asked by Soemantri Widagdo to help with a large retrospective exhibition and catalogue. It took us years to track down hundreds of his paintings, which had been scattered around the world. As the art director, project manager and co-author – with five other noted experts – I would like to think of it as a gift to the Balinese people for all they have given me.
What about your latest book – Indonesian Tribal Art?
One of the most exciting developments in the last decade is the discovery that the history of art in Indonesia is far older than ever imagined. The best example is the discovery that prehistoric cave paintings in Sulawesi once thought to be 1,500 to 2,500 years old, are in fact 38,000 to 40,000 years of age. Not only is Indonesia – along with the Alta Mira and Lascaux caves – home to some of the earliest art in the world, this discovery is only the tip of the iceberg because thousands of cliff and cave paintings can be found throughout the archipelago. This and many other exciting discoveries are discussed in my latest book Indonesian Tribal Art, which also has a stimulating introduction written by the Joseph Campbell Foundation.
How do you see contemporary Indonesian artists expressing modern issues while honouring their historical cultures?
For a large part colonialism shattered the connection between ancient and profound art traditions and modern and contemporary art. Shockingly, numerous Indonesian artists believe that real art came from the West! One of the great challenges is to reconnect them with their own great tradition. The process has already begun but is often plagued by superficial flourishes – the random inclusion of wayang puppets or other traditional icons – that lack conviction and depth. Unfortunately, as everywhere, the art market here is driven by commercialism, and with a few exceptions is not interested in the broader implications of Indonesian art history and how it relates to contemporary art.
Why is an awareness of the historical art and culture of Indonesia important to future generations?
Indonesia’s greatest asset is its youth. Creativity abounds everywhere in spite of the dysfunctional nature of the political system and infrastructure. I trust they will find a way forward. One of my biggest complaints to young Indonesians is that they should begin appreciating, studying and writing about their own art, culture and history.
What are your plans to continue sharing the history and art of Indonesia with the global community?
Indonesia is one of the world’s greatest reservoirs of design and creativity. China may be able to mass-produce things cheaper but Indonesia brings another dimension that mirrors the souls of these remarkable people. One of my biggest apprehensions is the failure of many to understand that the tragedy of poverty is not limited to food, water and clothing alone but also to pride and identity.
A people can achieve a modicum of prosperity but if you strip them of their history and art you have committed a wrong comparable to stealing their souls.
Unfortunately, the amount of money made available for the preservation of culture is limited, often inconstant and distributed by those with definite cultural prejudices with the so-called ‘refined’ traditions getting the big money. There is also little sense of philanthropy in Indonesia; national and local museums receive limited funding and are viewed as boring and old fashioned. Private museums are inevitably vanity projects that often collapse because of unprofessional management, indifferent collections and lack of funding. The greatest museum in Bali founded in the 1930s is in Denpasar but is little known and in dire need of restoration and dynamic stewardship.
Billions are spent on sports and other mass events but getting a grant to produce a book or study of a fast disappearing unique art form is a near impossible task. My hope is to stimulate appreciation and consciousness of the value of these fragile traditions, many of which have already disappeared.
Bruce Carpenter – Les Editions du Pacifique
A student of art history and fluent in four languages, Carpenter has been a resident of Bali since the early 1970s when he arrived from Europe as an aspiring young artist. Inspired by Indonesian and Balinese art, he has authored and co-authored more than twenty books and scores of articles on the archipelago’s art, history and culture including W.O.J. Nieuwenkamp: The First European Artist in Bali; Batak Sculpture; Nias Sculpture; Gold Jewellery of the Indonesian Archipelago; and Lempad of Bali. In 1996 he founded and curated the non-profit Ganesha Gallery at the Four Seasons Resort in Jimbaran. Dedicated to young Indonesian and Balinese artists it would mount more than 200 exhibitions in close to twenty years. He has collaborated with numerous noted scholars over the years. He is currently working on two book projects on Indonesian tribal art.
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