Ars: Jurnal Seni Rupa dan Desain
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GAMBAR INFORMASI
No full text/Is an applied art, Visual Communication Design is expected tobe able to deliver information effectively.When understanding the issue, a designer would realise that drawing is not merely presenting beauty butshould be o f meaning to the audience. Depicting information is not an easy matter because its spirit is toprovide a service to the public through an easily absorbed sign ur visual language.Each target group has a different background such as geography, psychography, social status, etc.,which influences their absorptive capability towards an oltject. This becomes a subject fo r those who studyat the Visual Communication Design department so as to be able to present appropriate information. Ir.fact, Otto Net/rath - with his ISOTYPE - has inspired them to design effective symbols for the publicUsing a simple form, representing objects appropriately can make a picture become more informative.Keywords: picture, informatio
BARABUDUR DARI SISI BENTUK
No full textKetika artikel ini ditulis, bulan Mei 2004 baru saja lewat. Pada wakru itu, masyarakatBudhis memperingati hari Waisak yang dipercaya sebagai peringatan dari liga peristiwa pcniingdalam agama Budha, khususnya dalam kehidupan Sang Budha Gautama, yaitu han lahir SangSiddharta, saat tercapainya Penerangan Sempurna di bawah pohon bodhi, dan hari wafatnyaatau hari tcrcapainya parinirwana. Di sampingitu, saat ini Barabudur sedangdiperebutkan olehbanyak fihak untuk dijual kepada turis pada saat penduduk di sekitar Barabudur sedang resahdan ekonomi sedang menjadi mahkota kebudayaan dan menentukan code o j conduct masyarakatkita di semua sektor kehidupan, serta menentukan pula apakah “ Pasar Seni Jagad Jawa” atau“Shopping Street” perlu didirikan di kompleks Barabudur. Pada saat dan kondisi seperti itu,penulis ingin mengetengahkan kembali Barabudur, meminta kembali ingatan masyarakatmelalui jalur kebudayaan, tentu terutama dari sisi bentuknya, karena bentuk stupa Barabudursangatlah unik
FOTOGRAFER DAN RISET Pcntingnya Riset dalam Fotografi
No full textW1ien an audience observes a picture or photograph, the resulting opinions might be varied, suchas that a picture is good or interesting; there is an emotional bond with a picture; a photograph conveysmemory, it has a story or a specific message. Basically, photography is a communicative medium since aphoto possesses a communicative value when it is used to deliver a message, or when it is an idea expressedto an audience so that there will be a similar understanding «> /0 its meaning When the “expressiono f the photo" is not clcar, not only its meaning but also its objective as well as the message it deliverswould be unclear - which means the communicative process does not work as it is supposed to. In orderto effectively express a message through a photo, in addition to obtaining a go a l idea, an appropriateand contextual "structure of photographic language' should be applied. This "structure o f photographiclanguage" includes the application o f technique, lighting and appropriate composition (aesthetics)In addition to possessing and mastering the above skills, it is necessary for a photographer to beaware o f undertaking research before conducting a photography session. Conducting research provides boththe photographer and also others interested in the photo with several advantages. It not only enables aphotographer to obtain good, interesting and beautiful photos, but the photo session will also be more effectiveand efficient because of this research. No matter how simple is the reason for conducting a photographysession; research should be earned out. Conducting research for photography - fo r aspects o f idea, techniqueas well as aesthetics - can encompass the problem o f identification, analysis, and developing a conclusionprior to the execution o f the photography session.Keywords: photography, photographer, researc
DINAMIKA PERKEMBANGAN SEMI PATUNG (TIGA DIMENSIONAL) DI BALI
No full textSculpture in Pali was a part o f the departed spirit worship transformation practiced from thepre- history time until the coming o f the Hinduism & Buddhism and Chinese culture. At its early stage,sculpture was the materialization o f Gods in the Hindu belief placed in Pur a (house o f worship in Hindureligion) It became the fetus o f the Pali traditional sculpture that held its own fashions and rules. The nextphase ziyis the emergence o f the autodidact artists who mastered these fashions and rules. In their careercourses, they developed a new form o f sculpture that disobeyed them: This new form then appreciatedas a novel creativity which by many art observers defined as 'modern' sculpture. It ivas an assimilationo f the local values and the Western influence carried by Western artists and cultural observers to Bali.Even though it was stagnant once, Bali sculpture moved forward along tlte time dynamics. The youngartists coming from the academic world pioneered further development which led this art branch to thecontemporary art progression. The statues created were experimental, not only seen from the media andmaterial, but also from the ideas and thoughts underlying them which were represented in installation andmultimedia arts. That is why Pali sculpture has been developing dynamically up to now.Keyzvords: sculpture, Hindu, traditional, religious, modern, contemporary, and experimenta
Merenungkan Kembali Gerakan Anti-Desain
No full textDesain (design) adalah sebuah kata yang memiliki pengertian sangat longgar. Kataini bisa digunakan tidak hanya dalam kaitan dengan proses perancangan karya-karyadesain interior, desain komunikasi visual/desain grafis, dan desain produk industri,tetapi juga dengan perancangan produk-produk rekayasa teknik (engineering) danpenciptaan karya-karya seni kriya. Akibat dari pengertian desain yang sangat longgar initidaklah mungkin bagi bidang ini menggantungkan diri pada satu pendekatan dalamproses perancangan. Gerakan anti-desainyang menjadi inti judul tulisan inibukanlahsebuah gerakan desain yang negatif (karena menggunakan sebutan anti-desain), tetapiadalah sebuah gerakan desain pada masa setelah Perang Dunia II yang menentangkemapanan pendekatan desain Modern Amerika (Amerika Serikat) yang hanyaberorientasi pada keuntungan finansial dan kurang mengakomodasi keberagaman citarasa desain yang didasarkan pada kompleksitas psikologi manusia. Untuk menyebut'gerakan anti-desain' saya tidak menggunakan huruf besar karena gerakan ini tidakbersifat spesifik tetapi mewakili berbagai gerakan di sejumlah tempat di dunia yangditujukan untuk menentang pendekatan desain Amerika itu. Amerika menjadi sasarangerakan ini karena negara ini menjadi pelopor komersialisasi desain. Padatahun 1930-an,Amerika memelopori pendekatan desain Modern yang didasarkan pada formula “desainbagus « bisnis menguntungkan”. Pendekatan desain ini memang pernah populer, tetapikemudian mendapatkan tentangan hebat dari gerakan anti-desain. Karena dalampendekatan desain Amerika ini keuntungan finansial menjadi tujuan utama, makaproduk-produk industri dibuat dengan cepat dan seragam (massproduction). Akibatnyaproduk-produk itu cepai membosankan. Masyarakat kemudian digiring untuk membeliproduk-produk lebih baru, yang juga cepat membosankan. Akhirnya masyarakatmenjadi objek eksploitasi tanpa henti. Mereka yang secara ekonomi mampu maupunkurang mampu sama-sama merasakan eksploitasi ini, tetapi bagi yang secara ekonomikurang mampu eksploitasi ini terasa lebih menyakitkan.Meskipun gerakan anti-desain berkembang di Eropa tidak lama setelah selesainyaPerang Dunia II, pengaruhnya di duniatermasuk di negara-negara berkembang sepertiIndonesiatetap terasa hingga sekarang ini. Di dunia, termasuk di Indonesia, pengaruh inimuncul dalam bentuk karya-karya desain bergaya Posmodern. Gaya Modern memangmasih hidup, tetapi gaya Posmodern tampaknya menjadi pilihan penting di masasekarang, termasuk di Indonesia
Seniman dan Nilai Generik Seni
No full text1. M enengok ke B e lak an g : P roses Munculnya Humanisme2. R enaisans Semu3. Diversifikasi U saha dalam Masyarakat4. Seni Lukis Ekspresi dan Seni Lukis K omoditi5. Eksistensi Generik Senima
PENGARUH GLOBALISASI PADA RUANG SEBUAH KASUS DARI MASA LALU
No full textGlobalization is a certainty that changes the world. In Indonesia, the process of globalization was initiated at the early stage of the Christian Calendar that was marked by the incoming of Indian, Chinese, Islamic, and Western culture successively. This article will discuss a case of globalization on space of Rumah Gedhong in Kampung Kauman Yogyakarta. It aimed at seeking the relationship between culture and the space of human activity and investigating how the space changes according to the transformation on the lifestyle and the values or in a bigger scale, the culture of the people.Keywords: globalization, culture, activity, spac
HAK KEKAYAAN INTELEKTUAL: Selayang Pandang Tentang Hak Cipta, Paten dan Disain Industri
No full textThe Indonesian terms "HAKI" or "IIKI" which are equivalent to the English term IntellectualProperty Rights are considered as a new idea for Indonesians Nevertheless, the Indonesians are familiarwith the terms "Hak Cipta" "Paten" and '’Disain". Even though it is common that those words arcapplied in a sentence at the same time, e.g. 'mematenkan ciptaan" (the u>ord "paten" and "cipta '),"disain yang sudah dipatenkan"(the words "disain"and "paten"), it is a complete mistake.A creator as the subject o f "Hak Cipta " (copyright) is someone or a group o f people loho createssomething in afield o f science, art, and literature because ofhidfher/their inspiration.An invertor, the subject o f "Paten" f Pa tent), is an individu or a group o f people who conducts anactivity o f solving a problem in technology. It can beaprocess orproduct.A designer is someone or a group o f people who produces an industrial design. It can be in a form o fshape, configuration, or composition (o f lines and colors, or the combination o f lines and colors) or thecombination o f them in a form o f 3-dimertsior. or 2-dimension that gives esthetic impression and can berealized in a 3-dimensional o< 2-dimensional pattern. It can also be used to producc a product, object, orindustrial commodity and handycraft.Key words: Intellectual Property Rights (IPR) HKI, copyright (Hak Cipta), Patent (Paten;,Industrial Design (Disain Industri)
SEPENGGAL FENOMENA SEPUTAR WACANAISTILAH SENI KRIYA DAN PERKEMBANGANNYA D E WAS A INI Sekilas Perkembangan Kriya Tekstil di ISI Yogyakarta
No full textDiscourses and developments o f art craft itr Indonesia arc always interesting to be discussed.Discourses on the term of "seni kriya" are, in fact, inseparable from the similar one, i.e. "kriya ". The term"seni kriya" and "kriya", indeed, possess different cultural background. When an artist creates a worko f art craft, he/she does not concern about these discourses. On the contrary, in an academic level, thesediscourses can sometimes become a problem, especially when it comes to giving the meaning of art craft.This article attempts to discuss those problems. At first, there will be a description about the origino f the term “seni kriya", in addition to the explanation on the term "kriya ". Liter, the present conditiono f art craft discourses will be presented. The last presentation would be the development oj art-crafi works.In order to provide the reader with more clear explanation, the development happened in the Department ofCraft, the Faculty o f Visual A rt, ISI Yogyakarta-especially in the textile art craft made by the department’sstudents - are included.Keywords: art discourse, craft (high art), craft textile
Keris Kamardikan Surakarta
No full textThe aim of this research is to be searched about aesthetic and historical background that includes the shape, meaning, and function as well as the factors that underlie keris kamardikan in Surakarta. The analysis of the keris kamardikan Surakarta is not a simple matter. The question such as: what keris kamardikan is; why it had been created; when it start created; whose the man behind of created; where place that keris kamardikan has been exsist; and how about the histocal about it. Change of palace culture maybe happen to the progresive culture with any perception. It can be indicated like social criticism movement in postmodern age, such as: happening art, environmental art, etc. While the factors underlie the similarities and differences are the internal and external factors. The Internal factors are the rules and policy stated by the actor in this regions. The external factor is the factor happens because the society social condition that is more developed as well as the policy of the government of Republic of Indonesia in the tourism sector. The method used in the research is qualitative research with multidicipline approach focusing on the study of art. Aesthetic approach is used for relating the style of art. This approach is used with other approaches and use the relevant teories such as: history, communication, anthropology, archeology, and sociology. This research has conelude that movemen of keris kamardikan Surakarta is in the structure or style. Historical background of movement started on 1970 in case of many keris artist in Surakarta created it with many purposed, basicly keris Kamardikan Surakarta have two poin of movement, there are an aesthetic and historical.Keyword: keris, kamardikan, Surakarta, aesthetic, and history