Ars: Jurnal Seni Rupa dan Desain
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Komunikasi Visual yang"Cerdik”
No full textBahasa Visual dalam Komunikasi di Sekitar KitaBahasa visual merupakan alat komunikasi yang memanfaatkan unsur-unsurrupa seperti bentuk, warna, komposisi, sebagai bahasa atau lambang untukmenyampaikan informasi. Ia dapat berwujud gambar, relief, patung, sebagairepresentasi kejadian, imajinasi maupun pikiran pengirimnya. Bentuk komunikasiseperti ini telah dikenal manusia sejak dahulu bahkan jauh sebelum ditemukan sistimalfabet oleh bangsa Phunesia. Gambar pahatan di dinding gua di Lascaux Perancis,Hieroglyph di Mesir, cetakan tanah liat di Cina memperlihatkan hal itu.1Kini lebih 2000 tahun kemudian komunikasi yang menggunakan lambanglambangvisual seperti itu telah berkembang pesat dan menjadi konsumsi masyarakatluas melalui berbagai jenis media. Surat kabar, Majalah, Tclcvisi, Video Game, Internet,hingga proyeksi OHP> LCD di ruang kuliah dan seminar menyajikan informasi dengancara visual untuk berbagai tujuan.Disadari atau tidak masyarakat kita saat ini berada pada suatu keadaan yangpenuli dengan berbagai bentuk komunikasi visual. Iklan barangkali objek yang palingmudah ditunjuk sebagai contoh nyata bentuk komunikasi visual yang ada dimasyarakat. Sebagai alat untuk menyampaikan pesan, iklan memang tidak pernahberhenti dalam upaya mencari jalan bagaimana menarik perhatian masyarakatkhususnya khalayak sasaran dalam usaha menawarkan produk maupun jasa. Kemajuanteknologi komunikasi telah menghadirkan sejumlah fasilitas dan berbagaikemungkinan baru yang mampu mempertinggi kualitas visual iklan sehingga dariwaktu ke waktu terjadi peningkatan daya tarik penampilannya
REVITALISASI SENI KRIYA INDONESIA Sumartono ABSTRACT
No full text"Craft" has a long history in Indonesia. The arrival o f religions (Hindu, Buddhism, and Islam) anddifferent groups (Chinese and westerners) to Indonesia influenced not only to the pattern but also lo theprocess o f creation o f this artwork. These influences provide a neio spirit/life to the Indonesian "craft".Hozoever, Indonesian artists still maintain the " traditional" forms and patterns. They only lake someaspects o f these other cultures and combine them with local culture. Because o f artists'creativity, Indonesian"craft" is able to exist fo r a longer time. Moreover, in order to maintain its existence, the Indonesian "craft~artists are expected to takepart in the discourse o f visual art in IndonesiaKeywords: craft (high art), revitalisation, theory o f chang
Pendidikan Tinggi Seni Rupa Di Jaman Edan
No full textAkhir-akhir ini di media massa cetak atau elektronik, hari-hari kita kian disesaki oleh berita-berita dan peristiwa carut marutnya kehidupan sosial-ekonomi-politik-budaya bangsa Indonesia yang membuat rakyat semakin cemas, geram, dan seolah kehilangan harapan. Carut marut kehidupan itu demikian beragam dan susul menyusul setiap hari. Namun dari sekian berita-berita buruk itu, yang paling menonjol dan menyesakkan adalah tindak korupsi, kekerasan, dan keserakahan yang dilakukan oleh para pemimpin maupun elit politik mulai dari tingkat atas sampai bawah, baik di kalangan eksekutif, legislatif maupun yudikatif. Kejujuran, kesabaran, sikap sosial dan tenggang rasa, serta kasih sayang antar manusia, terasa menipis dan makin dipinggirkan. Rakyat pun sering menjadi objek penderita yang menanggung akibatnya. Carut marut dan tindakan tak terpuji itu ternyata telah merasuki segala sektor kehidupan bangsa, termasuk sektor pendidikan, seni, dan budaya. Tidak mengherankan apabila ada orangorang bijak di negeri ini menamakan kondisi sekarang ini sebagai zaman edan. Pendidikan dan kebudayaan adalah sektor-sektor kehidupan yang diharapkan dapat mengatasi berbagai kemelut bangsa dan negara kita dewasa ini. Karena diyakini, pendidikan dan kebudayaan selalu memanusiakan manusia. Masih terngiang ajakan Syafii Maarif yang berkata demikian: “Jika politik gagal, seni harus turun gunung. Gunakan the Power of Beauty!” 2 subroto sm. Judul tulisan ini bertolak dari asumsi dasar bahwa carut marut kehidupan bangsa kita dewasa ini terjadi karena tidak diberdayakannya pendidikan dan kebudayaan dengan baik, benar, dan terarah. Berdasar latar belakang pemikiran di atas, dan berbekal pendidikan dan pengalaman penulis, tulisan ini disusun sebagai materi kuliah umum dalam rangka purna tugas penulis sebagai tenaga pengajar/PNS di Jurusan Seni Murni FSR ISI Yogyakarta. Oleh karenanya isinya dipersempit ke bidang pendidikan tinggi seni rupa, seni rupa murni khususnya, dan dialamatkan khusus kepada mahasiswa dan dosen muda di lingkungan Jurusan Seni Murni FSR ISI Yogyakarta
sTudi awal TenTanG isTilah dan BenTuk
No full textThis article would like to begin a short studyon the term ‘graphic novel’. As we can see, the termis problematic. Most arguments shaped around‘graphic novel’ clearly show that the works havebeen regarded as a part of literature, while theothers have been considered the term as a formof sequential art which has lengthened story. Theaim of this article, then, is to deconstruct the term‘graphic novel’ by pointing out the weaknesses, boththrough the meaning of the term and also by meansof the discourses that have been strengthened withsome episteme built with the essence to justify themeaning of graphic novel amidst the discourses ofsequential ar
Hak atas Kekayaan Intelektual ImplementasInya dalam BIdang SenI Rupa
No full textIntellectual Property Right and Its Implementation in Visual Art. The works of visual art, the fine art and the applied ones, are basically the results of artistic creative processes that have to be protected legally. The artists’capability in cultivating their ideas and creations in visual forms is a part of their Intellectual Properties. It certainly will provide the holders not only the economic values but also the spirit and motivation to improve their creative competence. Intellectual Property Right as one of the legal protection devices is expected to be understood and accepted by all artists, art lovers, designers, and art creators so that visual art will dynamically develops and functions as a tool in the practice of social control and correction with any role they play: contributors, sponsors or stake holders
TERRA INCOGNITO SURREALISME YOGYAKARTA
No full textSurrealism, which was coined in the First Manifesto o f Surrealism by Andre Breton in 1924,indeed begun and was centred in Paris, before spreading nut to a number o f countries beyond F.urop?,including the Pacific region. Interestingly, in the Surrealist international map published in 1929, Francewas not there, and it was as i f the USA never existed, whereas it was the Pacific Regioti which was regardedas the centre o f the world. The Parisian Surrealist highly appreciated art from the region. As a mutter offad,there were really artists in a number o f countries, including Indonesia, who were well-accepted andappropriated Surrealism according to their respected culture. In Yogyakarta, surrealists' works o f artemerged phenomenally in the 1970s and have been continuously produced until now. RegardingIndonesian surrealism, M. Dioi Marianto suggests that surrealism exists in any culture and society. TheParisian culture did not come to Yogyakarta directly but through reproductions o f Surrealists’ w o rkprinted in Modem Art books. Images o f surrealist works were then seen and adopted by many artists asuxiys o f producing surrealistic works o f art. In this resjyect it is more appropriate to regard the ParisianSurrealism as having triggered surrealist virtual potentials or tendencies that hud indeed been embedded inthe culture and sub-cultures streaming through Yogyakarta as a state o f mind.Keyu>ords: Surrealism, Parisian Surrealist, state o f min
PENGARUH ISLAM DALAM PERWUJUDAN WAYANG KULIT PURWA
Get PDFIn Islam expanding in Jaw, known to have prohibition order about depiction of mortal, what hitherto still trusted by society, enjomment depiction of the mortal its wide o f impact especially at fine arts growth in Indonesia. One of the effect ofenjoiment depiction of mortal in Islam is materialization ofpurwashadow play. Prohibiton order depiction o f that mortal bring advantage in shadow play growth in Indonesia, that is creation form puppets whish stilistik with depiction o f purwa puppets by ideoplastik, a way of materialization o f mortal able to be accepted in Islam teaching.Keyword: mortal, purwa shadow play, prohibition order
Bercermin - Inspirasi dari Subroto Sm : Kompetensi Dosen Seni Rupa
No full textArtistic biggest contribution in filling independence is upholding of art education which finally can round into the higher education fine arts. As high institute of education, Institut Seni Indonesia Yogyakarta which its age have stepped on 27 year, by increasing old age expected by earn really have mirror to more to developing of himself, upgrading and its role. Will be more be good if started with how this institution can esteem the himself. Can leave from problems of celebration of duty post of a lecture, momen esteem the part of himself, for avand garda of art education which have spilled sweat and its science. Now, with the time and situation that of is dissimilar Mister Subroto finally also propose its friends enter a period of pension. Become important to place the himself in an condition which finally one would consider or pay attention to it to be rewarded. Mister Subroto have the meaning is necessary for his colleague in ISI Yogyakarta, what will be at its place institute serve them. Mister Broto also deputize the other pensioner, what of course later have the history of about public road live as the officer and go together the its place institute work.Keywords: mirror, conpetence, appreciation,celebration, pension
Proses Kreatif Penciptaan bawor
No full textBawor Character Creation Process. The classical shadow play with leather puppets that has been acknowledged as a cultural heritage coming from Indonesia is potential to compete in global level. Bawor, one of the punakawan characters in Banyumasan leather puppet show, has a similar physical appearance with Semar who adopted him as a son. Bawor’s character is considered to be identical with the character of Banyumas people, for example they are believed to be honest. The works of art that have been inspired by Bawor show some form transformations. The form is changed to get funny impression. However, there are still certain messages to be delivered by means of those funny forms. Although there are many possible interpretation, but visually those figures still can be identified as the fat Bawor. So far, craft is regarded as identical with ornament. These Bawors that were depicted without ornamentwere an adjustment to the visual art development nowadays.Keywords: Bawor, craft, ornamen
E-MAGAZINE SEBAGAI MEDIA ALTERNATIF PENYEBARAN KONSEP DESAIN KOMUNIKASI VISUAL
No full textThe dissemination o f the visual communication design works greatly depends on the employedmedia. So far, design works can be accessed through books and design magazines and their applied media.Meanwhile, there are many obstacles in accessing books and design magazines because ofbolh its rarity andits relative expensive price. Nowadays, internet technology and the work saving in digital formal solve thisproblem. E-magazine, which was initiated by the youngsters, is the ideal tool to be a media o f expressionand works dissemination. It is answering the challenges o f the creative economy era.Keywords: e-magazine, visual communication design, the media o f expression, creative econom