Ars: Jurnal Seni Rupa dan Desain
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Diferensiasi Karya Manual dan Digital
No full textThe Differentiation between Manual and Digital Artwork. Technology always develops as time goes by. It reaches and covers wider geographic area from urban until sub-urban region. New technology transforms the skills mastered by designers. The manual age has been replaced by the digital age. The transformation is speeded up by the design software and hardware that support each other more in all stages: pre-production, production, and post-production/ finishing stage. Unfortunately, instead of the fact that the technology development eases the work of designers, just at this moment design world is marked by the production of graphic designs with poor quality. One of the reasons is that in this field, both the designer and the design devotees feel to have the right to determine the final result of the designing process. It can be said that the advance technology and design equipment do not match with the designers’ conceptual ability. However, some designers still consider that manual skillis significant to create high-quality design.Keyword: manual, digital, technolog
RUANG GENDER PADA RUMAH TINGGAL: KAJIAN TRANSFORMASI BUDAYA DALAM KEBUDAYAAN JAWA
No full texthi general discourse, it is nut possible to discuss "gender" without bringing out the man-womanrelation features. The enthusiasm on the discussion increases, following the people awareness concerning togender relation and position. Javanese culture maintains a unique family interrelation system. Inside thisarrangement, we can explore the position and role o f a person inside the community as well as the man andwoman interrelation.This research describes the system as the gender relation. The Javanese is a patriarchy community,xoho sets certain gender-related boundaries to show man domination over woman within the society.From the historical background, the gender relation inside Javanese community roas represented on thearchitectural spacc. The rcscarch reveals the layout concept o f traditional Javanese house from previousera, whereas the space concept is still initiated by the gender boundary. Architecture as the product ofhuman culture implements the community socio-cultural condition and psychology. The same situationalso occurred on the gender separation from the social environment and community psychology. In presenttime, the modernization, woman emancipation and the penetration o f western culture are the basis forthe transformation o f gender position and relation to be occurred inside the Javanese community. Thetransformation itself is pointed out to equal man and woman status and position more. The transformationpattern o f gender relation, especially occurred within the Javanese family, slowly shifted the gender conceptinside the house. The transformation o f the gender concept could be generalized and derived into significantpatterns o f room function and organization transformation, the intention o f space and also the orientation.Jit this era, the transformation also alters the pattern o f room layout to a more neutral space.Keywords: gender, interior, transformation, Javanese cultur
Grid Sebagai Penerapan Prinsip Kesinambungan Dalam Teori Gestalt
No full textIn layout on the design has its elements, ie: text, visual and invisible. As an invisible element, the grid have a role as carriers of regularity. Grid has a function and characters such as line as in design element. Although not visible, but humans are naturally going to consider it as an element that exists, as the application of the principle of continuity in Gestalt psychology.Keywords: layout elements, grids, Gestalt psycholog
CAHAYA SEBAGAI BENTUK SENI
No full textLight is always present around us and lightens every aspect o f our life. Nevertheless, we sometimesJorgct that light is a very unique material it can be seen but not touched. Moreover, it can, actually be used asan expressive media in creating artwork. Natural as well as artificial light such as from electricity, has beenexploited by light-artists to create their arhvorks over long periods o f time and with low intensity.Producing light art through the vision o f the colour o f light, the variation o f shadow, the lightreflection, the construction o f lamp-light, kinetic light and hologram as what some light-artists have done issupposed to inspire other artists in creating and developing tiezv light art.Light art does not mean forming certain shapes, or applying certain techniques which require hightechnology but, instead, applies simple techniques. It depends on our capability in treating and processingthe material as the expressive media. Yet, it cannot be denied that light art relates to an understanding aboutscience, art and technology which unites with thought and the process o f creation.Keywords: light, the colour o f light, shadow, reflection, light ar
TINJAUAN PERKEMBANGAN, KONDISI SOSIAL DAN KREATIVITAS PERAJIN KERAMIK DI KIARA CONDON G BANDUNG
No full textThe centre o f the traditional ceramics!pottery industry established in Java spread out across only a fewareas, including Kasongan (Yogyakarta). Plered (West Java), and Kiara Condong (Bandung, West Java).The ceramics/pottery produced by craftsmen o f Kiara Condong possesses unique characteristics; i.e. whiteclay material, low temperature o f burning, and a shiny glazed texture because o f load meni being one o f theingredients.Viewed from the aspects o f shape and pattern o f the ornament, the craftsmen o f Kiara Condong oftenadopt the m otif and ancient decorative style from the Vereenigde Oost-Indische Compagnie (VOC) era and/or o f the Chinese dynasties. The ornamental nature o f the products is not their only distinctive characteristicbut also the unique identity o f ceramics/pottery o f Kiara Condong. The inclination o f the choice o f style andmotif can be considered one o f the efforts in protecting them from the flood o f imported ceramics/pottery.However, some people consider that what they have done is merely copy old creations and that creativityis not required. This phenomenon is worth observing, considering the many factors which became causeo f the problem; such as environmental condition, labour, as well as the high level o f competition betweenfactories (owners).Keyzvords: ceramics/pottery, Kiara Condong, factor, social conditio
SENI GRAFIS YOGYAKARTA DALAM WACANA SENI KONTEMPORER
No full textVisual art in Indonesia is not stagnant at all. It is because art always respond to the complex world development from time to time. Graphical Art in Yogyakarta has been developing as well. It always contributes to the visual art promotion of Indonesia. This article will focus on exploring the movement of Graphical Art in Yogyakarta in the frame of Indonesia contemporary art discourse. The Graphical Art in Yogyakarta has been metamorphosing both in visual and conceptual aspects in line with the latest development of the contemporary art.Keywords: graphical art, contemporary art, alternative discours
ILUSTRASI, ILUSTRATOR, DAN CERPEN
No full textAccording to most people, an illustration is understood as a complimentary, decorative picturewhich is used to clarify the idea o f a text as well as to support the atmosphere created front the text. This isapplied tc the illustration o f short stories published in Kompas. Even though these arc "different" from thetext, they are still based upon the text. It is clear that there is no need to investigate whether an illustration isrelated to the short story or not. The problem remains that either there is a new interpretation towards thetext as a result o f the “difference’’, or that the illustration is merely decorative, as most people believe.TJtis composition offers a different perspective in examining illustrations, especially those whichaccompany short stories in Kompas the same topic discussed by Effendi in "llustrasi dan Cerpen",published in the journal ARS, No. 04, January-April 2007 (p. 56-58). It thus provides an alternative readingo f Effendi’s ozvn composition.Keywords: illustration, illustrator, tex
KERAMIK TRADISIONAL VERSUS KERAMIK MODERN DI SENTRA GERABAH KASONGAN
No full textCeramic artists and observers play an important role in the development c f traditional potteryproducts in Kasongan. Pottery products, which were only kitchenwares, have been transformed into bothfunctional and decorative products. Decorative nuance, as the product's characteristic o f this village, ismade by patching technique. Such a technique has made the village o f Kasongan become a famous touristdestination.Foreign demand fo r minimum or eliminated decorative patching has resulted in the disappearance o fthe patching technique. Thus, modern pottery products are combined with such other materials as agel,rattan, stern o f banana bunch, and others.The requirements o f becoming more competitive and obtaining a good market has changed theattitudes of Kasongan people to adjust to ongoing development. This has resulted in the fading o f thetraditional patching technique for the products. This paper is expected to provide further analysis o f theprospects o f Kasongan village development as vxll as an attempt to preserve the patching technique whichused to be a characteristic o f Kasongan pottery.Keywords: Ceramics, Patching technique
INTENSIFIKASI PROSES PENCIPTAAN SENI RUPA
No full textDi tengah situasi percepatan global dan perkembangan seni rupa internasional dewasa ini,seniman dituntut untuk mampu bersaing dalam arena yarg semakin luas dan kompetitif.Persentuhan seni rupa Indonesia dengan lingkaran-lingkaran lebih luas, seperti dalam Biennaleatau Triennale Internasional, sejak awai 90-an mengindikas.kan hal tersebut. Kita juga bisamencermati ge|ala paling mutakhir, yakni karya-karya seni ru?a Cina menyerbu galeri-galeri ditanah air. Meningkatnya skala persaingan semacam ini menyebabkan para seniman Indonesiaharus memperdalam proses kreasinya secara lebih intensif dan kontinvu agar karya-karya yangdihasilkannya mampu merefleksikan tingkat pencapaian artistik yang terus berkembang dantetap memperlihatkan keunikan atau jati dirinya.Dalam konteks penciptaan seni rupa, banyak upaya yang bisa dilakukan agar kreativitasseorang seniman tidak mandeg atau beku. Untuk orang-orang kreatif, situasi persaingan justrumerupakan tantangan yang bisa mendorong lahirnya gagasan-gagasan artistik yang baru secararadikal. Namun saya tidak akan menjelaskan teori-teori mutakhir tentang kreativitas manusia.Saya hanya akan berusaha berbagi apa yang saya fahami dan pelajari dari pengalaman seliari-harimengamati proses kreasi para seniman, mahasiswa seni mpa dan karya-karya mereka. Contohcontohseniman dan karya-karya yang akan saya kemukakan kali ini juga bukan patokan yangmengikat
Parodi Dalam Karya Deni Junaedi
No full textParody in Junaedi’s Works of Art. Deni Junaedi is an artist who consistently creates parodical paintings. This paper is written from the idea that it is the postmodernism culture which has brought the contemporary art up into view. It is also in the postmodernism culture where parodical art, including parodical paintings exists as a part of contemporary richness. Junaedi’s passion to produce parodical paintings is interesting to be analyzed through these questions: Why is he attracted to create such works of art?; What message does he want to deliver to his audiences?; How his paintings should be seen from the contemporary art point of view?Keywords: parodical paintings, postmodernism,contemporary ar