Journal of Visual Art and Design
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Strategy of Entrepreneurship & Creative Economy Development through District Mapping in Bandung City
Get PDFSince Bandung joined the UNESCO Creative Cities Network (UCCN) on 11 December 2015, all its stakeholders and the city have become more active in fulfilling its commitments as a City of Design, among others by strengthening existing data on creative economy entrepreneurs and their impact on welfare improvement. A previous research conducted by the Economy Department of Bandung Municipality mapped thousands of creative economy actors spread over 30 districts in Bandung. However, it was necessary to further identify these actors and their roles in order to be able to build a strategy around creative economy development in Bandung, which was the main aim of this research. The ecosystem of five creative economy subsectors in selected districts was mapped. The results are presented here as a reference for building strategies for creative-potential based community development and policy making
Adaptasi Unsur Estetik Sunda pada Wujud Ragam Hias Batik Sunda
Get PDFAbstrak. Studi tentang aspek identitas dalam ranah Batik Sunda dengan unsur estetiknya sebagai artifak budaya, merupakan kajian objek desain yang komprehensif. Sejumlah masalah yang ditemui yaitu perkembangan estetik Batik Sunda tradisional dan modern, agar bisa dikenali ciri khasnya dan perlu penjelasan hubungan antara wujud dan terapan unsur-unsur estetik dalam bentuk ragam hias Batik Sunda, terhadap identitas masyarakat Sunda secara intraestetik maupun ekstraestetik. Selanjutnya dalam mengkaji Batik Sunda secara estetik dan mengidentifikasi unsur-unsur estetik batiknya digunakan metode strategi adaptasi visual. Penelitian ini disusun dalam wujud strategi adaptasi visual berupa kreatifitas berdasarkan hubungan antara identitas dengan ragam hias pada Batik Sumedang, Batik Garut, Batik Tasikmalaya, dan Batik Ciamis. Kesimpulannya adalah terdapat konsep estetik Sunda di dalam ragam hias batik-batik tersebut; serta hubungan antara wujud estetik yang berasal dari hasil kajian dan terapan unsur-unsur estetik dalam bentuk ragam hias Batik Sunda, terhadap identitas masyarakat Sunda melalui penelusuran terhadap faktor intraestetik dan ekstraestetiknya, yang kemudian menjadi indikator adanya adaptasi visual (kebudayaan) masyarakat Sunda.Kata Kunci: adaptasi visual; Batik Sunda; masyarakat Sunda; ragam hias;unsur estetik Sunda.Adaptation of Aesthetic Elements at Form of Sundanese Batik OrnamentsAbstract. The study of cultural identity related to Sundanese batik, considering aesthetic elements as cultural artifacts, involves a comprehensive investigation of batik as designed object. Some of the issues are investigating the aesthetic development of traditional and modern Sundanese batik to discover the characteristics of Sundanese batik;and investigating the relationship between the form and application of aesthetic elements in Sundanese batik on the one hand and Sundanese cultural identity on the other by considering intra-aesthetic and extra-aesthetic factors. To investigate the aesthetics of Sundanese batik and to identify characteristic Sundanese batik elements, a visual adaptation strategy was used. This approach was applied to batik ornaments from Sumedang, Garut, Tasikmalaya, and Ciamis. The conclusions are a specifically Sundanese aesthetic exists in Sundanese batik ornaments; and the relationship between the aesthetic elements applied in Sundanese batik, as derived from the results of this study, and Sundanese cultural identity can be explained by intra-aesthetic and extra-aesthetic factors, which can be seen as indicators of visual (cultural) adaptation by the Sundanese people.Keywords: element of Sundanesse aesthetic; ornament; Sundanese Batik; Sundanese society; visual adaptation
Setetes Merah Seribu Makna
Get PDFAbstrak. Perempuan adalah makhluk kompleks yang memiliki karakter yang berbeda dengan laki-laki. Kelembutan perempuan sering dikaitkan dengan kelemahan namun kelembutan tersebut adalah kekuatannya. Karya ini mengangkat tema perempuan saat mereka menjadi objek dan subjek. Permasalahan dibatasi pada psikologi perempuan dalam memandang dirinya sendiri sehingga perempuan rela menderita demi mendapat penghargaan orang lain terutama dari lawan jenisnya, serta sejauh mana proses berkarya dan karya mampu menjadi terapi bagi senimannya dan pengamatnya. Hasil analisa penulis menyimpulkan bahwa sifat altruisme perempuan seringkali menjadi bumerang bagi dirinya sendiri sehingga rentan menjadi objek yang menderita. Luapan emosi kekecewaan terhadap sesuatu seringkali diungkapkan melalui berkarya seni. Banyak karya luar biasa dihasilkan dari para seniman sebagai katarsis penyembuhan batin. Karya ini merupakan gabungan seni instalasi dan seni performans. Instalasi disajikan dengan kain-kain merah menjuntai ke bawah membentuk rangkaian segitiga sebagai simbol bentuk vagina. Aksi performans berdurasi panjang, dilakukan oleh penulis sendiri dengan merajut benang sebagai metafora penantian buah hati. Metode berkarya yang digunakan yaitu dengan melakukan riset pustaka dan riset lapangan dalam memperoleh keterangan objek yang diteliti, dan hasil dari riset tersebut menjadi pedoman bagi penulis dalam proses penciptaan karya. Karya ini berjudul Jeritan Kudus dan merupakan penutup dari trilogi serial karya Setetes Merah Seribu Makna tentang kesakitan dan kekecewaan serta berhubungan dengan darah.Kata kunci: Altruis; estetika feminis; katarsis; seni instalasi; seni performans.A Drip of Red Means a LotAbstract. Females are complex human beings with a character that is different from men. The gentleness of women is often presented as their weakness, but paradoxically it can also be seen as their strength. This raises the issue of women as object and subject. This theme was narrowed down to female psychology: the way women see themselves may affect their willingness to sacrifice themselves in the hope of getting appreciation from others, especially the opposite sex, and the extent to which creating art and the resulting artwork may be therapy for the artist and the audience. The result from the author's analysis suggested that the altruistic nature of women leads them to being susceptible to being viewed as an object. Making art can then be a cathartic healing process. Many great works of art have been created by artists as an expression of their emotions. The Sacred Scream is a combination of installation art and performance art. The installation consists of red fabric draped in the shape of a triangle to symbolize the vagina. The performance consisted of the artist knitting uninterruptedly for a long period of time as a metaphor for being pregnant. The methods used in this study were literary research and field research for the purpose of getting information on the study subject. The result was then used as a compass for the author in the artistic creation process. The Sacred Scream closes the trilogy A Drip of Red Means A Lot, which talks about pain, disappointment and blood relations.Keywords: Altruism; chatarsis; feminist aesthetic; installation art; performance art
Kajian Simbol Arketipal Diri pada Karya Rupa Ay Tjoe Christine
No full textAbstrak. Simbol adalah bahasa visual yang diciptakan manusia untuk menyampaikan pemikirannya. Meskipun berkembang pada wilayah serta kebudayaan berbeda, terdapat simbol dengan kemiripan pemaknaan. Carl Gustav Jung menyampaikan keberadaan simbol universal (archetype) dalam alam bawah sadar kolektif. Artikel ini meneliti tentang keberadaan arketipal Diri pada karya rupa Ay Tjoe Christine. Karya yang diteliti adalah Sekutu II (2002) pada tema sekutu, Landscape in My Head (2009) pada tema landscape, serta The Last Layer (2012) pada tema layer. Metode analisis menggabungkan kritik seni Feldman dan teori arketipal Jung. Analisis diawali deskripsi serta analisis formal, sebelum direfleksikan pada acuan simbol secara umum. Hasil interpretasi dikaitkan dengan karakter visual dan konsep simbol arketipal. Kemunculan arketipal berjalan paralel dengan kekaryaan serta kondisi seniman dalam menyingkapi keinginan, harapan, dan makna keutuhan bagi dirinya. Pada karya pertama, arketipal muncul secara langsung dengan pengolahan familiar, sehingga karakternya serupa dengan arketipal Jung. Karya kedua memunculkan arketipal Diri sebagai refleksi pada tubuh (objek) dalam karya, sehingga penggambarannya bercampur dengan unsur personal seniman. Perkembangan karya ketiga terlihat pada arketipal inti yang direfleksikan di keseluruhan karya, sehingga karya menjadi tubuh arketipal Diri yang merupakan 'diri lain' dan bagian dari seniman. Penelitian ini membaca hubungan arketipal terhadap perkembangan kekaryaan perupa serta relevansinya dengan simbol yang dibentuk.Kata Kunci: Arketipal Diri; Ay Tjoe Christine; karya rupa; ketidaksadaran kolektif; simbol.A Study of Archetypal Symbols of Self on Ay Tjoe Christine ArtworksAbstract. Symbols are a visual language created by humans and have evolved in different places and cultures. Different symbols can have a similar meaning. Carl Gustav Jung proposed the existence of universal symbols (archetypes) in the collective unconscious. The present study examined archetypes of the Self in artworks by Indonesian female artist Ay Tjoe Christine. The artworks analyzed were: Sekutu II (2002), Landscape in My Head (2002), and The Last Layer (2012). In the analytical method used, Feldman's art criticism and Jung's archetypes were combined. It starts with a formal description and analysis of the artworks, after which they are interpreted on the basis of their general symbolic references and connected to the visual character or concept of different archetypes. The archetypes emerged parallel to the development of the artwork and the artist's response to her hopes and desires, and the importance of wholeness for her. In the first artwork, the archetypes appear directly in a familiar form, close to Jung's theory. The 'Self' in the second artwork is a reflection on the body (object), so that its protrayal is mixed with some personal elements of the artist. The development of the third artwork can be seen from the core archetypes that appear in the whole piece, making it into an archetypical embodiment of the Self, i.e. the 'other Self', and part of the artist. This study looked at the relationship between the development of three artworks and the archetypes contained in them, and their relevance to the constructed symbols.Keywords: Archetype of Self; artworks; Ay Tjoe Christine; collective unconscious; symbol.
A Comparative Study of Mystical-Visual Expression of Nizami Stories in Two Paintings of Haft Peykar and the Death of Shirin by Emphasizing the Relationship between Visual Structure and Story Context
Get PDFNizami is one of the most famous poets of the sixth century. His mystical and romantic stories are full of wisdom. His two stories called 'Haft Peykar' and 'Khosrow and Shirin', which are discussed in this article, have interested artists throughout the history of Iranian art. The painter of the 'Haft Peykar' painting shows the whole story from beginning to end in one single image. The painter of the 'Death of Shirin' painting, emphasizes the paradoxes of life, the confrontation of life and death, heaven and earth, and loyalty and betrayal in the composition, colors and symbolic elements. This study used an analytical-descriptive method. The purpose of this research was to determine how the painters used these two mystical literary texts to express their own ideas. What can be seen from the two paintings is that the artists used the stories of Nizami to create their works with an artistic and mystical visual language, using symbolism in the composition and the colors. It should be noted that the painters also added meanings to their paintings and thus presented new content for the viewer.
Development and Evaluation of A New Studio-Based Course on Critical Design
Get PDFAlthough the last decade has seen critical design growing as an area of research, studies have rarely focused on how to teach it. Some design schools have established graduate programs and others have developed individual undergraduate courses on critical design. However, to date there has been no study that investigated student reactions to the learning of critical design. Addressing this gap, this paper proposes a new studio-based course at the graduate level aimed at providing students with a medium for critical discussion and creative reflection on contemporary social issues. Lectures, seminars and class discussions were used to instruct theoretical concepts pertaining to critical design, while a 10-week design studio project was used to concretize these concepts. The students' initial reactions to this teaching methodology was gathered through semi-structured interviews conducted at the end of the course. The interview results indicate that students had a very positive attitude towards critical design and the course. Furthermore, although understanding critical design was a major challenge for them, the teaching methods used in the course (i.e. lectures, critical design assignment and reflection paper) helped them overcome this challenge. Finally, this paper offers suggestions for design educators for constructing critical design courses that meet design students' expectations
Tubuh, Tubuh, Tubuh
Get PDFAbstrak. Tubuh merupakan bentuk representasi identitas dari individu. Bentuk tubuh dari satu individu ke individu yang lain pasti berbeda, setiap bentuk tersebut dapat dengan mudah diidentifikasi dan juga dimaknai tidak hanya secara visual melainkan juga nilai-nilai lain yang mengikutinya. Nilai dan norma terhadap bentuk tubuh dinilai berdasarkan nilai tatanan sosial yang berlaku di mana individu itu berada, sehingga bentuk dan nilai kesempurnaan akan tubuh tidaklah absolut, namun demikian penilaian dan pemaknaan akan tubuh tersebut secara tidak langsung dapat mempengaruhi cara pandang dan pemahaman individu itu sendiri akan tubuhnya. Pembuatan karya seni gambar tentang tubuh yang dibuat penulis, merupakan sebuah bentuk penghayatan dan pengenalan lebih dalam akan tubuh penulis sendiri, bagaimana kekecewaan dan kebencian akan ketidaksempurnaan tubuh penulis dikonfrontasikan melalui kegiatan intimasi yang dilakukan selama melakukan penciptaan karya seni gambar pada penelitian kali ini yang diberi judul 'Tubuh, Tubuh, Tubuh'. Penggambaran representasi tubuh dalam karya ini memperlihatkan pose tubuh secara detil dan realis, tubuh secara keseluruhan baik itu dari depan maupun belakang, juga ditambahkan dengan bentuk-bentuk abstrak dan detail dari pemahaman penulisan akan tubuh tersebut, menggunakan pensil berwarna sebagai medium penggambaran karyanya. Penciptaan karya gambar tentang tubuh ini, melalui proses yang cukup panjang, memberikan ruang untuk penulis dalam memahami tubuh sendiri, melalui detail arsiran, warna, dan kedekatan akan detail-detail bentuk realis tubuh yang digambarkan secara sempurna, membawa penulis ke ruang yang lebih intim tetapi juga kadang berjarak, tentang bagaimana penulis pada akhirnya menerima pemahaman dan keadaan terhadap ketidaksempurnaan, kekecewaan dan kebencian akan tubuh penulis sendiri. Perenungan dan kontemplasi selama proses penciptaan membawa pemikiran penulis ke ranah yang lebih terbuka, penulis menyadari proses penciptaan karya kali ini merupakan bentuk lain katarsis penulis dalam mengatasi permasalahan-permasalahan yang sebelumnya dimiliki penulis.Kata kunci: drawing; katarsis; konflik; konfrontasi; penghayatan;tubuh. Body, Body, BodyAbstract. The body is a representation of the individual identity. Body shape is different from one individual to another. Each form can be easily identified and interpreted not only visually but also by other values that follow. Values and norms toward body shape are valued based on the prevailing social order. Therefore, shapes and values of the perfection of the body are not absolute. However, rating and explaining the body can indirectly affect the perspective and understanding of the individual's own body. Creating art images of the body by the author is a form of appreciation and recognition even deeper into the body of the author herself. Disappointment and hatred of the imperfections of the author's body were confronted through intimacy which was conducted during the creation of the artwork images of this final work entitled 'Body, Body, Body'. The depiction of the body in this work shows body poses in detail and with realism, overall, both front and back, and added with abstract forms and details of the author's understanding of the body, using colored pencils as a medium for the author's depictions. This creation of drawings in this project, through a long process, provided space for the author to understand her own body. Through detailed shading, color, and proximity of detailed body shapes depicted perfectly, bringing the author to a more intimate space yet sometimes also more distant, about how the author finally accepted the understanding and the circumstances of the imperfections, disappointment, and hatred of the body of the author herself. Reflection and contemplation during the creation process brought the author to a more open realm; the author realizes the process of creating the work this time is a form of catharsis of the author in overcoming previous problems.Keywords: body; catharsis; conflict; confrontation; contemplation; drawing