Journal of Contemporary Indonesian Art最新文献

{"title":"Wacana Postmodern dalam Seni Rupa Kontemporer Indonesia","authors":"I. G. A. Sucitra","doi":"10.24821/JOCIA.V1I1.1750","DOIUrl":"https://doi.org/10.24821/JOCIA.V1I1.1750","url":null,"abstract":"The Postmodern Paradigm in Contemporary Indonesian Art. This article is a theoretical production of the postmodern concept underlying conception of the birth of contemporary art. Reinforced by the growing tendency of young artists in Indonesia who cultivate the visual power of traditional culture combined with the latest aesthetic tendency. As a result, the works produced into works that are global, but still showing traces of the value of tradition. Theoretical studies on more articles will be initiated through the method of literature review. The study will be conducted for the analysis of the aesthetic concept of contemporary art through the study of literature from a wide variety of art books, writing art thinkers, and creators of art. The exposure of definitions and statements of art in this article aims to map out the direction of thinking contemporary art world in general and in particular examine the realm of creation of works of contemporary art in Indonesia.Keywords: postmodern, contemporary art, traditional culture","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129406151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hendrabuana dan Seni Lukis Kaligrafinya (Kajian Biografi dan Estetika)","authors":"Hendi Linggarjati","doi":"10.24821/JOCIA.V1I1.1745","DOIUrl":"https://doi.org/10.24821/JOCIA.V1I1.1745","url":null,"abstract":"Hendra Buana and his calligraphy painting (biography studies and aesthetics). Arabic calligraphy of contemporary art in Indonesia was pioneered by A. D. Pirous, Amri Yahya, followed by below-generation artists such as Syaiful Adnan, Hendra Buana, and Yetmon Amier. Developments in Indonesian contemporary Arabic calligraphy began to look MTQ atmosphere since the holding of the event in the city of Semarang in 1979. This study examines the biography of Arabic calligraphy artist Hendra Buana and his art characteristics. Biography analyzed by using the theory of Vera L. Zolberg, while the characteristics of his works are analyzed through the theory of Edmund Burke Feldman. This qualitative research data obtained through observation, interviews, document study and literature review. This study concluded that in the process of art, especially in Arabic calligraphy is influenced by several factors, both from internal and external. The study also concluded that the visualization of Arabic calligraphy on a painting by Hendra Buana will be built to process the wealth of artistic and meaningful traditional Arabic calligraphy art in the visual language of contemporary art of Arabic calligraphy. This research can provide an idea of how an Arabic calligraphy artist could exists and productive in the world art scene in Indonesia. The results could be used as a reference for writing the biography of the artist and his art in the future.Keywords: Hendra Buana, painting, Arabic calligraphy, contemporary.","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121759031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Perubahan Esensi Ragam Hias “Sepak Bola” pada Batik Masa Kini","authors":"Michael H. B. Raditya","doi":"10.24821/JOCIA.V1I1.1751","DOIUrl":"https://doi.org/10.24821/JOCIA.V1I1.1751","url":null,"abstract":"The Essence’s Transformation of “Football” Decoration of Batik Today. Nowadays, batik has a massive development in its existance. In primary side, the existance more strong, but in other side batik had been changed. About Two years ago, Batik football decorative emerged and become a commodity by the batik artisans. The position of batik footbal decorative has become a dilemma. The issues made because there are many support and counter for that development. The issue about aesthetics and commoditization was creating by purpose of this change. Moreover, questioning the essence and existance of batik itself. In this article, batik football decorative will be discussed based on the essence and change. The dicussion about essence will be analyze with the aesthetic and commoditization perspective, while the changes would be discussed with the function and change itself. This thing did it to find the essence of batik football decorative. Conclusion of the research said the batik football decorative used a commoditization and decrease the aesthetic things to create the batik itself. The change occurs because there is a correlation between internal and external aspect on integrated of batik. The Analyze becomes a reflection to society, in batik for spesific, and arts in general view.Keywords: Batik, Football, Transformation, Commoditization, Essence","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115428946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Narasi Kehidupan di balik Topeng Tunanetra","authors":"Adek Dimas Ajisaka","doi":"10.24821/jocia.v1i1.1748","DOIUrl":"https://doi.org/10.24821/jocia.v1i1.1748","url":null,"abstract":"The Narration of Life behind the Blind Mask. Persons who are blind is the subject that inspires, and motivates the circumstance. The existence of the visually impaired persons indirectly also be social criticism against the life of the community. The limitation has led private owned blind on the value of life and humanity that we appreciate it much more. Introductions and proximity to the persons who are blind raises the creative impulse to embody the values of life and humanity of the blind in the form of works of art. The blind presents in the form of works of art is not merely a display of artistic value but also as an effort to build a positive mentality and thinking through the concepts presented. Blind was involved directly in the process of creation of the work. Facilitating the blind became a print model in the mask. The face mask was chosen because the face is the first individual identity markers and personal representation of the subject. The face became a symbol of insurer liability for what the whole body. The mask being representative of the individual where it has the power to convey the story, experience the value of life and humanity over individual timesKeywords: narration, mask, blind.","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117227528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Videografi Kampanye dalam Mitos Seni Propaganda (Analisis Semiotik Terhadap Video Klip Politik Pilpres Indonesia 2014)","authors":"Vedy Santoso","doi":"10.24821/jocia.v1i1.1746","DOIUrl":"https://doi.org/10.24821/jocia.v1i1.1746","url":null,"abstract":"Campaign Videography in Propaganda Art Myth (Semiotic Analysis towards Politics Video Clip of IndonesianPresidential Election 2014). Digital videography is one of the audio-visual work of art that developedwith the support of recording media technology. In addition to presenting the charged aesthetic value as a workof art, videography also has a function as media propaganda, as seen in the presidential election campaignvideography. In the 2014 presidential election, both candidates for president and vice president using the mediumof video as a tool to build their image in society. Effectiveness videography become the focus of the study,the extent to which the media can build a new myth in society in accordance with the imaging is presented inthe campaign video. By comparing both video campaigns of each candidate for president and vice president, wecan see how both sides provide imaging in accordance with the idealized image seoramg leader. Prabowo -Hattadescribe a leader who firmly and nationalist spirit, while Jokowi-JK portray themselves as populist leaderfigure. Then when videography charged art used for political, practical aesthetic symptoms can be translated aspropaganda art discourse by postmodern art theory. By looking at the interest of the public who enthusiasticallysupported the two presidential candidates and their representatives can be said that the image made by bothparties fairly successful. But the discourse of propaganda art is only a myth of mass culture that is momentary,because when the season finishes public campaigning has gained a new myth about the performance ofPresident. So from the phenomenon of Indonesian presidential campaign’s video in 2014 can be understoodthat the culture of democracy in Indonesia has experienced significant growth, and with the support of technologyvideography arena of ideological struggle-even extends not only affects political ideology, but also involves theideology of artists, ideology works of art, and the ideology of society into the arena.Keywords: Videography, Art Propaganda, and Myth.","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125697626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Seni Rupa ‘Biasa-Biasa Saja’ Karya Herman ‘Beng’ Handoko","authors":"Much. Sofwan Zarkasi","doi":"10.24821/JOCIA.V1I1.1729","DOIUrl":"https://doi.org/10.24821/JOCIA.V1I1.1729","url":null,"abstract":"Artikel yang mengambil judul “Seni Rupa ‘Biasa-Biasa Saja’ Karya Herman ‘Beng’ Handoko” ini bertujuan memahami kreativitas dan menginterpretasi estetika seni rupa karya Herman ‘Beng’ Handoko atau yang sering dipanggil Beng Herman. Artikel penelitian ini menggunakan metode kualitatif dengan memahami proses kreatif Beng Herman menggunakan teori Deteritorialisasi dari Gilles Deleuze, dan memahami estetika karya Beng Herman dengan pendekatan estetika dari Clive Bell, yang menginformasikan seni sebagai pengalaman pribadi yang mengadirkan bentuk bemakna (significant form). Penelitian ini menghasilkan temuan berupa: pertama, seni rupa karya Beng Herman hadir dari sebuah rutinitas berolah rasa dan berfikir yang membebaskan dirinya dari batasan-batasan di luar dirinya yang penuh pembatasan sehingga karyanya hadir dari perasaan murni dari dalam dirinya. Pembebasan tersebut menjadikan rutinitas kegiatan berolah seni menjadi kegiatan ‘biasa-biasa saja’ bagi Beng Herman, yang semuanya direspon menjadi sebuah hasrat untuk menghasilkan karya estetis yang luar biasa terkait sebuah kedalaman proses individu yang menampilkan kejujuran tanpa penghakiman terhadap individu-individu lain. Mengapresiasi karya Beng Herman adalah pembelajaran dalam menghargai eksistensi individu, yang sekarang sering tidak dilihat oleh beberapa pemerhati seni karena kecenderungan terpesona oleh eksistensi estetika pasar. Kedua, estetika karya Beng Herman hadir dari susunan kesatuan garis maupun bidang yang dikoordinasi secara bebas, yang kadang tampak pengulangan-pengulangan yang menampilkan irama dinamis. Garis yang diulang-ulang sedemikian rupa, atau kadang hanya bidang-bidang geometris pada kertas koran, atau kertas apapun yang sudah terpakai dengan menggunakan tinta hitam, bolpoint, spidol warna hitam, merah, menyadarkan kita akan sebuah bentuk elementer dan suatu kesederhanaan tentang hidup dan kehidupan yang semua orang mengalami. Suatu hal biasa yang menjadi luar biasa adalah ketika sesuatu hal tersebut menjadi pengalaman pribadi yang dalam dan menghadirkan kemungkinan-kemungkinan serta makna beragam sesuai pengalaman estetik masing-masing individu.","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129970146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}