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INDONESIA
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa
Published by Institut Seni Indonesia Surakarta
ISSN : 20870795     EISSN : 26220652     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
The main focus of this journal is to promote global discussion forums and interdisciplinary exchanges among academics, practitioners and researchers of visual arts and visual culture. Series will encourage practice and research innovation that focuses on visual arts and visual culture, contributing to a better understanding of the highly dynamic development of dynamic theories, practices and discourses of visual art and visual culture.
Arjuna Subject : -
Articles 6 Documents
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Search results for , issue "Vol 10, No 1 (2018)" : 6 Documents clear
ABSTRAKSI FIGUR PUNOKAWANDENGAN TEKNIK STENLING (Menggabungkan Teknik StencilDan Teknik Marbling) Much. Sofwan Zarkasi; S., Sukirno
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 10, No 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1688.654 KB) | DOI: 10.33153/bri.v10i1.2174

Abstract

ABSTRACTCreation of Mono PrintGraphic Art Work with Abstraction of Punokawan Figure Use STENLING Technique (Combining Stencil Technique and Marbling Technique), based on opportunities related to creativity and experimentation in graphic arts that have two-dimensional printing art character. One of them is creating mono print graphic artwork with the process of combining stencil techniques and marbling techniques. The purpose of this creation is to open opportunities as wide as possible regarding creativity in graphic art works that have been seen as having occupied the position of the second art in fine arts after painting. The method applied in the creation of this work is the method of experimentation which is the incorporation of stencil techniques and marbling techniques. The creation of monoprint graphic artwork by combining these two techniques produces monoprint graphic artwork with visuals in the form of Punokawan figure characters abstraction. It is hoped that the results of the creation of this work can be one of the innovations in graphic art both in technical and form forms so that it can elevate the prestige of the graphic artwork itself.Keywords: monoprint, combined stencil & marbling
KOMUNITAS SEBAGAI INFRASTRUKTUR PERKEMBANGAN SENI GRAFIS DI YOGYAKARTA Alexander Nawangseto Mahendrapati
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 10, No 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1200.836 KB) | DOI: 10.33153/bri.v10i1.2175

Abstract

ABSTRACTThe research was conducted on the basis of there are at least three reasons why the first is,  there has been no mapping to the printmaking community in Yogyakarta and their activity. Second, raise awareness college students to forming a community as a receptacle for learning, working, and do the movement of together in independent to develop printmaking. Third, the results of the study to  determine  the  learning methods  that  continued  as  an  effort  to  increasing  the  quality  of  the artworks of  the students are, created  the atmosphere at work,  to providing  the socialization about printmaking  to  the  people.  Qualitative  descriptive  study  is  used  in  analyzing  the  results  of observations  are  done  continuously  thus  obtaining  a  complete  mapping  concerning  the phenomenon of the growth of the printmaking communities following the influence of existence of them  in  the  development  of  printmaking  in  Yogyakarta,  and  positive  values  to  be  adopted  or developed further as learning materials for graphic art students the Indonesia Institute of The Arts  Surakarta. The result of research conducted in the form of mapping the art community graphic in yogyakarta and recommendations on one method learning with a system of the formation of groups small  in  the  class  in  the process of  the achievement  of  the  creation  for  students, and a growing spirit to introduce printmaking to the people of Surakarta to become a branches of art popular.  Keywords: mapping , community , printmaking, popular.
EKSPLORASI TEKNIK FACE DAN BODY PAINTING UNTUK MENAMBAH ARTISTIK PAGELARAN BATIK FASHION ART WEAR S., Syamsiar
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 10, No 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1246.822 KB) | DOI: 10.33153/bri.v10i1.2176

Abstract

ABSTRACTThis artistic research is conducted to explore face and body painting techniques. Its application to the model in fashion batik fashion show. Face painting is a painting that only uses the face as a medium (the field to be painted), while the body painting medium is the whole body from the neck to the feet. The creation process model refers to contemporary art in which art barriers are not limited to a combination of face and body painting, batik fashion art wear, dance art and music art, which is packaged in the form of a fashion show. Kind of batik fashion art wear is selected batik carnival fashion, glamorous batik fashion, Fashion Batik Klasic and fashion batik casual. The four forms of fashion batik is chosen because it is often displayed in the event of a major fashion show in the city of Solo.Creation methods include Exploration (Observation, exploration of objects and the subject of creation), Improvisation (Experiments to make sketches of face design and body painting), Embodiments (creation of works and Fashion show performances). Creation of the work of face and body painting is expected to be able to produce artwork face and body painting the right model used in batik fashion art wear fashion, and able to add artistic batik fashion art fashion wear. Keywords: Face painting, body painting, fashion, batik, artistic, art wear.
GAMBAR WAYANG KARYA SURIPNO DARI PERSPEKTIF RASA DALAM KEBUDAYAAN JAWA Feri Widiyanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 10, No 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1397.959 KB) | DOI: 10.33153/bri.v10i1.2172

Abstract

ABSTRACT Wayang purwa is a Javanese art and culture product. The existence of wayang purwa in Javanese culture is very influential on the life of Javanese society. Variants of wayang that can be found today is one of them is a puppet image made by Suripno. The process of creating Suripno puppet shapes also can not be separated from the experience and knowledge of Suripno as the maker. The method used in this study is an ethnographic method that emphasizes the observation of behavior, interviews and artifacts.Suripno's wayang pictures are an expression of his inward appreciation to the characters, mythology and the wayang story. Viewed from the perspective of taste in the Javanese culture aesthetics Suripno puppet pictures are a non-sensory aesthetic based on sense of appreciation, protection, tranquility, evenness and irony. Keywords: Suripno, puppet image, aesthetics, taste, Javanese culture.
KUASA SIMBOLIK PATUNG RUANG PUBLIK : STUDI KASUS DI WILAYAH KOTA SURAKARTA Muhammad Hendra Himawan
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 10, No 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1376.549 KB) | DOI: 10.33153/bri.v10i1.2177

Abstract

ABSTRACTThis article is the result of research examining how the development of public art, definitive public space sculpture and conventions that surround it, to see the extent to which the political dimension sees how to make the existence of public sculpture as a tool of legitimacy of power, development of image and power and contact with social discourse that develops in society.From the qualitative method of the Slamet Riyadi Statue on Jalan Slamet Riyadi, the Major Achmadi Statue in the Banjarsari Lima Proximity (Proliman), 45 Banjarsari Monument Statue (Serangan 4 Hari Monument in Surakarta) is located in Banjarsari Park, and the Statue Soekarno at Manahan Sports Complex, Surakarta, found that the existence of the statue was a proof of how the symbolic system was carried out to legitimize power by government authorities.Various forms of work that illustrate the dominance of militaristic icons compared to civilian icons, which shows how the quo vadis of military-civil relations are explicit and implied. Furthermore, this research found evidence that so far there have been a lot of public space sculptural works that do not idolize the public's need for living space.Symbolic power practices are continuously echoed through a system of visual language and symbolization that shows how power sneaks under the conscious space of society. The community is not aware of how the power system stands and hides behind these sculptures of public space, whatever the reason for their establishment; inheritance of nationalism, development of moral values, even ideology.Keywords: history, public space sculpture, symbolic of power, Surakarta City
KEBERADAAN KERAJINAN LOGAM DI TUMANG CEPOGO BOYOLALI Kuntadi Wasi Darmojo
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 10, No 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1126.74 KB) | DOI: 10.33153/bri.v10i1.2173

Abstract

ABSTRACT Metal Crafts in Tumang, Cepogo, Boyolali, is one of the nation's cultural assets that has been passed down through generations from generation to generation, which is still occupied by the majority of Tumang people. The tradition of making products in Tumang metal handicrafts has undergone significant changes, where from the beginning of its establishment until before the 1960s, the results of products oriented to household items, then in the early 1970s until now have experienced object-oriented product changes ornamental.Factors that cause cultural change through new products include: internal and external factors, impulses and direction of the process of change (innovation), as well as various phenomena of socio-cultural change. Internal factors are driven by the creativity of metal craft makers, while external factors are triggered by scholars, artists, or other innovation figures.Changes in Tumang metal handicraft products have implications for the community, marked by a professional division of labor and the establishment of new institutions. The existence of metal crafts in Tumang, as an art product in society is still accepted in accordance with the development and changes in civilization of its supporting society. Keywords: crafts, metals, Tumang, changes and products

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