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INDONESIA
ARS: Jurnal Seni Rupa Dan Desain
Published by Institut Seni Indonesia Yogyakarta
ISSN : 18297412     EISSN : 25807374     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
ARS merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni rupa dan desain. Jurnal ini terbit 3 kali setahun dengan 6 artikel setiap edisi yang jatuh pada bulan Januari - April, Mei - Agustus, September - Desember.
Arjuna Subject : -
Articles 6 Documents
 1 
Search results for , issue "No. 5 / Mei - Agustus 2007" : 6 Documents clear
CAHAYA SEBAGAI BENTUK SENI Dendi Suwandi
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.254

Abstract

Light 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 art
STREET ART: SISI LAIN DARI FENOMENA MURAL JOGJA SEBUAH PERTARUNGAN IDENTITAS DAN KEPENTINGAN Mr. Warsono
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.250

Abstract

Murals, as one o f the public art genres, has experienced rapid development in Jogjakarta, especiallysince the emergence o f Kclompok Ajwtik Komik as one o f its pioneers. Nevertheless, there are other factorsinfluencing the development o f murals, including socioculture, politics and economics, as well as globaldevelopment: lifestyle and the globalisation o f culture. The project o f Apotik Komik (Mural Kota, 2002)marked the beginning o f murals. As a result, murals spread sporadically throughout Jogja and even reachedremote corners o f the city. A new moniker is even attached to jogja as the City o f Murals.'The term "mural" (especially amongst the people o f Jogja) becomes a common word used to addressevery drawing and painting on most ivalls across the city. While, in fact, some works on walls in Jogjaoriginate from different genres. Several works are inclined towards the artistic style and possess roots whichare different front existing murals; some choose gruff ti and street art such as stencil, sticker, characters, etc.Differing from former mural artist communities, in the beginning o f2003 these groups began lo show theiractivities in Jogja s public spaces, and, o f course, they have different characteristics from existing murals.Keywords: street art, graffiti, public space
REVITALISASI SENI KRIYA INDONESIA Sumartono ABSTRACT Mr. Sumartono
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.255

Abstract

"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 change
IDEOLOGI DALAM IKLAN Arif Agung Suwasono
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.251

Abstract

This paper discusses the ideology implied in an advertisement. The discussion does not focus uponthe busi» uf the ideology und its schools, but instead on how an advertisement acts as a means o f capitalism./\s the media o f an ideology, an advertisement not only reflects reality but also represents the social realitythat often transforms ideological meaning. As a social representation, an advertisement is a language,covered by an accumulation o f values, choices and interests which are integrated within the capitalist systemand which eventually fosters the development o f consumerism.Keywords: ideology, advertisement, capitalism.
ILUSTRASI, ILUSTRATOR, DAN CERPEN FX. ruWidyatmoko
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.252

Abstract

According 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, text
BATIK DAN TENUN SEBAGAI JATIDIRI BANGSA Herry Pujiharto
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.253

Abstract

Batik and traditional woven cloth the Indonesian cultural heritage created by skilled hands canstill compete with imported products and are considered to possess high artistic characteristics(craftsmanship). Nowadays, they retain a strong presence throughout Indonesian society reflecting thesocial changes which have occurred within society because o f technological development. The creativity andinnovation involved in producing new things represents the identity o f each region in Indonesia. Thegovernment should put their effort into increasing the awareness o f producers to include the tag "Made inIndonesia " on their products. By doing so, the government educates consumers to know and believe that theitems they wear arc the product o f their culture. Such an effort, instead o f being on its own, is a part o f broaderproduction system which forms a value-added chain. Cooperation between the upper and lower ends o f thischain can provide positive benefits. Even though the flood o f imported products is unavoidable, there isnothing to be concerned about since Indonesian consumers have benefited as well. However.; should we leaveit as it is? /4s children o f the nation, we are supposed to reflect, offer introspection and, eventually, dosomething to do something so that the local products can be accepted more by their own people.Keywords : national identity, import-focused, value-added chain

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