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All Journal Ars: Jurnal Seni Rupa dan Desain Corak : Jurnal Seni Kriya Journal of Urban Society´s Arts Journal of Contemporary Indonesian Art Jurnal Invensi (Jurnal Penciptaan dan Pengkajian Seni) Studi Budaya Nusantara Jurnal Senirupa Warna (JSRW) Jurnal Kajian Seni Jurnal bahasa, sastra, seni, dan pengajarannya
I Gede Arya Sucitra
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

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AKSIOLOGI BUDAYA LOKAL JAWA-BALI PADA PROSES KREATIF BERKARYA PELUKIS BALI DI YOGYAKARTA Sucitra, I Gede Arya; Maharani, Septiana Dwiputri
Studi Budaya Nusantara Vol. 3 No. 2 (2019)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2019.003.02.02

Abstract

ABSTRACT Every human being has aspects of life which include philosophy, belief, science, and art. These four aspects interact and complement each other into one whole system. This research seeks to investigate deeper about the axiological aspects of the acculturation of local cultural values in the interaction of the environment of society (culture) of different ethnic, racial, religious, and local genius values which have a shared awareness of mutual respect, tolerance and "open" to the presence of other cultures. The object of this research material is Balinese artists / painters diaspora who are creative in Yogyakarta, and their formal object is Axiology. By investigating and examining the expression of art and the output of works of art produced by Balinese diaspora painters in Yogyakarta, it can be seen the condition of the development of art, adaptation of cultural values, and the personal abilities of artists as personal and social creatures in mingling and sometimes syncretic. Artists as part of cultural support, certainly can not be separated from the various influences that are in the surrounding environment. Theory of ethics, aesthetics, and habitus become a strong capital to see the 'touch' and the mix of local cultural values between artists and the local culture that they inhabit, so that it will look at how social relations and reflections of visual relations in the work. Researching and observing the development of art through the path of creation, indeed leads us to the axiology dimension of unique and personal ethical and aesthetic values. Each artist has an apparently autonomous world and the application of ethical values in the process of his work but still able to ground themselves to adapt, tolerance and multicultural life.
EKSPERIMENTASI TEKSTUR SILIKA DALAM PENCIPTAAN LUKISAN I Gede Arya Sucitra
Ars: Jurnal Seni Rupa dan Desain Vol 22, No 3 (2019): Desember 2019
Publisher : Ars: Jurnal Seni Rupa dan Desain

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (870.223 KB) | DOI: 10.24821/ars.v22i3.3029

Abstract

Penciptaan lukisan secara tekstural membutuhkan pemahaman mengenai kelebihan dan kekurangan material padat yang akan digunakan maupun chemistrycampuran bahan kimia yang dilakukan dalam pengolahan berbagai material eksperimennya.penulis akan melakukan eksplorasi eksperimentasi karakterkekayon Bali dengan material padat yakni pasir silika yang nantinya akan memperkaya corak ornamentik melalui kesan teksturalnya. Adapun penelitian ini bertujuan untuk merealisasikan gagasan estetik mengenai eksperimen potensi artistik dari kolaburasi wujud artefak tradisional melalui elemen material padat pasir silika sesuai dengan pengalaman empiris kreativitas dalam wujud pengembangan teknik dan bahan melalui lukisan.Hasil formulasi tekstur dalam penciptaanini harus dapat dipastikan memiliki kekerasan yang baik dan daya tahan lama sehingga tidak mudah pecah, mengelupas, jamuran maupun memudarkan warna.Hasilnya, corak kekayon Bali yang diaplikasikan dengan tekstur nyata pasir silika akan menambah karakter ornamentiknya. Selain juga tekstur akan menghadirkan unsur-unsur spontan dan alami terutama pada pola kontur tebal, kasar, dan pewarnaan transparan.Eksplorasi medium melalui eksperimentasi menjadi cara untuk menemukan kemungkinan-kemungkinan baru dan inovatif yang lebih segar dan kelak menimbulkan personalitaspenciptaan yang khassesuai dengan karakter dasar medium tersebut.
Konsepsi lokal-global sebagai basis kultural berkesenian Sanggar Dewata Indonesia Sucitra, I Gede Arya; Sartini, Sartini
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya Vol. 48, No. 2
Publisher : citeus

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The face of Indonesian art contains multicultural, intercultural, and diverse values in the dialectics of regional arts and global culture. The rise of local culture is often caused by global cultural friction. The attraction and tension between global culture and local culture results in the 'glocalization' of culture. This article aims to explore the values of locality and global culture as a creative foundation for art in the Balinese diaspora art community, Sanggar Dewata Indonesia (SDI) which is culturally and philosophically insightful. The Balinese diaspora gradually has a new cultural identity as a result of the acculturation of Balinese culture with the local culture. Likewise, in the aspect of the language of art, Balinese diaspora artists in Yogyakarta are accommodative, experiencing visual transformation, syncretic, and contain hybridization of cultural values. This study utilizes qualitative methods with a formal study of cultural philosophy through an interpretive approach. The cultural interpretive approach has resulted that the culture and art process of the SDI art community are symbolically the result of the legacy of the collective conception system both in communicating, perpetuating and developing knowledge to attitudes towards artistic life. The mission and vision of SDI includes the spirit of nationalism, Pancasila nationalism, multiculturalism, in order to achieve the international art world, which is more heterogeneous and competitive. Thus the local-global spirit is accompanied by a process of reinterpretation and re-contextualization of a time that presents a thinking discourse, creative vision through creative dialectics that is filled with local-global acculturation shock power towards world-class global art competition.
Metafora Panggung Teatrikal: Kritik Seni Ekspresivistik pada Tiga Ilustrasi Sampul Novel George Orwell Karya Wulang Sunu Ferdiansyah Ferdiansyah; Suwarno Wisetrotomo; Candra Krida Mustika; I Gede Arya Sucitra
INVENSI Vol 11, No 1 (2026): Juni 2026
Publisher : Graduate School of the Indonesia Institute of the Arts Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/invensi.v11i1.18900

Abstract

Buku karya George Orwell kini merupakan salah satu buku dengan cetak ulang terbanyak di Indonesia. Salah satu yang menarik adalah beberapa bukunya yang diilustrasikan Wulang Sunu menjadi buku yang menyajikan visual yang sangat autentik. Berbeda dengan buku-buku lainnya, ketiga Buku George Orwell: “Animal Farm”, “1984”, dan “Down and out in Paris and London” disajikan dan divisualkan secara ekspresif melalui elemen visual yang menggambarkan situasi panggung pertunjukan. Penggunaan elemen visual pertunjukan sendiri seolah memberikan ruang dan tafsiran tersendiri tentang relasi antara metafora visualnya dengan konteks dalam bukunya. Penelitian ini menganalisis lebih jauh bagaimana relevansi antara metafora panggung pertunjukan dan konteks dari bukunya sehingga metafora tersebut menghasilkan keautentikan dan keunikan gagasan dari sang ilustrator dengan menggunakan pendekatan kritik seni ekspresivistik. Hasil dari penelitian menunjukkan pentingnya ilustrator Wulang Sunu menghadirkan keautentikan dan keunikan melaui metafora panggung dengan terkonsep, melalui itu karya ilustrasinya memiliki kedalaman gagasan, emosi dan keunikan. Penelitian ini diharapkan dapat memperluas wawasan pendekatan kritik seni terhadap ilustrasi kontemporer, sekaligus menegaskan posisi ilustrator sebagai subjek yang sah dalam medan seni rupa terapan. Theatrical Stage Metaphor: Expressivist Art Criticism in Three Novel Cover Illustrations of George Orwell by Wulang Sunu ABSTRACT George Orwell's book is now one of the most reprinted books in Indonesia. One of the interesting things is that some of his books illustrated by Wulang Sunu are books that present very authentic visuals. Unlike other books, George Orwell's 3 books: "Animal Farm", "1984", and "Down and out in Paris and London" are presented and visualized expressively through visual elements that depict the stage situation. The use of visual entertainment elements itself seems to provide its own space and interpretation of the relationship between his visual metaphor and the context in his book. This study further analyzes how the relevance between the stage metaphor and the context of his book so that the metaphor produces authenticity and uniqueness of the illustrator's ideas using an expressionist art criticism approach. The results of the study show the importance of illustrator Wulang Sunu presenting authenticity and uniqueness through a conceptual stage metaphor, through which his illustrations have depth of ideas, emotions and are unique. This study is expected to broaden the horizons of the art criticism approach to contemporary illustration, while at the same time emphasizing the position of the illustrator as a legitimate subject in the field of applied Art.
Makna dalam Ketidakjelasan: Kajian Kritik Atas Karya Fotografi Abstrak Daisuke Yokota Riki Maulana; Suwarno Wisetrotomo; I Gede Arya Sucitra
INVENSI Vol 10, No 2 (2025): December 2025
Publisher : Graduate School of the Indonesia Institute of the Arts Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/invensi.v10i2.15527

Abstract

Kajian kritik seni ini bertujuan untuk menelaah visual karya fotografi dari Daisuke Yokota yang melepaskan narasi, bentuk, dan visual fotografi secara konvensional. Permasalahan utama yang dikaji terdapat pada bagaimana makna dapat muncul ketika bentuk visual tidak jelas bahkan dihapuskan. Kritik ini mengarah pada penelusuran kemungkinan terwujudnya pengalaman secara perasaan, emosi, atau sikap yang bersifat individual dalam wahana visual yang bermakna ganda. Dengan menggunakan metode kritik yang menggabungkan observasi visual, interpretasi teoretis, dan refleksi kritis, kajian ini memetakan hubungan antara kekosongan visual, respons, dan intensitas emosional yang muncul terhadap karya. Kajian dilakukan pada beberapa karya visual Yokota yang direpresentasikan melalui suasana, emosi, atau kesan yang tidak jelas dan efek pada residu kimia yang digunakan sebagai medium pengganti dalam representasi. Hasil dan kesimpulan pada kajian kritik ini menunjukkan bahwa karya Daisuke Yokota tidak mewujudkan makna secara langsung, tetapi membuka peluang untuk membentuk sebuah ruang wahana yang melibatkan perasaan dan emosional penikmat karya.  Ketiadaan bentuk dan makna secara konvensional pada karya justru memberi ruang untuk melibatkan batin penonton agar dapat direfleksikan dan membentuk makna baru secara personal.Meaning in Ambiguity: A Critical Study of Daisuke Yokota's Abstract PhotographyABSTRACTThis art critique aims to examine the visual aspects of Daisuke Yokota's photographic works, which depart from conventional narratives, forms, and visual photography. The main issue explored is how meaning can emerge when visual forms are unclear or even eliminated. This critique leads to an exploration of the possibility of realizing individual experiences, emotions, or attitudes in a visual medium that has multiple meanings. Using a critical method that combines visual observation, theoretical interpretation, and critical reflection, this study maps the relationship between visual emptiness, response, and the emotional intensity that arises in relation to the work. The study was conducted on several of Yokota's visual works, which are represented through ambiguous atmospheres, emotions, or impressions and the effects of chemical residues used as a substitute medium in representation. The results and conclusions of this critical study show that Daisuke Yokota's works do not directly convey meaning but open up opportunities to create a space that involves the feelings and emotions of the viewer. The absence of conventional form and meaning in the work provides space for the viewer's inner self to be involved in reflecting on and forming new personal meanings. 
Fotografi Tanpa Fotograf sebagai Sebuah Titik Lebur Pemahaman Fotografi Radhi Nibras Thirafi; Suwarno Wisetrotomo; I Gede Arya Sucitra
INVENSI Vol 10, No 2 (2025): December 2025
Publisher : Graduate School of the Indonesia Institute of the Arts Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/invensi.v10i2.15531

Abstract

Tulisan ini bertujuan untuk menganalisis karya seniman Akiq Aw dalam pameran After Ça-a-été sebagai respons terhadap redefinisi medium fotografi melalui pendekatan konseptual “fotografis”. Berangkat dari gagasan Roland Barthes tentang ça-a-été sebagai bukti ontologis keberadaan dalam fotografi, karya-karya Akiq Aw justru menunjukkan pembalikan terhadap representasi visual konvensional. Penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan semiotik dan kritik visual terhadap empat karya utama yang menghilangkan elemen-elemen mendasar fotografi: ikon, objek, subjek, dan fotograf itu sendiri. Temuan penelitian menunjukkan bahwa pendekatan “fotografis” berupaya membebaskan praktik pencitraan dari batasan teknis, menggeser makna fotografi sebagai media menuju sifat konseptual. Hasil ini memperlihatkan bahwa batas-batas medium dalam seni kontemporer semakin cair dan menuntut pendekatan pemaknaan yang lebih kontekstual dan interaktif. Kajian ini diharapkan memberi kontribusi terhadap pemahaman mengenai transformasi epistemologis dalam praktik seni visual kontemporer Indonesia.Photography Without Photograph as a Melting Point of Understanding Photography ABSTRACTThis study aims to analyze the works of artist Akik AW featured in the After Ça-a-été exhibition as a response to the redefinition of photography through the conceptual approach of the “photographic.” Building on Roland Barthes’ idea of ça-a-été as ontological proof in photography, Akik AW’s works invert conventional representational logic. This research applies a qualitative descriptive method with semiotic and visual critique approaches to four primary works that remove fundamental photographic elements: icon, object, subject, and the photograph itself. The findings indicate that the “photographic” approach seeks to liberate the image-making process from technical constraints, shifting the understanding of photography from a medium to a conceptual quality. These results suggest that medium boundaries in contemporary art are increasingly fluid and require contextual and interactive interpretative frameworks. This study contributes to the understanding of epistemological transformation within contemporary Indonesian visual art practices. 
MENAFSIR PAGAR, MENGGUGAT KUASA: CRUSH ME#2 OLEH ENTANG WIHARSO MELALUI ANALISIS FORMAL Usmanto Usmanto; Suwarno Wisetrotomo; I Gede Arya Sucitra
Journal of Contemporary Indonesian Art Vol 11, No 2 (2025)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v11i2.15540

Abstract

Tulisan ini mengkaji karya instalasi yang berjudul Crush Me#2 karya Entang Wiharso sebagai representasi visual atas realitas kuasa dan identitas dalam konteks sosial-politik di indonesia. Melalui pendekatan kritik seni formalistik, penelitian menganalisis bentuk visual, struktur teknis, serta kontuksi simbolik pagar sebagai metafora kompleks. Karya dibedah dari aspek komposisi, ekplorasi material, arsitektur domestik sebagai simbol kekuasaan serta ikonografi tubuh. Temuan menunjukan bahwa pagar dimetaforkan sebagai narasi hegemonik, domestifikasi kekuasaan dan memori simbolik atas kekerasan simbolik. Penempatan karya dalam ruang pamer bersekala nasional menunjukan bahwa institusi negara turut serta dalam membaca kritik institusional terhadap wacana representasi dan legetimasi dalam senirupa kontemporer. penelitian dapat disimpulkan kartya tersebut merefleksikan strategi visual dalam membongkar ulang narasi kekuasaan melalui bentuk simbolik yang multi sematik dan berlapis.  
Kajian Proses Penciptaan Karya Kolaboratif The Bayan Tale Seniman Erwin Windu Pranata Di Artjog Kids 2023 Nizar Mohamad Afandi; I Gede Arya Sucitra; Bambang Witjaksono
Journal of Contemporary Indonesian Art Vol 11, No 2 (2025)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v11i2.18653

Abstract

This study analyzes the creation process of the collaborative participatory artwork The Bayan Tale by artist Erwin Windu Pranata at ARTJOG KIDS 2023. The research aims to understand how the concept of collaborative art was implemented in a project involving children. Using a qualitative-descriptive method, data was collected through participant observation, in-depth interviews, and document analysis, framed by theories of participatory culture, relational, and dialogical aesthetics. The findings show that the project was a manifestation of ARTJOG's vision of inclusivity and Erwin's artistic practice. The creative process featured a dynamic spectrum of participation: children had high agency in the ideation and performative activation stages, while the artist maintained technical and curatorial control. The artist acted as a facilitator and "aesthetic translator," transforming children's imaginations into a coherent work. In conclusion, The Bayan Tale successfully created a democratic and empowering space for social interaction. The project transcended being a mere art object to become a relational event that blends local cultural values of gotong royong with global contemporary art discourse, proving a functional and effective collaborative model.Kajian ini menganalisis proses penciptaan karya partisipatoris kolaboratif The Bayan Tale oleh seniman Erwin Windu Pranata di ARTJOG KIDS 2023. Penelitian ini bertujuan untuk memahami bagaimana konsep seni kolaboratif diimplementasikan dalam sebuah proyek yang melibatkan anak-anak. Dengan metode kualitatif-deskriptif, data dikumpulkan melalui observasi partisipan, wawancara mendalam, dan analisis dokumen, serta dibingkai oleh teori budaya partisipatoris, estetika relasional, dan dialogis. Hasil penelitian menunjukkan bahwa proyek ini merupakan manifestasi dari visi inklusivitas ARTJOG dan praktik artistik Erwin. Proses kreatifnya menampilkan spektrum partisipasi dinamis: anak-anak memiliki agensi tinggi dalam tahap ideasi dan aktivasi performatif, sementara seniman memegang kendali teknis dan kuratorial. Seniman berperan sebagai fasilitator dan "penerjemah estetis" yang mewujudkan imajinasi anak-anak menjadi karya koheren. The Bayan Tale berhasil menciptakan ruang interaksi sosial yang demokratis dan memberdayakan. Proyek ini melampaui sekadar objek seni menjadi sebuah peristiwa relasional yang memadukan nilai budaya lokal gotong royong dengan wacana seni kontemporer global, membuktikan model kolaborasi yang fungsional dan efektif. 
Co-Authors Bambang Witjaksono Candra Krida Mustika Ferdiansyah Ferdiansyah Fitriani, Misva Khairunnisa, Anida Putri Nizar Mohamad Afandi Radhi Nibras Thirafi Riki Maulana Rr. Siti Murtiningsih Sartini Sartini Sartini, Sartini Septiana Dwiputri Maharani Siti Murtiningsih Suwarno Wisetrotomo Usmanto Usmanto