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Journal : ARTCHIVE: Indonesia Journal of Visual Art and Design

A Study of Didung Putra's Painting "Opera Of Dreams" In The Philosophy of Art By Susanne K. Langer Rahayu, Mardina; Lestari, Wahyu; Sunarto, Sunarto; Y., Eva
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 5, No 1 (2024): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v5i1.4078

Abstract

Didung Putra is a painter who combines realistic and cubistic styles in his artwork. Each of his works emphasizes symbols believed to have subjectivity in expression. This contrasts with Susanne K. Langer's view, which argues that expression is something comprehensive and not just the subjectivity within the artist. This study aims to reveal Susanne K. Langer's philosophy of art as applied to Didung Putra's work titled "Opera of Dream," focusing on the analysis of expression and symbols. The research method used is descriptive qualitative research, with an art criticism approach to Didung Putra's work. Data collection techniques include observation, interviews, and documentation. The stages of the research include data collection, classification, processing, and finally, result analysis. The research findings are as follows: (1) Didung Putra is a painter who uses body language as an aesthetic subject and symbols as expressions in each of his works. (2) Didung Putra's work, "Opera of Dream," expresses a state from a general situational perspective and the artist's personal experiences. AbstrakDidung Putra merupakan seniman lukis yang memiliki kecenderungan menggabungkan gaya seni lukis realistik dan kubistik dalam penciptaan karya seni lukisnya. Setiap karya cenderung mengedepankan simbol-simbol yang diduga memiliki subjektivitas dalam berekspresi. Bertentangan dengan pandangan Susanne K Langer, yang berpendapat bahwa ekspresi merupakan sesuatu yang sangat luas dan bukan hanya subjektivitas dalam diri seniman. Tujuan penelitian untuk mengungkapkan filsafat seni Susanne K Langer terhadap karya Didung Putra yang berjudul “Opera of Dream” yang terpusat pada analisis ekspresi dan simbol. Metode penelitian yang digunakan adalah penelitian deskriptif kualitatif, dengan pendekatan kritik seni pada karya Didung Putra. Teknik pengumpulan data penelitian dilakukan dengan cara observasi, wawancara, dan dokumentasi. Tahapan yang dilakukan dalam penelitian yang pertama adalah pengumpulan data, yang kedua klasifikasi data, tahapan ketiga pengolahan data, dan yang terakhir analisis hasil. Hasil yang dicapai dalam penelitian adalah: (1) Didung Putra seorang seniman lukis, yang menggunakan Bahasa tubuh sebagai subjek estetik dan simbol sebagai ungkapan ekspresi pada setiap karya seninya. (2) Karya Didung Putra yang berjudul “Opera of Dream” mengungkapkan sebuah keadaan dari pandangan situasi secara umum, serta pengalaman pribadi yang dialami oleh seniman.    
REFLEKSI ATAS TUBUH DALAM KARYA PUTU SUTAWIJAYA “ENERGI TUNGGAL” Pamungkas, Didung Putra; Y., Eva
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 4, No 2 (2023): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v4i2.4060

Abstract

"Analyzing Putu Sutawijaya's painting titled "Energi Tunggal" (Single Energy) portrays the body as a central focus, through documentation and direct observation of his paintings, which are then analyzed using Roland Barthes' semiotic approach, Foucault's genealogy of the body, Ponty's Phenomenology, Heidegger's Existentialism, and Freud's Psychoanalysis. Roland Barthes' semiotic approach divides signs into denotation and connotation. At the denotative level, Putu depicts a figure's movement with the burdens surrounding it. At the connotative level, it explains that the burden on the social and value systems binds and does not liberate its people. Then Foucault describes the body as a soft body. Putu shows the absence of freedom that a free person owns over his own body. In Ponty's Phenomenology, the world is available to individuals. Thus, the relationship between humans and their world is never genuinely distant but needs to be more dialectical. Heidegger's Existentialism views the relationship of the body with its world. In his paintings, Putu sees that culture always constructs an individual, showing the form of a person's relationship with his world. Freud's Psychoanalysis on libido, there is a form of individual freedom to actualize themselves that is always limited by rules, values, and norms. Putu's work depicts efforts to break free but are still burdened by social considerations. This study on the painting is to spur the spirit of creating art and enrich new discourses in the Indonesian visual arts world.
VISUAL COMMUNICATION DESIGN OF SIGNAGE IN THE GENTALA ARASY JAMBI TOURIST AREA Faradhiga, Aryadwipa Angesti; Y., Eva
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 6, No 1 (2025): Artchive: Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v6i1.5553

Abstract

Gentala Arasy Tower is an icon of Jambi City and a tourist destination that residents and domestic tourists widely visit. The government targets Jambi as one of the provinces that makes the tourism sector one of the priorities for regional development. However, the infrastructure in the tourist area is not yet adequate to encourage this achievement, one of which is the absence of signage or a sign system and directions in the Gentala Arasy area. Signage is one of the important facilities to support the mobility of tourists or even residents who have never visited and do not know what is in the Gentala Arasy tourist area. The design of signage in the Gentala Arasy tourist area is expected to help tourists easily access tourist locations and public facilities properly and communicate important information while in the tourist area. The signage design is not only intended as a sign system and directions but also as a strengthening of the image and visual identity of the Gentala Arasy tourist area. The signage design uses bright colours with sans-serif typography so that visitors can easily recognise and read the signage, along with the information content and signs. The placement of signage in the tourist area is adjusted based on the category of form and function.