Yustiono Yustiono
Fakultas Seni Rupa Dan Desain, Institut Teknologi Bandung, Jalan Ganesa No. 10, Bandung 40132

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PEMBACAAN PASCAKOLONIAL TERHADAP SENI RUPA KONTEMPORER ISLAM DI INDONESIA Isnaini, Harun Suaidi; -, Yustiono
Visual Art Vol 2, No 1 (2013)
Publisher : Visual Art

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Abstract

Penelitian terhadap seni rupa kontemporer Islam di Indonesia belum banyak dilakukan. Penelitian yang sudah ada cenderung melihat seni rupa kontemporer Islam dengan cara yang seragam. Dengan menggunakan teori pascakolonial, penulis hendak membuat pembacaan yang baru terhadap seni rupa kontemporer Islam di Indonesia. Penelitian dilakukan dengan menganalisis karya-karya seni rupa kontemporer Islam di Indonesia periode 1991-2012 dengan teori pascakolonial tentang keliayanan dan hibriditas. Penulis menemukan seni rupa kontemporer Islam di Indonesia menunjukkan hibriditas kebudayaan. Seni rupa kontemporer Islam di Indonesia nampak sebagai suatu politik identitas dari sebagian umat Islam melalui penemuan kembali yang imajinatif di dunia modern global hari ini.
POTENSI DISTRIBUSI DAN RESEPSI MEDAN SENI RUPA KONTEMPORER SURABAYA MELALUI PENDEKATAN SOSIOLOGI SENI Handayani, Rahayu Budhi; ., Yustiono
Visual Art Vol 3, No 1 (2014)
Publisher : Visual Art

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Pembuatan skripsi ini dilatarbelakangi oleh pengamatan empirik terhadap berbagai fenomena yang terjadi pada medan seni rupa kontemporer Indonesia, pada umumnya, Surabaya, pada khususnya. Penulis melihat bahwa wilayah distribusi dan resepsi merupakan wilayah yang penting untuk dikaji karena fenomena seni rupa kontemporer yang menunjukkan bergesernya peran sentral wilayah estetik. Sedangkan Surabaya dipilih sebagai representasi kota yang dianggap oleh penulis memiliki potensi untuk wilayah distribusi dan resepsi dalam medan seni rupa kontemporer. Penelitian ini bersifat deskriptif kualitatif dengan metode etnografi, dimana penulis melakukan observasi dan wawancara langsung terhadap sampel penelitian. Penelitian ini memperlihatkan Surabaya telah memiliki infrastruktur pada wilayah distribusi melalui peran-peran yang ada, seperti Dewan Kesenian Surabaya, Galeri Surabaya, Galeri Emmitan, Galeri AJBS, Galeri Orasis, dan Pasar Seni Lukis. Infrastruktur distribusi dalam medan seni rupa Surabaya juga memiliki potensinya masing-masing, akan tetapi potensi tersebut belum terealisasi dengan baik karena minimnya orientasi edukasi dan pengenalan akan konvensi seni rupa global dan perkembangan seni rupa kontemporer arus utama secara umum. Hal tersebut juga membuat kurangnya realisasi potensi masyarakat umum Surabaya yang merupakan pemirsa potensial dalam mengapresiasi seni rupa.// //
Visualisasi Tenun Baduy Nina Maftukha; Yustiono Yustiono; Ira Adriati
Journal of Visual Art and Design Vol. 9 No. 2 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2017.9.2.1

Abstract

Abstrak. Kegiatan menenun sudah melekat di setiap jiwa perempuan di Suku Baduy mulai dari umur tiga tahun. Rumusan permasalahan dalam penelitian ini adalah: 1) Bagaimana visualisasi tenun yang diproduksi Masyarakat Baduy? 2) Bagaimana pewarisan dalam hal membuat kain tenun ditransmisikan pada masyarakat Baduy? Penelitian ini menggunakan metodologi etnografi dengan pendekatan kualitatif. Data didapat dengan teknik observasi partisipan, tersamar, wawancara mendalam, Studi dokumentasi, dan Studi pustaka. Penelitian ini fokus pada visualisasi tenun Suku Baduy, meliputi filosofi menenun, proses pembuatan motif, teknik menenun, pola pewarisan tenun, dan faktor pendukung lestarinya tenun Suku Baduy. Filosofi dan tata cara membuat motif tenun Suku Baduy merupakan amanat dari para leluhur. Motifnya diambil dari pencerminan alam dan pikukuh Suku Baduy, dan ada juga yang merupakan kreasi sendiri. Teknik menenun berupa teknik buatan tangan yang menggunakan ATBM (Alat Tenun Bukan Mesin) atau dikenal dengan sebutan pakara tinun (peralatan tenun). Pola pewarisan dilakukan dengan cara patuh terhadap pandangan hidup atau pikukuh Suku Baduy, setiap ibu mengajarkan kepada anaknya, serta anak sendiri belajar dengan teman sebayanya di sosompang atau teras rumah. Tenun Baduy hingga sekarang masih bisa bertahan disebabkan oleh beberapa faktor, diantaranya penduduk Suku Baduy sangat taat kepada amanat para leluhurnya, untuk memenuhi kebutuhan sandang, faktor keyakinan dan filosofi Baduy, faktor geografi, keterbatasan interaksi, identitas, faktor ekonomi, dan kemitraan.Kata kunci: Baduy; perempuan; sejarah; tenun; visualisasi.Visualizing Baduy WeavingAbstract. Weaving is engraved in the soul of every Baduy woman, who start learning this skill from the age of three. The problem formulation of this study is twofold: 1) How can Baduy weaving be visualized? 2) How are the inherited weaving skills transferred by the Baduy people? The data used in this study were collected through blind participant observation, in-depth interviews, a documentation study and a literature review. This study focused on visualizing Baduy weaving, including the philosophy of weaving, the process of pattern making, weaving techniques, inherited weaving patterns, and factors supporting the preservation of Baduy weaving. The philosophy and procedure of Baduy weaving are inherited from ancestors. The patterns originate from reflection on nature and the Baduy way of life (pikukuh), and also own creations are produced. The Baduy people practice handweaving using a handloom (no machine tools), known in their language as pakara tinun. The transfer of inherited patterns happens through the adherence to the Baduy way of life. Every mother teaches her children, who then develop their skill by themselves together with their peers on a porch (sosompang). Baduy weaving until now has survived due to several factors, including the Baduy people being very obedient to the mandates of their ancestors with regards to clothing, their beliefs and philosophy, their geographical location which limits interaction with the outside world, Baduy identity, economic factors, and partnerships.Keywords: Baduy; history; visualization; weaving; women.
Romantisisme pada Karya-Karya Raden Saleh: Suatu Tinjauan Kritik Seni Annisa Desmiati; Yustiono Yustiono; Agung Hujatnika
Journal of Visual Art and Design Vol. 5 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

Raden Saleh is a 19th century Indonesian painter who had the opportunity to master the European paintings in his time. He was born in Terbaya, Semarang on 1807 from a noble family. He then studied painting under the Belgian painter A.A.J. Payen who was assigned by Dutch colonial ruler to capture Indonesian scenery. After studied for some times in Indonesia, he began to travel to Netherlands, Germany, France, and several other European countries and chiseled his name as a famous Romantic painter both in Europe and in Indonesia. This research began from a predicament on how far Romanticism has its influence on Raden Saleh"Ÿs paintings. Romanticism in Raden Saleh"Ÿs works not only characterized by the visual and themes, but also embedded in Raden Saleh"Ÿs ideas and attitude. Raden Saleh, at that time, developed a distinctive style and themes under the Romantic spirit which is mostly a depiction about hunting scenes, allegorical landscape, and dramatic scenes that involves human"Ÿs emotion. Nevertheless the influence of Romanticism is to be found more on Raden Saleh"Ÿs ideas and attitude, such as the idea about the grandeur of nature, exoticism, orientalism, individual freedom, and struggle for liberty.
Kajian Karya-Karya I Nyoman Erawan, antara Tradisi dan Modernitas I Wayan Seriyoga Parta; Yustiono Yustiono; Nuning Y. Damayanti
Journal of Visual Art and Design Vol. 5 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

I Nyoman Erawan is an artist who develops abstraction shape manner by fusing formal aspects (line, area, color and texture), with the symbols in the Balinese culture tradition which is absorbed by his own religious experience as a part of Hinduism Balinese Community. The experience exists and gives deep influence to his works, when he took art study at Indonesian Art Institute of Yogyakarta in the year of 1980 and then was introduced to modern art included to its' technique and concept. The Nyoman Erawan's works development in presenting the values of the tradition and modernity can be seen from three aspects, which includes; technique, medium and theme. The exploration of Nyoman Erawan's technique and medium was begun from two dimension artworks in1982, painting technique and assemblage, collage various materials was fused for his works and then it developed become installation work in 1993-1994, and has become performance work since 1996. The tradition values in his work are presented in west modern art manner. He uses the modernity spirit to preserve the tradition value. He represents the development of modernity in different way than modernity in West context. This is a development of his work.