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All Journal Gorga : Jurnal Seni Rupa Jurnal Imajinasi Visual Art Journal of Urban Society´s Arts Jurnal Sosioteknologi Journal of Visual Art and Design RITME MUDRA Jurnal Seni Budaya Panggung Jurnal Budaya Nusantara Journal Albion : Journal of English Literature, Language, and Culture DIVAGATRA - Jurnal Penelitian Mahasiswa Desain TGO Journal of Community Development Seminar Nasional Riset dan Teknologi (SEMNAS RISTEK)
Ira Adriati
Fakultas Seni Rupa Dan Desain, Institut Teknologi Bandung, Jl. Ganesa No. 10, Bandung
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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Perempuan Perupa Cina dalam Perubahan Politik di Cina Ira Adriati Winarno
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB 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/itbj.vad.2007.1.1.4

Abstract

China has experienced several political changes. The latest change is the emerging of capital-liberalism, which cause their openness to the foreign culture and visitors. This openness has influenced their art work too. The Chinese's Art work is no longer made for propaganda purpose, but shifting to the aspiring of personal expression or for the purpose of social criticism. Yet, seeking the "freedom" of this capital-liberalism era, do not certainly brings equal opportunity to the woman artists of China. It was after the 1995 International Women Conference in Beijing that Chinese women artists began to realize their aspirations. Since then, many works by Chinese woman artists' take woman issues as their object and showing a new expression of aesthetics.
Persoalan Kesetaraan Gender dalam Karya Seni Rupa Kontemporer Indonesia Ira Adriati Winarno
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB 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/itbj.vad.2007.1.2.4

Abstract

Art work serves not only for personal expression but also have social function. It is quite obvious as some Indonesian women artists use their art works to express gender equality issues. Their ideas are contributing greatly to the development of contemporary visual art in Indonesia. These women artists express issues of gender that whether personally experienced by them or other women in general, using the expressive style of surrealism, expressionism, and naturalism. Certainly, their art works show good aesthetics values, supported by excellent skills and technical abilities. Most of their art works not only provide excellent visualizations but also send strong messages on gender equality issues. Their works, as explained in this study, provide a common ground to increase public awareness for the importance of gender equality issues in Indonesia.
Studi Komparatif Lukisan Perempuan Perupa dengan Pria Perupa Impresionis dalam Tema Kehidupan Keseharian Ira Adriati Winarno; Agus Sachari
Journal of Visual Art and Design Vol. 2 No. 1 (2008): ITB 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/itbj.vad.2008.2.1.1

Abstract

Impressionism is an art movement that firstly established in France in the middle of 19th century. Claude Monet, Èdouard Manet, Pierre-Auguste Renoir, and Edgar Degas are famous male impressionist artists that were known by many, yet there are famous female impressionist artists such as Berthe Morisot, Mary Cassatt, Eva Gonzales, and Marie Bracquemond that deserve to be known as well. The presented paper discusses the aesthetics value and meanings of paintings of these female impressionist artists, through the perspective of art criticism, historical method, and women studies. Object of analysis are paintings that depicting domestic life made by mentioned artists above. Results show that the depicted domestic life in those paintings presented a unique gaze of a woman, as shown in the representation of body language to express the relationship between mother and children. Thus, female impressionist paintings emphasize more on the activities and aspiration of women than the beauty of their bodies. The painted theme shows that the artists express gender equality and/or independent (or self-supporting) women, which are presented in an equal aesthetic quality compared to those of male impressionist artists.
Tubuh, Tubuh, Tubuh Ira Natalia Irianto; Tisna Sanjaya; Ira Adriati
Journal of Visual Art and Design Vol. 10 No. 1 (2018): 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.2018.10.1.1

Abstract

Abstrak. Tubuh merupakan bentuk representasi identitas dari individu. Bentuk tubuh dari satu individu ke individu yang lain pasti berbeda, setiap bentuk tersebut dapat dengan mudah diidentifikasi dan juga dimaknai tidak hanya secara visual melainkan juga nilai-nilai lain yang mengikutinya. Nilai dan norma terhadap bentuk tubuh dinilai berdasarkan nilai tatanan sosial yang berlaku di mana individu itu berada, sehingga bentuk dan nilai kesempurnaan akan tubuh tidaklah absolut, namun demikian penilaian dan pemaknaan akan tubuh tersebut secara tidak langsung dapat mempengaruhi cara pandang dan pemahaman individu itu sendiri akan tubuhnya. Pembuatan karya seni gambar tentang tubuh yang dibuat penulis, merupakan sebuah bentuk penghayatan dan pengenalan lebih dalam akan tubuh penulis sendiri, bagaimana kekecewaan dan kebencian akan ketidaksempurnaan tubuh penulis dikonfrontasikan melalui kegiatan intimasi yang dilakukan selama melakukan penciptaan karya seni gambar pada penelitian kali ini yang diberi judul 'Tubuh, Tubuh, Tubuh'. Penggambaran representasi tubuh dalam karya ini memperlihatkan pose tubuh secara detil dan realis, tubuh secara keseluruhan baik itu dari depan maupun belakang, juga ditambahkan dengan bentuk-bentuk abstrak dan detail dari pemahaman penulisan akan tubuh tersebut, menggunakan pensil berwarna sebagai medium penggambaran karyanya. Penciptaan karya gambar tentang tubuh ini, melalui proses yang cukup panjang, memberikan ruang untuk penulis dalam memahami tubuh sendiri, melalui detail arsiran, warna, dan kedekatan akan detail-detail bentuk realis tubuh yang digambarkan secara sempurna, membawa penulis ke ruang yang lebih intim tetapi juga kadang berjarak, tentang bagaimana penulis pada akhirnya menerima pemahaman dan keadaan terhadap ketidaksempurnaan, kekecewaan dan kebencian akan tubuh penulis sendiri. Perenungan dan kontemplasi selama proses penciptaan membawa pemikiran penulis ke ranah yang lebih terbuka, penulis menyadari proses penciptaan karya kali ini merupakan bentuk lain katarsis penulis dalam mengatasi permasalahan-permasalahan yang sebelumnya dimiliki penulis.Kata kunci: drawing; katarsis; konflik; konfrontasi; penghayatan;tubuh. Body, Body, BodyAbstract. The body is a representation of the individual identity. Body shape is different from one individual to another. Each form can be easily identified and interpreted not only visually but also by other values that follow. Values and norms toward body shape are valued based on the prevailing social order.  Therefore, shapes and values of the perfection of the body are not absolute. However, rating and explaining the body can indirectly affect the perspective and understanding of the individual's own body. Creating art images of the body by the author is a form of appreciation and recognition even deeper into the body of the author herself. Disappointment and hatred of the imperfections of the author's body were confronted through intimacy which was conducted during the creation of the artwork images of this final work entitled 'Body, Body, Body'. The depiction of the body in this work shows body poses in detail and with realism, overall, both front and back, and added with abstract forms and details of the author's understanding of the body, using colored pencils as a medium for the author's depictions. This creation of drawings in this project, through a long process, provided space for the author to understand her own body. Through detailed shading, color, and proximity of detailed body shapes depicted perfectly, bringing the author to a more intimate space yet sometimes also more distant, about how the author finally accepted the understanding and the circumstances of the imperfections, disappointment, and hatred of the body of the author herself. Reflection and contemplation during the creation process brought the author to a more open realm; the author realizes the process of creating the work this time is a form of catharsis of the author in overcoming previous problems.Keywords: body; catharsis; conflict; confrontation; contemplation; drawing.
Women’s Perspective on the Surakarta Kebaya based on Biographies of Gusti Noeroel and Utami Suryadarma Ira Adriati; Irma Damajanti; Almira Belinda Zainsjah
Journal of Visual Art and Design Vol. 10 No. 2 (2018): 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.2018.10.2.4

Abstract

The kebaya is a national dress for Indonesian women. This paper analyzes the development of the Surakarta kebayas used by Gusti Noeroel, a princess who lived in Mangkunegara Palace, and Utami Suryadarma, the daughter of a high rank police officer from Surakarta. They were selected as the subject of this research because they used the kebaya consistently throughout their lives despite their interaction with modern culture. This study used a historical approach, especially on women’s position in Indonesian society and the development of Indonesian culture and kebaya design. The data were collected from various publications. Gusti Noeroel and Utami Suryadarma were educated noblewomen. They interacted with modern culture from various nations, while consistently using the kebaya as a characteristically Indonesian dress. The model they initially wore, the Surakarta kebaya, developed by changing the collar and the length and by applying a tighter fitting design. In addition, the material used changed according to the times. We can conclude that these princesses’ abilities to adjust the kebaya according to each era, made their kebaya designs always up to date.
Analisis Motif Kain Tradisional Indonesia: Pemaknaan Visualisasi Abstrak hingga Naturalis Ira Adriati Winarno
Jurnal Budaya Nusantara Vol 1 No 1 (2017): NUSANTARA & KONTEMPORER
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no1.a993

Abstract

Indonesia is a country with various cultures. One of cultural product that interesting to be analysis is textile.Indonesian traditional textiles are made by weaving and batik techniques. Traditional textiles have a deepphilosophical meaning related to the human existence in the universe. Traditional textiles have various motifs. It isinteresting to analyze the meaning of the motifs of Indonesian traditional textile. The approaches of this research aretraditional Indonesian aesthetics and cultural approach. Traditional textile motifs can be categorized into geometrics,figurative, and naturalist motifs. The motifs are influenced by textile making techniques. For instance, weavingtechnique has limitation in motif type. Weaving technique produces geometrics motif. The other technique is batik thathas freedom to produce various motifs for textile. The original Indonesian textile motifs generally are abstract motives.Figurative and naturalist motifs emerge after the entrance of other culture influence. Based on visualization analysis,abstract motif has deep meaning related to people life philosophy. Some of figurative motifs have philosophical meaning,but naturalist motifs generally do not have philosophical meaning in Indonesian people.
NILAI ESTETIS BATIK GARUT PEGUNUNGAN DAN PESISIR Ira Adriati
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2117

Abstract

Batik is a result of a tradition of ownership owned by various regions in Indonesia. One ofthe areas in West Java is known as Batik Priangan, including the region of Garut. Each regionin Priangan has a batik that is batik with unique motifs and coloring in each region. In this paper,it describes the aesthetic value of batik Garut in the mountainous areas with the coastal areas.This research uses historical approach, the value of tradition-oriented, and in cultural acculturation.Based on the analysis, it can be known that the waters can be different from the visualizationof batik motifs in the mountainous regions, which tend to be classic motifs, typical of the latenight and the coast of the region. The other difference appears from the ability of the craftsmen,the craftsmen in the mountainous regions show more detailed and smooth skills, while on thecoast there is no detail.
ANALISIS STRATEGI AKTUALISASI DIRI SASYA TRANGGONO PEREMPUAN PERUPA INDONESIA DALAM MASA PANDEMIK COVID-19 Ira Adriati
Jurnal Budaya Nusantara Vol 4 No 2 (2021): NUSANTARA & RUANG VIRTUAL
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol4.no2.a4023

Abstract

Sasya Tranggono is an Indonesian female artist who works with the subjects of puppets, flowers and butterflies. Her work is well known in the Indonesian art social scenes; she has actualized herself. In this research condition analyzes the self-actualization process during the Covid-19 pandemic. This research is a qualitative research. Using Abraham Maslow's theory of self-actualization which has been converted to fine arts, Hans Van Maneen's theory for the exhibition process, and Hennessy's theory relating to publication on social media. Based on the analysis, it can be seen that Sasya Tranggono tries to maintain her self-actualization even through social media such as Instagram and the web. She has collaborated with several galleries to exhibit her work online and offline. All of her publication strategies kept her at the pinnacle of self-actualization.
MANIFESTASI LAMBI TEI, TENUN IKAT ASAL ROTE NDAO Retno Walfiyah; Ira Adriati
Gorga : Jurnal Seni Rupa Vol 11, No 1 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i1.32859

Abstract

The manifestation of Lambi tei, ikat weaving from Rote Ndao is one of the many cultural products of the people on the island of Rote Ndao, namely a special ikat called Lambi Tei made using young gewang leaf fibers or called hakenak. In the past, when cotton had not been planted in Rote, at the behest of the Dutch through the cultur stelsel, the people of Rote made clothing from the fibers of young gewang leaves. The motifs emerged when cotton was present and then people made yarn. When the nobility made patterned cloth, the commoners only weaved plain cloth and then dyed it black. Rote Island is located at the southern tip of Indonesia and Lambi Tei ikat weaving has a dominant role in almost every activity of the Rote Ndao community, especially its function during traditional wedding rituals, funeral ceremonies, and is one of the benchmarks for women's maturity. Initially, the fibers used were young gewang leaves without motifs which later developed into a unique motif and became the pride of every clan (family). Each clan will have a distinctive motif, and usually the to'o (uncle) of the mother's family becomes the leader for the delivery of cloth. The characteristic color of Rote ikat weaving is black and white. The natural color used is thread soaked in mud in the lake where the animals wallow for months then soaked in pama'a, which is the skin of the nitas fruit, which is burned and then the ashes are soaked. Using qualitative methods, collecting data by interviewing related sources and studying Pustaka. Rote Ndao ikat weaving is very closely related to people's lives. Family motifs are considered valuable because they are hereditary. The Rote Ndao ikat motif is a manifestation of their life.Keywords: lambi tei, tenun ikat, gewang. AbstrakManifestasi Lambi tei, tenun ikat asal Rote Ndao adalah satu dari banyak produk budaya masyarakat di pulau Rote Ndao adalah tenun ikat khas bernama Lambi Tei dibuat menggunakan serat daun gewang muda atau disebut dengan hakenak. Di masa lalu saat kapas belum ditanam di Rote atas perintah belanda melalui cultur stelsel penduduk Rote membuat busana dari serat daun gewang muda. Motif-motif muncul ketika kapas hadir dan kemudian orang membuat benang. Ketika kaum bangsawan membuat kain yang bermotif, rakyat jelata hanya menenun kain polosan dan kemudian diwarnai hitam. Pulau Rote terletak di ujung selatan Indonesia dan tenun ikat Lambi Tei memiliki peran yang dominan pada hamper setiap aktivitas masyarakat Rote Ndao, terutama fungsinya ketika acara ritual adat pernikahan, upacara kematian, dan menjadi salah satu tolok ukur kedewasaan perempuan. Awal mula yang digunakan adalah serat daun gewang muda tanpa motif kemudian berkembang menjadi  motif yang unik dan menjadi  kebanggaan setiap marga (family). Setiap marga akan memiliki motif khas, dan biasanya to’o (paman) dari keluarga ibu menjadi pimpinan untuk penyerahan kain. Ciri khas warna tenun ikat Rote adalah warna hitam dan putih. Warna alami yang digunakan adalah benang yang direndam dalam lumpur di danau tempat berkubangnya hewan-hewan selama berbulan-bulan kemudian direndam dalam pama’a yaitu kulit buah nitas dibakar kemudian abu tersebut direndam. Menggunakan kualitatif, melakukan pengumpulan data dengan cara wawancara sumber terkait dan studi Pustaka.Tenun ikat Rote Ndao sangat lekat dengan kehidupan masyarakatnya. Motif keluarga dianggap sebagai sesuatu yang berharga karena bersifat turun temurun. Motif tenun ikat Rote Ndao merupakan manifestasi kehidupan mereka.Kata Kunci: lambi tei, tenun ikat, gewang. Authors:Retno Walfiyah: Institut Teknologi BandungIra Adriati: Institut Teknologi Bandung References:Amalo, Gentry, “Kain Raja-Raja Termanu”. Hasil Wawancara Pribadi: 2 Mei 2021, Bandung.Arikunto, Suharsimi. (2009). Manajemen Penelitian. Jakarta: Rineka Cipta.Haning, Paula. (2016). Fungsi Kain Tenun Ikat NTT, Asal-usul Bunga Sarung dan Selimut Orang Rote Ndao. http://paulahaning.blogspot.com/2016/02/fungsi-kain-tenun-ikat-ntt.html. (diakses tanggal 22 Mei 2021).James, J. Fox. (1960). Master Poets, Ritual Master The Art of Oral Composition Among the Rotenese of Eastern Indonesia. Australia: Australia Nation University.Lenggu, Margareth. (2020). Perempuan di Balik Tinta. Jakarta: Loka Media.Wilson, Markus Andreas T. (2014). Relasi Negara dan Masyarakat Rote. Salatiga: Satya Wacana University Press.Melalatoa, Junus. (1995). M. Ensiklopedia Suku Bangsa D Indonesia. Jakarta: Departemen Pendidikan Dan Kebudayaan RI.Blanc, W. S., & Sukardja, P. (2016). Tenun Ikat Masyarakat Kampung Ndao di Kecamatan Lobalain Kabupaten Rote Ndao Provinsi Nusa Tenggara Timur. Humanis, 270-278.
Pemberian Penghargaan Dalam Pameran Besar Seni Lukis Indonesia dan Biennale Jakarta 1974-1989 Genardi Atmadiredja; Ira Adriati
Mudra Jurnal Seni Budaya Vol 35 No 1 (2020): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v35i1.692

Abstract

In the history of the development of post-independence Indonesian art, the national award was initiated by Dewan Kesenian Jakarta (The Jakarta Arts Council) through Pameran Besar Seni Lukis Indonesia (PBSLI) or The Great Exhibition of Indonesian Painting in 1974. PBSLI awarded the best work through the judging mechanism. The dynamics occurred after the award gave rise to different perceptions and opinions about how good works of art at the time were. This study examines the impact of PBSLI and Biennale Jakarta, the event’s name was altered in 1982, in terms of artist selection process, judging, social situation, and opinions in the Indonesian arts during 1974-1989. This study uses the qualitative research method with a historical approach. Data were collected through archival research and in-depth interviews. By implementing Artistic Field of Bourdieu, the study demonstrates that the results of PBSLI and Biennale Jakarta bestowed artists a symbolic capital which characterized the taste of arts at that time.
Co-Authors Agus Sachari Almira Belinda Zainsjah Apriyulia, Apriyulia Ayoeningsih Dyah Wulandhary Damjanti, Irma Dzauharoh, Shinta Genardi Atmadiredja Gilang Cempaka Ira Natalia Irianto Irfansyah Irfansyah Irma Damajanti Irma Damajanti Nina Maftukha Nuning Damayanti Nuning Yanti Damayanti Nusantara, Satria Poppy Rahayu, Poppy Ratna Cahaya Wirawan Retno Walfiyah Savitri Putri Ramadina Setiawan Sabana Setiawan Sabana Tati Sarihati Tisna Sanjaya Tjutju Widjaja Yan Yan Sunarya Yasraf Amir Piliang Yeti Rohayati Yustina Intan Intan Wulandari Yustiono Yustiono Zuhdi, Helmi