Article Per Year (5 Year)
p-Index From 2020 - 2025
1.745
P-Index
This Author published in this journals
All Journal Visual Art Journal of Visual Art and Design JURNAL TEKNOLOGI DAN OPEN SOURCE Ultimart: Jurnal Komunikasi Visual Journal Albion : Journal of English Literature, Language, and Culture Jurnal Socius: Journal of Sociology Research and Education Jurnal Seni Nasional Cikini Jurnal Kreatif : Desain Produk Industri dan Arsitektur Warta Pengabdian Andalas: Jurnal Ilmiah Pengembangan Dan Penerapan Ipteks Asian Journal of Social and Humanities
Irma Damajanti
Faculty Of Visual Art And Design, Institut Teknologi Bandung
Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Earth & Planetary Sciences Education Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Social Sciences Other

Published : 20 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 6 Documents
Search
Journal : Journal of Visual Art and Design

 1 
Ketidaksadaran Kolektif Akan Warna dan Bidang Anna Josefin; Irma Damajanti; Asmudjo Jono Irianto
Journal of Visual Art and Design Vol. 8 No. 1 (2016): 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.2016.8.1.5

Abstract

Warna dan bidang merupakan bahasa dasar yang dimiliki oleh setiap zat yang tampak di muka bumi ini. Warna dan bidang juga menjadi bahasa yang utama dalam memahami suatu karya seni rupa. Melalui jurnal ini, persepsi warna dan bidang pada manusia dipaparkan lebih lanjut. Kandinsky, seorang penteori warna, memaparkan bahwa warna tertentu memiliki kecocokan dengan bentuk tertentu. Menurutnya hal itu sudah ada dalam persepsi alam bawah sadar setiap manusia. Dia melakukan percobaan untuk membuktikannya pada beberapa orang secara acak di tempat tinggalnya. Dalam jurnal ini, penelitian yang dilakukan Kandinsky kembali dilakukan, namun objek penelitian dialihkan pada anak-anak. Hal ini dilakukan agar data yang diambil lebih dapat mewakili persepsi awal manusia. Tujuannya untuk membuktikan teori Kandinsky akan warna dan bidang dengan persepsi awal manusia.  Dengan mengetahui persepsi warna dan bidang pula apresiator dapat memahami dan memandang sebuah karya seni dengan persepsi berbeda.Keywords: bawah sadar; bentuk; kolektif; persepsi; seni rupa Kandnsky; warna.Collective Subconscious of Color and FormAbstract. Color and form provide the basic language for every substance on earth. Color and form are also the main language for understanding works of art. In this research, color and form perception in humans is further investigated. Kandinsky, a color theorist, stated that certain colors match a particular shape. He said these matches exist in the perception of the subconscious of every human being. In order to prove this, he conducted an experiment on a number of random subjects in his residence. In this paper, the research that was conducted by Kandinsky was replicated, but the research object was changed to children. This change was made so that the collected data may represent the initial perception of human beings. The goal was to prove Kandinsky's theory that color and form belong to the initial perception of human beings. By knowing color and field perception, art appreciators can also understand and look at works of art in a different way.Keywords: the unconscious; form; collectively; perception; Kandinsky art; color.
Konservasi Preventif Karya Seni Lukis bagi Mahasiswa Seni Irma Damajanti
Journal of Visual Art and Design Vol. 1 No. 3 (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.2007.1.3.5

Abstract

The book of "The Introduction of Preventive Conservation on Painting for Visual Art Students" explains how to apply preventive conservation techniques for objects of culture and collections, especially paintings. It is said that preventive conservation optimizes environmental conditions to which objects and collections are housed.  By controlling light and ultraviolet radiation, humidity and temperature, biological pets, dust and pollutants, we can prevent damages and decays of the paintings.  In addition, preventive conservation also means in ensuring that good handling, transportation, storage and displaying techniques are used at all times.  Thus, applying preventive methods can prolong and protect the life of artworks for the future. Yet, although the Introduction of Preventive Conservation on Painting provides information on how to give care of paintings as objects of culture and collections, it is important to understand that all except the simplest conservation treatments should be taken by trained conservators. Thus, active conservation treatment is a response skill to the damaging process of cultural artifacts, a highly skilled field that requires extensive knowledge on the use of chemicals and rigorous technical procedures.
Kajian Simbol Arketipal Diri pada Karya Rupa Ay Tjoe Christine Almira Belinda Zainsjah; Irma Damajanti
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.2018.10.1.4

Abstract

Abstrak. Simbol adalah bahasa visual yang diciptakan manusia untuk menyampaikan pemikirannya. Meskipun berkembang pada wilayah serta kebudayaan berbeda, terdapat simbol dengan kemiripan pemaknaan. Carl Gustav Jung menyampaikan keberadaan simbol universal (archetype) dalam alam bawah sadar kolektif. Artikel ini meneliti tentang keberadaan arketipal Diri pada karya rupa Ay Tjoe Christine. Karya yang diteliti adalah Sekutu II (2002) pada tema sekutu, Landscape in My Head (2009) pada tema landscape, serta The Last Layer (2012) pada tema layer. Metode analisis menggabungkan kritik seni Feldman dan teori arketipal Jung. Analisis diawali deskripsi serta analisis formal, sebelum direfleksikan pada acuan simbol secara umum. Hasil interpretasi dikaitkan dengan karakter visual dan konsep simbol arketipal. Kemunculan arketipal berjalan paralel dengan kekaryaan serta kondisi seniman dalam menyingkapi keinginan, harapan, dan makna keutuhan bagi dirinya. Pada karya pertama, arketipal muncul secara langsung dengan pengolahan familiar, sehingga karakternya serupa dengan arketipal Jung. Karya kedua memunculkan arketipal Diri sebagai refleksi pada tubuh (objek) dalam karya, sehingga penggambarannya bercampur dengan unsur personal seniman. Perkembangan karya ketiga terlihat pada arketipal inti yang direfleksikan di keseluruhan karya, sehingga karya menjadi tubuh arketipal Diri yang merupakan 'diri lain' dan bagian dari seniman. Penelitian ini membaca hubungan arketipal terhadap perkembangan kekaryaan perupa serta relevansinya dengan simbol yang dibentuk.Kata Kunci: Arketipal Diri; Ay Tjoe Christine; karya rupa; ketidaksadaran kolektif; simbol.A Study of Archetypal Symbols of Self on Ay Tjoe Christine ArtworksAbstract. Symbols are a visual language created by humans and have evolved in different places and cultures. Different symbols can have a similar meaning. Carl Gustav Jung proposed the existence of universal symbols (archetypes) in the collective unconscious. The present study examined archetypes of the Self in artworks by Indonesian female artist Ay Tjoe Christine. The artworks analyzed were: Sekutu II (2002), Landscape in My Head (2002), and The Last Layer (2012). In the analytical method used, Feldman's art criticism and Jung's archetypes were combined. It starts with a formal description and analysis of the artworks, after which they are interpreted on the basis of their general symbolic references and connected to the visual character or concept of different archetypes. The archetypes emerged parallel to the development of the artwork and the artist's response to her hopes and desires, and the importance of wholeness for her. In the first artwork, the archetypes appear directly in a familiar form, close to Jung's theory. The 'Self' in the second artwork is a reflection on the body (object), so that its protrayal is mixed with some personal elements of the artist. The development of the third artwork can be seen from the core archetypes that appear in the whole piece, making it into an archetypical embodiment of the Self, i.e. the 'other Self', and part of the artist. This study looked at the relationship between the development of three artworks and the archetypes contained in them, and their relevance to the constructed symbols.Keywords: Archetype of Self; artworks; Ay Tjoe Christine; collective unconscious; symbol. 
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.
English: English Irma Damajanti; Ardhana Riswarie; Lulu Lusianti Fitri; RR Sri Wachyuni; Miryam Wedyaswari
Journal of Visual Art and Design Vol. 13 No. 2 (2021): 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.2021.13.2.4

Abstract

Therapeutic uses of art have been acknowledged since even before the emergence of art therapy as a discipline and profession. Over the last couple of years, the Psychology of Art course managed under the Visual Art Study Program ITB has included discussion and therapeutic artmaking practice for students from all over the university. During the beginning of the Covid-19 pandemic, the delivery of therapeutic artmaking practice in the classroom had to be adjusted. Therefore, a video guide was created to help the students to follow the course activities. This paper describes the process and the theoretical background of making the video guide as well as discussing some of the students’ reports using the self-concept framework and the effectiveness of distance therapeutic artmaking activities. The preliminary study used a quasi-experimental approach, specifically a pre-experimental design, towards Psychology of Art students in 2020. The data used included verbal reports and images, which were analyzed qualitatively using codification and content analysis with two raters to discuss the findings. The results showed that the activity was impactful towards students’ self-concept. In some findings, the participants elaborated how the activity had impacted them positively. In the future, this model of distant therapeutic artmaking can be further developed and distributed to give benefits to a larger audience.
Sebuah Penelitian Tentang Pan-Sensualisme Sebagai Bentuk Silang Budaya: Karya Seni Oleh Jim Supangkat; Ken Dedes (1975) Aprilia Ariesty Wibowo; Kiki Rizky Soetisna Putri; Irma Damajanti
Journal of Visual Art and Design Vol. 15 No. 2 (2023): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2023.15.2.7

Abstract

This study examined the use of the term ‘Pan-Sensualism’ in the discourse on contemporary Indonesian new art and how this manifested itself in artworks created at the beginning of the Indonesian New Order era (1966-1998). Jim Supangkat was one of the artists and initiators in forming the artist group Gerakan Seni Rupa Baru Indonesia (Indonesian New Art Movement), which then organized the first Seni Rupa Baru 75 exhibition in 1975. Jim Supangkat presented six installation works with different narratives, but Ken Dedes was the only one that presented the dialectic of traditional and modern culture. The Prajnaparamita, or Ken Dedes statue is presented with a drawing of the body of a woman wearing jeans with the buttons open. In looking at the formal, social-historical, cultural, feministic, and other elements in the work of Ken Dedes (1975-1996), we used the iconographic research method. This method helps to see several aspects of Supangkat’s visual works related to the aesthetic paradigm of Pan-Sensualism and the intersection of two cultural elements, i.e., high and low art, which may be distinguished based on social class appreciation.
Co-Authors Acep Iwan Saidi Acep Iwan Saidi Agustin, Senja Aprela Almira Belinda Zainsjah Almira Belinda Zainsjah Anggis Rizky Wiyaringtyas Anna Josefin Aprilia Ariesty Wibowo Ardhana Riswarie Armein Z. R. Langi Asmudjo Jono Irianto Btari Widya Pradipta Danial - Deden Hendan Durahman Diaz Ramadhansyah Handayani, Fanty Hidavat, Agustini Ira Adriati Ira Adriati Isni Sarah, Isni Karenina, Melita Jenar Kiki Rizky Soetisna Putri Lulu Lusianti Fitri Miryam Wedyaswari Nisa Ashila Ghaisani Nugroho, Edwin Adi Pradnya Kasita Purwaningrum, Rr Diah Asih Putri, Gaitsa Farah Zahira Riama Maslan Sihombing RR Sri Wachyuni Rupiani, Dewi Salsabilla, Zahra Sari, Yulianti Mayank Senja Aprela Agustin Soemari, Herlien Dwiarti Sylviana Maya Damayanti Tinton S, Bonifacius Perdana Trusti Warni Wikaningtyas, Pratiwi Yasraf Amir Piliang Yustina Intan Intan Wulandari Zuhdi, Helmi