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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi MUDRA Jurnal Seni Budaya Jurnal Bahasa Rupa Panggung IKRA-ITH Humaniora : Jurnal Sosial dan Humaniora specta: Journal of Photography, Arts, and Media Jurnal Invensi (Jurnal Penciptaan dan Pengkajian Seni) Jurnal Dimensi Seni Rupa dan Desain Aksa : Jurnal Desain Komunikasi Visual Retina Jurnal Fotografi Panggung Jurnal Bahasa Rupa
Aji Susanto Anom Purnomo
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Journal : Jurnal Bahasa Rupa

 1 
Fotografi Di Era Media Sosial : Studi “Toko Memorabilia” Karya Agan Harahap Aji Susanto Anom Purnomo
Jurnal Bahasa Rupa Vol. 1 No. 2 (2018): Jurnal Bahasa Rupa April 2018
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v1i2.200

Abstract

The development of photography technology in the era of social media currently contribute various problems that need to be studied and reflected. One of them is about the essence or meaning of the presence of "photography" itself. This paper reflect the essence or meaning of photography in the social media based on the theory of reading photographs "cynical phenomenology" by Roland Barthes through a case study study of "Toko Memorabilia" which is one of the social criticisms by the artist Agan Harahap. Memories Commodification and visual carnivals are two instruments of meaning that the author discovers in his critical reflection journey and will be described further through this study.
NARASI LIRIS FOTOGRAFI JURNALISTIK PADA MASA PANDEMI COVID-19: STUDI KASUS PROYEK FOTOGRAFI “STILL LIVES” OLEH THE NEW YORK TIMES Aji Susanto Anom Purnomo; Novan Jemmi Andrea; Monica Revias Purwa Kusuma
Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v4i2.714

Abstract

2020 is the year when the world is faced with a health crisis, namely the Covid-19 pandemic or also known as the Corona Virus. All aspects of life are affected by this crisis, the joints of humanity are faced with limitations. The mass media are intensively reporting various incidents regarding the Covid-19 pandemic. The stories are often accompanied by journalistic photos. One of the functions of photojournalism is to strengthen the story of what the media wants to convey. Journalistic photos during this pandemic usually feature scenes from medical activities, government policies and large narratives that are cold on empathetic human relations. However, different from most photojournalism in most mass media, The New York Times publishes "Still Lives" photography projects that are done by its photographers. The project presents a different narrative from this time of the pandemic. The “Still Lives” photography project is important because it presents journalistic photos that tell a domestic narrative that is close to the sides of universal humanity, namely the stories of the photographers' homes and families. This study aims to describe and interpret the “Still Lives” photography project as an alternative in creating a different narrative from photojournalism during the pandemic. This study used a descriptive qualitative research method based on phenomenology with Roland Barthes' main theory of semiotics and supported by journalistic photography theory and representation theory. The research results obtained a complete explanation and meaning of the “Still Lives” Project from The New York Times. The project according to the theory of photo journalistic is photo story based on personal experiences. From the analysis through the theory of semiotics from Roland Barthes and representation theory successfully obtained a result that basically projects “Still Lives” can be understood as a representation of the universal experience and feeling by mankind. Project “Still Lives” provides the representation of covid-19 pandemic through the mass media journalistic that show an alternative offer to journalistic practice to use lyrical narratives and personal experience in the story and more empathy in the mass publication of pandemic covid-19.
ANALISIS SEMIOTIKA PADA ILUSTRASI SAMPUL MAJALAH TEMPO BERTEMA TERORISME EDISI 13 – 27 MEI 2018 Luqman Wahyudi; Aji Susanto Anom Purnomo
Jurnal Bahasa Rupa Vol. 5 No. 2 (2022): Jurnal Bahasa Rupa April 2022
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v5i2.1066

Abstract

The cover of Tempo weekly magazine is known to be bold, critical, and sometimes controversial with its hidden meanings that are intentionally inserted (subliminal messages) in all fields (social, political, economic). This study was conducted to analyze the meanings and messages contained in a sample of three covers of Tempo magazine editions of 13, 20 and 27 May 2018 which featured terrorism cases, through three elements of Charles Sanders Peirce's semiotics, namely ground, object, and interpretant. The methodology used in this research is qualitative interpretative using semiotic analysis method. The results of this study are that the meaning of the sign that appear on the cover are closely related to acts of terrorism, prisoners who take hostage at the Brimob Mako detention house, a small child who is a suspect in a suicide bombing with his family, and students who stabbed Brimob intelligence officers in Kelapa Dua.The conclusion of researcher's interpretation when looking at the cover illustration is to disclosure  a series of terrorist acts in the May 2018.
Estetika Fotografi Eksperimental di Masa Pandemi COVID-19: Studi Kasus Pameran Finding Horizon Aji Susanto Anom Purnomo; Berliana Anisya Rahma
Jurnal Bahasa Rupa Vol. 6 No. 1 (2022): Jurnal Bahasa Rupa Oktober 2022
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v6i1.1204

Abstract

This research aims to reveal the impact of the pandemic situation on the aesthetic aspects of the artworks in the "Experimental Photography" course. Online lectures and social restrictions during the pandemic led to the emergence of a special strategy from the process of creating art works that reflected in these aesthetic aspect. The aesthetic aspect can reveal the changing value of the artwork.  The change of the value on these artworks can provide a reference in the creation of photography artworks, especially in the ideas and the development of technique. "Experimental Photography" course is a course that help student to be specializing in the art photography genre (fine-art). Art photography is one of the specialties of the Department of Photography at the Institut Seni Indonesia Yogyakarta which is also an important aspect for this research.  This study use qualitative descriptive research methods with the research populationn "Finding Horizon" Exhibition.  The research sample is the 12 best works chosen by lecturers during the exhibition. The sample will disclosed descriptively the aesthetic aspects using the theory of ideational aesthetics and technical photography according to Soeprapto Soedjono. The result of this study is a complete and reflective description of the ideational and technical aesthetic aspects of the "Experimental Photography" course work that was created during the COVID-19 pandemic. This description becomes a very important archive for future references to the learning process and the creation of photographic artworks, especially in the field of fine- art photography.
MITOS PEZIARAHAN PANTAI SELATAN MELALUI PERSPEKTIF PSEUDO-ETNOFOTOGRAFI Purnomo, Aji Susanto Anom
Jurnal Bahasa Rupa Vol. 7 No. 3 (2024): Jurnal Bahasa Rupa Agustus 2024
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v7i3.1530

Abstract

The creative process of creating fine-art photographic works so far is considered to have an emphasis on personal artistic expression. This research seeks to present an alternative offer where personal expression and socio-cultural phenomena can be cohesively intertwined and built in the creative process of creating fine-art photographic works. This is answered through the concept of pseudo-ethnophotography. Ethno-photography is an approach in social research that is the trajectory of photographic record and ethnographic narratives. The ethno-photographic method is used to understand society's point of view that gives meaning to a specific cultural phenomenon. Recent developments in the ethnographic approach gave rise to the concept of pseudo-ethnography. The idea arises from a new symptom of artwork creation where an artist descends into a community environment, conducts a brief interview, and then creates artwork from the data obtained. This research then adapts the pseudo-ethnographic approach with an ethno-photography approach to pseudo-ethnophotography. The South Sea entity (Laut Kidul) has a solid and deep-rooted myth for the Javanese. The figure that emerged from the myth is Gusti Kanjeng Ratu Kidul, the ruler of the The South Sea Palace. Parangkusumo Beach is one of the beaches located in the South Sea; Parangkusumo Beach is located in Bantul Regency, Special Region of Yogyakarta. Parangkusumo Beach has a role as a cultural entity that becomes the space of local myths. This myth strengthens the roots of Javanese identity, often known as Kejawen. This research sets out by applying the concept of pseudo-ethnography and adapting it to the pattern of creating photographic art into pseudo-ethnophotography. The stages of research used are literature study, observation, photographic recording, and data analysis. This study aims to offer a point of view that departs from the emic view of the myth of Parangkusumo Beach and its influence on the philosophy of the jawan of pilgrims. This research results in a series of photo works, which are pseudo-ethnophotographic recordings and textual narratives processed from data analysis and personal stories from pilgrims. This research is expected to present an understanding of the Javanese philosophy of the pilgrims who are part of their Javanese identity.
Co-Authors Berliana Anisya Rahma Dominikus Devlin Anggi Suryantoro Indra Dwi Prasetyo Kusrini Kusrini Kusrini Kusrini Kusrini, Kusrini Luqman Wahyudi Made Ariandra Bagaskara Marghaputra Marghaputra, Made Ariandra Bagaskara Monica Revias Purwa Kusuma Muhammad Alfariz Novan Jemmi Andrea Prasetyo, Indra Dwi Prayuda, Tegar Rahma, Berliana Anisya Siti Solekhah Suryantoro, Dominikus Devlin Anggi Tegar Prayuda