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All Journal Harmoni: Jurnal Pendidikan dan Penelitian Seni Budaya Jurnal Invensi (Jurnal Penciptaan dan Pengkajian Seni) Abdi Seni Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa SENI Indonesian Journal of Visual Culture, Design, and Cinema (IJVCDC)
Waryanti, Dessy Rachma
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Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER Dessy Rachma Waryanti
INVENSI (Jurnal Penciptaan dan Pengkajian Seni) Vol 1, No 2 (2016): Desember 2016
Publisher : Program Pascasarjana Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (961.633 KB) | DOI: 10.24821/invensi.v1i2.1611

Abstract

Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and social response at contemporary art exhibitions has been used as a base for this research. This study aims to highlight the different interest priorities as a visitor behaviour and audiens reception due to exhibition. I My respondences in this research is the exhibition visitors who had a background in art, but not necessarily in the discipline being exhibited. The results of this study will serve to determine the interest of art exhibition patrons, so that artists and curators can be made more aware of the gaps that exist between exhibit creation and viewer interest, and how those gaps can be better closed.
REPRESENTASI FEMINISME DALAM KARYA-KARYA SENI NFT PADA ERA SENI RUPA CYBER TECHNOLOGY Dessy Rachma Waryanti
Canthing Vol. 9 No. 1 (2023)
Publisher : Akademi Seni dan Desain Indonesia Surakarta

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Abstract

Representasi perempuan telah hadir dalam dunia seni rupa sebagai objek artistik yang memiliki konteks. Hingga saat ini gerakan feminisme dengan perjuangan gender tampak masih belum selesai dan memiliki rentetan agenda yang terus diupayakan. Seperti dalam memperjuangkan kesamaan dan persamaan hak perempuan dengan laki-laki, mengikis domestifikasi peran perempuan dan laki-laki. Artikel ini berusaha meninjau hasil dari gerakan feminis yang telah dilaksanakan sejak abad ke 18 melalui tinjauan karya seni rupa cyber (NFT) yang memiliki unsur feminisme. Penulis menggunakan metode penelitian deskriptif kualitatif dengan meneliti karya-karya pilihan yang merepresentasikan perempuan dari awal kemunculan seni modern di Indonesia hingga abad seni rupa cyber yang akrab disebut dengan NFT. Pendekatan teori yang digunakan adalah teori kajian analisis semiotika dan gender dengan model kritik seni rupa feminis dimana peneliti menulis dan mengkaji karya seni secara sadar sebagai perempuan “reading as a woman” untuk mencari citra perempuan dalam karya sastra (dalam hal ini visual) dan pandangan stereotip di dalamnya. Kesimpulan dari kajian ini adalah citra perempuan dalam karya seni modern yang berbeda dengan citra perempuan pada karya seni rupa masa kontemporer dan cyber. Identitas perempuan tak lagi hadir sebagai pendamping suami, isteri, dan ibu, namun lebih menampilkan semangat juang, independensi dan ekspresi kegiatan perempuan seharihari sebagai manusia dengan nilai produktivitas yang sama dengan laki-laki di dunia material dan dalam struktur sosial.Kata Kunci: Representasi, Feminisme, NFT, Era Cyber Tech
ARTISTS ON INSTAGRAM: KAJIAN BUDAYA POPULAR LIFESTYLE TERHADAP FENOMENA EMBARGO MANDIRI SENIMAN URBAN MELALUI MEDIA SOSIAL INSTAGRAM DESSY RACHMA WARYANTI
Harmoni: Jurnal Pemikiran Pendidikan, Penelitian Ilmu-ilmu Seni, Budaya dan Pengajarannya Vol 7, No 1 (2017): HARMONI
Publisher : Program Studi Pendidikan Seni Rupa Fakultas Keguruan dan Ilmu Pendidikan Universitas Muham

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26618/jh.v7i1.11729

Abstract

Kebutuhan untuk memiliki makna dalam masyarakat di era informatika ini adalah terbitnya keinginan untuk diakui dalam media virtual. Semakin diakui dalam dunia virtual terlepas dari apa yang nyata dalam dunia sadar manusia dianggap semakin populer dan menjadi pusat sorotan. Seniman dapat menciptakan pergerakan mereka sendiri dalam kancah embargo mandiri. Tanpa biaya dan tanpa ramah tamah dalam galeri, setiap seniman otodidak maupun profesional dapat memiliki pengakuan dan penggemar sendiri-sendiri. Hal ini merobohkan konsep batas antara proletar dan borjuis, otodidak dan akademis, setiap seniman mampu memiliki kesempatan untuk eksis dan populer dengan keunikan media yang mereka usung sendiri-sendiri.
Reading Art Therapy Practices as a Media for the Distribution of Mental Wellbeing in Indonesia Waryanti, Dessy Rachma
Indonesian Journal of Visual Culture, Design, and Cinema Vol. 3 No. 1 (2024): Indonesian Journal of Visual Culture, Design, and Cinema
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/ijvcdc.v3i1.11695

Abstract

Art practices have become an effective means of facilitating recovery and maintaining individual mental health in an activity called art therapy. Whether carried out according to medical advice in the form of intervention or non-intervention, both types of art therapy delivery practices have produced many positive things. This research article wants to read how art therapy practices and art itself are used in different social and scientific disciplines where the application is carried out according to scientific methods. Happiness, the regulation of human consciousness and control of emotions, can apparently be triggered by artistic activities and is accepted in medical practices. Based on the research method in this article which uses a literature study approach, there are differences from those in America and England. In Indonesia, the practice of art therapy still stands alone and is carried out by medical personnel, psychologists and psychiatrists. This is different from the practices carried out by Adrian Hill, Edward Adamson and Edith Kramer. The three art therapy experts explained that in the practice of art therapy, a medical therapist must be accompanied by an art practitioner or someone who has an art educational background as a counselor. It is important to ensure that the art therapy process is carried out with a deep understanding of creative exploration, aesthetics and local cultural context. The rest of this article also examines that art therapy is also very beneficial for the general public without diagnosed health problems in maintaining their mental health.
COLLECTIVE ETHNOGRAPHY OF PRINT MAKING IN YOGYAKARTA: A THEORETICAL STUDY OF ART AND SOCIETY Wirajati, Yohanes De Britto; Waryanti, Dessy Rachma
Acintya Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i1.6181

Abstract

The research entitled ‘Ethnography of Graphic Printmaking Collective in Yogyakarta: A Theoretical Study of Art and Society’ aims to analyse the institutionalisation process of two graphic print art collectives in Yogayakarta, namely: Grafis Minggiran and Krack! Printmaking Studio, and its influence on the art scene. The method that will be used in this research is ethnographic method with data collection techniques in the form of interviews and literature studies. This method was chosen in order to obtain a detailed depth of data from the experiences of the two graphic printmaking collectives. The results of this research are: (1) Both printmaking collectives endeavour to respond to art conventions (especially about techniques) in their art practices; (2) The formation of the collective is an on-campus tradition that spreads out; (3) Krack! Printmaking consistently makes the screen printing technique as a medium of expression in the realm of graphic printing art; (4) Krack! Printmaking then made the phrase ‘Ojo Wedi Mbleset’ (‘Don't be afraid to miss’) as their credo in carrying out the practice of silk screen/screen printing; (5) Grafis Minggiran makes the introduction of a wealth of techniques as its vision in art; (6) Grafis Minggiran is known as one of the (non-campus) graphic collectives that emerged the earliest and at the same time the initiator of the Yogyakarta Graphic Arts Week event.
PRODUKSI KARYA SENI RUPA MOOI INDIE DALAM BENTUK EDIBLE ART SEBAGAI STRATEGI INOVASI PEMASARAN WARISAN REMPAH DI SAECA CAFÉ, SURAKARTA Waryanti, Dessy Rachma; Primadewi, Nerfita; Anggoro, Albertus Rusputranto Ponco
Abdi Seni Vol. 16 No. 1 (2025)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v16i1.6642

Abstract

This study explores the design of edible art inspired by the aesthetic tradition of Mooi Indie painting and the sensory qualities of Indonesian spices through a collaborative community engagement project with the MSME partner, Saeca. Integrating visual art and molecular gastronomy, the project aims to produce intermedia artworks that are both culturally resonant and experientially rich. Employing the Design Thinking framework—Empathize, Define, Ideate, Prototype, and Test—the research applies a qualitative approach to analyze the symbolic, material, and sensory characteristics of traditional Indonesian spices within the context of art history. The resulting edible artworks reinterpret the idyllic and romanticized themes of Mooi Indie while showcasing the complexity and cultural significance of indigenous spices. These creations offer a novel intersection between food and fine art, functioning as sensory-based cultural expressions that respond to contemporary aesthetic and market needs. The findings highlight the potential of edible art as a medium for cultural storytelling, interdisciplinary innovation, and the preservation of local heritage through multisensory experience design.
PARODI GENDER SEBAGAI MEDIA KRITIK SOSIAL: STEREOTIPIKAL SIKAP PEREMPUAN DALAM KONTEN SOSIAL MEDIA Primadewi, Nerfita; Waryanti, Dessy Rachma; Abdullah, Varatisha Anjani
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i1.7171

Abstract

Artikel ini mengeksplorasi fenomena konten kreator media sosial laki-laki yang memerankan karakter perempuan dalam perspektif etika utilitarianisme. Dalam era digital, media sosial telah menjadi platform utama untuk ekspresi dan interaksi sosial, di mana konten kreator memiliki pengaruh signifikan dalam membentuk opini publik dan norma budaya. Tulisan ini berfokus pada tiga konten kreator terkenal di Indonesia: Ibu Hajat, Karmalogy, dan Meifang_sby, yang menggunakan karakter perempuan untuk memparodikan kebiasaan sehari-hari wanita. Melalui analisis kritis terhadap konten mereka, artikel ini menilai dampak positif dan negatif dari tindakan mereka berdasarkan prinsip-prinsip utilitarianisme yang dikembangkan oleh John Stuart Mill. Artikel ini juga membahas bagaimana identitas yang dibentuk di media sosial adalah hasil dari proses kurasi yang kompleks, serta pentingnya tanggung jawab etis bagi konten kreator dalam produksi konten yang menghibur dan mendidik.
Co-Authors Abdullah, Varatisha Anjani Albertus Rusputranto Ponco Anggoro, Albertus Rusputranto Ponco Primadewi, Nerfita