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Suryo Tri Widodo
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Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta, Jl. Parangtritis Km. 6,5 Sewon, Bantul, D. I. Yogyakarta, 55188, Indonesia
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Ars: Jurnal Seni Rupa dan Desain
Published by Institut Seni Indonesia Yogyakarta
ISSN : 18297412     EISSN : 25807374     DOI : https://doi.org/10.24821/ars.v27i3
Core Subject : Humanities, Art,
Arts Humanities
Ars: Jurnal Seni Rupa dan Desain merupakan jurnal ilmiah berkala yang diterbitkan oleh Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta. Jurnal ini bertujuan memublikasikan karya ilmiah berupa hasil penelitian, penciptaan, pengkajian, serta studi pustaka di bidang seni rupa, kriya, dan desain. Ars: Jurnal Seni Rupa dan Desain terbit tiga kali dalam setahun, yaitu pada periode Januari–April, Mei–Agustus, dan September–Desember. Sejak volume 21 tahun 2018, Ars telah terakreditasi Sinta 4, dan seluruh artikel yang diterbitkan telah dilengkapi dengan DOI (digital object identifier).
Arjuna Subject : -
Articles 249 Documents
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GAMBAR INFORMASI M. Umar Hadi
Ars: Jurnal Seni Rupa dan Desain No. 7/Januari - April 2008
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i2.267

Abstract

/Is an applied art, Visual Communication Design is expected tobe able to deliver information effectively.When understanding the issue, a designer would realise that drawing is not merely presenting beauty butshould be o f meaning to the audience. Depicting information is not an easy matter because its spirit is toprovide a service to the public through an easily absorbed sign ur visual language.Each target group has a different background such as geography, psychography, social status, etc.,which influences their absorptive capability towards an oltject. This becomes a subject fo r those who studyat the Visual Communication Design department so as to be able to present appropriate information. Ir.fact, Otto Net/rath - with his ISOTYPE - has inspired them to design effective symbols for the publicUsing a simple form, representing objects appropriately can make a picture become more informative.Keywords: picture, information
(BUDAYA) KEMASAN WINGKO BABAT Natalia Afnita
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 10: Januari-April 2009
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i10.116

Abstract

it. It is special because, one among the others, its packaging. The development of Wingko Babat packaging provides us with information about the paradigm and taste shift happens to the society (producers and consumers). The sift occurs in line with the snack production and marketing.In Semarang, Wingko Babat packaging is similar among various brands. But still it can be identified the differences. The similarity opens a discussion about the forming of practical discourse on the packaging process.Keywords: packaging design, illustration, modernity
Mengubah "Kebetulan” men jadi " Kebenaran” Yang Unik-unik dalam Aktivitas dan Proses Kreasi Seni Rupa Mr. Subroto Sm.
Ars: Jurnal Seni Rupa dan Desain No.1 TH.1 April 2004
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.233

Abstract

Dalam bahasa Indonesia arti kata “betul" sama dengan “benar”. Tetapi ketikamasing-masing diberi awalan dan akhiran ke an, artinya menjadi berbeda, yaitu“kebetulan” dan “kebenaran". Kebetulan, berarti suatu keadaan yang terjadi karenatidak diduga atau tidak disengaja, mendadak, spontan atau untung-untungan. Adapunkebenaran lebih kurang berarti sesuatu yang bernilai atau berharga jika dipandang baikdari akal, budi dan nurani.Dalam proses kreasi seni banyak peristiwa yang unik, aneh atau tak terduga.Peristiwa unik itu bisa saja dalam proses penemuan ide-ide baru, medium, atau teknik.Sehingga dari sana tidak mustahil dilahirkan bentuk-bentuk tertentu yang menandaihadirnya sebuah aliran seni atau gaya seni yang beraneka macam.Hal-hal yang dianggap kebetulan di dalam aktivitas dan proses kreasi seni tidakjarang oleh seniman disadari sebagai suatu berkah atau anugerah, karena kemudian iamengubah “kebetulan” itu menjadi suatu “kebenaran”, bahkan mungkin menjadiprinsip dalam berkeseniannya.
SEPENGGAL FENOMENA SEPUTAR WACANAISTILAH SENI KRIYA DAN PERKEMBANGANNYA D E WAS A INI Sekilas Perkembangan Kriya Tekstil di ISI Yogyakarta Suryo Tri Widodo
Ars: Jurnal Seni Rupa dan Desain No. 6/September - Desember 2007
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.258

Abstract

Discourses and developments o f art craft itr Indonesia arc always interesting to be discussed.Discourses on the term of "seni kriya" are, in fact, inseparable from the similar one, i.e. "kriya ". The term"seni kriya" and "kriya", indeed, possess different cultural background. When an artist creates a worko f art craft, he/she does not concern about these discourses. On the contrary, in an academic level, thesediscourses can sometimes become a problem, especially when it comes to giving the meaning of art craft.This article attempts to discuss those problems. At first, there will be a description about the origino f the term “seni kriya", in addition to the explanation on the term "kriya ". Liter, the present conditiono f art craft discourses will be presented. The last presentation would be the development oj art-crafi works.In order to provide the reader with more clear explanation, the development happened in the Department ofCraft, the Faculty o f Visual A rt, ISI Yogyakarta-especially in the textile art craft made by the department’sstudents - are included.Keywords: art discourse, craft (high art), craft textiles
PRODUKSI TENUN ATBM DENGAN APLIKASI DAN VARIASI PAKAN NON BENANG Suryo Tri Widodo
Ars: Jurnal Seni Rupa dan Desain No. 9/ September - Desember 2008
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v3i9.105

Abstract

ATBM (non mechanical weaving equipment) is very popular in Indonesian weaving. There are various types of woven cloth in Indonesia, such as lurik, warp ikat, double ikat and songket. Indonesian weaving has been developing in many aspects. An innovation on weaving material is significant in the technical aspect of the production process. When ATBM is operated, usually the thread material is used.Nowadays, in addition to the thread material, the non thread ones are also applied.  This article will discuss about the non thread material application on the interior products.Keywords: ATBM, craft textile, non thread weft, weaving material, weaving  
Subroto Sm. dan Konvensi Dalam Seni Rupa Rain Rosidi
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 14: September-Desember 2011
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i14.140

Abstract

Banyak pendapat yang menyatakan bahwa dosen seni rupa di ISI Yogyakarta tidak dapat berperan secara maksimal sebagai seorang seniman. Secara sosial, fungsi pendidik seni ditempatkan sebagai bagian dari struktur support yang mempersiapkan mahasiswa seni menjadi calon seniman.  Fungsi ini mengurangi kesempatan seorang dosen seni untuk merintis karir kesenimanannya sendiri. Karir seniman perupa mempunyai sifat khusus yang berbeda dengan karir di bidang lain, karena karir di bidang ini susah diukur tingkat profesionalitas kerjanya, batasan waktu kerja, ruang kerja, dan jangkauan karirnya di masyarakat secara luas. Dosen seni harus mengadakan pertemuan-pertemuan belajar mengajar dengan mahasiswanya di kelas atau studio, dan juga segala aktivitas sebagaimana dosen bidang lainnya, sementara untuk menjadi seniman, dia juga harus menyisihkan waktunya bekerja di rumahnya untuk membuat karya seni. Diluar proses produksi karya, seorang seniman juga dituntut untuk selalu mengeksplorasi kreativitasnya dengan mencari bentuk-bentuk dan gagasan-gagasan baru. Proses penciptaan karya seni memerlukan waktu dan konsentrasi tinggi dari pelakunya. Kendala waktu menjadi salah satu alasan kuat yang membatasi peluang mereka menjadi seniman yang utama atau yang sering disebut sebagai “full time artist”. Pada kenyataannya, terdapat sebagian kecil dosen yang dengan kemampuan yang dimilikinya tetap mengambil bagian dari medan sosial seni utama di Indonesia. Mereka berkarya di sela-sela waktu luang mengajar disisihkan untuk membuat karya seni. Persoalan biaya hidup menjadi masalah yang sudah terselesaikan, walaupun pada akhirnya para dosen yang seniman juga mengalami kesulitan pendanaan untuk membuat karya yang berbiaya tinggi.
Pita Maha ‘Koalisi’ Estetik Seni Lukis Klasik Bali dengan Seni Rupa Modern Arya Sucitra
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 15 (2012): Januari - April 2012
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (467.952 KB) | DOI: 10.24821/ars.v1i15.2819

Abstract

Te current Balinese culture is the resultof the acculturation of the local culture andthose that come from outside the island. Teacculturation process brings about a variety of stylesand ornamental hybrids that can be identifedapparently in architecture, dance, clothing, and ofcourse visual art.Tis paper attempts to fnd out the spirit ofthe transformation by reading the history of art.Te aesthetics of Balinese visual art is based onthe combination concept of the classical Balinesepainting and the Western modern art movements.Te study is done by studying the achievementsaccomplished by the Pita Maha. Signifcantchanges have taken place in the frameworkof Balinese art. From the technical point ofview, the introduction of paper, plywood andcanvas as painting media provides new stylisticopportunities. Meanwhile from the thematicperspective, secularization of representation occurs;it no longer performs the religious function butholds an economic value. Strong influence ofmodern science is seen at the organization of spacein the composition, perspective and anatomicalconsideration. Wayang (shadow puppet) fgures arenot dominated by formal form anymore.
Keris Kamardikan Surakarta Febrian Wisnu Adi
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 13: Mei-Agustus 2011
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i13.134

Abstract

The aim of this research is to be searched about aesthetic and historical background that includes the shape, meaning, and function as well as the factors that underlie keris kamardikan in Surakarta. The analysis of the keris kamardikan Surakarta is not a simple matter.  The question such as: what keris kamardikan is; why it had been created; when it start created; whose the man behind of created; where place that keris kamardikan has been exsist; and how about the histocal about it. Change of palace culture maybe happen to the progresive culture with any perception. It can be indicated like social criticism movement in postmodern age, such as: happening art, environmental art, etc. While the factors underlie the similarities and differences are the internal and external factors. The Internal factors are the rules and policy stated by the actor in this regions. The external factor is the factor happens because the society social condition that is more developed as well as the policy of the government of Republic of Indonesia in the tourism sector. The method used in the research is qualitative research with multidicipline approach focusing on the study of art. Aesthetic approach is used for relating the style of art.  This approach is used with other approaches and use the relevant teories such as: history, communication, anthropology, archeology, and sociology. This research has conelude that movemen of keris kamardikan Surakarta is in the structure or style. Historical background of movement started on 1970 in case of many keris artist in Surakarta created it with many purposed, basicly keris Kamardikan Surakarta have two poin of movement, there are an aesthetic and historical.Keyword: keris, kamardikan, Surakarta, aesthetic, and history.
INTENSIFIKASI PROSES PENCIPTAAN SENI RUPA Mr. Sunaryo
Ars: Jurnal Seni Rupa dan Desain No. 4 / Januari - April 2007
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i4.247

Abstract

Di tengah situasi percepatan global dan perkembangan seni rupa internasional dewasa ini,seniman dituntut untuk mampu bersaing dalam arena yarg semakin luas dan kompetitif.Persentuhan seni rupa Indonesia dengan lingkaran-lingkaran lebih luas, seperti dalam Biennaleatau Triennale Internasional, sejak awai 90-an mengindikas.kan hal tersebut. Kita juga bisamencermati ge|ala paling mutakhir, yakni karya-karya seni ru?a Cina menyerbu galeri-galeri ditanah air. Meningkatnya skala persaingan semacam ini menyebabkan para seniman Indonesiaharus memperdalam proses kreasinya secara lebih intensif dan kontinvu agar karya-karya yangdihasilkannya mampu merefleksikan tingkat pencapaian artistik yang terus berkembang dantetap memperlihatkan keunikan atau jati dirinya.Dalam konteks penciptaan seni rupa, banyak upaya yang bisa dilakukan agar kreativitasseorang seniman tidak mandeg atau beku. Untuk orang-orang kreatif, situasi persaingan justrumerupakan tantangan yang bisa mendorong lahirnya gagasan-gagasan artistik yang baru secararadikal. Namun saya tidak akan menjelaskan teori-teori mutakhir tentang kreativitas manusia.Saya hanya akan berusaha berbagi apa yang saya fahami dan pelajari dari pengalaman seliari-harimengamati proses kreasi para seniman, mahasiswa seni mpa dan karya-karya mereka. Contohcontohseniman dan karya-karya yang akan saya kemukakan kali ini juga bukan patokan yangmengikat.
RELATIONAL AESTHETIC DALAM DUNIA SENI KONTEMPORER Alvi lufiani
Ars: Jurnal Seni Rupa dan Desain No. 8/ Mei - Agustus 2008
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i3.272

Abstract

Relational aesthetic identified by a Tranch theorist and cumtor, Nicolas Bourriaud, has been anemerging art movement that consistent in fudging artworks on the basis o f the inter human relationso f which they represent or produce. Instead o f the artists' capability, the Relational aesthetic places theaudiences or viewers to be the key factor fo r the success o f an exhibition or performance. The number o fcontemporary artists who exercise performative and interactive techniques- which rely on others, evensometimes strangers- is growing. Without any participation from the others, there will be no art -worksprotluced.A critical thought from an art history professor, Claire Bishop, makes the development o f therelational aesthetic in the art worid even more dynamic, both socially and artistically. She studied what typeo f relation being engaged, fo r whom and fo r what reasons.Keywords: relation, audience, participation

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