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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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Hak atas Kekayaan Intelektual ImplementasInya dalam BIdang SenI Rupa BasKoRo S. BanIndRo
Ars: Jurnal Seni Rupa dan Desain Vol 3, No 11: September-Desember 2010
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v3i11.117

Abstract

Intellectual Property Right and Its Implementation in Visual Art. The works of  visual art, the fine art and the  applied ones, are basically the results of  artistic creative  processes that have to be protected legally. The artists’capability in cultivating their ideas and creations in visual forms is a part of  their Intellectual Properties. It certainly  will provide the holders not only the economic values but also the spirit and motivation to improve their creative competence. Intellectual Property Right as one of  the legal protection devices is expected to be understood and accepted  by all artists, art lovers, designers, and art creators so that visual art  will dynamically develops and functions as a tool in the practice of  social control and correction with  any role they play:  contributors, sponsors or stake holders.
Merenungkan Kembali Gerakan Anti-Desain Mr. Sumartono
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.v1i1.234

Abstract

Desain (design) adalah sebuah kata yang memiliki pengertian sangat longgar. Kataini bisa digunakan tidak hanya dalam kaitan dengan proses perancangan karya-karyadesain interior, desain komunikasi visual/desain grafis, dan desain produk industri,tetapi juga dengan perancangan produk-produk rekayasa teknik (engineering) danpenciptaan karya-karya seni kriya. Akibat dari pengertian desain yang sangat longgar initidaklah mungkin bagi bidang ini menggantungkan diri pada satu pendekatan dalamproses perancangan. Gerakan anti-desainyang menjadi inti judul tulisan inibukanlahsebuah gerakan desain yang negatif (karena menggunakan sebutan anti-desain), tetapiadalah sebuah gerakan desain pada masa setelah Perang Dunia II yang menentangkemapanan pendekatan desain Modern Amerika (Amerika Serikat) yang hanyaberorientasi pada keuntungan finansial dan kurang mengakomodasi keberagaman citarasa desain yang didasarkan pada kompleksitas psikologi manusia. Untuk menyebut'gerakan anti-desain' saya tidak menggunakan huruf besar karena gerakan ini tidakbersifat spesifik tetapi mewakili berbagai gerakan di sejumlah tempat di dunia yangditujukan untuk menentang pendekatan desain Amerika itu. Amerika menjadi sasarangerakan ini karena negara ini menjadi pelopor komersialisasi desain. Padatahun 1930-an,Amerika memelopori pendekatan desain Modern yang didasarkan pada formula “desainbagus « bisnis menguntungkan”. Pendekatan desain ini memang pernah populer, tetapikemudian mendapatkan tentangan hebat dari gerakan anti-desain. Karena dalampendekatan desain Amerika ini keuntungan finansial menjadi tujuan utama, makaproduk-produk industri dibuat dengan cepat dan seragam (massproduction). Akibatnyaproduk-produk itu cepai membosankan. Masyarakat kemudian digiring untuk membeliproduk-produk lebih baru, yang juga cepat membosankan. Akhirnya masyarakatmenjadi objek eksploitasi tanpa henti. Mereka yang secara ekonomi mampu maupunkurang mampu sama-sama merasakan eksploitasi ini, tetapi bagi yang secara ekonomikurang mampu eksploitasi ini terasa lebih menyakitkan.Meskipun gerakan anti-desain berkembang di Eropa tidak lama setelah selesainyaPerang Dunia II, pengaruhnya di duniatermasuk di negara-negara berkembang sepertiIndonesiatetap terasa hingga sekarang ini. Di dunia, termasuk di Indonesia, pengaruh inimuncul dalam bentuk karya-karya desain bergaya Posmodern. Gaya Modern memangmasih hidup, tetapi gaya Posmodern tampaknya menjadi pilihan penting di masasekarang, termasuk di Indonesia.
FOTOGRAFER DAN RISET Pcntingnya Riset dalam Fotografi Prayanto WH.
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.v1i1.259

Abstract

W1ien an audience observes a picture or photograph, the resulting opinions might be varied, suchas that a picture is good or interesting; there is an emotional bond with a picture; a photograph conveysmemory, it has a story or a specific message. Basically, photography is a communicative medium since aphoto possesses a communicative value when it is used to deliver a message, or when it is an idea expressedto an audience so that there will be a similar understanding «> /0 its meaning When the “expressiono f the photo" is not clcar, not only its meaning but also its objective as well as the message it deliverswould be unclear - which means the communicative process does not work as it is supposed to. In orderto effectively express a message through a photo, in addition to obtaining a go a l idea, an appropriateand contextual "structure of photographic language' should be applied. This "structure o f photographiclanguage" includes the application o f technique, lighting and appropriate composition (aesthetics)In addition to possessing and mastering the above skills, it is necessary for a photographer to beaware o f undertaking research before conducting a photography session. Conducting research provides boththe photographer and also others interested in the photo with several advantages. It not only enables aphotographer to obtain good, interesting and beautiful photos, but the photo session will also be more effectiveand efficient because of this research. No matter how simple is the reason for conducting a photographysession; research should be earned out. Conducting research for photography - fo r aspects o f idea, techniqueas well as aesthetics - can encompass the problem o f identification, analysis, and developing a conclusionprior to the execution o f the photography session.Keywords: photography, photographer, research
WAYANG PANAKAWAN Drs. Sunarto, M.Hum
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.v3i9.106

Abstract

Panakawan is a group character in a wayang ( Javanese traditional puppet show) show. Each panakawan is unique and capable of explaining various roles. The group can be met in various types of wayang in Indonesia. The panakawan special characteristic is that unlike other wayang characters, they have the by design ugly, invalid and unroportional appearances. Since when these characters existed in the Indonesian wayang is unknown. It is necessary to investigate the historical aspect of Panakawan. There are two tracks can be followed in scrutinizing the characters, namely the verbal aspect and the pictorial aspect. In verbal aspect, the data was obtained from notes, writings, literary works, etc in the form of publications or manuscripts. In pictorial aspect, the data is gathered from pictures, things, artifacts, etc.Keywords: panakawan, historical, archelogical
Melihat Lomba Estetika Keris Nasional, MengIngat Kriya Seni M. Dwi Marianto
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.v1i14.141

Abstract

This article is the result of a further research on the phenomenon of kris (Java traditional dagger),  a material presented in the discussion held in the Kris Aesthetics National Competition. It studied  this phenomenon appearing in daily life. Kris is very often misunderstood so that its potential to be the icon of Nusantara society remains uncovered. There are three points deliberated in this article, namely 1) Creative education, promotion, and socialization needed to endorse the kris industry  and its artistic value elevation; 2) An opportunity to set Kris in a new position not only as a mystical object but also as an aesthetic object; 3) The role of social institutions, higher education institutions on art-including ISI Yogyakarta (Indonesia Institute of the Arts Yogyakarta), and the public in developing the knowledge, the education and the practice of keris making with the spirit of innovation and contextuality. Those three things are important to be reviewed considering that UNESCO has announced kris as a world heritage.Keywords: kris, UNESCO, ISI Yogyakarta
KERAMIK TRADISIONAL VERSUS KERAMIK MODERN DI SENTRA GERABAH KASONGAN Arif Suharson, S.Sn.
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.v1i4.248

Abstract

Ceramic artists and observers play an important role in the development c f traditional potteryproducts in Kasongan. Pottery products, which were only kitchenwares, have been transformed into bothfunctional and decorative products. Decorative nuance, as the product's characteristic o f this village, ismade by patching technique. Such a technique has made the village o f Kasongan become a famous touristdestination.Foreign demand fo r minimum or eliminated decorative patching has resulted in the disappearance o fthe patching technique. Thus, modern pottery products are combined with such other materials as agel,rattan, stern o f banana bunch, and others.The requirements o f becoming more competitive and obtaining a good market has changed theattitudes of Kasongan people to adjust to ongoing development. This has resulted in the fading o f thetraditional patching technique for the products. This paper is expected to provide further analysis o f theprospects o f Kasongan village development as vxll as an attempt to preserve the patching technique whichused to be a characteristic o f Kasongan pottery.Keywords: Ceramics, Patching technique.
Desain Arsitektur Pusat Perbelanjaan dan Fenomena Masyarakat Konsumen Laksmi Kusuma Wardani
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 (360.526 KB) | DOI: 10.24821/ars.v1i15.2821

Abstract

dern architectural designs tend to looksimilar. Tey are buit in massive forms withsimple geometry and perform structural andfunctional aesthetic values that show the mixtureof mechanical aesthetic elements and economicalaesthetics engineering. Te fact that there are a bignumber of shopping malls built in numerous citiesin Indonesia is the physical evidence of the moderndesign. It also indicates that consumerism culturegrows quickly in the pluralistic urban sociey
Apa Kabarmu Kartun Karikatur Indonesia? Agni Saraswati
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.v1i13.132

Abstract

Caricature is a kind of picture or a mockery cartoon which containing message or insinuation formed by deformation process to the original figure. Good caricature contained satire, distortion and ethics with usage of word or even without word at all. In real life, caricature become one of media alternative of protesting and criticize situation.Keywords: caricature, mockery cartoon, insinuation, satire
CITRA DIRI KARTUN INDONESIA Kajian Ilustrasi Grafis pada Garis Wajah Kartun dengan Wayang Asnar Zacky
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.v1i3.273

Abstract

It has to be admitted that there is an amazing similarity between the line o f Western Cartoon andWayang Purwa. It is recommended that this universality o f cartoon is used as a feedback to present and tostrengthen the self image o f the Indonesia cartoon.It is urgent to be done immediately before the irony, when the Western people and the Japaneseexplored and developed their cartoon by using inspirations that utterly rooted m Indonesian culture,happens again.Deep awareness o f and full attention given by Indonesian cartoonists to put the root o f Indonesianculture forzvard when they do their creative process is absolutely needed.Keywords: cartoon image, cartoonists’ attention, Indonesian culture root
Kemajuan Teknologi Dan Siasat Untuk Berkembang Ign. Hening Swasono
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 12: Januari-April 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.v1i12.124

Abstract

Technology Advance and Its Development Strategy. Art education organized by the Faculty of  Visual Art of  ISI Yogyakarta is related to the dynamic of  the art development in the visual art practitioners’ networking in both national and global level. The students enrich their knowledge and experience from inside as well as outside the campus by employing various strategies. Within this process, at many times the effort in achieving an artistic convention crashes with the artistic creativity that develops along with the world improvement. Market undeniably has to be considered in assisting the students to be ‘mature’ artists. It is also a must that art interacts with other fields of  science. Technology will hold an important position as new learning resources in the education of  art.Keywords: interdisciplinary, art, new technology, art education institution, art world

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