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Journal of Visual Art and Design
ISSN : 23375795     EISSN : 23385480     DOI : -
Core Subject : Humanities, Art,
Journal of Visual Art and Design welcomes full research articles in the area of Visual Art and Design from the following subject areas: Design History, Art History, Visual Culture, Design Methodology, Design Process, Design Discourse, Design and Culture, Sociology Design, Design Management, Art Critism, Anthropology of Art, Artifact Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architecture, Film, Multimedia, Creative Industry, Design Policy, and other historical, critical, cultural, psychological, educational and conceptual research in visual art and design. Publication History Formerly known as: ITB Journal of Visual Art and Design (2007 – 2012)
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Articles 8 Documents
Search results for , issue "Vol 9, No 1 (2017): Journal of Visual Art and Design" : 8 Documents clear
BACK MATTER VOL.9 NO.1, 2017 Design, Journal of Visual Art and
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

Mendengarkan Warnamu (Sebuah Eksperimen Mengenai Hubungan Pirsawan Dengan Ruang Seni) Yeru, Aulia Ibrahim
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (481.94 KB) | DOI: 10.5614/j.vad.2017.9.1.1

Abstract

Abstrak. Karya penulis dalam proyek ini banyak mengambil inspirasi dari proses produksi konsumsi yang terjadi pada ruang. Konteks ruang pada karya penulis kali ini ialah format ?white cube? yang menjadi standar bagi ruang seni. Dengan warna putih pada dinding, ruang seni menjadi bersih dan netral tanpa terbebani konteks ruang dan sosial sekitarnya. Format ini mengandaikan ruang seni sebagai ruang yang netral-dimana secara fisik dapat mengakomodasi kepentingan untuk menjadikan karya seni sebagai fokus utama di dalam ruang tersebut. Namun ?whiteness? ini tidak bekerja semata karena cat putih sebagai perangkat satu-satunya yang berpengaruh terhadap persepsi sang pencerap, namun pula terdapat bagian pirsawan sebagai pencerap warna putih itu sendiri. Karya penulis menitikberatkan pada intervensi proses dalam mencerap warna putih tersebut. Intervensi tersebut dilakukan dengan cara menyasar unsur penting yang mempengaruhi kondisi ruang, yakni cahaya. Kemudian penulis menaruh peran pirsawan secara harfiah sebagai penentu penting dalam bagaimana kondisi ruang tersebut terbentuk. Caranya ialah membuat perilaku pirsawan di dalam ruang mempengaruhi cahaya yang ada di dalam ruang tersebut. Peran perantara tersebut dimungkinkan oleh perangkat elektronik yang dirancang oleh penulis dan tim. Perangkat ini akan menangkap reaksi suara pirsawan di dalam ruang untuk kemudian dijelmakan menjadi warna yang mempengaruhi persepsi pirsawan atas ruang yang didiaminya. Dengan cara ini penulis menempatkan karya penulis sebagai upaya untuk meremediasi persepsi pirsawan dengan ruang seni. Melalui eksplorasi hubungan presentasi karya seni di dalam ruang pamer, dalam hal ini menghadirkan kontras antara yang dicerap dengan bagaimana karya tersebut dibuat secara teknis, pirsawan menjadi subjek aktif, sebagai orang yang menghasilkan dan mengalami karya itu sendiri. Kata kunci: partisipatori; pirsawan; ruang; warna; suara. Listen to Your Color (Experiments of Viewers and Art Space Relations)Abstract. The author?s work in this project takes a lot of inspiration from the consumption of production processes that occurs in space. The context of space in this author?s work is that of the "white cube" which has become the standard format for art exhibits. With white colored walls, art exhibits are imagined to be clean and neutral, detached from the surrounding space and social context. This format assumes the art exhibit as a neutral space that can physically accommodate a work of art as the main focus in the room. However, the "whiteness" does not work simply because the white paint is the only medium affecting the perception of the perceiver; there are also viewers who are perceivers of the white color itself. The process of perceiving is an active process, where the viewer?s body plays an important role in what is perceived. The author?s work focuses on the intervention process of perceiving the white color. This was done by intervening the light setting, which is crucial in the perception of white. Then the author placed viewers as important determinants in shaping the condition of space. The trick is to make the behavior of viewers in the room affect the light in the room. The role of intermediaries is made possible by electronic devices designed by the author and the team. The device will capture the viewers? sounds in the room, which is then converted into a color that affects the perception of the viewers of the space they live in. By doing so, the author places his work as an attempt to remediate the viewers? perception of art space. Through exploration of the relation with the presentation of works of art in art exhibits, this work presents a contrast between what is perceived with how the work was created, then viewers become active subjects, as people who produce and experiencing the work itself.Keywords: participatory; viewers; space; color; sound.
Cover Vol. 9 No. 1, 2017 Design, Journal of Visual Art and
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3543.189 KB)

Abstract

Bhayangkara (Tafsir Visual Peristiwa Sejarah Perang Bubat) Ramadhan, Mochammad Sigit; Siregar, Aminuddin T.H.
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1087.34 KB) | DOI: 10.5614/j.vad.2017.9.1.2

Abstract

Abstrak. Menelusuri lebih jauh sejarah kepolisian, nama Bhayangkara yang tersemat di korps Kepolisian Republik Indonesia berasal dari nama pasukan Bhayangkara yang merupakan pasukan khusus yang dipimpin oleh Patih bernama Gajah Mada di masa Kerajaan Majapahit. Adanya kesamaan nama Bhayangkara yang menjadi nama lain korps Polisi Republik Indonesia dengan Bhayangkara yang merupakan pasukan khusus Kerajaan Majapahit, serta adanya kesamaan unsur penyalahgunaan kekuasaan yang dilakukan oleh oknum-oknum Bhayangkara di dua masa yang berbeda tersebut mendorong penulis untuk melakukan peninjauan kembali terhadap konsep Bhayangkara dulu dan sekarang. Pada karya tugas akhir ini penulis memposisikan diri sebagai penafsir sebuah peristiwa sejarah yang dituliskan secara visual berdasarkan intensi penulis sebagai otoritas yang berkuasa atas karya yang merupakan manifestasi penafsiran peristiwa sejarah. Penulis mempertanyakan identitas dan kuasa polisi melalui sebuah penafsiran kembali peristiwa sejarah Perang Bubat yang terjadi di abad ke-14, melalui medium seni grafis cetak tinggi cukilan kayu yang dalam sejarah perkembangannya digunakan juga sebagai media propaganda untuk menyebarkan sebuah pandangan terhadap suatu wacana sosial politik dalam sistem berpikir khalayak. Karya ini diharapkan dapat menjadi bahan tinjauan kritis dan pembelajaran atas kejadian yang terjadi berabad-abad silam dalam konteks kesekarangan untuk dimaknai sebagai peristiwa sejarah yang perlu dipahami dalam menyikapi masa depan.Kata kunci: bhayangkara; penafsiran; polisi; propaganda; sejarah; seni grafis.Bhayangkara (Visual Interpretation of the Bubat War Historical Event)Abstract. Exploring the history of the Indonesian Police, the name Bhayangkara as contained in the Indonesian National Police corps comes from Bhayangkara, the elite guard in the Majapahit Kingdom that was commanded by Patih Gajah Mada. The similarity of the name Bhayangkara, which is another name of the Indonesian National Police corps, and Bhayangkara, the elite guard in the era of the Majapahit Kingdom, and the similarity of power abuse by several people or parties inside Bhayangkara in these two different eras pushed the authors to re-observe the concept of Bhayangkara in the past and today. In this artwork, the authors position themselves as interpreters of a historical event represented visually based on the authors? intention as an authority over the artwork as a manifestation of the interpretation of a historical event. About the authors question the police?s identity and power through the reinterpretation of the historical event of the Bubat War in the 14th Century. Using a xylography woodcut printmaking technique that historically was developed as a propaganda medium to influence the audience?s perception on social and political issues. This artwork is intended as a substance of critical observation and a learning material about the historical event that happened centuries ago in a contemporary context to be interpreted in facing the future.Keywords: bhayangkara; history;  interpretation; police; printmaking; propaganda.
Front Matter Vol.9 No.1, 2017 Design, Journal of Visual Art and
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (42.219 KB)

Abstract

Urban Paranoia II Bastari, Rendy Pandita; Siregar, Aminudin T.H.
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (515.482 KB) | DOI: 10.5614/j.vad.2017.9.1.3

Abstract

Abstrak. Kriminal adalah masalah yang sulit untuk dipecahkan, di negara yang paling aman pun masih terjadi kasus kriminal, inilah mengapa kriminal adalah kasus yang hampir mustahil untuk dipecahkan. Kriminal adalah sesuatu yang membahayakan kita karena mengancam kita secara materi dan juga secara mental. Ketika berita menenai kriminal tersebar memalui kecepatan informasi media massa, maka informasi tersebut secara tidak langsung menjadi sebuah teror. Teror disini tentu saja bersifat imajinatif, artinya apa yang kita takuti adalah ketakutan kita sendiri, singkatnya kriminal membuat kita semua paranoid secara tidak sadar. Untuk mengatasi masalah personal ini penulis menemukan seni sebagai sesuatu yang bersifat terapeutik, yakni pengalihan enerji alam bawah sadar kepada sesuatu yang lebih berguna. Sebagai salah satu yang mengalami teror berita kriminal tersebut. penulis ingin merepresentasikan fenomena tersebut, maka penulis akan membuat karya seni berdasarkan dari unsur piktorial konten media massa, yakni menggunakan foto-foto berita kriminal dari media massa (elektronik maupun cetak) yang representatif di kota Bandung. Dengan foto-foto tersebut penulis akan menambahkan figur simbolik dari kebudayaan Indonesia dengan metode yang juga bersifat imajinatif dan kompulsif yakni drawing secara digital.Kata kunci: digital; drawing; kriminal, seni, terapeutik; teror.Urban Paranoia IIAbstract. Crime is a difficult problem to solve. Even the safest countries experience crime, this is why crime is almost impossible to abolish. Crime is something that endangers us because it threatens us materially and mentally. When a crime story spreads with the speed of mass media's information, that information implicitly becomes a terror. The terror in this case, of course, is imaginative. In other words, what we fear is fear itself. In short, crime unconsciously makes us paranoid. To resolve this personal problem, the authors found art as something therapeutic, i.e. a diversion of our unconscious energy to something more beneficial socially and personally. As some of many experiencing the terror of the crime stories, the authors want to represent the phenomenon. The author, therefore, would like to create an artwork based on mass media's pictorial content, using published crime stories? photos from representative mass media in Bandung. With these photos, the authors will add a symbolic figure from Indonesian's culture with an imaginative and compulsive method, namely digital drawing. Keywords: art; crime; digital; drawing; therapeutic; terror.
Knowledge of Art in Malaysian Contemporary Visual Art Mat, Mohamad Faizuan
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (177.735 KB) | DOI: 10.5614/j.vad.2017.9.1.4

Abstract

Malaysia has a scarcity in the presentation of art knowledge through visual art. Therefore, this study aims to investigate the importance of art knowledge in the field of visual art. In fact, Malaysian contemporary visual artists appear to have insufficient values of intellectualism and lack shared vision. The intention of this study was to reveal the factors in Malaysian visual arts that led to the crisis in art knowledge development. This project uses a qualitative triangulation method in order to reveal similarities from face-to-face interviews and document studies. The analysis was supported by evidence obtained from observation of several art discourses. The findings of this study revealed the importance of world knowledge and perception of art based on critical thinking. In addition, the results of this study also present the awareness of the valuable contributions of art knowledge in visual art. This paper revealed the factors that lead to the unconvincing development of art knowledge, specifically in Malaysia. The importance of art knowledge can be investigated further in order to validate visual art as an intellectual product that communicates knowledge.
Individual Fired Brick Domestication in Nigeria Akinde, Toyin Emmanuel
Journal of Visual Art and Design Vol 9, No 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1483.969 KB) | DOI: 10.5614/j.vad.2017.9.1.5

Abstract

Individual fired brick domestication is not widely practiced; yet the fired brick has played and will continue to play an immense role in the global built environment. Its pivotal task of creating and sustaining architectural structures is ancient and has permeated through to contemporary times courtesy of clay?s colossal vitality. Clay exploration and exploitation are perhaps most apparent in fired brick production, particularly in first-world countries with a diverse range of clayware such as bricks and tiles. This development has not been fully maximized in Nigeria as a result of the small number of refractory plants whose total production capacity is beneath the nation?s building requirements. This scenario makes fired brick procurement costly and limits its accessibility; consequently, it promotes socio-built inequality among viable fired brick prospectors. In view of the aforementioned, this paper advocates individual fired brick domestication in Nigeria?s rural and suburban settlements, providing concise practical details, from materials identification and mould fabrication to brick production. When fully harnessed, this is hoped to create jobs, alleviate the country?s fired brick deficit, boost individual economic standing, communal economies and ultimately the national economy. Possibly it could serve as a template in similar settings around the world.

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