scholarly journals The Art Form of Wedha’s Pop Art Portrait (WPAP)

2021 ◽  
Vol 8 (1) ◽  
pp. 1-12
Author(s):  
Angga Kusuma Dawami ◽  
Martinus Dwi Marianto ◽  
Suwarno Wisetrotomo
Keyword(s):  
Visual Arts ◽  
Line Drawing ◽  
Pop Art ◽  
Formal Approach ◽  
Early Appearance ◽  
Art Form ◽  
Market Trends ◽  
Magazine Covers ◽  
Economic Motives

Wedha's Pop Art Portrait (WPAP) has become one of the most popular visual arts in Indonesia since Wedha Abdul Rasyid decided on this style in 2010. A decade later, WPAP became part of visual arts in Indonesia, used by many millennial designers, sheltered by the chapter community in regions; Jakarta chapter, Jogjakarta chapter, Surabaya chapter, etc. Visual arts-based on faces is a strong characteristic of WPAP. Only a few have achieved the WPAP form in accordance with the art form that Wedha first brought up. Economic motives became the biggest influence on the change in orientation from WPAP art to commodity. Therefore, the art form in WPAP tends to follow market trends. This paper tries to define the existing art in WPAP, with the formulation of the problem: what is the art form in WPAP in Indonesia? The formal approach to art is an important part of knowing art in WPAP. Through descriptive-analytic, an explanation of the art form in WPAP according to the Wedha’s experience is presented in this paper. The analysis is using an analysis of interactions between members of the WPAP community in several chapters which already have a "chapter" community. The art form in WPAP has almost the same characteristics as Wedha's work in the early appearance of WPAP. Wedha had a past that grapples with artwork; making illustrations, making magazine covers, making comics, and so on. The makers of WPAP in the WPAP community also have an art form in WPAP that is the same in pattern, because it is based on WPAP that was initiated by Wedha at the beginning of its appearance. The art form in WPAP has characteristics in color and line drawing. Bentuk Seni dari Wedha’s Pop Art Portrait (WPAP) Abstrak Wedha's Pop Art Portrait (WPAP) menjadi salah satu seni visual yang banyak digemari sejak Wedha Abdul Rasyid memutuskan gaya ini pada tahun 2010. Satu dekade berikutnya, WPAP menjadi bagian dari seni visual di Indonesia, digunakan oleh banyak desainer milenial, dinaungi oleh komunitas chapter yang ada di wilayah-wilayah; chapter Jakarta, chapter Jogjakarta, chapter Surabaya, dll. Seni visual berbasis pada wajah, menjadi ciri khas yang kuat pada WPAP. Hanya sedikit yang mencapai bentuk WPAP yang sesuai dengan bentuk seni yang Wedha munculkan pertama kali. Motif ekonomi menjadi pengaruh terbesar pada perubahan orientasi dari seni WPAP menjadi komoditi. Sehingga bentuk seni dalam WPAP cenderung untuk mengikuti tren pasar. Tulisan ini mencoba untuk mendefinisikan seni yang ada dalam WPAP, dengan rumusan masalah: Bagaimana bentuk seni dalam WPAP menurut komunitasnya di Indonesia? Pendekatan formal seni menjadi bagian penting untuk mengetahui seni dalam WPAP. Melalui diskriptif-analitik, penjelasan tentang bentuk seni dalam WPAP menurut komunitasnya disajikan dalam tulisan ini. Analisis yang digunakan adalah analisis interaksi antar anggota komunitas WPAP di beberapa chapter yang telah memiliki komunitas “chapter”. Bentuk seni dalam WPAP memiliki ciri khas yang hampir sama dengan karya Wedha pada awal-awal kemunculan WPAP pertama kali. Wedha memiliki masa lalu yang bergulat dengan pekerjaan seni; membuat ilustrasi, membuat cover majalah, membuat komik, dan lain sebagainya. Pembuat WPAP di komunitas WPAP juga memiliki bentuk seni dalam WPAP yang sama secara pola, karena memang berbasis pada WPAP yang dicetuskan oleh Wedha pada awal kemunculannya. Bentuk seni dalam WPAP memiliki ciri khas dalam warna, tarikan garis, pemilihan pallet, konstruksi wajah.

Hepworth, Dame (Jocelyn) Barbara (1903–1975)

2018 ◽  
Author(s):  
Helena Bonett
Keyword(s):  
Visual Arts ◽  
Large Scale ◽  
New Materials ◽  
Art Form ◽  
Male Dominated ◽  
Abstract Sculpture

Barbara Hepworth was a sculptor, draughtsperson, painter and printmaker, born in Yorkshire but based in London and St Ives in Cornwall, with a career spanning from the late 1920s to her death in 1975. Known for her pioneering abstract sculpture—including pierced forms and multipart arrangements—Hepworth was one of the leaders of the modernist movement in British visual arts. Her work also shares a confluence of ideas with modernists on the continent, many of whom she first met in France in the 1930s. At that time, her work was predominantly carved in wood and stone, but from the 1940s Hepworth began working with new materials, employing stringing and color in her carved pieces, and, in the following decade, using plaster and bronze to create large-scale works. She was a member of many groups, including Abstraction-Création in Paris, the 7 & 5 Society and Unit One in London, and the Penwith Society of Arts in St Ives. Engaged in a male-dominated art form, Hepworth struggled to gain the same recognition as contemporaries such as Henry Moore. Despite these difficulties, however, she gradually gained a reputation on the international stage. Today, Hepworth remains one of Britain’s most famous and best-loved sculptors.

scholarly journals Problems and solution proposals of cinema education in TurkeyTürkiye’de sinema eğitiminin sorunları ve çözüm önerileri

2018 ◽  
Vol 15 (1) ◽  
pp. 182
Author(s):  
Nuray Hilal Tuğan
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
English Summary ◽  
Academic Education ◽  
Late 19Th Century ◽  
Dual Approach ◽  
Binary Structure ◽  
Art Form ◽  
Bilateral Approach ◽  
Education In Turkey

The cinema that emerged in the late 19th century is one of the newest forms of art. Therefore, it is necessary to evaluate the education of cinema which is a visual arts field in art education. Cinema education in our country started in the middle of the 1970s and took its place in academic education as one of the departments of the Faculty of Fine Arts and the Faculty of Communication. However, this binary structure has brought the tendency to treat cinema as a science in the Faculty of Communication and as an art form in Faculty of Fine Arts. In this study, it was tried to show that the lack of the bilateral approach to cinema education was discussed, then cinema was taken as a multidimensional phenomenon and it required an education that was designed to overcome this dual approach. When approaching cinema as a multidimensional phenomenon, it was firstly reached that television and cinema education should be arranged in a way to have a different academic viewpoint, and that the reception of students with cinema education by center examination is counterproductive to the nature of cinema as an art scene.Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet19. Yüzyılın sonlarında ortaya çıkan sinema en yeni sanat formlarından biridir. Dolayısıyla görsel bir sanat dalı olan sinemanın eğitimini de sanat eğitimi içerisinde değerlendirmek gerekmektedir. Ülkemizde sinema eğitimi 1970’lerin ortalarında başlamış, günümüze kadar geçen süreçte Güzel Sanatlar Fakültelerinin ve İletişim Fakültelerinin bölümlerinden biri olarak akademik eğitimde yerini almıştır. Ancak bu ikili yapı İletişim Fakülteleri’nde sinemayı bir bilim olarak, Güzel Sanatlar Fakülteleri’nde ise bir sanat formu olarak ele alma eğilimini de beraberinde getirmiştir. Bu çalışmada sinema eğitimine söz konusu ikili yaklaşımın eksiklikleri tartışılmış, ardından sinema çok boyutlu bir olgu biçiminde ele alınarak bu ikili yaklaşımı aşacak bir bakış açısıyla oluşturulmuş bir eğitimi gerektirdiği ortaya koyulmuştur.  Sinemaya çok boyutlu bir olgu olarak yaklaşıldığında öncelikle televizyon ve sinema eğitimlerinin birbirinden ayrı akademik bakış açısına sahip olacak şekilde düzenlenmesi gerektiği ve sinema eğitimi veren fakültelere merkezi sınavla öğrenci alımının bir sanat dalı olarak sinemanın doğasına ters düştüğü sonucuna ulaşılmıştır. 

scholarly journals Pieced Together: Collage as an Artist's Method for Interdisciplinary Research

2005 ◽  
Vol 4 (1) ◽  
pp. 27-52 ◽  
Author(s):  
Kathleen Vaughan
Keyword(s):  
Visual Arts ◽  
Research Process ◽  
Equal Weight ◽  
Doctoral Studies ◽  
Arts Based Research ◽  
Research And Practice ◽  
Multiple Texts ◽  
Art Form ◽  
Visual Artist ◽  
Studio Practice

As a visual artist undertaking doctoral studies in education, the author required a research method that integrated her studio practice into her research process, giving equal weight to the visual and the linguistic. Her process of finding such a method is outlined in this article, which touches on arts-based research and practice-led research, and her ultimate approach of choice, collage. Collage, a versatile art form that accommodates multiple texts and visuals in a single work, has been proposed as a model for a “borderlands epistemology”: one that values multiple distinctive understandings and that deliberately incorporates nondominant modes of knowing, such as visual arts. As such, collage is particularly suited to a feminist, postmodern, postcolonial inquiry. This article offers a preliminary theorizing of collage as a method and is illustrated with images from the author's research/visual practice.

The Renewed Focus On Comics As Art After 1970

2020 ◽  
pp. 113-119
Keyword(s):  
New York ◽  
San Francisco ◽  
Las Vegas ◽  
Art Museum ◽  
Pop Art ◽  
Cultural Center ◽  
Art Form ◽  
The Us ◽  
Comic Art ◽  
Large Survey

This is a brief interstitial introduction by art historian Kim A. Munson describing the rediscovery of original comic art following the Pop Art movement and influential publications of the late 1960’s. A wave of large survey shows were organized that took on a more formal appearance and established a loose canon of comic artists. The National Cartoonist Society’s Cavalcade of Comics toured the US. Well reviewed shows of the early 70s included The Art of the Comic Strip (U of Maryland, 1971), The Comics as an Art Form (U of Nevada Las Vegas), and 75 Years of the Comics (New York Cultural Center). Many shows included underground comix. Comics speciality museums opened and flourished, such as the Museum of Comic Art (Rye Brook, NY, 1975), The Cartoon Art Museum (San Francisco, 1987), and the ToonSeum (Pittsburgh, 2007). Images: The Muller Comics Collection, 1976, Cartoon Art Museum, 2016.

The Dramatics of Time

KronoScope ◽  
2005 ◽  
Vol 5 (2) ◽  
pp. 193-212
Author(s):  
Cole Crittenden
Keyword(s):  
Visual Arts ◽  
Human Experience ◽  
Real Space ◽  
Basic Category ◽  
Art Form ◽  
Artistic Inquiry ◽  
Primary Focus ◽  
Unique Potential ◽  
Widespread Interest ◽  
The Ideal

AbstractArt has as many definitions as it has practitioners, but one function of art is to help us understand the human experience, regardless of how our definitions of that experience differ. And since time is experience, art is particularly well-suited to treat it. Along with space, time, as a basic category of human experience, is, therefore, a basic category of artistic inquiry. Space is the primary focus of the visual arts, whereas music is an art form in time. Literature, however, always deals with both, and nowhere is this more apparent than in drama, where the time and space of the literary text are realized in the real time and real space of the performed text. Yet despite the widespread interest in time in much twentieth-century literary theory, the unique potential for the investigation of experiential time in drama has gone largely ignored. The purpose of this article is to address that curious absence, first by looking at the ways existing theories approach literary time (and largely fail to approach dramatic time), and then by discussing the generic and performative characteristics of drama (especially Russian drama, since that is the tradition with which I am most familiar) that make it in many ways the ideal art form in which to investigate time.

scholarly journals The fantasy of ugliness in Alexander McQueen collections (1992-2009)

2021 ◽  
Vol 3 (3) ◽  
pp. 95-108
Author(s):  
Mélissa Diaby Savané
Keyword(s):  
Visual Arts ◽  
Performance Art ◽  
Fashion Industry ◽  
The Sublime ◽  
Mental Disturbance ◽  
Works Of Art ◽  
Art Form ◽  
Fantasy World ◽  
The Common ◽  
The Masses

Alexander McQueen (1969-2010) changed the fashion industry and history forever with his innovations and runaway shows that verged on performance art. His talent for tailoring matched the strong narrative and originality of his garments. Some of them were destined for commercial consumption and catered to the masses, but most of them were works of art grown from a vivid yet macabre imagination. He refused the common grounds of fashion to focus on themes usually ignored, such as fetishism, violence, death and mental disturbance. Therefore, he aimed to transcend the usual and reach for the sublime as he created a fantasy world out of his own tormented mind. His Romantic and Gothic inspired work mirrored the anxieties of our times, and raised fashion to an art form on its own, thus prompting a reflection on the affiliation between fashion, visual arts and literature.

scholarly journals The Filmic Fugue of Ken Russell's Pop Goes the Easel

2015 ◽  
Vol 12 (4) ◽  
pp. 438-451
Author(s):  
John Wyver
Keyword(s):  
Popular Culture ◽  
Visual Arts ◽  
Documentary Film ◽  
Pop Art ◽  
Critical Discourse ◽  
Art Cinema ◽  
The Individual

First broadcast as an episode of BBC Television's Monitor in 1962, Ken Russell's documentary film Pop Goes the Easel profiles four young artists: Pauline Boty, Peter Phillips, Derek Boshier and Peter Blake. With an exuberant and varied approach to filming, Pop Goes the Easel is a rich and revealing document of early Pop Art in London. This article situates the film within the context of television's engagement with the visual arts in the medium's first 25 years. It is argued that part of its significance within the tradition of the visual arts on television is its resistance to the determinations of an explanatory voice and that its achievement combines and develops approaches of photojournalism, documentary and art cinema from the mid and late 1950s. It is further proposed that Pop Goes the Easel is especially noteworthy for its finely tuned balancing of tensions between discourses traditionally understood as oppositional: the stasis of artworks versus the linear narrative of film; the indexical qualities of documentary versus the inventions of fiction; the mass-produced elements and images of popular culture versus the individual authorship and authority of high art; the abstracted rationality of critical discourse versus explosions of embodied sensuality; and the determinations and closure of a singular meaning versus polysemic openness.

Study on the LED Media Facade in Urban Space Using Analysis

2013 ◽  
Vol 712-715 ◽  
pp. 850-853
Author(s):  
Fang Gu ◽  
Yan Gu
Keyword(s):  
Urban Space ◽  
Visual Arts ◽  
Urban Landscape ◽  
State Of The Art ◽  
Urban Atmosphere ◽  
Video Content ◽  
Art Form ◽  
Modern Cities ◽  
New City ◽  
Space Art

The LED media facade as a new art form, to create a new urban landscape of modern cities. The LED media facade already become an important window to set art, advertising, media and city information. Through dynamic screen display screen video content, and generally exist in the appearance of a large new building, but also for artists to create urban space visual arts, a new design concept and art design platform for people to create a new city arts space. With more and more state-of-the-art multimedia equipment and improvement of LED technology, The LED media facade became beautify the urban environment and enhance the urban atmosphere, shaping urban space art tools.

scholarly journals RajutKejut Art: Participatory Knitting Installation Artwork in Public Spaces

2020 ◽  
Vol 2 ◽  
pp. 69-75
Author(s):  
Sari Wulandari ◽  
Guntur ◽  
Martinus Dwi Marianto
Keyword(s):  
Critical Discourse Analysis ◽  
Cultural Context ◽  
Research Question ◽  
Public Spaces ◽  
Pop Art ◽  
Street Art ◽  
Participatory Art ◽  
Art Form ◽  
The People ◽  
Creative Media

RajutKejut Community is a knitted women's community since 2014 carrying out yarn bombings, wrapping large objects in Jakarta's public spaces with knits. Citizens can see, feel and interact sensually so that the work and community become close to the public. People who often raise social problems become a discourse of work following the cultural context of the people of Jakarta. The research question is how the shape of RajutK shock's artworks. The purpose of this study is to find alternative art forms using creative media. This study uses qualitative methods through observation, interviews, literature studies, and document reviews. This analysis uses the Norman Fairclough critical discourse analysis method. The choice of method is to find the RajutK shock art form by searching for the relationship between the micro text and the macro context of society. The conclusion of the research shows that RajutK shock's works are contemporary works of art, art that still explores discourse in the realm of style. Today, RajutK Shock is a combination of installation art, participatory art, knitting craft, pop art and street art.

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