Karya Patung Abstrak Lisa Widiarti Ditinjau Dari Bentuk Dan Medium

This study discusses the form and medium used by Lisa Widiarti in making abstract sculptures. This study also briefly discusses Lisa Widiarti's short artistic journey. The discussion uses qualitative research methods, which include: observation, interviews, and literature study as well as research conducted in the city of Padang, West Sumatra. Based on the results of research on Lisa Widiarti's abstract sculpture, Lisa has produced dozens of abstract sculptures and almost every year always participates in exhibition events. Lisa tends to bring objects with the themes of love, social, everyday life, and beauty into her sculptures which are made with abstract shapes, and the mediums used in her work are various such as resin, stone, wood, cement, gypsum, metal plate and slurry. paper. Lisa is a female sculptor who is also a lecturer at Padang State University. Lisa is still able to survive with her abstract sculptures and become a resilient, creative, and active female sculptor in West Sumatra. Much can be learned andresearched from Lisa Widiarti's sculptures, especially abstract sculptures in terms of form and medium. It is hoped that research on Lisa Widiarti's abstract sculpture can be a reference so that there are opportunities for other researchers to research from a different scientific point of view.

Three-Dimensional Works Designed for Schools Without Studios: A Multiple-Case Study

Based on the learning outcomes, values, skills/proficiency and job safety for grades 6, 7 and 8 from the 2017 Visual Arts Course Curriculum (MEB, 2017), outcomes related to three-dimensional work have been associated with care, love, responsibility and inquiry and activities “My Money”, “Abstract Sculpture” and “Talking Emojis” have been planned. They have been completed with visually rich presentations and step by step implementation phases and presented to the subject teachers intended for practices. In the data collection process, the activities were observed by the researcher, audio and video recording made and right after the activities interviews with the students and teachers were made and student work was collected to examine documentation. Data obtained during the data collection process have been analyzed with thematic analysis method and taking into consideration the basic characteristic of multiple case study and the themes obtained have been evaluated with the theme titles; “Connections”, “Internalization” and “Realization”. Among the outcomes of the results of the research are the facts that the bases of skill/proficiency, value and job safety are important at activity planning and that rich presentations and step by step applications can transfer the relevant outcomes of the students into behavior. It is also attention-grabbing that students, who gain the values of respect, love and care for their environment through three-dimensional work, can transfer mathematical, digital, social skills and those related to citizenship to their lives.

ARBY SAMAH : MAESTRO SENI PATUNG ABSTRAK DI INDONESIA

AbstrakPenelitian ini membahas tentang penelusuran Arby Samah yang dikenal sebagai pelopor seni patung abstrak di Indonesia, serta mengungkap alasan Arby Samah memilih berkarya patung. Tujuan penelitian ini adalah untuk mengetahui sosok Arby Samah sebagai perintis seni patung abstrak di Indonesia, dan sangat berjasa dalam perkembangan seni patung di Indonesia serta Sumatera Barat khususnya. Kajian teori menggunakan seleksi dan fokus gejala berdasarkan jiwa zaman, menitikberatkan pada perspektif historis mempunyai dua dimensi: aspek masa kini, dan Aspek masa lampau. Metode yang digunakan dalam penelitian ini adalah kualitatif dengan pendekatan deskriptif analisis. Adapun teknik pengumpulan data dilakukan melalui teknik observasi lapangan dan wawancara, pengambilan dokumen yang terkait. Hasil penelitian menunjukkan bahwa Arby Samah berkarya seni patung abstrak dilatarbelakangi oleh faktor: 1) Budaya di Sumatera Barat yang membuat seni patung sulit berkembang. 2) Adat di Sumatera Barat yang mengikat setiap ruang gerak masyarakatnya. 3) Masyarakat di Sumatera Barat mayoritas memeluk Islam yang sangat mengikat dengan hadis dan Al-quran yang melarang membuat patung dalam wujud realis.Kata Kunci: arby samah, patung abstrak, budaya.AbstractThis research discussed about a person namely as Arby Samah that has known as a pioneer of art sculpture in Indonesia, it was also to reveal the reason of Arby Samah why choosing sculpture as his work of art. The aim of the research was too see the figure of Arby Samah as a pioneer of art sculpture in Indonesia, and also his contribution to the growth of art sculpture in indonesia especially in west sumatera province. Theory of the research used the selection and observation of the nature symptom. This research focused to the historic perspective that consist of two dimensions, present aspect and past aspect. The method that used in this research was qualitative with descriptive analysis approach. The technique that used in collecting data were field observation, interview and taking the related documents. The result showed that when in producing abstract art sculpture, Arby Samah was influenced by factors: 1) West Sumatera culture that made art sculpture difficult to growth. 2) the tight tradition or the custom of West sumatera, it limited the people to create art sculpture. 3) Islam is the majority religion of the people in west sumatera were in Al Qur’an and Al Hadist has stated that creating sculpture in realist form was prohibited. Keywords: arby samah, abstract sculpture, culture.

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

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.

Pavia, Philip (1912–2005)

American sculptor and organizer of the New York art community, Philip Pavia sought to forge a group identity for the New York School. Pavia founded the Downtown Artists Club (1949–1955) with Willem de Kooning, Franz Kline, Ibram Lassaw and others. "The Club" transformed earlier gatherings into an intellectual and social forum as artists debated propositions and principles of Abstract Expressionism as well as the moniker itself. Lectures by luminaries like Joseph Campbell, John Cage and Hannah Arendt, and bi-weekly discussions nurtured artists’ theories. Harold Rosenberg’s milestone essay "The American Action Painters" (1952), for example, evolved from club panels convened by Pavia on "problems" of Abstract Expressionism. Dislike of French Surrealist influence and challenges to the validity of formalist arguments were common. Pavia initiated annual exhibitions with the Ninth Street Show in 1951. Between 1958 and 1965, as an extension of the annuals, Pavia edited and published the periodical It is. A magazine for abstract art (sic). Critical writing, manifestoes and statements by fellow artists were printed alongside reproductions of new work. The periodical was structured as an artists’ archive for Abstract Expressionism during the mature phase of the movement. Concurrently Pavia made abstract sculpture in bronze, stone, and clay.

Coda: Returning the Favor (A Short History of Film Becoming Sculpture)

This book has focused on the many manifestations and aspects of sculpture in cinema. We have demonstrated that sculpture – especially figural sculpture – engages the living figure in a range of intermedial ways in film, heightening tensions around motion and stasis, the animate and inanimate, life and death, presence and absence, as well as embodying narrative themes. This is in theory as true for sculptures that play a small role, as props or minor plot devices, as for those that are central actors. In Rear Window, for instance, the abstract sculpture on which a neighbor of Jeff’s is shown working is seen briefly and intermittently but it is overdetermined. The lady artist is a Greenwich Village cliché and she is ridiculed along predictably sexist lines. Along with the dancer and the composer who are among Jeff’s other neighbors, she exemplifies the bohemian milieu in ways both realist and comical. The sculpture itself, as with the ballerina referred to as “Miss Torso,” is suggestive of – even almost a substitute for – the dismembered body of Mrs. Thorwald that cannot be shown: only imagined.

Ekphrasis, Abstraction, and Myth: ‘From Psyche’s Journal’, Eurydice in the Underworld, ‘Requiem’

The final chapter of the study examines Acker’s practices of ekphrasis and reappropriation of mythology in her final works. Chapter six offers a close reading of ‘From Psyche’s Journal’, Acker’s creative critical piece on Cathy de Monchaux’s sculptural work, examining the ekphrastic impulse of the work. Ekphrasis is read as enabling Acker to access the materiality of sculpture in her writing. Acker’s writing practices are placed within the context of postwar abstract sculpture by women, with a particular focus on Eva Hesse’s idea of absurdity that ‘is not a “thing” but, “the sensation of the thing.”’ Acker’s ekphrastic practice is brought into dialogue with her practice of the reappropriation of mythology, and the conceptual practice that is termed here ‘literary calisthenics’, which arises from her experiments with language and bodybuilding. Acker’s two later texts, Eurydice in the Underworld (1997) and Electra (1997) are addressed in light of Elaine Scarry’s work on the difficulty of expressing physical pain. Acker’s experiments that move towards a non-verbal language against ordinary language, and the silent languages of the body, facilitate the voicing of pain, and in particular the relation between physical pain and imagining.