Satria Bagus Wicaksana, Mayang Anggrian

Perspektif Eksistensi Seni Grafis Konvensional Terhadap Seniman Grafis di Jawa Timur

Introduction

Perspektif eksistensi seni grafis konvensional terhadap seniman grafis di jawa timur. Jelajahi perspektif seniman grafis di Jawa Timur tentang eksistensi seni grafis konvensional di era digital. Analisis dampak teknologi, kredibilitas, dan tantangan otentisitas.

Abstract

Melihat perkembangan zaman pada saat ini, banyak sekali teknologi digital yang memudahkan aktivitas semua kalangan. Hal tersebut tidak dipungkiri dan bisa terjadi dalam dunia seni rupa. Salah satu fenomena tersebut dalam dunia seni rupa terjadi pada bidang seni grafis konvensional. Diketahui bahwasannya seni grafis konvensional merupakan seni grafis yang masih menggunakan teknik secara tradisional. Adanya eksistensi teknologi digital pada saat ini, membuat seni grafis konvensional dipertanyakan lebih lanjut akan kredibilitasnya. Permasalahan tersebut tentu menimbulkan berbagai perspektif terhadap seniman grafis terutama yang ada di Jawa Timur. Mengatasi permasalahan tersebut dilakukan sebuah penelitian dengan tujuan mengetahui perspektif seniman grafis di Jawa Timur, akan eksistensi seni grafis konvensional pada saat ini. Penelitian ini merupakan penelitian kualitatif deskriptif dengan jenis penelitian studi kasus, kemudian ditelaah menggunakan Teori Eksistensialisme dan Kebebasan dari Jean-Paul Sartre. Teknik pengambilan sampel penelitian menggunakan purposive sampling, dimana peneliti mempertimbangkan sampel yang memiliki sifat representatif tinggi akan pengalaman seni grafis konvensional. Sumber data didapatkan dengan menggunakan beberapa teknik, diantaranya yaitu; observasi, wawancara menggunakan kuesioner, serta dokumentasi. Temuan hasil penelitian didapatkan bahwasannya seniman grafis konvensional di Jawa Timur diantaranya: Herdita Caprina, Vicky Ashar Dwigantara, dan Happy Wahyu Firdaus memiliki perspektif serta pandangan yang berbeda. Berdasarkan hasil penelitian didapati bahwasannya seni grafis konvensional pada era perkembangan teknologi digital saat ini kurang tersorot. Pernyataan tersebut dibuktikan dengan seni grafis konvensional yang cenderung mengangkat isu-isu politik dan sensitif. Selain itu, kredibilitas seni grafis konvensional sendiri jika dikombinasikan dengan teknologi digital saat ini, maka akan merubah keunikan dan keautentikannya menjadi seni grafis pengembangan.

Review

This paper addresses a highly pertinent and contemporary issue: the existential challenges faced by conventional printmaking in the wake of advancing digital technology, specifically from the perspective of printmakers in East Java. The study's objective to understand these artists' views on the current relevance and future of their traditional craft is both timely and significant. By employing a qualitative descriptive case study approach and grounding its analysis in Jean-Paul Sartre's theories of Existentialism and Freedom, the research promises a theoretically rich and contextually specific exploration of how technology shapes artistic practice and identity. A key strength of this research lies in its focused geographical scope, offering localized insights that often get overlooked in broader studies. The theoretical framework of Existentialism provides a robust lens through which to interpret artists' choices, struggles, and self-definition in a rapidly changing environment. The abstract highlights that artists like Herdita Caprina, Vicky Ashar Dwigantara, and Happy Wahyu Firdaus hold differing perspectives, suggesting a nuanced understanding of the printmaking community. The finding that conventional printmaking is "less highlighted" but frequently addresses political and sensitive issues, coupled with the assertion that digital integration transforms its authenticity into "developmental printmaking," offers valuable insights into the ongoing redefinition of traditional art forms. While the study presents a compelling argument, there are areas for potential enhancement. The abstract could benefit from a clearer indication of the sample size or the number of participants, which would provide a better understanding of the scope of the case study. Furthermore, while "different perspectives" are mentioned, the abstract does not elaborate on the nature of these differences, which would be crucial for a more comprehensive understanding of the findings. Future iterations of this research could delve deeper into defining "developmental printmaking" and explore the specific implications of combining traditional and digital techniques on the art form's unique characteristics and market reception. Expanding on practical recommendations for supporting conventional printmaking's longevity, perhaps for art educators or cultural institutions, would also amplify the paper's real-world impact.

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