Keindahan Di Balik Tragedi
DOI:
https://doi.org/10.31091/mudra.v22i1.1544Keywords:
photographic artworks, tragedy and beautyAbstract
The use of transportation facilities represents the metaphor of “double-sides sword”; on the one hand it gives usefulness, on the other hand it gives destructiveness. An ideal dualism of modern culture achievement, and the tragedy inherently implied. While the comfort of traveling embodies the positive side, the pollution and car accident re- present the negative side. We have no other alternative, nevertheless, since the modern culture demanded such a high mobility that the use of modern transportation is unavoidable.
Almost everyday we heard and read in mass media about various acci- dent of car crashes. Even in minor cases, the victims or damages are al- ways unavoidable. In a huge scale, the accident of transportation might take a great many victims and material damages. Consequently, the sur- vivors or the relatives of the casualties might experience mourning and sadness, even trauma. These are what we might call tragedies, the ones causing human suffering.
Viewed as an event, accident left at least two realities: the one asso- ciated with mental/psychological implication and the other related to the factual objects that create automatically new “meaning”, even trans- formation to other “meaning”. In my opinion, the wrecked cars, or those with the paint peeled off, or the chassis detached, or the whole body burnt out, represent the factual reality of the objects undergone the transformation of “meaning”. A paradoxical reality of meaning: Between the one referring to the traumatic side, and the other that sig- nify the visually artistic side. It is on this paradoxical meaning that I based my creative exploration to create my photographic artworks. Observation might inspire an unexpected visual composition.
By photographing the most unique and the most interesting of the bro- ken pieces of the wrecked cars using the close-up function, an artistic and aesthetical photographic artwork might be created. That is the reason for me to choose the title “Beauty behind Tragedy”.
Downloads
References
Ajidarma, Seno Gumira. (2002), Kisah Mata, Fotografi Antara Dua Subyek, Per- bincangan Tentang Anda, Galang Press, Yogyakarta.
Clarke, Graham. (1997), The Photograph, Oxford University Press, New York. Data Kepolisian Negara Republik Indonesia, (2005), Daerah Istimewa Yogyakarta.
Data Kepolisian Negara Republik Indonesia, (2005), Daerah Kota Denpasar. Djelantik, A.A.M. (2004), Estetika Sebuah Pengantar, Masyarakat Seni Pertunjukan Indonesia, Denpasar.
Darmaprawira, Sulasmi W.A. (2002), Warna, Teori dan Kreativitas Penggunaannya, ITB, Bandung.
Dharsono, Sony Kartika. Pengantar Estetika, Rekayasa Sains, Bandung, 2004. Fotografi Seni Kusnadi, (1994), Dinas Kebudayaan DKI Jakarta, Jakarta.
Gie, The Liang. (2004), Filsafat Keindahan, Pusat Belajar Ilmu Berguna, Yogyakarta.
Giwanda, Griand. (2002), Panduan Praktis Menciptakan Foto Menarik, Puspa Swara, Jakarta.
Han, Leonardi, CNPS, Hon, PAF. (1998), Sejarah Fotografi, Bandung.
Hardiman, F. Budi. (2005), Memahami Negativitas, Penerbit Buku Kompas, Jakar- ta.
Hartoko, Dick. (1984), Manusia dan Seni, Kanisius, Yogyakarta.
Indonesia Directory of Photography, (2003), PT Prima Infosarana Media, Jakarta. Kata Hati Agus Leonardus, (1995), Bentara Budaya, Katalogus pameran, Yogyakarta.
Katalog Bienale Seni Rupa, (1997), Yogyakarta.
Langford, Michael. (1981), The Book of Special Effects Photography, Alfred A. Knopf, New York.
Marah, Surisman. ((1996), Dari Camera Obscura Sampai Digital, Institut Seni Indonesia, Yogyakarta.
______. (2002), Fotografi Sebagai Media Ekspresi, Yogyakarta.
______. 2002), Satu Setengah Abad Fotografi di Indonesia, Yogyakarta.
Marianto, M Dwi. (2004), Teori Quantum, Lembaga Penelitian ISI Yogyakarta, Yogyakarta.
______. (2006), Quantum Seni, Dahara Prize, Semarang.
Miro, Fidel. (2002), Perencanaan Transportasi, Erlangga, Jakarta. Nugroho, R. Amin. (2006), Kamus Fotografi, ANDI, Yogyakarta.
Parikesit. (2007). Menggagas Tatanan Baru Transportasi: Bagi Indonesia Yang Maju Dan Sejahtera, UGM, Yogyakarta.
Prama, Gede. (Sabtu 14 April 2007), “Menyingkap Keindahan Bencana”, Kompas. Read, Herbert. (1968), The Meaning of Art, Praeger Publishers, New York Washington.
Sahman, Humar. (1993), Estetika Telaah Sistemik dan Historik, IKIP Semarang Press, Semarang.
Sidik, Fadjar. (1979) Disain Elementer, STSRI, ASRI, Yogyakarta.
Soedarso Sp. (2006), Trilogi Seni dan Keindahan, Penciptaan Eksistensi dan Kegunaan, Institut Seni Indonesia, Yogyakarta.
______. (1998), Seni dan Keindahan, Pidato Pengukuhan Jabatan Guru Besar Tetap pada Fakultas Seni Rupa Institut Seni Indonesia, Yogyakarta.
______. (2000), Sejarah Perkembangan Seni Modern, CV. Studio Delapan Puluh Enterprise, Jakarta.
Soedjono, Soeprapto. (2006), Pot-Pourri Fotografi, Universitas Tri Sakti, Jakarta. Subroto Sm. (2006), “Fotografi Sebagai Media Ekspresi”, dalam Agus Burhan, Ed, Jaringan Makna Tradisi Hingga Kontemporer, BP ISI Yogyakarta, Yogyakarta.
Sugiarto, Atok. (2004), Fotografer Serba Bisa, Gramedia Pustaka Utama, Jakarta. Suharso. (2005), Kamus Bahasa Indonesia, CV. Widya Karya, Semarang.
Sumardjo, Jakob. (2006), Estetika Paradoks, Sunan Ambu Press, STSI Bandung. Suseno, Franz Magnis. (2006), Menalar Tuhan, Kanisius, Yogyakarta.
Suwaji, Bastomi. (1992), Wawasan Seni, IKIP Semarang Press, Semarang. Worobiec, Tony. (2003), Photo Art, An Imprint Of Watson-Guptill Publications, New York.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2008 Author(s)
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
- Copyright on any open access article in a journal published by Mudra Jurnal Seni Budaya is retained by the author(s).
-
The Creative Commons Attribution License 4.0 formalizes these and other terms and conditions of publishing articles.
