kuss-indarto

Oleh Kuss Indarto   Di pemakaman kampung Gampingan, Wirobrajan, di tepi sungai Oya, di bawah rindangnya pohon “asem Jepang”, akhirnya, tubuh Wahyudiono atau yang karib dipanggil Gandung direbahkan. Tubuhnya yang bertahun-tahun lalu terbilang tambun, di bulan-bulan terakhir tampak menyusut karena digerogoti penyakit gula darah (diabetes melitus), juga ditambah penyakit lain. Belum lagi sebuah kecelakaan kendaraan bermotor sempat mengempaskan tubuhnya hingga mencederai bagian tulang lengan kirinya. Tubuhnya hanya bertahan menyangga penyakit-penyakit itu hingga di usia 44 tahun. Jumat Kliwon, 7 November 2014, sekitar pukul 07.00-an WIB, Gandung meninggal di salah satu sal di RS Pemda Wirosaban, Yogyakarta. Tak hanya keluarga dan kampungnya, dunia seni rupa Yogyakarta pun kehilangan sosok ini—terutama bagi para seniman, pekerja seni, atau mereka yang pernah mengenyam bangku kuliah di Fakultas Seni Rupa, Institut Seni Indonesia (FSR ISI), Yogyakarta, khususnya saat berkampus di ...

By Kuss Indarto   AS many artists in many parts of the world , artists from Indonesia base their works on socio-political matter in the community. They are also inspired by it as the ideology of their works. Many studies even indicate that the development of art works in line with the socio-political history of Indonesian society. In other words, Indonesian art history is the miniature of Indonesia’s social and politic history of society. The Indonesianists from the West, who study a lot of Indonesian’s beats of art in Indonesia, from Claire Holt, Helena Spanjaard, Werner Krauss, Brita L. Miklou-Mkalai, to Heidi Arbucle, and other names, base a lot of understanding that ideology problem in Indonesian artworks is a socio-political society problem that develop around it. History proved it, for example, during the years of Indonesian movement in seizing independence in 1940s, the artists did not only go into battle as patriots who used weapons physically, but they also made...