Estetika Paradok Arts Painting Wayang Kamasan in The Global Era

Abstract

The struggle of the world of ideas cannot be separated from the development of technology and science as a medium that offers new production processes that are effective, efficient, and economical. To respond to the idea of ​​creating new products that are creative and innovative the aesthetic enlightenment of Kamasan puppet painting is duplicated, obscured into mass production. Paradox aesthetics are a characteristic of global art in the postmodern era that is capable of producing imaging works. To show the novelty of the imaging work is done by giving additional, and insertions. Paradox aesthetic production and reproductive techniques that are done in imitation can produce mass products. Products produced from emulating work are distributed to global markets to meet consumer needs. Artificial works can blindly fade the idealism of art. Art values ​​and norms are obscured by economic values ​​so as to encourage the emergence of new market-oriented art capitalism. Capital and networks owned by capitalists are able to turn art works into tourism and chaotic works, namely works that are not clear (gray), made to order, duplication and imaging. To analyze this research, qualitative methods that are emancipatory with a postmodern aesthetic theory are supported by an eclectic culture industry theory. Discussion: The implications of global art are positive and negative. Positively, global art has the meaning of increasing prosperity, expanding distribution and consumption and developing creative industries and small and medium businesses. Negatively, orders, targets and products of global art mass can block freedom of creativity. In conclusion, global art presents a chaotic and toristic aesthetic paradox to meet consumer needs.