There are many who regard mainstream culture and the mass media with disdain, believing that the consumption of preferred attitudes and ideas is a symptom of a shallow, frivolous milieu. Yet there are others who are not so quick to pass judgement on the widespread disposition towards popular culture, instead taking it as a window through which we may gain insight into the very core of humanity‚Äôs strengths and weaknesses. Syaiful A. Rachman is one such person. His paintings reveal his interest in the development of what some might flippantly term ‚Äúmass culture‚ÄĚ, as this ‚Äúmass culture‚ÄĚ that we often carelessly refer to is in fact much more profound and complex than we might think.
Prominent figures such as Elvis Presley, Andy Warhol and Marilyn Monroe are recurrently featured in Syaiful‚Äôs paintings. His particular fascination with these celebrities is derived from the conviction that they are the ‚Äú‚Äônodes‚Äô of various things ‚Äď persona, popularity and even power, [all of] which are manifested in every human subject‚ÄĚ. These easily recognisable household names perhaps reify such traits in a more accentuated way than the ordinary individual, hence explaining Syaiful‚Äôs choice in making them the subject matter of his work. However, lest one be led to believe otherwise, Syaiful‚Äôs interest is not only focused on famous figures. Many of his art substantiate his passion for the fervour and ebullience of everyday characters as well.
It is only upon a more conscientious scrutiny of Syaiful‚Äôs paintings that one might truly catch a glimpse of his artistic inventiveness. It becomes clear that his portraits are composed of hundreds ‚Äď even thousands ‚Äď of minuscule, faceless human figures. A peremptory glance at any of Syaiful‚Äôs paintings is enough to trick the viewer into thinking that these diminutive people are nothing more than an exceptionally pronounced attempt at pointillism. The scrupulous inclusion of this anonymous crowd is not merely a clever contrivance, as it also serves as an analogy to the roots of popular culture. Amidst our glorification and idolatry of the sought-after crowd, it is easy to forget that it is the power of our favour that holds them aloft. Through his precise brushstrokes that emphasise just the right amount of colours and shadows in the appropriate places, Syaiful leads us to the realisation of the diverse distribution of power between and amongst people from all factions of society.
In the virtual era full of information and imaging today, "the myth of mass culture" is increasingly finding its place in the height that exceeds reality. It could be the fact that "black" is the appearance of "white", meaning in this virtual era or appearances will all look the opposite of authenticity and deprived of substance. Because it is not wondered at if the quality of a person or the quality of a product is not a barometer of the general public in the middle to be selected, purchased, or consumed. While the power of myth emerged as promisi could influence the public, then that would be a virtue.
For the purpose of the myth itself is merely to lure, be it visual, auditory, and mind, which ultimately then cajole and coerce (vaguely) to favor their audience, selecting, purchasing, and so on. then in the virtual era, as now there is no such thing as truth, but manipulation: there is no trust, but a ruse: there is no reality but a mirage. That is why foresight is needed to uncover the myths that appear in the various campaigns. Even though the spectacle, the "myth" will infiltrate in it to influence adien.
myths of mass culture is a system of communication that contains a message with its double function, namely, to show or explain, then forced a faint. Despite the myths of mass culture is a system of communication, but not necessarily limited to the myths of mass culture spoken or written form. everything can be a myth of mass culture, such as painting, film, sports, newspaper and so on.
The myth of mass culture to actually stay away from the substance. What emerged is merely a myth of mass culture imagery sheer value of good and bad. Moreover, with the support of high-tech (high technology) as it is today, the myth of mass culture is nothing more than just a communication system to hide a character's authenticity, value or twit actually perfect.
Movement 'MASS CULTURE "makes all things and in synergy to form a human object, Human subject is seen as' nodes' of the various terms of persona, popularity and even power, which manifests itself in all human subjects.