On the Relationship of Landscape and Painting

Basit Öğe Kaydı
dc.authorwosidBalik, Deniz/V-2897-2018
dc.contributor.authorBalik, Gokhan
dc.contributor.authorLokce, Deniz Balik
dc.date.accessioned2024-06-12T11:07:26Z
dc.date.available2024-06-12T11:07:26Z
dc.date.issued2019
dc.departmentTrakya Üniversitesien_US
dc.description.abstractThis paper intends to sketch out how the understanding of landscape has changed today, using painting as an interpretative tool. As this paper argues, the contemporary sense of landscape is considered through historical, political, social, cultural, and aesthetic facets. Differentiating from the Kantian notion of landscape as an aesthetic category in the domain of visual arts, it has achieved multiple layers of meaning, rather than only referring to gardens and agricultural areas. The extent of the landscape began to change in the 19th century due to industrialization, exploration of new territories, and the development of technology, botany, and geography. Since the 20th century, the concept has also included immaterial constituents in addition to technological, cultural, and social developments. It has become a social construct as an expression of ideas, memories, imagination, and feelings. Pointing to an active and flowing system, rather than a static and visual one, today, the landscape is grasped as an interdisciplinary and collaborative production. It defies distinct urban zonings and proposes ambiguity, vagueness, and contradiction, as it expands the issue through the concepts of anti-landscape and non-landscape. Anti-landscape indicates marginalized and unsuccessfully man-modified lands, whereas non-landscape describes unused and neglected lands. This paper traces the shift of landscape as a dynamic force in the recent paintings of the contemporary Turkish artist, Yildiz Arun. Her works in landscape, anti-landscape, and non-landscape reflect immateriality and immanence as a dynamic and interactive system. In her paintings, the landscape emerges as an affective field of an internal order with a capacity to transmit affects and sensations in Deleuzian sense. It becomes a force field, which flows into a multiplicity of intensities, revealed by layers of colors, lines, and brush strokes. The juxtaposition of spirituality and materiality turns her canvases into generative fields of multiple encounters affected by each stroke. As this paper shows, the landscape does not point to a pre-defined, extrinsic, static, and visual area, but a force field in flux, with a capacity to produce potentials, reciprocal relations, and immanent affects.en_US
dc.identifier.doi10.25038/am.v0i19.305
dc.identifier.endpage44en_US
dc.identifier.issn2217-9666
dc.identifier.issn2406-1654
dc.identifier.startpage29en_US
dc.identifier.urihttps://doi.org/10.25038/am.v0i19.305
dc.identifier.urihttps://hdl.handle.net/20.500.14551/22045
dc.identifier.volume19en_US
dc.identifier.wosWOS:000486265600003en_US
dc.identifier.wosqualityN/Aen_US
dc.indekslendigikaynakWeb of Scienceen_US
dc.language.isoenen_US
dc.publisherSingidunum Univ, Fac Media & Communicationsen_US
dc.relation.ispartofAm Journal Of Art And Media Studiesen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectLandscape Architectureen_US
dc.subjectAnti-Landscapeen_US
dc.subjectNon-Landscapeen_US
dc.subjectLandscape Paintingen_US
dc.subjectVisual Artsen_US
dc.subjectArtisten_US
dc.titleOn the Relationship of Landscape and Paintingen_US
dc.typeArticleen_US

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