1950 sonrası resim sanatı : Tüketim kültürünün sanata yansımaları, sanat eserlerinde özgünlüğün sorgulanması
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Dosyalar
Tarih
2016
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Trakya Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
1950 sonrası, gerek sanatsal gerek siyasal açıdan dönüm noktası olma niteliğinde bir dönemi ifade etmektedir. Teknolojinin ve endüstrinin hızlı gelişiminin yarattığı rekabet ortamı, iki büyük Dünya Savaşını geride bırakan ülkelerin verdikleri savaş ve rekabet anlayışında bir dönüşüm meydana getirmiştir. Artık savaş, milyonlarca insanın öldüğü-öldürüldüğü cephelerde değil, sanatsal ve kültürel alanlarda verilen birer hegemonya savaşı şeklinde devam etmektedir. Bu noktada sanat alanında belirleyici olma çabalarının yarattığı, sanata adeta müdahale niteliğinde yön veren üst etki ile birlikte, tüketim kültürünün insan aklına, beğenilerine, tüketim alışkanlıklarına, değer yargılarına olan narkoz etkisinin de sanata yansıması ve buna yönelik eleştirel ya da değil, sanatsal ürünlerin ortaya konması sanata yüklenen anlamı da yeniden sorgulatmıştır. 1950’ye kadarki süreçte resim sanatı ağırlıklı olarak, geleneksel resim sanatının uygulanış koşullarına, materyallerine sadık kalırken, 1950 sonrasında ise adeta bir ifade arayışı içerisinde olan sanatçı, resim sanatının geleneksel ezberlerini aşıp yeni fikir, yöntem ve materyallerle sanatını üretmeye başlamıştır. Sanatçının bunu yaparkenki yıkıcı etkisi sanatçı, sanat eseri ve izleyici gibi sanatın üzerinde oturduğu temel üç ayağı yeniden anlamlandırmıştır. Sanatçılar için estetik arayışı, sanatsal üretimlerinin temel motivasyon kaynağı iken, 1950 sonrasında kavramın ve düşüncenin en az estetik kadar önem taşıması, sanat eserlerinde aranan özgünlük kriterlerinin artık ne olması gerektiğini sorgulatmaktadır. Bu araştırmada, 1950’ye kadar ve 1950 sonrasında tüketim kültürünün etkisi ile birlikte, resim sanatında özgünlüğün hangi kriterlere dayanarak saptanabileceği ve özgünlüğün taşıdığı anlam ve önem, eserler üzerinden irdelenmeye çalışılmıştır.
abstract
The aftermath of 1950 represents a period that has the characteristics of being a milestone in terms of both art and politics. The competitive environment created by the rapid development of the technology and industry generated a transformation in the war and competition mentality of the countries which left two massive world wars behind. From then on, the war proceeded like a war of hegemony in the artistic and cultural domains rather than in the front lines where millions of people died and were killed. At this point, along with the superior effect which was created by the efforts to dominate the art and which led the art in an interventionist way, the reflection of the narcosis effect of consumption culture on human mind, interests, consumption habits and value judgement over art and the creation of critical or non-critical artworks in response to this caused the meaning of art to be questioned. In the period by 1950 while the art of painting was mainly loyal to the application conditions and the materials of the traditional art of painting, after 1950 the artist who was nearly in search of expression started to produce his/her art with the new opinions, methods and materials by going beyond the traditional rotes of the art of painting. The destructive effect of the artist while doing this reinterpreted the three main foundations like the artist, the art object and the onlooker on which the art was based on. While seeking for aesthetics was the basic motivation resource of their artistic production, after 1950 its remaining in the shadow of the concept and the consideration caused to question what the criteria of originality that are asked for in the art objects should be from now on. In this research, along with the effect of the consumption culture until 1950 and after 1950, on the basis of which criteria the originality in the art of painting could be determined and the significance and the meaning that the originality holds are aimed to be scrutinized through the certain works.
abstract
The aftermath of 1950 represents a period that has the characteristics of being a milestone in terms of both art and politics. The competitive environment created by the rapid development of the technology and industry generated a transformation in the war and competition mentality of the countries which left two massive world wars behind. From then on, the war proceeded like a war of hegemony in the artistic and cultural domains rather than in the front lines where millions of people died and were killed. At this point, along with the superior effect which was created by the efforts to dominate the art and which led the art in an interventionist way, the reflection of the narcosis effect of consumption culture on human mind, interests, consumption habits and value judgement over art and the creation of critical or non-critical artworks in response to this caused the meaning of art to be questioned. In the period by 1950 while the art of painting was mainly loyal to the application conditions and the materials of the traditional art of painting, after 1950 the artist who was nearly in search of expression started to produce his/her art with the new opinions, methods and materials by going beyond the traditional rotes of the art of painting. The destructive effect of the artist while doing this reinterpreted the three main foundations like the artist, the art object and the onlooker on which the art was based on. While seeking for aesthetics was the basic motivation resource of their artistic production, after 1950 its remaining in the shadow of the concept and the consideration caused to question what the criteria of originality that are asked for in the art objects should be from now on. In this research, along with the effect of the consumption culture until 1950 and after 1950, on the basis of which criteria the originality in the art of painting could be determined and the significance and the meaning that the originality holds are aimed to be scrutinized through the certain works.
Açıklama
Anahtar Kelimeler
Tüketim Kültürü, 1950, Özgünlük, Sanat, Resim, Consumption Culture, Originality, Art, Painting
