1960 sonrası heykelde yapıt izleyici ilişkisi
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Dosyalar
Tarih
2020
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu tez çalışmasında; heykelin tanımı, uygulama yöntemlerindeki köklü değişimleri ve bu değişim sürecinde izleyicinin sanat yapıtı ile aktif iletişimi üç bölümde ele alınmıştır. 1960’lara kadar yapıt karşısında edilgen-salt izleyicikonumda olan izleyici, 1960’lardan sonra yapıta ‘katılımcı’ olarak dâhil edilmiştir. Bu önemli değişim, heykeli tanımlamada ve uygulamada yapısal bir dönüşüme de yol açmıştır. Modernizm Öncesi Heykel başlığı altındaki tezin ilk bölümünde; Modernizme kadar olan geleneksel anlamdaki heykelin tarihsel anlatımı ve bu süreçte izleyicinin konumu irdelenmeye çalışılmıştır. Modernizm İle Birlikte Sanatta Yapısal Dönüşümler ve Heykele Yansımaları başlıklı ikinci bölümde; 1900’lerin başından itibaren sosyal, politik, teknolojik, bilimsel gelişmelerin sanata etkisi ve Dadaizm ile birlikte sanat yapıtına izleyicinin dâhil olma süreci ele alınmıştır. 1960 Sonrası Heykelin Tanımı, Uygulama Yöntemlerinin Köklü Değişimleri ve İzleyicinin Sanat Yapıtı İle Aktif İletişimi başlıklı üçüncü bölümde; 1960’lardan sonra heykel sanatının geçirdiği evrim-süreç ve sanattaki açılımlar tanımlanırken; öncelikli olarak izleyicinin heykelle kurduğu ilişki ve bu alandaki sanatçıların çalışmalarıyla ortaya koydukları fikirler, sanat mekânının çeşitlenmesiyle birlikte incelenmiştir. Sanat eserini değerlendirmede önemli bir etken olan izleyicinin işlevinin değişimini araştıran bu çalışma, günümüz sanat ortamının çeşitliliği ve heykel algısının dönüşümü açısından heykelin yeniden tanımlanmasında aydınlatıcı olacaktır.
This master research is composed of three main sections; definition of the sculpture, fundamental changes in the process of sculpting, and the active interaction of the viewer in art during these fundamental changes. Until the 1960’s the role of the viewer in art was considered uninclusive from the work of art, but right after that turning point, the viewer became included, started to take part in the work of art. This important transformation in the viewer’s role has enlarged and influenced the definition of sculpture and its existential structure. In the first section, under the title of Sculpture Before Modernism; we investigate the role of the viewer in art, in the traditional history of sculpture, until Modernism. In the second section, under the title of Modernism: Structural Changes in Art and its Effects in The Domain of Sculpture; we analyze how main socio-politic, technologic and scientific developments have influenced and shaped the approach toward to art at the beginning of the 1900’s and how Dadaism has brought the concept of including the viewer in art, into the concept of experiencing art. In the third section, under the title of After 60’s: The New Definition of Sculpture, Fundamental Changes in Sculpting, The Active Interaction of The Viewer in Art; we reconsider and define the evolution of sculpture and all the new expansions in the art after the 1960’s. The relationship between the viewer in art and sculpture, then the new ideas that have been proposed by artists by that time, both have been researched with the following evolvements in the concept of art space. This academic research shows one of the main factors regarding the assessment in art, the role of the viewer in art. Understanding this role’s radical transformation may help us to reconsider the definition of sculpture and the perception behind the idea of sculpture, therefore, it provides concordantly a new perspective to capture today’s diverse art world
This master research is composed of three main sections; definition of the sculpture, fundamental changes in the process of sculpting, and the active interaction of the viewer in art during these fundamental changes. Until the 1960’s the role of the viewer in art was considered uninclusive from the work of art, but right after that turning point, the viewer became included, started to take part in the work of art. This important transformation in the viewer’s role has enlarged and influenced the definition of sculpture and its existential structure. In the first section, under the title of Sculpture Before Modernism; we investigate the role of the viewer in art, in the traditional history of sculpture, until Modernism. In the second section, under the title of Modernism: Structural Changes in Art and its Effects in The Domain of Sculpture; we analyze how main socio-politic, technologic and scientific developments have influenced and shaped the approach toward to art at the beginning of the 1900’s and how Dadaism has brought the concept of including the viewer in art, into the concept of experiencing art. In the third section, under the title of After 60’s: The New Definition of Sculpture, Fundamental Changes in Sculpting, The Active Interaction of The Viewer in Art; we reconsider and define the evolution of sculpture and all the new expansions in the art after the 1960’s. The relationship between the viewer in art and sculpture, then the new ideas that have been proposed by artists by that time, both have been researched with the following evolvements in the concept of art space. This academic research shows one of the main factors regarding the assessment in art, the role of the viewer in art. Understanding this role’s radical transformation may help us to reconsider the definition of sculpture and the perception behind the idea of sculpture, therefore, it provides concordantly a new perspective to capture today’s diverse art world
Açıklama
Anahtar Kelimeler
Modernizm, Postmodernizm, İzleyici, Yapıt, İletişim, Heykel, Modernism, Postmodernism, Viewer, Artwork, Relationship, Sculpture
