Abstract
For modernist critics, “it is a historical characteristic of the modern arts that each art has had to define itself in terms of the limitations of it is proper medium”. That perspective clearly divides the two-dimensionality of painting from the three-dimensionality of sculpture. Accordingly, an art that becomes theatrical as it brings different media together contradicts the modernist utopia. For example, Minimalism, Conceptual Art, Concrete Poetry are not particularly compatible with such a dialectic. Appropriation Art, which came to the scene with “Pictures” exhibition in the seventies, was in that sense a complete break with modernism as a whole. Incorporating different mediums such as photography, film, performance, as well as traditional mediums, into artistic production, Appropriation artists often used concepts, images and pictures which they borrowed from the cultural field. They questioned modernist conventions (e.g., autonomy, originality), as an avant-garde shift peculiar to the post-medium age. This article aims to contribute to a progressive art of the future by addressing an important moment of contemporary art that finds its origin in tragedy.
References
- Crimp, D. (1977). Pictures, New York, NY: Committee for the Visual Arts, Inc.
- Crimp, D. (1979). “Pictures”, October, Vol: 8 (Spring), pp. 75-88.
- Crimp, D. (2009). “Appropriating Appropriation // 1982”, Appropriation, David Evans (Ed.), London -
- Cambridge, MA: Whitechapel Gallery - The MIT Press, pp. 189-193.
- Foster, H. (1996). The Return of the Real, Cambridge, MA - London: The MIT Press.
- Fried, M. (2007). “Art and Objecthood”, Art in Theory 1900-2000: An Anthology of Changing Ideas, Charles
- Harrison & Paul Wood (Ed.), Oxford: Blackwell Publishing, pp. 835-846.
- Groys, B. (2017). Akışta: İnternet Çağında Sanat, çev. Ebru Kılıç, İstanbul: Koç Üniversitesi Yayınları.
- Judd, D. (2007). “Specific Objects”, Art in Theory 1900-2000: An Anthology of Changing Ideas, Charles Harrison & Paul Wood (Ed.), Oxford: Blackwell Publishing, pp. 824-828.
- Morris, R. (2007). Art in Theory 1900-2000: An Anthology of Changing Ideas, Charles Harrison & Paul Wood (Ed.), Oxford: Blackwell Publishing, “Notes on Sculpture 1-3”, pp. 828-835.
- Owens, C. (1980). “The Allegorical Impulse: Toward a Theory of Postmodernism (Part I)”, October, Vol: 12 (Spring), pp. 67-86.
- İnternet Kaynakları Artists Space. (1977). “Press Release”. https://texts.artistsspace.org/sjexku00, Erişim tarihi: 25.07.2023.
- Wright. (2023). “Appropriation in Art”. https://www.wright20.com/auctions/2016/02/art-design/149, Erişim tarihi: 25.07.2023.
Abstract
Modernist eleştirmenlere göre her bir sanatın kendi özerkliğini kendine en uygun ortamın sınırları çerçevesinde tanımlamak zorunda olması, modern sanatların tarihsel bir özelliğidir. Bu bakış açısı, resim sanatının iki boyutluluğunu heykelin üç boyutluluğundan kesin bir çizgiyle ayırır. Buna göre farklı mecraları bir araya getirdiği için teatralleşen bir sanat, modernist paradigmayla çelişir. Özellikle Minimalizm, Kavramsal Sanat, Somut Şiir gibi anlayışlar böylesi bir diyalektikle bağdaşmaz. Yetmişli yıllarda “Pictures” sergisiyle öne çıkan Temellük Sanatı da bu anlamda modernist ütopyanın dışında kalır. Geleneksel medyumların yanı sıra, fotoğraf, film, performans gibi farklı ortamları sanatsal üretime dâhil eden Temellük sanatçıları, sıklıkla kültürel alandan ödünç aldıkları kavramları, imgeleri ve görüntüleri kullanırlar. Post-medium çağına özgü öncü bir eğilim olarak, özerklik ve orijinallik gibi paradigmaları sorgularlar. Bu çalışma, kökenini tragedyada bulan çağdaş sanatın önemli bu uğrağını ele alarak geleceğin ileri sanatına katkı sunmayı hedefler.
References
- Crimp, D. (1977). Pictures, New York, NY: Committee for the Visual Arts, Inc.
- Crimp, D. (1979). “Pictures”, October, Vol: 8 (Spring), pp. 75-88.
- Crimp, D. (2009). “Appropriating Appropriation // 1982”, Appropriation, David Evans (Ed.), London -
- Cambridge, MA: Whitechapel Gallery - The MIT Press, pp. 189-193.
- Foster, H. (1996). The Return of the Real, Cambridge, MA - London: The MIT Press.
- Fried, M. (2007). “Art and Objecthood”, Art in Theory 1900-2000: An Anthology of Changing Ideas, Charles
- Harrison & Paul Wood (Ed.), Oxford: Blackwell Publishing, pp. 835-846.
- Groys, B. (2017). Akışta: İnternet Çağında Sanat, çev. Ebru Kılıç, İstanbul: Koç Üniversitesi Yayınları.
- Judd, D. (2007). “Specific Objects”, Art in Theory 1900-2000: An Anthology of Changing Ideas, Charles Harrison & Paul Wood (Ed.), Oxford: Blackwell Publishing, pp. 824-828.
- Morris, R. (2007). Art in Theory 1900-2000: An Anthology of Changing Ideas, Charles Harrison & Paul Wood (Ed.), Oxford: Blackwell Publishing, “Notes on Sculpture 1-3”, pp. 828-835.
- Owens, C. (1980). “The Allegorical Impulse: Toward a Theory of Postmodernism (Part I)”, October, Vol: 12 (Spring), pp. 67-86.
- İnternet Kaynakları Artists Space. (1977). “Press Release”. https://texts.artistsspace.org/sjexku00, Erişim tarihi: 25.07.2023.
- Wright. (2023). “Appropriation in Art”. https://www.wright20.com/auctions/2016/02/art-design/149, Erişim tarihi: 25.07.2023.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Theory of Theatre, Painting, Plastic Arts (Other) |
| Journal Section | Makaleler |
| Authors | |
| Early Pub Date | November 22, 2023 |
| Publication Date | January 8, 2024 |
| Submission Date | September 6, 2023 |
| Acceptance Date | November 2, 2023 |
| Published in Issue | Year 2023 Volume: 16 Issue: 32 |
