Postmodernizm ve resim

Abstract

Resimde modernizm, on dokuzuncu yüzyılın sonunda başlayan hareket olarak ortaya çıkar. Eskinin tamamen reddedildiği, tamamen yeni olanın yaratılacağı iddiasıyla ortaya çıkan bu hareket çerçevesinde modernizmin temel belirleyicilerinden olan hümanizmaya paralel olarak sanatçı toplumu ileri götürücü bir misyon yüklenir, sanat yapıtı yoluyla yeni dünyanın yaratılmasına katkıda bulunan yaratıcı rolünü üstlenir. Teknolojik gelişmeler de sanatın röprodüktif özelliğinin önem kaybetmesine ve resimde formun kendi başına bir anlam kazanmasına yol açarlar. Modern resmin son aşamasındaysa tamamen seçkinci bir tavır ortaya çıkar. Toplumun ilerisinde yer alan öncü sanatçı yalnızca görsel duyulara hitap etme kaygısıyla anlamlı formu yaratır. Bu aşamayla eş zamanlı olarak modernizme karşı tepkiler de gündeme gelir. Sanatçı ve sanat yapıtının konumuna ironik olarak yaklaşılır. Bir yandan modernizmin yücelttiği formun yok edilmesine kadar gidilirken, modernizm içinde bayağı sayılan formlar, kilsch sanata dahil edilir; modernizm içindeki soyutlamanın saltanatı sırasında figüre dönülürek modernizmin tarihe referansta bulunma yasağı kırılır. Resim, modernizm öncesindeki gibi mimarîyle yeniden ilişki içine girer. Görsel sanatlar, kavramın içi tamamen boşaltılarak görselliğin dışındaki duyulara da hitap etmeye başlarlar. Tedricen gelişen bu tepkiler, sonunda sanat yapıtının modermst ölçütlerle değerlendirilmesinin imkansız hale geldiği bir eklektisisizme vararak resmin tarihinde yeni bir aşamaya, postmodernizme karşılık gelirler. Bu çalışmada postmodernist resimde auteıır olarak sanatçının ve modermst anlamdaki sanatın, formun ölümünün, mmimalizmin vardığı sıfir noktasından sonra farklıyöntemlerlegündemegelişininizisürülmüştür.

The major movements which can be considered in this approach are examined briefly in this study: Pop Art, Photo-Realism, 'Bad' Painting, NeoExpressionism, Transavangarde. The third category emphasizes on the emergence of minorities claiming their difference: the 'other' demands to have its place, once refused, in the realm of the art. This concept entered the discourse of artists and critics in the late 1970s and began to be frequently heard in the mid 1980s. The late 1980s saw a growing number of visual artists in the United States and Great Britain addressing issues of otherness. The first major movement in this line is feminism. Women claim that the art history was made and written by men and they accentuate their femininity in their works in which they use narrative, autobiography, decoration, ritual, crafts-as-art and popular culture, all of which are mainly postmodernist means in opposition to the purity and exclusivity of modernism. Regionalism is another issue developed versus the important centers of modern art like Paris and especially New York. Los Angeles, San Francisco, and Chicago were relegated to marginal status in modernism, for which the international art capital was only New York. The artists of these cities claim that the virtually instant communication available today suggests that the notion of a physical center and outlying regions may be irrelevant. In a larger sense, the artists of the third world also began to claim their rights, challenging the dominance of the West. There are also others in the hierarchy of art itself. The exclusivity of modern art work rejected any function accorded to a significant form. But now, some artists claim that works which have a decorative function, even works considered as crafts by modernism should be considered as art. In this category, the following movements are studied: Feminist Art, Bay Area Figurative Style, Chicago Imagism, Los Angeles Look, Art-as-Craft, Funk Art, Pattern and Decoration, Graffiti Art. This work is called: `POSTMODERNISM AND PAINTING`.x-longer optimistic. Logic no longer sufficed. Technology has undesirable side effects, and in a world threatened by defoliated land, polluted air and water, and depleted resources, by chemical additives, radioactive wastes, and space debris, progress is no longer an issue. The future has become a question of survival. In this study the postmodern painting is examined in three categories. The first category is dealing with the artists who rejects the modernist conceptualization of the form and tend even to destroy it. The role assumed by the art work and the artist in the modernity is challenged ironically. Duchamp can be considered as the precursor of this irony. This approach reaches its peak with the conceptual art in which the form does not exist. Conceptual art's emphasis on the artist's thinking made any activity or thought a potential work of art, without the necessity of translating it into pictorial or sculptural form. In this category, the postmodern artists have also refused to accept the finite, bounded aspect of the art described by the modernists by expanding the object in space and in time, insuring that its completion be a process into a nonspecified and nonlimited time. For example Smithson built a spiral rock jetty at the northern end of Great Salt Lake in Utah in which the continuing fluctuation of the depth of the water of the lake left saline deposits on the rocks, which constantly changed their coloration and appearance. Happenings and installations mix the other art forms with those of painting. Modernist inhibitions are no longer valid: the specifically visual role of the painting is threatened by these artists. As major movements in line with this approach, the following art forms are studied briefly: Actionism, Fluxus, Public Art, Land Art, Conceptual Art, Process Art, Body Art, Light-and-Space Art, Performance Art, Sound Art. In the second category are studied the artists and movements who make the use of historical references. This return to the history is especially designed by a return to the figurative painting. This position can be considered as a serious threat to the emphasis on the originality in the modernist framework. Appropriation, site- specificity, impermanence, accumulation, discursivity, hybridization characterize this approach and distinguish it from its modernist predecessors. Chirico is the first important artist to return to the history and thus to reject the modernist obligations. With this approach, unlike the first one, the integrity of the painting and the purely visual quality of the art-work are preserved but this preservation is not innocently conceived: the return to the history is embodied in a such irony that the meaning and the integrity of the past is faded and even ridiculed. As Jameson points out there is a deconstruction of expression. Neo Expressionism is one of the most important reactions against the coolness of the modern painting; the artists in line with this movement adopted traditional formats of easel painting and cast and carved sculpture. The taboo means of modernism like gestural paint and allegory are freely used by the postmodernist generations. ix-The major movements which can be considered in this approach are examined briefly in this study: Pop Art, Photo-Realism, 'Bad' Painting, NeoExpressionism, Transavangarde. The third category emphasizes on the emergence of minorities claiming their difference: the 'other' demands to have its place, once refused, in the realm of the art. This concept entered the discourse of artists and critics in the late 1970s and began to be frequently heard in the mid 1980s. The late 1980s saw a growing number of visual artists in the United States and Great Britain addressing issues of otherness. The first major movement in this line is feminism. Women claim that the art history was made and written by men and they accentuate their femininity in their works in which they use narrative, autobiography, decoration, ritual, crafts-as-art and popular culture, all of which are mainly postmodernist means in opposition to the purity and exclusivity of modernism. Regionalism is another issue developed versus the important centers of modern art like Paris and especially New York. Los Angeles, San Francisco, and Chicago were relegated to marginal status in modernism, for which the international art capital was only New York. The artists of these cities claim that the virtually instant communication available today suggests that the notion of a physical center and outlying regions may be irrelevant. In a larger sense, the artists of the third world also began to claim their rights, challenging the dominance of the West. There are also others in the hierarchy of art itself. The exclusivity of modern art work rejected any function accorded to a significant form. But now, some artists claim that works which have a decorative function, even works considered as crafts by modernism should be considered as art. In this category, the following movements are studied: Feminist Art, Bay Area Figurative Style, Chicago Imagism, Los Angeles Look, Art-as-Craft, Funk Art, Pattern and Decoration, Graffiti Art. This work is called: `POSTMODERNISM AND PAINTING`.x-longer optimistic. Logic no longer sufficed. Technology has undesirable side effects, and in a world threatened by defoliated land, polluted air and water, and depleted resources, by chemical additives, radioactive wastes, and space debris, progress is no longer an issue. The future has become a question of survival. In this study the postmodern painting is examined in three categories. The first category is dealing with the artists who rejects the modernist conceptualization of the form and tend even to destroy it. The role assumed by the art work and the artist in the modernity is challenged ironically. Duchamp can be considered as the precursor of this irony. This approach reaches its peak with the conceptual art in which the form does not exist. Conceptual art's emphasis on the artist's thinking made any activity or thought a potential work of art, without the necessity of translating it into pictorial or sculptural form. In this category, the postmodern artists have also refused to accept the finite, bounded aspect of the art described by the modernists by expanding the object in space and in time, insuring that its completion be a process into a nonspecified and nonlimited time. For example Smithson built a spiral rock jetty at the northern end of Great Salt Lake in Utah in which the continuing fluctuation of the depth of the water of the lake left saline deposits on the rocks, which constantly changed their coloration and appearance. Happenings and installations mix the other art forms with those of painting. Modernist inhibitions are no longer valid: the specifically visual role of the painting is threatened by these artists. As major movements in line with this approach, the following art forms are studied briefly: Actionism, Fluxus, Public Art, Land Art, Conceptual Art, Process Art, Body Art, Light-and-Space Art, Performance Art, Sound Art. In the second category are studied the artists and movements who make the use of historical references. This return to the history is especially designed by a return to the figurative painting. This position can be considered as a serious threat to the emphasis on the originality in the modernist framework. Appropriation, site- specificity, impermanence, accumulation, discursivity, hybridization characterize this approach and distinguish it from its modernist predecessors. Chirico is the first important artist to return to the history and thus to reject the modernist obligations. With this approach, unlike the first one, the integrity of the painting and the purely visual quality of the art-work are preserved but this preservation is not innocently conceived: the return to the history is embodied in a such irony that the meaning and the integrity of the past is faded and even ridiculed. As Jameson points out there is a deconstruction of expression. Neo Expressionism is one of the most important reactions against the coolness of the modern painting; the artists in line with this movement adopted traditional formats of easel painting and cast and carved sculpture. The taboo means of modernism like gestural paint and allegory are freely used by the postmodernist generations. ix-The major movements which can be considered in this approach are examined briefly in this study: Pop Art, Photo-Realism, 'Bad' Painting, NeoExpressionism, Transavangarde. The third category emphasizes on the emergence of minorities claiming their difference: the 'other' demands to have its place, once refused, in the realm of the art. This concept entered the discourse of artists and critics in the late 1970s and began to be frequently heard in the mid 1980s. The late 1980s saw a growing number of visual artists in the United States and Great Britain addressing issues of otherness. The first major movement in this line is feminism. Women claim that the art history was made and written by men and they accentuate their femininity in their works in which they use narrative, autobiography, decoration, ritual, crafts-as-art and popular culture, all of which are mainly postmodernist means in opposition to the purity and exclusivity of modernism. Regionalism is another issue developed versus the important centers of modern art like Paris and especially New York. Los Angeles, San Francisco, and Chicago were relegated to marginal status in modernism, for which the international art capital was only New York. The artists of these cities claim that the virtually instant communication available today suggests that the notion of a physical center and outlying regions may be irrelevant. In a larger sense, the artists of the third world also began to claim their rights, challenging the dominance of the West. There are also others in the hierarchy of art itself. The exclusivity of modern art work rejected any function accorded to a significant form. But now, some artists claim that works which have a decorative function, even works considered as crafts by modernism should be considered as art. In this category, the following movements are studied: Feminist Art, Bay Area Figurative Style, Chicago Imagism, Los Angeles Look, Art-as-Craft, Funk Art, Pattern and Decoration, Graffiti Art.