Plastik sanatlarda çağdaş anlatım biçimleri ve etki alanları

Abstract

`Plastik Sanatlarda Çağdaş Anlatım Biçimleri ve Etki Alanları` adı altında beş bölümde ele alınan bu çalışma, günümüz plastik sanatlarının görsel ve düşünsel etkinliğinin özne-nesne ilişkisi bağlamında, gelişim ve değişim basamakları ele alınarak incelenmektedir. Sanat etkinliğinin görsel etki uyandıran bildiri/mesaj değeri olan yapıtlardan kaynaklandığı; kanal yardımıyla alıcı kitleye yollandığı ve tepkiye dönüştüğü sanat akımlarının paralelinde ifade edilmektedir. Bu ilişkide bireyin kendisi ve yarattığı sanat yapıtı, algısal ve fiziksel çevresiyle bir bütün olarak, Geştalt Kuramları doğrultusunda da açıklanmakta dır. Anlatım biçimleri ve anlam taşıyan bir araç olarak sanat yapıtlarının mekan sal etki boyutları bireyin algısal çevresinin bir bütün olarak irdelenmesi grafiksel anlatım ve tablolarla da desteklenmektedir. Emek/üretim toplumundan, bilgi/tüketim toplumuna geçerken düne ait değerlerin, yeni bir boyut ve mantık içinde düşünülmesi, çalışmanın amaçlarını oluşturmaktadır. Bu bağlamda günümüz sanatının temsilcilerinden sayılabilen bazı sanatçılarla yapılan görüşmeler sonucu elde edilen bilgiler ışığında, yorumsal birtakım girişimlerin, nasıl bir değişim ve gelişim çizgisi gösterdiği de vurgulanarak çalışma sonuçlan ile birlikte bütünleştirilmektedir.

Modern art can be defined as finding out what is particular about social and cultural values, and to try to make it universal. In today's world, modern plastic arts involving visual and ideatio- na context are also influenced by the social structure, science, philosophy and politics. The ideational art, showing its effects particularly in the second half of our century, defends the men tality of being open to changements that are necessary transcent to be able to the phenomenons represented by dogmatic forms. In relation to this, it's also concerned that production of works of art with the use of scientific research methods has came to a position that is identical with the art's. Consequently, during the production of an artwork, the artist should take into conside ration the previous artistic activity and production in order to produce in ideational continuity and unity. This is of great impor tance for the inquiry of his works both in the past and, the present since there is a sort of structural relation between the past and the future. Thus, this work aims to appraise the values, dimen sions and structure of the plastic arts particularly in the second half of the century we are living in. It also offers a systematic approach to the necessity of examining today's art with a mote objective eye. Furthermore, this work examines the aesthetic and ideational values of plastic art - those connected to social, political, cultural and scientific substructure in atransition, period between the industrial and knowledge society - in the frame of a system of interaction between the artist - art work - spectator, the relationship between object and subject based on currents in volved by plastic arts. Perception which is receiving the sensa tional information through a mental period, is explained by the theories of Geştalt.vor to traplight itself, to bend it and bounce it between mirrors and prisms, or to fire it like a gun against photographic film, thuscrea- ting new optical effects. But such adventures risk becoming unsophisticated versions of experimental physcs; they cease to be sculpture. Cinema represents, for the time being, our best model of the artistic application of light physics; and its aesthetic possebilities have just begun to be exploited. Sculpture's loss of volume and mass from the monolithy to the metal filament - and its gain in motion - from the static statuary of old Kingdom Egypt to the kinetic sculpture of the twentieth century - find art knocking at the door of physcs. But it is interesting to observe that artists like Gabo, Pevsner, and Moholy - Nagy - men with strong scientific interests - became increasingly attracted to the sensuous qualities of matter as their artistic careers unfolded. To the extent that they were sculptors, and men, the medium continued to make tactile claims which could not be denied. Like painting, sculpture had its origin in the forming of figures for primitive magic and later, for religious ritual. In viewing all subsequent sculptural developments, one should remember this early association of sculpture with magic. Painting, too, has magical associations, but it requires the capacity to create and belive in airy illusions, where as sculpture can give corporeal reality to man's hopes, memories, and fantasies. Consequently, sculptural works have served more prominently than painted images as vessels for the souls of departed chiefs and kings - as totems and cult objects among primitive men. The painted image seems to call for more capacity for symbolization than the sculp tural image, viewers must be able to visualize the represent or symbolize - it actually is what its maker says it is. Indeed, ancienlsculpture was painted in order to fortify its claims to be, rather than represent, human personality. The capacity of sculpture, no matter what its materials, to occupy real space and to, compel belief in its claims to vitality, distunguishes it from painting and graphic art in general. Conse quently, sculpture has remained, throughout history of changing form, material, and social functions, the same art which pygma- lion practiced - the art of making three dimensional materials come alive in order to objectify human fantasies record human personality and achievement and satisfy human longings for perfection. Regarding this relation, the belonging of the art work to a certain place, its becoming a value through achieving both a visual and mental motion and its effects on the spectator are explained in this part. Parts unifying various artistic inclinations and devices are explained through examples. With the conslusions derived from the study, paraleli to the subject of this thesis, it is tried to make an appraisal of the formal and ideational dimensions of Turkish art. Finally it is reached to a conclusion that Turkish artist are in need of more information, observation, research and an accumulation which is going to be a synthesis of all by protecting their cultural identities.vor to traplight itself, to bend it and bounce it between mirrors and prisms, or to fire it like a gun against photographic film, thuscrea- ting new optical effects. But such adventures risk becoming unsophisticated versions of experimental physcs; they cease to be sculpture. Cinema represents, for the time being, our best model of the artistic application of light physics; and its aesthetic possebilities have just begun to be exploited. Sculpture's loss of volume and mass from the monolithy to the metal filament - and its gain in motion - from the static statuary of old Kingdom Egypt to the kinetic sculpture of the twentieth century - find art knocking at the door of physcs. But it is interesting to observe that artists like Gabo, Pevsner, and Moholy - Nagy - men with strong scientific interests - became increasingly attracted to the sensuous qualities of matter as their artistic careers unfolded. To the extent that they were sculptors, and men, the medium continued to make tactile claims which could not be denied. Like painting, sculpture had its origin in the forming of figures for primitive magic and later, for religious ritual. In viewing all subsequent sculptural developments, one should remember this early association of sculpture with magic. Painting, too, has magical associations, but it requires the capacity to create and belive in airy illusions, where as sculpture can give corporeal reality to man's hopes, memories, and fantasies. Consequently, sculptural works have served more prominently than painted images as vessels for the souls of departed chiefs and kings - as totems and cult objects among primitive men. The painted image seems to call for more capacity for symbolization than the sculp tural image, viewers must be able to visualize the represent or symbolize - it actually is what its maker says it is. Indeed, ancienlsculpture was painted in order to fortify its claims to be, rather than represent, human personality. The capacity of sculpture, no matter what its materials, to occupy real space and to, compel belief in its claims to vitality, distunguishes it from painting and graphic art in general. Conse quently, sculpture has remained, throughout history of changing form, material, and social functions, the same art which pygma- lion practiced - the art of making three dimensional materials come alive in order to objectify human fantasies record human personality and achievement and satisfy human longings for perfection. Regarding this relation, the belonging of the art work to a certain place, its becoming a value through achieving both a visual and mental motion and its effects on the spectator are explained in this part. Parts unifying various artistic inclinations and devices are explained through examples. With the conslusions derived from the study, paraleli to the subject of this thesis, it is tried to make an appraisal of the formal and ideational dimensions of Turkish art. Finally it is reached to a conclusion that Turkish artist are in need of more information, observation, research and an accumulation which is going to be a synthesis of all by protecting their cultural identities.