Abstract:

The entertainment cultures presented by the new media environment are for various fields. One of these fields is the art of painting, where visual arts and technology come together. The texture of the art of painting, lost on digital screens, has not only removed the art from its unique structure, but also simplified it through the variety made in humorous ways. In postmodern readings, the art of painting, which takes on an eclectic structure as a result of the interaction of disciplines with each other, multiplies with digital means and its renewed versions with contemporary interpretations and creates a fan/follower base. As a parodized form of reproduction, canvas paintings mostly establish a follower bond with the prominent works of leading names in their fields. These works are well-known, cult and popular with a certain style from the time they were created. Their new forms, on the other hand, are associated with various objects that are faithful to their source, and show them as “one of us”/livable in the way they keep up with today. Consumption and fashion culture makes the new age forms of these digitized figures effective in marketing through social media. In this context, the aim of the study is to read canvas paintings in the new media environment using the method of deconstruction. As a result of the study, it has been seen that the simultaneous, cult, unique value of the images that shoot themselves with the weapon of humor has been commodified, uniformized, standardized and homogeneous at the point where it keeps up with the agenda by simplifying it.

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