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Bu çalışmanın amacı, doğanın iç mekânda sergilenmesine örnek teşkil eden sanat yapıtlarının incelenmesidir. Bu örneklerin, 1960’lar ve sonrası sanatta daha görünür olmasından hareketle; çalışma 1960’lar ve sonrası süreçte yaşayan sanatçılar ve yapıtlarıyla sınırlandırılmıştır. Bu bağlamda, galeri sistemine karşı doğada sanat yapma önerisine rağmen çalışmalarını yine de galerilerde sergileyen Richard Long, inandırıcılığından taviz vermeden doğayı taklit eden ve ikna edici bir görsellikle iç mekanda yapay doğa kesitleri sunan Roxy Paine ve dışarıdaki doğayı, ihtişamından bir şey kaybettirmeden iç mekanda gösterebilen yapıtlarıyla Olafur Eliasson ele alınmıştır. Seçilen sanatçıların yaşadığı dönemi şekillendirdiği sebebiyle çevresel ve ekolojik olaylar üzerinde durulmuştur. Bu dönemden sonra sanatçıların bu olaylara karşı daha tepkisel ve sert bir dil kullandıkları, doğaya daha derin ve detaylı baktıkları görülmüştür. Richard Long, Roxy Paine ve Olafur Elliasson’un doğayı bilen, tanıyan bir tavırla, doğaya dair duyarlıkla yapıtlar gerçekleştirdikleri, güncel ifade olanaklarından ve sergileme yöntemlerinden faydalandıkları; yapıtlarında doğanın gücü, doğanın karmaşıklığı ve doğa sistemleri üzerinde durdukları görülmüştür. Yapıtlarını oluşturan kavramsal süreçleri incelendiğinde ise; doğayı algılama ve yorumlama biçimlerinin yine yapıtlarında doğayı baskın hale getirdiği sonucuna varılmıştır. Çalışma süresince sanat alanında kütüphane, arşiv ve süreli yayınlardan tarama, inceleme ve veri toplama işlemi yapılmış; sanatçı web siteleri incelenmiş; sanat eleştirmeni, sanat tarihçisi ve sanatçıların düşüncelerinden faydalanılmıştır.
This study aims to examine the artworks that are examples of displaying nature indoors. As a consequence of these works being more visible in art during the 1960s and later periods, the study has been limited to living artists and their artworks of the 1960s and the later periods. In this context; Richard Long proposer of making art in nature as opposed to the gallery system, who nevertheless presents his works in galleries, Roxy Paine, the imitator of nature without compromise to the original, who shows us artificial scenes from nature in indoor spaces with a persuasive visual quality and Olafur Eliasson who can reflect the outdoors nature without losing any features of its magnificence in indoor spaces were discussed. Because the chosen artists had shaped the periods in which they lived, environmental and ecological instances were focused on. It was seen that after these periods the artists began to use a more reactive and harsh language and that they were observing nature even more deeply and in detail. It was seen in Richard Long, Roxy Paine, and Olafur Eliasson that they realized their works in a way that knew and recognized the nature and with a sensitivity they developed towards it. It was also observed that they made use of current expression opportunities and display methods and that they emphasized the power of nature, nature’s complexity, and natural systems in their works. When the ideas that gave life to their works were analyzed, it was concluded that the way the artists perceived and interpreted nature was determinant on the manifestation of nature in their art. During the process of the research a scan of libraries, archives and periodical publications was done alongside an analysis and data gathering process; in which artist’s websites were examined and ideas of art critics, art historians and artists were benefited from.
This study aims to examine the artworks that are examples of displaying nature indoors. As a consequence of these works being more visible in art during the 1960's and later periods, the study has been limited to living artists and their artworks of the 1960's and the later periods. In this context; Richard Long proposer of making art in nature as opposed to the gallery system, who nevertheless presents his works in galleries, Roxy Paine, the imitator of nature without compromise to the original, who shows us artificial scenes from nature in indoor spaces with a persuasive visual quality and Olafur Eliasson who can reflect the outdoors nature without losing any features of its magnificence in indoor spaces were discussed. Because the chosen artists had shaped the periods in which they lived, environmental and ecologic instances were focused on. It was seen that after this periods the artists started to use a more reactive and harsh language and that they were observing nature even more deeply and in detail. It was seen in Richard Long, Roxy Paine, and Olafur Eliasson that they realized their works with a manner that knew and recognized the nature and with a sensitivity they developed towards it. It was also observed that they made use of current expression opportunities and display methods and that they emphasized the power of nature, nature's complexity, and natural systems in their works. When the ideas that gave life to their works were analyzed, it was concluded that the way the artists perceived and interpreted nature was determinant on the manifestation of nature in their art. During the process of the research a scan of libraries, archives and periodical publications was done alongside an analysis and data gathering process; in which artist's websites were examined and ideas of art critics, art historians and artists were benefited from.
Alan : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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