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Bu makalede, görsel sanatlar eğitiminde yaygınlaşan bir kuram olan Görsel Kültür Kuramı ile birlikte, içerik olarak ona benzerlik taşıyan, ancak kavramsal temel prensipleri bakımından oldukça farklı bir alan olan Materyal Kültürü Araştırmaları incelenmiş, tarihsel kökleri bağlamında iki yaklaşıma yönelik eleştiriler ve kıyaslamalar ortaya konulmuştur. Ülkemizde pek bahsedilmemekle beraber, Görsel Kültür Kuramı’nın ideolojik gizli bir gündeme hizmet ettiği görüşü, uzun zamandır yaygın olarak tartışılmaktadır. Görsel Kültür Kuramı, Frankfurt Okulu’ndan doğan Eleştirel Kuram bağlantılı gizli Neo-Marxist veya Kültürel Marxist bir yaklaşım olmakla eleştirilen, kimilerine göre ise sadece postmodernist bir yaklaşım olan bir sanat eğitimi kuramıdır. Kurama getirilen yaygın eleştirilerden bir diğeri ise atölye uygulamaları konusundaki içerik yetersizliğidir. Tartışmalı bir sanat eğitimi kuramı olan Görsel Kültür Kuramı’nın, kavramsal temelleri ve içeriği bakımından Türkiye’de yaygın olarak pek anlaşılmadığı görülmektedir. Ülkemizde kuramın sadece tüketici toplumu, popüler kültür, kapitalist pazarlama yöntemleri, medya ve iletişim gibi boyutlarının ele alındığı görülmektedir. Bunun sebebi olarak Frankfurt Okulu temelli gizli kuramsal yöntem ve stratejiler ve bunun yanında politik teorilerin sanat eğitimi alanında pek bilinmemesi görülebilir. Materyal Kültürü Araştırmaları alanı bu tartışmaların dışındadır. Diğer taraftan siyasî boyutunun gizlenmesinde kuramın adının ‘Görsel Kültür’ olmasının rolü ve katkısı olduğu da düşünülmektedir. Bu araştırmada Görsel Kültür Kuramı’na yönelik görüşler ve kuramın içeriği hakkında tartışmalar ele alınmıştır. İdeolojik amaçlı olmakla eleştirilse de, pedagojik bir yöntem olarak sanat eğitimi alanına önemli katkılar sağladığı açık olan bu kuramın içeriği ve kuram hakkındaki tartışmalardan yola çıkılarak Milli Eğitim Sistemimiz içerisinde bu kuramın ülkemizdeki uygulanabilirliği de kuramsal bakımdan incelenmiştir.
In this article, along with the theory of visual culture, which is a widespread theory in the education of visual arts, the material culture studies, which are a field that is similar to it as content, but is quite different in terms of conceptual basic principles, have been studied, the two approaches and comparisons in the context of its historical roots have been revealed. While not much mentioned in our country, the view that the Visual Culture Theory serves an ideological secret agenda has long been widely discussed. The Visual Culture Theory is an art education theory that is criticized as a secret Neo-Marxist or Cultural Marxist approach related to the Critical Theory, which is born at the Frankfurt School, but some believe it is just a postmodernist approach. Another of the common criticisms brought to the theory is the lack of content on the workshop practices. The visual culture theory, which is a controversial art education theory, appears to be not widely understood in Turkey in terms of its conceptual foundations and content. In our country, it seems that the theory is only addressed to dimensions such as consumer society, popular culture, capitalist marketing methods, media and communication. This is why the secret theoretical methods and strategies based on the Frankfurt School and, in addition, political theories may not be much known in the field of art education. The field of material culture research is out of these discussions. On the other hand, it is also believed that the name of the theory is the role and contribution of the "visual culture" in hiding its political dimension. This study discussed the views on the Visual Culture Theory and the contents of the theory. Although it is criticized for ideological purposes, the content of this theory, which is clearly contributed significantly to the field of art education as a pedagogical method, and the discussions about the theory in our National Education System, the applicability of this theory in our country is also theoretically studied.
In this study, Visual Culture Theory in art education and Material Culture, which is very similar to Visual Culture in content were examined. Both approaches were compared and evaluated in their contents and fundamentals in an historical manner. Although, it has not been commonly considered in Turkey, Visual Culture Theory, specifically; has been criticized as having a Neo-Marxist or Cultural Marxist agenda stemming from Critical Theory, nonetheless it is also viewed as being just another recent postmodernist approach. One of the critiques of Visual Culture is its having very limited studio and art practices or not having at all. As being a controversial theoretical account, Visual Culture approach seems widely not to be understood in its conceptual frame, content and fundamentals among art teachers in Turkey. It is observed that Visual Culture practices commonly focused on consumer society, capitalist marketing strategies, media and communication aspects in Turkey. The political theories are commonly unknown and therefore usually not considered in education literature. The Critical Theory philosophy and political strategies born in the Frankfurt School could be identified as the rationale behind the Visual Culture Theory. On the other hand, the Material Culture Studies is exempt from these discussions. The name ‘Visual Culture’ is also claimed to cause misunderstandings since the term ‘visual culture’ has very common uses in daily language meaning other things than the content of Visual Culture Theory. The controversial approaches, critiques and discussions about the Visual Culture Theory have also been investigated. Even though, having been criticized as an ideologically oriented theory, Visual Culture Theory clearly contributes to the field at great extent. The content and fundamentals of Visual Culture Theory and its feasibility in terms of application and practices in Turkish national art education curricula is also discussed in this study.
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