Özet:

The ethnic, cultural and social impact that the American social life standards create on the individual, at first glance, is not visible in clear indicators; but when it comes down to the codes of its social life, there are many American figurative painters from Victor Arnautoff to Black Walker, who shaped their art in this direction, focusing on the gap between "visible" and "reality". These artists have become a chronic phenomenon, in the context of the separations of the society in which they live, of the individuals, of the social groups, or of the wider public masses, both with official policies and economically-based, of the stereotypes wrapped into social memory as “identity issues”, especially from the 1930s to the present day, which appears in the socio-political cultural indicators of America. In this context, the mainstream of American modern art, European origin (Soyut Extraterrestrial), which moves outside the art mecra, some artists, in the context of the historical conditions of American figurative art, form the layers of social memory; progressively perceive through facts such as race (soy), gender and violence, as the fields of art creations (productive activity), thought and formal action. In this article, the art creations are shaped, the images that shock man and leave traces in the depths of the human mind; in the context of thought, political art conception, social memory and identity, as selected in the 20th century American figurative painting art creations, the artists are discussed by addressing some of the works.

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