Views
47
Downloands
11
Sanatçı doğa ve insanın yanı sıra, sanat yapıtları ile de ilişki içerisindedir. Daha önce yapılmış olan, başka bir sanatçı ve onun eserleri için esin kaynağı olabilir. Sanatçının kurduğu bu diyaloğun altında, geçmişe duyulan özlem ve ilginin yanı sıra, onda görülmemiş olanı keşfetme, daha önce yapılmış olanı yeni bir bakış açısı ile yorumlayarak tazeleme düşüncesi ve ondan yeni bir öykü var etme isteği de yatmaktadır. Bazı sanatçılar ise tüm bunların dışında, sadece geçmişi yağmalamaktan büyük bir haz duydukları için bunu yaparlar. Geçmişteki biçimlerin kullanılmasına ve bunun bilinçli olarak yapılmasına özellikle çağdaş sanatta sıklıkla rastlanmaktadır. Bazen bir sanat eseri belirgin biçimde bazen ise çağrıştırıcı düzeyde, kendinden bir parçayı başka bir sanat eserine aktarır. Sanatta kurulan bu türden diyaloglar sadece yapıtlar ile sınırlı değildir. Yapıtlar arasında olan bu diyalog, farklı sanat dalları arasında da kendini göstermektedir. Tıpkı resimden heykele olduğu gibi. Fırça ve boya kullanılarak ustalıkla yapılmış resimler, ahşap, taş, bronz döküm, fiberglas, polyester gibi malzemelerle bazen keskin, sert hatları ve dokulu yüzeyi ile kendini biçime teslim ederken bazen ise yumuşak geçişli pürüzsüz yüzeyi ve gerçekçi görünümü ile heykelde yeni bir boyut kazanır. Bir anlamda, resmin ruhu heykele geçer. Eski, yenide tekrar hayat bulur ve izleyici tarafından hatırlanmayı ve tanınmayı bekler.Bu araştırmada, heykelin resim ile olan ilişkisi incelenip, sanatçıların heykellerinde esin kaynağı olarak seçtikleri resimler aracılığıyla nasıl yaratıcı bir sürece, diyaloğa girdikleri, resmin özündeki estetik değerleri nasıl iki boyuttan üç boyuta aktardıkları Ann Hirsch, Anthony Caro, Seward Johnson, Juan Muñoz, Rebecca Szeto, Julie Rrap, Yinka Shonibare ve Robert Arneson gibi sanatçıların yapıtlarından verilen örneklerle açıklanmaya çalışılmıştır. Sanatçıların bu yapıtları esin kaynağı olarak seçme nedenleri, onları nasıl yorumladıkları ve sergiledikleri soruları var olan ve yeniden üretilen yapıtın ve geçmişin, bugünün sanatına nasıl yansıdığının anlaşılmasını sağlayacaktır.
Artists are in connection with nature and humanity, as well as with artworks. What has been done before, can be a source of inspiration for another artist and his works. Under this dialogue the artist establishes, besides the desire and interest to the past, there is also the desire to discover what has not been seen in it, the idea of re-interpreting what has been done before with a new perspective, and the desire to create a new story from it. Some artists do this, in addition to all of this, just because they have a great pleasure of stealing the past. The use of past forms and its consciousness are often found in modern art. Sometimes an artwork expressly, but sometimes at a calling level, translates one piece of itself into another artwork. These kinds of dialogues established in art are not limited only to works. This dialogue between works shows itself among different branches of art. Just like a statue in the picture. Fine paintings made using brushes and paintings, with materials such as wood, stone, bronze casting, fiberglass, polyester; sometimes they deliver themselves to shape with sharp, hard lines and tissue surface, while sometimes they gain a new dimension in the statue with soft transitional smooth surface and realistic appearance. In a sense, the spirit of the picture passes into the statue. The old, again, finds life and awaits to be remembered and recognized by the audience. The study examined the relationship of the statue with the painting, and tried to explain how the artists entered the dialogue through the creative process, through the paintings they chosen as a source of inspiration, and how they transmitted the aesthetic values in the essence of the painting from two to three dimensions: Ann Hirsch, Anthony Caro, Seward Johnson, Juan Muñoz, Rebecca Szeto, Julie Rrap, Yinka Shonibare and Robert Arneson. The reasons for artists to choose these works as a source of inspiration, how they interpret and exhibit them, will make it clear how existing and re-produced works and how the past reflect on the art of today.
Artist is also in contact with artworks as well as nature. Previous artwork can be a source of inspiration for another artist and his/her artworks. Under this dialogue established by the artist, as well as interest of the past, there is also the desire to discover what has not been seen in it, to rethink what has been done before with a new perspective, and to create a new story from it. Some artists do this only because they have a great deal of pleasure from the loot of the past. The use of forms in the past and the deliberate implementation of them are frequently encountered especially in contemporary art. Sometimes an artwork distinctly and sometimes reminiscent level transfers a part of itself to another artwork. This kind of dialogue in art is not limited to artworks. This dialogue among the artworks also seen in different art branches. It is just like from painting to sculpture. Artfully crafted paintings using brushes and paints deliver itself sharp, hard lines and textured surface such as wood, stone, bronz casting, fiberglas, polyester; sometimes they deliver a new dimension in the sculpture with smooth surface and realistic apperance. In a sense, the soul of the painting passes the sculpture. The old one comes back to life again and waits to be remembered and recognized by the audience. In this research, it is examined how the relationship between the sculpture and the painting and how the creative process, dialogue through the paintings they have chosen as inspiration in the sculptures of the artists, and the aesthetic values in the image are transferred from the two dimensions to the three dimensions. This process has been tried to be explained by examples from the artworks of artists such as Ann Hirsch, Anthony Caro, Seward Johnson, Juan Muñoz, Rebecca Szeto, Julie Rrap, Yinka Shonibare and Robert Arneson. With questions and answers of the reasons why artists choose these artworks as a source of inspiration, how they interpret and exhibit them will help us to understand how the existing and reproduced artwork and the past reflected on the art of today.
Field : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
Article Detail 
Similar Articles
Download PDF
Journal Information
Listen Paper
Cite
Print This Page
Share
Mendeley
