Publication: Avrupa’daki güncel fotograf akımları ve ekolleri
Abstract
Çok hızlı ve ani değişiklere uğrayan fotograf, 21. yüzyılın başında sanat olarak alıştığımız ve klasik anlamda kabul görmüş stil ve biçimlerin dışına çıkmıştır. Bu stil ve biçimler, şaşırtıcı olarak çabuk bir şekilde kabul görmüş ve fotografın alınıp/ satılma değerini çok yükseklere çıkartmıştır. İşte bu tez bu hızlı ve ani değişim sonucunda çıkmış olan fotograf sanatçılarının köklerini, ilham kaynaklarını ve birbirleri ile olan ilişkilerini irdeler. Bu tezi yazarken en büyük sıkıntı kaynak bulmakta yaşanmıştır; çünkü hem bu kadar güncel hem de bu kadar hızlı değişen bir konuyu yakalayan ve toparlayan bir kitap olmamasıdır. Ulaşabildiğim ve bulabildiğim, sanat ve fotografı irdeleyen iki kitap dışında kaynakça olarak yurt dışındaki galerilerin bizzat kendileri, fotografçıların bizzat kendileri, önemli uluslararası dergiler, yayım evleri ve interneti kullandım. Bu tez aynı zamanda, ülkemiz için, konusu hakkında bir kaynak oluşturma niteliği taşımaktadır. Tezdeki konu edilmiş sanatçıların sanat görüşü, iyi/ kötü gibi salt sıfatlandırmalardan daha çok onların şu anda neden popüler oldukları, neden müzayedelerde veya festivallerde aranılan kişiler oldukları sorusuna cevap bulunmaya çalışılmıştır. Sanat, taş üstüne taş koymaktır. Fotograf sanatı da aynı şekilde değerlendirilebilir. Fotograf sanatında, şu anda Batı Avrupa ve Amerika'da gözlemlenen, kendisini tekrar eden fotograflardan ziyade kavramsal ve psikolojik olarak yeni açılımlar getiren fotografların revaçta olmasıdır. Fotografın bu açıdan gelişimi 19. yüzyıl sonları 20. yüzyıl başlarına doğru resmin gelişimine benzerlik gösterir. Çünkü fotograf makinesinin keşfi, klasik resim sanatını yok etmiştir. Gördüğünü çizmekten ziyade, hissettiğini resmetmek daha mühim hale gelmiştir. Bence, dijital teknolojinin fotografın içine bu denli girmesi ve her şeyin bilgisayar ortamında yaratılabilir veya yok edilebilir olması, fotograf sanatını da yeni ekol, akım ve stiller bulmaya zorlar duruma getirmiştir.
Passing through a very fast and sudden change, photography as an art form got out of the traditional and accepted styles and formats it used to have during the beginning twenty first century. These styles and formats were accepted surprisingly fast and they raised the photographs' trade values up to a high point. So, this thesis examines the photographers' (that were under the impact of this sudden and fast change) origins, inspiration sources and their relations. Writing this thesis the biggest trouble I had was finding the sources I needed. Because there is no book that can catch and gather this rapidly changing subject. Other than the two books examining art and the photography, the only source I had was the photographers and the galleries themselves and the important international magazines, publishers and the internet. So, this thesis also has the feature of being the source of its own subject. In the thesis, the photographers' (mentioned in the thesis) art perspective was not categorized with adjectives such as good and bad. On the contrary, I tried to find an answer to the questions such as why these photographers are popular, why they are demanded at the auctions or festivals. This inguiry also became the main theme in my research. Art is about building a structure brick by brick. By the same token, the art of photography can be evaluated in the same content. Currently, in Western Europe and in the USA it is clear that the photographers that bring a new conceptual and physiological sense are more popular than the ones that repeat themselves. From this point of view, the improvement of photography is similar to the development of the painting that occured during the end 19th century and the beginning of 20th century, because the invention of the camera abolished the art of classical painting. Instead of drawing what you see, drawing what you feel had become more important. In my opinion, the penetration of the digital technology into photography and the very fact that everything can be created or abolished by the means of computer software, forced photography to find new movements and styles.
Passing through a very fast and sudden change, photography as an art form got out of the traditional and accepted styles and formats it used to have during the beginning twenty first century. These styles and formats were accepted surprisingly fast and they raised the photographs' trade values up to a high point. So, this thesis examines the photographers' (that were under the impact of this sudden and fast change) origins, inspiration sources and their relations. Writing this thesis the biggest trouble I had was finding the sources I needed. Because there is no book that can catch and gather this rapidly changing subject. Other than the two books examining art and the photography, the only source I had was the photographers and the galleries themselves and the important international magazines, publishers and the internet. So, this thesis also has the feature of being the source of its own subject. In the thesis, the photographers' (mentioned in the thesis) art perspective was not categorized with adjectives such as good and bad. On the contrary, I tried to find an answer to the questions such as why these photographers are popular, why they are demanded at the auctions or festivals. This inguiry also became the main theme in my research. Art is about building a structure brick by brick. By the same token, the art of photography can be evaluated in the same content. Currently, in Western Europe and in the USA it is clear that the photographers that bring a new conceptual and physiological sense are more popular than the ones that repeat themselves. From this point of view, the improvement of photography is similar to the development of the painting that occured during the end 19th century and the beginning of 20th century, because the invention of the camera abolished the art of classical painting. Instead of drawing what you see, drawing what you feel had become more important. In my opinion, the penetration of the digital technology into photography and the very fact that everything can be created or abolished by the means of computer software, forced photography to find new movements and styles.