Publication: Fotoğrafın sanatsal özellikleri
Abstract
Bu çalışmanın konusu doğrudan fotoğrafın sanatsal ve işlevsel kullanımlarını irdelemek, bu iki kullanım arasındaki farkları açıklamak ve sanatsal kullanımın diğer görsel sanatlarla etkileşimini sorgulayarak, onun görsel sanatlar içindeki yerini ortaya koymaktır. Çalışmanın giriş bölümünde, fotoğrafın icadı ile birlikte zamanın sanatçı ve düşünürlerinden Charles Baudelaire ve Ahmet Haşim’in fotoğraf hakkındaki düşünce ve değerlendirmeleri aktarılmış, böylece fotoğraf - sanat etkileşiminin nasıl ve hangi koşullarda başladığı ortaya konmaya çalışılmıştır. Birinci bölümde, Fotoğraf – sanat ilişkisi hakkında günümüzdeki tezler ele alınmış, doğrudan fotoğrafın sanat olmadığını ima eden düşünceler aktarılmış ve bu düşüncelerin kuramsal kaynağı olarak Walter Benjamin’in “aura” kavramı irdelenmiştir. İkinci bölümde “sanatın işlevi nedir” sorusu çerçevesinde değişik sanatçı ve düşünürlerin sanat hakkındaki görüşleri özetlenmiş, sanatın tanımı ve işlevi konusunda, üzerinde mutabık kalınabilecek ortak unsurlar bulunmaya çalışılmıştır. Üçüncü bölümde, bir önceki bölümde tartışılan sanat kavramı çerçevesinde doğrudan fotoğrafın konumu incelenmiş, bu fotoğrafın işlevsel fotoğraftan ibaret olmadığı ifade edilmiş, doğrudan fotoğrafın bir başka biçimi olan belgesel fotoğrafla sanat üretiminin mümkün olup olmadığı tartışılmıştır. Dördüncü bölümde son yıllarda giderek yaygınlaşan dijital teknolojinin fotoğrafa olan etkileri, bir önceki bölümde ulaşılan sonuçlar çerçevesinde kısaca değerlendirilmiş, sonuç bölümünde fotoğrafın görsel sanatlar içindeki konumu hakkında genel bir değerlendirme yapılmış, Ekler bölümünde de, metinde bahsi geçen ve metnin anlaşılmasına katkıda bulunacağı düşünülen fotoğraflara toplu olarak yer verilmiştir.
The subject of this study is to analyse the use of the photography in functional and artistic manners, to explain the differences of both manners from each other and also to clarify the role of its artistic use amongest other visual arts through articulating its interaction with them. In the introduction part, opinions of Charles Baudelaire and Ahmet Haşim on photography at the time of its invention were quoted and thereby it was tried to explain how and in what conditions, the art and photography interacted between one another. In the first chapter, the arguments on relationship between art and photography was articulated. The views stating that “the direct phography is not a form of art” were elaborated and the “aura” concept of Walter Benjamin was discussed as an origin of those views. Through the second chapter, in the context of “what the art is” question, the opinions of various notable philosophers and artists were reviewed and commonalities on descriptions and functions of art were tried to be put together. In the third chapter, status of the “direct photography” was studied within the framework of fine arts discussions, contained in the previous chapter. It was indicated that the direct photography is not just solely functional photography, and articulations were made to identify as to whether the documentary photography, being another form of direct photography, could be serving to produce art, or not. In the fourth chapter, the effects of new digital technology on the photography were assessed within the framework of outcomes from discussions in the previuos chapter. In the conclusion part, an overview was summarised on photography and its distinctive place in the population of overall arts family. In appendix part, sample photographs related to text are submitted.
The subject of this study is to analyse the use of the photography in functional and artistic manners, to explain the differences of both manners from each other and also to clarify the role of its artistic use amongest other visual arts through articulating its interaction with them. In the introduction part, opinions of Charles Baudelaire and Ahmet Haşim on photography at the time of its invention were quoted and thereby it was tried to explain how and in what conditions, the art and photography interacted between one another. In the first chapter, the arguments on relationship between art and photography was articulated. The views stating that “the direct phography is not a form of art” were elaborated and the “aura” concept of Walter Benjamin was discussed as an origin of those views. Through the second chapter, in the context of “what the art is” question, the opinions of various notable philosophers and artists were reviewed and commonalities on descriptions and functions of art were tried to be put together. In the third chapter, status of the “direct photography” was studied within the framework of fine arts discussions, contained in the previous chapter. It was indicated that the direct photography is not just solely functional photography, and articulations were made to identify as to whether the documentary photography, being another form of direct photography, could be serving to produce art, or not. In the fourth chapter, the effects of new digital technology on the photography were assessed within the framework of outcomes from discussions in the previuos chapter. In the conclusion part, an overview was summarised on photography and its distinctive place in the population of overall arts family. In appendix part, sample photographs related to text are submitted.