Publication: 1960 sonrası genişletilmiş heykel kavramı
Abstract
Bu çalışmada, 1960 sonrası heykel kavramının genişleme olanakları araştırılmış ve heykeli tanımlamada ve uygulamada önemli bir tarihsel kopuşa, yapısal dönüşüme yol açan değişim odakları saptanmaya çalışılmıştır. Çalışmanın ilk bölümü Resim Heykel İlişkisine ayrılmış, bu ilişkideki hiyerarşinin heykel lehine değişim süreci ele alınmıştır.İkinci bölümde Heykel Kaide İlişkisi tartışılmış; heykelin anıt mantığından uzaklaşması ve Modernist heykelin kaide ile bütünleşerek bağımsız bir yapı kazanması üzerinde durulmuştur. Üçüncü bölümde Heykel Tarihinde Radikal Bir Değişim Olarak Minimalizm başlığı altında, mekan içindeki boşluğun heykelin bir öğesi haline gelmesi ve izleyici-sanat eseri ilişkisinin değişimi ele alınmıştır. Dördüncü bölümde, Postminimalist Yaklaşımların Heykel Tanımı Üzerindeki Etkileri araştırılmıştır. Bu dönemin sanatçıları; gelenekselden uzak, yeni malzeme ve yöntemlerle, özgür, deneye açık ve disiplinler arası bir yaklaşımla çalışmışlardır.Beşinci bölüm Joseph Beuys ve Genişletilmiş Heykel Kavramı’ na ayrılmıştır. Sanatçı tüm çalışmalarında kendini fiziksel olarak yapıtın içine dahil etmiş, genişletilmiş sanat kavramının odak noktasına kendisini koymuştur. Altıncı bölümde, Rosalind Krauss’un Mekana Yayılan Heykel adlı makalesi üzerinde ayrıntılı olarak durulmuş, Minimalizm’in getirdiği açılımlar ve sonraki dönemin sanatsal pratikleri üzerindeki etkisi tartışılmıştır. Son bölümde, 1960 sonrası disiplinler arası sanat ortamı, genişletilmiş heykel kavramı bağlamında, seçilmiş sanatçı çalışmaları üzerinden irdelenmiştir.
In this study, the possibilities are investigated to expand the concept of sculpture after 1960 and the alternation focus that lead to an important historical detachment and a structural transformation in identification and application of sculpture, are tried to be determined.The first part of the study is allocated to Painting-Sculpture Relationship, and the alteration process of the hierarchy within this relationship in favor of sculpture is considered. In the second part Sculpture-Plinth Relationship is discussed; the divergency of sculpture from monumental approach and Modernist sculpture gaining an independent structure by integrating with the plinth is discussed.In the third part, with the caption Minimalism As A Radical Change In The History Of Sculpture,” Tthe space within place becoming an element of the sculpture and the alteration of the viewer- art work relationship is considered.In the fourth part, The Effects Of Postminimalist Approaches On The Definition Of Sculpture is investigated. The artists of this period had worked with new materials and methods far from the traditional ones and they adopted a free, interdisciplinary approach, open to experimentation. The fifth part is allocated to Joseph Beuys And The Expanded Sculpture Concept. The artist had included himself physically in all of his works and he put himself in the focal point of the expanded art concept. In the sixth part, the article ”Sculpture in the Expanded Field” by Rosalind Krauss is circumstantiated; and the expansions brought by minimalism and its effects on the artistic practices of the following period are discussed.In the concluding part, the interdisciplinary art atmosphere after 1960 is investigated within the context of the expanded sculpture concept through the sellected works of the artists.
In this study, the possibilities are investigated to expand the concept of sculpture after 1960 and the alternation focus that lead to an important historical detachment and a structural transformation in identification and application of sculpture, are tried to be determined.The first part of the study is allocated to Painting-Sculpture Relationship, and the alteration process of the hierarchy within this relationship in favor of sculpture is considered. In the second part Sculpture-Plinth Relationship is discussed; the divergency of sculpture from monumental approach and Modernist sculpture gaining an independent structure by integrating with the plinth is discussed.In the third part, with the caption Minimalism As A Radical Change In The History Of Sculpture,” Tthe space within place becoming an element of the sculpture and the alteration of the viewer- art work relationship is considered.In the fourth part, The Effects Of Postminimalist Approaches On The Definition Of Sculpture is investigated. The artists of this period had worked with new materials and methods far from the traditional ones and they adopted a free, interdisciplinary approach, open to experimentation. The fifth part is allocated to Joseph Beuys And The Expanded Sculpture Concept. The artist had included himself physically in all of his works and he put himself in the focal point of the expanded art concept. In the sixth part, the article ”Sculpture in the Expanded Field” by Rosalind Krauss is circumstantiated; and the expansions brought by minimalism and its effects on the artistic practices of the following period are discussed.In the concluding part, the interdisciplinary art atmosphere after 1960 is investigated within the context of the expanded sculpture concept through the sellected works of the artists.