kinky...funky...dinky..: etten ve tenden bir odanın içindesiniz..

kinky...funky...dinky..: etten ve tenden bir odanın içindesiniz..: "Mehmet Ali Uysal.. yaptığı işler, duvarları etten hissetirecek.. ağır kağıt uçakları havada tutacak.. küçük tepeleri mandalla tutturac..."

kinky...funky...dinky..: tate modern'de bir çinli..

kinky...funky...dinky..: tate modern'de bir çinli..: "hızlı aktivist..insan hakları savunucusu.. çin'li sanatçı AI WEIWEI.. şimdi londra tate modern'de..hem de 100 milyon seramik ayçekirdeğ..."

kinky...funky...dinky..: pink man.. bir kapitalizm eleştirisi..

kinky...funky...dinky..: pink man.. bir kapitalizm eleştirisi..: "Pink Man on European Tour # 11 (Copenhagen), 2000 Horror in Pink series, 2001 Hungry Ghost, 2003 La vie en pink, 2004 Pink Man Begins # ..."

rampa: ahmet oran

"RESMİN DERİSİNİ YÜZEN” RESSAM
AHMET ORAN RAMPA’DA

“Ahmet Oran, sanatını yalnızca resmetmeyle ilgili eylemlere indirgemeyi öngören tutumuyla süreçsel resim sanatının başlıca temsilcilerinin arasında kendisine özgü bir konuma sahiptir.”
Günther Oberhollenzer, Küratör, Essl Müzesi, Viyana

Rampa, 6 Kasım – 18 Aralık 2010 tarihleri arasında Ahmet Oran sergisine ev sahipliği yapıyor.

1957 yılında Çanakkale’de doğan Oran, 1980’de İstanbul Devlet Güzel Sanatlar Akademisi’nden mezun oldu. Sonrasında çalışmalarına Viyana Tatbiki Sanatlar Yüksek Okulu’nda devam eden Oran, Prof. Unger ve Prof. Frohner’in atölyelerinde öğrenim gördü. Viyana ve İstanbul’da yaşayan sanatçı 1980’lerin ortasından itibaren ağırlıklı olarak Avusturya’da olmak üzere 30’u aşkın kişisel sergi açtı; 25 karma sergide eserleri yer aldı.

Ahmet Oran, monokrom renk tabakalarını siyah zeminin üzerine birbirinin peşi sıra taşıyor, tuvali katman katman maviyle, kırmızıyla, sarıyla veya griyle kaplıyor. Kimi zaman monokrom kalan, kimi zaman da yüzeyde çok renkli bir örgü meydana getiren son katman da tuvale taşınıp işlendikten sonra sanatçı, kendisinin de ifade ettiği gibi, “resmi açmaya” başlıyor. Aynı anda birden fazla tuval üzerinde resim yapan Oran, farklı spatüllerle ve çeşitli büyüklükteki ahşap parçalarıyla çalışan bir sanatçı. Bu ahşap parçalarıyla tuvalin kabuğunu soymak suretiyle resimde geniş bantlar meydana getiriyor. Açığa çıkan renkler farklı yoğunluklarda, karışımlarda ve yapılarda görünür hale geliyor.

Oran, nesnel olana gönderme yapmayan soyut resimler üretiyor. Resmi en temel unsurlarına, yani renge ve biçime indirgiyor. Sanatçı, renk katmanlarının tek tek açığa çıkartılması sırasında rölyefi andıran kompozisyonlar meydana getiriyor. Yakından, özellikle de yandan incelediğinde tabloların üçboyutlu, son derece plastik bir etkisi olan yüzeylere sahip olmasını sağlıyor.

Bilgisayarda tasarımlar hazırlayan sanatçı resimlerinin ön çizimlerini yapıyor. Oran, resimlerinin temel konsepti için bilgisayar tasarımları kullandığı ve her bir resmin üretim sürecini önceden enine boyuna düşündüğü halde sanatçının eserleri katı bir kompozisyon ya da donuk bir uygulama izlenimi uyandırmıyor.

Renk; çalışmalarını son yıllarda İstanbul’da sürdüren Oran’ın yapıtlarında giderek daha belirleyici bir rol oynuyor. Istanbul’un sesi, melodisi ve gürültüsü sanki resimlerine yansıyor. Oran’ın önceki dönem eserlerindeki sükunet ve uysallık, bu sergide yerini renkli bir şenliğe bırakıyor. 20’yi aşkın tuvale yer veren bu sergi, aynı zamanda sanatçının 5 yıl aradan sonra İstanbul’da açacağı ilk kişisel sergisi olma özelliğini de taşıyor.

Bu basın bülteni Günther Oberhollenzer’in “Açığa Çıkan Renk Bölgeleri ve Çizimli Resim Sanatı’” metninden yararlanılarak hazırlanmıştır.

Sergi: 6 Kasım – 18 Aralık 2010
Salı – Cumartesi 11.00 – 19.00

Bilgi ve görseller için: Üstüngel İnanç
0212 327 08 00 / 0530 569 32 21
uinanc@rampaistanbul.com

Bunları bilmekte Yarar Var.

http://jacksonpollock.org/

http://www.artandresearch.org.uk/

http://www.euroalter.com/research/europa-magazine/

extramücadele

extramücadele türkiye'de güncel sanatın önemli isimlerinden. son sergisi de tophane'deki galeri saldırılarının ilk noktası idi. ahu antmen sergi ile ilgili radikal'e yazmış. buradan yazıya buradan da extramücadele'nin sitesine.

Mehmet Doruk Sağlam

‘ Questions for Güçlü Öztekin ’ ’

1 ) What is the meaning of “akrilik’’ technique ?

2 ) What do you think about and contemporary art in Turkey ?

3 ) Why do you use the paper on your works ?

Exhibition of Güçlü Öztekin

Three questions about exhibition which is exhibited by Güçlü Öztekin(KaplankadilAK-Pis bir adamdı ama ellerini ellerini iyi yıkardı):

1) You say that i don't use papers as real papers, so you're changing function of papers, my question is that why do you use paper to unearth your ideas, because it is easy for you or something different?

2)What do you imagine when you think about Contemporary Art?

3)What do you expect from visitors in end of the exhibition, do you think you gave your thoughts to visitor as you expect or do you expect something like that?

Güçlü Öztekin

1-Sergi isminin Kaplankadilak -Pis Bir Adamdı Ama Ellerini İyi Yıkardı olmasının sergiye katması istenilen mesaj nedir?

2- Önceki sergilerinize yer alan eserlerinizi taze tanımyla kısa sürede bitirmişsiniz.Bu sergide de taze

eserlerinizden yer alıyor mu?


  3-Güncel sanatın etki-tepkisi görülmesi açısından serginiz çok büyük önem taşımakta.Bu konu hakkındaki düşünceleriniz nedir?

Questions for Güçlü Öztekin's exhibition named kAPLANKADİLAk and contemporary art in Turkey.

1) In your exhibitions you are using the place as a performative area, walls are not only hold your artwork, they are pieces of your art. Do you think about this gives us a message like we are not looking to some art products, art is everywhere and we are in the art?

2) This is the second exhibition of the gallery called "Rampa" and your fourth personal exhibition. What are your thoughts about general status of contemporary art in Turkey?

3) In some of your interviews you said that, you never feel like a painter; So how we must look your artwork like an artists works or like some raw art examples or another?

Güçlü Öztekin Sergi Öncesi Sorular

Sorular
1. Sergide kağıtların yanı sıra mekanın kendisinin duvarlarını da boyamanızın sebebi sadece görseli zenginleştirmek mi yoksa hedeflenen belirli bir kompozisyon var mı?
2. Ayşegül Sönmez ile yaptığınız bir röportajınızda Hitchcock'un "vay be, bunları ben mi yapmışım?" sözünü örnek vermişsiniz. Sanatınızın sizin önünüze geçtiğini düşünüyor musunuz?
3. Eserlerinizde kül, çamur, inşaat naylonu gibi materyaller kullandığınızı biliyorum. Sadece geri dönüşüm için mi yoksa üzerinde durduğunuz başka bir nokta mı var?

Tuğçe Arugün

GÜÇLÜ ÖZTEKİN ‘’Kaplankadilak- Pis bir adamdı ama ellerini iyi yıkardı’’

Rampa at the exhibition between 18 September-23 October. Güçlü Öztekin, the fourth solo exhibition and exhibition of the second feature is the Rampa. The artist works on paper, acrylic or mixed technique reveals the gallery offers the viewer through the procedure again. According to the artist, the works exhibited in the raw state. The exhibition brought together works for all re-processing them must attain an effect.The artist uses paper as a material. on walls applying force applied on the paper highlights the venue location.

QUESTIONS

1- Study on the use of outdoor space, or does it mean?

2-Why use paper as a material?And how just by using paper works as good as it can be shown?

3-Why use the galleries as a workspace? Or why the work of the gallery?

http://www.abvizyonu.com/kultur-sanat/guclu-oztekin-sergisikaplankadilakrampada.

htmlhttp://www.bugunbugece.com/istanbul/Sergiler/Sergiler/5540-Guclu-Oztekin-Insanlari-Beklemeyin-Gelecekte-Geciyoruz.html

http://www.ntvmsnbc.com/id/25133230/

Questions - Güçlü Öztekin

* Why do you use the paper on your works ?

* Why do you complete your exhibition on the gallery ?

* What is the people's reaction when they visited your exhibition ?


Buğra YILMAZ
2007.13.03.030

güçlü öztekin

here you can find an interview (several years ago) with güçlü öztekin.

-Demişsin ki: “Ressam değilim, bir kere bile böyle hissetmedim...” Ressam nasıl hisseder ki sen öyle hissetmiyorsun?

Doğru bunu biliyor olmam lazım ki bilmediğimi söyleyebileyim... Mantık sorunu gibi konuşmayacağım. Resim yapmak benim için çalışmak değil; yaşamak gibi... Belli bir resmin peşinden gitmek gibi de değil. Bir yaşantım var ve onun ortasında resim yapmak bir santral gibi bana enerji sağlıyor. Mesela resim yapan birisi için tam tersi geçerlidir. O yaşamdan enerji toplar ki resim yapabilsin. Ben resim yapıyorum ki enerji toplayabileyim.

-Hayatla sanat pratiği arasında bir bölünmüşlüğün olmamasını mı kast ediyorsun?

Evet, gündelik hayatımdaki bir şey resim yapmak. Bana diğer yaptıklarım için enerji sağlıyor. Bende birtakım kanallar açıyor.

Op-Art(Optik Sanat)

Op-art emerged after the second world war in the Europe. The first movement of op-art launched in 1950's. Op-art also known as optical image. Works generally take black and white and these are abstract. Op-art describes as a scientific art. It is opposite of the non-figurative understanding. The pictures have the effect third dimension in the abstract art. It used geometric forms as format rhtymics. Op-art is similar to new Konstruktivist and Geometric Formatting. Josef Albers and Vasarely represents op-art. It is based on optical illusions. Op-art is just like a pop-art but it was a reaction against the non-figurative art. Movement, illusion, light and optic entered as new values in this art. The basic idea of op-art that the audience has a certain culture. Finally, op-art subsequently became tremendously popular and it images used in a number of commercial contexts. Vasarely helped the most to popularize op-art projects and research. He produced many of his works within the architecture and planing of large cities.

Sources:
(frmartuklu, 2008)
(grafikerler, 2009)

Merve Çiloğlu
20071303033
     
      Questions for Güçlü Öztekin

 .Why the paper uses the works?

 . What kind of studies dealing with more pleasure you get?

 . What is the most important factor to head to this area?

Questions for Güçlü Öztekin.

Questions for Güçlü Öztekin

1 ) What is the meaning of “ Kaplankadilak”

2 ) What do you think about process of contemporary art in Turkey ?

3) Can you explain this technique ? What is the features of this technique ?

Mehmet TORAMAN/2007.13.03.011

Güçlü Öztekin

Elif Erdemir

20071303014

                       

                                                             "kAPLANKADİLAk

                         Pis bir adamdı ama ellerini sık yıkardı"

                                               

                                                                       (18 Sep - 23 Oct)

 +Questions:                                                                                                                                                  

* Why he used the paper ? What is the meaning of the paper?

* The works is "raw" ? Why ?

*When we visit the exhibition, what should we feel ? (Can we understand the concept. Does the   artist purpose it?

  

 +There are some Links about Güclü Öztekin:

http://www.ntvmsnbc.com/id/25133230

http://sanatatak.blogspot.com/2008/02/gl-ztekin-biimsiz-cennet-zerine-aralk.html 

http://www.haberler.com/rampa-dan-ikinci-sergi-guclu-oztekin-2237952-haberi/

GÜÇLÜ ÖZTEKİN and COMTEMPORARY ART

GÜÇLÜ ÖZTEKİN and COMTEMPORARY ART

Güçlü Öztekin was born in 1978 in Eskişehir. He graduated in Mimar Sinan university in painting deapartment. Newest exhibiton is called kaplankadilak - Pis bir adamdı ama ellerini iyi yıkardı. Past exhibitions: Remains of Today and a Glimpse of Tomorrow, Galerie Wiesehoefer, Cologne (2008), Biçimsiz Cennet, Galerist, İstanbul (2007), İşlemci, Galerist, İstanbul (2006), İnsanları Beklemeyin, Gelecekte Geçiyoruz (2009).

Questions for the artist:

1) What is the common point of your exhibitions?

2) What do you think about importance of art and comtemporary art in Turkey?

3) What can you suggest to the young people who intereset in art or contemporary art?

We can see some works about examples of contemporary art in Turkey in İstanbul Modern Art Museum, Pera Museum and Santral İstanbul.

REFERENCE

http://www.bugunbugece.com

Yusufcan Karaoğlu

2007.13.03.001

fluxus deneme

sanat çok hoş bir şeydir.

Kaynak:

wikipedia

www.wikipedia.com

fluxus böyle bir şey

2006.13.03.001 ERSİN GÜNDAR

FLUXUS
Fluxus - An art movement begun in 1961/1962, which flourished throughout the 1960s, and into the 1970s. Characterized by a strongly Dadaist attitude, Fluxus promoted artistic experimentation mixed with social and political activism, an often celebrated anarchistic change. Although Germany was its principal location, Fluxus was an international avant-garde movement active in major Dutch, English, French, Swedish, and American cities. Its participants were a divergent group of individualists whose most common theme was their delight in spontaneity and humor. Fluxus members avoided any limiting art theories, and spurned pure aestheticobjectives, producing such mixed-media works as found poems, mail art, silent orchestras, and collages of such readily available materials as scavanged posters, newspapers, and other ephemera. Their activities resulted in many events or situations, often called "Aktions" — works challenging definitions of art as focused on objects --performances, guerilla or street theater, concerts of electronic music — many of them similar to what in America were known as Happenings.
In Latin and other languages, "Fluxus" literally means "flow" and "change." Similarly, the related English word "flux" is used variously to mean "a state of continuous change," "afusion," and "a gushing of fluid from a body."
George Maciunas (Lithuanian-American, 1931-1978) coined the name Fluxus. He described it as "a fusion of Spike Jones, gags, games, Vaudeville, Cage and Duchamp." He co-ordinated and edited numerous Fluxus publications.
According to George Maciunas, Fluxus intended to "purge the world of bourgeois sickness . . . of dead art," to "promote a revolutionary flood and tide in art, anti-art, promote non art reality . . ." and to "fuse the cadres of cultural, social, and political revolutionaries into a united front and action."
Fluxists include Joseph Beuys, George Brecht (German, 1926-), John Cage (American, 1912-1992), Robert Filliou (French, 1926-1987), Henry Flynt (American, 1940-), Ken Friedman, Al Hansen (1927-1995), Geoffrey Hendricks, Dick Higgins (American, 1938-), Ray Johnson (American, 1927-1995), Alison Knowles (American, 1933-), George Maciunas, Jackson MacLow (American, 1922-), Larry Miller (American), Charlotte Moorman (American, 1940-1994), Yoko Ono (Japanese-American, 1933- ; married to the "Beatle" John Lennon), Nam Jun Paik (Korean-American, 1932-), Daniel Spoerri (Swiss, 1930-), Benjamin Vautier (French, 1935-), Wolf Vostell (German, 1932-), Robert Watts, Emmett Williams (American, 1925-), and La Monte Young (American, 1935-), among many others.


Sources:

http://www.fluxus.org/
http://www.artlex.com/ArtLex/f/fluxus.html

CoBrA (avant-garde)

In this essay I will talk about CoBrA avant-garde movement.Firstly I explain what is CoBrA where its started and the artists in this avant-garde steam.After that I will continue with mechanic of of this movement, what is their painting methods how they using colors and figures.Lastly I will talk about the artist that CoBrA was inspired.

CoBrA is a avant-garde movement who is formed by Duch group Reflex, Danish group Host and Belgian group Revolutionary Surrealist Group.This avant-garde movement was active from 1949 to1952.Name was counted 1948 by Christian Dotremont from the initials of the members hometowns Copenhagen (Co) Brussels (Br) Amsterdam (A).

When I first look at a CoBrA painting, to play by play CoBrA paintings are nearly a child drawing against a Ronesans painting.But after I learn more about avant-garde movement I understand better about this paintings.First of all colors in the painting are great they use colors more then ''color''.The primary focus of the group is semi-abstract paintings with this brilliant color, sloppy brushwork.Figures are distorted nearly they are out of their shape, in some painting I can hardly understand what the shape is but thats what the artist wants about figures and color in this works.

Kitchen Sink School

A group of English social realist painters working in the mid-1950s. This name was (kitchen sink school) found from an article by David Sylvester and the school consisted primarily of John Bratby (1928-1992), Derrick Greaves ( 1927 - ) , Edward Middleditch ( 1923-1987 ), and Jack Smith (1928- ) who focused their work deliberately on the unglamorous. This painters be with and exhibited with each other but they not share a common idea. John Bratby was a leading member of the ‘Kitchen Sink School’, an expressionist group of the 1950s. Their work represents a separator but brief reaction against the elitism of abstraction and Neo-Romanticism in favour of figurative social realism , a reaction that found it’s most scorcher in the article of the Marxist critic John Berger.

(example from the kitchen sink school of art car design)

Bibliography

http://www.wsu.edu/~delahoyd/20th/kitchensink.html

Bugra Yılmaz

2007.13.03.030

Performance Art Tuğba Yılmaz

PERFORMANCE ART

"Art perspectives, which came out in 1960’s and 1970’s, not only have been are action against formalism but also have presented alternative techniques and materials by interrogating former art’s acceptances and proposals. In this way, they have reshaped the role of artist and spectator and have expanded the definition of art and artwork. With interdisciplinary perspective, Performance Art, which is one of the these art perspectives, comprises other art areas like music, dance, poem, theater, video and takes part in today’s

art as living artist actions"

(Evren Polat's Thesis from Anadolu Unıversity) )

With the reproduction, uniqueness of art was destroyed. Some of concious artists

produce something new not to be formalist.So distinction of the art type has

started to dissappeared."This new viewpoint of art predict that completition of

an artwork by the audiences without any special talent or private function.

The Perfomance art is such a thing which combines the diciplinary, takes

advantages of materials and possibility without the rules and certain definitions."(goldberg,1988).

This kind of art benefits from the avangarde theatre. Performance

art doesn't only shown on the arena. İt is a street art. İts form is diffrent from

the avangarde theatre.İt sometimes requires regular pratics.But sometimes the

artists is performancind with improvisation. This shows the unconciousness of

the society according to their idea.They just don't use the theatre. They are also

using dance but this is not a classical dance type. İt is more post modern and

experimental.

This new percipience of the art brings a new soul to the art. İn classic art
the audiences is the passive but in Performing arts the audiences is the part of
the art. The artists ,poets ,screenwriters ,dancers ,theatre players ,musicians,
and the audiences are all the performers.This perception breaks the cold saloon
atmosphere of the art. The art become more amusing and conscious.

" The perfomances actualize in a moment. As İt express the highest degree
of the life it is very close to the death.Neglect is a part of humans brain. And
the Performance art lives in audiences brain."(Germaner,1996,60)
So He means that although the performance repeat again it wont be the same
with the first one. So İt will always live in our memory with the uniqueness.
The performance art is against the traditional art perception.They prefer
momentary pressure.They don't mind what it is going to impress on people.
The aim is from confidental field to the public place combine the life wiht the art.
(Shiner,2004,402).Art goes out. Because it was alone on the saloon and gallery.

And Some of the Examples From Performance Art...
1) 1989 Behçet Safa :Kite project: They made 6 kite which is named Mr. Enviroment
Destroyer etc.. The artists designed the kites and give them to the public to fly.
They aim to make people more sensitive about the nature.

2)Yılmaz Aslantürk 1990:İn Zürih artist colored himself with red.He was uncovered.
And a lot of people walked with him on the street with the same type. The music and
dance was used.They tried to tell the estrangement of the genuine.

Conclusion
Performance art creates field which the makes artist independent and can be used
the other art area, reach to the people directly ,doesn't requires any gallery,
critics and independent from the art object, And the ınternet support their aim
in point of reaching.

REFERENCES:

Modern Çağda Sanat, Amy Dempsey, Çeviri: Osman Akınhay, Akbank Yayınları

http://tr.wikipedia.org/wiki/Performans_sanat%C4%B1

Sanatta Eleştirellik,Doç.Dr. Mukaddes Çakır,Marmara İletişim Fakültesi

http://en.wikipedia.org/wiki/Performance_art

güçlü öztekin

önümüzdeki hafta rampa'da gezeceğimiz sergi ile ilgili bir haber:


Güçlü Öztekin yarın, yani 12 Ekim Salı günü, saat 19:30'da Açık Radyo'da Açık Dergi programına konuk olacak.

New Brutalism

The first referencee to the New Brutalism was made by Alison Smithson in 1953. After that two architects Alison and her husband Peter Smithson completed the Secondary Modern School at Hunstanton which was at once accepted as the first Britalist building. The design of this school was influenced by the works of Ludwig Mies van der Rohe and it was included placing the facility's water tank, normally a hidden service feature, in a prominent, visible tower.

In some respects New Brutalism was largely took its cue from beton brut creations of Le Corbusier such as the United d'Habitation at Marseilles. The term itself was developed and popularized by Banham firstly in an article published in Architectural Review and then in his book The New Brutalism: Ethic or Aesthetic?

Brutalist buildings usually are formed with striking repetitive angular geometries, and, wher concrete is used, often revealing the texture of the wooden forms used for the in-situ casting. Although concrete is the material most widely associated with Brutalist architecture, not all Brutalist buildings are formed from concrete.

Another common theme in Brutalist designs is the exposure of the building's functions—ranging from their structure and services to their human use—in the exterior of the building.

Brutalism as an architectural philosophy, rather than a style, was often also associated with a socialist utopian ideology, which tended to be supported by its designers. Critics argue that this abstract nature of Brutalism makes the style unfriendly and uncommunicative, instead of being integrating and protective, as its proponents intended. Brutalism also is criticised as disregarding the social, historic, and architectural environment of its surroundings, making the introduction of such structures in existing developed areas appear starkly out of place and alien. The failure of positive communities to form early on in some Brutalist structures, possibly due to the larger processes of urban decay that set in after World War II (especially in the United Kingdom), led to the combined unpopularity of both the ideology and the architectural style.

Main Representatives:

Erno Goldfinger

Alison and Peter Smithson

Sir Denys Lasdun

Louis Kahn

John Andrews

References:

http://www.britannica.com/

http://www.wikipedia.org/

http://www.answers.com/
http://www.culture24.org.uk/

UCSD's Geisel Library is one of the most famous examples of brutalist architecture, and has been featured in a number of science fiction movies.

Tuğçe Arugün

ART INFORMEL

Jean-Paul Riopelle



Art Informel (1940s - 1950s)
After WWII painters contemplated the legacy of geometric abstraction characterized in the early 20th century developments (through Cubism, Futurism, Suprematism, Constructivism and De Stijl). Experienced after the second world war, poverty and despair, out of the reality of this situation, painters touch the thought of a load and a cold light. And then De Stijl and the geometric abstractions clarity and functionality than other proponents of the new generation of artists was significant pontaneity and originality.
This reaction is a new style of painting was born but it is completely abstract, intellectual methodology did not rely on it. This situation is the result of the artist's emotional and physical engagement. The unofficial term art (in French formless art) is the first in 1950 by the French critic Michael Tapie, Jean Dubuffet, WOLS, Willem de Kooning, Jean Fautrier and Alberto Burr such as, a number of famous artists used to describe the work. Abstraction was a description should be developed further is also seen as a radical break with Modernism, and the right thing is completely 'other'.
Informal artist, to have full control over the processes of artistic work, were not interested in trying to get at any cost. Stressed that the freedom of improvisation and form of irrationality. He wanted, "rebel" tools and paints, accident and has the ability to produce something unexpected. And that no matter what happens "made good" works of traditional art in a "prison" tried to escape.
Lyrical abstraction movement close to contemporary and informal approach to art. Some European abstract artists, perpetrators were associated with movements. Abstract Expressionism in America - the other side of the Atlantic, synonymy, and innovation with a similar gesture.

Main Representatives

• Jean Dubuffet


• Jean Fautrier


• Wols


• Alberto Burri


• Antoni Tapies


• Lucio Fontana


• Karel Appel


• Camille Bryen


• Ruth Frandken


• Willem de Kooning


• Jean-Paul Riopelle

http://www.huntfor.com/arthistory/C20th/artinformel.htm

http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=28

Assemblage

Tuba Ustalı
Assemblage
Assemblage art is hard to define, because most assemblage art is unique and created using different materials. The art itself can vary wildly from one piece to the next, and one artist to the next as well.The best way I can describe it is the art of taking diffrent materials,objects, pieces of of objects to create something new, which can resemble something,or be completely abstract.
And anything in between.There really are no rules assemblage art, which is possibly it's biggest appeal.Marcel Duchamp, John Dubuffet, Jaseph Cornell and Dale Copeland have all made grat contributions in the world of assemblage sculptures.First assemblage sculpture: Duchamp's first ready-made with a toilet urinal and bottle rock.While the orjinal artwork was lost, a replica is now housed at the Philadelphiai
Assemblage is an artistic process. It has a three dimensional artistic composition.It is made from putting together found objects. Assemblage, in art,work produced by the incorporation of everyday objects into the composition.Although each non-art object,such as a piece of rope or newspaper, acquires aesthetic or symbolic meanings within the context of the whole work, it may retain something of its orginial identity. Some of these objects are junk from the streets. It is doubtful that this from of art could have existed before the 20th century.We needed copius stuff to have this art form.
http://www.ehow.com/how_5881858_create-assemblage-art.html
http://www.ehow.com/about_5382361_assemblage-history.html

Abstract Expressionism

What is Abstract Expressionism?

Abstract expressionism appears in USA in 1940 and continues to affect. People until last time of 1970`s. Abstract expressionism reflects it`s emotions freely and instantly. Many movements take their place in this art.

People use many technics to express their feelings in abstract expressionism like, violence, poetry, mystery and they use colors to make powerful their manner of tellings.

In addition to this, they use colours freely to give the meaning of their subconscious. They give perfect importance to improvisation in this movement. Abstract production is also dominant in this art. Artists express their whole internal savings to out.

Some Abstract Expressionist Artists

Francis Bacon, Jackson Pollock, Hans Hofmann, Franz Kline, Mark Rothko, Willam De Kooning, Philip Gusto…

http://www.nuveforum.net/450-disavurumculuk/25468-soyut-disavurumculuk-abstre-ekspresyonizm/

http://tr.wikipedia.org/wiki/Soyut_d%C4%B1%C5%9Favurumculuk

http://liman.goodforum.net/sanat-tarihi-f32/soyut-dyavurumculuk-t8.htm

İLKNUR DİLAN POLAT

 POP ART

Pop art is an art movement that emerged in the mid 1950s in Britain and in the late 1950s in the United States. Pop Art made commentary on contemporary society and culture, particularly consumerism, by using popular images and icons and incorporating and re-defining them in the art world.

There are very few common principles of the representatives of that movement. The only principle that they agree is to glorify the creative point of picturing, to designate which direction the picture goes and what the picture depicts. The basic factor designating the Pop Art movement is the demand of consumer society. In other words, it maintains the function as a publicity medium that assists the consumption. Often subjects were derived from advertising and product packaging, celebrities, and comic strips. Art in which commonplace objects (such as soup cans, hamburgers and road signs) were used as subject matter and were often physically incorporated in the work. While any product is represented in artistic expression, technics of the term (photography,press etc.) were also used. The images are presented with a combination of humor, criticism and irony. In doing this, the movement put art into terms of everyday, contemporary life. It also helped to decrease the gap between "high art" and "low art" and eliminated the distinction between fine art and commercial art methods.Pop Art, the art of the consumer society, manages to introduce the objects which it goes about to the society as a top values.

 IMPORTANT POP ARTISTS

Andy Warhol, David Hockney, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Tom Wesselmann, George Segal, Keith Haring

 Sources:

http://wwar.com/masters/movements/pop_art.html

www.resimkalemi.com/sanat-akimlari-ve-gorusler/12814-pop-art-nedir.html

 

 

 

 

Kinetik Art

Kinetic art explores how things look when they move and refers mostly to sculptured works, made up of parts designed to be set in motion by an internal mechanism or an external stimulus, such as light or air. The movement is not virtual or illusory, but a real movement that might be created by a motor, water, wind or even a button pushed by the viewer. Over time, kinetic art developed in response to an increasingly technological culture.



The Kinetic art form was pioneered by Marcel Duchamp, Naum Gabo, and Alexander Calder. Among the earliest attempts to incorporate movement in a plastic artwork were Moholy-Nagy's Space-Light Modulator, a sculpture producing moving shadows made at the Bauhaus between 1922 and 1930, certain Constructivists works, Marcel Duchamp's Rotary Glass Plate and Rotary Demisphere (Precision Optics), and Alexander Calder's motorized sculptures from 1930s.



The expression Kinetic Art was used from the mid-1950s onward. It referred to an international trend followed by artists such as Soto, Takis, Agam and Schoffer. Some Kinetic artists also worked in the field of Op Art. Their works were influenced by a modernist aesthetic and could be made with contemporary materials (e.g., aluminum, plastic, neon). Most kinetic works were moving geometric compositions. In Italy artists belonging to Gruppo N, founded in Padua in 1959 (including Biasi, Costa and Massironi, among others), carried out experiments with light, projections and reflections associated with movement.



The members of the French group GRAV, which included Le Parc, Morellet and Sobrino and was established in 1960's in Paris, created optical and kinetic environments that disturbed and interfered with meanings and relations to space.



The term kineticism broadened the concept of Kinetic Art to all artistic works involving movement, without any reference to a specific aesthetics. It applies to all those artists today who work with any kind of movement, rather than only geometric art.

Main Representatives:

• Yaakov Agam
• Pol Bury
• Julio Le Parc
• Nicola Schoffer
• Jessus-Raphael Soto
• Jeam Tinguely
• Jean-Pierre Yvaral
• Alexander Calder
• Marchel Duchamp

References:

http://www.huntfor.com/arthistory/C20th/kineticart.htm

Combines

Untitled

Robert Rauschenberg
By the end of 1953, Robert Rauschenberg had begun his Red Painting series on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Robert Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow.

Estate, 1963

Robert Rauschenberg

In late 1953, Robert Rauschenberg met Jasper Johns, with whom he is considered the most influential of artists who reacted against Abstract Expressionism. The two artists had neighboring studios, regularly exchanging ideas and discussing their work, until 1961. Robert Rauschenberg's approach was sometimes called "Neo-Dada," a label he shared with the painter Jasper Johns. Robert Rauschenberg's oft-repeated quote that he wanted to work "in the gap between art and life" suggested a questioning of the distinction between art objects and everyday objects, reminiscent of the issues raised by the notorious "Fountain," by Dada pioneer, Marcel Duchamp. At the same time, Jasper Johns' paintings of numerals, flags, and the like, were reprising Duchamp's message of the role of the observer in creating art's meaning.

Robert Rauschenberg began to silkscreen paintings in 1962. Robert Rauschenberg had his first career retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for Painting at the 1964 Venice Biennale. Robert Rauschenberg spent much of the remainder of the 1960s dedicated to more collaborative projects including printmaking, performance, choreography, set design, and art-and-technology works. In 1966, Robert Rauschenberg cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers.

Monogram, 1955-59

Freestanding combine
Robert Rauschenberg

Robert Rauschenberg's simple comment concerning the gap between art and life can be seen as a the statement which provides the departure point for an understanding of Rauschenberg's contribution as a contemporary artist. In particular his series of works which he called Combines served as instances in which the delineated boundaries between art and sculpture were broken down so that both were present in a single work of art. Technically "Combines" refers to Robert Rauschenberg's work from 1954 to 1962, but the artist had begun collaging newsprint and photographic materials in his work and the impetus to combine both painting materials and everyday objects such as clothing, urban debris, and taxidermied animals such as in Monogram continued throughout his artistic life.



Sources:

• http://contemporary-art-explained.blogspot.com/2010/01/robert-rauschenberg.html
• http://www.artcyclopedia.com/artists/rauschenberg_robert.html
  

Mehmet Doruk Sağlam

Mehmet Doruk Sağlam / 2007.13.03.006




Neo-Dada



Neo-Dada, usually worked in the 1950s in New York City, Robert Rauschenberg and

Jasper Johns'in Used to describe their style.This is because these artists, as a

similar stream of Dada collage finds the objects they create and the anti-aesthetic

style works constituted Asamblaj. French Dada artist Marcel Duchamp in New York in

the fact that this period has been active in this nomenclature.The term was

popularized by Barbara Rose in the 1960s and refers primarily, although not

exclusively, to a group of artwork created in that and the preceding decade.This

time in America,Dada movement also revivedinterest in the work of

Marcel Duchamp.Neo-Dada and sometimes appeared in the 1950s and 1960s, the art of

letters, Beat art, horror art, Nouveau Realisme and a variety of new movements such

as the International Stüasyonist to express a general term applied.The most

important neo-dada artist's Robert Rauschenberg,Jim Dine,Lary Rivers,Claes Oldenburg

and Richard Stankiewicz.According the resources,Neo-Dada artists had left deep

scars.Visual dictionaries, techniques, and above all have to voice their

commitment.In thisfuture,Other artists has affect to Neo-dada's.


http://www.felsefeekibi.com/sanat/sanatakimlari/sanat_akimlari_NeoDada.html
http://tr.wikipedia.org/wiki/Neo-dada

MEHMET TORAMAN 2007.13.03.011

EXİSTENTİAL ART

Existentialism is a Europe- oriented philosophical thought which came into existence in France after world war II and spread globally. Origins of existentialism are based on philosophers like Kierkegaard and Nietzsche. Basically, Existentialism constructs itself on concepts of freedom, ability to choose and responsibility. According to Existentialism, each human is responsible of himself. Humans are equal only in terms of birth, growing and death. A person's being superior, average or inferior is the outcome of his own choice. Those who support this thought are divided into two: religious existentilists and atheist existentialists. In addition, in Existentialism, anything is individualistic, that is to say, it alleges that I have, or you have, or he has existence. According to existentialism, search regarding existence requires facing various opportunities in which the entity needs to make a choice. In other words, it discusses that oneself does not come before the existence, the existence comes before oneself, that human first existed and then not knowing himself, created oneself. Existentialism, particularly in humanist or atheist framework, alleges that the universe can not be understood by sense, the universe itself is pointless and nonsense, the universe does not have any rationalist aspects and the universe is given meaning by humans. Existentialism has also addressed existentialist problems of humans in art (it has tried to find solutions to depression, relationship, hopelessness, unsuccess, death and loneliness.)

Important Existentialists

Jean Paul Sartre : Theatre, Philosophy, Novel

Albert Camus : Novel and Essay

Simone de Beauvoir : Novel, theatre, Essay

Andre Malraux : Novel

Reference : www.felsefe.gen.tr/varolusculuk_nedir.asp

www.genbilim.com/content/view/1319/90/