![]() ![]() Döneme hükmeden Soğuk Savaş estetiğine meydan okuyarak, eserin içinde bulunduğu dönemin siyasi, kültürel ve sanatsal bağlamına bir tepki olarak ortaya çıkması göz önünde bulundurulunca, eserin alaycı bir şekilde bile olsa gerçekçi bir iddiası olduğu düşünülebilir. Tamamen özdeşleşmemekle birlikte, eser her iki ekolden de özellikler taşır. Bu çalışma O’nun en önemli işlerinden biri olan Flag (1955) / Bayrak (1955)’ı gerçekçi ya da soyut gibi kaba kategorilerin ötesinde bir eser olarak inceler. Jasper Johns, yerleşik sanat algısını değiştirip şekillendirerek kendisinden sonra gelen birkaç kuşak sanatçıyı etkileyen yirminci yüzyılın en kışkırtıcı Amerikalı sanatçılardan biridir. From Painting’s Death to the Death in Painting: or, what jasper johns found in marcel duchamp’s tu m’ / tomb. ![]() 3-19), Chicago: The University of Chicago Press. Nelson and Richard Shiff (Eds.), Critical Terms for Art History (p. Other Criteria: Confrontations with Twentieth-Century Art. Massachusettes: Harvard University Press. Picture Theory: Essays on Verbal and Visual Representation. In Andrew Benjamin (Ed.), The Lyotard Reader (p. The Metropolitan Museum of Art, New York. ![]() In Joseph Masheck (Ed.), Marcel Duchamp in Perspective (p. In Charles Harrison and Paul Wood (Eds.), Art in Theory 1900-2000: An Anthology of Changing Ideas (p. Michael Shaw), Minneapolis: University of Minnesota. Jasper Johns Paintings and Sculptures 1954-1974: “The Changing Focus of the Eye”. What is Abstraction? London: Academy Group Ltd.īernstein, R. It will be argued that by calling the notion of identity in question, the work suspends and surpasses neat categories and sparks even further controversy by hinting at postmodern art and evoking ready-mades simultaneously. Yet the work also confronts presumptions of abstract expressionists by drawing attention to their implicit conventionalism despite their claims for authenticity and uniqueness. Its ridicule is evident in its allusion to the concept of ideology via its ‘kitschy’ subject matter whilst its delicately painted surface exhibits brushstrokes reminiscent of abstract expressionism. As for its suggestion of realism, the work comes up as a response to its political, cultural and artistic context, challenging Cold War aesthetics albeit in a mocking manner. Without being identified as either kind, it nevertheless displays certain traits of both. This paper examines one of his most important works, Flag (1955), regarding it as a work defying easy categorizations as either a realist or an abstract work. Jasper Johns is one of the most provocative American artists of the twentieth century who has shaped the perception of art and has influenced generations of artists. ![]()
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