Postmodern Art Research Articles

MEMORY AND SPACE IN AYSE ERKMEN'S ARTWORKS

Ayse Erkmen is known for her site-specific installations and she created some of her artworks by making use of memory of the space. In these works, the artist transforms the space with its memory into an art material. By making simple but extraordinary interventions to the space, she grasps the past and memories of the space. In this way, in her works she touches the memory of the space created with a minimal reality. In her own words, the practice of the artist, standing at a point "between being an art and not being an art", brings forward the relationship between space and memory with an innovative approach. This research examines the relationship between memory and space that is especially inherent in the artist’s site-specific works. Therefore, a detailed research is carried out on the practice of the artist, who deals with this relation ship in a postmodern context. The aim of this article is to conduct a research on the relationship between space and memory in postmodern art, based on Ayse Erkmen’s site-specific works. In the research, document analysis method, which is one of the qualitative research methods, was applied. In the article, it has been concluded that the relationship between space and memory in Ayşe Erkmen's works does not contain an utopian discourse. Instead without creating a nostalgic feeling, this relationship carries a postmodern context with minor narratives. Keywords: Space Memory, Postmodern Art

Echoes of The Pandemic in Postmodern Aesthetic Communication

The paper analyses how some types of postmodern art have been used as a means of copying by the aid of humour with the unpleasant restrictions and changes of the way of life during the emergency and alert states in Romania. Artă Reinterpretată is a Facebook page that offers posts on various aspects of life during the pandemics quarantine and lockdown, including isolation or exploiting love, couple and family difficulties; during the relaxation measurement and, finally, during rights restriction for those whom do not have The Green Covid Card. It does so by reinterpreting classical paintings, by adding to them a text or an image or both and thus creating a humourist situation meant to ease upon the hardships of a situation we cannot change.

NAIVE ART: FEATURES OF CREATIVE PERCEPTION

The purpose of the article is to define the specificity of the concept of "naive", to analyse the peculiarities of the works of art of this direction, their distinctive features on the basis of the visual works of Ukrainian naivists. Methodology. The research methodology is based on the art history analysis, the complex use of historical and comparative methods, system analysis, synthesis and eneralization. Results. The concept of naïve has been defined, its specificity in relation to the related, but not identical terms, such as "primitive art" and "outsider art" has been singled out, and the components of the development of the given tendency have been studied. On the example of Ukrainian naive art representatives, the characteristic features of the artists of this direction were defined. The urgency of the application of artistic images of naive in the realities of contemporary design is underlined. The scientific novelty. The category of artistic and compositional features of this kind of art in the works of Ukrainian naïve artists have been investigated, the characteristic visual techniques of this artistic direction, which are actual for the application in the modern design projects, have been determined. Practical significance. The identified features of the concept of naive, originality of creative implementation of this trend can contribute to the further research of this topical for the design of postmodern art form, and become a part of the discipline of art studies of students-designers to enhance their competitiveness in creating a visual culture of the modern society on the basis of images close to the national mentality.

Kant’s Theory of Modern Art?

Abstract Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art.

“APPROPRIATION” AS A FORM OF PRODUCTION IN POSTMODERN ART: THE YASUMASA MORIMURA CASE

Although "appropriation", in other words "appropriation/adaptation", is a production approach that originates the productions of modern period artists, it has been one of the artistic orientations that form the roof of the Postmodern artistic pluralist structure, which basically has an eclectic body. Artists, who adopt and defend this mode of production, have reinterpreted and circulated existing or previously produced works/images/forms, contrary to the new production approach. At the same time, these artists, who consciously use the symbolic importance of the works they appropriate, while creating the cultural framework of their own production, seek a construction of meaning based on concepts such as reference, citation, irony, parody and incongruity, as well as a structure that tries to draw attention to the richness of meaning in contemporary art. have been placed on their agenda. This concept, which has developed an attitude against the notion of "originality" of modernism, has developed new arguments on the concepts of gender and racial discrimination, social language and discourse, identity, culture and representation, especially after the 1980s, examining the social codes that took shape through certain power relations. It has been shaped even more by the production practices of the artists. In this study, the "appropriation" approach, which is the source of many productions of postmodern art, is mentioned and a quick introduction to the sanctuary of art in the name of the interpretation and analysis of this concept and bringing the "authenticity/originality" discussions in art to the agenda again; The works of Japanese artist Yasumasa Morimura, who revived the masterpieces of art history and popular culture icons in his own body, in order to find himself again in other bodies, to experience and learn, are mentioned. Keywords: Postmodern art, appropriation, reproduction, Yasumasa Morimura

MANOLO VALDES'S APPROACH TO ART FROM POSTMODERN PERSPECTIVE

We can say that postmodernism, which emerged in the second half of the twentieth century, brought a radical freedom to art by breaking up the understanding of art and the mindset of modernism, and ignored the hierarchical distinction between high culture and popular culture by removing the boundaries between art and daily life. In addition, postmodernism, which opposes the originality of art and that it is a product of genius, did not hesitate to make a deliberate return to the previous arts and to reinterpret them, arguing that art can also exist from repetitions. Thus, postmodern artists turn towards homogeneous elements in order to reach contemporary goals and ideas; They used the work itself as a new idea and a useful style by focusing on concepts such as "possessing", "imitation", "copying". In this article, the art understanding of Manola Valdes, one of the important living artists of today, has been examined with examples; The existence of a fictional new aesthetic structure, which is mostly "purified", "reduced" and lacking depth, is observed in his works woven through material, form, light and color. The works of many important artists from Renaissance to modernism served as an "excuse" in his works, and he transformed the works he took as reference into original works in line with the concept of Appropriation of postmodernism. Keywords: Manolo Valdes, Postmodernism, Irony, Pastigy, Appropriation

Era Modenisme dan Pascamodenisme: Suatu Transformasi Seni Visual dalam Konteks Sosio-Budaya

This paperwork discusses some theories between modernist and post-modernist thinking that have been evolved in society. The presence of post-modernist thought is said to be anti-modernist. Thus, the question is whether it emerges as anticipation or the occurrence of a transformation shift at its pace in driving the development of art and culture. The objective of this study is to discuss the changing trends of art practitioners in the context of visual art and culture phenomenon today since the era of modernism. However. to what extent is the presence of post-modernist thinking that is said to be anti-modernism put into practice or is modernist thinking dead? The statement also dissects various notions or is it true that there is no precise and clear interpretation or understanding between "modern art" and "postmodern art"? This is also marked by the emergence of various interpretations and the existence of polemics or discussions among scholars, especially in the discourse of art and culture. This study is using secondary research based on various theories of disciplines and conducting an interview with art critics and art historians in resolving this question. Although there are various doubts in the separation between "modernism" and "postmodernism" but it provides an interesting input that is often associated with the emergence of some characteristics of the postmodern era thought and style that differs in terms of ideas, concepts, approaches, materials, appearance, presentation, ideas, interpretation and it is meaning that leads to the transformation of visual arts in the current socio-cultural context.

Metaphysics of postmodern figurative art in Ukrainian art of the late XX - early XXI century

The purpose of the article is to study the artistic traditions and conceptual innovations in the works of Ukrainian artists of the XX-XXI centuries. In contemporary Ukrainian art, figurative language is produced simultaneously with the renewal of public consciousness and in certain aspects directly contributes to its formation. Figurative imagery using Ukrainian artists of this cultural period is not only the result solely of sensory experience, they also absorb the institutionalization of social experience that allows them to reflect different levels of reality. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The integrative approach has enabled research in new forms of visualization of modern artistic language, which combines informational and aesthetic functions. Due to the revealed changes, traditional images are visualized with the help of a new artistic language, which does not correspond to the traditional meanings of the artistic image. The scientific novelty of the work lies in understanding the metaphysics of postmodern figurative art in contemporary Ukrainian art. A characteristic feature of the development of modern culture is the rapid social transformation, covering all areas of human activity. For the structure of art, the nature of which is due to constant change and renewal, the problem of the relationship between tradition and innovation is important. Thus, contemporary artists in their figurative, non-figurative and conceptual practices use the memory of artistic culture and artistic traditions as a mediator between the past and the present. Ukrainian art practitioners build a multiple and diverse artistic and image system based on the mechanism of interaction of traditions and innovations, involvement in the creative process of specific stylistic combinations of past and present, and reflection on cultural realities. Conclusions. Ukrainian culture is being revived in the following main directions: the process of self-consciousness and the formation of national historical memory has intensified, and the vector of development of social consciousness has been determined. Also, due to the weakening of totalitarian control, upgraded ideological and spiritual social norms. In the context of freer cultural development, artists use simple and clear images in various unusual contexts, often visualizing the determinants of the renewal of the collective consciousness. At the same time, the entry of domestic art into the world art arena meant the urgent need for rapid change in all spheres of art. This speed led to a number of complex problematic issues related to the difficult interaction of traditions and innovations, as well as folk and classical in contemporary art, determined the formation of a new series of images.

NEGATING AGENTS IN O’NEILL’S BEYOND THE HORIZON AND THEIR COUNTERPARTS IN PICASSO’S ARLEQUIN À LA GUITAR

Postmodern art emerged as a critical compulsion in response to the domineering institutions of modern era which were suffering from conceptual absolutism and hesitant aesthetic outlooks. Being ascribed to chaotic qualities, the approach stood as the social and aesthetic antithesis of its qualitative unity, so as to reach an authentic understanding of the intrinsic reality. Hence, postmodern art embarked on negation, as its determinative trait in reception of modern aesthetic debates. Correspondingly, the current study ponders on lives of the margin in works of two prominently modern autobiographical artists, Pablo Picasso’s Cubist painting Arlequin à la guitar accompanied by Eugene O’Neill’s modern American drama, Beyond the Horizon, further to approach the interconnectedness of the masked with the concept of determinate self-negation in marginal existentialities. The discussion further concentrates on the role of society on modern individual’s imprisonment and spiritual remoteness. Regarding this, the paper has concerned itself with presenting modern artists’ intended application of metanarratives adjacent to dialogue scarcities in artworks. In addition, postmodern negation of aesthetic ideals provide readers with a more unifying and authentic perception of subjective truth content while dealing with hesitant yet overlapping representations of multilayered reality.

Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document

Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.

MODERN UKRAINIAN PHOTO BOOK AS AN OBJECT OF CONCEPTUAL ART OF POSTMODERNISM

Purpose. The purpose of the study is to identify the features of modern Ukrainian photo books, which have become a striking example of following the trends of postmodern art. Methodology. The study is based on the integrated use of historical, comparative methods, systems analysis, synthesis, generalization. Results. The modern Ukrainian photo book is considered as a work of conceptual art of postmodernism. Certain artistic and compositional features and design techniques of Ukranian photobooks are identified; originality of form; author's presentation of textual, content and visual components of the indoor unit: inclusion of ready-made images (ready-made) and photo manipulation, use of collages, photos of utilitarian objects, etc. Scientific novelty. On the example of art history analysis of a number of well-known Ukrainian photobooks, the characteristic features of the photobook as an object of modern conceptual art is determined, the features of figurative, stylistic, artistic and compositional design solutions are systematized. Practical significance. The artistic and compositional features and design techniques used by photographers in the implementation of creative ideas have been identified, the theoretical basis of modern conceptual art have been expanded that can be useful in future creative projects of photobooks that will have both artistic and commercial value.

ILHAN BERK IN THE RELATIONSHIP OF PAINTING AND POET IN LINE WITH THE CONCEPT OF INTER-ARTISTS "SEKER AHMET PASA / PRIVATE PROMISES"

In this study; The painting-poetry relation by Şeker Ahmet Paşa's "Education Men" painting and the poem "Şeker Ahmet Paşa / Talim Making Erler" with the same name, named İlhan Berk, were examined with the inter-art method chosen as a subject. The link between the structure and content of postmodern poetry and painting has formed the backbone of this study. In this context, it is aimed to examine the sources of modern and postmodern art, without leaving their own special fields, and while paying attention to their special fields, common concepts and images have been brought together. The research was conducted with the content analysis method on the basis of qualitative approach. In addition, in the study, the table of "Education Performers" was read with the method of visual reading and the poem titled "Şeker Ahmet Paşa / Talim Making Erler" was examined by content analysis technique. Ecfrasis has been handled in the relationship between painting and poetry, which has been intimate throughout the history of art, and two works have been researched in this direction. In the study, ecfrasis was explained and it was explained how it found a place in inter-arts. Berk presented a replica made with letters, which makes the work visible thanks to the formality of the poem. By looking at Şeker Ahmet Pasha's painting, he determined the credits of the painting and wrote his poem in line with this line. Thus, the content of the poem was included in the composition in terms of form, as well as the picture. In addition, while Berk attributes this work to himself, he emphasized Şeker Ahmet Pasha by placing the name of the painter in the name of the poem. The poet has made it a mission to serve and advertise the painting in this inter-art work in which poetry is the framework for the painting. With this study, which is thought to contribute to the literature, it is predicted that it will constitute a different example where ecfrasis and self-appropriation methods are used together.

A VIEW TO THE AURA OF POSTMODERNISM AND ARTISTIC EXAMPLES

Postmodernism has been the subject of widespread debate and postmodernist production has filled every aspect of our lives. The works of European philosophicals such as François Lyotard, Michel Foucault, Gilles Deleuze, Pierre-Félix Guattari and Jean Baudrillard are connected to the subject within the framework of the development of tradition. Postmodernism was interpreted by these philosophicals as the losing its legitimacy of great meta-stories with the phenomenon of enlightenment. In the section called “Evolution of Postmodernism”, the views of European thinkers such as Lyotard, Foucault, Deleuze, Guattari and Baudrillard and some North American thinkers such as Jameson and Foster were discussed. In the section “Postmodern Situation and Examples in Plastic Arts”, postmodern art productions were examined in comparison with the movements that have predecessors such as minimalism and conceptual art. Finally, an evaluation has been made on what kind of structure can be mentioned in terms of these theoretical studies and artistic productions. Key words: Postmodernism, modernism, art

Fragmentation and Postmodern studies: An analysis of Mohsin Hamid’s Novel “How to get filthy rich in rising Asia”

In this study, the fragmentation as postmodernist narrative technique in Mohsin Hamid’s novel “How to get filthy rich in rising Asia” is examined. He uses structural inequalities, grammatically incorrect sentences, phrases and dependent clauses. The term fragmentation is coined by Bell Hooks to highlight the problem of “hierarchy of oppression” within the feminist paradigm. Fragmentation is the major thematic concern of postmodern art that sets new parameters for the narrative techniques of postmodern literature. Fragmentation in the literary work involves complexity on semantic level where the various words act as signifier and signified at the same time. Therefore, this study probes the fundamentals of fragmentation in the text that reflects the radical changes in the postmodern society and focuses on the little narratives that create fragmented truth and cause anarchy, uncertainty and chaos in the world.

Visual images of well-being in consumer culture: analysis and interpretation of the images

This article analyzes the impact of the visual images of well-being upon interpretation of the concept of well-being in consumer culture. The object of this research is the paintings by postmodern artists, constructivists. and hyperrealists – A. Warhol, R. Rauschenberg, J. Jones, L. Lawler, T. Matin, as well as the posters of advertising constructors of A. Rodchenko. Examination is conducted on the artworks, since the time horizon of paintings is not limited to the “here and now”. The author discusses the images from semiotic and hermeneutical perspectives, which allow revealing the content of meanings expressed in the visual form. Artistic images become the object of research in the field of visual semiotics. The scientific novelty consists in the comprehensive socio-philosophical research of the process of creation, proliferation, and inverting meanings in the visual discourse on well-being. The article employs philosophical, rather than art history discourse. As a result, the author establishes correlation between visual images, social culture, and social conventions. The conclusion is made that the visual images of well-being emphasize the social component of well-being, dictate the logic of public consumption, and manipulate collective consciousness. Visual images become the markers of social well-being, translators of the myths on consumer culture, delicately manipulating the constructed Self.

Beginning of Typographic Installation and Contemporary Graphic Creativity

Beatrice Warde’s crystal goblet has changed the perception of typography and typographic expression in the print and online media since it was published. “Bear with me in this longwinded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography” (Warde,1956, p. 1). Since 1932, when Warde introduced type and typography as a ‘crystal goblet’, typography has evolved significantly, and probably in the fastest way with the contributions of technological improvements and printing technologies. Typography has proliferated in the early decades of the 20th century as an essential and highly visible aspect of modern art and design. It has also became a production practice in post-modern art in the middle of the 20th century and early 21st century. As it is known, text is not new to art and avant-garde and so is typography. With postmodernism, the usage of text, type and typography in post-modern art practices, contemporary artwork examples, design arts, installations and conceptual art movements blurred the boundaries between art and typograph. Especially artists and designers started to use typography in their personal expressions as a post-modern art strategy and, as a result, typography became a hybrid form to assess in 21st century art practices and also a raison d’être to convey idea, thought and message. In this paper, by using the descriptive method, I will focuse on the relationship between typographic installation and contemporary graphic creativity. In this regard, evaluating Beatrice Warde’s philosophy along with the samples of typographic installation of artists such as Sheila Levrant de Bretteville, Stephen Doyle, Barbara Kruger etc. and a special museum Deportee Memorial Museum Carpi, will be helpful in order to compare the changes in the past and present approaches in typographic applications and it will be useful in order to understand today’s graphic creativity.

Hermeneutik ve Alımlama Estetiği Kuramlarının Yazınsal Metinlerin Karşılaştırmalı Çözümlemelerine Etkisi

Literary texts by their nature are texts that are made up of semantic layers and hiatusesinterwoven with feelings and thoughts gained through life experiences but expressed throughfiction. After being written by the author, literary texts are static until they are read. This meansthat literary texts are literally to be reconstructed by the reader's reception and interpretation.Comparative critics as competent readers examine literary texts by comparing them with oneanother. Among the literary analysis methods used in the analysis of the texts are two theoriesthat foreground the reader most prominently. Hermeneutics and reception aesthetics make thereader advantageous in construing the layers and hiatuses in literary texts. This study aims toshow the effect of two theories on the comparative interpretation of literary texts. The methodadopted is to compare the two theories with the thoughts of experts on the interpretation ofliterary texts. The results reveal that the theories of reception and interpretation increase theefficiency of the critics in the analysis of literary texts made in the field of comparative literature.The impact of this gains even more significance in the interpretation of the post-modern art.

Milo Rau as Influencer

Helen Kraft considers director Milo Rau as an influencer. Kraft places Rau within a subcategory of influencer identified by economist and psychologist Robert Cialdini as intellectuals who are “well-connected, create an impact, have active minds, and are trendsetters.” She argues that Rau fills that role in the theater and positions the director in relation to other postmodern thinkers and theater artists. According to Kraft, Rau actively courts controversy with his work as a means of drawing attention to conflict and corruption around the world, but, despite frequent comparisons to Bertolt Brecht, Rau is not an idealogue, exposing inconsistencies rather than promoting any single ideology in his work.

CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY

The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.

Analysis of the Connotation and Performance Characteristics of Contemporary New Figurative Oil Painting

As a historical miniature of the development and evolution of oil painting, new figurative oil painting is a prominent phenomenon of cultural return in post-modern art. It not only regains the vitality and vitality of life with its novel and unique visual form, but also creates conditions for the figurative art to move towards a more profound and broad visual space with its pluralistic, inclusive and open cultural attitude. Therefore, in-depth interpretation and interpretation of the cultural connotation and performance characteristics of new figurative oil painting will not only help people correctly measure and understand the contemporary aesthetic and cultural value of new figurative oil painting, but also help people lead and revise the future development of new figurative oil painting from a higher cultural vision.