Yeraltı sanatının kurumsallaşması
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Dosyalar
Tarih
2022-06-13
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Işık Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-NonCommercial-NoDerivs 3.0 United States
Attribution-NonCommercial-NoDerivs 3.0 United States
Özet
Yeraltı kültürünün kimi iletişim ve ifade biçimleri; kısıtlı bir gruba yönelik ve çoğu zaman yasa dışı ilerleyen uygulamalardan, geniş bir izleyici kitlesine sahip, kabul edilmiş sanatsal pratiklere evrilmişlerdir. Galeri ve müze gibi kurumlar bir zamanlar dışlanan ve hatta suç unsuru olarak kabul edilen bu sanat türlerine programlarında yer vermeye başlamıştır. Böylelikle yeraltı sanatı terimi altında toplanan bu alternatif sanat pratiklerinin kurumsallaşma ile artan görünürlüğü, ardından akademik kabul, popülerleşme ve ticarileşme gibi adımları getirmiştir. Yeraltı sanatının kurumsallaşma aşamaları bu tezde ilk olarak graffiti ve sokak sanatı hareketlerinin sanat galerilerine geçiş süreci açısından ele alınmıştır. Günümüzde sokak sanatı kavramının bir çağdaş sanat akımı, pek çok yapıtın adı altında incelendiği bir tür olarak literatüre geçmesi sonucunda bu kavram dönüşüm geçirmiş ve sokak sanatı atölye ortamında üretilen, galerilerde, müzelerde, müzayedelerde sergilenen çalışmaları da kapsayacak şekilde genişlemiştir. Bu durum, yeraltı sanatının yaşadığı kurumsallaşma ardından gelen dönüşümü ortaya koyan en net örnek olarak paylaşılmıştır. Ardından Amerikan yeraltı kültürünün, sokak sanatı, çizgi roman gibi ifade biçimlerinden ilhamla hareket eden lowbrow sanat akımı üzerinden kurumsallaşma aşamaları ele alınmış; yaşanan dönüşüm bu hareketin temsilcisi olan galerilerin zaman içerisinde yaşadıkları gelişim şeması üzerinden irdelenmiştir. Son olarak Japonya'da iletişim, ifade ve hareketlerini kapalı gruplar ve daha önceki yeraltı kültürü örneklerinde görülen yöntemler üzerinden ilerleten bir altkültür olan otaku kültürü ve bu kültüre ait öğelerin yüksek sanat, popüler kültür ve tasarım ile buluşmasını sağlayan superflat akımı örnekleri incelenmiştir. Örnekler üzerinden kurumsallaşmanın aşamaları araştırılırken, bağlamından koparılan yapıtın bu süreç ve sonrasında yaşadığı dönüşümün yapıtın kendisi, çevresi ve izlerkitlesi açısından ortaya koyulması amaçlanmıştır.
Some forms of communication and expression of the underground culture have evolved from often illegal practices aimed at a limited group, to accepted artistic practices with a wide audience. Institutions such as galleries and museums have started to include these types of art, which were once excluded and even considered as criminal elements, in their programs. Thus, the increasing visibility by the institutionalization of these alternative art practices gathered under the term underground art is followed by steps such as academic acceptance, popularization and commercialization. In this thesis, the institutionalization stages of underground art are first discussed in terms of the transition process of graffiti and street art movements to art galleries. Today, as a result of the concept of street art being accepted as a contemporary art movement, a genre in which many works are examined under its name, this concept has expanded considerably to include works produced in an art studio and exhibited in galleries, museums and auctions. This situation has been shared as the clearest example that reveals the transformation that followed the institutionalization of underground art. Then, the institutionalization stages of the American underground culture through the lowbrow art movement inspired by the forms of expression such as street art and comics are discussed; the transformation experienced is examined through the development scheme of the galleries which are the representatives of this movement. Finally, the examples of otaku culture, which is a subculture that advances its communication, expression and movements through closed groups and the methods seen in the previous underground culture examples, and the superflat movement, which allows the elements of this culture to meet with high art, popular culture and design are analyzed. By studying the stages of institutionalization through examples, it is aimed to reveal the transformation of the work, which was taken out of its context, in terms of the work itself, its environment and its audience.
Some forms of communication and expression of the underground culture have evolved from often illegal practices aimed at a limited group, to accepted artistic practices with a wide audience. Institutions such as galleries and museums have started to include these types of art, which were once excluded and even considered as criminal elements, in their programs. Thus, the increasing visibility by the institutionalization of these alternative art practices gathered under the term underground art is followed by steps such as academic acceptance, popularization and commercialization. In this thesis, the institutionalization stages of underground art are first discussed in terms of the transition process of graffiti and street art movements to art galleries. Today, as a result of the concept of street art being accepted as a contemporary art movement, a genre in which many works are examined under its name, this concept has expanded considerably to include works produced in an art studio and exhibited in galleries, museums and auctions. This situation has been shared as the clearest example that reveals the transformation that followed the institutionalization of underground art. Then, the institutionalization stages of the American underground culture through the lowbrow art movement inspired by the forms of expression such as street art and comics are discussed; the transformation experienced is examined through the development scheme of the galleries which are the representatives of this movement. Finally, the examples of otaku culture, which is a subculture that advances its communication, expression and movements through closed groups and the methods seen in the previous underground culture examples, and the superflat movement, which allows the elements of this culture to meet with high art, popular culture and design are analyzed. By studying the stages of institutionalization through examples, it is aimed to reveal the transformation of the work, which was taken out of its context, in terms of the work itself, its environment and its audience.
Açıklama
Text in Turkish ; Abstract: Turkish and English
Includes bibliographical references (leaves 157-164)
xi, 165 leaves
Includes bibliographical references (leaves 157-164)
xi, 165 leaves
Anahtar Kelimeler
Yeraltı sanatı, Sokak sanatı, Graffiti, Lowbrow art, Superflat, Underground art, Street art
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Ergen, İ. (2022). Yeraltı sanatının kurumsallaşması. İstanbul: Işık Üniversitesi Lisansüstü Eğitim Enstitüsü.
