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As an outcome of information or technology era since 1960s to date, post-modernism is considered as a process, in which extraordinary advancements and changes occurred and different discourses emerged in the fields such as painting, graphic, sculpture, architecture, philosophy, economics, and sociology involving the social life and culture. Postmodernism caused the emergence of new artistic discourses as a result of rapid change and development of artistic events in the current era, it transformed into different identities other than modern art and brought new concepts and perspectives to the art life. These concepts and perspectives are in opposition to modernism and they are very tough. Considering that the modern art’s elements such as mission, uniqueness, beauty, and proportion would limit the area of art, postmodern artists place the esthetic components into a populist structure in harmony with today’s living conditions. In the present study, the changes in postmodernist art after modernism will be discussed, postmodern art esthetic will be explained, and the transformation of artistic values within the frame of Pop-art and Conceptual Art will be examined.

عنوان البحث / الوسائط المتعددة وإمکانية تطويعها للتعبير عن القصة في أعمال ما بعد الحداثةMultimedia and the ability of its adaptation to express the story in the postmodern art"الوسائط المتعددة" Multimedia هي وسائل أو وسائط للإتصال في شتى المجالات، بداية انطلاقها کان مع بدأ ظهور المجتمع الاستهلاکي والثورة التکنولوجية، وکذلک کان مع اکتمال المؤسسات الإعلامية الضخمة في أوائل الستينات، حيث لعبت الميديا في ذلک الوقت دورا اساسيا في معظم الأعمال الفنية التي تندرج تحت مفهوم فنون ما بعد الحداثة، فظهرت من خلال الاتجاهات الفنية التي وظفت بها الوسائط السمعية والبصرية والسمع بصرية وحتى الحرکية وقد تضمنت العديد من أعمال تلک الاتجاهات الطابع القصصي ومنها "الفن المفاهيمي"Conceptual Art وفن "الفوتوغرافيا المفاهيمية" Conceptual Photography و"فن الفيديو" Video Artو"فن التجهيز في الفراغ" Installation Art و"فن الأداء" Performance Art. يتناول البحث نشـأة وتطور استخدام "الوسائط المتعددة" في الفنون المختلفة، ويتناول أيضا تصنيفات "الوسائط المتعددة" (الغير تفاعلية، والتفاعلية، والفائقة) في أعمال ما بعد الحداثة للتعبير عن القصص. کما يتضمن البحث تحليل لثلاث أعمال "مجهزة في الفراغ" تعبر عن القصص المختلفة باستخدام "الوسائط المتعددة". وفي النهاية تقديم لما توصلت إليه الدراسة من نتائج. The research explores the emergence and development of the use of multimedia in different arts, also it explores the Categories of multimedia (non-interactive, interactive, and hypermedia) in postmodernism to express stories. The research also includes an analysis of three installation artworks, which express the different stories using" multimedia. Finally, the results are presented.

This study aims to examine the relationship between aesthetic and sociological imagination within the framework of the characteristics of visual forms (art/media images) in the environment of contemporary visual culture and to make a theoretical assessment of the importance of these imagery structures in art and art education. These assessments were carried out from a perspective based on the relationship between art and society. As a result of these assessments, it was found that the relationship between aesthetic and sociological imagination is intertwined within the scope of the production, distribution, and consumption processes of visual forms in the postmodern process, and in parallel with this situation, the importance of teaching activities and curriculum arrangements for the integration of both imagination structures in art education has been encountered. It has been understood that pedagogical activities focused on developing sociological imagination will provide a sociological perspective to the aesthetic imagination of individuals; thus, it will help to provide a conscious way of thinking about the cultural and social characteristics of visual forms., Bu çalışmanın amacı, estetik ve sosyolojik imgelem ilişkisini çağdaş görsel kültür ortamında yer alan görsel formların (sanat/medya imgeleri) özellikleri çerçevesinde incelemek ve söz konusu imgelem yapılarının sanat ve sanat eğitimindeki önemi hakkında teorik düzeyde değerlendirmelerde bulunmaktır. Söz konusu değerlendirmeler sanat ve toplum ilişkisini temel alan bir bakış açısıyla gerçekleştirilmiştir. Bu değerlendirmeler sonucunda, estetik ve sosyolojik imgelem ilişkisinin postmodern süreçte görsel formların üretim, dağıtım ve tüketim süreçleri kapsamında iç içe geçtiği görülmüş; bu duruma bağlı olarak sanat eğitiminde her iki imgelem yapısının bütünleştirilmesine yönelik öğretim faaliyetleri ve müfredat düzenlemelerinde bulunulmasının önemiyle karşılaşılmıştır. Sosyolojik imgelemi geliştirmeye odaklanan pedagojik faaliyetlerin, bireylerin estetik imgelemlerine sosyolojik bir bakış açısı sunacağı; bu sayede görsel formların kültürel ve toplumsal özellikleriyle ilgili olarak bilinçli bir düşünme biçimi sağlamaya yardımcı olacağı anlaşılmıştır.

The fact that the innovative approaches which are leading to the postmodern era have alsoheavily influenced the field of art have brought along the innovative approaches of the artists in theproduction phases. The orientation of the artists to issues such as gender, identity, hybridity, polysemy,consumption, which are accepted as the problems of the postmodern era, and putting creativity in thecenter while putting aside formal concerns, reveals the changing approaches to art. Within the process,on one hand, the artists have brought these problems up for discussion over their works, on the otherhand, they put forward new approaches by way of the creative strategies they developed. In this researchpaper, the material thinking strategy which is one of the creative strategies is clarified within the contextof innovation in art. The material thinking strategy has also adopted interdisciplinary strategy just as themetaphor, reflection, and shaping strategy has. It is observed that the artists who use the material thinkingstrategy within the context of interdisciplinarity, blur the boundaries between the art and the craft, and bythis means turn it into a practice of the Art of Design. Accordingly, the material thinking strategy has beenexamined through the Art of Design, and it has been tried to be explained with concrete examples throughthe works of artists named Antrea Zittel, Joep Van Lieshout, and Jorge Pardo, that can be considered withinthe context of material thinking strategy., Postmodern döneme öncülük eden yenilikçi yaklaşımların, sanat alanını da yoğun biçimde etkisialtına almış olması, sanatçıların üretim aşamalarındaki yenilikçi yaklaşımlarını da beraberinde getirmiştir.Sanatçıların postmodern dönemin sorunları olarak görülen cinsiyet, kimlik, melezlik, çok anlamlılık, tüketimgibi konulara yönelmeleri, bunu yaparken de biçimsel kaygıları bir kenara bırakarak daha çok yaratıcılığımerkeze koyuyor olmaları, değişen sanat yaklaşımlarını gözler önüne sermektedir. Sanatçılar süreç içinde biryandan yapıtları üzerinden bu sorunları tartışmaya açarken diğer yandan da geliştirdikleri yaratıcı stratejileraracılığı ile yeni yaklaşımlar ortaya koymuşlardır. Makalede yaratıcı stratejilerden biri olan materyaldüşünme (material thinking) stratejisine sanatta yenilikçilik/inovasyon kapsamında açıklık getirilmektedir.Disiplinlerarası yaklaşıma sahip olan metafor, yansıtma, biçimlendirme stratejileri gibi materyal düşünmestratejisi de disiplinlerarası bir yaklaşımı benimsemiştir. Disiplinlerarasılık kapsamında materyal düşünmestratejisini kullanan sanatçıların, sanat ile zanaat arasındaki sınırları belirsizleştirdikleri ve bu sayede tasarımsanatı pratiğine dönüştürdükleri görülmektedir. Bu doğrultuda materyal düşünme stratejisi tasarım sanatıüzerinden irdelenmiş, materyal düşünme stratejisi kapsamında değerlendirilebilecek olan Antrea Zittel,Joep Van Lieshout ve Jorge Pardo isimli sanatçıların yapıtları üzerinden, somut örnekler ile açıklanmayaçalışılmıştır.

В статье предпринята попытка проанализировать репрезентативные произведения советского и китайского соц-арта, установить сходство и обнаружить различия между ними с точки зрения художественного языка и стиля, визуального соответствия, творческой философии, чтобы исследовать причины возникновения этого вида искусства и раскрыть эстетические коннотации соц-арта. Отмечается, что китайский соц-арт во многом наследует советский и развивает заложенные в нем символы и смыслы, однако по-особому их переосмысливает, трансформирует и развивает., The article attempts to analyze the representative works of Soviet and Chinese Sots Art, to establish similarities and differences between them in terms of artistic language and style, visual correspondence, creative philosophy, in order to explore the causes of this type of art and reveal the aesthetic connotations of Sots Art. It is noted that Chinese Sots Art largely inherits Soviet art and develops the symbols and meanings embedded in it, but rethinks, transforms and develops them in a special way. Soviet and Chinese Sots Art are similar in their desire to overthrow traditions and criticize ideology. The works use images of leaders, workers and peasants, contrasted with commercial and consumer images. The impact on perception is formed due to the absurd comparison of the incomparable. The philosophy of Sots Art was the idea of the diversity of options for the organization of the world order, the importance of freedom in human life. It is concluded that Soviet Sots Art is a hybrid variation of Soviet culture and American pop art, a forerunner of Chinese Sots Art. Both of them were “discovered” by the Western media and galleries and successfully transported to the West. Chinese Sots Art has attracted more attention in the market because it appeared at the end of the Cold War, when China began to move towards a globalized market. At the same time, in the Soviet Union, Sots Art was not a commercial art, while in China it reached a high degree of commercialization, providing artists with financial success. Just as Soviet Sots Art quickly disappeared after the Cold War, Chinese Sots Art was soon lost in the 21st century.

This study investigates how water is depicted in contemporary public art in Sweden, a country surrounded and built by water, and how it reflects in the art. The essay is based on Rosalind Krauss’ sculpture theory and examines how a mythical and vital substance like water is depicted and what its underlaying meaning is in three contemporary public sculptures; Till minnet av en älv (2020) by Anja Örn, Passage (2011) by Katarina Löfström and Hiljainen vesi /Tyst vatten (2019) by Laura Könönen. The study investigates if any mutual patterns can be seen and if so which, and how the relationship between the sculptures and their spatial context can be described based on Rosalyn Deutsches notion assimilative and divisive. Through analyses and comparison of the three sculptures it has emerged that water in all three public artworks stands as a metaphor for something else, here in form of the consequences of hydropower, the impermanence of time and minorities’ feeling of exclusion and community. Over these serious topics lies too a sense of melancholia. A common interest for the nature also appears and mainly because the artists have chosen to depict water even when it symbolizes something else. But the interest in nature also appears when two of the sculptures is made from natural rock and its characteristics. Furthermore, the study indicates that, despite the complexity in defining a public artwork as place-specific or placeless, all three of the sculptures have a connection with the place. The sculptures can therefore perceive as assimilative although to varying degrees and with element of divisive tendencies.

The purpose of the articleis to reveal the peculiarities of the interpretation of Gogol’s works in different types of art through the prism of the postmodernism signs embedded in these works.Research methodology.Methods of analysis and synthesis, deductive and comparative methods are used.Scientific novelty.For the first time, the receptions of Gogol’s literary work in modern stage art, in the optics of the postmodern aesthetics’ elements embedded in the literary works of the writer, are considered.Conclusions.The key to the successful reception of Gogol’s works in the modern art space were certain postmodernist features (the principle of play in the development of the work, the self-worth of expression, nomadism, irony, deconstruction of life, understanding of corporeality as a concept of not identical body, etc.). In the first two decades of the 21st century. A kind of ‘Gogol industry’ (T. Hundorova) developed, characterized by numerous interpretations of Gogol themes, plots, images. Postmodern artistic approaches suggest the exclusion of the author from the artistic ‘chain’ (‘death of the author’), when the interpreter, using the writer’s text, opens new meanings in it that the author did not conceive. Such works include the opera ‘Nose’ directed by K. Serebrennikov, full of phantasmagoric narrative and scenographic solutions; ballet ‘The Night Before Christmas’ by E. Stankovich directed by V. Litvinov, which is characterized by quotations, pastiche, irony, stylistic eclecticism; O. Rodin’s ballet ‘Vii’ by choreographer R. Poclitaru, which features modernist psychoanalytic and postmodernist deconstruction techniques, ‘going beyond’ the literary basis, the introduction of new characters and meanings. Postmodernist features embedded in the works of M. Gogol became relevant in the late twentieth – in the first two decades of the 21st century, expanded the range of receptions of works by M. Gogol in various arts.

Polazni rad obrađuje temu aproprijacije povijesne avangarde u modi 90-ih godina XX. stoljeća. U radu su obuhvaćene definicije povijesne avangarde i aproprijacije te su ukratko obrađeni pokreti: neoplasticizam i suprematizam. Posebna pažnja posvećena je ready-madeu kao snažnom poticaju razvitka aproprijacijskih praksi u modernizmu. Kako bi se ilustrirala aproprijacija u postmodernoj umjetnosti i modnom dizajnu 90-ih godina rad ističe nekoliko polaznih primjera. Riječ je o autorici Sherrie Levine i dizajnerima: Francesca Marie Bandini, Yohyji Yamamoto i Karl Lagerfeld. Kroz njihove primjere istaknute su ključne značajke kreativne klime u kojem su djelovali i način korištenja umjetničke aproprijacije., The following paper is focused on appropriation of historical avant-garde in 90's fashion design. The paper includes definitions of historical avant-garde and appropriation, it also briefly discusses following movements: Neoplasticism and Suprematism. Additional focus is dedicated towards ready-made as an incentive for other appropriation practices in modernism. For the sake of illustrating apropriation in post-modern art and in 90’s design paper encompasses few examples. Those being artist Sherrie Levine and designers: Francesca Marie Bandini, Yohyji Yamamoto and Karl Lagerfeld. By their examples paper pinpoints key features of their creative environment and the way of utilizing artistic appropriation.

The subject of the article is the spectacular forms of modern culture as a marker of postmodern art. Postmodern is presented as an era of paradigm shift through visual and bodily turns. Visual and bodily dominants are shown as the leading properties of modern spectacular forms. The conclusions summarize the dominance of spectacle in modern culture, the ability of a modern person to realize himself in the roles of a spectator and a participant in spectacular forms, Предмет статті – видовищні форми сучасної культури як маркер постмодерністського мистецтва. Постмодерн представлений як епоха зміни парадигми через візуальні та тілесні повороти. Візуальні та тілесні домінанти показані як провідні властивості сучасних видовищних форм. Висновки узагальнюють домінування видовищності в сучасній культурі, здатність сучасної людини реалізувати себе в ролях глядача та учасника видовищних форм.

Visual advertising has become common part of our daily life in the past few decades. It is not only used for commercial, political or social purposes, but also for the implementation of artistic strategies. Specific constructed artworks, exhibitions and art projects situated in a special/unconventional public spaces (context or semiosphere) are used as a tool to seek more spectators and spread different messages with critical, ironical, social connotations which leads to the deeper communication with spectators. They cannot avoid them because the messages interrupt their minds accidentally passing by the streets and so involve in the active interaction process. Art full of advertising strategies criticises the consumerist society created by advertising, and provokes the subject to take on an active position with respect to raised problems, i.e., it acts in the ideological field of contemporary/postmodern art.

In this article I present Paulo Lins’s second novel as a thesis novel of sorts. Lins narrates the births of Estacio-style samba and samba schools in highly authorial terms. As he recreates the moment of encounter of the modernist artists of 1922 with the popular artists, Lins underlines the inspiring and unconventional character that such encounter had to its time and that can be updated. He accepts notions that a later trend made common sense, such as the decisive contribution of slave culture to national life, but now neo-African art is presented as a branch of modernism, which implies that the author must take a stand in the discussions on what are avant-garde, modern and postmodern art.

This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic ima­ges and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is ana­lysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sour­ces that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).

Entrevista concedida à revista Rapsódia, do Departamento de Filosofia da FFLCH-USP, em 2002. Na entrevista, Otília refaz sua trajetória acadêmica e intelectual, ao mesmo tempo em que vai expondo seu pensamento a respeito de vários temas a que se dedicara até então, da crítica de Mário Pedrosa à arte pós-moderna, do esgotamento da Arquitetura Moderna à centralidade da cultura nas novas estratégias urbanas, os novos museus, a indústria cultural e a cultura do espetáculo, o lugar da crítica e, a questão central, presente ao longo da entrevista: a morte ou a sobrevida da arte, por consequência, da Estética. Publicado originalmente em 2002 na Revista Rapsódia: almanaque de filosofia e arte, n.2. São Paulo: Departamento de Filosofia FFLCH-USP, p. 221-264. Palavras-chave: Estética, FFLCH USP, CEAC, Artes plásticas, Arquitetura Moderna, Gilda de Mello e Souza, Mário Pedrosa, Charles Baudelaire, Habermas, Roberto Schwarz, Experiência estética, Morte da Arte, Hegel, Espetáculo, Cidades, Guy Débord, Adorno, Museus, Curadoria, Moda

В статье рассматриваются аспекты образа мира в современном искусстве в контексте критики концепции конца искусства Ж.Бодрийяра. Образ мира современного искусства является результатом разнонаправленных процессов: идеологизации, абсолютизации роли художника и заказчика художественного произведения и, с другой стороны, деидеологизации: возвращения искусства к подлинной реальности, художественному канону и классическим эстетическим ценностям и осознанию значимости исторического опыта развития искусства на основе новых парадоксальных художественных форм. Образ мира современного искусства анализируется не как свидетельство кризиса и распада искусства на бессмысленные эклектические формы, а как источник новых парадоксальных художественных форм, имеющих основание в историческом опыте развития искусства, творческой свободе художника и новом переосмыслении классических эстетических ценностей. Методология исследования опирается на сравнительно-исторический анализ развития искусства в контексте критики концепции виртуальной реальности и "конца искусства" Бодрийяра. Исследование опирается на работы Р.Лоранд, Ж.Бодрийяра, Ф.Гваттари, А.Данто и Э.Гомбриха в аспекте анализа искусства как целостной системы, развивающейся на основе преемственности художественного канона и эстетических ценностей., The article deals with aspects of the image of the world in contemporary art in the context of criticism of the concept of the end of art by J. Baudrillard. The image of the world of contemporary art is the result of different processes: the ideologization, the absolutization of the role of the artist and the customer requesting the artwork and, on the other hand, deideologization: the return of art to the true reality, the artistic canon, and a classical aesthetic values and awareness of the importance of the historical experience of the development of art through new paradoxical art forms. The study analyzes the image of the world of modern art not as an evidence of the crisis and disintegration of art into meaningless eclectic forms, but as a source of new paradoxical art forms that have a basis in the historical experience of the development of art, the creative freedom of the artist and a new rethinking of classical aesthetic values. The methods of the research are based on a comparative historical analysis of the development of art in the context of criticism of the concept of virtual reality and Baudrillard's "end of art". The study is based on the works of R. Lorand, J. Baudrillard, F. Guattari, A. Danto and E. Gombrich in the aspect of the analysis of art as an integral system that develops on the basis of the continuity of the artistic canon and aesthetic values., Международный научно-исследовательский журнал, Выпуск 1 (103) 2021, Pages 119-125

This bachelor’s thesis traces the life and career of textile designer Wanja Djanaieff, in particu- lar the collections she designed for the Swedish Olympic team for the games in Munich 1972 and Innsbruck 1976, in order to investigate the hypothesis that the social and political climate in Sweden shaped and constrained the stylistic choices available to textile designers at the time. Through the use of a biographical method, including an interview with Wanja, her works are placed within a broader cultural and political context, and the ways in which her art was influenced by historical developments, such as the decline of the Swedish textile industry from the 50’s onwards, are highlighted. Additionally, it is investigated which constraints were imposed on her designs by her clients, and how Wanja faced these constraints. It is argued that presence of irony and androgynous designs in Wanja’s work mirrors contemporary social developments, lending support to the notion that art reflects broader societal trends.

The thesis is a definitive critical biography of Scottish artist Steven Campbell (1953-2007) underpinned by extensive archival research, semi-structured interviews, and relevant critical and historical secondary sources. The aim of the research was to write the essential point of reference for this artist and in the process to contest a few existing narratives around Campbell’s work in relation to its critical framing. Sources about Campbell are limited largely to exhibition reviews, exhibition catalogues and one monograph: The Story So Far by Duncan Macmillan published in 1993, several years before Campbell’s premature death in 2007. The thesis follows a chronological structure through Campbell’s educational and exhibition histories, looking at critical reception and the various artworld contexts through which he moved. It addresses the critical framing of Campbell that aligned his work with key relevant terminology of Neo-Expressionism, New Image Glasgow, and the New Glasgow Boys phenomenon. The thesis is informed by the research undertaken to compile the first catalogue raisonné for this artist, presented here as Appendix One. The methodological approach is broadly art historical, including iconographic analysis of individual works, reflection on the relevant contexts Campbell worked within and is informed by Visual Culture analysis. The Introduction covers key terminology used in the thesis and includes an overview of social and economic contexts for Campbell’s work. The Literature Review includes a gazetteer of key sources by typology. It charts how popular and critical reception to Campbell evolved during his career with reference to relevant recent art historical analyses. The first chapter looks at the formative educational and social contexts from which Campbell emerged, considering the specifics of the foundations of his expanded practice in the Mixed Media studios and Drawing and Painting Department at Glasgow School of Art (GSA) from the late 1970s-1982. The second chapter explores his early works made whilst living in New York between 1982-1986 with reference to recent scholarship on the 1980s art market. It charts the various exhibitions and collectors that underpinned his very swift success in New York and considers the impact that his American success had in the UK. The third chapter follows Campbell’s return to Scotland and the institution patronage he enjoyed. The fourth chapter is a detailed analysis of his 1990 On Form and Fiction exhibition in Glasgow. The fifth chapter documents the period in the 1990s when Campbell was operating from the ‘margins’ of ‘fashionability’. (McKenzie, Farquhar and Transmission Gallery, 2000; Bracewell, 2002). It considers how Campbell maintained his practice through exhibition and commissions albeit less prolifically than the previous decade. The sixth and final chapter narrates how his work has been rediscovered and critically re-evaluated in the years leading up to his death through changing curatorial contexts and considers the change of critical framework when On Form and Fiction was restaged in Edinburgh in 2014. The conclusion also evaluates the work undertaken on the catalogue raisonné and considers areas for further postdoctoral research.

Includes bibliographical references (p. 240-271). Number of sources in the bibliography: 337 Thesis (Ph. D.) -- University of Cyprus, Faculty of Humanities, Department of English Studies, 2020. The University of Cyprus Library holds the printed form of the thesis. Αυτή η διατριβή αποτελεί μια θεωρητική προσέγγιση στη “performance art”, προκειμένου να αξιολογήσει, από την προοπτική του 21ου αιώνα, τις ηθικές και πολιτικές ανησυχίες που έχουν συμβάλει στην εμφάνιση και τη εξέλιξη αυτής της μορφής τέχνης. Προσεγγίζοντας τη «performance art», μέσα από την προοπτική της ιστορίας της τέχνης, η διατριβή αυτή επικεντρώνεται στις βασικές ανησυχίες που έχουν παρακινήσει κάποιους από τους βετεράνους αυτής της μορφής τέχνης και υποστηρίζει ότι αυτές οι ανησυχίες έχουν διαμορφώσει ένα κοινό όραμα για πολλούς καλλιτέχνες το οποίο ξεπερνά την απλή αισθητική απόλαυση του έργου τέχνης. Πιο συγκεκριμένα, κατά την ανάλυση μιας σειράς «performances» υιοθετείται ένα θεωρητικό υπόβαθρο με σκοπό να διαφανεί η σημασία αυτής της μορφής τέχνης που συνίσταται στην προσφορά μιας ενσώματης εμπειρίας που μοιράζεται ο καλλιτέχνης και ο θεατής και η οποία συμβάλλει στην ανάπτυξη της ηθικής και πολιτικής συνείδησης ​​των συμμετεχόντων. Η βασική θέση της διατριβής αυτής αποδέχεται ως βασικό και διαχρονικό αίτημα της «performance art», την ανάκτηση της λειτουργίας της τέχνης στην ανθρώπινη κοινωνία. Κάθε κεφάλαιο επικεντρώνεται στο έργο δύο έως τεσσάρων καλλιτεχνών, το οποίο αναλύεται μέσα από το φακό μιας συγκεκριμένης θεωρητικής προσέγγισης, φιλοσοφικής, ανθρωπολογικής και / ή ψυχαναλυτικής. Αυτό επιτρέπει τον ορισμό και τη διασαφήνιση των διακριτών τάσεων που χαρακτηρίζουν τη «performance art». Ως εκ τούτου, σταχυολογούνται οι διαφορετικές τάσεις που επηρέασαν καθοριστικά τον τομέα αυτό από τη δεκαετία του 1960 έως σήμερα, συζητώντας κάθε μία ξεχωριστά αλλά και συλλογικά. Στο πρώτο κεφάλαιο, αναλύονται οι συνθήκες που συνέβαλαν στην εμφάνιση αυτής της μορφής τέχνης, η οποία μπορεί να θεωρηθεί ως «επιστροφή στο σώμα». Συγκεκριμένα, γίνεται αναφορά στο έργο κριτικών που αποδίδουν την κρίση που διέρχεται η σύγχρονη τέχνη στα ελλείματα της ύστερης καπιταλιστικής κοινωνίας. Το δεύτερο κεφάλαιο επικεντρώνεται στα πρώτα στάδια της «performance art», όπου παρατηρείται μια στροφή στα «rituals». Λόγω του ότι τα «rituals» αποτελούν μέσα δόμησης της κοινωνίας και του πολιτισμού και συμβάλλουν στην αποκατάσταση της τάξης σε περιόδους κρίσης, η στροφή της «performance art» σε αυτά υποδεικνύει την προσπάθεια για την επανορθωτική λειτουργία της τέχνης στη κοινωνία, μέσω της ενσώματης εμπειρίας. Το τρίτο κεφάλαιο, πραγματεύεται το πώς ορισμένοι καλλιτέχνες επιδιώκουν να δημιουργήσουν ένα χώρο όπου οι «δυνάμεις του τρόμου (powers of horror)» που σχετίζονται με την αποκειμενοποίηση (abjection) μπορούν να μετουσιωθούν σε μια θετική εμπειρία. Στο τέταρτο κεφάλαιο δίνεται έμφαση στις ηθικές ανησυχίες που εγείρει η ανταπόκριση στη διαφορετικότητα του «άλλου». Το πέμπτο κεφάλαιο, αναλύει έργα τέχνης τα οποία αποτελούν μια πολεμική ενάντια στη βιοπολιτική συνθήκη: μια πολεμική που στοχεύει να προβάλει ως επιτακτική την ανάγκη για την υιοθέτηση ενός εναλλακτικού τρόπου ύπαρξης και τη συγκρότηση μιας κοινότητας που αντιστέκεται στις δυνάμεις αποκλεισμού της βιοπολιτικής θεώρησης. Στο τελευταίο κεφάλαιο παρατίθενται σκέψεις σχετικά με τους πιθανούς κινδύνους που μπορεί να προκύψουν από αυτό το είδος τέχνης, που σχετίζονται κυρίως με τη δυνατότητα του καλλιτέχνη να δημιουργήσει μια αίσθηση κοινότητας μεταξύ των συμμετεχόντων. This thesis adopts a cluster of theoretical approaches to performance art, in order to evaluate, from a 21st century perspective, the ethical and political factors that determined the emergence and sustainment of this art form. This thesis’ overarching argument accepts that the diachronic purpose of performance art reclaims the function of art in human society. Approaching performance art from an art historical perspective, the thesis examines the main concerns that have motivated some key practitioners of this art form, to show how ethical and/or political deliberations have shaped a common vision among diverse artistic practices, a vision that goes beyond the mere enjoyment of the artwork. More specifically, by analysing a number of performances against theoretical frameworks borrowed from anthropologic, psychoanalytic and political theory, and ethics, it seeks to highlight the importance of this art form, first; in its capacity to redefine the embodied experience that is shared between the artist and the spectator, and, second; its contribution to the development of an ethical and political conscience of the participants involved. Individual chapters are structured thematically. Each chapter focuses on two, three or four performance artists whose work is examined through the lens of a particular theoretical philosophical, anthropological, and/or psychoanalytic perspective. Each set of chosen theories allows for the developments informing the dynamic traits of the field of performance art to come to the fore and relate to a period spanning from the 1960s to the present. Chapter One discusses the societal circumstances within which this art form emerged. Specifically, the work of post-modern and contemporary critics shedding light on the discontents of the late capitalist society and the resulting crisis in the modern art world is utilised with a view to explain the primacy of the to return to the body. In Chapter Two, attention is cast to the early stages of performance art, where a turn to ritual is noted in artistic practices. Bearing in mind that rituals are means of structuring the sociocultural world and restoring order in times of crisis, what is argued is that performance artists’ turn to ritual points to a conviction in the restorative function of body-oriented experience. Chapter Three, discusses how certain performance artists seek to produce a site where the “powers of horror” associated with abjection assume a transformative outlook. Therefore, chapter three analyses performances that exemplify the Kristevan abject, ultimately to illustrate the sublimatory function of art. Chapter Four, deploys a Levinasian lens, to emphasise the ethical concerns raised by the response to the alterity of the Other. Furthermore, the analysis is enhanced with Judith Butler’s political appropriation of Levinasian ethics, particularly his notion of vulnerability, with a view to providing a more insightful understanding of the current issues that many of these artists deal with. Chapter Five, draws on performances which launch a polemic against the biopolitical state as discussed by Giorgio Agamben: a polemic which aims to demonstrate the need to move towards an alternative mode of being and a community that actively resists the exertion of exclusionary biopolitical power. In the second part of this chapter, a positive reading of Agamben’s concept of play is introduced as a counter-strategy to neutralise the friction between the sacred and the biopolitical. Finally, the concluding chapter of the thesis identifies potential risks and dangers that may arise from this kind of artistic practices, which are found to relate primarily to the capacity of the artist to instill an innovative sense of community among the participants involved.

Quando a Tropicália irrompeu na cena musical em 1967, Mário Pedrosa era um crítico de arte influente. Em 1966, ao constatar o esgotamento da arte moderna, Pedrosa afirma que um novo ciclo cultural se iniciava – o da arte pós-moderna. Reconstruindo esse conceito, investigaremos se a intervenção de Caetano Veloso e Gilberto Gil no III Festival de Música Popular Brasileira pode ser considerada uma manifestação do pós-modernismo. A hipótese é que os motivos da arte pós-moderna identificados por Pedrosa estão presentes na Tropicália. When Tropicalia emerged in the music scene in 1967, Mario Pedrosa was an influential art critic. In 1966, when he realized the burnout of modern art, Pedrosa claims that a new cultural cycle was beginning – the postmodern art. Reconstructing this concept, we will investigate if the intervention of Caetano Veloso and Gilberto Gil in the III Festival de Musica Popular Brasileira (Brazilian Popular Music Festival III) can be considered a manifestation of postmodernism. The hypothesis is that the elements of postmodern art identified by Pedrosa are present in Tropicalia.

espanolLa finalidad del articulo es presentar una primera aproximacion teorico-interpretativa, en terminos comparativos, entre el arte moderno y el arte posmoderno, a partir de elementos del discurso (la textualidad) que acompanan a la modernidad y la posmodernidad. El pre-texto de la discusion se da en torno a una obra de arte renacentista y una obra de arte posmoderna, obras que fueron creadas bajo canones artisticos considerados por la tradicion como opuestos. Se propone un modelo inicial (pre-modelo) de acercamiento a las categorias de “arte moderno” y “arte posmoderno”, fundado en la nocion de prototipo y considerando algunos tratamientos teoricos desprendidos de la linguistica funcional. El planteamiento central del presente articulo es el siguiente: la modernidad y la posmodernidad pueden ser entendidas como opuestos dialecticos en el sentido de que ocupan los lugares polares a lo largo de un continuo (continuum), en el cual encontramos las mas diversas denominaciones en lo que a arte se refiere, diferenciandose ellas gradualmente a partir de un conjunto de caracteristicas que pueden fungir como “criterios” o “parametros”. EnglishThe aim of the article is to present a first theoretical-interpretative approach on the contrast between modern art and postmodern, defining modernity and postmodernity from the discursive elements (textuality) that justify them. The pre-text of the discussion arises around a work of Renaissance art and a work of postmodern art. These works were created under artistic canons, considered by tradition as opposites. An initial model (pre-model) of approach to the categories of "modern art" and "postmodern art" is proposed, based on the notion of prototype and considering some theoretical treatments detached from functional linguistics. The thesis of this article is the following: modernity and postmodernity can be understood as dialectical opposites in the sense that they occupy the polar places along a continuum, in which we find the most diverse denominations in terms of art styles. These art styles differ from each other gradually by means of a set of characteristics that can act as "criteria" or "parameters".

Postmodernism has left a significant number of strategies to imitate art. They all rely on the game, offering to “play art”. The way of existing in Postmodernism in the form of the game is possible due to the broad interpretation of the concept of the “game” in modern aesthetics. The game principle in the works of Baudrillard, Lyotard, Debord and Gadamer is absolutised as the basis of the social interactions within which art is created. The methodology of the postmodern games is worked out and at the same time turns into arbitrariness in science, everyday life and social life, depriving them of certainty and consistency, making the principle of process the most important quality of any activity, including artistic one. In the postmodern game, hyperreal, carnival and marginal features are outlined. It is the basis of imitation, combinatorics, pastiche and intertextuality as the text production strategy. As a result, a playing text appears, erasing any differences and hierarchies. The game appropriates the place of the sacred and parodying, declining and desecration become the leading forms of creativity. The game turns into a masquerade, acquiring performative-spectacular forms, performing the function of returning the past to the present, preserving the lost tradition. The game within the cultural framework defined the field of the unserious. The game that has swallowed up culture, deprives it of its seriousness, puts it beyond morality, making evil and death a thing of the past. The game allows Postmodernism to overcome the finality of art. Within the framework of the total playful nature of Postmodernism, the new avant-garde technologies of irony, nihilism, labyrinth, chaos, creativity, authorship, and representation are filled with new content

One of the features that characterizes postmodern fiction is an intense interest in the past, and especially so – in Victorian period, chiefly in its sensational aspects. Therefore we witness a revival of Victorian crime novel and this tendency can be traced not only in recent English literature, but in other literatures as well, Russian in particular. This gave birth to the term “neo-Victorian novel”, referring to the pieces, which recreate the atmosphere of the period, introduce a lot of intertextual allusions and references to the well-known Victorian novels and exploit most popular subjects of the 19th century literature. However as we will argue in this essay the authors often use these plots as implicit metaphors of postmodern art as such. It will be demonstrated on the example of two Neo-Victorian novels – “The Trial of Elizabeth Cree” by Peter Ackroyd (1995) and “The Decorator” by Boris Akunin; for the latter Ackroyd’s novel can be also regarded as one of the precedent texts. Both novels give their versions of the story of Jack the Ripper but what is more important in our case – employ akin plot structures, images and artistic devices, which in fact become metaphoric actualization of postmodern techniques.

O artigo caracteriza os anos 1970 como o período das últimas vanguardas artísticas e das primeiras manifestações da arte pós-vanguardista. Recorrendo aos críticos da cultura Peter Burger, Fredric Jameson e Andreas Huyssen, especifica as mudanças no imaginário artístico nessa década. Mostra que para Burger embora as intenções políticas das vanguardas não tenham sobrevivido, não pode ser ignorar o seu legado no nível artístico, pois essas manifestações teriam colocado à disposição dos artistas pós-vanguardistas uma pluralidade de meios, técnicas e procedimentos. Destaca, ainda, a caracterização da arte dita pós-moderna por Jameson como uma combinação de signos disparatados, amealhados gratuitamente do passado, daí resultando, paradoxalmente, amnésia histórica. Por fim, o artigo mostra que Huyssen considera essa guinada do olhar, do futuro ao passado, como progressista, isto é, como a consciência histórica que permitiu recuperar o continuum no tempo após as sucessivas rupturas com a tradição artística, decretadas pelas vanguardas. É na arte como efetuações singulares que vários artistas, desde o fim dos anos 1970, trabalhando sobre as ruínas do modernismo - tensionando estética e política em formas artísticas estruturadas – atendem tanto as necessidades da política, quanto da estética. Os anos 1970 mostraram, assim, conclui o artigo, que a política é efetuada, desde o fim das vanguardas, por uma estética não programática do artista.

There are three ideal types (Max Weber) of a western classical music performer. These types describe the performer’s relationship to composer, musical work and audience. The romantic virtuoso uses music as a means to impress audiences with his personality and corporeality. On the contrary, personality and corporeality of the modernist virtuoso must remain hidden in order to highlight the musical work (Lydia Goehr), which is the result of the composer’s intellectual work. In accordance with the general features of postmodern era, the postmodern virtuoso combines and mixes characteristics of previously existing types (pasticcio, palimpsest). This type is also highly defined by the incorporation of postmodern art into the system of late capitalism and the postmodern loss of the specificity of aesthetic experience (Fredric Jameson).

In this study, the evolution of the 'Virgin Mary and Child' theme in the art historical process has been investigated. It is possible to see the leitmotif in many different artistic forms, such as wallpaintings, illuminated manuscripts, prints, mosaics, canvas paintings, textile products, reliefs or sculptures, which has been repeated forhundreds of years, takingits source from many ancient civilizations before it. In the study, examples of Works related to the theme, is selected overy important artistic periods extending fromearly Byzantine icons to present day. This study shows that; from Hodegetria to Cindy Sherman and Damien Hirst, 'Virgin Mary and Child' stil exists in art, as a theme dealt with different religious and ideological dimensions.

In this study, it is aimed to investigate the motifs of the Mary and Child from the Byzantine icons to present day with the examples of the evolution in the art historical process. It is possible to see the influence of the Byzantine icons, whose sources are based on the ancient civilizations, for many hundreds of years, in all the geographies spread by Christianity and artistic expressions of different periods. In this study, which mainly includes examples of painting arts, examples related to the subject were investigated through written and visual sources. This research has shown that this main motif, which has been repeating for many years, still exists, although not as much as it was before.

In an interview with Bronaċ Ferran, Paul Brown recalls his involvement with people and places formative in shaping important countercultures of the 1960s and his long-term interest in generative art processes. He describes his interests since childhood in art and technological thinking which was further inspired by the Cybernetic Serendipity exhibition at the ICA in 1968. Shortly before seeing this, he had left art school, discouraged by a tutor who, on seeing a system-based drawing he had made, told him he would never become an artist. This exit proved liberating as Brown swiftly went on to forge an autonomous route working on light-shows and other multimedia events particularly at The Blackie in Liverpool, which had links to Drury Lane Arts Lab and other centres of radical experimentation. He returned to college in the early 1970s to study art and computing which became the basis of his successful art career.

이 글에서는 다양성과 차이를 추구하는 포스트모던 사고의 근간이 바로 문화의 의미에 있음을 확인하였다. 이 글에서는 문화에 대한 정의 및 개념을 시대적으로 분석하면서 문화가 포스트모던 교육과 미술교육의 목표와 교육내용 및 교수·학습 방법에 어떻게 관계하고 있는지를 문헌과 선행 연구를 중심으로 파악하였다. 문화와 포스트모던 미술교육의 이해는 내용과 교수·학습 방법의 모자이크를 더욱 풍요롭게 할 수 있다. 모더니즘 시대 문화는 인간의 재능이 성취한 산물로 정의되면서 물질문화와 관련되어졌다. 때문에 상층문화와 대중문화의 구분이 가능한 것이었고 결과적으로 자민족중심주의를 심화시키는 결과를 초래하였다. 한 집단의 사고 유형, 생활양식을 뜻하는 포스트모던 문화의 정의는 문화는 다양하고 인간은 다양한 하위문화에 의해 영향을 받는다는 문화중심을 구체화하였다. 문화중심은 다양성과 차이를 인정하면서 구성주의 교육, 다문화교육, 공동체중심 교육, 환경적인 인식을 높이기 위한 생태교육, 일상생활의 삶에 대한 인식을 높이기 위한 시각문화교육 등의 이론과 실제의 이론적 근거를 제공하였다. 삶, 즉 문화 이해는 비평적 사고를 통해 함양될 수 있는 것이기 때문에, 그리고 다양한 학문영역이 통합되면서 세계에 대한 포괄적인 이해가 가능하기 때문에 포스트모던 교육과 미술교육은 비평학습과 통합학문 등이 포함되며 해석학, 현상학, 인류학, 기호학 등 포스트모던 학문군들이 연구방법으로 응용된다.

Today’s world has undergone through a variety of changes shifting from metaphysical way of thinking into postmodernism which has left its footprint in the aspects of literature, art and theatre. But architecture doesn’t reflect those changes in the theatrical world because buildings are not adjusted to the postmodern performances. In this research I made a journey through postmodern philosophy, literature, art, architecture, and theatre and tried to analyze the main tools of postmodernism, such as deconstruction of narrative, displacement etc. Then I applied them into my project which makes an attempt to translate the postmodern mind into a physical space and create a theatrical area. It tries to answer the question whether architecture is able to accommodate postmodern conceptions and performances where the audiences are the creators and active participants of their own narratives. The case study of the performance Sleep No More has become the concept for my design proposal where I also used displacement to combine several objects in a new context. The analysis and the design method have shown that architecture can accommodate all the cultural developments and can transform from postmodern conceptions into a physical space with the help of the same tools that are used in postmodern literature, art and philosophy. A building can become the embodiment of a post modernistic idea.

Tarihsel olarak postmodern dönemin ne zaman başladığı net olarak bilinmemekle birlikte, postmodern kavramının ilk olarak 1960‟lı yıllarda edebiyat alanında kullanılmaya başlandığı bilinmektedir. 1960‟lı yıllardan günümüze kadar birçok alanda kullanılmış olan postmodern kavramı; güzel sanatlar içerisinde mimarlık, resim, heykel, grafik, felsefe gibi alanlarda anlam kazanan bir ifade haline gelmiştir. Modern sanatın devamı niteliğinde olan postmodern sanat; modern sanattan farklı kimliklere bürünmüş, sanat hayatına yeni kavramlar ve bakış açıları getirmiştir. Bu sebeple araştırmada, postmodernliğin daha anlaşılır olabilmesi için; modern/postmodern şeklindeki kavram çiftleri beraber ele alınmıştır. Resimleme olarakta bilinen illüstrasyonlar; insanoğlunun ilk iletişim araçlarından biri olmuştur. Günümüzde, yaşamımızın neredeyse her alanında karşılaştığımız ve grafik sanatının etkili görsel iletişim aracı olan illüstrasyonlar, tekniklerine ve kullanım alanlarına göre sınıflandırılabilmektedir. Sanatsal olarak illüstrasyonlara anlam kazandıran en önemli faktörler ise; duygular, düşünceler, yorumlamalar ve uygulamadaki özgünlük olmuştur. 5 Yapılan araştırma, postmodern sanat ve tasarım anlayışının 1960 sonrası grafik tasarıma ve grafik sanatında illüstrasyona etkilerinin nasıl ve ne şekilde olduğunu araştırmayı amaçlamıştır. Aynı zamanda konu ile ilgili örneklemleri oluşturan sanatçılar araştırılarak, yapmış oldukları eserler incelenmiş ve kavramsal çerçeve içerisinde açıklamalarına yer verilmiştir. Araştırma doğrultusunda deneysellik, özgünlük, tüketim kültürü, popüler kültür, metinlerarasılık, feminizm, postmodern yansıtıcılık konularının ve postmodern sanat eserlerinde rastlanan pastiş, ironi, parodi, kiç, eklektisizm kavramlarının postmodern illüstrasyona da yansıdığı görülmüştür., It is not known when exactly the postmodern period started historically; however, it is known that the concept of postmodernism was first used in the field of literature in the 1960s. The concept of postmodernism that has been used throughout many fields from the 1960s until today has become a meaningful expression within the disciplines of fine arts such as architecture, painting, sculpture, graphics and philosophy. Postmodern art, the continuation of modern art, has taken on identities which have distinguished it from modern art and lead to new concepts and perspectives in artistic life. Therefore, this study discussed concept pairs in the form of modernism/postmodernism together in order to make postmodernity more understandable. Illustrations, known as drawings, were one of the first means of communication for human beings. Today, illustrations we encounter in almost every part of our lives are effective visual communication tools of graphic art and can be classified according to their techniques and fields of usage. The most important factors that give meaning to the illustrations we see around us are emotions, thoughts, interpretations, and originality in practice. This study aimed to investigate the effects of the understanding of postmodern art and design on the field of graphic 7 design after 1960 and on illustration in graphic art. Furthermore, the study researched the artists constituting the samples related to the subject, reviewed their works and included their explanations within the conceptual framework. The study revealed that the subjects‟ experimentality, originality, consumer culture, popular culture, intertextuality, feminism, postmodern reflectivity, concepts pastiche, irony, parody, kitsch, and eclecticism found in postmodern works of art were also reflected in postmodern illustration.

Installation art is a popular postmodern art genre that accommodates diverse mediums, styles, and social-political issues. There is, however, a lack of analysis of how the space in installation art affects its reception. This article examines the two-dimensional quality in early installation art by Chinese artists. Early Installation works reflect Chinese artists’ academic training, which is primarily in two-dimensional mediums—oil, prints, and ink. I argue that their uses of space indicate distinct aesthetic strategies, reflecting theatrical possibilities. The flat surfaces index how artists position themselves in relation to an international audience and develop biographic identities that are instrumental in their role as global migrators. Within these strategic conceptions of exhibition, Chinese experimental artists treat installation space less as a participatory platform which engages the audience, than as a powerful realm for monumental display with culturally specific details.

Technological developments in the era we live have changed the technique of art as well as changing human life and have transformed the work of art. And photography was used as the production material of many works of art in the framework of this effect, and led to the differentiation of the resulting works In addition, the fact that art works can be easily reproducible through photography attributes new contexts to the work in terms of history and semantic. The existence of the traces of an art form in another art form and the concept of inter-semiotics that emerged as a result of the trading between these artistic forms defines the interaction in the fields of cinema, music and photography, especially in the postmodern period. As a matter of fact, considering that the works of art were reproduced in the sense of postmodern art, many works in art history were reproduced by different artists. The works that contemporary artists see as a point of reference in the art history can be evaluated in the context of postmodern aesthetics. Within the scope of the study, especially after the emphasis on the intersemiotic trading methods produced in the field of photography, photographs by American photographer Joel-Peter Witkin will be evaluated. Witkin is one of the leading photographers in terms of being an individual school or individuality. The artist’s work was built by fiction through the use of photography as an artistic form of expression and was based on transforming and disrupting the structure. The subjects such as religion, death and sexuality that have different effects on the artist's life are presented to the audience with different figures. Among the works produced by the artist take part art history, mythological stories, and squares of daily life. Within this study, the reproduction of the works of Paul Rubens, Grant Wood, Diego Velazquez, Théodore Géricault, Sandro Botticelli, and Leonardo Da Vinci by Witkin will be emphasized., Yaşadığımız çağda gerçekleşen teknolojik gelişmeler, insan yaşamını değiştirdiği gibi sanatın tekniğini de değiştirmiş ve sanat eseri üzerinde dönüşümler meydana getirmiştir. Fotoğraf ise bu etki çerçevesinde birçok sanat eserinin üretim malzemesi olarak kullanılmış ve ortaya çıkan yapıtların farklılaşmasına yol açmıştır. Ayrıca fotoğraf aracılığı ile sanat yapıtlarının kolaylıkla yeniden üretilebilir hale gelmesi, esere tarihsel ve anlamsal açıdan yeni bağlamlar yüklemektedir. Bir sanat formuna ait izlerin başka bir sanat formunun içerisinde var olması ve bu sanatsal biçimler arasındaki alışveriş sonucunda ortaya çıkan göstergelerarasılık kavramı, postmodern dönem içerisinde özellikle başta resim olmak üzere, sinema, müzik, fotoğraf alanlarındaki karşılıklı etkileşimi tanımlamaktadır. Nitekim Postmodern sanat anlayışı içerisinde sanat eserlerinin yeniden üretildiği düşünüldüğünde, sanat tarihi içerisindeki birçok eser farklı sanatçılar tarafından yeniden üretilmiştir. Günümüz sanatçılarının sanat tarihi içerisindeki eserleri referans noktası olarak gördüğü çalışmalar postmodern estetik bağlamında değerlendirilebilmektedir. Özellikle fotoğraf alanında üretimi gerçekleştirilen göstergelerarası alışveriş yöntemleri üzerinde durulduktan Amerikalı fotoğrafçı Joel-Peter Witkin’in yeniden üretim kapsamında gerçekleştirdiği fotoğrafları değerlendirilecektir. Witkin, tek başına bir ekol olma ya da bireysellik konusunda önde gelen fotoğraf sanatçılarından birisidir. Sanatçının çalışmaları fotoğrafın sanatsal bir ifade biçimi olarak kullanıldığı yerde kurgu aracılığıyla inşa edilerek yapıyı dönüşüme uğratma ve bozma üzerine temellenmiştir. Sanatçının yaşamı üzerinde farklı etkileri olan din, ölüm, cinsellik gibi konular farklı figürlerle birlikte izleyiciye sunulmaktadır. Sanatçının ürettiği çalışmalar arasında sanat tarihi içerisinde yer alan yaptılar, mitolojik hikâyeler, günlük hayattan kareler yer almaktadır. Bu çalışma kapsamında Paul Rubens, Grant Wood, Diego Velazquez, Théodore Géricault, Sandro Botticelli, Leonardo Da Vinci’ye ait eserlerin Witkin tarafından yeniden üretimi üzerine durulacaktır.

Postmodernism as a concept in art refers to artistic production category which was created after 1970. The refusal of the aesthetic and ideals which were aimed by the “Modern Art” before was the most prominent feature. As in all definitions of Postmodernism, Postmodernist Art is described as opposition to Modern Art. An important principle of Modern Art is the refusal of rejection of everything traditional and is based on an approach where features that don’t change according to place and time are centered. One of the rejected points of Modern Art by Postmodern Art is the idea that “art” is separated and glorified from the popular one. Postmodernism after this opposing overlapping with a number of new developments led to artistic experience which almost lasted half a century with new art forms such as deconstruction, computer-based artistic productions, new media and conceptual art. Postmodernist artists by using these new forms and expanding the meaning of the definition of practice and art brought almost to the point that “everything goes”. Postmodern Art in today’s world is a part of a trend which introduces many new concepts, behaviors with wider technological, political and social change. The full effect of internet on provision and distribution of artistic image and the creation of applied art and design has not yet felt. However, the transformation in the music industry in present is the harbinger of the change in the field of plastic arts and its customary acceptances and built in values. This approach expressed as “reassessment of all values” continues to exist with reflections in Art, intertwined ongoing modern habits and contradictions. In this study “the postmodern status” of plastic arts with related arguments and the definition of postmodern as the opposition to the available concepts and diversity and multidimensionality of art is being examined.

A história da arte no Ocidente é a história da arte cristã. Imagens, motivos, símbolos, técnicas, personagens: o Cristianismo deu a marca distintiva da arte europeia e ocidental por dois mil anos; o Cristianismo balizou a arte do Ocidente. As raízes mais profundas da arte cristã, contudo, não estão expostas: sua natureza e suas mais legítimas pulsões são ignoradas, mesmo pelo público confessional. O resultado inevitável é a eclosão periódica de polêmicas e mal-entendidos. O objetivo deste artigo é demostrar que a arte cristã nunca foi avessa a paradoxos estéticos, e que os elementos transculturais da criação pós-moderna foram gestados em um longo processo técnico e estético-filosófico precipuamente cristão.

Artistic practices of postmodern art do not only express the principles of the conceptions of the world of modern culture but on the whole they prepare the anthropological "project" of a cosmopolit. But the danger of leveling and even ruining the system of the Ukrainian world outlook traditions exists in the framework of this project. In this article the author investigates the peculiarities of Yu. Andrukhovych' creative work in the context of the Ukrainian postmodern art. Thanks to the ironic form and extreme spontaneity in the choice of dedication and epigraph, postulates the model in which the contextual neo-mythological features are traced and the features reveal the essential peculiarities of the anthropological project of a "post-totalitarian" person. The author's tragic world-outlook and apocalyptical mood are hidden behind the humor and eclectic glare. It doesn't look like "banquet during the plague", but like the comprehension of the problem of one's existence under the totally new historic-cultural conditions. The neo-mythological axis is grounded on the Christian-mythological model-antithesis. The neo-mythological peculiarities analyzed by the author interact with each other in the dialectical unity and make the organic entirety of the artistic work, they are actual for a contemporary person finding himself under the conditions of a transitional period when culture is looking for stable landmarks in its development. It is proved that the neomyth by Yu. Andrukhovych was being built on the synthesis of Christianity and folk culture, ascertaining the European character of the Ukrainian culture and surge for its legitimacy, uniting together the Dianetical and Apologian features. It gave the author the chance to model the modern culture in the coordinates "Bu - bo - bu" (Burlesque - Booth - Buffoonery) and build the anthropological project in the direction of a Cosmopolitan pole.

This article engages with representations of 1980s indie rock and hardcore punk in recent publications, namely Michael Azerrad’s Our Band Could Be Your Life and Erick Lyle’s Scam fanzine. It asks how to avoid falling prey to the trappings of nostalgia (for example, using quasi-classicist aesthetic standards or one-dimensional approaches towards postmodern art) when trying to come to terms with retrospective accounts of the supposed “golden age” of independent music culture.

Straipsnis skirtas vyresniosios kartos lietuvių tapytojo P. Griušio istorinės tematikos darbų apžvalgai. Siekiama atskleisti šio pobūdžio menininko kūrinių savitumą, jo formuojamą istorinės atminties vaizdyną. Gilinamasi į siužetų atrankos motyvus bei priežastis, aiškinamas paveikslų turinys ir menininės raiškos specifika. Atlikus tyrimą galima teigti, kad P. Griušio kuriamas Lietuvos istorijos vaizdinys apima platų laikotarpį ir išsklinda į LDK svarbiausių kovų momentus, XIX a. puoselėtas nepriklausomybės atgavimo viltis, religinę nesantaiką ir siekia XX a. pabaigos politinių perversmų sukeltus žmonių gyvensenos ir jų aplinkos pokyčius. Vaizduojamų įvykių atranka paremta ne jubiliejinių datų minėjimu, o subjektyviais motyvais, kurie įvairiais aspektais aktualizuoja istorinę praeitį. Tyrime išskirta vizualiai novatoriškiausia ir įdomiausia P. Griušio darbų grupė. Čia atsakingas požiūris į istorinius faktus bei realistinė tapybos maniera derinama su postmodernistinės raiškos elementais, tokiais kaip meninės praeities citatos, žaidybinė motyvų ir vizualios išraiškos formų sukeitimo logika ar lengvas pokštavimas susiejant istorinį įvykį su dabartimi. Tai yra nauja tendencija mūsų istorinėje sąmonėje, kurią įtvirtina šio kūrėjo kultūrinis palikimas. The article analyses in the historical painting of the older generation Lithuanian artist, P. Griušys. The aim of the research is to reveal peculiarities of his creation and to define what image of historical memory is formed by the artist. The reasons for the choice of concrete historical moments are revealed, and the meaning of scenes and features of his artistic expression are explained. The study discovered that the image of Lithuanian history created by P. Griušys covers a wide period of time. It spreads to the moments of the most important battles in Grand Duchy of Lithuania, to the hope of independence and religious strife in the19th century, and it seeks political upheaval at the end of the 20th century, which brought changes in people lifestyle and their enviroment. The choice of the painted historical events is not based on the commemoration of anniversary dates. The basis is the inner motivation of the artist, which through different aspects actualize historical past. Visually the most innovative and interesting group of P. Griušys painting is distinguished in the research. In this group, we see a responsible approach to historical facts, an attention to detail, a precise and realistic painting style combined with elements of post-modern expression, such as quotations from previous art styles, playful interchangeability of motifs and forms of visual expression or light joking when historical past is associated with the present. This is a new trend in our historical consciousness, which is enshrined by P. Griušys pictorial legacy.

Parody — a particular case of intertextuality — is an important term for scientists interested in modern and postmodern art. Linda Hutcheon stated that 20 th century parody, to be found in every kind of art, is a repetition with critical difference. It is composed of two structural levels, of which the first one is an authority, the second — a transgression of the authority. Its entire act of enunciation includes also a pragmatic frame, i.e. the intent of parody, which spreads from comedy through neutrality to seriousness. From th e author’s point of view, the compositions of Pawel Szymanski (born in 1954) are interesting examples of musical parodies from the last decades. Among them are the second study from Two Stud- ies for piano (1986) and Through the Looking Glass...I for chamber orchestra (1987). Both these pieces are two-level and algorithmic music. The parodied texts consist of basic deter- minants of the baroque style, such as regular semiquaver rhythm and tonal configurations, expressed either by melody or by harmony. The parodying texts, which we hear, are certain mixtures of baroque and contemporary elements. Besides motoric rhythm and tonal melody or harmony, there are post-tonal fragments, a new timbre, spaciousness, fragmentation, new kinds of articulation and schematic dynamics. Taking the issue of ethos into consideration, Szymanski’ s parodies are serious, since baroque texts are treated as authorities.

In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.

BİR KİTLE İLETİŞİM ARACI OLARAK SİNEMA VE POSTMODERN SİNEMA İLE ALGI YÖNETİMİİletişim ve algı ilişkisi alanında yapılan çalışmalar bu kavramların insanların hayatındaki önemini ortaya koymuş, kişilere bir uyaran geldiği zaman tepki verdiği gerçeği ile birleşince iletişim ve algı ilişkisi alanındaki çalışmaların uyarıcı-tepki modeline dayanmasına neden olmuştur. Bireylerin algılarına etki edip onların duygularının harekete geçmesini sağlamak için yıllar boyunca gazete, dergi, afiş gibi iletişim unsurlarından yararlanılmıştır. Teknolojinin ilerlemesi ile birlikte bu sürece ilk olarak radyo ve ardından da sinemanın eklenmesi, özellikle sinemaya ses unsurunun da eklenmesiyle sinemanın zaman içerisinde tüm bu araçlardan daha etkili bir biçimde kitleleri yönlendirme gücü fark edilmiş, sinemaya özel bir ilgi gösterilmiştir. İzleyicilerin sinema perdesi karşısında alıcı konumda olması sinemayı algı yönetimi için kullanmanın en önemli etkenidir. Bir kitle iletişim aracı olarak kullanılan sinema aynı zamanda uyarıcı olarak çok önemli bir rol oynamaktadır. Sinema yoluyla mesajını izleyiciye iletenler, izleyenin algısını yönlendirici birtakım öğeleri kullanmaktadır. Postmodernizm birçok sanat dalını etkisi altına aldığı gibi sinemada da kendisini yoğun olarak hissettirmiştir. Bu çalışmanın amacı, postmodern sinemanın algı yönetimi ile olan ilişkisini tartışarak, mesajın izleyiciye ulaşma sürecendi iletişim ve algı birlikteliğinin nasıl şekillendirildiğini göstermektir.--------------------CINEMA AS A MASS COMMUNUCATİON ; POSTMODERN CİNEMA AND PERCEPTİON MANAGEMENTThe studies conducted in the field of communication and perception relationship, combined with the fact that these concepts react when a stimulus comes to people who have demonstrated their importance in people's lives, have led the studies in the field of communication and perception to be based on the stimulus-response model. Throughout the years, communication elements such as newspapers, magazines and posters have been utilized in order to influence individuals perceptions and enable their emotions to take action. With the advancement of technology, firstly radio and then cinema was added to this process, especially with the addition of sound to cinema, the power to direct the masses more effectively than all these devices was realized in time and a special interest was shown to cinema. The fact that audiences are receptive to the screen is the most important factor in using cinema for perception management. Cinema plays a very important role in the mass communication process. Those who transmit their message to the audience through cinema use a number of elements that direct the perception of the viewer. Postmodernism influenced many branches of art and made itself felt intensely in cinema. The aim of this study is to show how postmodern cinema is shaped by communication and perception skills while reaching the message audience by discussing the relationship with perception management.

''Çağdaş Türk Resim Sanatında Postmodern Desen Eğilimleri'' konulu tez çalışması kapsamında Çağdaş Türk Resim Sanatı içerisinde postmodern desen eğilimleri örneklerinin araştırılması amaçlanmıştır. Desen, plastik sanatların temelini oluşturan bir disiplin ve yüzyıllardır kendi başına sanat eseri olabilme özelliğini de gösteren bir alandır. Desenin, bir resmin temelini oluşturan ana eleman olmasının yanı sıra postmodern dönemde başlı başına bir sanat eseri niteliğine bürünmüştür. Bu çalışmada incelenen başlıklar; kavramsal olarak desen, Rönesans'tan 20.yy ortalarına kadar desen, Modernizm, Postmodernizm, Postmodern Sanat, Çağdaş Türk Resminde Postmodern Desen Eğilimleri'dir. Aynı zamanda çalışmanın tespit edilen bulgu ve yorumlara ait sonuçlarının ilgili literatüre katkıda bulunması, yeni bir kaynak oluşturması bakımından önemli bulunmuştur. Araştırmada 1950-2019 olmak üzere Çağdaş Türk Resim Sanatı Postmodern Desen Eğilimleri içerisinde yirmi türk ressam incelenmiştir. Genel tarama modelinin esas alındığı çalışmada nitel araştırma yöntemleri kullanılmıştır. Nitel verileri elde edebilmek için ''döküman incelemesi'' yöntemi kullanılmıştır. Yapılan araştırmada Postmodern dönemde özellikle son yıllarda sanatçıların deseni tuval ve farklı malzemeler üzerine kendilerine has yorumlarıyla çalışarak fırçadan ve boyadan çok az yardım alarak başlı başına sanat eserleri oluşturup sergiledikleri görülmektedir., In theconcept of modern Turkish pictorial art thesis, it is aimed to investigate the examples of postmodern pattern tendency within modern Turkish pictorial art. Pattern is a dicipline that is the basic of plastic art and it is also the domain that can show the feature of being an artwork individually for ages. Besides the pattern is the main element of the basic of art, in the postmodern period pattern is wrapped into the individual artwork. In this work the examined headlines are conceptual pattern, pattern from renaissance to the middleof 20th century, Modernizm, Postmodernizm, Postmodern Art, Postmodern Pattern Tendencyin Modern Turkish Art.It is found important with regard to creating new source and at the same time the conribution to the literature of the results of finding and comments that are determined. In the reseaches twenty Turkish artists from 1950 to 2019 were investigated within Modern Turkish Pictorial Art Postmodern Pattern Tendency. The work that is based on general scanning model, qualittative reseach method was used. "Document ınvestigation" method was used in order to get the qualitative information. In the reseaches it is seen that especially in recent years artists exhibit their artwork with less help of brush and paint,they have their own comment about pattern on different material and canvas.

1870'li yıllarla birlikte resim alanında adından söz ettirmeye başlayan `postmodernizm`, 80'li yıllarla birlikte sinema alanında etkisini göstermeye başlar. Postmodern sinema anlatısı, bir yandan klasik ve modern anlatı kalıplarını kullanırken, diğer yandan; klasik anlatının klişelerine, izleyiciye evrensel gerçekliği sunma çabasına, modernizmin üst anlatılarına, dünyayı homojen bir mekâna dönüştürme amacına, her şeyin rasyonel akılla anlamlandırılabileceği inancına reddiye olarak doğar. Postmodernizm, diğerlerinin bu amaçlarına; fikirlerin, türlerin, yaşamların çoğulluğu, üst anlatıların ve evrensel gerçeklik idealinin reddi, yüzeysellik, nostalji, şizofreni, belirsizlik gibi özelliklerle cevap verir. Postmodern sinema, teknolojiyle değişen yaşamda kaybolan gerçeklik algısını ve oyuna dönüşen hayatı, metinlerarası ilişkilerle ve farklılaştırıp dönüştürdüğü kahramanlık, zaman ve uzam sunumlarıyla harmanlayarak filmin anlatısını oluşturur. Postmodern anlatı; bu ilkelere bağlılığı ekseninde klasik ve modern anlatı yapısından ayrılarak, anlatı türlerine kattığı yeni özellikler sayesinde izleyicileri alışılmışın dışında alımlama pratikleri geliştirmeye zorlar. Bu çalışmada; postmodern anlatı tarzının ve metinler arası ilişkilerin sanata ve sinemaya olan etkilerini örneklemek için postmodernizm kavramı açıklanmış, 2000'li yıllarla birlikte yükselişe geçen animasyon sinemasında, postmodernizmi yansıtan biçim ve içerik özellikleriyle ilklere imza atan Shrek filmi ve postmodern anlatı öğelerini ve metinlerarasılığı sayıca ve nitelik olarak yoğun bir şekilde kullanan 2018 yapımı Ralph Breaks the Internet filmi örnek olarak seçilmiş ve filmler; imajların derin anlamına ve katmanlı yapısına ulaşabilmek için metin analizi yöntemiyle çözümlenmiştir. Örnek filmler özelinde animasyon sinemasının özellikle son 20 yılda; kahramanlarını, zamanı ve uzamı postmodern anlatının nitelikleri çerçevesinde seçtiği, postmodernizmin; çoğulculuk, oyunsallık, yüzeysellik, şizofreni ve nostalji düşünceleri ile metinlerarasılığın; parodi, pastiş, ironi, kolaj, üstanlatı, çift kodlama ve çok katmanlılık yöntemlerini kullanarak, klasik anlatının klişelerini ve modern anlatının derin ve ciddi yapısını yıkma eğiliminde, `postmodern anlatı` tarzına sahip filmler ürettiği sonucuna ulaşılmıştır. `Postmodernism` which started to be mentioned in the field of art painting in the 1870s, began to show its effects also in the field of cinema in the 80's.While using classic and modern narration patterns, postmodern cinema narration on the other hand emerges as the refusal to the clichés of classical narrative, its effort to present the universal reality to the audience, to the upper narratives of modernism, its purpose of transforming the world into a homogeneous space, the belief that everything can be interpreted by rational reason. Postmodernism addresses these aims of others; the plurality of ideas, species, lives, refusal of superior narratives and the ideal of universal reality, superficiality, nostalgia, schizophrenia, uncertainty. Postmodern cinema creates the narrative of the film by blending the perception of reality lost in the life changing with technology and life transformed into a game with inter-textual relations and heroism, time and space presentations that it differentiates and transforms. Separating from classic and modern narrative structure on the axis of its adherence to these principles, postmodern narration forces audience to develop unusual perception practices thanks to new features it contributes to narration types. In this study; to illustrate the effects of postmodern narrative style and intertextual relations on art and cinema, the concept of postmodernism has been explained, in the animation cinema, which has been on rise in 2000's, the movie Shrek, which broke new ground with the form and content features reflecting postmodernism and 2018 production Ralph Breaks the Internet movie which used postmodern narrative components and intertextuality both in terms of quality and quantity were chosen as samples, and films were analyzed by using text analysis method with the purpose of reaching deep meaning and layered structure of the images. On the basis of sample movies, especially in recent 20 years of animation cinema, it was concluded that heroes, time and space were selected within the framework of the characteristics of the postmodern narrative, postmodernism by using pluralism, playfulness, superficiality, schizophrenia and nostalgia; parody, pastiche, irony, collage, superior narrative, double coding and multilayer methods, movies were produced with `postmodern narration` style with the trend of demolishing cliché of classic narrative and deep and serious structure of modern narrative. 199