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SOKAK SANATININ KURUMSALLAŞMASI VE BAĞLAMINDAN KOPARILAN YAPITIN DEĞİŞEN DOĞASI

Year 2022, Volume: 12 Issue: 3, 734 - 749, 01.07.2022

Abstract

Sokakta gelişen alternatif ifade ve iletişim biçimleri olan graffiti ve sokak sanatı, kısıtlı bir grubun ilgisine yönelik yasa dışı uygulamalardan, geniş kitlelerin ilgi ve beğenisine hitap eden, kabul edilmiş sanatsal ifade biçimlerine evrilmiştir. Bu dönüşüm, akademik onay ve kurumsallaşmayı beraberinde getirmiş, pek çok sanatçı bu yeni ilgi ve talebe karşılık verirken, galeri ve müzeler de programlarında bu yapıtlara yer açmıştır. Böylece bir zamanlar suç unsuru olarak kabul edilen bu uygulamalar; yerinden edilerek, çoğaltılarak veya atölyelerde yeniden üretilerek kurumlar dahilinde sergilenir, el değiştirir olmuştur. Bu makalede, sokak sanatının kurumsallaşmasına dair bu tartışmalı durum yapıt ve yapıtın doğasında gerçekleşen olası değişimler bağlamında ele alınmaktadır. Bu amaçla post-graffiti şeklinde adlandırılan dönem ve sonrasına odaklanılmakta, sanatsal bir ifade biçimine evrilen sokak kültürü bağlantılı yaratımların galeri, müze, müzayede evi gibi kurumlara girişinin altını çizdiği çelişkili durumlar; yapıtın kendisi, çevresi, izlerkitlesi ve izleyicinin deneyiminde gerçekleşen dönüşümler aracılığıyla ortaya koyulmaktadır.

References

  • Austin, Joe, (2010). “More to See Than a Canvas in a White Cube For An Art in the Streets”, City, 14(1-2), s.33-47.
  • Blanché, Ulrich, (2015). “Street Art and Related Terms, Discussion and Working Definition”, SAUC - Street Art and Urban Creativity, 1(1), s.32 - 39.
  • Chaniotis, Angelos (2011). “Graffiti in Aphrodisias”, Ancient Graffiti in Context, London: Routledge.
  • Dickens, Luke, (2008). “Placing Post-Graffiti: The Journey of the Peckham Rock”, SAGE Publications, 15(4), s.471-496.
  • Ergen, İpek, (2022). “Jean-Michel Basquiat Ve Keith Haring Yapıtlarının Graffiti, Sokak Sanatı Ve Yüksek Sanat Arasında Bir Köprü Olarak Değerlendirilmesi”, Aegean Summit 4th International Social Sciences Congress, Tam Metin Kitabı, s.442-453.
  • Ferrell, Jeff, (2016). “Graffiti, Street Art and the Politics of Complexity”, Routledge Handbook of Graffiti and Street Art, New York: Routledge.
  • Frederick, Evelyn, (2016). “From the Museum to the Street: A Discussion of the Tensions That Arise When Street Art Is Institutionalized”.
  • Huertas, Julian, (2016). “It’s Out of Control and Spreading: Graffiti as the Supposed Cause of Urban Crisis in 1970s-1980s New York City”, Bowdoin Journal of Art.
  • Lombard, Kara-Janei (2013). “From Subways to Product Labels: The Commercial Incorporation of Hip Hop Graffiti”, Visual Communication Quarterly, 20:2, s.91-103.
  • Kenaan, Hagi, (2016). “Streetography: On Visual Resistance, Journal of Aesthetics and Phenomenology, 3:2, s.147-166.
  • Kramer, Ronald, (2017). The Rise of Legal Graffiti Writing in New York and Beyond, London: Palgrave Macmillan.
  • Lewisohn, Cedar, (2009). Graffiti Revolution, London: Tate Publishing.
  • Manco, Tristan, (2002). Stencil Graffiti, London: Thames & Hudson.
  • Molnár, Virág, (2017). “Street Art and the Changing Urban Public Sphere”, Public Culture, 29 (2 (82)): s.385-414.
  • Riggle, Nicholas Alden, (2010). “Street Art: The Transfiguration of the Commonplaces”, The Journal of Aesthetics and Art Criticism, 68(3), s.243–257.
  • Ross, Jeffrey Ian, (2016). “History, Types, and Writers/Artists of Graffiti and Street Art”, Routledge Handbook of Graffiti and Street Art, New York: Routledge.
  • Schacter, Rafael, (2014). “The Ugly Truth: Street Art, Graffiti and the Creative City”, Art & the Public Sphere, 3(2), s.161-176.
  • Waclawek, Anna, (2008). “From Graffiti to the Street Art Movement : Negotiating Art Worlds, Urban Spaces and Visual Culture, c. 1970-2008”, Doktora tezi, Concordia University.
  • Young, Alison, (2012). “Criminal Images: The Affective Judgment of Graffiti and Street Art”, Crime, Media, Culture, 8(3), s.297-314.
  • “Taki 183 Spawns Pen Pals”, New York Times, 21 Temmuz 1971. https://www.bbc.com/news/uk-england-bristol-45829853 (Erişim Tarihi: 04.04.2022)

INSTITUTIONALIZATION OF THE STREET ART AND THE CHANGING NATURE OF THE ARTWORK TAKEN AWAY FROM ITS CONTEXT

Year 2022, Volume: 12 Issue: 3, 734 - 749, 01.07.2022

Abstract

Graffiti and street art, which are alternative forms of expression and communication developed on the street, have evolved from illegal practices intended for the attention of a limited group, to accepted forms of artistic expression that appeal to the interest and taste of large masses. This transformation brought along academic approval and institutionalization, while many artists responded to this new interest and demand, galleries and museums also made room for these works in their programs. Thus, these practices, which were once considered a criminal element; have been exhibited and sold within institutions by being displaced, reproduced or recreated in studios. In this article, this controversial situation regarding the institutionalization of street art is discussed in the context of the work and possible changes in its nature. For this purpose, focusing on the period called post-graffiti and its aftermath; contradictory situations underlined by the entry of works related to street culture which has evolved into an artistic expression, to institutions such as galleries, museums, and auction houses, are revealed through the transformations that take place in the work itself, its environment, audience, and the audience's experience.

References

  • Austin, Joe, (2010). “More to See Than a Canvas in a White Cube For An Art in the Streets”, City, 14(1-2), s.33-47.
  • Blanché, Ulrich, (2015). “Street Art and Related Terms, Discussion and Working Definition”, SAUC - Street Art and Urban Creativity, 1(1), s.32 - 39.
  • Chaniotis, Angelos (2011). “Graffiti in Aphrodisias”, Ancient Graffiti in Context, London: Routledge.
  • Dickens, Luke, (2008). “Placing Post-Graffiti: The Journey of the Peckham Rock”, SAGE Publications, 15(4), s.471-496.
  • Ergen, İpek, (2022). “Jean-Michel Basquiat Ve Keith Haring Yapıtlarının Graffiti, Sokak Sanatı Ve Yüksek Sanat Arasında Bir Köprü Olarak Değerlendirilmesi”, Aegean Summit 4th International Social Sciences Congress, Tam Metin Kitabı, s.442-453.
  • Ferrell, Jeff, (2016). “Graffiti, Street Art and the Politics of Complexity”, Routledge Handbook of Graffiti and Street Art, New York: Routledge.
  • Frederick, Evelyn, (2016). “From the Museum to the Street: A Discussion of the Tensions That Arise When Street Art Is Institutionalized”.
  • Huertas, Julian, (2016). “It’s Out of Control and Spreading: Graffiti as the Supposed Cause of Urban Crisis in 1970s-1980s New York City”, Bowdoin Journal of Art.
  • Lombard, Kara-Janei (2013). “From Subways to Product Labels: The Commercial Incorporation of Hip Hop Graffiti”, Visual Communication Quarterly, 20:2, s.91-103.
  • Kenaan, Hagi, (2016). “Streetography: On Visual Resistance, Journal of Aesthetics and Phenomenology, 3:2, s.147-166.
  • Kramer, Ronald, (2017). The Rise of Legal Graffiti Writing in New York and Beyond, London: Palgrave Macmillan.
  • Lewisohn, Cedar, (2009). Graffiti Revolution, London: Tate Publishing.
  • Manco, Tristan, (2002). Stencil Graffiti, London: Thames & Hudson.
  • Molnár, Virág, (2017). “Street Art and the Changing Urban Public Sphere”, Public Culture, 29 (2 (82)): s.385-414.
  • Riggle, Nicholas Alden, (2010). “Street Art: The Transfiguration of the Commonplaces”, The Journal of Aesthetics and Art Criticism, 68(3), s.243–257.
  • Ross, Jeffrey Ian, (2016). “History, Types, and Writers/Artists of Graffiti and Street Art”, Routledge Handbook of Graffiti and Street Art, New York: Routledge.
  • Schacter, Rafael, (2014). “The Ugly Truth: Street Art, Graffiti and the Creative City”, Art & the Public Sphere, 3(2), s.161-176.
  • Waclawek, Anna, (2008). “From Graffiti to the Street Art Movement : Negotiating Art Worlds, Urban Spaces and Visual Culture, c. 1970-2008”, Doktora tezi, Concordia University.
  • Young, Alison, (2012). “Criminal Images: The Affective Judgment of Graffiti and Street Art”, Crime, Media, Culture, 8(3), s.297-314.
  • “Taki 183 Spawns Pen Pals”, New York Times, 21 Temmuz 1971. https://www.bbc.com/news/uk-england-bristol-45829853 (Erişim Tarihi: 04.04.2022)
There are 20 citations in total.

Details

Primary Language Turkish
Journal Section Makaleler
Authors

İpek Ergen 0000-0001-8876-9727

Publication Date July 1, 2022
Submission Date April 13, 2022
Acceptance Date May 7, 2022
Published in Issue Year 2022 Volume: 12 Issue: 3

Cite

APA Ergen, İ. (2022). SOKAK SANATININ KURUMSALLAŞMASI VE BAĞLAMINDAN KOPARILAN YAPITIN DEĞİŞEN DOĞASI. Turkish Online Journal of Design Art and Communication, 12(3), 734-749.


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