Abstract
Tableaux Vivants (Living pictures), re-enacted paintings and sculptures, both historical and contemporary, have become a staple motif in the daily flood of pictures: whether it is music videos, commercials, or movies. They performed a major role in the world of everyday images. They are an art form of their own between the theatrical and the pictorial, between performance and silence, history and vivid presence. Tableaux Vivants reflect and interpret classical works in bodily terms for the contemporaries. Transforming, and thus reviving, traditional imagery, they have become a medium of social and art-immanent criticism in the 20th century. New technological media such as film, photography and computers have altered the way we perceive possible relations between stillness and motion in the visual arts
References
- BARTH ES, R. (2000). Camera Lucida: Fotograf Üzerine Düşünceler (çev. Reha Akçakaya),
- İstanbul: Altıkırkbeş Yayınları BRIGHT, S. (2011). Art Photography Now, London: Thames&Hudson
- FRIED, M. (1980). Absorption and Theatricality: Painting and Beholder in the Age of
- Diderot. London : University of Chicago Press GUNNING, T. (2011). “The Play between Still and Moving Images: Ninete- enth-Century
- “Philosophical Toys” and Their Discourse”, Between Stillness and Motion: Film, Photography, Algorithms. Amsterdam University Press, 27-43
- ROSSAAK, E. (2011). Between Stillness and Motion: Film, Photography, Algorith- ms.
- Amsterdam University Press STEVEN, J. (2010). “The History and Aesthetics of the Classical Film Still”, His- tory of Photography, 34:4, 373-386 http://www.melancholiathemovie.com/#_directorsstatement (Erişim Tarihi: 02012)
Abstract
Hem tarihi hem de güncel canlandırma resim ve heykelleri olan canlı resimler (viviant tableau), müzik videosu, reklam ya da film olsun, gündelik görüntü dünyasında önemli bir yer almıştır. Bunlar, teatral ve resimsel, performans ve sessizlik, tarih ve canlı varlık arasında kendi varlığı olan sanat biçimidir. Canlı Resimler klasik eserleri çağdaşları için yansıtır ve yorumlar. Geleneksel imgeyi dönüştürerek ve bu yolla canlandırarak, 20. Yüzyıla ait bir sosyal ve sanatsal eleştiri yöntemi haline gelmişlerdir. Film, fotoğrafçılık ve bilgisayar gibi yeni teknolojik medya, görsel sanatlarda durağanlık ve hareket arasındaki olası ilişkileri algılama biçimimizi değiştirmiştir.
Keywords
References
- BARTH ES, R. (2000). Camera Lucida: Fotograf Üzerine Düşünceler (çev. Reha Akçakaya),
- İstanbul: Altıkırkbeş Yayınları BRIGHT, S. (2011). Art Photography Now, London: Thames&Hudson
- FRIED, M. (1980). Absorption and Theatricality: Painting and Beholder in the Age of
- Diderot. London : University of Chicago Press GUNNING, T. (2011). “The Play between Still and Moving Images: Ninete- enth-Century
- “Philosophical Toys” and Their Discourse”, Between Stillness and Motion: Film, Photography, Algorithms. Amsterdam University Press, 27-43
- ROSSAAK, E. (2011). Between Stillness and Motion: Film, Photography, Algorith- ms.
- Amsterdam University Press STEVEN, J. (2010). “The History and Aesthetics of the Classical Film Still”, His- tory of Photography, 34:4, 373-386 http://www.melancholiathemovie.com/#_directorsstatement (Erişim Tarihi: 02012)
Details
| Primary Language | Turkish |
|---|---|
| Journal Section | ÖZGÜN MAKALELER |
| Authors | |
| Publication Date | November 17, 2014 |
| Published in Issue | Year 2014 Issue: 3 |
