Araştırma Makalesi
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VANDALISM IN THE PUBLIC SPACE IN THE CASE OF RICHARD SERRA, PRIVATIZATION OF CULTURE AND CENSORSHIP OF CRITICAL ART

Yıl 2023, Cilt: 8 Sayı: 16, 129 - 149, 31.07.2023

Öz

In the study, the underlying elements of violence against artworks, types of vandalism, the focus of
criticism of public art from above and below, and the position of government policies in the critical
dimension of public art are examined in the sample of Richard Serra's Tilted Arc and Berlin Junction
works. In addition to the importance of public art and the positive policies towards public art since
the 1960s, the effect of negative approaches such as site specificity (site specificity) law, privatization
of culture and censorship of critical art on violence against works exhibited in the public space are
other important factors analyzed within the scope of the research. However, although the reasons for
the rejection of public art in the audience are classified as lack of experience and rejection of the
unnatural in the mechanical flow, there are many underlying psychological factors that cause
vandalism and turn into aggression towards the work. Among these, personality traits and
psychological state of the individual come first; but it is also other factors among the reasons for the
attacks on sculptures/installations exhibited in the public space such as aggression as an impulsive
act as a result of the unconscious's rejection of the unknown, criticism as a social message, turning
to vandalism as a way of getting rid of the uncomfortable situation, individual's desire to provide
justice due to the imbalance between the perceived level of justice and the level of control. In the
research, which aims to examine the psychological causes of vandalist acts against art exhibited in
the public sphere, through the works taken as a sample; Andy Warhol's 13 Most Wanted Man works,
Robert Motherwell's New England Elegy painting, Pablo Picasso's Chicago Picasso sculpture and
George Sugarman's Baltimore Federal installation are other works selected for sampling from the
universe by element sampling. The study, in which the descriptive content analysis method was used,
is qualitative research in the relational screening model.

Kaynakça

  • Agamben, G. (1993). Infancy and History, Essays on the Destruction of Experience. London: Verso Publishing.
  • Alfred&Marie (2016). “Tilted Arc- Vandalism from Above and Below”. https://www.alfredmarie.com/posts/en/vandalism.html (Erişim Tarihi: 18.12.2022).
  • Altıntaş, O. ve Eliri, İ. (2012). Birey Toplum İlişkisinde Kent Kültürü, Kamusal Alan ve Onda Şekillenen Sanat Olgusu. İdil Sanat ve Dil Dergisi. 1 (5): 61-74.
  • Anonim (2017). “Andy Warhol’s Scandalous 13 Most Wated Men: Destroyed Within Days”. https://publicdelivery.org/andy-warhol-thirteen-most-wanted-men/ (Erişim Erişim Tarihi: 08.04.2023).
  • ArtDamaged (2022). “Richard Serra, Berlin Junction”. https://www.tumblr.com/artdamaged/173230373350/chris-ofili-the-holy-virgin-mary-1996-paint (Erişim Tarihi: 12.12.2022).
  • Buchloh, B. (1983). Michael Asher and the Conclusion of Modernist Sculpture. Art Institute of Chicago Museum Studies. Vol. 10, p. 276-295.
  • Crimp, D. (1981). Richard Serra: Sculpture Exceeded. October. Vol. 18, p. 67-78.
  • Crimp, D. (1986). Serra’s Public Sculpture: Redefining Site Specificity in Richard Serra Sculpture (Ed. Laura Rosenstock). New York: The Museum of Modern Art.
  • De More, S.W., Fisher, J.D. & Baron, R.M. (1988). The Epuity-Control Model as Aprediction of Vandalism Among College Students. Journal of Appied Social Psychology. 18 (1): 80-91.
  • Duning, E.G. (1987). Working Class Violence in Great Britain Recherche. The Archrec Press. 18 (189): 708-803.
  • Foucault, M. (1978). The History of Sexuality, Vol. 1: An Introduction. New York: Vintage Books.
  • Gamboni, D. (1997). Destruction of Art: Iconoclasm and Vandalism Since the French Revolution. London: Reaktion Books.
  • Gamboni, D. (1998). Destroyed Art: Iconoclasm and Vandalism in the 20th century (Zerstörte Kunst; Bildersturm und Vandalismus im 20. Jahrhundert). Köln: DuMont Buchverlag.
  • Gamboni, D. (2018). Destruction of Art: Iconoclasm and Vandalism Since the French Revolution. London: Reaktion Books.
  • Gandhi, S. K. (2002). The Pendumum of Art Procurement Policy: The Art-in-Architecture Program’s Struggle to Balance Artistic Freedom and Public Acceptance. Public Contract Law Journal. 31 (3): 536-545.
  • Greasskamp, W. (1992). Unwanted Monuments: Modern Art in Urban Space (Unerwünschte Monumente; Moderne Kunst im Stadtraum). Munich: Schreiber.
  • Greenberger, A. (2022). “25 Famed Artworks that have been Vandalized”. https://www.artnews.com/list/art-news/news/art-vandalism-mona-lisa-van-gogh-famousartworks-1234647552/religious-imagery-is-defaced-during-the-byzantine-iconoclasm-726- 87-814-42/ (Erişim Tarihi:12.12.2022).
  • Habermas, J. (2003). Kamusallığın Yapısal Dönüşümü (Çev. Tanıl Bora, Mithat Sancar). İstanbul: İletişim Yayınları.
  • Kaplan, A. (2022). “Robert Motherwell’s JFK Mural”. https://aknextphase.com/robertmotherwells-jfk-mural/ (Erişim Tarihi: 08:04.2023).
  • Kesimli, İ. G. (2013). Saldırganlık ve Vandalizm. Ejovoc (Electronic Journal of Vocational Colleges. 3 (1): 157-170.
  • Kwon, M. (2004). One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press.
  • Levine, C. (2002). The paradox of public art: democratic space, the avant-garde, and Richard Serra’s “Tilted Arc”. Philosophy and Geography. 5 (1): 52.
  • Meyer, R. (2002). Outlaw Representation: Cencorship and Homosexuality in Twentieth-Century American Art (Ideologies of Desire). Oxford: Oxford University Press.
  • Müller, G. ve Gorgoni, G. (1972). The New Avant-Garde: Issues fort he Art of the Seventies. London: Praeger.
  • Özan, Y., Gülaçtı, F. & Çıkılı, Y. (2004). Saldırganlığın Psikolojik-Kültürel Boyutu ve Vandalizm. Fırat Üniversitesi Doğu Araştırmaları Dergisi. 3 (1): 144-149.
  • Parlakkalay, H. (2020). Kamusal Alanda Sanat ve Sanat Eserleri. Afyon Kocatepe Üniversitesi Sosyal Bilimler Dergisi. 22(4): 1157-1172.
  • Rosenstock, L. (1998). “Introduction” in Richard Serra Sculpture (Ed. Laura Rosenstock). New York: The Museum of Modern Art.
  • Saybaşılı, N. (2005). Deneyim ve Katılım. Sanat Dünyamız. 96 (Güz 2005): 214.
  • Selvi, Y. (2017). Sanatın 'Öteki'ne Açılması ya da Kamusal Alanda Sanat. İdil. 6 (36): 2209-2232.
  • Senie, H. F. (1998). Baboons, Pet Rocks and Bomb Threats (Chapter 16) (p.237-246), Critical Issues in Public Art: Content, Context and Controversy (Ed. Harriet F. Senie and Sally Webster). Washington: Smithsonian Books.
  • Serro, F. (2012). “Berlin Junction”. https://amidstinterpretation.wordpress.com/2012/03/08 /berlinjunction/ (Erişim Tarihi: 09.04.2023).
  • Stamm, L. (2015). “Queer Transpositions: Cencorship and Desire in Andy Warhol’s 13 Most Wanted Men”. http://www.fsgso.pitt.edu/2015/01/queer-transpositions-censorship-anddesire-in-andy-warhols-13-most-wanted-men/ (Erişim Tarihi: 08.04.2023).
  • Tygard, C. (1988). Public school vandalism: Toward a synthesis of theoiers and transtion to paradigm analysis. Adolescence. 23 (89): 187-200.
  • Ward, C. (1973). “Introduction”, Vandalism (Ed), p. 13-22. London: Architectural Press.
  • Warnke, M. (1973). Iconoclasm: The Destrcuction of the Work of Art (Bildersturm: Die Zerstörung des Kunstwerks). Munich: Carl Hanser.
  • Yıldız, A. S. (2004). Ebeveyn Tutumları ve Saldırganlık. Polis Bilimleri Dergisi. 6 (3-4): 131-149.
  • Görsel Kaynakça
  • Görsel 1: Andy Warhol, 13 Most Wanted Man https://archiveofdestruction.com/artwork/mostwanted/ (Erişim Tarihi: 23.03.2023).
  • Görsel 2: Robert Motherwell, J.F. Kennedy Federal Building https://aknextphase.com/robertmotherwells-jfk-mural/ (Erişim Tarihi: 23.03.2023).
  • Görsel 3: George Sugarman, Baltimore Federal https://www.gsa.gov/fine-arts?artwork/23550 (Erişim Tarihi: 23.03.2023).
  • Görsel 4: Richard Serra, Tilted Arc https://www.chrisgallego.com/richard-serras-tilted-arc/ (Erişim Tarihi: 23.03.2023).
  • Görsel 5: Richard Serra, Tilted Arc https://metropolismag.com/viewpoints/conversations-aboutsculpture-excerpt-foster-serra/ (Erişim Tarihi: 23.03.2023).
  • Görsel 6: Richard Serra, Tilted Arc https://nickkahler.tumblr.com/post/63378392062 (Erişim Tarihi: 23.03.2023).
  • Görsel 7: Richard Serra, Berlin Junction https://amidstinterpretation.wordpress.com/2012 /03/08/berlin-junction/ (Erişim Tarihi: 23.03.2023).
  • Görsel 8: Richard Serra, Berlin Junction (detail) https://www.artdamagedbook.com/blog/ richardserra-berlin-junction-1988-spraypaint (Erişim: Tarihi 23.03.2023).

RICHARD SERRA ÖRNEKLEMİNDE KAMUSAL ALANDA VANDALİZM, KÜLTÜRÜN ÖZELLEŞTİRİLMESİ VE ELEŞTİREL SANATIN SANSÜRLENMESİ

Yıl 2023, Cilt: 8 Sayı: 16, 129 - 149, 31.07.2023

Öz

Araştırmada Richard Serra’nın Tilted Arc ve Berlin Junction eserleri örnekleminde sanat eserine
yönelik şiddetin altında yatan unsurlar, vandalizm türleri ve kamusal sanata yönelik yukarıdan ve
aşağıdan gerçekleştirilen eleştirilerin odak noktası ile hükümet politikalarının kamusal sanatın
eleştirel boyutundaki konumu incelenmektedir. Kamusal sanatın önemi ve 1960’lardan itibaren
kamusal sanata yönelik gerçekleştirilen olumlu politikaların yanında site özgüllüğü (mekana
özgülük) yasası, kültürün özelleştirilmesi ve eleştirel sanatın sansürlenmesi gibi olumsuz
yaklaşımların kamusal alanda sergilenen eserlere yönelik şiddet üzerindeki etkisi araştırma
kapsamında analiz edilen diğer önemli unsurlardır. Bununla birlikte kamusal sanatın reddinin izleyici
boyutunda nedenleri genel tanımıyla deneyim eksikliği ve mekanik akış içinde doğal olmayanın
reddi şeklinde sınıflandırılsa da vandalizme neden olan ve esere yönelik saldırganlığa dönüşen altta
yatan pek çok psikolojik etken söz konusudur. Bunlar arasında kişilik özellikleri ve bireyin psikolojik
durumu başta gelirken, bilinçaltının bilinmeyeni reddinin sonucunda dürtüsel bir eylem olarak
saldırganlaşma, toplumsal bir ileti olarak eleştiri, rahatsızlık duyulan durumdan kurtulma yolu olarak
vandalizme yönelme, algılanan adalet düzeyi ile denetim düzeyi arasındaki dengesizlik nedeniyle
adaleti bireyin kendisinin sağlama isteği gibi diğer etkenler de kamusal alanda sergilenen
heykel/yerleştirmelere yönelik gerçekleşen saldırıların nedenleri arasındadır. Kamusal alanda
sergilenen sanata yönelik vandalist eylemlerin psikolojik nedenlerini örnekleme alınan eserler
üzerinden incelemeyi amaçlayan araştırmada, Andy Warhol’un 13 Most Wanted Man eseri, Robert
Motherwell’in New England Elegy resmi, Pablo Picasso’nun Chicago Picasso heykeli ve George
Sugarman’ın Baltimore Federal yerleştirmesi amaçlı eleman örnekleme ile evrenden örnekleme
seçilen diğer eserlerdir. Betimsel içerik analizi yönteminin kullanıldığı çalışma, ilişkisel tarama
modelinde nitel bir araştırmadır.

Kaynakça

  • Agamben, G. (1993). Infancy and History, Essays on the Destruction of Experience. London: Verso Publishing.
  • Alfred&Marie (2016). “Tilted Arc- Vandalism from Above and Below”. https://www.alfredmarie.com/posts/en/vandalism.html (Erişim Tarihi: 18.12.2022).
  • Altıntaş, O. ve Eliri, İ. (2012). Birey Toplum İlişkisinde Kent Kültürü, Kamusal Alan ve Onda Şekillenen Sanat Olgusu. İdil Sanat ve Dil Dergisi. 1 (5): 61-74.
  • Anonim (2017). “Andy Warhol’s Scandalous 13 Most Wated Men: Destroyed Within Days”. https://publicdelivery.org/andy-warhol-thirteen-most-wanted-men/ (Erişim Erişim Tarihi: 08.04.2023).
  • ArtDamaged (2022). “Richard Serra, Berlin Junction”. https://www.tumblr.com/artdamaged/173230373350/chris-ofili-the-holy-virgin-mary-1996-paint (Erişim Tarihi: 12.12.2022).
  • Buchloh, B. (1983). Michael Asher and the Conclusion of Modernist Sculpture. Art Institute of Chicago Museum Studies. Vol. 10, p. 276-295.
  • Crimp, D. (1981). Richard Serra: Sculpture Exceeded. October. Vol. 18, p. 67-78.
  • Crimp, D. (1986). Serra’s Public Sculpture: Redefining Site Specificity in Richard Serra Sculpture (Ed. Laura Rosenstock). New York: The Museum of Modern Art.
  • De More, S.W., Fisher, J.D. & Baron, R.M. (1988). The Epuity-Control Model as Aprediction of Vandalism Among College Students. Journal of Appied Social Psychology. 18 (1): 80-91.
  • Duning, E.G. (1987). Working Class Violence in Great Britain Recherche. The Archrec Press. 18 (189): 708-803.
  • Foucault, M. (1978). The History of Sexuality, Vol. 1: An Introduction. New York: Vintage Books.
  • Gamboni, D. (1997). Destruction of Art: Iconoclasm and Vandalism Since the French Revolution. London: Reaktion Books.
  • Gamboni, D. (1998). Destroyed Art: Iconoclasm and Vandalism in the 20th century (Zerstörte Kunst; Bildersturm und Vandalismus im 20. Jahrhundert). Köln: DuMont Buchverlag.
  • Gamboni, D. (2018). Destruction of Art: Iconoclasm and Vandalism Since the French Revolution. London: Reaktion Books.
  • Gandhi, S. K. (2002). The Pendumum of Art Procurement Policy: The Art-in-Architecture Program’s Struggle to Balance Artistic Freedom and Public Acceptance. Public Contract Law Journal. 31 (3): 536-545.
  • Greasskamp, W. (1992). Unwanted Monuments: Modern Art in Urban Space (Unerwünschte Monumente; Moderne Kunst im Stadtraum). Munich: Schreiber.
  • Greenberger, A. (2022). “25 Famed Artworks that have been Vandalized”. https://www.artnews.com/list/art-news/news/art-vandalism-mona-lisa-van-gogh-famousartworks-1234647552/religious-imagery-is-defaced-during-the-byzantine-iconoclasm-726- 87-814-42/ (Erişim Tarihi:12.12.2022).
  • Habermas, J. (2003). Kamusallığın Yapısal Dönüşümü (Çev. Tanıl Bora, Mithat Sancar). İstanbul: İletişim Yayınları.
  • Kaplan, A. (2022). “Robert Motherwell’s JFK Mural”. https://aknextphase.com/robertmotherwells-jfk-mural/ (Erişim Tarihi: 08:04.2023).
  • Kesimli, İ. G. (2013). Saldırganlık ve Vandalizm. Ejovoc (Electronic Journal of Vocational Colleges. 3 (1): 157-170.
  • Kwon, M. (2004). One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press.
  • Levine, C. (2002). The paradox of public art: democratic space, the avant-garde, and Richard Serra’s “Tilted Arc”. Philosophy and Geography. 5 (1): 52.
  • Meyer, R. (2002). Outlaw Representation: Cencorship and Homosexuality in Twentieth-Century American Art (Ideologies of Desire). Oxford: Oxford University Press.
  • Müller, G. ve Gorgoni, G. (1972). The New Avant-Garde: Issues fort he Art of the Seventies. London: Praeger.
  • Özan, Y., Gülaçtı, F. & Çıkılı, Y. (2004). Saldırganlığın Psikolojik-Kültürel Boyutu ve Vandalizm. Fırat Üniversitesi Doğu Araştırmaları Dergisi. 3 (1): 144-149.
  • Parlakkalay, H. (2020). Kamusal Alanda Sanat ve Sanat Eserleri. Afyon Kocatepe Üniversitesi Sosyal Bilimler Dergisi. 22(4): 1157-1172.
  • Rosenstock, L. (1998). “Introduction” in Richard Serra Sculpture (Ed. Laura Rosenstock). New York: The Museum of Modern Art.
  • Saybaşılı, N. (2005). Deneyim ve Katılım. Sanat Dünyamız. 96 (Güz 2005): 214.
  • Selvi, Y. (2017). Sanatın 'Öteki'ne Açılması ya da Kamusal Alanda Sanat. İdil. 6 (36): 2209-2232.
  • Senie, H. F. (1998). Baboons, Pet Rocks and Bomb Threats (Chapter 16) (p.237-246), Critical Issues in Public Art: Content, Context and Controversy (Ed. Harriet F. Senie and Sally Webster). Washington: Smithsonian Books.
  • Serro, F. (2012). “Berlin Junction”. https://amidstinterpretation.wordpress.com/2012/03/08 /berlinjunction/ (Erişim Tarihi: 09.04.2023).
  • Stamm, L. (2015). “Queer Transpositions: Cencorship and Desire in Andy Warhol’s 13 Most Wanted Men”. http://www.fsgso.pitt.edu/2015/01/queer-transpositions-censorship-anddesire-in-andy-warhols-13-most-wanted-men/ (Erişim Tarihi: 08.04.2023).
  • Tygard, C. (1988). Public school vandalism: Toward a synthesis of theoiers and transtion to paradigm analysis. Adolescence. 23 (89): 187-200.
  • Ward, C. (1973). “Introduction”, Vandalism (Ed), p. 13-22. London: Architectural Press.
  • Warnke, M. (1973). Iconoclasm: The Destrcuction of the Work of Art (Bildersturm: Die Zerstörung des Kunstwerks). Munich: Carl Hanser.
  • Yıldız, A. S. (2004). Ebeveyn Tutumları ve Saldırganlık. Polis Bilimleri Dergisi. 6 (3-4): 131-149.
  • Görsel Kaynakça
  • Görsel 1: Andy Warhol, 13 Most Wanted Man https://archiveofdestruction.com/artwork/mostwanted/ (Erişim Tarihi: 23.03.2023).
  • Görsel 2: Robert Motherwell, J.F. Kennedy Federal Building https://aknextphase.com/robertmotherwells-jfk-mural/ (Erişim Tarihi: 23.03.2023).
  • Görsel 3: George Sugarman, Baltimore Federal https://www.gsa.gov/fine-arts?artwork/23550 (Erişim Tarihi: 23.03.2023).
  • Görsel 4: Richard Serra, Tilted Arc https://www.chrisgallego.com/richard-serras-tilted-arc/ (Erişim Tarihi: 23.03.2023).
  • Görsel 5: Richard Serra, Tilted Arc https://metropolismag.com/viewpoints/conversations-aboutsculpture-excerpt-foster-serra/ (Erişim Tarihi: 23.03.2023).
  • Görsel 6: Richard Serra, Tilted Arc https://nickkahler.tumblr.com/post/63378392062 (Erişim Tarihi: 23.03.2023).
  • Görsel 7: Richard Serra, Berlin Junction https://amidstinterpretation.wordpress.com/2012 /03/08/berlin-junction/ (Erişim Tarihi: 23.03.2023).
  • Görsel 8: Richard Serra, Berlin Junction (detail) https://www.artdamagedbook.com/blog/ richardserra-berlin-junction-1988-spraypaint (Erişim: Tarihi 23.03.2023).
Toplam 45 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Güzel Sanatlar
Bölüm Araştırma Makalesi
Yazarlar

Ezgi Tokdil

Yayımlanma Tarihi 31 Temmuz 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 8 Sayı: 16

Kaynak Göster

APA Tokdil, E. (2023). RICHARD SERRA ÖRNEKLEMİNDE KAMUSAL ALANDA VANDALİZM, KÜLTÜRÜN ÖZELLEŞTİRİLMESİ VE ELEŞTİREL SANATIN SANSÜRLENMESİ. Uluslararası Disiplinlerarası Ve Kültürlerarası Sanat, 8(16), 129-149.