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THE ALTERING MEANING OF MILITARY CAMOUFLAGE IN ART AS THE APPEARANCE OF WAR

Yıl 2024, , 604 - 625, 23.12.2024

İrem Akdemir , F. Deniz Korkmaz

https://doi.org/10.20488/sanattasarim.1603148

Öz

In this study, beyond the visual deception created by military camouflage on battlefields, it is researched how it has transformed into an art form and has become a conceptual form of expression in post-war art practices. Originally, military camouflage was developed as a visual tactic to protect military personnel and equipment. During the World Wars, artists played a significant role in the advancement of camouflage, utilizing their knowledge of color and pattern to allow objects to blend harmoniously with the environment creating an illusion. Camouflage’s interaction with modern art movements also reinforced the relationship between militarism and cultural dynamics. Since the 1960s, it has transformed into a form of expression that utilizes the effects of concealing, illusion and deception in art. In the study, it is researched contemporary artworks created using military camouflage. In this context, the concepts associated with military camouflage were questioned, and the context and messages of the artworks were analyzed through the descriptive analysis method. In the artworks analyzed, it was concluded that military camouflage, often known as the appearance of war, is a symbolic element that reflects the pain, power and violence, trauma and losses belonging to the unseen aspects of war.

Anahtar Kelimeler

Camouflage art Military camouflage War

Kaynakça

  • Apel, D. (2012). War Culture and the Contest of Images. New Jersey: Rutgers University Press.
  • Baiges, M. M. (2016). Camouflage Mimetico e il Problema Della Rappresentazione Pittorica. Piano b. Arti e Culture Visive, 1(2), 54-65.
  • Baumbach, J. (2012). Colour and Camouflage: Design Issues in Military Clothing. Emma Sparks (Ed.), Advances in Military Textiles and Personal Equipment içinde (s. 79- 102). Woodhead Publishing.
  • Behrens, R. R. (1977). Camouflage, Cubism, and Creativity: The Dissolution of Boundaries. The Journal of Creative Behavior, 11(2), 91-97.
  • Behrens, R. R. (1987). The Art of Dazzle Camouflage. Defense Analysis, 3(3), 233-243.
  • Behrens, R. R. (1997). Iowa’s Contribution to Camouflage. Iowa Heritage Illustrated, 78(3), 98-110.
  • Behrens, R. R. (1998). On Max Wertheimer and Pablo Picasso: Gestalt Theory, Cubism and Camouflage. Gestalt Theory, 20, 111-118.
  • Behrens, R. R. (2005). Art, Culture and Camouflage. Tate Etc. (4).
  • Bouchet, R. (2016). Mémoires du Camouflage de la Grande Guerre Dans l’art Contemporain. Annales de Bretagne et des Pays de l’Ouest. Anjou. Maine. Poitou-Charente. Touraine, (123-3), 167-185.
  • Cahill, S. (2017). The Elsewhere War: Art, Embodiment, and the Spaces of Military Engagement. Journal of Canadian Studies, 51(3), 636-664.
  • Cochran, R. D. (2011). Re-fabricating Fashion-Guerre de la Paz. Sculpture, 30(1), 25-29.
  • Crespo Zaporta, D. (2021). La Huella de la Experiencia Militar Sobre el Cuerpo Uniformado. A Propósito de la Serie” Camuflajes”(2003) Del Artista Visual Cubano Adonis Flores, Nierika Revista Arte Ibero, 10(20), 107-151.
  • Dali, S. (1942). Total Camouflage for Total War. Esquire, 64-67.
  • Elias, A. (2008). William Dakin on Camouflage in Nature and War. Journal of Australian Studies, 32(2), 251-263.
  • Elias, A. (2012). Camouflage and Surrealism. War, Literature and the Arts (WLA), 24, 1-25.
  • Elias, A. (2013). A Background to Camouflage. Ann Elias and Nicholas Tsoutas (Ed.), Camouflage Cultures: Surveillance, Communities, Aesthetics & Animals içinde (s. 15-23). Sydnes: Sydney College of the Arts The University of Sydney.
  • Forbes, P. (2011). Dazzled and Deceived: Mimicry and Camouflage. London: Yale University Press.
  • Forsyth, I. (2013). Subversive Patterning: The Surficial Qualities of Camouflage. Environment and Planning A, 45(5), 1037-1052.
  • Forsyth, I. (2014). Designs on the Desert: Camouflage, Deception and the Militarization of Space. Cultural geographies, 21(2), 247-265.
  • Hansson, K. (2005). Camouflage. Ethnologia Europaea, 35(1), 136-140.
  • Harlan, C. (1970). Vision and Invention. New Jersey: Prentice-Hall.
  • Harris, C. ve Brown, M. (2003). Military Uniforms. New York: Mason Crest Publishers.
  • Hartcup G. (1980), Camouflage: A History of Concealment and Deception in War. New York: Charles Scribner’s Sons
  • Johnston, R. (2016). Fiona Hall: Out of History: All the King’s Men. Lisa Slade (Ed.), Sapper & Shrapnel: Contemporary Art and the Art of the Trenches içinde (s. 88- 103). Adelaide: Art Gallery of South Australia.
  • Kavky, S. (2018). Surrealism, War and the Art of Camouflage. Space between: Literature & Culture, 1914-1945.
  • Köhler, W. (1947). Gestalt Psychology: An Introduction to New Concepts in Modern Psychology. New York: Liveright Publishing.
  • Lacan, J. (2004). The Four Fundamental Concepts of Psycho-Analysis. London: Karnac Books.
  • Lalwani, B. (2017). Subversions of Faith & Truth. Take on India, 3(2), 102-104.
  • Leach, N. (2005). C(amo)uflaje. 47 al Fonfo, 9(12), 38-41.
  • Lenzi, I. (2017). Jakkai Siributr’s Aesthetics of Contestation: A view of Minority Muslims in Buddhist Southeast Asia.Tayland: Bangkok Art and Culture Centre.
  • Liberman, A. (1969). The Artist in His Studio. New York: Viking Press.
  • Lowry, B. (2023). Military Camouflage. Gloucester: Amberley Publishing Limited.
  • Newark, T. (2007). Camouflage. London: Thames & Hudson.
  • Pettersson, R. (2018). Visual Camouflage. Journal of Visual Literacy, 37(3), 181-194.
  • Portmann, A. (1959). Animal Camouflage. Ann Arbor: University of Michigan Press.
  • Sontag, S. (2004). Başkalarının Acısına Bakmak (Çev. O. Akınhay). İstanbul: Agora Kitaplığı . Stein, G. (1939). Picasso. London: Batsford.
  • Tynan, J. (2016). A Visual and Material Culture Approach to Researching War and Conflict. Alison J. Williams, K. Neil Jenkings, Matthew F. Rech and Rachel Woodward (Ed.), The Routledge companion to military research methods içinde (s. 301-316). London: Routledge.
  • Uçar, M. (2019). Çağdaş Sanatta Kamuflaj Stratejileri. Turkish Studies Social Sciences, 14(5), 2579-2596.
  • Wadham, B., & Hamilton, A. (2009). Camouflage: Using Visual Arts and Sociology to Understand the Military. TASA Conference Proceedings, Canberra: ANU.
  • Wolf, W. (2001). Three Guineas. New Jersey: Wiley-Blackwell.
  • Wolfarth, J. (2016). Addressing the Contemporary: Recent Trends and Debates in Cambodian Visual Art. Katherine Brickell and Simon Springer (Ed.), The Handbook of Contemporary Cambodia, içinde (s. 420-431). London: Routledge.
  • İnternet Kaynakları:
  • http 1. https://www.masterworksfineart.com/artists/andy-warhol/screen-print/camouflage-1987-fs-ii-412/id/w-7148 (Erişim tarihi. 25.04.2024)
  • http 2. https://www.pierreburaglio.com/agrafages-et-camouflages-chassis/ (Erişim tarihi: 25.04.2024)
  • http 3. https://alainjacquet.com/artworks-2/camouflages/ (Erişim tarihi: 25.04.2024)
  • http 4. https://www.emmahackartist.com.au/emma_art/emma_wallpaper08.html (Erişim tarihi: 25.04.2024)
  • http 5. https://www.artsy.net/artwork/liu-bolin-hiding-in-the-city-no-93-supermarketno-2 (Erişim tarihi: 25.04.2024)
  • http 6. http://www.janhowlin-ceramics.com/portfolio/#/tools-of-engagement/ (Erişim tarihi: 2
  • http7. https://barbhunt.ca/2021/01/12/camouflage/ (Erişim tarihi: 09.12.2023)
  • http 8. https://zoneonearts.com.au/severija-incirauskaite-kriauneviciene/ (Erişim tarihi: 27.04.2024)
  • http 9. https://www.ke-sooklee.com/work/hammock/hammock.html (Erişim tarihi: 10.12.2023)
  • http 10. https://rb.gy/yufhrw (Erişim tarihi: 27.04.2024)
  • http 11. https://www.roslynoxley9.com.au/artwork/fiona-hall-all-the-kingsmen-2014-15/32:4181 (Erişim tarihi: 30.04.2024)
  • http 12. http://thisistomorrow.info/articles/franziska-lantz-expanding-arid-zones (Erişim tarihi: 09.12.2023)
  • http 13. https://recyclenation.com/2011/07/iconic-depictions-recycling-human-suffering-camouflage-gear/ (Erişim tarihi: 09.12.2023)
  • http 14. https://static1.squarespace.com/static/5a203ad3ccc5c5b77e959bd5/t/605d2808c3696e42133d61d5/1616717839953/Heyoka-Mag_final_small.pdf (Erişim tarihi: 10.12.2023)
  • http 15. https://artandmarket.net/reviews/2020/7/9/we-certainly-shall-not-forget-jakkai-siributr (Erişim tarihi: 30.04.2024)
  • http 16. https://jeanshin.com/armed (Erişim tarihi: 10.12.2023)
  • http 17. https://www.ydr.com/story/news/2017/11/24/man-up-art-exhibit-york-families-talking-violence-artist-chris-dacre-marketview-arts/886709001/ (Erişim tarihi: 30.04.2024)
  • http 18. https://chrisdacre.com/ (Erişim tarihi: 30.04.2024)
  • http 19. https://www.artsy.net/artwork/svay-sareth-toy-churning-of-the-sea-of-milk (Erişim tarihi: 30.04.2024)
  • http 20: https://gudakoster.nl/portfolio/stadsguerrilla/ (Erişim tarihi: 02.05.2024)

SAVAŞIN GÖRÜNEN YÜZÜ OLARAK ASKERİ KAMUFLAJIN SANATTA DEĞİŞEN ANLAMI

Yıl 2024, , 604 - 625, 23.12.2024

İrem Akdemir , F. Deniz Korkmaz

https://doi.org/10.20488/sanattasarim.1603148

Öz

Bu çalışmada, askeri kamuflajın savaş meydanlarında oluşturduğu göz aldatmacasının ötesinde, bir sanat formuna nasıl dönüştüğü ve savaş sonrası dönemde sanat pratiklerinde nasıl kavramsal bir ifade biçimi haline geldiği incelenmiştir. Askeri kamuflaj, başlangıçta askeri personeli ve ekipmanı korumak için görsel bir taktik olarak geliştirilmiştir. Sanatçılar, dünya savaşları sırasında, nesnelerin çevre ile uyum sağlayarak yanılsama oluşturabilmesi için renk ve desen bilgilerini kullanmış ve gelişiminde önemli bir rol oynamıştır. Kamuflajın modern sanat akımları ile olan etkileşimi de militarizm ve kültürel dinamikler arasındaki ilişkisini pekiştirmiştir. 1960’lardan itibaren sanatta gizleme, yanılsama ve illüzyon etkilerinden yararlanılan bir ifade biçimine dönüşmüştür. Çalışmada, askeri kamuflaj kullanılarak üretilen güncel sanat eserleri araştırılmıştır. Bu kapsamda, askeri kamuflajın ilişkilendirildiği kavramlar sorgulanmış, eserlerin bağlamı ve içerdiği mesajlar betimsel analiz yöntemi ile çözümlenmeye çalışılmıştır. Ele alınan eserlerde, savaşın görünen yüzü olarak bilinen askeri kamuflajın savaşın görünmeyen yüzüne ait acıyı, güç ve şiddet unsurlarını, travma ve kayıpları yansıtan sembolik bir unsur olduğu sonucuna varılmıştır.

Anahtar Kelimeler

Kamuflaj sanatı Askeri kamuflaj Savaş.

Kaynakça

  • Apel, D. (2012). War Culture and the Contest of Images. New Jersey: Rutgers University Press.
  • Baiges, M. M. (2016). Camouflage Mimetico e il Problema Della Rappresentazione Pittorica. Piano b. Arti e Culture Visive, 1(2), 54-65.
  • Baumbach, J. (2012). Colour and Camouflage: Design Issues in Military Clothing. Emma Sparks (Ed.), Advances in Military Textiles and Personal Equipment içinde (s. 79- 102). Woodhead Publishing.
  • Behrens, R. R. (1977). Camouflage, Cubism, and Creativity: The Dissolution of Boundaries. The Journal of Creative Behavior, 11(2), 91-97.
  • Behrens, R. R. (1987). The Art of Dazzle Camouflage. Defense Analysis, 3(3), 233-243.
  • Behrens, R. R. (1997). Iowa’s Contribution to Camouflage. Iowa Heritage Illustrated, 78(3), 98-110.
  • Behrens, R. R. (1998). On Max Wertheimer and Pablo Picasso: Gestalt Theory, Cubism and Camouflage. Gestalt Theory, 20, 111-118.
  • Behrens, R. R. (2005). Art, Culture and Camouflage. Tate Etc. (4).
  • Bouchet, R. (2016). Mémoires du Camouflage de la Grande Guerre Dans l’art Contemporain. Annales de Bretagne et des Pays de l’Ouest. Anjou. Maine. Poitou-Charente. Touraine, (123-3), 167-185.
  • Cahill, S. (2017). The Elsewhere War: Art, Embodiment, and the Spaces of Military Engagement. Journal of Canadian Studies, 51(3), 636-664.
  • Cochran, R. D. (2011). Re-fabricating Fashion-Guerre de la Paz. Sculpture, 30(1), 25-29.
  • Crespo Zaporta, D. (2021). La Huella de la Experiencia Militar Sobre el Cuerpo Uniformado. A Propósito de la Serie” Camuflajes”(2003) Del Artista Visual Cubano Adonis Flores, Nierika Revista Arte Ibero, 10(20), 107-151.
  • Dali, S. (1942). Total Camouflage for Total War. Esquire, 64-67.
  • Elias, A. (2008). William Dakin on Camouflage in Nature and War. Journal of Australian Studies, 32(2), 251-263.
  • Elias, A. (2012). Camouflage and Surrealism. War, Literature and the Arts (WLA), 24, 1-25.
  • Elias, A. (2013). A Background to Camouflage. Ann Elias and Nicholas Tsoutas (Ed.), Camouflage Cultures: Surveillance, Communities, Aesthetics & Animals içinde (s. 15-23). Sydnes: Sydney College of the Arts The University of Sydney.
  • Forbes, P. (2011). Dazzled and Deceived: Mimicry and Camouflage. London: Yale University Press.
  • Forsyth, I. (2013). Subversive Patterning: The Surficial Qualities of Camouflage. Environment and Planning A, 45(5), 1037-1052.
  • Forsyth, I. (2014). Designs on the Desert: Camouflage, Deception and the Militarization of Space. Cultural geographies, 21(2), 247-265.
  • Hansson, K. (2005). Camouflage. Ethnologia Europaea, 35(1), 136-140.
  • Harlan, C. (1970). Vision and Invention. New Jersey: Prentice-Hall.
  • Harris, C. ve Brown, M. (2003). Military Uniforms. New York: Mason Crest Publishers.
  • Hartcup G. (1980), Camouflage: A History of Concealment and Deception in War. New York: Charles Scribner’s Sons
  • Johnston, R. (2016). Fiona Hall: Out of History: All the King’s Men. Lisa Slade (Ed.), Sapper & Shrapnel: Contemporary Art and the Art of the Trenches içinde (s. 88- 103). Adelaide: Art Gallery of South Australia.
  • Kavky, S. (2018). Surrealism, War and the Art of Camouflage. Space between: Literature & Culture, 1914-1945.
  • Köhler, W. (1947). Gestalt Psychology: An Introduction to New Concepts in Modern Psychology. New York: Liveright Publishing.
  • Lacan, J. (2004). The Four Fundamental Concepts of Psycho-Analysis. London: Karnac Books.
  • Lalwani, B. (2017). Subversions of Faith & Truth. Take on India, 3(2), 102-104.
  • Leach, N. (2005). C(amo)uflaje. 47 al Fonfo, 9(12), 38-41.
  • Lenzi, I. (2017). Jakkai Siributr’s Aesthetics of Contestation: A view of Minority Muslims in Buddhist Southeast Asia.Tayland: Bangkok Art and Culture Centre.
  • Liberman, A. (1969). The Artist in His Studio. New York: Viking Press.
  • Lowry, B. (2023). Military Camouflage. Gloucester: Amberley Publishing Limited.
  • Newark, T. (2007). Camouflage. London: Thames & Hudson.
  • Pettersson, R. (2018). Visual Camouflage. Journal of Visual Literacy, 37(3), 181-194.
  • Portmann, A. (1959). Animal Camouflage. Ann Arbor: University of Michigan Press.
  • Sontag, S. (2004). Başkalarının Acısına Bakmak (Çev. O. Akınhay). İstanbul: Agora Kitaplığı . Stein, G. (1939). Picasso. London: Batsford.
  • Tynan, J. (2016). A Visual and Material Culture Approach to Researching War and Conflict. Alison J. Williams, K. Neil Jenkings, Matthew F. Rech and Rachel Woodward (Ed.), The Routledge companion to military research methods içinde (s. 301-316). London: Routledge.
  • Uçar, M. (2019). Çağdaş Sanatta Kamuflaj Stratejileri. Turkish Studies Social Sciences, 14(5), 2579-2596.
  • Wadham, B., & Hamilton, A. (2009). Camouflage: Using Visual Arts and Sociology to Understand the Military. TASA Conference Proceedings, Canberra: ANU.
  • Wolf, W. (2001). Three Guineas. New Jersey: Wiley-Blackwell.
  • Wolfarth, J. (2016). Addressing the Contemporary: Recent Trends and Debates in Cambodian Visual Art. Katherine Brickell and Simon Springer (Ed.), The Handbook of Contemporary Cambodia, içinde (s. 420-431). London: Routledge.
  • İnternet Kaynakları:
  • http 1. https://www.masterworksfineart.com/artists/andy-warhol/screen-print/camouflage-1987-fs-ii-412/id/w-7148 (Erişim tarihi. 25.04.2024)
  • http 2. https://www.pierreburaglio.com/agrafages-et-camouflages-chassis/ (Erişim tarihi: 25.04.2024)
  • http 3. https://alainjacquet.com/artworks-2/camouflages/ (Erişim tarihi: 25.04.2024)
  • http 4. https://www.emmahackartist.com.au/emma_art/emma_wallpaper08.html (Erişim tarihi: 25.04.2024)
  • http 5. https://www.artsy.net/artwork/liu-bolin-hiding-in-the-city-no-93-supermarketno-2 (Erişim tarihi: 25.04.2024)
  • http 6. http://www.janhowlin-ceramics.com/portfolio/#/tools-of-engagement/ (Erişim tarihi: 2
  • http7. https://barbhunt.ca/2021/01/12/camouflage/ (Erişim tarihi: 09.12.2023)
  • http 8. https://zoneonearts.com.au/severija-incirauskaite-kriauneviciene/ (Erişim tarihi: 27.04.2024)
  • http 9. https://www.ke-sooklee.com/work/hammock/hammock.html (Erişim tarihi: 10.12.2023)
  • http 10. https://rb.gy/yufhrw (Erişim tarihi: 27.04.2024)
  • http 11. https://www.roslynoxley9.com.au/artwork/fiona-hall-all-the-kingsmen-2014-15/32:4181 (Erişim tarihi: 30.04.2024)
  • http 12. http://thisistomorrow.info/articles/franziska-lantz-expanding-arid-zones (Erişim tarihi: 09.12.2023)
  • http 13. https://recyclenation.com/2011/07/iconic-depictions-recycling-human-suffering-camouflage-gear/ (Erişim tarihi: 09.12.2023)
  • http 14. https://static1.squarespace.com/static/5a203ad3ccc5c5b77e959bd5/t/605d2808c3696e42133d61d5/1616717839953/Heyoka-Mag_final_small.pdf (Erişim tarihi: 10.12.2023)
  • http 15. https://artandmarket.net/reviews/2020/7/9/we-certainly-shall-not-forget-jakkai-siributr (Erişim tarihi: 30.04.2024)
  • http 16. https://jeanshin.com/armed (Erişim tarihi: 10.12.2023)
  • http 17. https://www.ydr.com/story/news/2017/11/24/man-up-art-exhibit-york-families-talking-violence-artist-chris-dacre-marketview-arts/886709001/ (Erişim tarihi: 30.04.2024)
  • http 18. https://chrisdacre.com/ (Erişim tarihi: 30.04.2024)
  • http 19. https://www.artsy.net/artwork/svay-sareth-toy-churning-of-the-sea-of-milk (Erişim tarihi: 30.04.2024)
  • http 20: https://gudakoster.nl/portfolio/stadsguerrilla/ (Erişim tarihi: 02.05.2024)
Toplam 62 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Güzel Sanatlar
Bölüm Makaleler
Yazarlar

İrem Akdemir 0000-0002-3529-6513

F. Deniz Korkmaz 0000-0003-2201-5070

Yayımlanma Tarihi 23 Aralık 2024
Gönderilme Tarihi 5 Şubat 2024
Kabul Tarihi 16 Mayıs 2024
Yayımlandığı Sayı Yıl 2024

Kaynak Göster

APA Akdemir, İ., & Korkmaz, F. D. (2024). SAVAŞIN GÖRÜNEN YÜZÜ OLARAK ASKERİ KAMUFLAJIN SANATTA DEĞİŞEN ANLAMI. Sanat Ve Tasarım Dergisi, 14(2), 604-625. https://doi.org/10.20488/sanattasarim.1603148