Çağdaş Sanat Malzemesi Olarak İplik

Başak Özkendirici

doi:10.20488/sanattasarim.510552

Derleme

Çağdaş Sanat Malzemesi Olarak İplik

Yıl 2018, , 208 - 224, 05.06.2018

Başak Özkendirici

https://doi.org/10.20488/sanattasarim.510552

Cited By: 3

Öz

Gündelik yaşamda, kumaşları dikmek, nesneleri bir araya getirmek, paketlemek, asmak,
sabitlemek amacıyla kullanılan iplikler, yüzyıllar boyunca çeşitli anlamlar yüklenmiştir.
Kavramsal sanat anlayışıyla birlikte alışılagelmiş tekniklerin ve malzemelerin dışına çıkan
sanatçılar, eserlerinde birçok farklı malzemeyle birlikte iplikleri de kullanmışlardır. Araştırmanın
ilk bölümünde ipliğin fiziksel özellikleri açıklanmıştır. Farklı kültürlerden örnekler verilerek
ipliğe yüklenen anlamsal değerler incelenmiştir. Ayrıca temel sanat değerleri açısından ipliğin
oluşturduğu görsel etkilere yer verilmiştir. İkinci bölümde çağdaş sanatçıların iplik kullanarak
gerçekleştirdikleri eserler ele alınmıştır. Farklı disiplinlerden örnekler verilmiş, eserlerde ipliklerin
kullanım şekli ve malzemeye yüklenen anlamsal değerler incelenmiştir. Örnek eserler; sanatçıların
ipliklerle oluşturdukları görsel etkiler veya malzemeye yükledikleri anlamsal değerler açısından
ilişkilendirilerek aktarılmıştır.

Anahtar Kelimeler

İplik, Çağdaş Sanat, Sanat Malzemeleri

Kaynakça

Antmen, A. (2013). 20. Yüzyıl Batı Sanatında Akımlar Sanatçılardan Yazılar ve Açıklamalarla, İstanbul, Sel Yayıncılık.
Atar, N.İ. (2007). “Heykelde Geçicilik Olgusu ve Kişisel Bir Sergi”, Yayınlanmamış Yüksek Lisans Tezi, İzmir, Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü.
Berger, M., Chave, A.C., Kreutzer, M., Norden, L., Storr, R., (1992) Eva Hesse; A Retrospective, Exhibition Catalogue, N.Y., Yale Univercity Art Gallery.
Bates, L. (1972). Sanatı Görmek, Çev. N.Yurtsever, Z. Güvemli, İstanbul, Türkiye İş Bankası Yayınları. Bigalı, Ş. (1976). Resim Sanatı, İstanbul, Yaylacık Matbaası.
Carr, C. (2012) Fire in the Belly: The Life and Times of David Wojnarowicz,U.S.A., Bloomsbury Pub., Cirlot, J.E. (1990). A Dictionary of Symbols, London, Routledge Pub.
Danto, A.J., Simon, J., Levine, N.S., (2007). Sheila Hicks Weaving as Methapor, N.Y., Yale University Press.
Demos, T.J.(1942). Duchamp’ın Labirenti: First Papers of Surrealism”, Çev. E. Soğancılar, Skopdergi, 2014, http://www.e- skop.com/skopdergi/duchampin-labirenti-first-papers-of-surrealism-1942/1939, (Erişim tarihi: 01.06.2017).
Erhat, A. (1972). Mitoloji sözlüğü, İstanbul, Remzi Kitapevi.
Fujioka, Y. (2016). The Red Thread of Fate: A Color in Love-Story, U.K., Loft Publications.
Ghose, S. (2004). Blown Away, The Guardian, https://www.theguardian.com/ artanddesign/cornelia-parker?page=4, (Erişim tarihi:30.08.2017)
Hamlin, J., Sequin, H. (2012). “Computer generation of ribbed sculptures”, The Best Writing on Mathematics , Ed. M. Pitici, U.K., Princeton Universiy Press.
Holland, C. (2010) As Ants Crawl Over Crucifix Dead Artist Is Assailed Again, NY Times Art& Design, http://www. nytimes.com/2010/12/11/arts/design/11ants.html, (Erişim tarihi: 13.06.2017)
Hustvedt, H. (2009). Puppet Master, The Guardian.https://www.theguardian.com/ artanddesign/2009/feb/21/annette- messager, (Erişim tarihi:16.09.2017)
Johnson, K. (2003). Fred Sandback 59 Sculptor of Minimalist Installations, NY Times Arts, http://www.nytimes. com/2003/06/26/arts/fred-sandback-59-sculptor-of-minimalist-installations.html, (Erişim tarihi: 10.06.2017)
Kachur, L.(2001). First Papers of Surrealism Displaying the Marvelous: Marcel Duchamp, Salvador Dali and Surrealist Exhibition,U.K., Cambridge: MIT Press.
Kaya, M. (2007). Mitolojiden Efsaneye: Türk Mitolojisinin Türkiye’deki Efsanelerde İzleri, İstanbul, Bağlam Yayınları.
Langa, H., Lui, E. (2011). American Women Artists, 1935-1970: Gender, Culture, and Politics, London, Routledge.
Marzona, D., Grosenic,U. (2004). Minimal art,London, Taschen.
McNeil, D.(2004). Rites of String, The Asia Passific Journal Japan Focus, Cilt:2, (Sayı:9), http://apjjf.org/-David- McNeill/2161/article.html, (Erişim tarihi: 10.06.2017)
Özkendirci, B. (2017). Tekstil&Heykel Tekstil Sanatında Çok Yüzeylilik ve Heykel İlişkisi, İstanbul, Lap Publishing.
Schmidt, G. (2015). Ästhetik des Fadens: Zur Medialisierung eines Materials in der Avantgardekunst, Germany, Transcript Publication.
Steward, W. (1998). Dictionary of Images and Symbols in Counselling, London, Jessica Kingsley Publications.
Stitching the Sublime: Chiharu Shiota’s Threads of Time, (2015) Art Radar Journal, http://artradarjournal.com/2015/07/24/ chiharu-shiota-artist-profile/, (Erişim tarihi: 14.09.2017)
Taylor,S. (2000). Hans Bellmer: The Anatomy of Anxiety, N.Y., Massacussets Institute of Technology.
Türk Dil Kurumu,(2011). Türkçe Sözlük, Ankara
GÖRSEL LİSTESİ
Görsel 1. Marcel DUCHAMP, “Sixteen Miles of String” 1942, Philadelphia Museum of Art, Library & Archives, Gift of Jacqueline, Paul and Peter Matisse in memory of their mother Alexina Duchamp, 13-1972-9(303). Görsel, makale için alınan özel izinle kullanılmıştır.
Görsel 2. Naum GABO, “Linear Construction in Space No.4” 1945-1946, https://i.pinimg.com/originals/0d/e0/5a/0de05a9 39c63214c6d042362114b09e1.jpg, (Erişim tarihi: 06.09.2017)
Görsel 3. Kate TERRY, “Shibboleth Thread Installation London”, 2006, Copyright belongs to the artist. Görsel, makale için sanatçıdan alınan özel izinle kullanılmıştır.
Görsel 4. Tomás SARACENO, “Flying Garden Airport City”, 2007, İstanbul Modern Art Museum, http://www.istanbulmo- dern.org/en/collection/collection/5?t=2, (Erişim tarihi: 06.09.2017)
Görsel 5. Eva HESSE, “Untitled” 1970, Whitney American Art Museum New York, https://www.artsy.net/artwork/eva-hesse-no-title-5, (Erişim tarihi: 06.09.2017)
Görsel 6. Fred SANDBACK, “Untitled (Sculptural Study, Two-part Construction)”, 1974, http://www.lissongallery.com/ artists/fred-sandback/gallery/3395, (Erişim tarihi: 06.09.2017)
Görsel 7. Hans BELLMER, “Unica Bound”, 1958. Görsel, UBU Gallery NY’dan makale için alınan özel izinle kullanılmıştır.
Görsel 8. Annette MESSAGER, “Pénétration National Gallery of Australia”, 1993-94, https://nga.gov.au/softsculpture/details/8570.cfm, (Erişim tarihi: 06.09.2017)
Görsel 9. Cornelia PARKER, “Cold dark matter”, 1991, Tate Gallery, http://www.tate.org.uk/art/artworks/parker-cold- dark-matter-an-exploded-view-t06949, (Erişim tarihi: 06.09.2017)
Görsel 10. Chiharu SHIOTA, “The Key in the Hand”, 2015, Japanese Pavillon at the Biennale of Venezia, , Photo: Sunhi Mang, Copyright VG Bildkunst, Bonn 2017 and the artist. Görsel, makale için alınan özel izinle kullanılmıştır.
Görsel 11. Adrian ESPARZA, “Serape”. Görsel, makale için alınan özel izinle kullanılmıştır.

String as a Contemporary Art Material

Yıl 2018, , 208 - 224, 05.06.2018

Başak Özkendirici

https://doi.org/10.20488/sanattasarim.510552

Cited By: 3

Öz

In everyday life, string has been assosciated with various meansing for centuries , which is used
for sewing fabrics, bringing objects together, packaging, hanging. Artists who have widened their
horizons by extending usual techniques and materials due to conceptual art have started to use
string in addition to various other materials they use in their work. In the first part of the study,
the physical properties of the string is explained. Semantic values loaded on string is examined
by giving samples from different cultures. In addition, visual effects of string are given in terms of
basic art values. In the second part, the works performed by the contemporary artists using string
are discussed; examples from different disciplines are given; and semantic values of materials used
in the works are examined. Sample works are analyzed in terms of the visual effects and meanings
that artists create and expressed are analyized.

Anahtar Kelimeler

String, Contemporary Art, Art Materials

Kaynakça

Antmen, A. (2013). 20. Yüzyıl Batı Sanatında Akımlar Sanatçılardan Yazılar ve Açıklamalarla, İstanbul, Sel Yayıncılık.
Atar, N.İ. (2007). “Heykelde Geçicilik Olgusu ve Kişisel Bir Sergi”, Yayınlanmamış Yüksek Lisans Tezi, İzmir, Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü.
Berger, M., Chave, A.C., Kreutzer, M., Norden, L., Storr, R., (1992) Eva Hesse; A Retrospective, Exhibition Catalogue, N.Y., Yale Univercity Art Gallery.
Bates, L. (1972). Sanatı Görmek, Çev. N.Yurtsever, Z. Güvemli, İstanbul, Türkiye İş Bankası Yayınları. Bigalı, Ş. (1976). Resim Sanatı, İstanbul, Yaylacık Matbaası.
Carr, C. (2012) Fire in the Belly: The Life and Times of David Wojnarowicz,U.S.A., Bloomsbury Pub., Cirlot, J.E. (1990). A Dictionary of Symbols, London, Routledge Pub.
Danto, A.J., Simon, J., Levine, N.S., (2007). Sheila Hicks Weaving as Methapor, N.Y., Yale University Press.
Demos, T.J.(1942). Duchamp’ın Labirenti: First Papers of Surrealism”, Çev. E. Soğancılar, Skopdergi, 2014, http://www.e- skop.com/skopdergi/duchampin-labirenti-first-papers-of-surrealism-1942/1939, (Erişim tarihi: 01.06.2017).
Erhat, A. (1972). Mitoloji sözlüğü, İstanbul, Remzi Kitapevi.
Fujioka, Y. (2016). The Red Thread of Fate: A Color in Love-Story, U.K., Loft Publications.
Ghose, S. (2004). Blown Away, The Guardian, https://www.theguardian.com/ artanddesign/cornelia-parker?page=4, (Erişim tarihi:30.08.2017)
Hamlin, J., Sequin, H. (2012). “Computer generation of ribbed sculptures”, The Best Writing on Mathematics , Ed. M. Pitici, U.K., Princeton Universiy Press.
Holland, C. (2010) As Ants Crawl Over Crucifix Dead Artist Is Assailed Again, NY Times Art& Design, http://www. nytimes.com/2010/12/11/arts/design/11ants.html, (Erişim tarihi: 13.06.2017)
Hustvedt, H. (2009). Puppet Master, The Guardian.https://www.theguardian.com/ artanddesign/2009/feb/21/annette- messager, (Erişim tarihi:16.09.2017)
Johnson, K. (2003). Fred Sandback 59 Sculptor of Minimalist Installations, NY Times Arts, http://www.nytimes. com/2003/06/26/arts/fred-sandback-59-sculptor-of-minimalist-installations.html, (Erişim tarihi: 10.06.2017)
Kachur, L.(2001). First Papers of Surrealism Displaying the Marvelous: Marcel Duchamp, Salvador Dali and Surrealist Exhibition,U.K., Cambridge: MIT Press.
Kaya, M. (2007). Mitolojiden Efsaneye: Türk Mitolojisinin Türkiye’deki Efsanelerde İzleri, İstanbul, Bağlam Yayınları.
Langa, H., Lui, E. (2011). American Women Artists, 1935-1970: Gender, Culture, and Politics, London, Routledge.
Marzona, D., Grosenic,U. (2004). Minimal art,London, Taschen.
McNeil, D.(2004). Rites of String, The Asia Passific Journal Japan Focus, Cilt:2, (Sayı:9), http://apjjf.org/-David- McNeill/2161/article.html, (Erişim tarihi: 10.06.2017)
Özkendirci, B. (2017). Tekstil&Heykel Tekstil Sanatında Çok Yüzeylilik ve Heykel İlişkisi, İstanbul, Lap Publishing.
Schmidt, G. (2015). Ästhetik des Fadens: Zur Medialisierung eines Materials in der Avantgardekunst, Germany, Transcript Publication.
Steward, W. (1998). Dictionary of Images and Symbols in Counselling, London, Jessica Kingsley Publications.
Stitching the Sublime: Chiharu Shiota’s Threads of Time, (2015) Art Radar Journal, http://artradarjournal.com/2015/07/24/ chiharu-shiota-artist-profile/, (Erişim tarihi: 14.09.2017)
Taylor,S. (2000). Hans Bellmer: The Anatomy of Anxiety, N.Y., Massacussets Institute of Technology.
Türk Dil Kurumu,(2011). Türkçe Sözlük, Ankara
GÖRSEL LİSTESİ
Görsel 1. Marcel DUCHAMP, “Sixteen Miles of String” 1942, Philadelphia Museum of Art, Library & Archives, Gift of Jacqueline, Paul and Peter Matisse in memory of their mother Alexina Duchamp, 13-1972-9(303). Görsel, makale için alınan özel izinle kullanılmıştır.
Görsel 2. Naum GABO, “Linear Construction in Space No.4” 1945-1946, https://i.pinimg.com/originals/0d/e0/5a/0de05a9 39c63214c6d042362114b09e1.jpg, (Erişim tarihi: 06.09.2017)
Görsel 3. Kate TERRY, “Shibboleth Thread Installation London”, 2006, Copyright belongs to the artist. Görsel, makale için sanatçıdan alınan özel izinle kullanılmıştır.
Görsel 4. Tomás SARACENO, “Flying Garden Airport City”, 2007, İstanbul Modern Art Museum, http://www.istanbulmo- dern.org/en/collection/collection/5?t=2, (Erişim tarihi: 06.09.2017)
Görsel 5. Eva HESSE, “Untitled” 1970, Whitney American Art Museum New York, https://www.artsy.net/artwork/eva-hesse-no-title-5, (Erişim tarihi: 06.09.2017)
Görsel 6. Fred SANDBACK, “Untitled (Sculptural Study, Two-part Construction)”, 1974, http://www.lissongallery.com/ artists/fred-sandback/gallery/3395, (Erişim tarihi: 06.09.2017)
Görsel 7. Hans BELLMER, “Unica Bound”, 1958. Görsel, UBU Gallery NY’dan makale için alınan özel izinle kullanılmıştır.
Görsel 8. Annette MESSAGER, “Pénétration National Gallery of Australia”, 1993-94, https://nga.gov.au/softsculpture/details/8570.cfm, (Erişim tarihi: 06.09.2017)
Görsel 9. Cornelia PARKER, “Cold dark matter”, 1991, Tate Gallery, http://www.tate.org.uk/art/artworks/parker-cold- dark-matter-an-exploded-view-t06949, (Erişim tarihi: 06.09.2017)
Görsel 10. Chiharu SHIOTA, “The Key in the Hand”, 2015, Japanese Pavillon at the Biennale of Venezia, , Photo: Sunhi Mang, Copyright VG Bildkunst, Bonn 2017 and the artist. Görsel, makale için alınan özel izinle kullanılmıştır.
Görsel 11. Adrian ESPARZA, “Serape”. Görsel, makale için alınan özel izinle kullanılmıştır.

Toplam 37 adet kaynakça vardır.

Ayrıntılar

Birincil Dil	Türkçe
Bölüm	Makaleler
Yazarlar	Başak Özkendirici
Yayımlanma Tarihi	5 Haziran 2018
Yayımlandığı Sayı	Yıl 2018

Kaynak Göster

APA	Özkendirici, B. (2018). Çağdaş Sanat Malzemesi Olarak İplik. Sanat Ve Tasarım Dergisi, 8(1), 208-224. https://doi.org/10.20488/sanattasarim.510552

Sanat ve Tasarım Dergisi

Çağdaş Sanat Malzemesi Olarak İplik

Öz

Anahtar Kelimeler

Kaynakça

String as a Contemporary Art Material

Öz

Anahtar Kelimeler

Kaynakça

Ayrıntılar

Kaynak Göster

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İplik Tasarımında İnovasyonun Tekstil ve Moda Tasarımına Katkısı

Art-e Sanat Dergisi

https://doi.org/10.21602/sduarte.1366284

MARIA NEPOMUCENO ve NICOLE MCLAUGHLIN’İN ESERLERİNDE SERAMİK VE İP

İnönü Üniversitesi Kültür ve Sanat Dergisi

https://doi.org/10.22252/ijca.1250895