FROM GEOGLYPHS TO LAND ART: AN ASSESSMENT ON THE CONCEPTUAL STRUCTURE OF LAND ART

Mehmet Susuz; Mustafa Kınık

Makale detayları

FROM GEOGLYPHS TO LAND ART: AN ASSESSMENT ON THE CONCEPTUAL STRUCTURE OF LAND ART

Yazarlar:

Mehmet Susuz | Mustafa Kınık

Yayıncı:

Anadolu University

Ana Başlıklar:

Çevresel Sanat

Dergi:

Sanat ve Tasarım Dergisi Vol.13 Issue 2, pp.368-386

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001305115

pISSN:

2146-9059

Anahtar kelimeler:

Özet:

 Although geoglyphs are shown as the origin of Land Art today, it can be said that these stylistically similar forms point to semantically different sociocultural processes. At the beginning of the points that make this research important, the intense effects of geoglyphs in the formation process of the artistic forms shaped by most of the land artists were determined in the evaluations made on the conceptual structure of Land Art. In this context, the expressive forms of the Nazca lines in Peru attracted the attention of land artists. Although different hypotheses have been put forward for the reasons for the construction of the Nazca lines, the most important point of similarity with Land Art is the interaction of art and nature. The connections of nature-human interaction with art; on the plains of large lands, on hills, on sloping areas, over seas and lakes, artists have produced many works for the potential of nature. This study, which examines both the formality and conceptual structures of these produced works, is also considered important in terms of revealing the connections between geoglyphs and Land Art. The aim of this research is to reveal the intellectual foundations of the geoglyphs and to assess the eclectic structure of these forms with the Land Art that emerged after 1960. In this study; Mentioning the similar and different aspects of Robert Smithsons Spiral Jetty 1970 and Robert Morriss Observatory 1971-77, which are among the important representatives of Land Art, with geoglyphs, an evaluation has been made of the conceptual structure of Land Art. The information and documents used in the research were reached by literature review.

 Although geoglyphs are shown as the origin of Land Art today, it can be said that these stylistically similar forms point to semantically different sociocultural processes. At the beginning of the points that make this research important, the intense effects of geoglyphs in the formation process of the artistic forms shaped by most of the land artists were determined in the evaluations made on the conceptual structure of Land Art. In this context, the expressive forms of the Nazca lines in Peru attracted the attention of land artists. Although different hypotheses have been put forward for the reasons for the construction of the Nazca lines, the most important point of similarity with Land Art is the interaction of art and nature. The connections of nature-human interaction with art; on the plains of large lands, on hills, on sloping areas, over seas and lakes, artists have produced many works for the potential of nature. This study, which examines both the formality and conceptual structures of these produced works, is also considered important in terms of revealing the connections between geoglyphs and Land Art. The aim of this research is to reveal the intellectual foundations of the geoglyphs and to assess the eclectic structure of these forms with the Land Art that emerged after 1960. In this study; Mentioning the similar and different aspects of Robert Smithsons Spiral Jetty 1970 and Robert Morriss Observatory 1971-77, which are among the important representatives of Land Art, with geoglyphs, an evaluation has been made of the conceptual structure of Land Art. The information and documents used in the research were reached by literature review.

 Although geoglyphs are shown as the origin of Land Art today, it can be said that these stylistically similar forms point to semantically different sociocultural processes. At the beginning of the points that make this research important, the intense effects of geoglyphs in the formation process of the artistic forms shaped by most of the land artists were determined in the evaluations made on the conceptual structure of Land Art. In this context, the expressive forms of the Nazca lines in Peru attracted the attention of land artists. Although different hypotheses have been put forward for the reasons for the construction of the Nazca lines, the most important point of similarity with Land Art is the interaction of art and nature. The connections of nature-human interaction with art; on the plains of large lands, on hills, on sloping areas, over seas and lakes, artists have produced many works for the potential of nature. This study, which examines both the formality and conceptual structures of these produced works, is also considered important in terms of revealing the connections between geoglyphs and Land Art. The aim of this research is to reveal the intellectual foundations of the geoglyphs and to assess the eclectic structure of these forms with the Land Art that emerged after 1960. In this study; Mentioning the similar and different aspects of Robert Smithsons Spiral Jetty 1970 and Robert Morriss Observatory 1971-77, which are among the important representatives of Land Art, with geoglyphs, an evaluation has been made of the conceptual structure of Land Art. The information and documents used in the research were reached by literature review.

 Günümüzde Arazi Sanatının Land Art kökeni olarak jeoglifler gösteriliyor olsa da biçimsel açıdan birbirine benzeyen bu formların anlamsal açıdan farklı sosyokültürel süreçlere işaret ettiği söylenebilir. Bu araştırmayı önemli kılan noktaların başında, Arazi Sanatının kavramsal yapısına yönelik yapılan değerlendirmelerde arazi sanatçılarının çoğunun biçimlendirdiği sanatsal formların oluşum sürecinde jeogliflerin yoğun etkileri tespit edilmiştir. Bu bağlamda, Perudaki Nazca çizgilerinin etkileyici formları arazi sanatçılarının dikkatini çekmiştir. Nazca çizgilerinin yapılış gerekçelerine yönelik farklı hipotezler ortaya konsa da Arazi Sanatı ile en önemli benzerlik noktası olarak sanat-doğa etkileşimi gösterilebilir. Doğa-insan etkileşiminin sanat ile olan bağlantılarının; geniş arazilerin düzlüklerinde, tepelerde, eğimli alanlarda, deniz ve göllerin üzerinde doğanın potansiyelini kullanan sanatçılar çok sayıda eser üretmişlerdir. Üretilen bu eserlerin hem biçimselliklerinin hem de kavramsal yapılarının incelendiği bu çalışma, aynı zamanda jeoglifler ile Arazi Sanatı arasındaki bağlantıların ortaya çıkartılması açısından önemli görülmektedir. Bu araştırmanın amacı, jeogliflerin düşünsel temellerini ortaya koyarak bu formların 1960 sonrası ortaya çıkan Arazi Sanatı ile olan eklektik yapısına yönelik bir değerlendirme yapmaktır. Bu araştırmada; Arazi Sanatının önemli temsilcileri arasında gösterilen Robert Smithsonın Spiral Jetty Sarmal Dalgakıran, 1970 ve Robert Morrisin Observatory Gözlemevi, 1971-77 isimli çalışmalarının jeoglifler ile olan benzer ve farklı yönlerine değinilerek, Arazi Sanatının kavramsal yapısına yönelik bir değerlendirme yapılmıştır. Araştırmada kullanılan bilgi ve belgelere literatür taraması ile ulaşılmıştır.

Makale detayları

FROM GEOGLYPHS TO LAND ART: AN ASSESSMENT ON THE CONCEPTUAL STRUCTURE OF LAND ART

Yazarlar:

Mehmet Susuz | Mustafa Kınık

Yayıncı:

Anadolu University

Ana Başlıklar:

Çevresel Sanat

Dergi:

Sanat ve Tasarım Dergisi Vol.13 Issue 2, pp.368-386

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001305115

pISSN:

2146-9059

Geoglyph

Art

Land Art

ConceptualismJeoglif

Sanat

Arazi Sanatı

Kavramsallık.

Sayı

Makale detayları

Yazarlar: Mehmet Susuz | Mustafa Kınık

Yayıncı: Anadolu University

Ana Başlıklar: Çevresel Sanat

Dergi: Sanat ve Tasarım Dergisi Vol.13 Issue 2, pp.368-386

Belge Tipi: Makale

Yayın Tarihi: 12/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001305115

pISSN: 2146-9059

Sayı

Yazarlar:

Mehmet Susuz | Mustafa Kınık

Yayıncı:

Anadolu University

Ana Başlıklar:

Çevresel Sanat

Dergi:

Sanat ve Tasarım Dergisi Vol.13 Issue 2, pp.368-386

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001305115

pISSN:

2146-9059