{"id":13014,"date":"2021-09-15T01:48:31","date_gmt":"2021-09-14T22:48:31","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=13014"},"modified":"2021-09-15T01:48:31","modified_gmt":"2021-09-14T22:48:31","slug":"amerikan-sanat-tarihi","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/amerikan-sanat-tarihi.html","title":{"rendered":"Amerikan Sanat Tarihi"},"content":{"rendered":"

Amerikan Sanat Tarihi<\/h2>\n

Amerikan sanat tarihi makalesinin temel konusu Amerika Birle\u015fik Devletleri’nde sanat geli\u015fimi incelemektir. Konu k\u0131ta Amerika’s\u0131 genelini kapsamaz.<\/p>\n

Amerikan Yerlileri Sanat\u0131<\/h3>\n

Karma\u015f\u0131k geometrik desenler kullanan ve hem do\u011fal d\u00fcnyay\u0131 \u00e7a\u011fr\u0131\u015ft\u0131ran hem de atalara ait ve mitolojik hikayeleri sembolize eden neredeyse soyut bi\u00e7imler kullanan olduk\u00e7a stilize edilmi\u015f bir kelime da\u011farc\u0131\u011f\u0131 geli\u015ftiren bir\u00e7ok yerli kabile aras\u0131nda zengin, karma\u015f\u0131k sanat gelenekleri geli\u015fti. Nesneler genellikle faydac\u0131yd\u0131 ve ayn\u0131 zamanda rit\u00fcel \u00f6nemle doluydu. Bununla birlikte, ilk K\u0131z\u0131lderili sanat hareketi, kabilelerinin inan\u00e7lar\u0131n\u0131, tarihini, modas\u0131n\u0131 ve ya\u015fam tarz\u0131n\u0131 ger\u00e7ek\u00e7i bir \u015fekilde tasvir etmek i\u00e7in \u00e7izim, resim ve bask\u0131 resim kullanan 25’ten fazla Iroquois sanat\u00e7\u0131s\u0131n\u0131 i\u00e7eriyordu. 1900’lerin ba\u015f\u0131nda, K\u0131z\u0131lderili sanat\u0131 ulusal ve uluslararas\u0131 ilgi g\u00f6rmeye ba\u015flad\u0131. Kiowa Six, Spencer Asah, James Auchiah, Jack Hokeah, Stephen Mopope, Lois Smoky ve Monroe Tsatoke, g\u00fc\u00e7l\u00fc ana hatlar\u0131 \u00e7izilmi\u015f, koyu renkli d\u00fcz alanlar kullanan Ledger \u00e7izimler kulland\u0131.<\/p>\n

Amerikan Sanat Tarihi Halk sanat\u0131<\/h3>\n

Amerikan halk sanat\u0131n\u0131n \u00e7o\u011fu do\u011fas\u0131 gere\u011fi faydac\u0131d\u0131r; duvar s\u00fcsleri i\u00e7in \u00e7er\u00e7eveli nak\u0131\u015flar ve kadife resimlere kadar \u00e7e\u015fitli eserler ve boyamalar yap\u0131lm\u0131\u015ft\u0131r. Erken Amerikan halk ressamlar\u0131na, “a\u00e7\u0131k, keskin ayr\u0131nt\u0131larla ana hatlar\u0131 \u00e7izmek” anlam\u0131na gelen kire\u00e7lenme teriminden, \u2018\u2019S\u0131n\u0131rlay\u0131c\u0131lar\u2019\u2019 deniyordu. Genellikle kendi kendini yeti\u015ftiren denizciler kasabadan \u015fehre seyahat eder ve yerel t\u00fcccarlar i\u00e7in tabelalardan \u00e7iftlik aletlerine ve arabalara kadar her \u015feyi boyamay\u0131 teklif ederek ge\u00e7imini sa\u011flard\u0131. Koloniler, portreyi sosyal duru\u015fun bir i\u015fareti olarak g\u00f6ren \u0130ngiliz k\u00fclt\u00fcrel de\u011ferlerini yans\u0131t\u0131rken, 1705 civar\u0131nda G\u00fcney Carolina, Charleston’a g\u00f6\u00e7 eden Frans\u0131z do\u011fumlu Henrietta Johnston gibi g\u00fczel sanatlar portrecileri \u015fehirlere \u00e7ekildi.<\/p>\n

Amerikan Mimarisi<\/h3>\n

Amerika Birle\u015fik Devletleri’nin \u00fc\u00e7\u00fcnc\u00fc ba\u015fkan\u0131 Thomas Jefferson yenilik\u00e7i bir mimard\u0131 ve Virginia’daki evi Monticello (1772-1809) i\u00e7in yapt\u0131\u011f\u0131 tasar\u0131m, d\u00f6rt renkli s\u00fctunlu bir Palladyan portiko kullanarak Neoklasik tarz\u0131 \u00f6rnekledi. Benjamin Henry Latrobe’un resmi binalar i\u00e7in tercih edilen Federal tarz olarak bilinen \u015feyi ba\u015flatt\u0131.<\/p>\n

Neoklasizm ba\u011flam\u0131nda 1830 civar\u0131nda geli\u015fen Beaux-Arts mimarisi, Neoklasizmin resmiyetini R\u00f6nesans, Barok ve Ge\u00e7 Gotik mimarisinden unsurlar\u0131 dahil etmek i\u00e7in reddetti. Amerika Birle\u015fik Devletleri’nde, Richard Morris Hunt taraf\u0131ndan y\u00f6netilen Beaux-Arts tarz\u0131, “Amerikan R\u00f6nesans\u0131” veya “Amerikan Klasisizmi” olarak tan\u0131nd\u0131. 1890’da ba\u015flayan ve \u0130ngiliz Sanat ve El Sanatlar\u0131 hareketinden ve Japonizm’den etkilenen son derece etkili Art Nouveau hareketi, organik, ak\u0131c\u0131, bitkisel motifler i\u00e7eriyordu.<\/p>\n

Hudson River Okulu (1826-1870)<\/h3>\n

Hudson Nehri Okulu \u00f6nc\u00fcl\u00fc\u011f\u00fcnde, Thomas Cole \u0130ngiltere’de do\u011fdu ama on yedi ya\u015f\u0131ndayken Amerika Birle\u015fik Devletleri’ne g\u00f6\u00e7 etti, ilk tan\u0131nan Amerikan sanat hareketiydi. O zamanlar vah\u015fi olan yukar\u0131 New York eyaletinde merkezlenen hareketle ili\u015fkili sanat\u00e7\u0131lar, Amerikan manzaras\u0131n\u0131n y\u00fcce ve e\u015fsiz g\u00fczelli\u011fini vurgulad\u0131lar. Romantizmin y\u00fcce kavram\u0131ndan ve Naturalizm’in hassas g\u00f6zlemlenen ayr\u0131nt\u0131lara vurgusundan etkilenen Cole’un Kaaterskill Upper Fall, Catskill Da\u011flar\u0131 (1825) ve \u00d6l\u00fc A\u011fa\u00e7larla Dunlap G\u00f6l\u00fc (Catskill) (1825) gibi manzaralar\u0131, yeninin s\u0131n\u0131rs\u0131z olas\u0131l\u0131klar\u0131n\u0131 uyand\u0131rmak i\u00e7in Amerikan sahnelerini tasvir etti. Amerikan Sanat Tarihi.<\/em><\/p>\n

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Hudson River Okulu
Thomas Cole (1801\u20131848), The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (1836), Metropolitan Museum of Art<\/p><\/div>\n

Ayd\u0131nl\u0131k (1850-1875)<\/h3>\n

Luminism (ayd\u0131nl\u0131k) terimi, 1950’lerde sanat tarih\u00e7ileri taraf\u0131ndan 1850-1870 y\u0131llar\u0131 aras\u0131nda bir dizi Amerikan manzara ressam\u0131 aras\u0131nda geli\u015fen bir stili tan\u0131mlamak i\u00e7in geli\u015ftirildi. Harekete liderlik eden John Frederick Kensett, insan varl\u0131\u011f\u0131ndan ziyade, manzaran\u0131n kendisini vurgulad\u0131.<\/p>\n

Tonalizm (1870-1915)<\/h3>\n

Tonalizm, 1870’lerin ba\u015f\u0131nda James McNeill Whistler’\u0131n alacakaranl\u0131kta manzaralar\u0131 tasvir etmek i\u00e7in genellikle sessiz ye\u015filler, maviler ve koyu renklerdeki ton uyumlar\u0131n\u0131 vurgulayan Nocturnes serisinde ortaya \u00e7\u0131kt\u0131. D\u00f6nemin sanat\u00e7\u0131s\u0131 Inness g\u00fcn do\u011fumunda veya g\u00fcnbat\u0131m\u0131nda bir manzaray\u0131 tasvir etmek i\u00e7in alt\u0131n ve kahverengi tonlar\u0131 kullanarak, Sunrise (1887) gibi eserlerinde manevi ifadeyi vurgularken, d\u00f6nemin ba\u015fka bir sanat\u00e7\u0131s\u0131 Ryder ise s\u0131k \u200b\u200bs\u0131k Sembolizmin \u00f6nc\u00fcleri olan gizemli manzaralar\u0131na mitolojik bir anlat\u0131 unsuru dahil etti.<\/p>\n

Amerikan \u0130zlenimcilik (1880-1920)<\/h3>\n

Amerikan Empresyonizm\u2019i \u00f6ncelikle ilham veren etkileyen Frans\u0131z izlenimcilerdir. Mary Cassatt<\/a>, Amerika’n\u0131n ilk tan\u0131nm\u0131\u015f Empresyonisti oldu. 1866’da Paris’e ta\u015f\u0131nd\u0131\u011f\u0131nda, Edgar Degas ile yak\u0131n arkada\u015f oldu.ve \u00f6nde gelen Empresyonistlerin bir\u00e7o\u011fu ile ili\u015fkilendirildi ve sergilendi. Canl\u0131 renklerle ve etkileyici f\u0131r\u00e7a darbeleriyle dolu \u00e7al\u0131\u015fmalar\u0131, genellikle rahat burjuva ortamlar\u0131nda samimi toplant\u0131lar\u0131n yan\u0131 s\u0131ra bir anne ve \u00e7ocu\u011fun bir\u00e7ok tasvirini tasvir etti ve Amerika Birle\u015fik Devletleri’nde son derece pop\u00fclerdi.<\/p>\n

Ashcan Okulu (1900-1915)<\/h3>\n

Ashcan Okulu, o zamanlar Philadelphia’da bulunan Robert Henri’nin t\u00fcm \u00f6\u011frencileri olan John Sloan, George Luks, Everett Shinn ve William James Glackens gibi bir grup sanat\u00e7\u0131yd\u0131. Diego Velazquez<\/a>, Francisco de Goya ve \u00c9douard Manet gibi daha sonraki Realistler de dahil olmak \u00fczere eski ustalardan yararlanan grup, modern, i\u015f\u00e7i s\u0131n\u0131f\u0131 ya\u015fam\u0131n\u0131n ger\u00e7ek\u00e7i ve cesur sahnelerini veya Henri’nin “hayat i\u00e7in sanat” dedi\u011fi \u015feyi yaratmak i\u00e7in klasik y\u00f6ntemler kulland\u0131.<\/p>\n

Senkromizm (1912-1924)<\/h3>\n

Senkromizm, g\u00f6rsel bir “senfoni” veya m\u00fczikal etki yaratmak i\u00e7in \u00f6ncelikle renk \u00f6l\u00e7e\u011fini kullanan soyut resimleri vurgulad\u0131. Her ikisi de Paris’te ya\u015fayan gen\u00e7 Amerikal\u0131 Morgan Russell ve Stanton Macdonald-Wright , 1912’de Amerika’n\u0131n ilk avangart hareketini kurdular.<\/p>\n

Harlem R\u00f6nesans\u0131 (1920- 1940)<\/h3>\n

Terimi Harlem R\u00f6nesans\u0131 m\u00fczik, edebiyat, tiyatro, resim ve heykel New York’un Harlem mahallesinde zengin ve canl\u0131 k\u00fclt\u00fcr\u00fc i\u00e7inde geli\u015fti\u011fi zaman\u0131 tan\u0131mlar. Farkl\u0131 tarzlarla tan\u0131nan hareket, yazar Alain Locke taraf\u0131ndan geli\u015ftirildi.<\/p>\n

Ond\u00f6rd\u00fcnc\u00fc Sokak Okulu (1920-1940)<\/h3>\n

1950’lerde, 1920’lerde ve 1930’larda Kenneth Hayes Miller, Isabel Bishop ve Reginald Marsh’\u0131n eserlerini tan\u0131mlamak i\u00e7in On D\u00f6rd\u00fcnc\u00fc Sokak Okulu terimi geli\u015ftirildi. Konular\u0131, Union Meydan\u0131 ve On D\u00f6rd\u00fcnc\u00fc Cadde civar\u0131ndaki New York mahallesinden al\u0131nd\u0131. “Fakir adam\u0131n 5. Bulvar\u0131” olarak bilinen b\u00f6lge, en son moday\u0131 ucuz fiyatlarla sunan sat\u0131\u015flar\u0131 binlerce orta s\u0131n\u0131f m\u00fc\u015fteriyi \u00e7eken perakende ma\u011fazalar\u0131n\u0131n yer ald\u0131\u011f\u0131 y\u00fckselen bir ticaret merkeziydi. Modern ya\u015fam\u0131n ger\u00e7ek\u00e7i bir \u015fekilde ele al\u0131nmas\u0131 nedeniyle, hareket genellikle Sosyal Ger\u00e7ek\u00e7ilik kapsam\u0131na al\u0131nd\u0131.<\/p>\n

Amerikan B\u00f6lgeselcilik (1928-1943)<\/h3>\n

Amerikan B\u00f6lgeselcilik, kas\u0131tl\u0131 olarak olu\u015fturulmu\u015f bir hareket de\u011fil, Thomas Hart Benton, John Steuart Curry ve Grant Wood’un eserlerinde organik olarak geli\u015fen bir tarz ve yakla\u015f\u0131md\u0131. Bu \u00fc\u00e7 sanat\u00e7\u0131, k\u0131rsal ya\u015fam\u0131n ve s\u0131radan durumlar\u0131n ger\u00e7ek\u00e7i tasvirlerini vurgulad\u0131 ve her biri belirli bir b\u00f6lgeyle ili\u015fkilendirildi.<\/p>\n

Amerikan Sanat Tarihi Sosyal Ger\u00e7ek\u00e7ilik (1929- 1960)<\/h3>\n

Toplumsal Ger\u00e7ek\u00e7ilik, toplumu radikal bir \u015fekilde d\u00f6n\u00fc\u015ft\u00fcrmek i\u00e7in, genellikle kentsel bir ortamda, alt s\u0131n\u0131f\u0131n ve i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n ger\u00e7ek\u00e7i tasvirlerini vurgulayan sanat\u00e7\u0131lar aras\u0131nda kendili\u011finden geli\u015fti. \u0130\u015f\u00e7ilerin k\u00f6t\u00fc durumuna odaklanan hareketle ba\u011flant\u0131l\u0131 sanat\u00e7\u0131lar, Jose Clemente Orozco’nun duvar resimlerinden, i\u015f\u00e7i haklar\u0131 \u00f6rg\u00fctlerinin y\u00fckseli\u015finden ve John Reed Society gibi solcu \u00f6rg\u00fctlerin i\u015f\u00e7i haklar\u0131na \u00e7a\u011fr\u0131s\u0131ndan etkilendiler.<\/p>\n

Soyut D\u0131\u015favurumculuk, Renk Alan\u0131 Resmi, Ressam Sonras\u0131 ve Sert Kenarl\u0131 Soyutlama (1943-1965)<\/h3>\n

Soyut D\u0131\u015favurumculuk 1940’lar\u0131n ba\u015f\u0131nda New York’ta ba\u015flad\u0131 ve Jackson Pollock, Clyfford Still, Willem de Kooning, Mark Rothko ve Adolph Gottlieb taraf\u0131ndan y\u00f6netildi. \u00d6nde gelen S\u00fcrrealistler II.D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda New York i\u00e7in Avrupa’dan ka\u00e7arken, Soyut Ekspresyonistler, Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fc\u011f\u00fcn bilin\u00e7d\u0131\u015f\u0131na dokunan bir sanat olan otomatizme vurgusundan etkilenmi\u015flerdi. Sanat\u00e7\u0131lar kariyerlerine temsili imgeleri boyamaya ba\u015flarken, soyutlamay\u0131 art\u0131rmaya do\u011fru ilerledi.<\/p>\n

1952’de, etkili sanat ele\u015ftirmeni Harold Rosenberg “The American Action Painters” adl\u0131 makalesinde, sanat\u00e7\u0131n\u0131n resim yapmaya karar verme konusundaki eylemine odakland\u0131 ve b\u00f6ylece Eylem Resmi terimini Soyut D\u0131\u015favurumculuk lehine icat etti. Rosenberg, \u00e7al\u0131\u015fmalar\u0131n\u0131 resmin kendisinin olay\u0131n\u0131 ve s\u00fcrecini vurgulad\u0131\u011f\u0131 i\u00e7in Franz Kline, Willem de Kooning ve Jackson Pollock\u2019u bu terimle ili\u015fkilendirildi.<\/p>\n

1950 civar\u0131nda San Francisco K\u00f6rfez B\u00f6lgesi’nde David Park , Richard Diebenkorn ve Elmer Bischoff fig\u00fcratif konular lehine saf soyutlamay\u0131 reddettiler. K\u00f6rfez B\u00f6lgesi Ressamlar\u0131 aras\u0131nda Manuel Neri, Nathan Oliveira ve Joan Brown da vard\u0131.<\/p>\n

Ayr\u0131ca 1950’lerin ortalar\u0131nda Jack Beal, Jane Freilicher ve Nell Blaine dahil olmak \u00fczere bir dizi ikinci nesil Soyut D\u0131\u015favurumcu hareketi reddetti ve fig\u00fcratif sanata y\u00f6neldi. Fairfield Porter, Alex Katz ve Lois Dodd dahil olmak \u00fczere, New York sanat\u00e7\u0131lar\u0131n\u0131n gev\u015fek birli\u011fi, \u00c7a\u011fda\u015f Ger\u00e7ek\u00e7ilik olarak bilinen ger\u00e7ek\u00e7ili\u011fe yeni bir vurgu yapt\u0131.<\/p>\n

Neo-Dada (1952-1970)<\/h3>\n

1952’den ba\u015flayarak, Jasper Johns, Allan Kaprow ve Robert Rauschenberg ” readymades “, kitle ileti\u015fim ara\u00e7lar\u0131 ve performanslar kullanmaya ba\u015flad\u0131k\u00e7a Neo-Dada geli\u015fti. Sanat\u00e7\u0131lar, Soyut D\u0131\u015favurumculuk ile ba\u011flant\u0131l\u0131 varolu\u015f\u00e7u kahramanlar\u0131 s\u0131radan konular lehine reddettiler ve medya aras\u0131ndaki geleneksel s\u0131n\u0131rlar\u0131 bulan\u0131kla\u015ft\u0131rd\u0131lar.<\/p>\n

Allan Kaprow, yerle\u015ftirme par\u00e7alar\u0131 olu\u015fturmak i\u00e7in heykelsi kolajlar kullanarak “ortamlar” yaratt\u0131 ve daha sonra Cage’in dersini ald\u0131ktan sonra i\u015fitsel bile\u015fenler ekledi. “Olaylar” terimini, F\u00fct\u00fcrizmin olay kavram\u0131n\u0131n t\u00fcm s\u0131n\u0131rlar\u0131 a\u015fmas\u0131 ve Dada’n\u0131n \u015fans\u0131n rol\u00fcne yapt\u0131\u011f\u0131 vurgunun etkisiyle olay ve seyirci aras\u0131ndaki s\u0131n\u0131r\u0131n k\u0131r\u0131ld\u0131\u011f\u0131 yar\u0131 teatral olaylar\u0131 tan\u0131mlamak i\u00e7in geli\u015ftirdi.<\/p>\n

George Brecht, Robert Whitman ve Robert Watts da dahil olmak \u00fczere bir\u00e7ok Fluxus sanat\u00e7\u0131s\u0131 Neo-Dada ve olaylarla ilgileniyordu. “Sanat kar\u015f\u0131t\u0131” bir hareket olarak tan\u0131mlanan Fluxus, ki\u015finin sanatla olan ili\u015fkisini de\u011fi\u015ftirmek ve g\u00fcndelik nesnelerin ve eylemlerin ustal\u0131\u011f\u0131n\u0131 vurgulamak gibi \u00fctopik hedeflere sahipti. Amerikan Sanat Tarihi Dick Higgins, Jackson Mac Low ve Al Hans grubunun \u00f6nde gelen \u00fcyeleri, New School’da Cage’in 1959’daki s\u0131n\u0131f\u0131nda bir araya geldi. Fluxus sanat\u00e7\u0131lar\u0131, y\u00fcksek sanat\u0131n alt\u0131n\u0131 \u00e7izmek ve reddetmek i\u00e7in s\u0131kl\u0131kla mizah kulland\u0131lar. Fluxus, Yoko Ono , Nam June Paik ve Joseph Beuys’u da i\u00e7eren uluslararas\u0131 bir hareketti.<\/p>\n

Pop Art ve Fotoger\u00e7ek\u00e7ilik (1950-1970)<\/h3>\n

Pop Art, Richard Hamilton, Eduardo Paolozzi ve mimarlar Alison ve Peter Smithson’un da dahil oldu\u011fu Independent Group’un \u00f6nderli\u011finde 1952’de \u0130ngiltere’de ba\u015flayan uluslararas\u0131 bir hareketti, ancak Amerikan versiyonu trend belirleyen ve bask\u0131n bi\u00e7im haline geldi. Andy Warhol, Roy Lichtenstein, Claes Oldenburg ve James Rosenquist liderli\u011findeki sanat\u00e7\u0131lar, “y\u00fcksek” ve “d\u00fc\u015f\u00fck” sanat aras\u0131ndaki ayr\u0131ma meydan okumak ve t\u00fcketici k\u00fclt\u00fcr\u00fcn\u00fc ele\u015ftirmek ve kutlamak i\u00e7in kitle ileti\u015fim ara\u00e7lar\u0131ndan ve pop\u00fcler k\u00fclt\u00fcrden al\u0131nan g\u00f6r\u00fcnt\u00fcleri kulland\u0131lar. Warhol, Rosenquist ve Ed Ruscha grafik tasar\u0131mc\u0131 ve ill\u00fcstrat\u00f6r olarak yapt\u0131klar\u0131 ilk \u00e7al\u0131\u015fmalardan etkilenmi\u015ftir.<\/p>\n

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Pop Art, Foto Ger\u00e7eklik Amerikan Sanat Tarihi<\/p><\/div>\n

Minimalizm ve Post-Minimalizm (1960 \u2018dan- G\u00fcn\u00fcm\u00fcze)<\/h3>\n

1960’lar\u0131n ba\u015f\u0131nda New York’ta Donald Judd, Carl Andre, Sol LeWitt ve Robert Morris gibi minimalist sanat\u00e7\u0131lar, haval\u0131 ve anonim bir yakla\u015f\u0131m kullanarak end\u00fcstriyel malzemelerden eserler yaratt\u0131lar. Rus Konstr\u00fcktivizminden etkilenen Minimalistler, izleyici taraf\u0131ndan alg\u0131lanan ve tercih edilen end\u00fcstriyel malzemeler ve fabrikasyon taraf\u0131ndan alg\u0131lanan medyan\u0131n \u00f6nemlili\u011fini vurgulad\u0131lar.<\/p>\n

Post-Minimalizm, S\u00fcre\u00e7 Sanat\u0131 , Performans ve V\u00fccut Sanat\u0131, Alana \u00d6zg\u00fc Sanat ve Kavramsal Sanat\u0131n baz\u0131 y\u00f6nleri dahil olmak \u00fczere bir dizi e\u011filimi i\u00e7eriyordu . Sanat ele\u015ftirmeni Lucy Lippard, 1968’de Louise Bourgeois , Eva Hesse ve Bruce Nauman’\u0131n \u00e7al\u0131\u015fmalar\u0131n\u0131 i\u00e7eren bir sergi olan Eksantrik Soyutlama’n\u0131n k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc yapt\u0131. Minimalizm ile ili\u015fkili baz\u0131 sanat\u00e7\u0131lar, anonim ve soyut nesnelere Minimalist ilgiyi di\u011fer alanlara do\u011fru geni\u015fletirken, di\u011ferleri Minimalizmin so\u011fuk anonim yakla\u015f\u0131m\u0131na duygusal ifade lehine tepki g\u00f6sterdi. Lynda Benglis, Eva Hesse ve Louise Bourgeois re\u00e7ineler ve lateks kullan\u0131rken, Nancy Graves hayvan derilerini sim\u00fcle etmek i\u00e7in malzemeler kulland\u0131 ve sonu\u00e7ta ortaya \u00e7\u0131kan \u00e7al\u0131\u015fmalar organik bir ifade etkisi yaratt\u0131. Sol LeWitt , Richard Serra ve Vito Acconci de Post-Minimalistler aras\u0131nda yer ald\u0131.<\/p>\n

\"\"

Minmalizm, Post- Minimalizm<\/p><\/div>\n

Kaliforniya merkezli ve Minimalizmden etkilenen Robert Irwin, 1969’da \u0131\u015f\u0131k kaynaklar\u0131n\u0131 kullanarak b\u00fcy\u00fck enstalasyonlar olu\u015fturmaya ba\u015flad\u0131 ve I\u015f\u0131k ve Uzay hareketi olarak bilinen \u015feyin \u00f6nc\u00fcl\u00fc\u011f\u00fcn\u00fc yapt\u0131. Larry Bell, James Turrell, John McCracken ve Helen Pashgian, alg\u0131sal deneyimler yaratmak i\u00e7in neon ve argon \u0131\u015f\u0131klar\u0131, d\u00f6kme akrilik ve polyester re\u00e7ineler dahil end\u00fcstriyel malzemeleri kullanan hareketle ili\u015fkilendirildi. Yeni bilimsel ara\u015ft\u0131rma ve teknolojilerden yararlanarak, \u0131\u015f\u0131k ve mekan\u0131n etkile\u015fimini vurgulayan eserler yaratt\u0131lar.<\/p>\n

Amerikan Sanat Tarihi, D\u00fcnya Sanat\u0131 ve \u00c7evre Sanat\u0131 (1960’lardan \u2013 G\u00fcn\u00fcm\u00fcze)<\/h3>\n

Land Art (d\u00fcnya sanat\u0131) veya Earthworks olarak da adland\u0131r\u0131lan Earth Art, Minimalizmin bir sonucuydu, \u00e7\u00fcnk\u00fc d\u00fcnyan\u0131n kendisi hem maddi nesne hem de sanata \u00f6zg\u00fc alan haline geldi ve sanat\u00e7\u0131lar sitenin \u00e7amur, toprak ve ta\u015f gibi mevcut do\u011fal malzemelerini kullanarak Sitenin \u00f6nemine uygun b\u00fcy\u00fck \u00f6l\u00e7ekli projeler tasarlad\u0131. Nancy Holt, Richard Long , Agnes Denes ve Andy Goldsworthy, Earth Work sanat\u00e7\u0131lar\u0131n\u0131n \u00f6nde gelenleriydi.<\/p>\n

Hareket, ekolojik sanat olarak da bilinen \u00c7evre Sanat\u0131n\u0131n geli\u015fimini etkiledi. M\u00fcdahaleci olmayan bir yakla\u015f\u0131m\u0131 vurgulayan \u00c7evre sanat\u00e7\u0131lar\u0131, kendilerini \u00e7evre ile i\u015f birli\u011fi i\u00e7inde ve do\u011fal ortamlarla insan etkile\u015fimini ke\u015ffederken g\u00f6rd\u00fcler.<\/p>\n

Postmodernizmin; Kavramsal, Feminist, Performans Sanat\u0131 (1960’lardan \u2013 G\u00fcn\u00fcm\u00fcze)<\/h3>\n

1960’larda, Kavramsal Sanat, Feminist Sanat, V\u00fccut Sanat\u0131 ve Performans Sanat\u0131n\u0131n geli\u015fmesine yol a\u00e7an \u015fiddetli bir deney atmosferi h\u00fck\u00fcm s\u00fcrd\u00fc. Bu sanat hareketleri uluslararas\u0131 olsa da Amerikal\u0131 sanat\u00e7\u0131lar\u0131n geli\u015fimlerinde ve daha sonra bir dizi e\u011filime y\u00f6nelmelerinde \u00f6nemli bir rol oynad\u0131lar.<\/p>\n

Minimalizmin indirgemeci sadeli\u011finden etkilenen Kavramsal sanat, bir i\u015f kavram\u0131n\u0131n bi\u00e7iminden ve hatta tamamlanmas\u0131ndan daha \u00f6nemli oldu\u011funu vurgulad\u0131. Walter de Maria, Ed Ruscha, Marina Abramovic, Dan Graham ve Alman sanat\u00e7\u0131 Joseph Beuys hareketin bir par\u00e7as\u0131 olan \u00f6nde gelen sanat\u00e7\u0131lardan sadece birka\u00e7\u0131d\u0131r.<\/p>\n

\"\"

Postmodernizmin; Kavramsal, Feminist, Performans Sanat\u0131, Marina Abramovi\u00e7<\/p><\/div>\n

Feminist Sanat, Sivil Haklar hareketi, ortaya \u00e7\u0131kan Gay Pride hareketi ve sava\u015f kar\u015f\u0131t\u0131 co\u015fku d\u0131\u015f\u0131nda 1960’lar\u0131n sonlar\u0131nda, Sanat \u0130\u015f\u00e7ileri Koalisyonu ve Devrimde Kad\u0131n Sanat\u00e7\u0131lar gibi kad\u0131n sanat kurulu\u015flar\u0131, toplumsal cinsiyet e\u015fitsizli\u011fini ve sanat camias\u0131ndaki di\u011fer feminist sorunlar\u0131 ele almak i\u00e7in kuruldu. Judy Chicago ve Miriam Schapiro, California Sanat Enstit\u00fcs\u00fc’n\u00fcn Feminist Sanat Projesi’ni ve kad\u0131n sanat\u00e7\u0131lar\u0131n i\u015f birli\u011fi yapabilece\u011fi ve b\u00fcy\u00fck enstalasyonlar olu\u015fturabilece\u011fi bir proje olan Womanhouse’u kurdu. Mary Beth Edelson, Lynda Benglis , Martha Rosler , Carolee Schneemann , Suzanne Lacy ,Leslie Labowitz , Bia Lowe, Barbara Kruger \u00f6nde gelen feminist sanat\u00e7\u0131lard\u0131. Judy Chicago, hem Feminist Sanat hem de Enstalasyon Sanat\u0131n\u0131n ikonik bir \u00f6rne\u011fi olan Ak\u015fam Yeme\u011fi Partisi (1974-79) ile \u00fcnl\u00fc olurken, Carolee Schneemann’\u0131n performanslar\u0131 Feminist, Beden Sanat\u0131 ve Performans hareketlerine \u00f6nc\u00fcl\u00fck ediyordu.<\/p>\n

1960’larda Performans sanat\u0131, sanat\u00e7\u0131n\u0131n, bazen i\u015fbirlik\u00e7ileriyle veya icrac\u0131larla, sanat\u00e7\u0131 ile sanat eseri aras\u0131ndaki t\u00fcm s\u0131n\u0131rlar\u0131 sildi\u011fi canl\u0131 olaylar\u0131 vurgulad\u0131. Uluslararas\u0131 hareket, Dada, F\u00fct\u00fcrizm ve S\u00fcrrealizm de dahil olmak \u00fczere bir dizi erken avangart e\u011filime dayan\u0131yordu. Performans sanat\u00e7\u0131lar\u0131, bazen “eylemler” olarak adland\u0131r\u0131lan \u015feyleri sahneleyerek genellikle izleyiciyle y\u00fczle\u015fti.<\/p>\n

Amerikan Sanat Tarihi konusu detayl\u0131 olarak makalede anlat\u0131lm\u0131\u015ft\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Amerikan Sanat Tarihi Amerikan sanat tarihi makalesinin temel konusu Amerika Birle\u015fik Devletleri’nde sanat geli\u015fimi incelemektir. Konu k\u0131ta Amerika’s\u0131 genelini kapsamaz. Amerikan Yerlileri Sanat\u0131 Karma\u015f\u0131k geometrik desenler kullanan ve hem do\u011fal d\u00fcnyay\u0131 \u00e7a\u011fr\u0131\u015ft\u0131ran hem de atalara ait ve mitolojik hikayeleri sembolize eden neredeyse soyut bi\u00e7imler kullanan olduk\u00e7a stilize edilmi\u015f bir kelime da\u011farc\u0131\u011f\u0131 geli\u015ftiren bir\u00e7ok yerli kabile […]<\/p>\n","protected":false},"author":1,"featured_media":13024,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[124],"tags":[],"class_list":["post-13014","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\nAmerikan Sanat Tarihi - Arthipo<\/title>\n<meta name=\"description\" content=\"Amerikan Sanat Tarihi Mimarisi \u00d6zellikleri Postmodernizm Pop Art Post Minimalizm Soyut D\u0131\u015favurumculuk Neo-Dada Amerikan \u0130zlenimcilik\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/amerikan-sanat-tarihi.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Amerikan Sanat Tarihi - 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