Abstract
While mimetic representation (the act of copying or imitating nature) has long been a prevalent method in art production, it is evident that significant shifts occurred in the 20th century, commonly referred to as the modern era. Specifically, the classical tradition of optically representing nature came to a close with the advent of Cubism. Furthermore, movements such as Surrealism and Dadaism introduced poetic and political dimensions to the object-subject relationship, disrupting the established link between rational optics and visual reality. This period of modern art also witnessed a concerted effort by artists to cultivate personal attitudes and uniqueness in their work, thereby expanding their identity beyond the confines of the studio and into the broader social and political sphere. This epoch marked a pivotal transition from reflection and imitation to the incorporation of real objects in artistic expression. Beginning with surrealist manipulations and cubist collages, and epitomized by Duchamp’s concept of the ready-made, artists embraced found objects and industrial materials as legitimate mediums. This shift in artistic practice fundamentally altered conventional definitions and paradigms in art production, challenging the notion of the representative image and prompting a reevaluation of the relationship between art and reality. In this study, the implications and transformations brought about by the use of ready-made objects in artworks will be examined alongside specific sources and productions in art history, and attempts will be made to evaluate them through certain observations.
Presenters
Fusun CaglayanProfessor, Painting, Sakarya University Faculty of Art Design and Architecture, Sakarya, Turkey
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Mimesis, Artobjects, Readymade,Real, Representetion
