Abstract
IN THE PROCESS OF UNIVERSAL KNOWLEDGE OF THE LANGUAGE OF ART AND THE ARTIST'S UTOPIA
Practice and theory in art collectively contribute in emergence of rich narrative techniques. Discussing art in terms of its locus and life conditions in historical positioning leads us to realize significant changes in practice and theory. While the variable processes of perception and knowledge, the new objects and concepts that have been incorporated into social life and the ideational metaphors transform into affluent visual forms, they also wait for being discovered. An overview of the breaking points of the art history will reveal the fact that habits of seeing changed in a revolutionary modus from the animal paintings on the cave walls to the idealist ancient philosophy, from the divine paintings to those tackling with the female form and ordinary objects of the world together with the visuals of products of the human mind. If we were to define art as a sphere for free and experimental thoughts in the new world order, we would see that this way of seeing took the path from the primitive to the classical one, from the modernist and then the postmodernist to the present one. We can observe the fact that historical breaking points in art diverged and differed with regard to the contents and the techniques, and the social and cultural changes of the relevant period. Also as a result of the changes in the fundamental concepts that bring forth the art work, the art productions that evolved and changed from the past to present contributed in the introduction of new and distinct theses to their relevant fields. Liberalization in art concurrently transformed the field of art into a range of experimentation. Art in a territory with ambiguous borders gave a rise to new planes of narration, where the images are rendered visible and legible. In the new world order, the ideology of art took precedence over political and religious ideology, and new metaphorical narrations emerged on conceptual and ideational grounds by diverging from the idealized narrations of utopias. The artist, while even distancing from one’s own images in an age of fast and limitless communication, focused on generating one’s range of experimentation based on the techniques and concepts, the contents and material as picked from the daily life. The hidden concept within the content and message image left behind the form in the atmospheric space and also allowed the emergence of new perception processes that provide mental seeing as departing from the retinal pleasure.
Keywords
Paint, Art, Visual Culture, Perception, Form, Concept
