文章基本信息

标题：DENEYİMLENEBİLEN BİR OLGU OLARAK RİCHARD SERRA’NIN HEYKELLERİNDE BOŞLUK
本地全文：下载
作者：Neslihan ÖZGENÇ ERDOĞDU ; İrem ALAKUŞ ; Medine ÖZEN 等
期刊名称：Ulakbilge: Sosyal Bilimler Dergisi
电子版ISSN：2148-0451
出版年度：2022
卷号：10
期号：70
DOI：10.7816/ulakbilge-10-70-06
语种：Turkish
出版社：Sada Institute of Art and Language Studies
摘要：In the general sense, the void used as the opposite of fullness; It is explained with the concepts of eternity, limitlessness and nothingness. The conceptual definition of the void, which enables movement in it and has an important role in the formation and perception of forms, has changed depending on the perception of reality of time. With the advancement of science in the first half of the 20th century, as the knowledge about the universe increased, the void, which had to be reconsidered in the artistic environment as well as in the intellectual field, turned into an artistic element as important as the mass itself. The void, which is an exciting concept for artists who strive to go beyond the senses, has come to the fore in creating contexts about the reality behind the visible. In the second half of the twentieth century, with Minimalism, the void began to transform into a representation tool and to be questioned in a conceptual framework through the pure formal reality of the object. The void, which goes beyond being something that surrounds especially three-dimensional works, has been used as an artistic attitude in the construction of fullness. In the works of Richard Serra, one of the pioneers of the Minimalist Art Movement, the void stands out like form itself. The audience has an active role in these works, which can be considered as producing the void, beyond revealing the form. The works of the artist, who offers the audience the opportunity to experience the void, were examined in this study and analyzed together with the conceptual framework.
关键词：Richard Serra;minimalism;the void;interval;space