İdil Sanat ve Dil Dergisi
Cilt 6, Sayı 33  Yaz I 2017  (ISSN: 2146-9903, E-ISSN: 2147-3056)
Engin ÜMER

NO Makale Adı

The category of mimesis in painting has been harshly criticized by modern art. A commonly adopted position in modern art is that the painting is not a mirror which copies nature; it is an expression and representation of the nature. However, the contemporary visual culture is the product of a technology that imitates, copies and multiplies reality. This means that we are faced with two different ways of seeing. Modern art defends the depth of imagery, whereas visual culture equates image with informatics. Paralleling this character of visual culture, painting has also come to possess an imagery which is highly imitative of reality. This hyperreal imagery offers a different aesthetic experience by creating an illusion of excessive imitation of reality. This study focuses on hyperreal images to examine the change of imagery in painting. The main discussion is on what sort of a relationship hyperrealist image has with reality, and how visual culture can be associated with the image approach. The study will describe the changing position of imagery over time, and will discuss hyperreal image and its use in painting in the following sections.The study concludes that the past usage of imagery is not possible today. This conclusion is based on the image approaches of Pop Art and Hyperrealism. The main suggestion of the study is that these movements need to acquire meaning by demonstrating this change in imagery.

Keywords: Visual Culture, Image, Reality, Technology, Modern Art.