RESİMDE ANOMALİ
ANOMALY IN PAINTING

Summary/Abstract: The anomaly was given as a perversion in the Turkish Language Institution as a word. If it is a glitch In the primary sense, the condition of not following a certain measure, a certain rule, in the secondary sense, is not an illness, but deviating from the normal state is given as an anomaly. At the beginning of the 20th century, the traditional understanding of art started to undergo a radical change. It is necessary to evaluate this process in the context of technology, social life, change of military and political policies. Each of them influenced art directly or indirectly. Especially the developments in the technology field broke the traditional shell of the art and apart from the unusual rule, artifacts started to emerge, the connection between the artwork and the audience has changed. In this context, many artifacts contain anomalies. As an example, foreign objects used on the canvas surface other than traditional paint mixtures are an indication that the picture is anomaly. In this research, the studies in the works of Robert Rauschenberg, Anslem Kiefer, Rik Garret, Maria Penil Cobo, Bedri Baykam were made in the context of the subject. At the beginning of the 20th century, traditional art began to experience a change in its understanding. When the progress of this process, the diversification of social life, and the change in military and political policies are evaluated, each of them has had a direct or indirect impact on art. Especially, the traditional shell of developments in the field of technology has been broken and irregular and unusual works have begun to emerge, and the bond between the work of art and the audience has changed. Thus, commercial paintings containing very different materials and technology have turned into paintings containing deviations, that is, anomalies. Especially from the 1950s until today, many artists have produced very advanced and fragmented works and have completely examined traditional methods. In this research, studies were made on the plastic of the painting in the context of the use of materials in the works of Robert Rauschenberg and Anselm Kiefer.

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