پديد آورندگان :
اكبري، عباس نويسنده , , خسروي فر، شهلا نويسنده ,
كليدواژه :
پست مدرن , جُرج سگال , مجسمه سازي , مولفه هاي پست مدرنيستي
چكيده فارسي :
در آثار بعضي از مجسمه سازان معاصر، به مولفه هايي بر مي خوريم كه بسياري از منتقدان و صاحب نظران دنياي هنر آنها را به عنوان مشخصه هاي جنبش پست مدرنيسم مي شناسند. مولفه هايي همچون تكثرگرايي براي نمايش بي حد و مرز قوميت ها و مليت ها، گرايش به واقعيت و به ويژه واقعيت هاي اجتماعي، قالب گيري از پيكره ي انسان براي نزديكي هرچه بيشتر به واقعيت، نمايش آثار در محيط و مكان هاي عمومي به دور از موزه ها و گالري هاي هنري براي ارتباط بيشتر و بهتر با مخاطب و درك بهتر مفهوم و ايده ي اثر و... . يكي از اين مجسمه سازان جرج سگال است. ظهور اين مولفه ها در آثار سگال نه تنها جايگاه وي را به عنوان يكي از آغازگران جريان پست مدرنيسم در مجسمه سازي تثبيت كردند، بلكه به گونه اي او را در خلق آثاري شاخص براي بيان ايده ها و مفاهيم اجتماعي، فرهنگي، سياسي و... مد نظرش ياري رساندند. اين مقاله سعي دارد، با شناخت اين مولفه ها در شيوه ها، ايده ها و زمينه هاي نمايش آثار وي به معرفي سهم و جايگاه اين هنرمند به عنوان يكي از هنرمندان آغازگر جريان پست مدرنيسم در مجسمه سازي معاصر بپردازد.
چكيده لاتين :
Art critics have recognized some characteristics in contemporary sculptors that are basically postmodern. Characteristics such as pluralism have been to reflect infinite variation in nationalities and cultures, realism especially social realities, the molding of the human body as a way to approach reality, displaying sculpturs in natural & public environment and apart from Museums & art galleries to reach the audience, and effective experssion and perception of the sculpture. These characteristics have contributed a lot in exprssing and producing social, poletical & cultural, concepts,and etc. One such sculptor that used these characteristics to created his works is George Segal. How ever Segal was considered to be a founder of the Pop Art movement in the early sixties, but his individual approach quickly distinguished him from the friends and colleagues with whom he exhibited. Far removed from the wit and sophisticated detachment of their art, the subject Segal deals with is the human condition, its solitude and fragility, which he expresses with a strongly felt sympathy. For those who associate Segalʹs name solely with life-size white plaster figures, a characteristic that was the diversity of Segalʹs art from another his contemporary artists. In fact Segal is known for his tableaux of life-sized cast figures. In this process he used medical bandages or began pouring plaster into his casts, then using them as moulds to obtain more detailed figures, which he then usually painted a single bright hue. which technique that Segal altered to this in the mid-1970s helped him that established him self as a pioneer of post modernism movement in sculpture. Segal’s work technique possibly hides much detail in the human figure this ambiguity of the figures features, not to mention the white tone they are painted, indicate no specific race, or racial preferences for that matter. These figures could represent many racial and ethnic backgrounds. Segal’s sculptures, focused on wit and sophisticated attachment, in favor of displaying the human condition.They frozen in stereotypical poses and he installed them in a realistic placed in modern, everyday settings, situations & environment and gave them an "eerily feeling of isolation". His sculptures are simultaneously familiar in their form and subject and haunting in their ghostly stillness. These realistic scence made even more real by the addition of ready-made props evoking the urban decor, Segalʹs figures, which convey his keen sense of observation, serve as symbols of a humanity that is dominated by social and material contingencies. His works, which juxtapose individuals and their surroundings, emanate an eerie feeling of alienation. In addition to representing the banality of modern life, Segal has created sculptural portraits, depictions of intimate activities like bathing and dressing, as well as overtly political subjects. With this works Segal treats conscience as an inner voice. He takes the urban landscape for a universal symbol of despair. Ironically, he thus tends to put conscience beyond politics and beyond place. This paper investigates, these post modernism characteristics in his works to identify his role and contribution in Postmodernism Contemporary Sculpture.
