COMMERCIALIZATION OF ART IN THE CONTEXT OF CONSUMPTION CULTURE

The Enlightenment philosophy, inspired by the intellectual movements of the Renaissance and Reformation, emerging from the scholastic darkness of the Middle Ages, led to the emergence of the Industrial Revolution with its strong light; With the great acceleration given by the production, it has become the dominant ideology of science, culture and art by spreading first to Europe and then to the whole world. Modernism, which was shaped by the idea of Enlightenment, transformed into capitalism in a short time and caused the formation of a consumption culture. The enlightenment ideology brought the understanding of "objective reason" and "progressive history" to humanity, which transformed it into a consumer society shaped by capitalism instead of the "promised paradise". This is why the 'Age of Modernity' is called the age of capitalist transformation. The spread of capitalism to the whole world has been achieved through mass communication and production techniques. TVs, which are the broadcasting organs of capitalism, have become the main tool of capital transformation and have ensured the spread of consumption culture with advertising and marketing techniques. Modernism has carried the material, thinking and comprehension stages of art to a materialistic dimension within a structure that is far from emotional, formed by a technocentric and mechanical mentality. Art integrated with technology has become commodified with capitalist regulation and institutionalization; has gained a commercial dimension. Pop Art, which emerged in the 1960s, has become the symbol of commercialized art; It has emerged as an art movement that deals with the consumption society and its values. Andy Warhol, the famous representative of Pop Art, is one of the artists known to play a role in the commodification of works of art. Warhol's art has made serious contributions to the process of transforming today's art into commodity aesthetics. Meta art/aesthetics is a tradeable world of copies. This artificial world has turned into the real world in the consumer society, which can be reproduced in line with the possibilities of art production technologies; They have become objects of consumption whose uniqueness has been lost. Keywords: Art, Consumption Culture, Commercialization, Kitsch, Andy Warhol

Marilyn’s Dyptich: The Evolution of the Image from Pop Art to Thrash Art (to the 95th Anniversary of the Birth of the Actress)

Marilyn Monroe is already a mass culture personage. Andy Warhol created an image that removes us from the original source, on the basis of impressions associated with the life of a real person. The diptych has turned into a kind of template that can be easily filled with different meanings. The author of the article reflects on the characteristic features of this template, which is often used by contemporary artists to reproduce. The question of the citation of this diptych in the culture of the second half of the 20th century is quite well studied. But the experience of a specific kind of appropriation of this image by artists of the new millennium has already accumulated. Among them, the masters of thrash art are of particular interest: Vik Muniz and Jane Perkins. It is significant that they do not refer to the numerous photographic and film images of Marilyn Monroe. They refer specifically to the template created by Andy Warhol. They play with it, translating the substantive problems of this famous diptych into the plane of design.

The Emergence of Creative Leaders Within Social Networks: The Case of Andy Warhol in the Art World of New York

The creative leadership literature has identified personality traits, skills, states, and behaviours which are effective within creative contexts and organisations, but it is yet to address how creative leaders emerge from social networks. This conceptual paper delineates the processes of creative leader emergence within the context of contemporary visual arts. Using a relational view of creative leader emergence, this paper incorporates the leader emergence processes of achievement and ascription, and then adjusts them to the context of the art world. We argue that both competence and identity contribute to the status construction of creative leaders by enabling their emergence within social networks. In addition to the processes of leader prototypicality through which leaders emerge within groups, we also identify processes of leader atypicality through which creative leaders emerge within network structures. Finally, our conceptual analysis is illustrated by the case of Pop artist Andy Warhol, focusing on his emergence as a creative leader within the art world of New York and his art studio, the factory.

Jayne Mansfield

Jayne Mansfield (1933−1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In the first definitive biography of Mansfield, Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves -- including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay -- her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest.

DAILY OBJECTS AND POPULAR CULTURE IMAGERIES IN DAVID HOCKNEY’S WORKS

The aim of this research is to investigate the reasons why David Hockney addresses daily objects in his works. At the same time, it aims to reveal the nature of the relationship between popular culture and daily objects. Thus, the types of differences between Hockney and his contemporaries will be identified; while determining how pop artists reflect popular culture on their works. The scope of the research includes an analysis of David Hockney’s works. By including works from artists such as Henri Mattise, Andy Warhol, and Fikret Mualla; their relation to the subject has been presented. The subject of this research bears importance in terms of providing a criticism of current issues that are based on daily objects in art. Therefore, the research is divided into artists and eras that can serve as a reference for daily objects and popular culture imageries. The research problems can be listed as: what are the characteristics that separate David Hockney from his contemporaries, why does David Hockney require daily objects in his art works? What is the nature of the relationship between daily objects and popular culture? Are daily objects in art a product of popular culture? In what context do the works of Hockney and Matisse show similarities? What is the connection between daily objects and Duchamp? Are daily objects in art a critique of modern art? It is expected that the answers to all these questions will shed a light on popular culture imageries and art today, along with David Hockney’s works. Thus, once more, this study intends to create awareness to the association of “art and life,” which is frequently used alongside modernism. Keywords: Popular culture imageries, daily objects, David Hockney, mass culture, art and life

[Re]readings of the perfect. Mysticism of James Lee Byars

The complex contextualization of the work of James Lee Byars (1932–1997) in contemporary artistic practices was determined by its timelessness in both form and concept. Considered by Kevin Power as one of the key artists of the second half of the twentieth century alongside figures such as Joseph Beuys and Andy Warhol, his legacy seems to have declined probably because of the discomfort caused by the approach to his work, since any previous consideration and attempt at cataloging, escapes through the loopholes on which they are based. Byars’ performances and pieces were mostly structured around the cryptic concept of perfection. The artist’s mission, in this case, takes on the roles of a shaman and a magician who questions the illegibility of a world whose materialism seems to have expelled any consideration of the sacred, thus articulating a work that, far from providing answers, raises questions about the ultimate meaning of life. Gold, geometry, time (and its transience), space (re-signified by his cultural heritage), language and the body expressed a proposal in which installations and actions are the instruments he uses primarily to question us about the big questions. Byars in this sense has been considered a mystic, since he places us at the doors of a new perception to make us uncomfortable and provoke us, to transmit us the questions about being in the world. This article is modulated on the poetics of the work, thought and actions of James Lee Byars, one of the few contemporary artists who can be defined as mystic in the broad sense of the word and for whom the sacred, contrary to the current of unidirectional thought, is inherent to the contemporary subject.