1950 Uyumsuzlar Vakası

Amerika Birleşik Devletleri’ndeki modern sanat hareketleri, dünyaca ünlü sanatçıların New York’ta ağırlandığı meşhur Armory Show (International Exhibition of Modern Art) ile 1913 yılında başlamış ve yüzyılın ikinci yarısına dek süren sergiler ile zirveye ulaşmıştır. Bu sırada en önemli tartışma, yeni hamlelerin, modern sanat kavramına Amerikan kimliği kazandırılarak sürdürülebilmesi olmuştur. Savaş mağduru Avrupa sanatçılarının akınına uğrayan New York’taki müze ve galerilerin söz konusu bu gelişimi hızlandırdığı yadsınamaz bir gerçektir. Öte yandan New York, pek çok sanat akımının yeniden gündeme geldiği, biçim değiştirdiği ve dolayısıyla evrensel nitelikte sanat hareketlerinin en yakından gözlemlenebildiği yer haline de gelmiştir 20. yüzyılın ortalarında. Bu sırada güçlü aile şirketlerince desteklenen müzeler Amerika’nın cezbedici bir sanat merkezi edinmesini kolaylaştırırken sanatsal yenilik arayışından vazgeçmeyen birkaç öncü ressamın katkısını göz ardı etmek de olanaksızdır. 1950 yılında yaşanan bir olay ise Amerikan sanatındaki modernleşmenin bu iki pay sahibini karşı karşıya getirmiş ve kısa süreli de olsa önemli bir tartışma başlatmıştır. Birleşik Devletler’in en eski ve de büyük müzelerinden bir olan The Metropolitan Museum of Art’ın düzenlediği ulusal resim yarışması ülkenin öncü ressamlarınca ağır şekilde eleştirilmiştir. Güncel sanat dosyalarında rastlanması pek de mümkün olmayan; arşivlerin derinlerinde kalmış bu olayın detaylarını öğrenmek, Amerika’daki öncü sanat hareketlerinin tarihi açısından önemli fikirler edinilmesini sağlayacaktır.

Anahtar Kelimeler:

The Life Dergisi, Metropolitan Müzesi, New York, Uyumsuzlar, Öncü-Sanat

The Irascibles Case, 1950

Modern art movements in the United States started with famous Armory Show (International Exhibition of Modern Art) through which renowned artists were hosted in New York in 1913, and reached its peak with the exhibitions continued to the second half of the 20th century. Meanwhile, the most important argument was the sustainability of the new moves bringing American identity in the concept of modern art. It is an undeniable truth that museums and galleries in New York, which were flooded by aggrieved European artists, accelerated this evolution. On the other hand, in the mid-20th century, New York turned into a site where many art movements came to the fore again, transformed and thus universal art movements could be observed most closely. Meanwhile, while museums supported by powerful family businesses facilitated United States’ being an attractive art center, it is impossible to ignore the contribution of some pioneering painters who did not give up their quest for innovation. Besides, an case in 1950 brought the two figures of American modernism against each other and started an important short- term discussion. The national painting competition organized by Museum of Modern Art, which is one of oldest and biggest art museums in the United States, was heavily criticized by avant-garde artists in the country. Learning the details of this event, which is unlikely to be found in actual art files, will provide insights into the historuy of avant- garde art movements in the United States.

Keywords:

The Life, Metropolitan Museum, New York, Irascibles, Avan-Garde Art,

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