Post-1960 representations of place extending from the two dimensional illision of place to real place

Space is a factor that surrounds, transforms and limits people. Throughout history, people have tried to explain their beliefs and the questions they ask themselves to the best of their knowledge, and they have tried to reflect this in the paintings and sculptures they made. They made the pictures they drew on cave walls or the giant symbols they left in nature in line with their beliefs. Art in the European Middle Ages also followed similar principles. We see that he wrote works on the 13th century psychology of vision that what is beautiful should look real. The concern for space in painting paved the way for the understanding of perspective to develop in line with Giotto's ideas about its solvability. With the Renaissance, the religious understanding of space ended, and with reason, two-dimensionality was replaced by the illusion of depth of space and three dimensions. The invention of photography deeply shook the perception of space reality in painting. With impressionism, fast and instantaneous works, as a breakdown of pictorial perception, became important as space and light gained importance, and color ceased to be a tool and became the biggest goal in reflecting the space. The fact that objects change under the influence of light depending on time in the space has brought about new searches. By removing the illusion of light on the colors in the space, Matisse went down to the essence of color and ignored volume and mass by using their pure form. The fact that these concepts of time and space are interdependent entered the picture with Cubism. The concept of "time" was now very important in painting. With the understanding of "formlessness" in the 1960s, a new era began in which object and space were questioned. This understanding eliminated the definition of painting and sculpture and gained importance that painting, and sculpture are intertwined and should be perceived together with the space. Frank Stella's sculptural canvases are evidence of this, and he abolished the tradition of pedestals in sculpture. With the concept of "White Cube", the reality of the gallery space was questioned, and the boundaries of the gallery space were exceeded, just as the boundaries on the canvas surface were exceeded. It brought with it art movements that could only be done in nature, such as land art and nature art. Thus, nature turned into art, and art turned into nature. In part I, the definition of space is explained. The paintings that people made in caves, large areas and walls before Christ were examined. With the birth of the Renaissance, the effect of perspective on space was emphasized. The use of space in the works of artists until the 18th century was examined. II. In the chapter, important concepts in art after 1960 are mentioned. The definition of the changing gallery space was emphasized. The works of artists who inquired about space from 1960 to the 21st century were examined. III. In this section, the use of space in the works of artists from the 21st century to the present was examined. IV. In this section, the use of space in the Works Turkish artists was examined. The use of space in İrem Koçan's Works was, examined though reading the work. As a result, the boundaries of art moved to nature with the abandonment of the gallery space have been removed. Permanence in art and space is no longer important for the 21st century artist. It has been concluded that the process of change will continue with innovations in the field of science and technology.