Reflections of the notion eco-aesthetics on the art of sculpture

In this study, the relationship between the eco-aesthetics concept to be considered as an anti-aesthetic concept and the aesthetic and ecological sciences has been examined, its context was discussed and its applications in the art of sculpture were addressedThe occurrence of the concept of eco-aesthetics in the art of sculpture coincides with the discovery of "logically extended area of the sculpture" by Rosalind Krauss in the 20th century. In the first part of the study, the occurrence of the aesthetics science, its field of research and its relationship with art in terms of aesthetic value were addressed. Anti-aesthetic approaches were also examined in three different groups including non-aesthetic approach to the art. In the second part of the study, the emergence of eco-aesthetics referring to ecology and perception phenomenon of Merleau Ponty was discussed. Eco-aesthetic applications experienced with the emergence of eco-aesthetic notion in the art of sculpture was emphasized by analyzing the historical transformation of the form in the art of sculpture. In the third part of the study, examples that could be included in the eco-aesthetic sculpture category were examined under nine titles. Different dimensions of eco-aesthetics were addressed in these examples.