References in contemporary art: An examination on the concepts of appropriation and reference in the difference of modern and postmodern art

In this study, the phenomenon of references in contemporary art is discussed. Art history is full of countless examples in terms of relations, connections and references between works. Many works of art appear in a form of reproduction that reconsiders other works of art made before them. However, it has been observed that references to other works of art have increased significantly in contemporary art, especially since the 90's, and this is particularly noted by most writers. The research aims to show the causality of this situation, which has developed from the 90s to the present, together with other variables. Does this situation correspond to an artistic blockage in terms of contemporary artistic productions or should it be considered as an indicator that reveals the spirit of the time? Are artistic reproductions, references, quotations, turning to history, and appropriation a possible situation inherent in the period we live in? In terms of the postmodern situation, modernism, art, avant-garde, history, reality, etc. Are there any differences between the use of historical references and references in art and the practices that are often called appropriation art in terms of today's art in a process where the end of many concepts such as If so, what are these differences and how can they be explained? In order to find answers to such questions, the research examines artistic references by exemplifying from modern art to the present. In addition, it also traces the avant-garde art from the beginning of the 20th century to the present, by associating it with the theoretical discussions that affect the process in connection with the subject. With the general use of art historical references, the differences in the practices called appropriation art are shown. In terms of theorizing the art of appropriation, the effects of the concepts of postmodernism, poststructuralism and intertextuality are discussed. At the beginning of the facts that cause us to discuss the art of appropriation today, Sherrie Levine, Mike Bidlo and Cindy Sherman's experiences of appropriation art come first. The application studies chosen for this research constitute a breakdown of the use of artistic references and references that the researcher frequently used in his artistic productions from the beginning of the 90s to the present. The works in question do not constitute an example of artistic appropriation or the art of appropriation. The researcher deals with the direct or indirect references he makes in his products in the context of his own artistic theme. İs not. Regardless of the subject, the researcher used his personal experience and knowledge in his studies to the extent necessary. In the production process, it makes use of everything that constitutes its accumulations connotatively. These associative stimuli can be related not only to the field of plastic arts, but also to other art disciplines such as cinema, theater, poetry, story, art theory, history, philosophy, etc. can be from many different fields.