Art, power, body

Art, which can be regarded as a concretized form / reflection of parts of the most creative modes of production and action of the human species, does not possess a nature that comes to existence by the free will of the artist only, in all ages of humanitarian progression. The power phenomenon, the influential strength of which is felt in almost any area that life touches, had also materialized its existence through artistic compositions at certain periods. Within a more generalized approach, the concept of power had influence whether directly or indirectly, on human beings and thus, the art, being the resultant outcome of a creative production process conducted by the artist, in many ways and for centuries. Moving from the perspective of Munci Kapani, who tends to define art as "ability to influence and control others' behaviors", it is possible to keep a track of the traces of this interaction (in the context of power-individual relations) down to prehistoric times. In this relation, the power can be conceptualized as anything and everything that has influential and/or convincing power on the individual and references can also be drawn from prehistoric ages. When a scan is performed across scholarly articles published hitherto, the common presumption about people's drawing of animal figures on cave walls is noted as the will and intent of the human being as a species to gain power against another species. Moving on this presumption, it may well be said that such data engraved on cave walls are among indicators of humanitarian war against another species to gain and declare power. Over time, with emerge of new forms of rule (i.e. religious, political and economic etc.) the influence of power on art and the artist also varied. The sanctioning power of the ruler led to creation and use of arts for the benefits and goals of the ruler. Art was exploited as a means serving religious, political and economic interests, for a long period of time. During the periods in which art was used in service of holy interests, the most major means used by artists in conveying their messages to people in their communities had been the human body. At a time when politics reshaped art into a tool of publicity, the human body was pictured or reformed in such a way to directly convey messages, in order to influence public in masses. Forthwith upon the second half of twentieth century, the usage mode of body in arts x changed radically. The body replaced its image or form as revealed by the artist, with itself in bone and flesh as a direct art object, according to the narrations in books written on history of art. This novel form of presentation of the body, which had a revolutionary character in arts arena is not an outcome of only a search for something new or something different. Body, which was used as an object of ruling power and thus of art, then started to reveal itself with its material presence at first hand. It is observed that the artist undersigned more contemporary and radical productions on art arena, together with the ever-changing global conjuncture. The art-performing individual as the creator of art movements that lure interest with its resisting positions against various forms of rule would no longer draw its power from a guardian or protector or church or the sympathy of a dictator, but, from its free will. This liberty has not been a concept the boundaries of which were demarcated by the artist, however, it should still be regarded as a concept with excessively extended context, compared to previous times. Key words: Art, power, body, artist