The desire of the world of Western thought to create a language with perfect rationality to represent the world precisely has brought the reality into a process of reproduction in a concept or artwork. But as a result of a series of changes that began in the 1900s, there were radical transformations in the perception of reality. Now what we call reality is not conceived in an immediate spontaneity. The way we perceive reality together with the impressionist picture is involved in the subject of the picture, that is, it has become inevitable to investigate the relationship between the perceived and the perceiver. It is concluded that our perception of things within this relationship with cubism does not contain certainty, and both the perceived and perceiverare suspicious. All the attempts of modern art for a more accurate perception, at the end of artistic propositions, could not escape the feeling of failure.
At the end of this process, there is a belief that this representation is not possible. From this point on, western art has taken a new phenomenon into its agenda. If such a representation is not possible, perhaps the only thing to do is to show that we cannot represent. This was the negative pole of the representation. In this way, the abstract, symbolic forms of this negative representation will be seen.
Keywords: Modernism, art, representation, symbolic, abstract
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