The shift of arts from conventional forms
of canvas- painting and sculpture to collage, ready-mades,
installations and performances as it had occurred in the
history of western art follow a linear and natural
unfolding in parallel with sociopolitical evolvements. In
the case of Turkish visual arts, this kind of a
transformation projects between 1960s to 1990s where the
face of arts change not smoothly but rather in the form of
a 'rupture' as new tendencies are embraced, practiced,
applauded and exhibited; substituting the traditional forms
of art- making in Turkey. The hypothesis, while seeking the
possibility of naming this transformation as a 'rupture',
runs in order to single out the contributions of
significant women artists of the period, Füsun Onur, Ayse
Erkmen, Canan Beykal, Gülsün Karamustafa and Nur Koçak;
whose visibility, active participation, production and
unique artistic style happens to conquer the scene. As the
most remarkable figures active between 1970 and 1980, they
help move fine arts in Turkey out of the canvas into
'conceptuality' as new subject matters, forms and concepts
are integrated within the artistic representation and
composition.