Theses supervised by Prof. Dr. Marcus Graf
32 theses · Feyziye Schools Foundation Işık University, Yeditepe University
Alter ego ve personanın sanatsal faaliyetteki rolü
Bu tez, artist sıfatının geçirdiği evrimi incelerken bu sıfatın içindeki değişmeyen ve değişen özellikleri ele alacaktır. Artist olan herkesin sanat yapıyor olması, sanat yapan herkesin bir artist olduğu manasına gelmemektedir. Bu yüzden metodoloji olarak antropoloji, sanat tarihi, felsefe ve sanat eleştirisi kullanılarak eserler üzerinden artist tipolojileri incelemeye alınmıştır. Bu calışmada batı sanatında artistin bir sıfat haline gelişi, özgünlük ve özgürlük meseleleri üzerinden irdelenmiştir. Ego halinde ortaya çıkan artist ile alter ego olarak beliren artist kimliği arasındaki benzerlikler ve farkılıklar ortaya konmuştur. Çalışma kapsamında farklı zamanlarda yaşamış artsistlerin ortak yanlarının özgünlük, farklılıklarının ise özgürlük olduğu tespit edilmiştir. Bu tez artistlerin postmodernizmden sonra ego ve alter ego yerine bir persona yarattığını savunuldu. Bu personanın ise artistin özgünlük ve özgürlük meselelerine aykırı olduğu vurgulandı. Türkçede sanatçı sıfat olarak kullanılmazken batıda ise "digital artist", "photography artist", "video artist", "tattoo artist", "installation artist" gibi terimler artist sıfatındaki özgürlük manasını yok edip türkçedeki sanatçı anlamına getirmektedir; bu da artistin doğasına aykırıdır. İnsanların çoğunluğunun bir sanatsal persona yaratmaya çalıştığı bu dijital çağda bilgi kirliliği oldukça fazladır. Özgünlük ve özgürlük ilkelerine özünde sahip olan artist, bir isim olarak herkesin kendine yakıştırabildiği dijital etkileşim çağımızda anlamını tamamen yitirmiştir. Bu etkileşim çağında paylaşımları ile beraber en çok öğretebilen olmak da mesele olacaktır. Geleceğin artistinin, "Bilgiyi tecrübe ettiren bir hayat öğretmeni" olması kaçınılmazdır. Bu yüzden, "Geçmiş, Günümüz, Gelecek Artist Tipolojisi" bu tezde incelenirken gelecekte olması gereken bir artist tipolojisinin de üzerinde durulmuştur. Anahtar Kelimeler: Ego, alter ego, persona, artist, davranış biçimi, özgünlük, özgürlük, avatar
Understanding the approaches of millennials and generation z to art collecting and its impact on art market dynamics
This thesis explores the shifting paradigms within the visual art world driven by the emerging generations. Through a blend of sociological, cultural, and economic perspectives, the study delves into the evolution of art collecting from traditional paradigms to contemporary trends, with a focus on the influence of Millennials and Generation Z. The research is motivated by a curiosity about the changing dynamics of the art market and a desire to forecast its future trajectory. By examining the selection criteria of buyers, socio-cultural tastes, and the evolving perspectives of today's youth, the study aims to decipher the implications for future art production and sales. Drawing from a wide array of sources including published theses, books, journals, reports, and oral interviews, the thesis presents a comprehensive analysis of the subject. Notably, insights from eight art gallery representatives in Istanbul provide a valuable perspective on the local market dynamics. The findings highlight a notable shift in the art market, propelled by the preferences and behaviors of young collectors. With a blend of passion, status consciousness, and environmental awareness, Millennials and Gen Z collectors are reshaping the art landscape. Their digital fluency and preferences for easy access to art are driving galleries and institutions to adapt marketing approaches to attract this demographic. Furthermore, the thesis underscores the multifaceted role of art in contemporary society, ranging from aesthetic pleasure to a means of self-identity and investment. Through an exploration of historical trends and contemporary observations, the study sheds light on the transformative power of digitalization in the art world. In conclusion, the thesis fills a critical gap in the literature by offering a unique exploration of the evolving landscape of art collecting, driven by the emerging generations, and anticipates a future where the tastes and preferences of Millennials and Gen Z will shape the direction of the art market. By understanding their perspectives and adapting to their preferences, galleries and artists can navigate the evolving landscape and harness the potential of these dynamic generations.
Art policies and strategies in Istanbul's public space
Art Policies and Strategies in Istanbul's Public Space The present study starts with the definition of Jürgen Habermas' intensely discussed concept of public space as it is an area that is open to all individuals, irrespective of their gender, race, ethnicity, age, or socioeconomic status, where there are equal conditions between them, and the discussions are actualized in a safe and comfortable environment. It is vital to understand the public space notion and its worldwide history that resonates significantly with structural transformation of democratic society. In this context, collective interaction and cohesion encounters a significant manner of cultural development. Habermas defines the public sphere as the space where private individuals engage in reasoning, debate, and public opinion-forming activities on common concerns. Salons and coffeehouses were the spaces where publicity emerged. The existence, functions, and development of these places are vital for the existence of public space. Public art forms cultural identity and collective memory, engages people with their environment and addresses social issues. Moving art beyond traditional spaces like museums and galleries and into public areas like parks and streets enhances community development and meets the public's artistic needs more effectively. After September 1980, Turkish art market formations changed, leading to new exhibition practices. Diverse artistic approaches in public spaces are needed, especially in Istanbul. In this context, both the public and the authorities have a great role in the development of art in the public space. This thesis aims to contribute to the understanding of contemporary art practices in Istanbul by offering valuable insights into the dynamic interactions between art, public spaces, and institutional frameworks by examining the approaches, strategies and exhibition practices implemented in Istanbul's public space through local authorities, private institutions, and events such as the Istanbul Biennials. The thesis examines art exhibitions within art centers established by local authorities, since they are open to the public, and thus become public spaces. Keywords: Public Space, Art in Public Space, Public Art Exhibition, Istanbul
An investigation on the evolution of Turkish pavillion at Venice Art Biennale
Even though Turkey has been participating in the Venice Biennale since 1991, it only recently obtained a long-term venue and pavilion in 2014, due to the initiative of the Istanbul Foundation for Culture and Arts (IKSV, 2024). This study intends to research the Turkish Pavilion's development at the Venice Biennale between the years 2003 and 2022 by focusing on curators, curatorial frameworks, artists and artworks. The goal of this thesis is to decide upon a model from among these exhibitions that will consolidate the position of the Turkish Pavilion to warrant a venue at the Venice Biennale in future. For the methodology, I intend to conduct research at the online Historical Archives of Contemporary Arts (ASAC: Archive Storico Delle Art Contemporanee), I will analyse not only archival materials as case studies, but will also conduct interviews with curators and artists of the selected biennials. Finally, I intend to review national and international literature in order to collect relevant data. Keywords: Artist, Curator, Exhibition, Turkish Pavillion, Venice Biennale
Use of text in Fluxus
Fluxus was ignored and neglected in art historical studies in the 1970s and 1980s, and has a wide influence on contemporary art practices today employing performance, happening, text, and ready-made. Fluxus was an interdisciplinary movement in which text has been used excessively. This thesis presents a chronological examination of the use of text from the Arts and Crafts Movement to the emergence of Fluxus in the 1960s. It seeks to answer how the text has been used before Fluxus and how Fluxus artists used text regarding i) form ii) content iii) language use and display. Five Fluxus artists' text-based works were analyzed with close reading and literary analysis techniques. The findings have shown that Fluxus is a proto-conceptual movement, Fluxus artists use text in various forms and deconstructively, and poetically, use it as instructions for the realisation of performance, and use language as a tool to liberate from the logical and linear structure of language in order to be free from artistic categorizations. Keywords: Text art, Anti-art, Language and art, Fluxus, Fluxus and text use
New technologies and NFT: Classification, challenges in the Türkiye online art market
The main purpose of this study is to delineate the boundaries of the online art market that has emerged with the new opportunities brought by contemporary technology. The similarities between the online and traditional art markets are explained through conventional marketing methods, while the differences are examined using digital marketing strategies. Digital marketing evolves with technological advancements and incorporates 'experiential marketing methods.' Just as traditional marketing methods benefit the conventional art market, the online art market—developing over time—adapts these experimental marketing methods in line with its sectoral traditions. From the emergence of Web 1.0 to the advent of Web 4.0, technological capabilities have expanded, from enabling internet use by art actors to the adoption of online platforms and, now, the exploration of metaverse spaces. This study explores the new challenges and opportunities technology has introduced to the art market, focusing on the creation and application of essential knowledge. The study provides clear definitions of the traditional and online art markets, presented in an updated table that includes global applications. This table serves as a framework for evaluating whether and to what extent Türkiye employs the same technologies concurrently. Through precise definitions of digital and experiential marketing, it is revealed that many so-called virtual museums and galleries function merely as online organizations. Consequently, the role of NFTs in the art market and the boundaries of the metaverse concept—topics that have gained popularity and sparked extensive discussion among researchers—are clearly defined.
Examining the weintraub model for the classification problem of ecological art
This thesis examines the classification challenges of ecological art through Linda Weintraub's integrative model. It emphasizes that key concerns of ecological art include the function of sustainability and the holistic relationship with the Earth. The study evaluates the model's potential to unify fragmented definitions and provide a comprehensive framework for understanding eco-art practices. Artists and movements are analyzed through this lens, highlighting the model's ability to reflect ecological multiplicity and aesthetic diversity without imposing rigid boundaries. In the first chapter, the foundational terms ecology and environment are defined, and the interchangeable use of these terms is addressed by exploring their similarities and differences. Their meanings as scientific disciplines and their influence on ideologies and social developments are also discussed. The second chapter focuses on the leading approaches to defining and classifying ecological art, comparing their similarities and differences. The third chapter explores interwoven art movements since the 1960s and the contributions of pioneering artists. In the fourth, fifth, and sixth chapters, the classification problem of artistic genres related to environment and ecology is analyzed through the model presented in Weintraub's 2012 book To Life!: Eco Art in Pursuit of a Sustainable Planet. This model is based on a deliberately limited selection of artists, respecting diversity in both artistic and ecological terms. It is considered to contribute to the literature by offering a unifying structure at points where ecological artworks share material, practice, and conceptual approaches. The study is based on a literature review method.
Istanbul Toy Museum in the historical context of Toy Museums
The history of toy museums, recognized as a novel phenomenon within the field of museology, encompasses their founding objectives, establishment narratives, societal contributions, and cultural variations. This research aims to compile these aspects into a comprehensive resource on toy museums, with a particular focus on the Istanbul Toy Museum.
Scorporate identity, image, reputation, and crisis management in art institutions
This dissertation has been prepared with the aim of examining the roles that art institutions play within the context of strategic communication components such as corporate identity, corporate image, reputation, and crisis management, adopting a multidimensional analytical framework.. Corporate identity comprises a combination of elements such as an institution's vision, mission, values, history, and cultural positioning. The manner in which art institutions construct this identity and communicate it to external stakeholders directly influences their corporate image and reputation. Corporate image refers to the public's perception of an art institution and is typically shaped by factors such as media representation, audience experience, the quality of cultural production, and the institution's social responsibility initiatives. Key determinants of an art institution's long-term reputation include credibility, transparency, cultural inclusivity, and the attitudes exhibited during times of crisis. Crisis management encompasses the communication strategies that art institutions employ when faced with sudden, unforeseen situations that often pose risks to their corporate reputation. This study addresses the four fundamental components outlined above—identity, image, reputation, and crisis management—within a theoretical framework, aiming to illuminate the communication strategies of art institutions and contribute to the body of literature on cultural communication. Additionally, it seeks to provide practical strategic recommendations for art managers, curators, communication specialists, and cultural policymakers, thereby shedding light on decision-making processes within this field.
As is painting so is poetry: Use of text in visual arts
Since ancient times, text has found its place in the visual culture, therefore in visual arts. As the social, economic, geographical and political structures of the societies changed, the impacts echoed in the art scene. As a result, text was used for several different reasons in different time periods in art history. This thesis, presenting a chronological examination of use of text in art history (i) seeks an answer for how text has become an autonomous art form and (ii) defines its function of use in the history of art by examining the examples from the different periods from art history. (iii) When examining the examples from history, the function of text and its relation with the form are considered. The political and social shift in society and how it affected the relationship between text and image are clarified. (iv) The findings have shown that related to the historical and politic events, text has been used for different aims in art, revealed these functions according to the period, and exposed how text has become an autonomous art form Keywords: text art, visual arts, text, language, image, image and text relationship
Curatorial issues in public space in Turkey after the 1980's
The concept of public space, which has been known since the Ancient Age by sociologists such as philosophers, researchers, sociologists and whose meaning diversify in different cultures and communities, has begun to come to the agenda with various social movements and administrations after the 17th century. When Jürgen Habermas discussed the concept of Public Space in his doctoral thesis, the state and public and the boundaries of public space have begun to be rethought. According to Habermas's thesis, the public space is the negotiation space, in other words, conciliation space between the state and societies. The public space is an open space where everyone is united under equal conditions regardless of religion, language, race, thought and gender, where people have the same idea gather, be organized on the common decisions for the benefit of everyone rather than the personal benefit and have freedom of expression. The state's sole duty in the public space is to protect the fact of organizing, gathering and expressing opinions in the public sphere without restricting the right and freedom of citizens. When we examine the etymological origin of public space, the word "public", it means folk in English while it means state or state-owned in Turkish. This use of the word in Turkey stems from the state's desire to keep the control of public space, rather than the protection and assurance that the state is obliged to provide the public in the public sphere. When we examine the Ottoman Empire, we observe that there were no public spaces such as squares, streets, parks and gardens like in Western societies, and the act of publicity was divided into two as men and women by gender and conducted in small groups in Turkish baths, coffeehouses, mosque courtyards and bazaars. Today in Turkey, even though the public spaces are directly open areas such as squares, parks, gardens, roads and beaches, the indirect state control always exists. It is forbidden to be organized in public places without the permission of the state. If civil societies are organized, march, or pronounce a different view or opinion, the security forces intervene to the public for providing the state control. In terms of art and culture environment, today's Istanbul Biennial was held in 1987 under the title of Istanbul Contemporary Art Exhibitions. Biennials have been important elements in Turkey contributing to the shaping of public space and the concept of the curator. The curated exhibitions in the public space, which started with the Istanbul Biennials, continued with the STATION exhibition in 1995 and increased its speed with the growth of the art scene after 2000 and continued with exhibitions such as Sinopale, Çanakkale Biennial, Istanbul Pedestrian Exhibitions, Under Construction, Mardin Biennial, Red Bull Art Around and Cappadox. This thesis explores the curator's position in the public sphere and the production practice through curated exhibitions in the public space after 1980. The study is described as field analysis and consists of interviews and observations with curators of public exhibitions. The formal and contextual structure of the exhibitions has not been decomposed in any case in the thesis and has been indicated as alternative exhibition models. Curatorial strategies, conceptual approaches and empirical productions of curators in the public space have been handled indefinitely.
Useless machines, a historical review and contemporary analysis
Art is one of the solutions individuals find when they try to overcome the loneliness and chaos they experience in the urban culture and city life. During this, they take refuge in their own world of imagination and transform the concepts such as humor and civil disobedience into concrete expressions with technological tricks and orientations, and create useless machines – intermediate entities, which are not representative of any concept, identity and institution to be called art. This work aims to point out the context of creativity in art, and to explain the Italian designer Munari's Useless Machines with its place in the history of art, its reasons of emergence, its importance for conceptuality based on the change in the definition of modern and avant-garde over the years. The findings show that the artistic complexity continues to this day. This study aims to contribute to other studies in this field and to streamline the understanding of subtle distinctions. This research is the result of a literature review with articles and electronic media and of conducting museum visits.
Body language and gesturality in the art of painting from Yves Klein to today
The traumatic effect of psychological erosions following the World War II, had revealed the personal extensions of unconscious references that shaped the art of the neo avant-garde after 1945. For the artists of the period who were captivated by the mystical attractiveness of the subconscious, involvement of the non-Western rituals, Far Eastern belief systems and art, existentialism and psychoanalysis as sources of inspiration, constituted the basic characteristics that had shaped the works of the period. From Jackson Pollock to Yves Klein, we are witnessing a transformation in which the body itself is incorporated as the main material of creative action, while tracing the visuality of gestuality in the pictorial realm at the stage of art evolving into contemporary art starting with Yves Klein with this conceptual background. The body, which has been at the center of sociality since the late 1970s, has also influenced art. The scope of art will be extended not only through the instrumental structure of the body, but also through its characteristics as being an intersection point of different contexts. The stages of the informal interrogations on the canvas following this point will include the richness of transferring anticipated capacity of body onto pictorial plane through its testing to the extent it overcomes the obstacles of time, space and materials, with the effect of the trait of the artist and environmental factors, forming the basis for the actions and by means of a series of some performative actions by creating a personal gestural integrity.
Artist-curated exhibitions in the exhibition history of Turkey
This study focused on exhibitions organized and curated by artists in the history of exhibitions in Turkey. Along with the proposition to think and discuss about the concept of "exhibition" and "the history of exhibitions" which are not emphasized enough in the local art environment, the artists' exhibition practices in the field of curatorship starting from the second half of the 19th century to the present were examined. The exhibitions, which are the spatial arrangements that institutionalize the public life of the work of art in its most general definition, have been transformed into tools for producing discourses today, while their essential and only meaning was to display following of artistic production and centering upon selection and presenting actions since their origins in the 15th century. The artist-curator is presented as a different model of the curatorial profession created by this transformation as of the 1990s. However, artists had existed in the history of exhibitions and art history as actors producing ideas on exhibiting art long before the 1970s when curatorship became popular in the world and the 1990s when it was recognized as a profession. This thesis examined this idea in detail in the case of Turkey by briefly touching upon its similar status in the world as well. Since the beginning of the history of the exhibitions, the artist's interest in exhibitions, the institutionalization of curatorship and the existence of numerous artists who have focused on exhibition practices as well as artistic practices have all created a model named "artist-curator". Today, there is a plethora of artist-curators who organize exhibitions in various collaborations or for biennials and museums. The research focusing on the exhibitions organized by the artist- curators constitutes an important area in the history of exhibitions and, therefore, in the history of art. Keywords: exhibition history, artist-curated exhibition, artist-curator, artist as curator, exhibition, history of exhibitions, curator, art history
Site-specific sound installations in Turkish contemporary art
This thesis is concerned with the similar trends shared by sound installations within contemporary art practices and the expressions that emerged in this context. Alternative auditory spaces created by the sound medium in the field of plastic arts which is based on the act of seeing, and the art practices of the artists working on the sound medium that discuss the sound as a form have formed the theme of the text. This thesis, which examines the transformations that sound medium has undergone in the historical process through pioneering works, presents a chronological view of the use of sound as a medium in the history of art. In the site-specific sound installations in Turkish contemporary art section, that constitutes the main line of the thesis, the forms and expressions created by the sound medium in the art environments based on the act of seeing are examined. The fact that the physical conditions of the art environments are not compatible with the sound medium, and the fact that such environments are built on the act of vision has forced the artists who install the sound installations to follow site-specific strategies and tactics. While the kind of strategies followed by these studies, where sound installations are examined through site-specific practices, are analyzed, new forms of expression brought to contemporary art by the utilization of sound are conceptually discussed as well. This study aims to foster discussion of the new forms of expression that sound as an artistic form will bring to contemporary art as well as encouraging debate on the auditory potential of art space based on the act of seeing.
The utility of encounter with art in the public sphere
In this dissertation, art emerges as an independent power of life that brings about new options to emancipate the human condition from the forces claiming immunity to change. The encounter with art puts forth art's potential to reveal liberty as a peculiar characteristic of humans relative to the human condition. There is an inverse relation between art and the objectification of art by forces external to it. The greater the emancipation of art in the public sphere, the more potent the transformative impact of that force for libertarian choices. The introduction puts forth the hypothesis of the dissertation and the methodology and a summary of developments and complications in public spheres. In Chapter 2, we cover the stages of public space and its analyses relative to the encounter with Art in two parts: In Part 1, we analyze the Public Sphere of Antiquity, the Medieval, and the Copernican Turn through philosophers Plato, Aristotle, Saint Augustine, Pico Della Mirandola, Hobbes, and Spinoza. In Part 2, we analyze the emergence of the Individual in the Social Contract and the public discourse in the coffee shops of London and salons of Paris. The impact of Enlightenment philosophers in Britain, France, and Germany in the formation of the Bourgeois Public Sphere is analyzed. The modern Public Sphere theories structured for consensus (Jürgen Habermas) and in radical divergences (Chantal Mouffe) are contrasted. Finally, we mention the new contemporary structures of the Public Spheres in digital platforms. In Chapter 3, we discuss the complications of encounter with art under the term "Objectification," an eclipse that hampers the emancipatory power of art. In the dissertation the objectification of art is analyzed in relation to time, sociopolitical realm, religion, ideology, public opinion, aesthetics, curatorial projects, language, and emerging new identities in digital platforms. In the contemporary world, a new complication soars with the technological revolution: On the one hand, the convergence of people brings more freedom and diversity than ever, as the pace of evolution in the public sphere is unparalleled and will test the resilience of art as a life force in new ways. On the other hand, the digital platforms allow a concentration of sameness and development of discourse, and judgment is based upon popularity in the sameness. The findings point to a resilient and robust bond between art and human liberty. The resolution of encounter with art is in the eyes and ears of the beholders. Thus, the objectification of art is a limitation on human liberty and a decaying act against human dignity. In Chapter 4, we convert our findings and observations into a mathematical formula illustrated simply as: y= f(1/x), where y stands for an independent path of emancipatory art and x for the forces impactful upon the limitations of art. The formula is also presented as the utility function of the encounter of art in the public sphere or, the function of human dignity before the objectification of liberty. Case studies follow the fourth chapter. We conclude that to use the lens of art is an emancipatory power of life with the potential to change the world. At the encounter, new visibilities grow into new possibilities and options for sensing the meaning of liberties, the value of self as human and the sense of being human that converges us all.
"Bad" Painting in contemporary art
Hereby this thesis titled "Bad" Painting in Contemporary Art explores the progress of the term "Bad" Painting from the late 1970s until today. The main focus of this thesis is the recent meaning of "Bad" Painting and its discourse that is started by curator Marcia Tucker in 1978. In other words, "Bad" Painting is a term and a curatorial discourse rather than an art movement. In this context, in chapter II, the term "Bad" Painting is analyzed in formal and conceptual sense and how the term was evolved in time is examined. In chapter III, the term was exemplified with the exhibitions that specifically include the term "Bad" Painting in their titles. In chapter IV, the continuity of the term "Bad" Painting in contemporary art was examined through contemporary artists and related exhibitions. As a result, the aim of this thesis is to re-examine the term of "Bad" Painting formally and conceptually and underline its continuity in contemporary art.
The work of Harald Szeemann- Curatorial theories and practices
Swiss curator Harald Szeemann, who developed his own way of expression, has held more than 150 exhibitions throughout his life. In the context of these exhibitions, he has highly contributed to the art history and exhibition techniques, besides become an owner of an extensive archive. As a result, Harald Szeemann's international exhibitions have created a new communication network in the context of artist, audience and curator triangle. Moreover, they have become a rich reference for many artists and curators from all around the world. Starting with the biography of Harald Szeemann, his selected exhibitions and his grand archive were examined in this thesis. In this context, Szeemann's professional and personal life were analyzed by prioritizing his special relationships with the artists.
Hans Ulrich Obrist's curatorial practices at Serpentine Gallery between 2008-2020
This thesis titled "Hans Ulrich Obrist's Curatorial Practices at Serpentine Gallery Between 2008-2020" is mainly focused on understanding the curatorial practise through examination of a selection of exhibitions by Obrist during and before his Serpentine Gallery era. The starting point of the thesis is to contribute to the literature and to increase the focus on curator and curatorial practices such as theses focusing on artists' works. In this context, the first chapter explores the journey of curating in regards to its roots in history, e.g. various areas of work before contemporary art, while illuminating how it evolved to the present day. In the second chapter, Hans Ulrich Obrist's biography and works as a freelance curator are thoroughly described and his participation in the Serpentine Gallery is explained. In the third and last chapter, a selection review consisting of exhibitions by Obris at the Serpentine Gallery was presented, and Hans Ulrich Obrist's working principles as a curator are revealed in line with these exhibition analysis.
Contemporary art practices in Turkey between 1990-2020 in the context of relational aesthetics
This study aims to analyze contemporary art practices that took place in Turkey or executed by the artists of Turkish origin, realized in the last three decades, in the context of Relational Aesthetics. It attempts to take the Relational Aesthetics discourse further, highlighting the similarities and differences between realized works, with the purpose of creating a model for categorizing such works and generating an alternative history writing where works are grouped by a trait system developed for this particular project. The theory of Relational Aesthetics developed by Nicolas Bourriaud is introduced and discussed along with the presentation of opposing views by several theoreticians and art critics. Only the works that correspond to the criteria, in some or other degrees, are included in this study leaving all the other practices outside of the scope. Each work is distributed in the study possesses one or more of the traits being: 1) The Regulated Encounter, 2) Conviviality, 3) A Matter of Food, 4) Tete a Tete, 5) The Children, 6) The Act, 7) The Alteration, 8) The Recuperation, 9) The Placeholder, 10) Internal Affairs, 11) The Product, 12) Professional Play and 13) Collective Production. Also, each work is included in the chapter of the most apparent trait it possesses, while all of the relevant traits are given in footnotes and included in the statistical evaluation. The conclusion sums up the outcomes of the implementation of this trait system, displaying the statistical information along with the interpretation of the results and the reevaluation of the theory.
Cevdet Erek'in eserlerinde ses sanatı ve ses enstalasyonu kavramları
Bu çalışma ile enstalasyon sanatı ve özelinde ses enstalasyon sanatı incelenerek, günümüzün bu sanattaki önemli temsilcilerinden olan Cevdet Erek'in geniş bir portresi sunulmuştur. Bu tez çalışması boyunca "neden enstalasyon sanatı günümüzdeki yoğun ilgisine kavuştu" sorusunun cevabı, "nasıl" sorusu üzerinden tarihi sürecin analizi yapılarak bulunmaya çalışılmıştır. Bu anlamda, karşımıza yeni teknolojik imkanlar, kavramsal sanatın ortaya çıkışı ve mekanın kullanılabilecek bir materyal olması özelliği ile birlikte, sanatçılara yepyeni imkanlar vadetmesi, neden sorusunun cevabı olarak karşımıza çıkmaktadır. Mekan, çağdaş sanat için taze bir kan, yepyeni bir boyut gibi görülmüştür. Enstalasyon ve Ses enstalasyonuna, toplumu, şehirleri, çevreyi değiştiren teknolojik imkanlar, mekanı "verili" olmaktan çıkartıp, yaratılan ve manipüle edilebilen hale getirmesinin ürünüdür diyebiliriz. Bu anlamda, kapsayıcı ve çokça çeşit düşünceyi içinde barındırabilen bir sanat biçimidir. İşte Cevdet Erek'in hayatı, çalışmaları ve daha düşünsel, içsel dünyası bize bir enstalasyon sanatı temsilcisinin doğrudan kimliğini uyumlu bir şekilde yansıtmaktadır. Anahtar Kelimeler: enstalasyon sanatı, ses enstalasyonu, kavramsal sanat, mekan, çağdaş sanat, Cevdet Erek
A treatise of the whatness of conceptual art in the context of object, meaning and language
This study named "A Treatise of the Whatness of Conceptual art in the Context of Object, Meaning and Language" aims to elucidate the meaning of each concept in the text, as can be understood from its name. It requires this kind of investigation to understand conceptual art, and such an investigation can only be possible with philosophical analysis. Based on the definition that art, philosophy, and science are human activities in the effort to comprehend the universe, how these three disciplines deal with object, meaning and language stands at the center of the text. An attempt will be made to analyze the relation of object with meaning, meaning with language and language with thought through conceptual art. Art cannot be considered independent from the historical, philosophical, and scientific developments and changes of the society in which it resides. These areas have affected and changed each other in every period. However, in this text, the mental processes behind this change will be discussed rather than the changing approaches of art. Therefore, in the context of art history, instead of the question "how does this change look?" the answer to the question "what are the reasons for this change?" will be sought after. The answer to the latter type of question can only be given by conceptual art that analyzes art in terms of being art and tries to illuminate its meaning. The reasons for this will be explained consistently throughout the text. This study suggests how to investigate the nature of art.
II. Dünya Savaşı ve şiddetinin resim ve tiyatroya etkileri (1939-1960)
Bu çalışma, Şiddetin ve özelikle II. Dünya Savaşı şiddetinin etkilerinin 1939-1960 yılları arasındaki Resim ve Tiyatro sanatlarına yansımasını inceleyecektir. Söz konusu dönemde şiddete maruz kalan ve/veya uygulayanların Resim ve Tiyatro Sanatlarına nasıl konu edinildiği, sanatçıların bu dönemden nasıl etkilendiklerini eserleri üzerinden karşılaştırmalı araştırmayı hedeflemektedir. Resim ve Tiyatro'da eserler üzerinden literatür araştırması, yazılı ve görsel kaynak araştırması yapılarak şiddet kuramının görsel kaynaklara uygulanışı incelenecektir.
Aesthetic of ugliness in the art of painting between 17th century and early 20th century
Hereby this thesis titled "Aesthetic of Ugliness in the Art of Painting Between 17th Century and Early 20th Century" investigates the paintings that contain ugliness in them. The main focus is to show and discuss paintings that include ugly content or figures to reveal the fact that in the History of Fine Arts, since the 17th century, ugliness is used as a conceptual and aesthetic parameter. In this context, to understand and to define ugliness; beauty is explained first in chapter II and III, both in philosophy and in art. In chapter IV, ugliness is described and exemplified in accordance to the art periods. In chapter V, the explanations of the selected examples of paintings that mention ugly in them from 17th century starting with Baroque and until the early 20th century ending with New Objectivity is explained. As a result, the aim is to show the importance of ugliness in the art of painting.