Photography as a way of expression in Turkish contemporary art after 1980

Following 1980, Turkey entered a phase of major change that reflected upon all aspects of life. Turkish economy opening up to the world allowed the country to catch up with the West in terms of getting modernized. Post World War II, art projects questioning modernism and new ways of making art increased and thus led to the birth of contemporary art. One of the principle characteristics of contemporary art has been the foregrounding of self expression that brought art and life closer. It was only after 1980 that reflections of contemporary art became visible in the Turkish art scene.Realization of the first Istanbul Biennial, the recognition of the curator?s role and private investment in art were major factors in the rapid progress of contemporary art in Turkey. Another vital change in the 80?s was the military coup that happened on the 12th of September, 1980. Artists from Turkey produced works that criticised: concept of identity, the individual, gender, immigration, class seperation, belonging, ethnic identities, urban cycles, public space, anti-nationalism, global economy as well as the ideology behind the coup and its results.The use of photography in contemporary art began with Dadaist photo montages and later progressed with the emergence of Pop Art and conceptual art of the 70?s. Following 1980, photography in Turkish contemporary art can be examined through two groups of artists. The first group; Ahmet Öner Gezgin, Şahin Kaygun, Ayşe Erkmen, Osman Dinç, Nur Koçak, Cengiz Çekil, Gülsün Karamustafa ve Bedri Baykam. The latter group involved Ferhat Özgür, Bülent Şangar, Aydan Murtezaoğlu, Nazif Topçuoğlu, Halil Altındere, Canan Şenol, Orhan Cem Çetin, Ahmet Elhan, Nancy Atakan, Serkan Özkaya, Banu Cennetoğlu, İnci Eviner. With the new millenium, photography became a popular medium within artists in Turkey.