IMF politikalarına getirilen eleştiriler

This study focuses on art museums and their audiences. It aims to seek answers to questions about how the art museum culture is formed, what it really means, and how the audience experiences and reproduces this culture. While focusing on the Pera Museum, the research also includes other art museums in Istanbul. It involves the interpretation of data from semi-structured in-depth interviews with 20 people to find answers to the questions. The research has found museums to be used as space of consumption, socializing and interaction but regarded as elitist institutions. Although this elitism generates a difference in experience enjoyed by different cultural classes among museum audiences, the audience can also blur the distinctions with certain tactics they develop. A theoretical perspective from general to specific has been adopted in the study. First (main chapter 2), it takes arts as a cultural system by addressing culture and the relationship between culture and visual culture. Afterwards, it describes a perspective on the experience of art in daily life, which will then constitute the theoretical basis of the research. Then (main chapter 3) it presents a historical account of museums and art museums, in particular, evaluating how museums produce a culture, mostly from a critical perspective. Finally, the data from in-depth interviews is interpreted to find answers to research questions. The research seeks answers to mainly two questions:  How does the museum culture take shape in the context of the city, museum space and digital mediums?  What kind of cultural distinctions and tactics are there between museums and their audiences? The first chapter is titled "Culture, Visual Culture and Art Experience in Everyday Life". The chapter consists of the evaluation of the concepts in the main chapter under three sub-chapters. First, the concept of culture is discussed. Culture is the process of understanding and sense-making. However, individuals' perspective on the world is limited by the surrounding material world, traditions, customs and linguistic codes. And culture draws closer to the concept of education in this sense; it teaches individuals how to behave, what to like, and how to react to encounters. However, each member of the society can also criticize the culture they live in and engage in activities that will go beyond these limitations. Today, we see our cultural accumulation mostly shaped by the visual world in all areas of our lives. We can learn, make sense of, criticize, adopt and reapply what we see. The second sub-chapter addresses visual culture. The increasing prevalence of visuality in the everyday life is actually a cultural history. With the Renaissance and the following modernization process, a model of seeing, integrated with technology, has found itself a place at the center of everyday life. And this model has given rise to the concept of the observer integrated with urban life. These new observers of the public space see, interpret and reproduce the world around them. According to Mirrzoef (1995), visual culture today has become the "everyday life itself". The world