Usage of writing in art visually and conceptually

In this study, starting from the beginning of writing with objects, it's gradual evolution; by linearization and simplification, into different letters and alphabets, also the process in which it is used within the visual and artistic context in the East and West cultures are being adressed and examined as the starting point of the installation study that is going to be exhibited. In the first part of the study, a definition of writing is given, chronologically the changes that they underwent are being considered, and the varieties of writings are searched in order to study this concept in detail. In the second section of the study, the meanings the East attributed to writing and modes of usage of writing in artistic sense are investigated. In the East, defining art with regard to Western terms and according to art and aesthetic philosophy is avoided as Eastern scholars believe that truth always changes, it is always on the move. They also refused to make direct statements for the same reasons. Therefore, avoidance of description and turning to art of writing in the Islamic geography are linked to prohibition of absolute description. However, in this study, the notion that the orientation of Muslim artists towards abstract forms and letters cannot be regarded as independent from Eastern philosophy is supported with resources. Prohibitions of images in Islam and attaching more importance to writing than painting are tried to be explained. Moreover, in the Far East, where description is not forbidden, calligraphy and painting together are given importance. The impacts of teachings of Buddhism and Taoism on the artistic practices of calligraphy in the Far East are examined and contributions are aimed to be made. In the West, before Modernity writing is used as a tool to indicate identities, intensify meaning, and make a statement in paintings where religious, battle scenes, and noble families are depicted. Earlier in the 20th century, Picasso and Braque mostly used such written and published materials as banners and newspapers in their paintings and collages. Throughout the century, thanks to technological developments and due to philosophical, socio-cultural factors, the artists moved using writing in visual art to conceptual field by giving abstract meanings to letters, questioning the context of writing with text and language itself. The third part, in which the transformations the writing underwent in the Western art are examined, is composed of calligraphy, the relation between writing and painting, and usage of writing in modern art movements and conceptual art. In the fourth part, the period in which the calligraphy art attracted the most attention in Turkey, usage of writing in visual arts after it is interrupted with the alphabet revolution and artists are all addressed together.In the fifth and last section, the installation practice that I developed in the subject context is studied conceptually and plastically.