Surface studies and cultural geographies on conceptual photography

The aerial vision vision and photography technology have developed a mutual language ability in the historical process and this has made significant and aesthetic contributions to the cartographic design. An aerial view or mythical view of Ikarus is a great inspiration in terms of Art History. Aerial View also has a potential as the basis for imaging technologies, where geographic information systems continue to develop steadily. Cartography, which is an art and science corporation, is an attractive medium for Contemporary Art and Conceptual Photography Art. In this context, the sociological and anthropological effects of postmodern culture and cyber culture show itself in virtual maps. Thus, the conceptual art approach establishes a philosophical dialogue between the subject and the space and establishes a close relationship with the cartographic design. Therefore, theories regarding the creative potential of geographical approaches can be developed. From the aerial perspective, the contributions and possibilities of drone technology to conceptual photography are important today. At the same time, conceptual photography studies examining satellite photographs and surveillance systems have a critical discourse about the discussion areas of the Post-Truth Age. Within the conceptual photography practices, 'representation of the landscape' in connection with the geography leads us to the surface phenomenon and the humanist view of cultural geographies. The surface becomes an object of desire of the artist due to its vision from the air, which represents the cartographic view and is realized through photography. There are many artists working in this context. Jananne Al-Ani, Richard Mosse, Laura Kurgan, Sohei Nishino, Sophie Ristelhueber, Simon Norfolk, Joan Fontcuberta, Jon Rafman, Mishka Henner and Trevor Paglen are among these artists. Thus, the subject of 'aerial view' was analyzed in terms of mythological origins, philosophical foundations and historical development of photographic imaging technologies, and exemplified by the works of conceptual photographers within the framework of the descriptive method. VI The thesis includes the conceptual photography project titled "Home (Home)", which was developed on the basis of this theoretical structure, and which focuses on fish farms in Karaburun-Gerence.