Makale KoleksiyonuArticle Collectionhttps://hdl.handle.net/11421/20202024-03-29T13:20:12Z2024-03-29T13:20:12ZMüzenin kamusallığının sanat yoluyla eleştirisihttps://hdl.handle.net/11421/233812020-08-15T21:18:33Z2015-01-01T00:00:00ZMüzenin kamusallığının sanat yoluyla eleştirisi
21. yüzyılda Avrupa ülkelerindeki, Amerika’daki ve Türkiye’deki bienallerde, sergilerde ve
sokaklarda sıkça örneklerine rastlanan katılımcı ve ilişkisel sanat örnekleri, sanatın geleneksel
özelliklerini kullanmaz.
Katılımcı ve ilişkisel çalışmalar, geleneksel sanat anlayışındaki gibi, izleyiciye tamamlanmış
sanat çalışmasını sunmak yerine, izleyiciyle, sanat çalışmasının ve sanatçının iletişime geçmesini amaçlar.
Bu çalışmada, sanatın geleneksel olarak kamuya sunulma şeklinin nasıl başladığı, müzelerin
oluşma süreci, kamusal olarak nitelenen müzelerin kamusallık kavramına uygun olup olmadığı, müzelere yönelik eleştirilerin hem sanatçılar hem kamudaki diğer bireyler tarafından nasıl
başlatıldığı ve bu eleştirilerden sonraki süreç araştırılmıştır.; In 21th century, the examples of relational and participatory art works which can be often seen
at the bienalles, exhibitions and streets of Europian countries, America and Turkey, don’t use the
traditional specialities of art.
The relational and participatory works aim to make a connection between the viewer and the
art work and sometimes between the artist instead of showing the final work of art to the viewer.
In this study, how the traditional system of showing the final work of art was started, the period
of the museums were occured, if the museums called as public are really public according to the
meaning of the concpt of publicity, how the criticisms about museums were began and the period
after these comments were researched.
2015-01-01T00:00:00ZGlass Plates in Printmaking and an Intaglio Method: VitreographyUlu, Elif Feyzahttps://hdl.handle.net/11421/182552019-10-20T14:28:50Z2016-01-01T00:00:00ZGlass Plates in Printmaking and an Intaglio Method: Vitreography
Ulu, Elif Feyza
Vitreography is a term entitled by glass artist Harvey K. Littleton to define a method of producing prints from glass plates. In other words, Vitreography term refers to a printmaking method in which an etched glass is used as a printing matrix. Glass, as a material, is used in two different methods in printmaking: one is monotype, a method that we call as flat printing, and the other is an intaglio method. The method to be discussed in detail here is vitreography, which is one of intaglio methods. In vitreography (or glass etching), same or similar steps used in traditional intaglio are applied. In this article, the method and its development have been discussed, and its advantages and disadvantages have been determined based on the results obtained from applications.
WOS: 000409361600013
2016-01-01T00:00:00ZApplying Feminist Critical Theory to the Works of Mary CassattSerbest Yılmaz, Betülhttps://hdl.handle.net/11421/182542019-10-20T14:28:50Z2015-01-01T00:00:00ZApplying Feminist Critical Theory to the Works of Mary Cassatt
Serbest Yılmaz, Betül
Patriarchasl socialy structure in the nineteenth century was grounded on a strong base through the statements of the philosophers and scientists of the period. It was prescribed that the duty of a woman is to reproduce and they were kept away from the public-private spaces and intellectual sphere, their lives were tried to be fictionalise by giving them the roles of a good mother and an ethical wife. Sexual discrimination was experienced at a peak level in this century, Impressionist artist Mary Cassatt tried to exist with her plastic works. She managed to display a resistance despite the effects of marginalising ideology of masculine power on her. She reflects this opposite attitude by the signification of the places that she fictionalises in her paintings, by the way that she refleects the women images and by the dialectics that she coud not build with the spectator. In this study, the works of impressionist artist Mary Cassatt were dealt with in terms of feministic theory the priod, and her feministic statement which the artist displays with her plactic works, againts patriarchal dominance was tried to be revealed.
WOS: 000435156200006
2015-01-01T00:00:00ZMüzenin Kamusallığının Sanat Yoluyla EleştirisiKaraca, Gülçinhttps://hdl.handle.net/11421/182562020-08-16T10:31:19Z2015-01-01T00:00:00ZMüzenin Kamusallığının Sanat Yoluyla Eleştirisi
Karaca, Gülçin
21. yüzyılda Avrupa ülkelerindeki, Amerika'daki ve Türkiye'deki bienallerde, sergilerde ve sokaklarda sıkça örneklerine rastlanan katılımcı ve ilişkisel sanat örnekleri, sanatın geleneksel özelliklerini kullanmaz. Katılımcı ve ilişkisel çalışmalar, geleneksel sanat anlayışındaki gibi, izleyiciye tamamlanmış sanat çalışmasını sunmak yerine, izleyiciyle, sanat çalışmasının ve sanatçının iletişime geçmesini amaçlar. Bu çalışmada, sanatın geleneksel olarak kamuya sunulma şeklinin nasıl başladığı, müzelerin oluşma süreci, kamusal olarak nitelenen müzelerin kamusallık kavramına uygun olup olmadığı, müzelere yönelik eleştirilerin hem sanatçılar hem kamudaki diğer bireyler tarafından nasıl başlatıldığı ve bu eleştirilerden sonraki süreç araştırılmıştır; In 21th century, the examples of relational and participatory art works which can be often seen at the bienalles, exhibitions and streets of Europian countries, America and Turkey, don’t use the traditional specialities of art.The relational and participatory works aim to make a connection between the viewer and the art work and sometimes between the artist instead of showing the final work of art to the viewer. In this study, how the traditional system of showing the final work of art was started, the period of the museums were occured, if the museums called as public are really public according to the meaning of the concpt of publicity, how the criticisms about museums were began and the period after these comments were researched
2015-01-01T00:00:00Z