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UNDERSTANDING BOUNDARIES OF SPACES AND EACH OTHER: CONTEMPORARY ARTIST USED IN VISUAL ARTS

Author(s): İbrahim Karagöz,Ceren Tekin Karagöz / Language(s): English Issue: 85/2021

This visual essay focuses on how social media tools and contemporary artist influence learners and the course process as one of the methods used in visual arts lectures. Participants of this project are ten 6th graders in a public secondary school selected with a random sampling method. At the beginning of the project, researchers asked to the learners about social media considerations, what social media tools were and how often they used social media. In the process of the study, participants used the Louisiana Channel and Art21 channels on YouTube to watch artist Julie Mehretu’s videos about her workshops and actual works performances. Following this implementation, researchers interviewed the learners about the course. As a result of this project, it is assumed that learners will have more active participation in the course by using social media and learners would have more positive views on using social media tools in visual arts courses. In addition, it was concluded that getting to know contemporary artists and looking at their works in detail contributed to children's artistic perspectives.

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GRABARIJAN ET SARAJEVO

Author(s): Dušan Grabarijan / Language(s): French Issue: 3/1970

Dušan Grabrijan oecupe une place specifique parmi les architectes, d’ailleurs peu nombreux, qui avaient developpe leur activite a Sarajevo la veille de la Deuxieme guerre monđiale. A cette epoque-la ii etait le seul architecte a s’occuper presque exclusivement de travail theorique et pedagogique. Les idees auxquelles ii aboutit temoignent un style qui suggere, qui choque meme, qui invite a la polemique.

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Постчернобыльское искусство как работа горя

Author(s): Bożena Żejmo / Language(s): Russian Issue: 172/2020

The objective of the paper is to give an overview of and to analyse the Post-Chernobyl Art, which not only is perceived as an artistic comment on the Chernobyl tragedy but, most of all, as a way of working through the social trauma. The Post-Chernobyl Art is a remarkable panorama of the post-apocalyptic culture (both high and low) oriented toward a reflection on what happened; it is also a story about victims of the tragedy and a warning to the future generations.

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SANAT ELEŞTİRİSİ İÇERİKLİ DERSLERİN ATÖLYE UYGULAMA SÜRECİNE YANSIMASINA İLİŞKİN ÖĞRENCİ VE ÖĞRETİM ELEMANI GÖRÜŞLERİ

Author(s): Rıdvan Arslan,Suzan Duygu Erişti,Necla Çoşkun / Language(s): Turkish Issue: 2/2021

Art education process includes a theoretical and practice based holistic approach. The basis of the holistic approach is the integration of many theoretical infrastructures such as art history, art criticism, aesthetics, visual culture, interdisciplinary relations, multiculturalism based on the art discipline with practice-based process. Art education process in Turkey includes theory and practice-based interaction in general. However the students had some troubles to interact theory and practice. In this context, in this study, it is aimed to reveal students' views on the possible interactions between art criticism based content and studio art process, based on the interaction of theory and practice in the art education process. The research has been structured within the framework of a case study based on qualitative research method. The participants of the study are 7 students and 3 instructors who conduct art criticism and studio art classes at Anadolu University, Faculty of Education, Arts Education Department in the fall semester of the 2018-2019 academic year. Research data were collected by semi-structured interview method. Descriptive analysis was used to analyze the research data. The results obtained based on the findings of the research are as follows: It can be indicate that art criticism, which aims to develop students' critical perspectives on artistic processes, reflects positively on practice based fields. Students who develop artistic processes with a critical viewpoint can reflect themselves better. Based on the opinions of the instructors, it is emphasized that art criticism, which has an important place in the social lives of individuals, is important in raising individuals with high awareness. The difficulties that students encounter in the process of interconnecting art criticism and studio art classes is also an important point that emerges in the research results. The fact that students have awareness of art criticism as well as some prejudices and generalizations is also emphasized according to the research results.

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Suyun Sesi Filminde Posthümanist Perspektiften Öteki-Oluş

Author(s): Duygu Ergün Takan / Language(s): Turkish Issue: 12/2021

Becoming-other addresses non-human entities in post-humanist perspective. Forms of nonhuman entities feed on antihumanism. Much as the concept of humanism which rises together with the thought of enlightenment and centralizes person looks like an expression of affirmation related with being a human, actually it could not go beyond being a unilateral and discriminatory pyramid of life where humans are at the top and all the rest –animals, plants, technology, ecology– are underneath humans with the purpose of serving to them. On a universal scale, post-humanist thought is interpreted as an alternative means which helps us rethink basic principles of our interactions with human and nonhuman actors. The movie The Shape of water (Guillermo del Toro, 2017) is shaped around an amphibian found in Amazon River during Cold War in 1962. There is speculation in the film about what the creature is, which is easier to express by what it is not. The creature in the movie is not a human-being. It cannot be said that it is an animal either. However, it is possible to say that it is the object of a biopolitical purpose. In this case, one can speak of a half-human half-machine hybrid creature. For not being able to explain with a clear expression and considering the view that aforesaid creature represents otherness, it was aimed in the article to criticize humankind who is in the basis of all kinds of alienation and make an anthropocentric reading. In this sense, first the term being and then becoming-other were explained, later the concept of posthumanism and types of post-humanist being were mentioned. Finally, since the movie expresses biopolitical interventions towards the amphibian, it was analysed with the method of content analysis, specific to the concepts of species discrimination and becoming-animal.

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Mikhail Bakhtin’in Kronotop Kavramı Bağlamında Kalandar Soğuğu (2015) Filmi

Author(s): Ayşegül Konak / Language(s): Turkish Issue: 12/2021

A literary critic and theorist Mikhail Bakhtin has added a significant value to literary criticism, especially with his new perspective on novel studies. Bakhtin, who brought the concepts such as carnival, dialogy, and polyphony into the literature, tried to determine the common features in the novels he studied through these concepts. The concept of chronotope, which is the subject of this study, is another important concept belonging to Bakhtin. Chronotope means time-space and refers to the crucial points at which time and spaces intersect in the narrative, and which have historical, social and cultural meanings in terms of narrative. Although these concepts created by Bakhtin are frequently used today for literary criticism, they also create an eye-opening view for other branches of art. The use of Bakhtin’s concepts in the art of cinema to examine the film narrative is not as common as in literature. This study aims to determine the chronotopes in Mustafa Kara’s film Kalandar Cold (2015) in the light of Bakhtin’s conceptualization and to make a sociological reading through these chronotopes. It has been determined that the chronotopes that make up the narrative in the film are the countryside, mountains and caves, bullfights and mines, and it is concluded that these chronotopes form a perspective on the new provincial discourse and the concept of masculinity, which are frequently encountered in recent Turkish Cinema.

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Yeraltı ve Şarkı Söyleyen Kadınlar’da İtki İmgeler ve Kökensel Dünya Bağlamında İnsan-Dışı Hale Geliş

Author(s): Özge Nilay Erbalaban Gürbüz / Language(s): Turkish Issue: Sp. Iss./2021

Art is one of the concepts has always discussed by philosophy from classical to modern. Whereas, philosophy re-exists in art, with the possibilities of art. In the works of Gilles Deleuze, one of the most authentic philosophers of the 20th Century, the artist and the philosopher are similar in terms of constructing ideas. However, the method of the artist and the method of the philosopher differentiate from one another. The artist creates ideas by activating perceptions and affections, while philosopher uses concepts. Director as an artist; expresses perceptions and affections in the form of images by using cinematic tools. This article aims to compare films from two auteur directors of New Turkish cinema, Inside (Zeki Demirkubuz, 2012) and Singing Women (Reha Erdem, 2013) with the image categories of Deleuze, and to demonstrate that these two directors use cinematic tools in their films to establish ideas through perceptions and affections, as emphasized by Deleuze. While conducting the research, first, the ideas about art in Deleuze’s philosophy were examined. For Deleuze, art is an activity of thought like philosophy and science. A chronological literature review shows that Deleuze’s philosophy cannot be separated from his thoughts on the philosophy of art, and that his ideas about cinema are an original part of this context. Then, the image classification that Deleuze discussed in Cinema I: Movement Image was mentioned in the context of “impulse images”. or Deleuze, the ability of films to perform a cinematic thinking activity depends on inventing images. The unifying concepts of impulse images are “the originary worlds” and “becoming”. For this reason, the mise-en-scène, acting and language signifiers in the aforementioned films have been analyzed through Deleuze’s impulse images and their unifying concepts. As a result, it was revealed that the directors cinematically constructed Deleuze’s images of impulse with the concepts that the philosopher discussed. It was concluded that the film directors discussed the categorical definition of mankind using signifiers such as mise-en-scène, acting and language.

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Hegel’in Aufhebung’u: Beoning (2018) Filminde Olmayanı Aramak

Author(s): Elif Feyza Demir / Language(s): Turkish Issue: Sp. Iss./2021

Hegel considers aufhebung as the most speculative concept among philosophical concepts. He uses this concept, especially when defining dialectics within dialectics. According to him, aufhebung is the movement of the dialectic. In Turkish, aufhebung is defined as “eliminating”. This concept should not be confused with nullity. Canceling (aufheben) means two things: On the one hand, it means cutting, finishing, destroying, on the other hand, keeping, and storing. What disappears does not lose its existence. The new form, which replaces the eliminated, does not deny the existence of the old. The precisely existing form keeps existing with its disappearance. Hegel’s dialectic comes up with Burning (Burning, Beoning, 2018) with the concept of aufhebung. The movie is adapted from Haruki Murakami’s story called Barn Burning (2010). Moreover, in the movie, there are traces of William Faulkner’s story, Barn Burning (1937). Burning draws characters and the audience into a growing mystery throughout the story. What creates the mystery is the disappeared and the act disappearing itself. The film builds its entire story on disappearance. The disappeared are reflected to the audience as if they never existed. The absence of something in the movie accounts for the existence of new things. The philosophical basis of existence being born from absence is aufhebung. Just like aufhebung, it replaces something new that disappears in Burning and makes its presence feel heavier. Although there are disappearances and perishments in the story, there is actually nothing that disappears, the existence of the eliminated, the disappeared are hidden behind the absence. The study aims to explain the existence of those that perish without any meaning of any sort through Hegel’s aufhebung and further than that, looking for a meaning for nullity using aufhebung.

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Desire And Decadence In The Film Bildnis Einer Trinkerin (1979) As An Aesthetic Modernist Reaction

Author(s): Onur Keşaplı / Language(s): English Issue: Sp. Iss./2021

Aesthetic modernism parts from modernization which is characterised by westernization and progress. Aesthetic modernism, which prefers stability over improvement, primitivity over contemporary, imagination over mind, play over work and subconscious over consciousness is, with the enforcement of modern process, the other modern choice alongside the dominant version of modernization. It is difficult to say that the aesthetic modernism, which is interpreted as the stakeholder theme of 19th century romanticism and 20th century avant-garde, is treated sufficiently cinema. In spite of this, the filmography of Ulrike Ottinger as a feminist and surrealist director, provides a spectrum through which viewing of aesthetic modernism in cinema is possible). Bildnis Einer Trinkerin, which the director shot in 1979 while in pursuit of visual pleasure in the company of satire and fantasy, conveys the arrival of a woman in Berlin with one-way ticket and no other motivation than to get drunk and how she realizes her desire. The obscurity of the past and future of the main character provides an absolute focus to the actions and appearances that takes place in films timeline. The character who does not speak throughout the film becomes a feminine dandy with her costume repertoire and a flâneuse with her movements that knows no limit. Through the behaviours of the main character who, together with the side characters almost becomes part of a travelling circus, the film assumes an identification as an aesthetic modernist reaction. In regards to how the film achieves this, within the scope of conceptual frame, desire and decadence comes to the fore. Desire, which is determinant with regards to triggering of the absurdity in the film, is in harmony with productivity and sociability that Deleuze and Guattari incorporated while conceptualizing the term. Whereas the outcomes of the act of drinking of the main character point to decadence. Decadence, which includes the denotations of addiction and downfall is in harmony with Paglia’s conceptualization of the term within the axis of art and sexuality. Aesthetic modernism’s opposition to bourgeois and capitalism, which are the common ground of desire and decadence, bestows the film with an exceptional importance.

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Yaşamın ve Ölümün Büyüsü: Terrence Malick’in Tarih Temalı Sinema Filmlerinde Doğa-İnsan-Savaş İlişkisi

Author(s): Sinan Vardar / Language(s): Turkish Issue: Sp. Iss./2021

The lines of life which are to discover again and again till the death which has ritualistic faces convert to an effective narration in Terrence Malick’s cinematography. All the narrations in Malick’s movies about historical include and examine relations between human and nature and own and other. These historical-themed narratives, which are put forward on the axis of concepts such as “love”, “magic”, “death”, “war”, “loss”, “eternity”, contain discussions reinforced with the language of cinema based on the self, which can be shown among the problematic issues based on humanity. These narratives on the reconstruction of the self in the face of the other encountered, and thus the questioning of cultural determinism are among the basic dynamics of the history-themed movies of Malick. In our study, we will examine and argue the topics such like issue of selfdom, constructing of selfdom, cultural determinism, relations between man and nature through Malick’s The Thin Red Line (1998) and The New World (2005) movies. Throughout the investigations to we carry out, we will evaluate the philosophy of history, the problem of the self, the establishment of the self, cultural determinism, the relationship between nature and human, based on related philosophical approaches.

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The Film Structure of Andy Warhol in American Experimental Cinema and “Underground” Cinema Culture

Author(s): Hasancan Pınar / Language(s): English Issue: Sp. Iss./2021

Experimental film movement, which is one of the important breaking points of the history of cinema, has an important place in the formation of many new techniques and different forms. It is possible to find traces of the movement all over the world in the American Experimental Cinema since the 1920s. World War II caused cultural damage in America. Especially, viewers caught up in Hollywood magic met with films that encourage thinking. After this situation, the concept of real underground “underground” cinema emerged. “Underground” movie mold represents a whole created in America in the history of experimental cinema. Undoubtedly Andy Warhol, who directs today’s art understanding plays an important role in “American Underground Cinema”. The structure that can be observed in Warhol’s films is perhaps like a poem, music, or, more accurately, an aura (atmosphere). Aura is a tangible thing that an individual can see as much as they want. Warhol was labeled the modern form of legal electric execution as typical American business. He created bundles of images in his factory to react to Hollywood cinema that poisoned the system with its unreal illusions until the end of the ‘60s. However, after facing his fear of death, his struggle to turn life into art, which is his purpose, has decreased day by day. It even disappeared. At the end of the ‘70s, its factory, which had an important role in the formation of its purpose, was closed and film production was stopped.

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Modern Dünyanın Gündelik Hayatında Müphem Konumlar ve Bir Dışlama Pratiği Örneği Olarak Rembetiko Filmi

Author(s): Cem Tutar,Esennur Sirer / Language(s): Turkish Issue: Sp. Iss./2021

While grounding on the thought of rationalization and science, the idea of modernity, the foundations of which are based on the Enlightenment Thought, has organized the worlds of living in daily life by reorganizing them unilaterally. Modernity, according to Zygmunt Bauman, has built ambiguous positions at the same time while planning all daily life institutions and structures according to rational motives. Modernity has treated the individual as a citizen within the structure of the nation-state, while dragging those who cannot be articulated into the system or identified within, into the position of an outsider. While foreignness has been present as the opposite of the citizen as an ambiguous political position, many assimilation and exclusion techniques has emerged in the nation-states at the beginning of the 20th century. During this political process, the reorganization of time and space, as the structural components of daily life in the modern world, emerges as the pattern of the domination relations of the period. In his sociological imagination, Henri Lefebvre handled everyday life in a Marxist sense and defined it within the philosophy of Praxis. In this regard, the rhythm and spatial dimension of daily life transforms the individual by affecting their social lives. The film “Rembetiko”, which deals with the social events that took place during the population exchange between Turkey and Greece at the beginning of the 20th century through an individual life story, is a cinematic representation of a group of people who were unable to be articulated into social life and were dragged into the position of a stranger. While the rhythm of Rembetiko music in the film overlaps with the rhythm of the individual and social drama experienced, on the one hand, it also stands out as a field of resistance against the reorganizing style of modern society and becomes the representation of the exclusion practice in the social area. This study discusses Costas Ferris’ “Rembetiko” from a critical perspective by considering the spatial and temporal functioning of daily life, which functions as exclusion and inclusion in the modern world through the relevant theoretical perspective.

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Sinemada Cinsiyetçi Ötekileştirmeye Ableism Penceresinden Bakmak: Zeki Demirkubuz Sinemasında Ableist Temsil

Author(s): Elif Karakoç,Şafak Tanır Levendeli / Language(s): Turkish Issue: Sp. Iss./2021

As a form of marginalization that adopts bodily completeness, ableism defines individuals at two extremes as “complete” and “incomplete”. The concept of ableism, which first appears in the disability studies terminology in the historical path, has a much more encompassing meaning in the context of marginalizing practices. In psychoanalytic theory, which sees the phallus identified with men as the expression of completeness, it is thought that it is possible to relate the understanding that characterizes women as “incomplete” and the ableism. From this point of view, it is possible to evaluate ableism as a reflection of a phallus-based search for completeness. The phallic-centric, or phallonsentric attitudes of the male dominant view reveal the ability as a form of marginalization that characterizes women as “incomplete” in many different fields and thus reproduces gendered stereotypes. In the study, it is stated that the social acceptance of women in the cinema makes the dualistic way of thinking inherent to traditional Western philosophy and the abilityism visible in relation to the unconscious processes that continue the phallus-based search for completeness. The metaphor of “completeness-imperfection” mentioned in the study was examined in the light of the phenomena of phallus theory in psychoanalysis and traditional Western philosophy. Zeki Demirkubuz’s films Innocence, Kader and Ember were chosen as samples in this study, based on the idea that the view towards women reflected in the cinema has a male-dominated feature. Within the scope of the study, focusing on Demirkubuz films, it is aimed to make sense of the dualist structure, which builds the social identity of women on the perception of “lack” and the men’s one on the perception of “completeness” and is processed with a ableist attitude, together with a phallocentric understanding.

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Performance of Affects and Imitation of Emotions: A Study on Babis Makridis’s Pity Film

Author(s): Filiz Erdoğan Tuğran / Language(s): English Issue: Sp. Iss./2021

According to Gabriel De Tarde, from the moment a person is born, she/he creates her own behavior by imitating those around her/his. Tarde, in his book “Laws of Imitation”, which was published in a new edition in 1903; He mentions the importance of imitation and invention by saying “Everything socially is an invention or imitation, the relationship between the two is like the relationship between mountain and river”(Tarde, 1890 [1993], p. 3). Moreover, in the same work, he once again mentions the social importance of imitation by saying “In order for an invention to be considered an invention, it must be imitable”. Therefore, while creating human identity, which is a social being, it creates itself by feeding on the environment, people around it, literature and art. With the invention of cinema, this situation continues intensely by noticing the characteristics of movie characters and trying to resemble them. This process of imitation is also effective in the formation of the behaviors and therefore the emotions that come out with them. As the human being is also affected by the culture and historical processes she/he is in, she/he tries to create her/his own individuality within differences and samenesses. The article will discuss the performance and imitations of emotions based on Babis Makridis’ film Oiktos (Zavallı, Babis Makridis, 2018), which has been in the current called ‘Greek Strange Wave’ in recent years, and will try to examine the film through Brauch Spinoza’s concepts of affect and question the possibility of Ulus Baker’s proposal for a sociology of emotions.. The questions of how human emotions are formed and how emotional behaviors are shaped will be asked through the anonymous main hero of the film and answers will be sought.

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Ontolojik Yaklaşımda Mahallenin Fragmanına Sultan Filmi Üzerinden Bakmak

Author(s): Arzu Yılmaz Aslantürk / Language(s): Turkish Issue: Sp. Iss./2021

The Sultan movie made in 1978, which is discussed in this study, offers a sociologically versatile perspective to the crisis of urban modernity and the resistance of its inhabitants with its story that tells the daily life taken by the neighborhood’s pulse in all its reality. In addition to benefit from the discipline of sociology in the analysis of the film, philosophy has been applied to think ontologically on the lives created in the film. The reason for this is that social thought is at the root of the philosophical systems of philosophers and that these thoughts that develop cumulatively form the background of sociology. Therefore, the sociological pathway of the fragment of the neighborhood is questioned by various philosophical views. The relationship between space and society, which forms the fragment of the neighborhood, takes on an ontological structure by feeding into daily life. Thus, human relations, love, affection, and sadness, which constitute ascribed areas of daily life, form the philosophical basis of the slum in the ontological sense. Space is an important element in the theme of Yavuz Turgul films, who can’t remain insensitive to social problems. The main purpose of the study is to analyze the struggle of the slum from the urban rent in the perception of space produced by capitalism, the meaning of the existence of the individual in the chain connected with the neighborhood which is through their sadness, love, joy and struggles to earn a living in the flow of daily life. The theoretical framework that Henry Lefebvre put forward regarding the production of space will be discussed with an ontological approach. Daily life, arabesque, advertising, and neighborhood culture as the urban manifestation of collective consumption are the focus of the study. Also, spatial unity, masculine domination, emotional attachments, and joint interests of the neighborhood’s spaces will be evaluated through the characters represented by the neighborhood.

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Görsel Sanatlar Öğretmenlerinin Uzaktan Eğitim Sürecinde Görsel Sanatlar Dersine İlişkin Görüşleri

Author(s): Selma Taşkesen,Ayşenur Bakırhan / Language(s): Turkish Issue: 65/2021

In this research, it is aimed to determine the experiences, opinions and solution suggestions of visual arts teachers regarding the visual arts course in the distance education process. The study was carried out with the voluntary participation of 65 Visual arts teachers in the 2020-2021 academic year. The data of the research were obtained through a semi-structured interview form prepared for teachers. This study, which aims to determine the experience of visual arts teachers in the distance education process and accordingly their views, was designed with a qualitative research method and was carried out with a phenomenological approach, one of the qualitative research methods, in terms of its suitability for the study. The data obtained from the study were analyzed through descriptive analysis. As a result of the analysis of the data, it was determined that the majority of the teachers were partially productive from the lesson, the students generally did not attend the lesson, only the students who were interested in the lesson and participated in the lesson carried out the activities, some of the gains were achieved by the teachers, and the methods they used varied according to the subject; In addition to this, it has been seen that one of the most preferred methods is the “Show-and-Make Method”, and the pencil technique is the most preferred technique. The main difficulties experienced by visual arts teachers during the distance education process were the lack of interaction, inability to practice, technical problems, lack of materials and students’ non-participation in the lesson. For the distance education process, teachers offered suggestions such as choosing studies suitable for distance education, using technology efficiently, keeping student motivation high, and providing parent support.

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Engelsiz Sanat: Sayborg Sanatçı Neil Harbisson ve Sanat Bilim Buluşmasının Dönüştürücü Gücü

Author(s): Ece Yücel / Language(s): Turkish Issue: 65/2021

Human beings can show deviations from standard physiological/mental norms called “disabilities” by birth or in time. Artists with similar deviations, reflected their dissimilitaries to art as an echo of their perception of the universe, reached artistic authenticity and existed with their unique and pioneering identities by creating art movements. Artist Neil Harbisson who has by birth achromatopsia challenged perceptual norms by bringing together Art and Science. Harbisson never needed color for his art or daily life. But when situations requiring color knowledge met his curiosity, he invented his own solution. Recent scientific developments allow to eliminate most of the obsctacles with supports such as prosthesis, implants, special glasses. Harbisson heared colors with a system consisted of a sensor, which receives color frequencies, linked to a chip transplanted in his brain, which translates the color data to voice data. Pioneer of the Cyborg Art, Harbisson combined paint and music; created in various fields and also as an activist championed human sustainibility through adaptation to Nature. This study will show that instead of consuming the Earth according to their arbitrary needs, human beings can protect their existence, resources, widen their perception of the universe by transforming themselves with Art and Science.

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Türk Resim Sanatında Savaş Resimleri ve Bayrak İmgesi İlişkisi

Author(s): Serkan Çalişkan / Language(s): Turkish Issue: 63/2021

The war arising from many issues such as religion, political disputes between the states, ethnicity is a phenomenon that keeps up-to-date in our day. Thanks to today's technology, information about wars is spread rapidly from many sources to the world and it becomes easier for different societies to reach this information. When the periods during which this technology could not be possessed in the historical process are taken into account, information about wars reaches us by means of historical documents such as government correspondences and also reaches the present day by means of many written or visual art works. When we place aesthetic concerns on one side, nowadays, these works acquire the qualification of a document by means of the articulation of disciplines, such as history, sociology and art, to each other and the relationship they established with each other. When Turkish painting art is examined based on these explanations, war descriptions in the Turkish miniature art before Westernization frequently appear us. After modernization, war paintings were also among the subjects preferred by the artists. It is known that the production dates of war paintings have been discussed not only during and after the war periods but also by some artists today in Turkish painting history. Artists who study the subject of war often include the flag image in their compositions. It is known that the flag has contained symbolic uses both in today and in past wars. When it is considered from this point of view, the descriptions of flags representing the nation in war paintings are frequently encountered. In studies containing flag, the flag image is often based on the themes of heroism such as state, public, Turkism, freedom and resistance. Although the style is mostly figurative in paintings that contain flags, impressionistic effects are also encountered. When warthemed paintings in Turkish painting art are examined with this reference, it is seen that both land and sea wars are depicted such as the Dardanelles Battle, the Balkan War, and the War of Independence. Within the context of the topics described above, the use of war and flag image in the studies of Turkish artists such as Zeki Faik İzer, Şeref Akdik, Abidin Elderoğlu, Avni Arbaş, Diyarbakırlı Tahsin, Hüsnü Tengüz, Mehmet Başbuğ, and what the meanings the flag has will be investigated in this study.

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Eril Egemen Yapının Sanatsal Bağlamda Dişil Formu

Author(s): Tolga Akalın,Mehtap Kurt / Language(s): Turkish Issue: 62/2021

Women have always been the subject of art in terms of their biological and physiological characteristics. The compositions that are shaped in accordance with contents have different nuances in terms of form according to the cultural structure in the arts of civilizations with functional practices and sub-meaning interpretations. Despite this, they have common characteristics in terms of woman/body/sexuality on social duty and classification. Such that male domination social gender roles, gender discrimination based on biology bring along some restrictions and exclusion, and that degrades women to the subject of scopophilic. Gender structure in art is exposed with unfair visual codes, disadvantageous images, improper female circumstances and erotic nudity in many compositions. Women body that is turned into a theatrical material, their identity and gender are abstracted, their image, representation, symbol and government connetion shows the demands of male dominant structure. In this frame, the aim of this study is to analyze the affect of gender roles, patterns, the woman themed art pieces in historical process that is oriented towards structuring, building a sustainable woman perception in male dominant systems of societies on art history. Accordingly, the study is important in terms of showing the systematical dominances on woman identity, body, sexuality created by male dominant sense of art and art literature research in terms of turning femininity into a different construction other than its natural positions and clarifying the problem of re-naming and re-structuring the position of woman and body today. Literature research and descriptive research methods are used in this study. Related visuals and written resources are analyzed and the parts that are related to the content of this article are handled in a manner that creates meaningful unity.

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Gauguin’in Resimlerindeki Renk Orkestrasyonu

Author(s): Huseyin Uysal / Language(s): Turkish Issue: 61/2021

Gauguin is an important painter who lived between 1848-1903 and became a pioneer for his contemporaries with his artistic stance. Although he started painting at a late age, he proved himself in a short time with his devoted work, both theoretical and practical. Reacting to the nature-following feature of Impressionism towards which his contemporaries were oriented, innovations revealed its open artistic structure, arguing that emotion and state should be included alongside the impression. This innovative structure also opened the door for him to make exemplary studies on the relationship between painting and music within the scope of interdisciplinary art. Gauguin, who has a special interest in music, gave musical meaning to his paintings with color tones and often used the term "Color Orchestration" for his paintings. From this point of view, the aim of this study, which is shaped by the case study pattern, that is one of the qualitative research approaches, is to deal with the color orchestrations in Gauguin's paintings within a pictorial and musical framework. In this direction, five different paintings by Gauguin were chosen to create orchestration examples. By paying attention to the subject of the paintings and the stain values and timbres of the colors that make up the painting, instruments were determined to correspond to the color and orchestration examples were created with these instruments. As a result of revealing the relationship between color and sound with this study, Gauguin's "Colour Orchestration" idiom has been embodied.

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