BİREYSEL İZLEĞİN BİR NESNESİ OLARAK SANATTA YATAK İMGESİ

Author(s): Burcu Özyonar / Language(s): Turkish / Issue: 57/2019

Duchamp’s concept of ready-made object have not only caused the chancing of the definition of high art in modernism, it has also changed the means of the artistic expression. The value that Duchamp introduced to the ready object has been handled by his successors as the main form of the work and it has taken its place as an important base of art. The bed, which is an object of use, has been considered within the framework of the subjective meaning possibilities of the artists. The authenticity of this material has also led to a new area for artists to perform. Thus, it has been expressed in contemporary art by representations such as a space, a scale of resistance, memory and self-portrait. In this article, the aim is to testify that how the bed, which is an ordinary object, has been transformed into a new material of art. However, it is to bring the differences and similarities of the artists on the usage of the same ready-made material. Thus, the interpretations of an object with the expressions of the artists using the same object have been revealed. As a result of an observation of the artist’s individual experiences, it has been observed that the image of the bed could be the instrument of a visual language in the context of the embodiment of the mind. As a result, we can say that the realistic object belonging to the rhythm of life has been included in the material of art and this inclusion has contributed to today’s art.

Bizere Abbey and the International Conference “Monastic Life, Art, and Technology in the 11th – 16th Centuries” – An Introduction

Author(s): Pál Lovei / Language(s): English / Issue: Special/2015

The paper is an introduction to the volume that brings together the works of the international conference entitled Monastic life, art and technology in the 11th-16th centuries, held in Alba Iulia from October 16th-18th, 2014.

Ceļā uz monogrāfiju par Kārli Baltgaili

Author(s): Anna Putele / Language(s): Latvian / Issue: 22/2019

Kārlis Baltgailis was born in Gatarta Manor on 15 (27) March 1893. When the family moved to Riga, his father began working in the port and little Kārlis, inspired by the stories he heard, once dreamed of becoming a seaman. Unfortunately, this was impossible because of his myopia and so he took up other occupations, including drawing. Baltgailis acquired more thorough art skills at Janis Rozentāls’ art studio (1906–1907) but at the Atis Ķeniņš Boys Realschule (1907–1911), he received a good education with many prominent Latvian cultural figures who became outstanding examples for Baltgailis to follow in his own pedagogical career. During his school years he also made friends with the artist Jēkabs Kazaks. After finishing the Realschule, Baltgailis moved to Russia where he attended Penza Secondary Art School (1911–1917). Some of the Riga City Art School students moved there too after the school was reorganised in 1915. With their arrival, a group of young Latvian artists emerged with Baltgailis among them; they tried to realise progressive modernist ideas in the rather conservative Penza. Having received a secondary school teaching certificate in drawing and art history, Baltgailis returned to Riga in May 1917 and volunteered for the 5th Zemgale Latvian Riflemen’s Regiment. As a soldier he ended up in Russia again where he stayed in Omsk but returned to Riga from Vladivostok with the Imanta Regiment in 1920. Back in his native land, Baltgailis joined Latvia’s artistic life gradually but his teaching work began quite soon. Since 1920, he taught drawing in Cēsis but in 1922, he became the teacher of drawing, art history and drawing methodology at Jelgava Teachers’ Institute where he taught until its closing in 1944. In 1925, Baltgailis co-founded the artists’ and writers’ society Zaļā Vārna (Green Crow, 1925–1939). Almost all of his 30 years work – sketches, paintings, drawings as well as materials gathered on various artists – was lost in the fire that ravaged Jelgava in 1944. In autumn the same year, he became the first teacher at the newly formed Cēsis Teachers’ Institute. In 1945, Baltgailis was admitted to the Latvian SSR Artists’ Union but in 1946, he began working at the drawing studio of Cēsis House of Culture (1946–1956). In 1950, Baltgalis was dismissed from his teacher’s job at Cēsis Teachers’ Institute and expelled from the Artists’ Union as a result of Soviet repressions. In 1958, he was readmitted to the Artists’ Union. Kārlis Baltgailis died in Cēsis on 15 February 1979. Baltgailis belongs to the generation of Latvian artists born in the 1890s, witnessing a new turn in Latvian painting towards modernist creativity. As the most direct follower of the ideas of Jāzeps Grosvalds and Jēkabs Kazaks, he became the only artist who consistently pursued the iconographic and stylistic line of early modernism over his entire creative career. When Grosvalds and Kazaks had both passed away, Baltgailis became a unique phenomenon, especially in battle painting, making the war theme the focus of his art. He arranged his oil, tempera and watercolour works in several series, the main ones being related to three historical battlefields – “Ložmetējkalns” (Machine Gun Hill), “Nāves sala” (The Isle of Death) and “By the River Mazā Jugla”. When the destruction of war was still in the near future, Baltgailis probably encountered Grosvalds’ works for the first time at some exhibition of Latvian artists’ works in Riga. Unlike Grosvalds, Baltgailis probably did not work in the battlefield. The first interpretations of war themes emerged later around 1918 when Baltgailis was in Omsk. The end of his military service is depicted in the riflemen’s magazine Kaija (Seagull, 1920) with drawings telling about the trip from Vladivostok to Latvia together with the Imanta White Latvian Riflemen’s Regiment. While back in Latvia, Baltgailis began to interpret the themes of riflemen in more elaborated oil, tempera and watercolour compositions. The artist’s individual style was yet in the making but it was already clear that the image of the rifleman would occupy a significant place in his art. The 1920s and early 1930s was the period with the most pronounced Expressionist tendencies in Baltgailis’ art, which could be seen in the work of other modernists too. This was also his most prolific period when his maturity and professionalism became evident and his form and style – established. In this period, his most acclaimed works on the theme of riflemen emerged – “The Isle of Death” (1933, LNMA) and “Spring in Tīreļpurvs” (1934, LNMA). In the period of Socialist Realism when the theme and style were determined by Soviet ideology, Baltgailis continued to paint – he created new works or restored the lost ones from memory. With the Khrushchev “thaw”, riflemen scenes by modernist artists were used as iconographic and stylistic sources of Latvian “Red” Riflemen. It is hard to establish the role of Baltgailis’ examples but there are certain similarities to other artists’ works on the riflemen subject in the Soviet period. Most comparable are the exiled artist Juris Soikans’ tempera paintings. In the early 1950s, Baltgailis increasingly took up religious compositions too. Unfortunately, in most cases only black and white photographs have survived of these works, allowing us to assess just the compositional solution. Baltgailis was not only an artist and pedagogue but also an organiser of public life and critic of major cultural processes. In the late 1920s, Baltgailis together with other enthusiasts of Jelgava’s cultural life began work to found the Zemgale Museum. Throughout his life, Baltgailis gathered and systematised materials on numerous artists. From a small card index, it gradually grew into a voluminous archive, now held by the specialists of the Latvian National Library. The archive contains a wealth of information on both known and more marginal artists. Further studies of Kārlis Baltgailis’ life and art can broaden the understanding of artistic and cultural developments, personalities and their relationships in significant and complex periods of Latvia’s history, paying especial attention to the processes outside Riga in Jelgava and Cēsis.

CEMEL ALİ DEDE TÜRBESİ VE ÇİNİLERİ

Author(s): Mine Erdem / Language(s): Turkish / Issue: 14/2019

Many architectural works have been made in Konya Seljuks, beylik and Ottoman period. From different periods to today; mosques, masjid, shrine, baths, bridges have reached such structures. Within these structures, Cemel Ali Dede Tomb is one of our important architectural works that will be inherited from the Anatolian Seljuk State. The tomb, which is one of our tiled works in Konya province, has undergone many repairs over time. Cemel Ali Dede Tomb started with a general information about our work continues with detailed explanations about the tiles. Information was obtained from the source data about the current situation and originality of the tiles; places, techniques, sizes and colors of which are applied are given priority. In our study, detailed information about the tiles was provided. The research topic we have determined is; Cemel Ali Dede Tomb is designed to emphasize the importance and value of the tiles. Thus, it is foreseen that this kind of architectural structures enriching Turkish tile art will be revealed and contribution will be made to our art.

Cilvēka atveidojums Latvijas aktierkino. Padomju periods

Author(s): Agnese Surkova / Language(s): Latvian / Issue: 1/2014

The objective of this paper is to characterise, compare and analyse the depiction of the human being in Latvian feature films during the Soviet period – after World War II (in the 1950–60s) and the 1970–80s. In the centre of the world created by films of each of these periods there is a person of a different type who (directly or indirectly) offers a message about his/her time: it is obviously depicted in the value systems of the characters, as well as the models of actions and their visual images. When taking into account the influence of visual images created by the cinema and, frequently, its direct participation in transferring the message to the audience, special attention is paid to the visual aesthetics of the films: the positioning of the camera, lights, assembly, the composition of the film frame, and the placement of actors in it. Another essential theme that requires particular attention is the choice of actors/types of personalities, that is, the correspondence of the visual images (appearance) of film characters or, on the contrary, there is a contrast with the official concepts, stereotypes and/or canons of the particular period. The paper highlights films and actors that are typical of the respective periods, providing an analysis of vivid screen images and a series of films.

Computer Games in Art History. Traditional architecture and painting presented in virtual reality

Author(s): Michal Szymanski / Language(s): English / Issue: 5/2018

Aim. The aim of the research is to show the applications of art reception in computer games. Moreover it is important to show a game as a visual object worth being analysed by art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, such as ludology, narratology and culture study research computer games, but we can see a large lack in the state of research in visual aspects of games, which should be supplemented.Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games in an independent games category. The basic method is iconographic identification of the object and comparative difference and similarity between original source of inspiration and transposition of this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a piece of art. A notion of commonplace forming a frame for images from different media is also important.Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art bring an additional narration completing the story in the game. Objects of architecture or paintings also give symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves. The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them.

Considerations on the Human Body in European Art from Ancient Times to Present Day

Author(s): Liviu Nedelcu / Language(s): English / Issue: 1/2019

The present considerations on the human body tried to place the exploration of the topic in its radically cultural dimension, hence the references to the body being already addressed to the anthropomorphic, descriptive, symbolic sign completely emerged in artistic exercise. We outlined artistic findings from old times to contemporaneity wherever the motive of the human body was central in this selection; furthermore, the nude has made and still makes the subject of convergent discourses on its representation, intensity or weakening of its capacity for signifying. Land of inexhaustible negotiation between nature and culture, available to primitivism, always found again as more sophisticated, transformed by the demands imposed throughout history, ideals and illusions, the body imposes itself on cultural conscience as an irreducible challenge. This paper is consecrated to the nude and aims at overviewing a large series of investigations from European art on the topic. I believe that from more ancient times to contemporaneity, the human body proved to be an excellent landmark in the approach of any artist; moreover, this seduction will continue to exert itself on the upcoming artists, irrespective of the future’s artistic tendencies. The fact that, in time, the human figure has been an extremely important motive for the artistic laboratory determined me to choose this topic; in addition, throughout the article, I have attempted to prove the interest in the nude, recalling the most important tendencies and manifestation from old times to contemporaneity. In this approach, we started from the finding, which has actually marked many years of my creation, that the human body may show itself in a sacred and profane hypostasis; as a result, this study was structured to account for the two dimensions. Along the documentation and drafting, I realized that, in fact, the human body can only be sacred even in its nude hypostasis. The purpose of the present paper is far from exhausting the problematic of the human body; its aim is to draw attention to the importance of the topic. The concerns on this topic have taken various forms throughout art history. We brought into play the significance of the human body in Old Greeks quoting Thucydides who argued that the difference between Greeks and barbarians was marked in a civilising way since nudity had become the rule in the Olympic Games; I wrote on Christian art during the first centuries AD, then about the art of the Middle Ages which brought profound changes to the representation of the human body; nudity would almost disappear from the artistic themes and the concerns of the artists during the respective period and left to the depiction of Adam and Eve couple, as symbol of the original sin or the Judgement Day scene when resurrected humanity awaits its verdict in the divine trial of the divorce of good from evil. We accounted for the Renaissance which meant man’s spiritual rediscovery, it reintroduced nude representation in plastic arts as essential entity of the universe and not as element of sin. The Italian ideal also marked the thought of the Nordic artists who created original models of the nude. Masters such as Albrecht Dürer in Germany, Peter Paul Rubens in Flanders or Rembrandt van Rijn in Holland personally left an imprint on this field. Court art of the 17th century created a new nude model, of the frivolous woman, exponent of an equally daring and refined eroticism. Neoclassicism from the beginning of the 19th century preferred heroic nude, bearer of high moral virtues. The French Jean Louis David and Jean Auguste Dominique Ingres were the creators of the classical nude that idealized anatomical data to render perfect human prototypes. Towards the end of the century, another French artist, Edouard Manet, breached this consecrated model, imposing, in its compositions, nudes without any mythological connotation simply inspired from real life with anatomical effects and disproportions inherent to a live model. Considered by some to be bearer of profound expressive emotions and means to convey an exacerbated eroticism, by others, either approved or contested, the representation of the human body is an omnipresent motive in all its forms of visual expression for the modern and contemporary periods. Far from this image – fetish of image civilisation, nude in fine arts further remains the sensitive seeking of the human ego. In our analysis today, we may note that through its historical contributions and artistic elaborations, the human body becomes one of the most important syntheses of our artistic culture.

CULTURAL MANAGERS ON CULTURAL MANAGEMENT PRACTICES IN ROMANIA

Author(s): Ivona Tatar-Vîstras / Language(s): English / Issue: 1/2019

This article proposes a synthetic analysis of the cultural management practices in Romanian theaters, as mentioned in interviews by managers of state or independent theaters. The focus is on main topics of interviews and on the managers’ acknowledged concerns: space management, management of human resources and “success” management. The managers’ discourse analysis points to important aspects of the cultural management practices in Romania and it supports a better understanding of the Romanian theater landscape.

DADA HAREKETİ VE KADIN İMGESİNDEKİ ESTETİK ALGI (FOTOĞRAF BAĞLAMINDA BİR ÖRNEK ÇÖZÜMLEME)

Author(s): Çagri Gümüs,Büsra Sendal / Language(s): Turkish / Issue: 54/2019

The aim of this study is to emphasize the importance of Dada movement by breaking down many traditional patterns and influencing the art movements. In this sense, firstly, the reason for the emergence of the Dada movement was explained and then the point of view of the movement to art was emphasized. Then, the transition to conceptual art has been made and the image of woman has been mentioned. Finally, the research was finalized by analyzing the original series of photographs.

Dailes teātra aktiermākslas principi un modernisms (20. gs. 20.–30. gadi): Felicitas Ertneres ieguldījums kustību valodas izstrādē

Author(s): Ieva Rodina / Language(s): Latvian / Issue: 1/2015

The Daile Theatre, founded by Eduards Smiļģis in 1920, is related to the creative experiments of the greatest modernist theatre directors of Western Europe and Russia. The theatre movement consultant Felicita Ertnere (1891–1975) contributed substantially to the creation of a particular movement language for the artistically original languages of the Daile Theatre. She also contributed to the creation and development of the principles of acting for the Daile Theatre. Education that Ertnere had acquired in Saint Petersburg and her knowledge about modernism movement theories and methods of her time were very important in the creation of movement language characteristic of the Daile Theatre. There are two main sources of influence for Ertnere: (1) the physical method of training created by Peter Lesgaft (Пётр Лесгафт) based on the theory on the human body and mind as a unified system, and the view that understanding of human anatomy is essential alongside with training the physical body; it is also essential to control your body with the help of your mind; (2) Western European theories of movement which appeared in the first half of the 20th century: eurhythmics created by Emile Jaques-Dalcroze and the language of gestures created by François Delsarte. In 1924 the Daile Theatre, as they had a demand for a new type of actors, founded a three-year course or school whose aim was to “prepare actors for the Daile Theatre who would systematically and methodically acquire the necessary technique in order to raise the artistic level of the Daile Theatre.” Ertnere contributed to the creation of the Daile Theatre movement language by delivering practical classes and by closely working together with Eduards Smiļģis on the movement script for Daile Theatre performances created by Eduards Smiļģis that was called innovative and compared to European and Russian modernist theatre practice by critics of the time.

DAILININKAS JUOZAS BALČIKONIS

Author(s): Juozas BALCIKONIS / Language(s): English,Lithuanian / Issue: 96/2018

Juozas Balčikonis (1924–2010), one of the patriarchs of Lithuanian Textile School, was born in Giedraitinė, Ramygala district, Panevežys region. He graduated from Ramygala Secondary School. During his study at Kaunas Applied and Decorative Arts Institute, he was greatly influenced by L. Truikis. Balčikonis was passionately interested in the Lithuanian folk art as well as in Oriental art and collected their samples. Since 1949, he was a teacher in Kaunas Applied and Decorative Arts Institute. From 1951 till 1989, heheaded the Textile Department at the Lithuanian Art Institute. Balčikonis authored „Folk art. Fabrics“(I dated 1957, II dated 1962), „Tissue Patterns“ (1961), „Tape“ (1969), „National Clothing“ (1970) andother books. Since 1947, he participated in many exhibitions in Lithuania and in various countries of Europe, Asia, America, and Africa. Almost all the most significant pedagogical, organizational and creative events in the 20th century Lithuanian textile art were related with him. He contributed a lot to formation and development of the Lithuanian National Textile School. The main areas of his creative activity were tapestries, woolen carpets, batik technique pieces, decorative fabrics, mixed technical compositions, national costumes. In 1955 and 1960, he designed folk costumes for the „Song Festival“. Balčikonis received the State Award and was decorated by the Medal of the Lithuanian Army Creator and Volunteer (2000) and the Order of Grand Duke Gediminas (2001).

DAMIEN HIRST’ÜN ESERLERİNDE “ÖLÜM” TEMASI

Author(s): Ayça Yilmaz / Language(s): Turkish / Issue: 57/2019

Throughout history, man has lived with the fact that he was mortal and on the other hand he could not accept it. For this reason, while fighting this reality that he could not accept during the ages, man searches ways of being immortal and left behind immortal artworks. In other words, the relationship between the fact of death and the effort to exist has sometimes determined the content of the work of art. From Renaissance painting to contemporary art, there are examples of the theme of death. In this study, the death theme that dominates Damien Hirst’s artworks was analyzed. In this context, four selected works of his art (God alone knows, Mother and child (Divided), Saint Sebastian Exquisite Pain, away from the flock) were evaluated together with art criticism and iconographic analysis techniques.

DAŽAS RIETUMU MARKSISTU IDEJAS, ALBERTA BELA PROZA UN LITERĀRAIS KINEMATOGRĀFISKUMS

Author(s): Julija Dibovska / Language(s): Latvian / Issue: 2/2015

The Latvian writer Alberts Bels (b. 1938) uses elements of literary cinematography in his prose. Although the number of these elements is not large, they testify to the fact that there is nothing unintentional in the writer’s prose. One of the ways how to establish the semantic load of elements of literary cinematography is to examine the context in which these elements are used following the views of the 20th century Marxist leaders. Thus, as an aesthetic value, literary cinematography in Alberts Bels’s writings can be seen as a compromise between traditional culture, which according to Walter Benjamin requires an aura and active experience of the reader, and the new art which was created on the basis of traditional art. If literature takes over the patterns of narrative cinema and uses them to create new, yet non-radical forms and structures, literary cinematography can be regarded as a favourable result of what Benjamin calls the loss of aura in a reproduced work of art.

Dekoracja okazjonalna (1715) w kościele Jezuitów w Lublinie. Ze studiów nad ikonografią św. Stanisława Kostki

Author(s): Janina Dzik / Language(s): Polish / Issue: 4/2019

Lublin, a city that is the seat of the Crown Tribunal, was one of the centers where St. Stanislaus Kostka was especially venerated. The main center of worship was the former Jesuit church of the St. John the Baptist and St. John the Evangelist (the present cathedral), where the miraculous image of the young man was kept.The discovery of the note in the hand-written chronicle of the Romanum Societatis Jesu Archives reminds us of the occasional decoration of the Jesuit church during ceremonies connected with the announcement of the canonization of Stanislaus Kostka in 1715. The expanded multifaceted picture-verbal decoration focused primarily on the facade, main altar and chapel, bringing together the national aspect (Polish king), the papal aspect (Pope Clement XI) and the prophetic sign, for which the coat of arms of the Albani family from which the Pope came. The Polish nobleman-priest was created from the beginning of the cult to become one of the main supporters of the triumphs of the Polish State. The canonization of Stanislaus became a symbolic guarantee of the expected peace and stability of the country. That is why the decoration revealed a great historical message and a mystery given to the Poles through the young Jesuit, raising the importance of Poland in connection with the papacy and Catholic faith.

Dekoracje skrzyń wiannych z warsztatów stolarskich w Jaworowie i Lubaczowie

Author(s): Maria Dzialo / Language(s): Polish / Issue: 3/2018

The subject of the article is the influence of the carpenter centre in Jaworów on the production and sale of dowry chests in Lubaczów. In the 19th and 1st half of the 20th century, Jaworów was one of the largest carpenter centres producing dowry boxes, affecting many of its neighbouring centres. However, the problem has not been the subject of extensive research and, due to the deteriorating preservation status of dowry chests out of museums, it seems to be a matter of urgency. The article presents the characteristics of the Yavoriv centre and its influence on the production of dowry chests in Lubaczów, especially in Leon Markowski’s workshop. The article is based on the field research conducted by the author in 34 towns of Lubaczów and Biłgoraj counties, as well as archival materials from the field research conducted by the Department of the Folk Art Documentation of the Institute of Art of the Polish Academy of Sciences (Instytut Sztuki Polskiej Akademii Nauk, IS PAN) stored in the Department of Documenting Cultural Contexts of the Ethnographic Museum in Kraków.

Discursive Divergences Between Film Medium and Historical Science

Author(s): Davis Simanis / Language(s): English / Issue: 1/2015

Representation of history is the most powerful formative factor of historical insights in society in the 20th and 21st century. Currently, there have been a number of films in production which interpret Latvian history, thus raising the profile of issues relating to the portrayal of the history of the cinema. This article conceptualises the discursive differences between historical research and historical films in order to create a basis for further studies of historical films and their adequacy for the research perspective. This article also outlines the historical features of the cinema, as well as the possibility of an alternative historical narrative: a hybridised form of a historical account created by film.

DO HO SUH ESERLERİNDE TEKSTİL MALZEMENİN MİMARİ ÖĞELERDE SEMİYOTİK BAĞLAMDA DEĞERLENDİRİLMESİ

Author(s): Fehime Yesim Gürani,Sevim Tugba Arabali Kosar / Language(s): Turkish / Issue: 52/2018

The fact that different disciplines are gathered together in art branches is one of the current trends. Combination of dynamics of any arts with those of different artistic disciplines has allowed progressive, different and changeable works to appear and strengthened creativeness of artists on the way to uniqueness. It is clear that different disciplines 'sharing their material and techniques among them provides supportive opportunities for art and leads young potential artists as well. Flexibility, softness and permeability of textile material have been seen to combine architectural concept of space on art works in the crossroad between architecture and textile arts. In a different approach to space concept, Do Ho Suh has chosen textile material in the works by which he questions themes of nomadic life, belonging, accommodation and home . He has preferred architecture as a method of questioning them. The present study has determined semantical assessment of works created with textile material by Do Ho Suh’s designing mentality using semiotics as a target.

DRAGAN BULATOVIĆ, UMETNOST I MUZEALNOST: ISTORIJSKO-UMETNIČKI GOVOR I NJEGOVI MUZEOLOŠKI ISHODI, GALERIJA MATICE SRPSKE, NOVI SAD, 2016.

Author(s): Miloš Cipranic / Language(s): English / Issue: 2/2019

DREAM AND REALITY IN THE LIFE OF NICHOLAS LOCHOFF: ON THE HISTORY OF THE CREATION OF NICHOLAS LOCHOFF’S PITTSBURGH CLOISTER

Author(s): Naum Gregory Katz / Language(s): English / Issue: 1/2019

This article recounts the unusual fate of the artist-copyist Nicholas Lochoff. Lochoff, who lived most of his life abroad, in Italy, remains relatively unknown in his Russian homeland. Based on Russian and American historiography, and the periodical press, the author follows Lochoff ’s path from professional revolutionary to self-taught artist who became recognized as one of the leading copyists of the twentieth century. As research shows, the philanthropy of Helen Clay Frick enabled the University of Pittsburgh to acquire Lochoff ’s unclaimed copies of European masterpieces where they became an asset in educating future generations of American art historians.

DÜNYADA VE TÜRKİYE'DE ARAZİ SANATI (LAND ART)

Author(s): Oksan Tandogan,Burçin Erdi Es / Language(s): Turkish / Issue: 51/2018

Land Art is an art movement which emerged in the United States in the late 1960s and in the early 1970s in Europe, in which architecture, landscape and the work of art are inextricably bound up with each other. Aiming to inspire connection with nature and embrace nature rather than technology, Land Art expanded boundaries of art and developed outside of studios and gallery spaces, opposing capitalism’s logic. With a deeper understanding of environmental issues, the movement aims to reshape wide, open spaces in nature along with a specific concept, thereby aiming to connect humanity to nature and creating environmental awareness. For this purpose, land art creates artistic imagery using soil, rocks and other natural materials. The sense of land art was also a protest against the commercialization and exploitation of art since works of land art are not sellable or purchasable objects. The most prominent land artists are Alice Aycock, Christo, Michael Heizer, Nancy Holt, Walter De Maria, Mary Miss, Dennis Oppenheim, Robert Smithson, Michael Singer, Mel Chin, James Turrell, Ana Mendieta, Alan Sonfist Christian Phillip Müller, Jan Dibbet and British artists Richard Long, Hamish Fulton, and Andy Goldsworthy. Besides, the notable Turkish land artists are Mehmet Ali Uysal, Yücel Dönmez, Ayşe Erkmen, Mehmet Kavukcu, Cengiz Tekin, Mustafa Duyuluer, Varol Topaç and Elçin Ekici. This paper attempts to exam-ine the land art movement, the leading artists/works from all around the world alongside Turkish land artists and their works. According to the results of the research, it has been observed that there are not many examples of land art in Turkey where the land art movement developed especially after the late 2000s. Further, we cannot imply that these examples in Turkey refer to a sustainable creative movement.