‎Painting‎

‎ÇETIN ASMA.‎

‎Bartin su tarihçesi ve çesmeleri.‎

‎New Turkish Paperback. Demy 8vo. (22 x 14 cm). In Turkish. 104 p., color and b/w plates. Bartin su tarihçesi ve çesmeleri. Water history and fountains od Bartin City in the Black Sea region.‎

‎ÖMER FEVZI MARDIN [BINBASI], (1878-1953).‎

‎Osmanli ordusunda propaganda. Prep. by Mehmet Mert Çam.‎

‎New Turkish Paperback. Demy 8vo. (21 x 14 cm). In Turkish. 120 p. Osmanli ordusunda propaganda. Prep. by Mehmet Mert Çam. Propaganda in the Ottoman army.‎

‎ÖMER ORHUN.‎

‎Inside.= Icerisi. Text by Levent Calikoglu. [Photographic Exhibition catalogue]. 15 May - 21 June 2003. Akbank Sanat.‎

‎New English Paperback. Large 8vo. (24 x 24 cm). In English and Turkish. 45, [1] p., b/w photos. Inside = Icerisi. Text by Levent Calikoglu. [Photographic Exhibition catalogue]. 15 May - 21 June 2003. Akbank Sanat.‎

‎ÖMER ULUÇ.‎

‎Ömer Uluç. Bird of desire circles without end.= Heves kusu durmaz döner. [Exhibition catalogue]. Edited by Mine Haydaroglu.‎

‎New New English Original bdg. Dust wrapper. 4to. (30 x 25 cm). In English and Turkish. 333, [2] p., color and b/w ills. Ömer Uluç. Bird of desire circles without end.= Heves kusu durmaz döner. [Exhibition catalogue]. Edited by Mine Haydaroglu. In the autumn of 1954 I found myself out of breath on a backstreet in Manhattan. After having managed to get out of those large turnstiles, I was in a street in New York, heading for something new. Then Boston, Beacon Hill, New York again. New freedom, roads, a car, a one-room studio, furnished, rented by the week, by the month, everything was fast. Anyway, my first exhibition in Boston took place in the fantastic venue of that wild black dandy, Earl Pilgrim, who when he was drunk claimed to be white and thought he was a reincarnation of Oscar Wilde. He had tuberculosis, and his little Syrian wife gave him milk to drink when he was sober. At a party in the house of a white man, he tried to turn the house owner out of his house, calling him a dirty nigger, saying 'Dirty nigger, what are you doing here, just a little while ago you went and gobbled food in the kitchen.''Then I read about this in Faulkner. Meanwhile my strange exhibition was held at Earl Pilgrim's, in the mood of that Beat Generation. It was as if we were living in their world. Jack Kerouac's On the Road, Subterranean, Ginsberg's poem 'Howl,' then all the Ferlenghettis, Gregory Corsos, and of course, the strangest of them all, William Burroughs, perhaps one of the weirdest and greatest writers in all America, who when aiming at the apple on his wife's head, accidentally killed her. Going to Miami, Highway Number 1, the migration of mythological, eccentric souls from cold to warm. Then, more journeys and New York. Later on, training in the visual arts, that strange and extremely unique creativity class, large women tearing up coloured paper into tiny pieces making collages, tiny artists endeavouring to put huge masses on top of one another, and so on. The time to return was approaching. Maya Gallery Ö.U.: I returned to Istanbul, and the first place I went to was the Maya Gallery, Adalet Cimcoz and Lambo. Those were the people and places I left behind, and now they were gone. Nuri Iyem had left his old studio and was now in Karaköy. I saw Istanbul as if it were in ruins. One reason was Adnan Menderes' rebuilding programme. He demolished buildings everywhere. The other one was Istanbul itself. After the single party period the left-wing movement began in Turkey, during the last years of Democrat Party rule. Ilhan Koman and Sadi Çalik Ö.U.: It was 1958, and I was 27. Nuri Iyem, Ferruh Basaga, dear Ilhan Koman and Sadi Çalik and I were opening a large and memorable exhibition at the American Consulate. All pieces of work were abstract. They were my friends and at least 10 or 20 years older than me. There in Istanbul, in that circle, I attained a second small fame for myself and in a strange way. But let me tell you about who did the most interesting work. Sadi Çalik put a single stick on a plinth and called it 'minimumism,' that's how he explained it. Minimum energy, minimum form, minimum meaning, and so on. People began to wonder if Istanbul was a small centre of the avant-garde like Moscow and Munich were at one time. Turgut Cansever and Sezer Tansug Ö.U.: But let's get on. I was working at full speed. There was an exhibition and I met Turgut Cansever. He was a very interesting person, one of the most interesting people I have ever known. And then there was Sezer Tansug, the art historian and critic. Both were people who knew the east and the Ottomans in particular, even if they differed on some topics. Those two were very creative people, and broadened my horizons. I think I also expanded their, especially Sezer Tansug's, horizons. Turgut Cansever was doing free drawings of the old city, and they were extraordinary. He suggested that I work on the drawings of the paving of Beyazit Square. Lissabon Gallery Ö.U.: The new paintings, coloured, ac‎

‎ÖMER ULUÇ.‎

‎Ömer Uluç. To and fro in the space in between.= Aralikta gidip-gelmeler. [Exhibition catalogue]. Edited by Mine Haydaroglu.‎

‎New English Paperback. Pbo. 4to. (29 x 23 cm). In English and Turkish. 128 p., color ills. Contents; Foreword; Ömer Uluç; Talks in the space in between; To and Fro in the space in between.‎

‎ÖZDEMIIR ALTAN, (1931-).‎

‎Original print (Ed. 79/100) 1965/2000.‎

‎Very Good Turkish Edition of 79/100. Original print. 50x70 cm. Signed and dated on the lower right, edition number is on the lower left. Born in 1931, lives in Istanbul. In 1956 he graduates from Zeki Faik Izer's atelier in IDGSA Painting Department. Besides the Paris biennials in 1963-1965, he participated in numerous international and national art activities, he opened so many solo exhibitions. His name became famous as a writer and lecturer. He was the first artist who improved and represented some western ideas such as the modernist, avant-garde approach to pop art and especially postmodernism in Turkey. He was also the first curator who attempt to organize an exhibition in Turkey; Avni Lifij's exhibition in 1968 was the first example. As having his own fiction world the artist not only assists Contemporary Turkish Art but also gives shape to its fate and it is seen that he is the one that impress­es almost all artists of his generation and the next generation about today's Turkish Art. About this subject he expresses; "An artist gives references, the effect is inevitable, not the method but the result is important." With his productive natural talent, Altan proves that he has an endless, dynamic, energetic personality. In his creations, he appropriates an art understanding that coincidentally mixed incongruous elements such as; different textures, structure elements, materials, art view, light, etc. With clearer thoughts and ways from 1988, he developed the coincidental mixing method to prove artistic space is made up of different concepts, backgrounds, edifices, and logic that meet at extreme points. He examined spas and has taken them as the main course in his lectures. As a result of his research on spas, rather than the historic way he clearly declared that; "art meets from different ideas, logic, sources, structure and concepts". After this conclusion, he declared his ideas (with the title of space in art) first time, in front of academicians, at an associated professorship lecture in 1970. After that declaration, Altan has improved a new international art feature on that alle­gation. He coincidently made a unity from the different participants' works such as landscapes, plans, maps, and the district sketches, and at the end, participants applied the design with the alien materials. This method has been performed by totally differ­ent participants and it was the first of all in the art history of spas commentary.‎

‎ÖZDEMIR ALTAN.‎

‎Soyagaçlari.= Family-trees. [Exhibition catalogue].‎

‎Fine English Paperback. Pbo. 4to. (29 x 23 cm). In English and Turkish. 32 p., color ills. Soyagaçlari.= Family-trees. [Sergi Katalogu].‎

‎ÖZELM GÜNYOL, MUSTAFA KUNT.‎

‎Özlem Günyol & Mustafa Kunt. [Exhibition catalogue].‎

‎New English Original bdg. HC. 4to. In English and Turkish. 328 p., color ills. Dirimart opens its doors to the second solo exhibition of the Frankfurt-based artist duo Özlem Günyol-Mustafa Kunt at the gallery. The exhibition gathers new works for this show as well as their recent Materialistic Paintings series. Material of Günyol and Kunt s work comprises geographical and architectural measurements, political symbols, language, residue, and found objects. They are in pursuit of an aesthetic with which they dissemble things, isolate them from their physicality and context, and reorder with an assiduous precision and labor. Those transferals and transformations do not only take place in the material but also in their meanings, sometimes very radically. Concepts such as Europe, capital, migration, constitution, equity, belonging/exclusion are transformed and rendered sensible in a different aesthetic experience. Editors: Translator: 328 pages.‎

‎ÖZKAN EROGLU.‎

‎Giotto in Assisi.= Assisi'deki Giotto.‎

‎New English Paperback. Roy. 8vo. (24 x 16 cm). In English and Turkish. 289 p., color ills. Giotto in Assisi.= Assisi'deki Giotto. 500 copies were printed. Giotto's paintings in Assisi. "Giotto is a very important personality. This case is revealed in my evulation of paintings in Assisi. He has a close relation with modern and contemporary concepts of art. In any case that kind of a relation clearly indicates Giotto's greatness. The only person who has realized his greatness in our country is the deceased Bedrettin Cömert and the most significant step he has taken about this issue is a book named 'Giotto's art'. No I'm going to comment on the twenty-five paintings which largely associated with Giotto in Assisi...".‎

‎ÖZKAN EROGLU.‎

‎Resmi yorumlarken.‎

‎Fine English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). 203 p. In Turkish. Color and b/w ills. =[Interpreting paint]. Resmi yorumlarken.‎

‎ÖZNUR EREN.‎

‎Öznur Eren. 5-17 Mayis 2012. [Exhibition catalogue].‎

‎New English Paperback. Pbo. Oblong large 8vo. (24 x 25 cm). In Turkish. 23, [1] p., color ills. Öznur Eren. 5-17 Mayis 2012. [Exhibition catalogue].‎

‎ÜMIT GEZGIN.‎

‎Ramiz Aydin. [Catalogue of the artist].‎

‎Fine Fine English Original binding with original dust wrapper. 4to. (32 x 24 cm). In Turkish. 159 p. Color and b/w ills. 2000 copies were printed. Ramiz Aydin. [Catalogue of the artist].‎

‎ÜMRANIYE BELEDIYESI.‎

‎UNESCO 2001 Evliya Çelebi Yili münasebetiyle 7. Geleneksel Yagli Boya Resim Yarismasi. "Yol ve seyahat".‎

‎As New English Paperback. Pbo. Mint. Large 8vo. (20 x 20 cm). In Turkish. Color ills. 50 p. Painting Competition for UNESCO 2011 "Evliya Celebi Year". Subject: Road and travel. UNESCO 2001 Evliya Çelebi Yili münasebetiyle 7. Geleneksel Yagli Boya Resim Yarismasi. "Yol ve seyahat".‎