|
|
|
Coord.: INCI EVINER.
Working space: Yildiz Technical University Faculty of Art and Design 2006-2007 Student Projects Exhibition.= Isleyen mekan: Yildiz Teknik Üniversitesi Sanat ve Tasarim Fakültesi 2006-2007 Ögrenci Projeleri Sergisi. [Exhibition catalogue]. Prep. by Zerrin Iren Boynudelik, Orton Akinci, Zeynep Ögel, Begüm Akkoyunlu.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. [xiii], 182, [1] p., color and b/w ills. Working space: Yildiz Technical University Faculty of Art and Design 2006-2007 Student Projects Exhibition.= Isleyen mekan: Yildiz Teknik Üniversitesi Sanat ve Tasarim Fakültesi 2006-2007 Ögrenci Projeleri Sergisi. [Exhibition catalogue]. Prep. by Zerrin Iren Boynudelik, Orton Akinci, Zeynep Ögel, Begüm Akkoyunlu. Since its inauguration, Pera Museum has been instrumental in promoting young artists and institutions of art education by opening its exhibition floors during the summer months. Comprised of Yildiz University Faculty of Art and Design student projects for the 2006-2007 academic year, the Working Space exhibition and the accompanying catalogue, took us through a field of experience in which students tried to comprehend life through possibilities in art, and introduced the viewer to young art and the problems of art education.
|
|
|
TIVADAR CSONTVARY, (1853-1919).
Csontvary: An extraordinary master of Hungarian.= Macar resminin siradisi bir ustasi. Prep by Tibor Mester; Begu?m Akkoyunlu; Tania Bahar; Kemal Atakay, György Darabos.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 89 p., color ills. Csontvary: An extraordinary master of Hungarian.= Macar resminin siradisi bir ustasi. Prep by Tibor Mester; Begu?m Akkoyunlu; Tania Bahar; Kemal Atakay, György Darabos. Csontváry was an artist of the turn of the century. The richness and complexity in his works cannot be characterised based on stylistic categories. Realistic observation, emphasis on the changing light, the decorative, orgiastic use of color characteristic of Post-Impressionism, the large-scale handling of form and the strong diffraction of the colors often appear simultaneously on the same canvas. The exhibition and accompanying catalogue invite us to discover the works of this extraordinary Hungarian artist, who wrote poetry with paintings that reflect his vision beyond the currents of the period, his unique colors, his symbolic narrative, and the "divine voice" he claims to have heard. Contents: Foreword: Jósef Sárkány.; Csontváry: Lojas Németh.; The sublimity of creation in Csontváry's art: Jósef Sárkány.; Autobiography.; Catalogue.; Biography.
|
|
|
Kolektif
Rembrandt and his circle. Drawings.= Rembrandt ve çevresi. Desenler. Curated by Albert J. Elen. Edited by Begüm Akkoyunlu.
Fine English Original bdg. HC. 4to. (29 x 24 cm). In French and Turkish. 191 p., color and b/w ills. Rembrandt and his circle. Drawings.= Rembrandt ve çevresi. Desenler. Curated by Albert J. Elen. Edited by Begüm Akkoyunlu. ISBN: 9789759132125. Rembrandt and His Circle exhibition and catalogue was comprised of 99 drawings, 65 of which, including Rembrandt's, were a part of the famous Koenigs Collection. Acquired by the Rotterdam shipowner D.G. van Beuningen in 1940, the collection was then donated to the Boijmans Van Beuningen Museum, thereby ranking this institution as the second largest holder of Rembrandt drawings in Netherlands. Since 1988, however, these works of Rembrandt and his school had not been displayed collectively until the exhibition held in 2006 at the Museum Boijmans Van Beuningen. Rembrandt and His Circle welcomes us into the enchanted world of drawing -the purest and most basic form of painting- through the works of a great European master and his school. Contents: 8 Introduction: Suna & Inan Kiraç. 10 Foreword, Sjarel Ex. 14 An Art Lesson: Drawing, Ferit Edgü. 18 Drawings of Rembrandt and His Circle in the Museum Boijmans Van Beuningen Albert J. Elen. 52 Recommended Literature. 54 Rembrandt and His Circle: Drawings. 184 Biography of Rembrandt Van Rijn, (1606-1669).
|
|
|
Edited by AYSE ORHUN GÜLTEKIN.
Peintres et expositions de Pera: 1845-1916.= Pera ressamlari-Pera sergileri: 1845-1916. [Exhibition catalogue]. Texts by Seza Sinanlar Uslu.
New English Paperback. Demy 8vo. (22 x 15 cm). In French and Turkish. Color and b/w ills. 84 p. Study of the painters and exhibitions of the Pera quarters. Peintres et expositions de Pera: 1845-1916.= Pera ressamlari-Pera sergileri. 1845-1916. [Exhibition catalogue]. Texts by Seza Sinanlar Uslu.
|
|
|
BEHNAM SHARIFI.
[How to draw birds] [PERSIAN EDITION].
Fine Persian Paperback. Folio. (32 x 24 cm). In Persian with bilingual titles on cover in English and Persian. 168 p., fully b/w ills. [How to draw birds] [PERSIAN EDITION].
|
|
|
ELGIZ CONTEMPORARY ART MUSEUM.
Elgiz 10 (Sevda & Can Elgiz): A decade of commitment to contemporary art in Turkey.= Elgiz 10 (Sevda & Can Elgiz): Çagdas sanat inisiyatifinde 10. yil. [BOXED].
As New English Original bdg. HC. Publisher's special box. 4to. (30 x 24 cm). In English and Turkish. 304 p., color ills. Elgiz 10 (Sevda & Can Elgiz): A decade of commitment to contemporary art in Turkey.= Elgiz 10 (Sevda & Can Elgiz): Çagdas sanat inisiyatifinde 10. yil. Signed and inscribed by Can Elgiz to Tevfik Güngör Uras. Printed to 1000 copies. Published on the occasion of the tenth anniversary of the Proje4L / Elgiz Museum of Contemporary Art. Printed in an edition of 1000 copies in Eindhoven, Netherlands.
|
|
|
METIN AND, (1927-2008).
Bazaar painters: Ottoman figurative arts 2. Edited by Tülün Degirmenci, M. Sabri Koz.
New New English Original bdg. Dust wrapper. 4to. (29 x 23 cm). Edition in English. 248 p., color ills. Bazaar painters: Ottoman figurative arts 2. Edited by Tülün Degirmenci, M. Sabri Koz. Coining the phrase 'bazaar painters' in a 1985 article, Metin And enriched our art history terminology with a new concept as well as offer a glimpse into the world of these artists: how they worked, what they drew, where their works are today and how they contribute to our study of history of art and culture. He continued to promote and popularise their work through books and articles published until 2007, at times repeating earlier content as required. Bazaar painters and their work were not initially identified as a distinctive genre; Franz Taeschner, the first researcher to publish a selection, felt no need to refer to them as anything other than 'miniatures'. Challenging this trend, Metin And set about the immensely difficult task of obtaining pictures of bazaar painting albums from four corners of the globe in order to illustrate a prolific series of essays and books.The second volume of Ottoman Figurative Arts, Bazaar Painters consists of twelve articles published between 1985 and 2007, a comprehensive introduction by Tülün Degirmenci, and a concise album. The pictures and inscriptions Metin And chased enthusiastically all his life are but the echoing footsteps of a book, one that was either never written, or somehow got lost before it could be published.
|
|
|
Prep. by EROL MAKZUME.
Pierre Loti et les silhouettes de Hassan: Portraits avant La II. Constitution.= Pierre Loti ve Hasan silüetleri: II. Mesrutiyet öncesi portreler.
Fine French Original bdg. HC. 4to. In French and Turkish. 168 p., ills. Pierre Loti et les silhouettes de Hassan: Portraits avant La II. Constitution.= Pierre Loti ve Hasan silüetleri: II. Mesrutiyet öncesi portreler. The novelist Julien Viaud, famous for his nickname Pierre Loti, is a traveling maritime officer. At the end of the 19th century and the beginning of the 20th century, he makes seven trips to Istanbul. In 1903, at the age of 53, Pierre Loti takes over Le Vautour, the first station ship to the French Embassy in Istanbul, during his fifth trip to Turkey. In the same period, Hasan signed cartoons start to circulate in Istanbul.The person who is hiding under Hasan is actually Robert de Guiroye, a naval officer. This person was then assigned to the auxiliary ship "La Mouette" (Seagull) under the command of Pierre Loti. It is thought that this officer made drawings on this ship in the evening after having spent a long time in important social clubs such as Cercle d'Orient, Pera Palas Ballroom, Tepebasi Theater. Who is actually Hasan / Who is the real Hasan? The answer to this problem is in the exhibition and detailed catalog. Let's see if they can help bring Hasan's identity to light. The "Pierre Loti and Hasan Silhouettes" exhibition is made up of documents obtained as a result of years of research by numerous collections and valuable collector Sayen Erol Makzume, who has vast knowledge of Hasan's lithographs in the early 20th century. The exhibition contains texts, cartoons and in-depth information, and sheds light on the transition period of Turkey after the Second Constitutional Monarchy.
|
|
|
CAO FEI, NILBAR GÜRES, RAQS MEDIA COLLECTIVE et alli.
The time needs changing.= Zaman degismeli. [Exhibition catalogue]. Edited by Begüm Akkoyunlu-Ersöz, Yasemin Ülgen, Ulya Soney.
New English Paperback. Pbo. 4to. (28 x 24 cm). Bilingual in Turkish and English. 103 p., color ills. The Time Needs Changing exhibition questions our geo-politically controlled notions of time. The three artists in this show give alternatives to linear time, which is currently strictly enforced by the power structures under which we live. The works of Cao Fei, Nilbar Güres and the Raqs Media Collective release the shackles of time, and suggest alternative and parallel paths. The exhibition presents a thought-scape that draws from three different parts of the world; China, Turkey and India. The artists explore time through drawing, video, photography, installation and new media. Time is one of the many subjects addressed by the participants of the exhibition. Their works help us better understand our relations with ourselves, as well as those with the world around us. Nilbar Güres questions masculine linear time; Cao Fei offers us greater control in a world where real and virtual intersect; and the Raqs Media Collective liberates time itself in its works that associate memory with different experiences.
|
|
|
Curated by NAZAN ÖLÇER, MARIA TSANTSANOGLOU.
The Russian avant-garde dreaming the future through art and design. [Exhibition catalogue].
New English Paperback. 4to. Edition in English. 191 p., color ills. The Russian avant-garde dreaming the future through art and design. [Exhibition catalogue]. The exhibition is co-curated by Dr. Nazan Ölcer Head of Sakip sabanci Museum and Dr. Maria Tsantsanoglou, Head of the George Costakis Collection at State Museum of Contemporary Art, Thessaloniki, and besides the Costakis Collection it contains a selection of 513 works from Moscow's All-Russian Museum of Decorative Arts and Multimedia Art Museum and works from leading private collections in Europe shown together for the first time thus shedding a light upon the important place Russian Avant-Garde occupied in the history of art. The 'Dreaming the Future. Russian Avant-garde Art and Design' exhibition does not only focus on the dramatic changes and radical developments that happened during first quarter of the 20th century and prepared the groundwork for intellectual and artistic progress, not just within the Russian artistic culture, but it is designed to hod a mirror to the effect on world art. The exhibition shows the Russian avant-garde artists that in the early 1900s tried to introduce art as a lifechanging power, the ground-breaking work of the artists in this period where the reformist atmosphere had been brought about by the October Revolution in 1917, and the social design they tried to put into practice supported by the new regime and also the wide boundaries of the future they dreamed of. The exciting technological developments and industrialisation that occurred in the early 20th century turned the avant-garde artists towards science and overcoming the boundaries of the earth, dreams of space reflected the beliefs the artists had in the future and tihs is very vividly reflected in the works displayed in this exhibition.
|
|
|
ÖZLEM INAY IRTEN.
Ressam Hüseyin Zekâî Pasa ve Mübeccel hazineler.
New Turkish Paperback. 4to. (26 x 22 cm). In Turkish. 107 p., ills. Ressam Hüseyin Zekâî Pasa ve mübeccel hazineler. Biography of Hüseyin Zekâî Pasa (1860-1919) who was a painter in the Ottoman Empire. Includes a reprint of his work entitled "Mübeccel hazineler".
|
|
|
MAYDA SARIS.
Armenian painting: From the beginning to the present. Translated by Tayfun Özuslu.
New English Paperback. Folio. (32 x 24 cm). In English. 264 p., color and b/w ills. Armenian painting: From the beginning to the present. Anthology of Armenian painters born in Anatolia. "'Mayda Saris' book helps us to become better acquainted with the generations of Armenian artists, and in the meantime fills a void in the art libraries. Index of the names and the bibliography at the end of the book give this work an even more serious dimension". Kaya Ozsezgin 'Art critic and art historian, Faculty member, Academy of Fine Arts'.".
|
|
|
MERSAD BERBER.
Mersad Berber: An allegory Bosnia.= Bir Bosna alegorisi. Edited by Begüm Akkoyunlu Ersöz, Tania Bahar. Curated by Aida Abadzic Hodzic.
New English Paperback. 4to. (29 x 14 cm). In English and Turkish. 112 p., ills. Mersad Berber: An allegory Bosnia.= Bir Bosna alegorisi. Edited by Begüm Akkoyunlu Ersöz, Tania Bahar. Curated by Aida Abadzic Hodzic. The exhibition centres on the art of Mersad Berber, who is one of the greatest and most significant representatives of Bosnian?Herzegovinian art from the second half of the 20th century. Inspired by the great European masters, from Renaissance to Art Nouveau, Berber?s works exemplify the deep, opaque whites of his journeys through the fairy tale landscapes of Bosnia to the dark, macabre burrows of Srebrenica. The exhibition catalogue includes essays by Aida Abadzic Hodzic, the curator of the show and a well-known art historian, teaching at the Academy of Fine Arts in Sarajevo, and by Edward Lucie-Smith, the art critic and the honorary consultant of the project. While Abadzic Hodzic concentrates on how the art of Berber reflects all the multi-layered cultural history of his country; Lucie-Smith, who had worked with the artist in several exhibitions, focuses on his art within the European art history scene.
|
|
|
FESTSCHRIFT JALE N. ERZEN, (1923-).
Jale N. Erzen: Testimonial.= Ani kitabi. Edited and comp. by Aysen Savas, Sevin Osmay.
New Turkish Paperback. Roy. 8vo. (24 x 16 cm). In English and Turkish. 251 p., color and b/w ills. Jale N. Erzen: Testimonial = Ani kitabi. Edited and comp. by Aysen Savas, Sevin Osmay.
|
|
|
METIN AND, (1927-2008).
Çarsi ressamlari: Osmanli tasvir sanatlari: 2. [= Bazaar painters: Ottoman figurative arts 2]. Edited by Tülün Degirmenci, M. Sabri Koz. [EDITION in TURKISH].
New New English Original bdg. Dust wrapper. 4to. (29 x 23 cm). Edition in Turkish. 248 p., color ills. Çarsi ressamlari: Osmanli tasvir sanatlari: 2. [= Bazaar painters: Ottoman figurative arts 2]. Edited by Tülün Degirmenci, M. Sabri Koz. Coining the phrase 'bazaar painters' in a 1985 article, Metin And enriched our art history terminology with a new concept as well as offer a glimpse into the world of these artists: how they worked, what they drew, where their works are today and how they contribute to our study of history of art and culture. He continued to promote and popularise their work through books and articles published until 2007, at times repeating earlier content as required. Bazaar painters and their work were not initially identified as a distinctive genre; Franz Taeschner, the first researcher to publish a selection, felt no need to refer to them as anything other than 'miniatures'. Challenging this trend, Metin And set about the immensely difficult task of obtaining pictures of bazaar painting albums from four corners of the globe in order to illustrate a prolific series of essays and books.The second volume of Ottoman Figurative Arts, Bazaar Painters consists of twelve articles published between 1985 and 2007, a comprehensive introduction by Tülün Degirmenci, and a concise album. The pictures and inscriptions Metin And chased enthusiastically all his life are but the echoing footsteps of a book, one that was either never written, or somehow got lost before it could be published.
|
|
|
MUHARREM MIDILLI.
Klasik Osmanli ceza hukukunda seriat-kanun ayrimi.
As New Turkish Paperback. Roy. 8vo. (24 x 16 cm). In Turkish. 352 p. Klasik Osmanli ceza hukukunda seriat-kanun ayrimi. The content of sharia and law in the Ottoman state, which is the dominant issue in the field of public law and relations with each of these areas is discussed since the establishment of modern Turkey. The main reason is the preferred model for providing support moving historical potential of the structure of the Republic of Turkey states such matters. Many researchers have tended to turn this potential into open historical evidence, claiming that the classical Ottoman laws were a separate and distinctive clause of provisions outside the law...
|
|
|
KEZBAN ARCA BATIBEKI.
Unpromised lands.= Vaad edilmemis topraklar. [Exhibition catalogue].
New English Paperback. 4to. In English and Turkish. 80 p., color ills. Unpromised lands.= Vaad edilmemis topraklar. [Exhibition catalogue].
|
|
|
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.
|
|
|
Text by SEBNEM KIRMACI.
Holy bargaining: Erdogan Zümrütoglu.= Kutsal pazarlik: Erdogan Zümrütoglu.
New English Paperback. 4to. In English and Turkish. 108 p., color ills. Holy bargaining: Erdogan Zümrütoglu.= Kutsal pazarlik: Erdogan Zümrütoglu.
|
|
|
GÜROL SÖZEN.
60 years in art and them: Gürol Sözen Retrospective.= 60. yil ve onlar: Retrospektif. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In Englih and Turkish. 168 p., color ills. 60 years in art and them: Gürol Sözen Retrospective.= 60. yil ve onlar: Retrospektif. [Exhibition catalogue]. This book has been prepared in coordination with "Gürol Sözen Retrospective" Exhibition held at Is Sanat Kibele Gallery between March 5 April 20, 2019.
|
|
|
DEVRIM ERBIL.
Doganin ritmi: Devrim Erbil Retroperspektifi. [Exhibition catalogue]. Text by Kiymet Giray. Prep. by Erdem Zekeriya Iskenderoglu, Nurullah Yaldiz. Curated by Erkan Doganay.
New Turkish Paperback. 4to. (28 x 24 cm). In Turkish. 163 p., color and b/w ills. and photos. Doganin ritmi: Devrim Erbil Retroperspektifi. [Exhibition catalogue]. Text by Kiymet Giray. Prep. by Erdem Zekeriya Iskenderoglu, Nurullah Yaldiz. Curated by Erkan Doganay.
|
|
|
MARIA KILIÇLIOGLU.
Pulse of the universe: Retrospective.= Evrenin nabzi: Retrospektif. [Exhibition catalogue].
New English Paperback. 4to. (30 x 21 cm). In English and Turkish. 147 p., color ills. Pulse of the universe: Retrospective.= Evrenin nabzi: Retrospektif. [Exhibition catalogue]. "This book has been prepared in coordination with 'Maria Kiiliçlioglu Retrospective' Exhibition held at Is Sanat Kibele Gallery between January 9th - February 23rd, 2019.". Kiliçlioglu, who is the daughter of famous Bulgarian sculptor Dimitar Dimov, began creating art at her father's sculpture workshop when she was just 4 years old. Her toys were dough for statues, waxes and bronze. She discovered the miracle of creating 3D objects from a young age. She focused on the West because of her education but then turned her face to Mesopotamia, diverging new searches in her art life. Her first few works, such as "Mother," "Devil," "Angel" and "Kiss," are the representations of the artist's search for a form. She created many works in the Hellenistic style with the statues that were produced with stone, wax and bronze. The works that she created using surrealist and fantastic elements added a different and authentic aspect to her art, in combination with her imaginative power. TURKISH ART Sculpture.
|
|
|
EROL DENEÇ.
From past to present Erol Deneç.= Dünden bugüne Erol Deneç. [Exhibition catalogue].
New English Paperback. 4to. (27 x 20 cm). In English and Turkish. 127 p., color ills. From past to present Erol Deneç.= Dünden bugüne Erol Deneç. [Exhibition catalogue]. Catalog of the exhibition 'From Past to Today', which includes the 60 years of artistic life of the first Turkish representative of the school of fantastic realism Erol Deneç.
|
|
|
SARKIS.
Sarkis. Sari punctum. Photos by Cemal Emden. Text by Cem Ileri.
New Turkish Paperback. Large 8vo. (22 x 16 cm). In Turkish. 76 p., ills. Sarkis. Sari punctum. Photos by Cemal Emden. Text by Cem Ileri.
|
|
|
SARKIS.
Sarkis. Yellow punctum. Photos by Cemal Emden. Text by Cem Ileri. [EDITION in ENGLISH].
New English Paperback. Large 8vo. (22 x 16 cm). Edition in English. 76 p., ills. Sarkis. Yellow punctum. Photos by Cemal Emden. Text by Cem Ileri. [EDITION in ENGLISH].
|
|
|
SEMRA GERMANER, ZEYNEP INANKUR.
Constantinople and the orientalists. [HC Edition].
New New English Original bdg. Dust wrapper. 4to. (29 x 24 cm). In English. 331 p., b/w and color ills. Constantinople and the orientalists. Since the publication of our earlier study; 'Orientalism and Turkey', we have been exploring the ramifications of Orientalism in the Ottoman capital of Istanbul itself, or as it was generally known in the nineteenth and early twentieth century: Constantinople. The present study, documented by both visual and written records, including memories, reveals not only the ways in which Istanbul was perceived and portrayed by European artists in the nineteenth century, but it also tries to represent the contemporary city as it truly lived and breathed. In the present work, the reader will discover the identity of Western artists whose works pictorially limned the Ottoman capital, their favorite subjects ¿the harem, the bath, the coffeehouse, and the slave market- and the nature of their interpretation of these subjects.
|
|
|
SEFKAT ISLEGEN.
Degisimler. Özgün Baski Resim Sergisi. 19 Subat-15 Mart 2019. [Exhibition catalogue]. Curated by Mehmet Lütfi Sen.
New Turkish Paperback. 4to. (28 x 25 cm). In Turkish. 72 p., color ills. Degisimler. Özgün Baski Resim Sergisi. 19 Subat-15 Mart 2019. [Exhibition catalogue]. Curated by Mehmet Lütfi Sen.
|
|
|
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.
|
|
|
H. MUSTAFA ERAVCI.
Özdemiroglu Osman Pasa: Bir Osmanli asker ve bürokrati (Ehl-i örf).
New Turkish Paperback. Demy 8vo. (21 x 14 cm). In Turkish. 231 p. Özdemiroglu Osman Pasa: Bir Osmanli asker ve bürokrati (Ehl-i örf). Second Edition.
|
|
|
ZEKI VELIDI TOGAN, (1890-1970), EMEL ESIN et alli.
Studies on pre-Islamic Turkish art.= Islamiyetten önceki Türk sanati hakkinda arastirmalar. Türk kültürü el kitabi. Vol. II, Ch. I a. Edited by Emel Esin, Halil Inalcik, Oktay Aslanapa.
Very Good English Paperback. 4to. (28 x 20 cm). In English, French, and Turkish. [6], 530, [2] p., color and b/w plates, 1 folded map. Studies on pre-Islamic Turkish art.= Islamiyetten önceki Türk sanati hakkinda arastirmalar. Türk kültürü el kitabi. Vol. II, Ch. I a. Edited by Emel Esin, Halil Inalcik, Oktay Aslanapa. First and Only Edition.
|
|
|
CARTER VAUGHN FINDLEY.
Sir James W. Redhouse: The making of a perfect orientalist? = Sir James W. Redhouse: Mükemmel bir dogubilimcinin öyküsü? (American Board Library Occasional Publications No: 1).
New English Paperback. Demy 8vo. (21 x 14 cm). In English and Turkish. 236 p., 1 b/w portrait of Redhouse frontispiece, b/w ills. Sir James W. Redhouse: The making of a perfect orientalist? = Sir James W. Redhouse: Mükemmel bir dogubilimcinin öyküsü? (American Board Library Occasional Publications No: 1). First published in the Journal of the American Oriental Society in 1979, and now revised and updated, Carter Findley's "The Making of a Perfect Orientalist?" is a scrupulously researched biography of the enigmatic nineteenth-century Turkish language scholar James W. Redhouse. Primarily embodied in two major dictionaries-A Lexicon, English and Turkish (1861) and A Turkish and English Lexicon (1890)-Redhouse's work established a crucial base for the further development of English-Turkish lexicography. Unparalleled at the time, his contributions remain vital today, forming the core of a number of bilingual English-Turkish dictionaries which still bear the Redhouse name. A brief overview of the press that published Redhouse's lexicons, as well as the reminiscences of two editors who helped revise them in the twentieth century, round out this provocative study of the life of James Redhouse.
|
|
|
ERGUN ÇAGATAY, (1937-2018).
Ergun Çagatay: Photographers Series 9 = Fotograf Sanatçilari Dizisi 9. [Retrospective]. Edited by Merih Akogul.
New English Paperback. 4to. (28 x 20 cm). In English and Turkish. 291, [1] p., color ad b/w photos. Ergun Çagatay: Photographers Series 9 = Fotograf Sanatçilari Dizisi 9. Edited by Merih Akogul. Ergun Çagatay's photography is an advanced continuation of the ancient photo-interview tradition. All the changes in this fast-paced world, disasters, instabilities and cultural mosaics attract photographers into the field because they are, by nature, single-mindedly passionate about recording all of it in he annals of history. hat extremely brief moment those photographers condense into a frame not only reflects their world vision and philosophy but also transmits profound messages to those reading it in times to come.
|
|
|
ARET GICIR.
Aret Gicir. From day to day = Günden güne = Ore or. [Artist catalogue]. Texts by Rober Koptas, Evrim Altug.
New English Original bdg. HC. 4to. (29 x 23 cm). In English, Turkish, and Armenian. 88 p., color ills. Aret Gicir. From day to day = Günden güne = Ore or. [Artist catalogue]. Texts by Rober Koptas, Evrim Altug.
|
|
|
AYSE ÖKTEM.
Remembering heals: Observations and experiences from sites of memory.= Hatirlamak iyilestirir: Hafiza mekânlarindan gözlem ve deneyimler.
New English Paperback. Cr. 8vo. (20 x 14 cm). In English and Turkish. 512 p., ills. Remembering heals: Observations and experiences from sites of memory.= Hatirlamak iyilestirir: Hafiza mekânlarindan gözlem ve deneyimler.
|
|
|
Prep. by OGUZ ERTEL.
From the friend's drawer: Mengü Ertel's Collection of Cihat Burak's works.= Dostun çekmecesinden: Mengü Ertel'in Koleksiyonundan Cihat Burak eserleri.
New English Original bdg. HC. Folio. (34 x 24 cm). In English and Turkish. 115 p., ills. From the friend's drawer: Mengü Ertel's Collection of Cihat Burak's works.= Dostun çekmecesinden: Mengü Ertel'in Koleksiyonundan Cihat Burak eserleri. The book focusing on over 80 drawings by Cihat Burak, one of the most important representatives of figurative painting in Turkey, from the Mengü Ertel Collection, has been named "From A Friend s Drawer" in reference to the duo s friendship. It cracks open a door onto the universe shared by these two friends from the 1960s, characterized by the dialogue between literature and painting, poster and design, architecture and theatre, all the way up to the early 1990s. The book written by Oguz Erten is particular in that it allows for a reading of Cihat Burak through his own stories. Everything about him that makes Cihat Burak who he is which may at times become crystallized in yearning for the mother, at times in the anxiety over losing Istanbul, at times in his love for animals and other times in his love for books to the extent of losing himself in a novel are brought alive to speak of him in his own words, while Mengü Ertel s collection serves to visualize this dream-world. The book provides us with the opportunity of placing Cihat Burak a figure who, while he lived, observed us from the outside as an insider and expressed these observations in his stories and paintings in the seat of the one being watched instead, allowing us to enjoy seeing him in all of his aspects.
|
|
|
1928 PANORAMA DE SMYRNE].
1928 panorama de Smyrne.= 1928 Izmir panoramasi. Text by Siren Bora.
New French Original bdg. HC. Folio. (38 x 26 cm). In French and Turkish. Text 24 pp. Folded panorama. 1928 panorama de Smyrne.= 1928 Izmir panoramasi. Text by Siren Bora. Reprint of panoramic photograph of Izmir city (Smyrna) in 1928 which was taken by Hamza Rüstem who is famous Turkish photographer from Izmir.
|
|
|
AARON SCHUSTER, MOIZ ZILBERMAN, ALI ESAT GÖKSEL et alli.
10 years Zilberman Gallery. Edited by Basak Senova.
New English Original cloth bdg. 4to. (31 x 24 cm). In English. 206 p., color ills. 10 years Zilberman Gallery. Edited by Basak Senova. "The year 2018 marks the 10th anniversary of the establishment of zilberman Gallery. To commemorate this special occasion, we have published this book which reflects on Zilberman's ten years of history and contents through the viewpoints of the actors who took part at different stages with varying intensities. Over the past ten years, the diverse interests, works and stories of all the artists being represented and ehibited in the gallery, along with the efforts and involvements of the outstanding curators, collectors, researchers, writers, and the ever-growing team have shapd the identity of the gallery. While the book provides a glimpse into the journey of Zilberman Gallery by revealing its working model, conditions, priorities and trajectories, it also aims to underline the determination to continue supporting and generating new and eceptional artistic and curatorial impulses. Therefore, even as the book contains all the data of the past ten years of the gallery, it is, indeed, all about the strong content, the genuine support, the love and the trust collected over the years.". (From Preface). 2000 copies were printed.
|
|
|
Edited by KARIN ADAHL.
Cornelius Loos in the Ottoman world: Drawings for the King of Sweden, 1710-1711. [with] Panoramas & map [book]. Prep. by Lâle Uluç, David Jones, Klas Kronberg, Ersu Pekin. 2 volumes set. [BOXED].
New English Original bdg. In publisher's special box. Folio. (33 x 29 cm). In English. 2 volumes set: (240 p., 5 unnumbered folded plates on pages; Second volume is a hard-case including two reprint panoramas and one reprint map: First panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu; size 28x336 cm; Second panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu again which is indicating Palace from a different angle; size 28x196 cm; and one map: 'Carta ufwer Orienten Med de Darom kring Grantzande Lander... (Turkey and its around map printed originally in early 18th century), descriptive text surrounding the map, size 65x85 cm. Cornelius Loos in the Ottoman world: Drawings for the King of Sweden, 1710-1711. [with] Panoramas & map [book]. Prep. by Lâle Uluç, David Jones, Klas Kronberg, Ersu Pekin. 2 volumes. [BOXED]. Cornelius Loos was one of the young military officers who followed Karl XII to the Ottoman Empire in 1709. From the royal headquarters in what is at present the republic of Moldova, Loos was sent to Istanbul on the King's orders in 1710. From there his journey was pursued by boat over the Mediterranean to Egypt and he returned by land through Jerusalem, Damascus, Aleppo, Konya and Izmir. Loos' mission was to make drawings of the "rarities and monuments" that he would encounter on his journey. Out of the drawings that have survived until today, one is from Palmyra, two from Rhodes and Bodrum and around forty aquarelle tush drawings from Istanbul. It is possible that part of the original drawings were destroyed in the "Skirmish at Bender" in 1713, while other works, due to various reasons, disappeared on their way to Sweden. The conserved drawings are kept at the Swedish National Museum and were exhibited there in 1985. (See catalogue titled "Cornelius Loos. Teckningar från en expedition till Främre Orienten 1719-1711", Stockholm, Nationalmuseum, 1985). The drawings represent a unique record of the urban landscape and the monuments in Istanbul in the early 18th century. The collection includes three great panoramas of the city seen from the Topkapi palace to the upper part of the Golden Horn. To the Loos paintings can be added the great Mecca painting brought to Sweden by Mikael Eneman and kept in the Uppsala University Library, and a small group of oil paintings brought back by Loos' travel companion Conrad Sparre, which are also kept in the art collection of Uppsala University. In addition there are travel accounts and correspondence from these journeys. (From the 'SRII's official site, Karin Adahl's project). "In January 1710 the Swedish king Charles XII, in exile in the Ottoman Empire, sent three of his officers on a journey from the royal camp near Bender in Moldova to travel to Constantinople and from there along the Eastern Mediterranean to Egypt. Their mission was 'to view the there existing rarities and monuments, to draw and to measure'. Cornelius Loos, one of the young officers, returned to his king in 1711 with more than 250 drawings. Only forty-nine, kept under the king's bed, survived a skirmish in the camp in 1713, the so called 'kalabalik' at Bender. King Charles had a vision to publish an encyclopaedic work about the Near East, a dream that was lost in the fire in the camp. The drawings were brought to Sweden when the king returned from the Ottoman Empire in 1714. He died in battle in Norway in 1718. Loos' drawings are unique documents of Constanttinople in the early 18th century, with large scale, detailed panoramas, important prospects of the interior of the Hagia Sophia and views from the Ottoman city. A big map is accompanied by minor drawings from the Black Sea, the Eastern Mediterranean and Egypt, as well as a spectacular set of water-colours of head dresses from the Ottoman world. The Loos collection of drawings is today kept in the National Museum in Stockholm.". Texts by Göran Baarnhielm, Ulla Ehrensvard, Nurhan Atasoy, Günsel Renda, Bo Lundstörm
|
|
|
PABLO PICASSO.
Picasso-Suite Vollard. Engravings / Gravürler / Grabados. [Exhibition catalogue].
New English Paperback. 4to. (29 x 24 cm). In English, Turkish, and Spanish. 155 p., color and b/w ills. Picasso-Suite Vollard. Engravings / Gravürler / Grabados. [Exhibition catalogue].
|
|
|
CEMAL EREZ.
Yedi günah & Bir bürokratin 24 saati. [Exhibition catalogue]. Texts by Serkan Simsek. Edited by Mine Haydaroglu.
New Turkish Paperback. 4to. (29 x 21 cm). In Turkish. 43, 103 p., color ills. Yedi günah & Bir bürokratin 24 saati. [Exhibition catalogue]. Texts by Serkan Simsek. Edited by Mine Haydaroglu.
|
|
|
ORHAN PAMUK, INCI EVINER.
We, elsewhere: 58th International Art Exhibition la Biennale di Venezia, pavilion of Turkey.= Biz, baska yerde: 58. Uluslararasi Sanat Sergisi La Biennale di Venezia, Türkiye pavyonu. Text by Orhan Pamuk.
New English Paperback. Oblong 4to. (24 x 27 cm). In English and Turkish. 160 p., ills. We elsewhere.= Biz baska yerde. [Biennial catalogue]. We, Elsewhere, a new work by Inci Eviner will be presented in the Pavilion of Turkey at the 58th Venice Biennale, to be held from May 11 through November 24, 2019. Organised by the Istanbul Foundation for Culture and Arts (IKSV) and sponsored by Fiat, the Pavilion of Turkey will be curated by Zeynep Öz and located at Sale d Armi, which is one of the main exhibition venues of the Venice Biennale. We, Elsewhere is created as a site-specific installation for the Pavilion of Turkey at the 58th Venice Biennale and makes use of elements such as reconfigured objects as well as drawings, video, sound, and performance. It is an investigation into the spaces that we create, and are created for us as a result of collective displacement. The exhibition ruminates on how subjects who find themselves in these spaces react and interact with one another and with their memories. Various elements of sound, reconfigured objects and characters crafted by Eviner evoke the sense of a search for the missing, the erased and that which is elsewhere. A certain aggression and abruptness comes out in the characters everyday behaviour informing their identities in transition. The space itself, in which visitors are invited to walk along the ramps, courtyards and edges, displays permeability, allowing views through cuts and cracks along the walls. The paths punctuated by the objects suggest the way in which memory eases conflicts. Together, the characters, the space and the paths tell a story akin to Hannah Arendt s narrative of struggles in We Refugees.
|
|
|
Edited by GÜNES OKTAY.
Theory in the art and design: Add-Ist Art and Design Dialogues Symposium. February 2018 proceedings book and exhibition catalogue.= Sanat ve tasarimda kuram: Add-Ist Sanat ve Tasarim Diyaloglari Sempozyumu - Subat - 2018 bildiriler kitabi ve sergi katalogu.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English and Turkish.304 p., ills. Theory in the art and design: Add-Ist Art and Design Dialogues Symposium. February 2018 proceedings book and exhibition catalogue.= Sanat ve tasarimda kuram: Add-Ist Sanat ve Tasarim Diyaloglari Sempozyumu - Subat - 2018 bildiriler kitabi ve sergi katalogu.
|
|
|
PAVEL DMITRIEVICH SHIPOV, (1860-1919).
[LITHOGRAPH PRINT - PAINTING of ATTACKING COSSACKS] Dozv[onit'sia] Tsenzur. 28 Yuliia 1890, S[ankt] P[etersburg].
Very Good Russian Original color lithograph print. Split on folding places. Should be repaired. Folio. (51 x 32,5 cm). In Russian. From a book published by R. Golicke in St. Petersburg. Print signed by artist. [LITOGRAPH PRINT PAINTING of COSACKS] Dozv[onit'sia] Tsenzur. 28 Yuliia 1890, S[ankt] P[etersburg]. 1890, 162 written at the right bottom corner of original print. This is 162nd lithographic plate of the book. It shows soldier holding rifle with bayonet in his hand, and another soldiers who are attacking all together. Shipov was a Russian painter, a master of military portrait. Born in the province of Kostroma, Russia. Since 1875 was an auditor of Petersburg Academy of Arts. In 1880 he entered the military service. Studied painting without leaving military service. In 1883 he graduated from the training in the Corps of Pages. Since 1904 - the Commander of the East Siberian strelets regiment. In 1909 he was transferred to Suites, since 1915 - Lieutenant-General. In 1904-1915 received numerous awards for his military honor and courage, among them Golden Arms. He painted portraits of soldiers, watching them in battles and having rest. He did pencil sketches and watercolor portraits. One of the main representatives of the Russian military portrait of the edge of the century.
|
|
|
Prep. by BASAK ÇAKA, VASIF KORTUN et alli.
Bir Salt kitabi.
New Turkish Paperback. 4to. (30 x 23 cm). In Turkish. 236, [12] p., color ills. Bir Salt kitabi.
|
|
|
AKIRA KUROSAWA.
Akira Kurosawa. Drawings.= Desenler. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Fatma Çolakoglu, Tania M. Bahar.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. [117] p., color ills. Akira Kurosawa. Drawings.= Desenler. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Fatma Çolakoglu, Tania M. Bahar. "Ten years after the death of Akira Kurosawa, Sana and Inan Kiraç Foundation Pera Museum is paying special tribute to the world of cinema's Japanese master by hosting eighty-seven drawings that express Kurosawa's visual intricate universe. As a prelude to this symphony of colors, the words of Aldo Tassone recount the journey of the emperor of Japanese cinema as a biographical essay. A descendent of the Samurai, Kurosawa was born during the end of Japan's Meiji Period (1867-1912). His childhood coincided with the transition from feudalism to modernity, from isolation to opening up to the world. It was undeniably this particular atmosphere, as much as his family circle, that urged him from a very early age on, to quench the thirst he had for Western art. His oeuvre, in fact, is an original synthesis of Eastern and Western cultures.".
|
|
|
Chief of project: FABIOLA AGUDELO HENAO.
Painting art & painters in Turkey and Tajikistan.= Türkiye ve Tacikistan'da resim san'ati ile ressamlar.
Fine English Original bdg. HC. 4to. (31 x 25 cm). In English, Turkish and Russian. 54, [255] p., color and b/w ills. Painting art & painters in Turkey and Tajikistan.= Türkiye ve Tacikistan'da resim san'ati ile ressamlar.
|
|
|
HÜSAMETTIN KOÇAN.
Hüsamettin Koçan. [Exhibition catalogue]. 7-27 May 1998, S. Yasar Sanat Galerisi, Izmir. Text by Ahu Antmen.
New English Paperback. Mint. 4to. (31 x 24 cm). In English and Turkish. 74, [1] p., color ills. Hüsamettin Koçan. [Exhibition catalogue]. 7-27 May 1998, S. Yasar Sanat Galerisi, Izmir. Text by Ahu Antmen. 1000 copies were printed.
|
|
|
MAT COLLISHAW.
Thresholds.= Esikler. [Exhibition catalogue]. 16 May - 29 July 2018. Translated into English by Süreyyya Evren. Curated by Mine Haydaroglu.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 112 p., ills. Thresholds.= Esikler. [Exhibition catalogue]. 16 May - 29 July 2018. Translated into English by Süreyyya Evren. Curated by Mine Haydaroglu. Thresholds is an ongoing touring exhibition that restages the world's first major exhibition of photography. Visitors travel back in time to 1839, when British scientist William Henry Fox Talbot first presented his photographic prints to the public at King Edward's School in Birmingham. The experience is a fully immersive portal to the past; visitors can walk freely throughout a digitally reconstructed room, and are able to touch the bespoke vitrines, fixtures and mouldings; even the heat and scent of a coal fire is recreated. Infrared sensors track visitors movements, creating ghostly avatars that indicate their position and enhance the feeling of travelling through time. Collishaw has also created a soundscape to accompany the exhibition: the demonstrations of the Chartist protesters who rioted in 1839 on the streets of Birmingham, and who can be glimpsed through the digital windows.
|
|
|
NAKAE YOSHIO, (1940-).
Kikoetekuruyo (Ehon Kanibaru 4). [With photograph an original drawing of illustrator].
New New Japanese Original bdg. Dust wrapper. Large 8vo. (24 x 24 cm). In Japanese. 32, [1] p., color ills. Kikoetekuruyo (Ehon Kanibaru 4). [With photograph an original drawing of illustrator].
|
|
|
ATSUSHI HOSOI.
Atsushi Hosoi. SamazanaME102. Jul. 1 - Aug. 3, 1999. IBM-Kawasaki City Gallery. [Exhibition catalogue].
As New Japanese Paperback. Mint. Large roy. 8vo. (25 x 17 cm). In Japanese with bilingual title in English and Japanese. [14] p., color and b/w ills. Atsushi Hosoi. SamazanaME102. Jul. 1 - Aug. 3, 1999. IBM-Kawasaki City Gallery. [Exhibition catalogue].
|
|
|
?????????
?????PDF???
RSS feed
??
