MÜSERREF R. KÖKTÜRK.MareMagnum
3,495 results
1989Fine English Original bdg. Dust wrapper. Roy. 8vo. (23 x 17 cm). In Turkish. 388 p., 59 b/w plates. Signed and inscribed by Köktürk. Paletten kaleme. (De la palette a la plume).
1973Fine English Original bdg. Blue hardcover. Roy. 8vo. (24 x 17 cm). In Turkish. 288 p. Color and b/w ills. [=Turkish painting and sculpture throughout 50 years]. 50 yilin Türk resim ve heykeli.
1995New English Original bdg. HC. In special publisher's slip-case. Large 4to. (35 x 25 cm). In Turkish. 59, [114] p., color and b/w ills. Orhan Peker. Ispanyol defteri. Edited by Önder Küçükerman.
1996New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 143 p., color ills. P sanat, kültür, antika dergisi. No. 3. Türk halilari. Special issue, Turkish carpets and rugs.
2016New New English Original bdg. Dust wrapper. 4to. (28 x 23 cm). In Turkish and a small abstract in English (pp. 491-494). 494, [2] p., color and b/w ills. Tez - antitez - sentez: Selim Turan'in sanat serüveni.= Thesis-antithesis-synthesis: Art journey of Selim Turan. Artistic life of Selim Turan and his paintings. Turan'in altmis yila yayilan sanat serüveninin tez, antitez, sentez kavramlariyla örülmüs bir bütünlük olarak ortaya çiktigini görüyoruz. Bir ressam olarak Turan, yapmacik sözü degil esinlendirici, açik seçik formu aradi. Kurgulariyla, renk bütünlükleriyle bir atmosfer olusturmayi basaran soyut kompozisyonlari, onun özverili çabasinin ürünüdür. Sanatçi bu sayede, kütlesel formlarin egemen oldugu yalin, benzetmelere yer vermekten kaçinmayan, renk bakimindan çogu kez siyah ve koyu tonlarin hâkim oldugu bir görsel dil gelistirdi. Kendini farkli stillere zorlamadi; içinden geldigi gibi belli bir çizgisellikten uzakta çalisti. Kompozisyonlarini tekrar etmekten kaçinmamasi, formlarini hem figüratif hem de soyut imgelere göre kurgulamasi, onun belirgin özellikleri arasindadir. 1947 ile 1960 arasinda Paris'te sanat yasaminin en üst noktasina çikarak birbirinden ilginç deneylere giren sanatçi, soyut resimlerinde gelistirmis oldugu ifade zenginligiyle Modern Türk resminde ayricalikli bir konuma sahiptir.
2007New English Paperback. Pbo. 4to. (33 x 24 cm). [200] p. Color ills. In Turkish. =[Ottoman flower painting for centuries]. Yüzyillar boyunca çiçek ressamligi. First Edition. TURKISH AND ISLAMIC ART Traditional painters Flower Ottoman art History of arts Manuscript Tulip Rose Tezhip Illumnation Ornament.
1972Very 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.
2006New New English Original bdg. Dust wrapper. 4to. (30 x 23 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.
2004Fine 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].
ref. 91146aafParis, Editions de la Coiffure Française, 1937, in-8vo, 152 p. avec plus de 100 figures dans le texte dont 12 planches coloriées collées , brochure originale. Bel état.
2005Fine English Paperback. Pbo. 4to. (32 x 24 cm). Color ills. 36 p. In Turkish. Hasim Nur Gürel. 5 Subat - 5 Mart 2005 [Exhibition catalogue].
2002Fine English Paperback. Pbo. Demy 8vo. (21 x 15 cm). 80 p. In Turkish, English and Romanian. Color ills. 600 copies were printed. Monolog. 19 Nisan - 3 Mayis Istanbul, 10 - 30 Mayis 2002 Köstence. [Exhibition catalogue]. Translator: Dalina Özbay.
2002Very Good English Paperback. Pbo. Oblong 4to. (30 x 30 cm). In English and Turkish. Color ills. [24] p. 1000 copies were printed. Fetish: Human fantastic.= Fetis: Düsleyen insan. [Exhibition catalogue]. Natalie Bookchin - Jose Carlos Casado Mancha - Claudia Hart - Kelly Heaton - Yucef Merhi - Michael Rees. Texts by Michael Thursz.
1994Fine Fine English Original bdg. Dust wrapper. Oblong large 8vo. (23 x 25 cm). In Turkish. 156 p., color ills. Edip Hakki Köseoglu. Prep. by Hamit Kinaytürk.
2007Fine English Paperback. Pbo. 4to. (27 x 22 cm). In Turkish. Color ills. 219, [3] p. Istanbul Antik Sanat Osmanli gümüs, tablo, ferman, hat ve sanat eserleri müzayedesi 2007 [Auction catalogue].
2013New English Paperback. Pbo. 4to. In English and Turkish. 63, [1] p., 17 huge color folding plts., color ills. "The book published on the occasion of Sarkis' exhibition entitled ''Interpretation of Cage / Ryoanji'' comprises three sections. The first section features new texts commissioned exclusively for this publication along with photos from Sarkis' works that are mentioned in the essays. Opening with Melih Fereli's comprehensive curatorial introduction that offers an intense journey into the musical and intellectual references of Sarkis' works in the exhibition, this section includes texts by art historian Gabriele Knapstein ("Fleeting Images and Fleeing Sounds: Music in the Work of Sarkis"), editor and translator Mine Haydaroglu (''Conveyed Through Sound and Images: The Element of Chance in Art and in the Work of Sarkis''), and philosopher Elie During (''Blocks of Silence, Stretches of Time: Sarkis' Ryoanji''). The second section brings together the 96 watercolours that form Sarkis' work entitled ''Partition de flûte Ryoanji / Cage selon Sarkis'' while the third consists of a CD that includes a pre-recorded musical interpretation of Sarkis' work by Kudsi Erguner (ney) and Jean-Francois Lagrost (shakuhachi).".
2016New English Paperback. Pbo. 4to. (31 x 24 cm). In English and Turkish. 112 p., b/w and color ills. Murat Akagündüz. VErtigi. [Exhibition catalogue]. Edited by Süreyyya Evren, Ilkay Baliç. Murat Akagündüz's exhibition Vertigo brings together 13 paintings from the "Kaf" series. In this new series the artist depicts some of world's highest mountain peaks as seen on Google Earth. How is the act of painting transformed once we rely upon the mediation of digital data to depict an actual physical landscape? The exhibition thus refers to the ontological consequences of such digital mediation in our relationship to the Earth and its implications in terms of vision and image production. While the series, named after the Kaf Mountain, emphasises a mythological narrative, each painting in the "Kaf" series takes its title from the latitude and longitude values defining the position of the images on Google Earth. Akagündüz offers us views over the peaks of the Alpide Belt, spreading across three continents, and provides us with the coordinates of the Kaf Mountains at the same time. In juxtaposing mathematical exactitude with the perceptually challenging monochromatic use of the colour white, Akagündüz's intention is to explore the minimal conditions of visual representation. The "Kaf" series, in its search for a language using different shades of white, winnows down the minimal conditions of pictorial representation to a bare-bones relationship between light and shade and approaches the threshold of visual perception. In the "Kaf" paintings, the line of the horizon is either invisible or it escapes the eye by merging with the upper corner of the canvas. Adopting a satellite view of the Earth the paintings represent a vertical, groundless perspective. As the horizon is nowhere to be found, our sense of being grounded in space is unsettled and a sense of vertigo sets in. This vertigo effect is also echoed in the spatial construction of the exhibition through a subtle intervention on the walls delineating the first floor of Arter. The "Kaf" paintings bring the process of emergence of image to the eye and to memory, between appearance and disappearance, through reverberations in time. At first sight, these appear to be abstract fragments that are difficult to read in terms of their relationships of scale to the reality they were cut off from. The even distribution of light on the entire surface and its movements through various shades of white, by evading the eye, catch and hold the gaze. The stains, which slip away and alter the moment we think we have caught an image, are contiguous with the void and create a silent space of tension. Vertigo denotes the dizziness and loss of balance felt when a subject or the objects surrounding them appear to be moving in space. As reflected through Murat Akagündüz' "Kaf" series, vertigo is a relational phenomenon, it points both to a spatial disorientation on psychological and physiological levels, and to an uncertainty regarding subject-object relationships as perceived within space. By opening up a space for silent contemplation, the paintings invite the viewer to sense the new possibilities found in this loss of ground and thus produce a new perception of the world.
2004New English Paperback. Pbo. 4to. (34 x 22 cm). In English. 131, [3] p., color ills. P. Art, culture, antiques. No. 12. Magic in art.
1968Fine English Paperback. Pbo. Cr. 8vo. (18 x 14 cm). In Turkish. [32] p., b/w plts. S[ükriye] Dilmen Retrospektif Sergisi. Devlet Güzel Sanatlar Akademisi, 1968. Text by Nurullah Berk. [Exhibition catalogue].
2011New English Paperback. 4to. (29 x 25 cm). In French, English, and Turkish. [110], [1] p., color and b/w ills. Beautiful painting is behind us.= La belle peinture est derriere nous.= Güzel resim geçmise aittir. Preface by Bernard Emie. Artists: Ronan Barrot, Julien Beneyton, Romain Bernini, Katia Bourdael et alli. TURKISH PAINTING French art Modern painting Contemporary art.
1990Fine English Paperback. Pbo. Small 4to. In Turkish and English. Color and b/w ills. 3000 copies were printed. Türkân Kiran. 40. sanat yili.
2016New English Paperback. Pbo. 4to. (30 x 23 cm). In English and Turkish. 152 p., color ills. Veysel Günay. Deep inside the landscape / Memory suspending time: Landscape as a concept in the space of history and the history of Veysel Günay's painting.= Derinligin manzarasi / Zamanda asili kalan bellek: Tarihin mekâninda bir kavram olarak manzara ve Veysel Günay resimlerinin tarihi. [Exhibition catalogue]. Text by Zekiye Sarikartal.
2005New 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
1988Fine French Paperback. 4to. (29 x 21 cm). In French. 76, [3] p., b/w plates. Reprint of 1909 Edition. L'art Ottoman. Les peintres de Turquie.
2015New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. [vi], 174 p., color and b/w ills. This is not alove song: Video art and pop music crossovers.= Bu bir ask sarkisi degil: Video sanati ve pop müzik iliskisi. [Exhibition catalogue]. "This is Not a Love Song: Video Art and Pop Music Crossovers" exhibition catalogue traces the genealogy of the relations between video art and pop music from the 1960s to today in which video art and pop music crossed roads. The catalogue features a substantial essay on video art and pop music relationship by curator F. Javier Panera Cuevas. The five chapters in the catalogue Art in Pop, Pop in Art, Hysteria and Religion, 'Non-Musicians' vs 'Non-Artists' Rock and Conceptual Art, Rock and Its Double: Pop Music as a 'Toolbox' and Dance Music Politics present a deeper look into the works in the exhibition. This is Not a Love Song suggests that the relations between music and the visual arts force us to reconsider another history of art, in which musicians and artists can position themselves either as actors in the hegemonic cultural system or as critical radicals whose traces, as Greil Marcus would say, can be as intense and as short-lived 'as a lipstick stain that is removed but leaves a profound imprint on our memory. Contents: Foreword.; This is Not a Love Song.; Art in Pop / Pop in Art.; Rock and Conceptual Art: 'Non-Musicians' vs 'Non-Artists'.; Rock and Its Double: Pop Music as a 'Toolbox'.; Dance Music Politics.; This is Not a Music Video. MUSIC History of art Video installation Exhibition Modern art Pop culture.