RAFFI PORTAKAL.MareMagnum
3,512 results
2007New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 151 p., color ills. P sanat, kültür, antika dergisi. No. 46. Ev ve sanat. Special issue, Home and art.
2008New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 135, [7] p., color ills. P sanat, kültür, antika dergisi. No. 47. Otomobil ve sanat. Special issue, Automobile and art.
1998New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 135 p., color ills. P sanat, kültür, antika dergisi. No. 10. Spor ve sanat. Special issue, Sports and art.
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.
1996New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 135 p., color ills. P sanat, kültür, antika dergisi. No. 2. Harem / El. Special issue, Harem and 'hand'.
1996New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 124, [10] p., color ills. P sanat, kültür, antika dergisi. No. 1. [Mimar] Sinan. Special issue, Sinan the Architect.
1997New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 149 p., color ills. P sanat, kültür, antika dergisi. No. 5. Bizans. Special issue, Byzantine.
2006New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 171, [3] p. P sanat, kültür, antika dergisi. No. 40. Sarap ve sanat. Special issue, Wine and art.
1999New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. [30], 147, [1] p., color ills. P sanat, kültür, antika dergisi. No. 13. Çiçek ve sanat. Special issue, Flower and art.
1999New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 151 p., color ills. P sanat, kültür, antika dergisi. No. 15. Portre ve sanat. Special issue, Portrait art.
2002New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 141, [8] p., color ills. P sanat, kültür, antika dergisi. No. 26. Tekne ve sanat. Special issue, Boat and art.
1999New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 139 p., color ills. P sanat, kültür, antika dergisi. No. 14. Mavi ve sanat. Special issue, Blue and art.
2001New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 151 p., color ills. P sanat, kültür, antika dergisi. No. 23. Sanatta hayvan. Special issue, Animals in art.
2000New English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. 199 p., color ills. P sanat, kültür, antika dergisi. No. 16 Yirminci yüzyil sanati. A'dan Z'ye akimlar. Special issue, Art in 20th century.
1994Fine English Paperback. Pbo. Large roy. 8vo. (25 x 17 cm). In Turkish. 61, [2] p., b/w ills. First Edition. Limited Edition. Rare. 100 copies were printed / One of first 100 hors-commerce copy.
2014Very Good English Original bdg. HC. Large 4to. (34 x 25 cm). In English, German, French, Italian, Turkish. 1000 p., 1244 color and b/w ills. 50 years from Bedri Baykam's press book, 1963-2013. Edited by Eren Teoman. 1000 copies were printed. First Edition. Signed and inscribed by Baykam. A very heavy and big volume.
2005New English Paperback. Pbo. 4to. (28 x 24 cm). In English and Turkish. 163 p., color ills. The Young Expansion exhibition opened as one of the activities organised on the occasion of the International Art Association's Third European General Assembly that was held at Pera Museum between June 16-18, 2005. The exhibition presented works by 61 artists under the age of 35.
2015New English Paperback. 4to. (27 x 21 cm). In English and Turkish. 336, [1] p., color ills. Alif Art. Pt. 1: Rare manuscripts and calligraphy collection. Pt. 2: Hifzi Topuz Collection and Ottoman & European works of art.= I. Bölüm: Nadir yazma eserler koleksiyonu. II. Bölüm: Hifzi Topuz Koleksiyonu ve Osmanli & karma sanat eserleri. [Auction catalogue].
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 English Paperback. Pbo. 4to. (28 x 20 cm). In Turkish and abstract in English. 40, [32] p., 32 full page color ills. Ressam, egitimci ve yazar Malik Aksel.= An artist, a teacher, and an author Malik Aksel.
2014New English Paperback. Pbo. 4to. (29 x 25 cm). In Turkish. 31 p., fully color ills. Sehr-i Osmanli. Merab Calagonia Resim Sergisi. 19 Kasim - 05 Aralik 2014. [Exhibition catalogue].
2015New English Original bdg. HC. In publisher's special slip-case. Foolscap 8vo. (18 x 12 cm). In English and Turkish. 540 p., color and b/w ills. Saltwater: A theory of thought forms. 14th Istanbul Biennial catalogue.= Tuzlu su: Düsünce biçimleri üzerine bir teori. 14. Istanbul Bienali katalogu. Edited by Süreyya Evren. The 14th Istanbul Biennial Catalogue (Author: Carolyn Christov-Bakargiev, Editor: Süreyyya Evren) contains articles specially penned for the occasion by curators,art historians and critics including Griselda Pollock, Elvan Zabunyan, Chus Martínez, and Alexander Provan, as well as by such scientists as Vilayanur S. Ramachandran, Emin Özsoy, Jeffrey Peakall, and William Irvine, who represent a wide range of scientific fields from neurology to oceanography. The 550 page catalogue also includes original drawings by biennial participants, along with an anthology that covers a variety of texts from 1st century to our day, all of which are chosen again by the participants.
2015New English Paperback. Pbo. 4to. (29 x 24 cm). In english and Turkish. 239, [5] p., color ills. 'Painter and Painting: A Mehmet Güleryüz Retrospective' presents an inventory of Güleryüz's oeuvre from the 1960s to the 2010s. The exhibition sheds light on the development and transformation of the artist's generous quest for expression, which ranges from painting, drawing, sculpture, and engraving to theater and performance. With his critical and expressionist style, Mehmet Güleryüz has earned himself a special and privileged place in the art scene in Turkey over half a century. His art centers on people and the sociopolitical conditions surrounding them. The artist, who was born in 1938, uses a critical and ironic language to express, through his figurative works, the effects of Turkey's sociocultural and political transformation on people. Love of family, male-female relationships, nature and living beings, and all the processes that influence oral and visual culture are manifested in his paintings as human acts. Güleryüz produces art through an approach that invites its viewers to take a stance, just like he does, and confront the processes they have experienced. Güleryüz studied at the State Academy of Fine Arts in the 1960s and made a mark in the Paris art environment in the 1970s with his happenings. From the 1980s on, he played an active part in the transformation of the art scene in Turkey. Güleryüz's art shows an unusual development, manifesting how an artist can generate his very own individual style. Güleryüz is also an active theater actor who performs on stage. The intimate connection he has established between theater and the visual arts is one of the most interesting examples of his interdisciplinary approach in art. Güleryüz's art is part of a social process: it is based on everyday perceptions and familiar and established feelings. Therefore, each work references the history of its own time. For nearly 60 years, Güleryüz's art has been charting its own course, becoming enriched and developing in the process. In terms of line and drawing, Mehmet Güleryüz has a unique character and style. For him, drawing is not simply an infrastructural element of painting, it is an artistic language in its own right. Drawing is to him a being that is as close to him as holding on to life, breathing, and celebrating one's existence. Mehmet Güleryüz has also produced countless works on the reflections of his drawings and paintings in the physical, three-dimensional world. Since the 1970s, he has produced important research on and examples of sculpture. Based on the human being's relationship with sculpture, he has followed the traces of his figures in the three-dimensional world.
2014New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 112, [4] p., color ills. Istanbul Modern presents the most comprehensive exhibition of work by Sahin Kaygun. Seeking new forms of expression, Kaygun played a pioneering role in photography in Turkey. In the 1980s, when the term "interdisciplinary" was nonexistent in Turkey's photographic culture, Kaygun combined photography with disciplines as diverse as painting, graphics, and cinema, and explored new and surprising applications of photographic techniques. Seeking a contemporary interpretation of the link between photography and other art forms, he continued to push the boundaries between various art disciplines in Turkey. Supported by detailed archival work, the exhibition spans the whole of Kaygun's career from his early experimental intervention in photography in the 1980s, when he produced Turkey's first Polaroid work, through to his final years. Parallel to the artist's technical exploration, in which he added layers onto photographs, the exhibition traces Kaygun's narrative on the boundaries of consciousness between dream and reality through themes of life and death. The political atmosphere of the 1980s led to a period of individual crisis and introversion that can be sensed in his art. Kaygun's work from this period, which is included in the exhibition, manifests the spiritual state of the time from a personal standpoint. Sahin Kaygun started earning a living by painting when he was in high school. In 1969, he began studying graphic arts at the State University of Applied Fine Arts in Istanbul. For Kaygun, who developed an artistic interest in photography during his university years, graphics and photography were two fields that nourished and completed one another. Kaygun's Polaroid series represented his first attempt at manipulating photographs. Works from this series have been included in the International Polaroid Collection and exhibited in major museums and art institutions.
2013New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 311, [5] p., color ills. The Exhibition Erol Akyavas - Retrospective, organized by Istanbul Modern presents a comprehensive inventory of the artist's oeuvre that extends over half a century from the 1950s to the late 1990s. The exhibition brings together in great diversity the unique synthesis Akyavas developed between the artistic and cultural worlds of the East and the West, his perspectival and architectural arrangements on the canvas that passed through many transformations in time, his subconscious explorations that focused on the human figure and his interaction in his late period with the various cultures of the world. This selection of around 290 works, underlines the creative and pioneering identity Akyavas assumed between modern and contemporary art. The works of Erol Akyavas, who was born in Turkey, studied architecture and art in Europe and America and placed his interest in Eastern arts, and particularly Islamic art, and the Sufi tradition at the centre of his art, form one of the most accomplished examples of non-Western quests for Modernity that gained increasing prominence after World War II. Akyavas's world of images, assembled both from Eastern and Western art with a unique interpretation is considered an original synthesis. His quest for form and content that has a scope that extends from Cubism to Surrealism, from Islamic miniatures to prehistoric wall paintings and from calligraphy-based practices to the symbolism of monotheistic religions, develops an exceptional artistic language. In these paintings where perspective in the classical sense disappears, each image that is included in the painting is also ascribed a question, and the image is constructed through a Sufi sense of love, Akyavas creates a world which he embraces with faith.