Istanbul Technical University Art Collection Inventory: Analysis and Recommendations for Its Development

ITU A|Z • Vol 17 No 1 • March 2020 • 55-69 Istanbul Technical University Art Collection Inventory: Analysis and recommendations for its development

Canan Atlığ1, Aslıhan Erkmen2 1 [email protected] • Istanbul Painting and Sculpture Museum, Mimar Sinan Fine Arts University, Istanbul, Turkey 2 [email protected] • Department of Fine Arts and Institute of Social Sciences, Istanbul Technical University, Istanbul, Turkey

Received: March 2019 • Final Acceptance: October 2019

Abstract Over the years, several artworks have been compiled at various campuses of Istanbul Technical University (ITU) forming a modest collection. These artworks, however, have never been identified, documented, catalogued, and/or studied in an art historical manner. The purpose of this paper is to identify and analyze the artworks in the ITU Art Collection Inventory for the first time and provide suggestions for its development. Initially, all campuses and faculties/facilities of ITU were visited and the artworks found in each location were recorded based on the guidelines set by the International Council of Museums (ICOM). The findings have been categorized and presented according to different campuses of ITU as well as the types of artworks, which include forty-five paintings, nineteen sculptures, four engravings, one mural, and one panel, a total of seventy works. Recommendations have been developed based on the content of the inventory in accordance with ITU’s mission, vision, and history. The relationship between science, technology, and art has been the main focus of the general suggestions, which have been made for ITU to build a strong relationship with artists and academics in the campus as well as with ITU’s Rectorate Art Gallery to innovate new forms of artworks in the contemporary art field. It should be noted that most of the artwork were tributes to prominent Turkish scientists and scholars. The relationship between art and science observed in most of the artworks is suggested to become the binding factor for the cohesiveness of the ITU Art Collection.

Keywords doi: 10.5505/itujfa.2019.52207 doi: University, Art, Collection management, Inventory. 56

1. Introduction are as important as cataloging, The term “collection”, in general, protection, and maintenance of the refers to a set of material or intangible collection. In this context, following the objects, which have been assembled, realization of the inventory and catalog, classified, selected, preserved, and the institution has the opportunity displayed by an individual or an to evaluate the relationship between establishment. In order to compose CMP and its collection. In this way, a real collection, the set of objects a process that will pave the way for collected must form a consistent and the development of the collection is meaningful whole. Therefore, a group initiated (Edson, 2004, 135). of objects gathered according to “Art” initially comes to mind when personal taste with no selection criteria discussing museums or collections and intention to build a coherent whole even though there are myriad types is not considered to be a collection but and functions of museums (Rosset, may be referred to as “fond” (Desvallées 1991). Regarding university museums, and Mairesse, 2010, 26). art is the major activity in collecting Collections may vary in their form where the focus of “education” is an or content; however, they share similar important function (O’Hagen, 1998, principals when it comes to their care 198). Also, the “question of definition” and management. Thus, the term rises whether the collection defines the “Collection Management” is applied nature of the university museum or to the various technical, ethical, legal, vice versa (Brattli and Steffensen, 2014, and practical methods by which the 96). Therefore, the university museum collections are gathered, organized, studies require both connoisseurship and preserved (Ladkin, 2004, 17). research as well as analytical approach “Collection Management” concentrates to the museums and/or collections. on taking care of the collection while The root of the university focusing on its long-term physical museum concept can be traced to well-being, safety, preservation, and the seventeenth century with the record keeping. In order for collection foundation of Ashmolean Museum management to function successfully at Oxford established in 1683 and effectively, a well-designed (Boylan, 1999, 46). Between the policy in align with the mission of seventeenth and twenty-first centuries, the institution and its collection must developments in teaching, scientific be created and presented as a written practice, and knowledge of the natural document (Edson and Dean, 1994, 69). and cultural world have resulted in There are ten main issues that every the accumulation, utilization and Collection Management Policy (CMP) even disposal of innumerable artifacts should cover: The purpose of the and specimens within the university collection according to the corporate museums (Kozak, 2016). Collections mission; acquisition methods; disposal formed and/or maintained in these methods; loan policies; record-keeping universities were used for learning in of objects; care and preservation; the laboratory or tutorial room as well cataloging systems; insurance as provided the material evidence of processes; inventory of the collection; research achieved in the name of an and access to the collection (Malaro, institution. The university museum is 1995, 11-12). created when a university dedicates An “inventory” consists of the basic institutional space and facilities to the collection management information exhibition of collections, (Simpson, about each object in a collection, 2014, 18). According to Lourenço including the details that are essential (2019), “…There is no definition of for accountability and security ‘university museum’ outside ICOM’s. (CIDOC, 1995). The whole collection Museums are museums. The only can only be created, examined, definition that we can give is that a recorded, and studied after a detailed university museum is a museum in inventory is established and CMP the ICOM sense that belongs to a can be determined (Atlığ, 2017, 14). university or, more broadly, a higher Inventory management and planning education institution.”

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University Museums and Collections bulletins proving the existence of the (UMAC) of the ICOM is a significant unseen artworks as well as identifying/ subsidiary committee that is the global dating them; second-hand information advocate for university museums and acquired from the employees via face- collections of all disciplines. UMAC to-face interviews. acts as a source with its database It was apparent during the inventory covering museums of higher education gathering process that artworks at internationally for all those working ITU were not accumulated with the in, or associated with, academic vision or the intent of establishing a museums, galleries and collections collection. However, the term “ITU (Url-1). The database of UMAC Art Collection” has been preferred as presents five university museums in a reference to these highly valuable Turkey: three of which are housed at collective works of art. Regarding the the Anadolu University (Museum of information gathered about all the Modern Arts, Cumhuriyet Museum, artworks within the ITU premises, Museum of Cartoon Art), one in Ege “ITU Art Collection Management University (Natural History Research Policy Draft” has been prepared and and Application Center, Natural proposed by Atlığ (2017) in align with History Museum) and the other as part ICOM’s recommended standards. of Sabancı University (Sakıp Sabancı ICOM Code of Ethics for Museums Museum) (Url-2). has published a series of ethical For decades, several artworks have rules that organizations must follow been acquired and/or commissioned when managing their collections by Istanbul Technical University (ICOM, 2013). This list of ethical (ITU) and they were exhibited/ rules includes the physical, legal, erected in various venues. However, a financial, administrative provisions major problem was that these works that are expected to be complied by of art had never been documented the museums/institutions as well as nor examined to form a proper the main topics that are related to the inventory. Thence, there was no data formation, preservation, and exhibition on these pieces in order to conduct a of the collections (ICOM, 2013, 1-15). research through the use of existing The starting point of this study information. Consequently, the initial has been to compile the inventory of research problem occurs: whether the artworks that are in possession these objects constitute an actual of ITU, to examine them in detail, collection; and if indeed they do, issue and to present a complete catalog of arises in determining the scope of the the collection. Accordingly, faculties collection and the current condition of and facilities1 in Maslak/ Ayazağa, 1 The research its pieces. Hence, the purpose of this Taşkışla, Gümüşsuyu, Maçka, and has been carried paper has been to identify and analyze Tuzla campuses were visited in order out only at the official facilities the artworks present at ITU Campuses to investigate and record each artwork of ITU excluding to compose an ITU Art Collection at its present location, based on the the private entities Inventory by using methods of art standards set by the ICOM (ICOM, such as the Alumni history and provide suggestions for its 2013, 1-15). The basic information Center (Çamlık development as a coherent collection. about the artworks in the inventory Clubhouse) that houses temporary Basic methodology used in this includes the identification number, display of the study includes but is not limited to; name of the artist, title, date, type, contemporary physical identification, observation, material, and dimensions of the Turkish artist and documentation of the artworks; artwork, location of the artwork, Genco Gülan (b. personal interviews with living artists way of accession and accession date, 1969) and Cascara Cafe (at the (or communication via their Facebook physical description, the condition of Faculty of Science and/or Instagram accounts); document the artwork as well as publications if and Letters) which analysis (archival documents and applicable. has a permanent records); additional ITU sources During the establishment of the mural by a Turkish such as internal correspondences inventory, the main difficulty was graffiti artist Ahmet Serdar and inventory lists; printed materials the lack of proper information and “Color Wagon” like Journal of ITU Foundation, ITU documentation about the artworks Tünay (b. 1991). 2012 Calendar, ITU web site, press and their artists. Moreover, there were

Istanbul Technical University Art Collection Inventory: Analysis and recommendations for its development 58 no accession records about how and Table 1. ITU campuses and distribution according to the type of when the artworks were acquired. art. Archival and art historical research was conducted to accommodate for the lack of information, yet, there are still major deficiencies that need to be addressed and completed over time. Another important issue was improper display methods and inadequate curating techniques. Table 2. Artists, art types, number of works and location at the The outcome of this research ITU art collection. contributes to the academic literature and university community in various ways. The initial result of this study is a detailed inventory, proper documentation, and cataloging of the ITU Art Collection for the first time, considering the basic guidelines set by ICOM. Another valuable aspect is the formation of a CMP for the university’s art collection in order to act as a manual for future acquisitions and management of other collections that might be established within ITU. One more contribution of this study is identifying the strengths, weaknesses, opportunities, and threats of the ITU Art Collection by conducting a SWOT analysis, since such research on university collections is scarce in the academic literature. The studies on university museums and their collections generally concentrate on the numbers, types, and collections rather than strategic planning or CMP proposal (Bagdasarian, 2015, 16-18). This paper presents one of the first studies that approaches an art collection established at a public technical university in a managerial and holistic manner, considering the either, as they constitute a separate collection itself, the documentation, collection which was cataloged by Prof. the inventory, and the “tailormade” Dr. Ayla Ödekan in her seminal book CMP. Yazıları ve Rölöveleriyle Sedat Çetintaş The study, however, has some (2004). limitations and exclusions. Being the home of the Faculty of Architecture, 2. Analysis of ITU Art Collection Department of Fine Arts and Institute ITU Art Collection includes seventy of Social Sciences, Taşkışla houses artworks in total: Forty-five paintings, many artworks and various design nineteen sculptures, four engravings, products by the faculty and students. one mural, and one panel. Two Ercü- It should be mentioned that these ment Kalmık (1908-1971) and two works could not be integrated into the Şadan Bezeyiş (1926-2017) paintings collection since the university did not that have been documented but were officially acquire them. Moreover, the not physically seen are also included in architectural survey illustrations by the collection. Most of the artworks are Sedat Çetintaş at Taşkışla Campus were located at the Maslak campus with a to- not included in the ITU Art Collection tal of forty-three pieces. The Faculty of

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Architecture located at Taşkışla cam- tion of artworks by artists and types as pus contains nineteen works including well as their current locations are listed the two unexhibited Ercüment Kalmık [Table 2]. paintings. There are six works at Tuz- The artist with the highest number la campus and two unexhibited Şadan of artworks in ITU Art Collection is Bezeyiş paintings at Maçka campus. Günseli Kato (b.1956). Kato has seven- There are no artworks at Gümüşsuyu teen paintings that constitute the Japa- Campus. The distribution of artworks nese Series (1999) and in a sense form a according to type and campuses can be collection of their own. Fifteen of these seen at [Table 1]. artworks are exhibited in Süleyman All detailed information regarding Demirel Cultural Center and the re- each artwork in the ITU Art Collection maining two are displayed in the Rec- inventory has been cataloged with- torate Building, both at Maslak Cam- in the Master of Arts thesis “Istanbul pus. Kato used Japanese pigment paint Technical University’s Art Collection as well as silver and gold leaf on Japa- Inventory and Suggestions for its De- nese paper in the artworks. The artist velopment [“İstanbul Teknik Üniver- has marked her signature as a hanko sitesi Sanat Koleksiyonu Envanteri ve (red Japanese stamp) on all the paint- Geliştirilmesi için Öneriler]” by Atlığ ings. Three pieces from the Japanese (2017). Although, all the pieces in ITU Series by Kato can be seen in [Figure 1]. Art Collection will be briefly men- In her interview, Kato mentioned tioned in this article, only the iconic that she created the Japanese Series and most esteemed works are focused (which is originally formed of nearly upon in detail. In Table 2, the distribu- seventy abstract pieces) as a personal therapy to soothe her panic and pain after the 17 August 1999 earthquake. Therefore, these seventeen pieces in ITU Art Collection are part of the greater Japanese Series. Kato stressed that the seventeen pieces that are displayed in ITU, are among her favorites in the series. Furthermore, the artist emphasized that she was very pleased to have her works exhibited at the ITU “because I always had a good relationship with the University” (Kato, Inter- view, April 20, 2017). The minimalism of the abstract paintings of the Japanese Series is well-fitting for the contemporary architecture of the Süleyman Demirel Cultural Center. Following Günseli Kato, Ercüment Kalmık has the second greatest number of artworks in the collection with nine paintings. Eight of Kalmık’s works were located in various rooms and of- fices in the Faculty of Architecture at Taşkışla. The only unseen and presently unexhibited work is known to ex- ist since it is printed in the 2012 ITU calendar (April page). The two most significant paintings by Kalmık are displayed in the Dean’s office: Balıkçıların Çalışması (Fishermen at Work) [Figure Figure 1. Günseli Kato, Japanese Series 5 (Japon 2] and Ord. Prof. Emin Onat Portresi Serisi 5), 1999, pigment on paper, 162 cm x 174 (Portrait of Ord. Prof. Emin Onat). cm, İTÜ Maslak Campus, Süleyman Demirel Ercüment Kalmık had founded the Cultural Center (Photo: Atlığ- Erkmen, 2019). “Chair of Color, Form and Composi-

Istanbul Technical University Art Collection Inventory: Analysis and recommendations for its development 60 tion in Architecture” at the Faculty of Architecture in ITU in 1950 and had remained as its head for twenty years (Rona, 1997, 937). During this time, the artist’s paintings evolved stylisti- cally from Cubism to Impressionism and Abstract Expressionism. Thus, Kalmık’s paintings reflect and repre- sent the contemporary art of his time. French Impressionist painter Henri Matisse (1869-1954) especially inspired Kalmık during the time he spent in Paris and Lyon. This influence may Figure 2. Ercüment Kalmık, Fishermen at Work be seen in the painting Balıkçıların (Balıkçıların Çalışması), 1948, oil on canvas, 90 Çalışması in form, color, and general cm x 116 cm, İTÜ Taşkışla Campus, Dean’s office scheme. Ord. Prof. Emin Onat’s por- (Photo: Atlığ-Erkmen, 2019). trait is Kalmık’s tribute to as the first dean of ITU’s Faculty of Architecture and moreover as the architect of Anıt- kabir, Mustafa Kemal Atatürk’s Mauso- leum. Another prominent academic-artist is Şadan Bezeyiş, who donated his works to ITU like Ercüment Kalmık. Two of Bezeyiş’s artworks have not been seen but are considered as part Figure 3. Şadan Bezeyiş, Untitled, undated, oil of ITU Art Collection since they are on canvas 130 cm x 270 cm Taşkışla northwest on ITU’s 2012 Calendar (August and tower hall (Photo: Atlığ, 2017). September pages). In the 1950s, Bezey- iş was one of the first artists in Turkish painting to lean towards Abstraction and Surrealism (Tepeci, 1997, 238). The only work by Şadan Bezeyiş that is presently exhibited is his monumental oil painting in the northwest tower of Taşkışla, which also houses the De- partment of Fine Arts [Figure 3]. It is befitting that this special painting is located at this particular hallway where Bezeyiş had been the department head for almost ten years. The painting is Figure 4. Bedri Rahmi Eyüboğlu, Portrayal of a a tribute to Atatürk and his reforms Folk Wedding (Köy Düğünü Betimlemesi), 1946, during the early stages of the Republic oil on canvas, 71 cm x 101 cm, Taşkışla Dean’s of Turkey. The fantastical elements, ab- office (Photo: ITU Calendar, 2012). stract movement and organic forms of this oil painting reflect Bezeyiş’s artistic style. Bedri Rahmi Eyüboğlu (1911-1975) is one of the most famous Turkish artists of his era. The paintingKöy Düğünü Betimlemesi (Portrayal of a Folk Wedding) by Eyüboğlu is presently hung in the Dean’s office in the Faculty of Architecture at Taşkışla [Figure 4]. This oil painting embodies Eyüboğ- Figure 5. Nurullah Berk, Abdurrahman Öztoprak, Yaşar Yeniceli, lu’s unique style, which blends West- Oktay Dikmen, ITU Taşkışla Mural, 1954, fresco, 5 m x 12 m, ern painting techniques that he came Taşkışla ground floor, north-west side, east wall (Photo: Korkut across from his time in Paris, with İlhan, 2014).

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Turkish and Anatolian folkloric sub- The five sections of the mural correlate ject matters. The Western influence in to the five initial faculties of ITU: Civil this painting can be observed from the Engineering, Mechanical Engineering, post-impressionist composition with Electrical Engineering, Mining Engi- the blue tree in the foreground merged neering, and Architecture. It was com- with Matisse’s color combinations. The missioned by ITU’s Rector Ord. Prof. theme of the painting is a typical Turk- Emin Onat in 1954 and is the prod- ish wedding in the countryside. There- uct of a combined effort by the artists fore, this particular painting may be Nurullah Berk (1906-1982), Abdür- considered as one of the most valuable rahman Öztoprak (1927-2011), Yaşar pieces in the ITU Art Collection since Yeniceli (1931-2014) and Oktay Dik- it truly reflects Eyüboğlu’s distinctive men. According to Ödekan, this mural style. represents the aspirations of the twen- The monumental mural [Figure 5] tieth-century Republic of Turkey and in ITU Art Collection is located on the reflects the excitement of ITU’s role as ground floor of the northwest Tower at being the “first leader” (2014). This en- Taşkışla Campus. This fresco is one of thusiasm continues to be seen in ITU’s the most iconic imagery in the collec- current vision of becoming “a leading tion since it represents ITU’s role as the international university through its ex- country’s one and only technical uni- pertise and creativity in science, tech- versity at the time (Ödekan, 2014, 112). nology, and art” (Url-3). While the major part of the paintings in ITU Art Collection -except for Kato’s Japanese Series- are exhibited at Taşkışla Campus, majority of the sculptures in the collection are erected in the public spaces of the Maslak Campus. The most recent work is 250. Yıl Heyke- li (250th Year Sculpture) by Mehmet Erkök (b. 1963), which is located in front of the main pedestrian entrance (Arı Kapısı) of the Campus. This iconic artwork commissioned by the Rector- ate and sponsored by Vakıfbank, was completed in 2016 [Figure 6]. Mehmet Erkök is an ITU academic-artist in the Department of Industri- al Product Design at the Faculty of Ar- chitecture. In an interview with Erkök, he mentioned that he was inspired by calligrapher Nihat Dükhan and he wanted to merge the circular motions of the calligraphy with the shape of the earth. He also stated that the structure of the circular spheres represents the continents of the earth, the linear top part of the structure signifies science and engineering while the 250 figurines symbolize all the people who have been part of ITU for the last 250 years (Erkök, Mehmet, Interview, April 3, 2017). The 250. Yıl Heykeli may also be read from an art historical perspec- Figure 6. Mehmet Erkök, 250th Year Sculpture tive considering its “traditional” and (250. Yıl Heykeli), 2016, stainless steel, 7.5 m “contemporary” features. Founded in x 2 m x 2 m, Maslak Campus (Arı Entrance) 1773, ITU has always been the pioneer (Photo: Atlığ, 2017). academic education of its time, which

Istanbul Technical University Art Collection Inventory: Analysis and recommendations for its development 62 witnessed major changes and revolu- tions as being an institution both in the Ottoman Empire and the Turkish Republic. From this point of view, the form of the statue, a reminiscent of a tughra (imperial signature), can be interpreted as the traditional history and culture of ITU. The fact that the artist is inspired by the works of a calligrapher strengthens this argument. The verti- cally extending rods may be a symbol of the rise and development of ITU with materials such as stainless steel and bronze plates that reflect the spirit of the university’s technological superi- ority. Finally, ITU’s mission and vision Figure 7. Mehmet Aksoy, Hezarfen Ahmet Çelebi, 2013, marble, of being a leader in science, technolo- stone, stainless steel, 10 m x 10 m x 3 m, Maslak Campus (In front gy, and art are embodied in this sculp- of Mustafa Inan Library) (Photo: Atlığ, 2017). ture where it places people in the cen- the courageous leap into the unknown ter emphasizing the indispensable role by physically emphasizing the motion of the people of ITU. of flying through expanding its wings. The statue of Hezarfen Ahmet Çelebi Moreover, visually, the curvature of the by Mehmet Aksoy (b. 1939) is another wings contemplates the curvature of monumental structure that symbol- the roof of the Mustafa İnan Library. izes ITU’s vision. This gigantic statue Therefore, both ideologically and aes- (10 m x 10 m x 3 m) is composed of thetically, it is absolutely fitting to have marble, granite, and stainless steel and this structure to be placed in front of is located in front of the Mustafa İnan the main library of the University. Library at Maslak Campus [Figure 7]. There are two more stainless steel The project, which was commissioned structures at Maslak Campus; Baler- by the Rectorate and sponsored by in (The Ballerina) by Attila Onaran Keskin Keser, an alumna of ITU, took (1932-1976) in front of the Faculty of seven years to complete. Hezarfen Electric and Electronic Engineering Ahmet Çelebi (1609-1640) was be- and Sonsuz Döngü (Infinite Loop) by lieved to be the first Ottoman/Turk- Fatih Semiz in front of the Faculty of ish scientist/aviator to fly with artifi- Arts and Sciences. cial wings over the Bosphorus during The Ballerina was initially displayed the reign of Murat IV (r. 1623-1640). in front of the Galatasaray Han at Is- Rector Prof. Dr. Mehmet Karaca com- tiklal Street in Istanbul. GlaxoSmith- mented at the opening ceremony (May Kline Pharmaceuticals’ employees and 23, 2014) of Hezarfen Ahmet Çelebi Kültür Bilinci Geliştirme Vakfı (Foun- about the significance of having this dation for the Development of Cultur- structure at ITU: “It commemorates a al Awareness) had restored the sculp- visionary who pushed the boundaries ture as a social responsibility project of knowledge and technology as ITU in 2012. Afterwards, as indicated on has for the past 241 years”. (İTÜ Vakfı the plate in front of the statue, Balle- Yayınları, 2014, v. 65, 128). The mis- rina was donated to ITU by the fami- sion of ITU is “to expand the borders ly of the artist and the ITU academic of knowledge and its applications in Hüseyin Coşkun. In an interview with science, technology, and art for con- the artist’s daughter, she mentions that tributing to the sustainable communi- Onaran had wished the The Ballerina ty” (Url-3). As Ödekan explains, “this to be exhibited at a public area (Cum- structure reminds us of the incredible huriyet Gazetesi, April 14th, 2013). flight that Hezarfen accomplished in While the sculpture was displayed on the seventeenth century and provokes Istiklal Street in Istanbul, it could only us to look forward to the future” (İTÜ be observed from one side, due to the Vakfı Yayınları, 2014, v. 66, 109). In position of its placement. However, in this sense, the sculpture symbolizes ITU, The Ballerina can be viewed from

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marble stones. The first marble sculpture by M.E is situated in front of Sü- leyman Demirel Cultural Center and is a representation of a figure holding a book [Figure 8]. The second sculpture by Nilhan Ses- alan is located in front of the Faculty of Mining Engineering and symbolizing eight geological layers (Atlığ, 2017). The third marble piece by Ayşegül Coles is designed like a four-piece puzzle, which is located on the North Road, at the side of the Faculty of Sci- ence and Letters’ parking area (Atlığ, 2017). The last marble sculpture is by Oya Sabahlar, which is located across the Coles sculpture, on the other side of the North Road that embodies a figure resting its head sideways in a contemplating manner (Atlığ, 2017). These works of art with a minimalistic Figure 8. M.E, Untitled, 2007, marble and stone, 1 m x 1 m x 1 m, style combine themes related to human Maslak Campus (In front of Süleyman Demirel Cultural Center), knowledge, science, and education (Photo: Atlığ, 2017). when considered in a holistic manner. all sides and thus its circular move- Besides these major artworks, there ment can be observed and appreciated are four engravings by Cemal Akyıldız, better because of its site. Moreover, it two sculptures and a panel by Tamer is located on one of the most popular Aydın, three busts by S. Güner, two routes at the Maslak Campus following busts by Rudolf Belling, one Atatürk the artist’s wish (Atlığ, 2017). statue with a marble structure by Ferit The then Rector of ITU Prof. Dr. Özşen, three paintings by Sezer Ilgın, a Faruk Karadoğan commissioned In- painting by Ekber Yeşilyurt, a painting finite Loop by Fatih Semiz in 2008. by Süleyman Sami, a painting by Kız- This sculpture also emphasizes move- taşlı Ali Rıza, a painting by Ziya and ment in a spiral shape combining geo- a painting by Ahmet Şahit ITU Art metrical and mathematical concepts Collection (Atlığ, 2017). Significant in a modern form of art (Atlığ, 2017). features of the collection are commem- The circular shape of the statue seems orative busts and paintings of the im- to follow the “Fibonacci sequence” portant leaders and figures in Turkish where each number is the sum of the history as well as ITU’s own scholars, two preceding numbers starting from such as: Mustafa Kemal Atatürk (statue 0 and 1, forming the Fibonacci spiral. and paintings), Piri Reis (bust), Bar- In this sense, it is well-fitting to have baros Hayrettin Paşa (bust), Çarkçıbaşı this sculpture be placed in front of the Hamit Naci Özdeş (bust), Başhoca Faculty of Science and Letters, which Ishak Efendi (painting), Ord. Prof. houses the Department of Mathemat- Emin Onat (portrait and bust), Ord. ical Engineering. Prof. Dr. Bedri Karafakıoğlu (bust), There are some artworks that are Prof. Dr. Mustafa İnan (bust) and Prof. acquired after special organizations Dr. Mustafa Santur (bust). Further- like the first ITU Open-Air Sculptural more, there are five paintings and three Symposium (1-17 May 2007). The four sculptures in the collection whose art- marble/stone contemporary sculptures ists could not be identified. at the campus are from this workshop Important progress on the devel- (which are all untitled), created by opment of the ITU Art Collection is artists M.E, Nilhan Sesalan, Ayşegül the foundation of the Rectorate Art Coles, and Oya Sabahlar. For the sym- Gallery (RAG) in February 2014. The posium, the artists were asked to create collection is enriched with acquisitions sculptures out of 100-centimeter cubic from the RAG exhibitions including

Istanbul Technical University Art Collection Inventory: Analysis and recommendations for its development 64 one painting by the ITU academic Mu- inspired by Mathematics where Nilhan rat Çakan and a flower-illustration by Sesalan’s marble sculpture symbolizes Işık Güner from their solo exhibitions2. eight geological layers. The most im- It is noteworthy to state that the RAG portant inspiration can be observed in exhibitions will definitely be a precious the Taşkışla Mural which not only can- source of collection development if onizes the pioneership of engineering properly managed. and architecture faculties of ITU but Aside from the identification and also representing them in an aesthetic documentation of the artworks, there manner. Such works are very relevant are several findings regarding the col- when considering ITU’s historical and lection management: There is a serious current role as a leading institution in lack of record keeping and collection the aforementioned areas, to have this management policy, absence of an in- relationship be the core theme of its ventory, missing information about collection. the artworks and artists, and curatorial issues. To exemplify, Günseli Kato em- 3. Recommendations for the phasized that information about her development of ITU Art Collection series and labeling of the artworks as As mentioned previously, ITU Art well as proper lighting fixtures were Collection was not formed with the in- determined during the assembly and tention of establishing an art collection exhibition process (Kato, Interview, as the pieces were accumulated over 20 April 2017). However, there are no time without any specific vision and/ panels and/or labels related to the artist or mission. However, after the invento- and works in the present exhibition. As ry was developed and evaluated, it was for the marble sculptures, the names of observed that it could indeed become the artists could only be determined a cohesive art collection with the right with the help of a press bulletin that scientific approach. In this sense, the was prepared for publicity at the time foremost consideration for the devel- of the symposium. opment of these accumulated artworks The case with restoration needs and into a proper collection requires the vandalism problems are more serious, formation of a “Collection Manage- as these artworks are in the public spac- ment Policy” (CMP) in accordance es of the university and they are vul- with ITU’s vision and mission. nerable to natural and human-related As a first step for the improvement affects. ITU’s most recent commission of the collection, a detailed CMP was 250th Year Sculpture has been vandal- drafted for ITU Art Collection accord- ized since its erection by spray painting ing to the standards set by ICOM (At- and destruction of the figurines sym- lığ, 2017). The most essential part of the bolizing ITU’s community of the last CMP was to define the purpose of the quarter century (Atlığ, 2017, 44, figure collection. In line with the vision and 3.3.1.4.2). The oil painting of Şadan mission of the University, the purpose Bezeyiş at Taşkışla has also undergone of the collection is proposed as: “to a careless handling and was damaged have an Art Collection that emphasizes by “drilling” it to the wall through the the relationship between art, science, canvas. and technology through acquiring As for the content of the ITU Art and preserving artworks by innova- Collection, the relationship between tive contemporary artists of its time” science, technology, and art may well (Atlığ, 2017). After the purpose state- be observed in most of the major art- ment, policies regarding accession of 2 works. For instance, on the The Stat- An ebru artworks, de-accession procedures as (marbled paper) by ue of Hezarfen Ahmet Çelebi, Rector well as loaning instructions were listed Hikmet Barutçugil Prof. Dr. Mehmet Karaca stated that in the draft. Also, for the upkeep and is integrated into Hezarfen Ahmet Çelebi was the first safety of the collection, record keeping Atlığ’s MA thesis Turkish man to fly and having a sculp- guidelines, condition report proce- due to an error in ture dedicated to this visionary and fact. We, hereby, dures, insurance policies, and rules of rectify the mistake successful scientist was most worthy accession to the inventory were item- and correct the of ITU (İTÜ Vakfı Yayınları, 2014/65, ized. Additionally, ITU Art CMP draft number of artworks 128). The Infinite Loop by Fatih Semiz is addressed administrative strategies by in this article.

ITU A|Z • Vol 17 No 1 • January 2020 • C. Atlığ, A. Erkmen 65 proposing a “Board of Administration wear and tear of the artworks in pub- for ITU Art Collection” which include lic areas as well as issues of vandalism. the Rector, an Assistant Rector, Com- Finally, there is a great risk of theft and munications and Marketing Director, destruction due to fire and natural di- the Head of the Rectorate Art Gallery, sasters. the Dean of the Faculty of Architecture, Additionally, a gap analysis was con- the Dean of the Faculty of Business Ad- ducted to evaluate the “gap” between ministration, the Head of the Depart- the current and the ideal state of the ment of Fine Arts, an Academic from collection. Some of the artworks in the the Department of Fine Arts, the Head collection, like Hezarfen Ahmet Çelebi, of the Department of History of Art, Taşkışla Mural, and 250th Year Sculp- an Academic from the Department of ture, are in align with the essence of the History of Art, the Head of Depart- ideal collection. These three artworks, ment of Industrial Products Design, which were commissioned by the Rec- and the Head of the Humanities De- tors, reflect the visionary skills and ar- partment. Furthermore, an executive tistic approach of the institution and its curator would need to be appointed as executives. Therefore, in order to reach the “Manager of ITU Art Collection”. the ideal state, the Rectorate should Thus, duties, as well as the responsibil- continue to consider acquiring and/or ities of both the board and the curator, commissioning such iconic works of were classified. art in accordance with the purpose of Development of a “Collection Man- the collection. agement Strategy” (CMS) is another ITU is a public university and there- essential part in order for the collection fore as a state institution its main pur- to be well maintained and improved in pose is to educate and serve the in- the long run. This strategy is formed terest of the general public. Having a through a realistic evaluation of the valuable art collection will serve both present condition of the collection. For of these purposes by appealing to the this purpose, a SWOT analysis was pre- aesthetic needs of the public as well as pared by examining the strengths and contributing to the artistic education weaknesses as well as the opportunities of the ITU community. According to and threats to ITU Art Collection. The Watson (2001), university museums strengths include; the presence of the have a special responsibility not only Rectorate Art Gallery, having an in- to present their collections to visitors, house academic staff in the fields of art but also to ground those presentations and management as well as technicians in the context of new research (15). Al- and necessary equipment. In addition, though the ITU Art Collection is not there are valuable artworks in the col- a division within a university museum, lection that reflect ITU’s clearly stated it is evident from the analysis that it mission and vision along with vari- should be treated with the mindset of ous locations for exhibition. The main a museum collection due to its unique weakness of the collection is the lack value and diversity. of a record keeping system and thus The recurring theme of ITU Art Col- the shortage of information. Other lection is the relationship between art, weaknesses include; curatorial prob- science, and technology. ITU has sever- lems concerning labeling, installation, al laboratories in various scientific and and lighting, a significant number of technical fields, which provides with damaged artworks, the absence of an an opportunity for interdisciplinary insurance policy for the artworks, and collaborations with artists. This is ben- lack of financial independence. On the eficial for contemporary artists as well other hand, one of the main opportu- as ITU to push forward new bound- nities the collection has is the presence aries in art and science. For example, of powerful ITU alumni network for artists may use new technology and sponsorship. Moreover, the prestigious materials in creating their artworks at status of the university is a great advan- the laboratories and academics in ITU tage for both donations and collabora- may be inspired by the artists’ creative tions with contemporary artists. Also, approach to be pioneers in their fields. the threats to the collection include All this collaboration will subsequently

Istanbul Technical University Art Collection Inventory: Analysis and recommendations for its development 66 enrich ITU Art Collection with inno- Collection proved the fact that the col- vative artworks by contemporary art- lection needed to be handled profes- ists. This approach will also encourage sionally following the well-accepted donations and sponsorships that re- protocol of major institutions. The lack sult in the inclusion of valuable pieces, of a protocol and inventory alone is an which will be in align with the pur- example exhibiting the unprofessional pose of the collection. Moreover, the approach to such a potentially valuable collection would be enriched with the collection. If there was a written docu- addition of diverse innovative works in ment, like CMP, there would not be any contemporary art. As seen in the anal- missing artworks, any damaged pieces, ysis, workshops led by ITU establish an any curatorial problems such absence artistic environment for artists to cre- or inadequate labeling, lightning, etc. ate artworks relating to education and The main outcome of this research knowledge that combine the theme of is the recording and proper documen- art and science. tation of the existing material, which The presence of an art gallery with- consists of seventy artworks distribut- in the university provides a great op- ed on four campuses. Except for three portunity for the development of its unexhibited paintings, all the artworks art collection. In the CMP, RAG is were physically seen, measured, photo- proposed to become an integral part graphed, and catalogued. Information of the board where it should also be that was missing has been thoroughly encouraged to be influential in the de- investigated and recorded. A condi- velopment of art collection by hosting tion report for each piece was prepared exhibitions that support the collection’s and artworks have been categorized purpose and to potentially contribute according to type and location. The new pieces to the inventory. Another artworks were also interpreted in an suggestion is to establish a permanent art historical approach where in some exhibition hall for the collection with cases interviews were conducted with the collaboration of RAG, either within their artists so as to understand the the Rectorate Building or at a separate fundamental motivation and to place location. This project will provide for the piece within the general scope of the exhibition of the collection to reach the collection. This research also en- to audiences outside of the institution abled to propose a management and besides the community of the universi- development plan for the ITU Art Col- ty. All these efforts will enhance ITU’s lection. After the inventory has been prestige by raising awareness of ITU’s compiled, a CMP has been drafted commitment to art besides being a with an analytical approach adhering prominent technical university. to the standards set by the ICOM. Also, a CMS was proposed for the long-term 4. Conclusion development and protection of ITU This study initially reveals that ITU Art Collection. has a modest but also a promising col- During the research, the formation lection of artworks owing to the gen- of a special art gallery supported by erous donations of its prestigious art- the Rectorate is encountered which is ist-academics, smart acquisitions, and a remarkable opportunity for improv- major commissions. In this context, it ing the collection. The RAG housed is observed that ITU, which is a lead- many exhibitions since its foundation ing technical university, should ap- that constitute a wide range from plant proach its art collection in a scientific illustrations, paintings, photography, and academic manner to formulate a graphic arts, traditional arts and crafts management policy according to the to textiles, accessories, rare books, rag developing international standards. In dolls, various designs, and historical line with this policy, it should be en- events (Url-4). Such diversity is also sured that the collection is protected another asset in integrating different and developed by ITU with an original media to the ITU Art Collection. planning by experts. ITU Ayazağa Campus is suitable for The intensive identification study exhibiting public artworks due to its and analysis of the pieces in ITU Art vast outdoor space. In addition to the

ITU A|Z • Vol 17 No 1 • January 2020 • C. Atlığ, A. Erkmen 67 existing pieces, many more artworks tor of ITU Prof. Dr. Mehmet Karaca can be commissioned or curated in for granting permission to study the order to create a fully art-integrated artworks at the university. They would campus. Moreover, the laboratories of also like to thank Prof. Dr. Telem Gök different faculties can collaborate with Sadıkoğlu, Prof. Dr. Zeynep Kuban, contemporary artists which would re- Prof. Dr. Gülname Turan, Assoc. Prof. sult in the formation of original works. Dr. Ayşe H. Köksal Bingöl, Assoc. This approach will both contribute to Prof. Dr. Ebru Yetişkin, Assist. Prof. the development of ITU Art Collection Dr. Deniz Leblebici Başar, Dr. Deniz and enable contemporary art awareness Çalışır Pençe, and three anonymous to be assimilated by all ITU stakehold- reviewers for their help, valuable sug- ers. Furthermore, the existence of such gestions, and insight. Last but not least, an art environment inspires academics the authors would like to thank all the and students and encourages creativ- officers at the ITU faculties and facil- ity in science as well as positively in- ities that provided support during the fluencing the development of aesthetic course of the research. and intellectual consciousness. In this sense, it is recommended that the Fac- References ulty of Arts and Sciences, the Faculty American Alliance of Museums. of Architecture, the Department of (2012). Developing a Collections Man- Fine Arts and the RAG collaborate to agement Policy. Retrieved from http:// increase projects and symposia such as www.aam-us.org/docs/default-source/ the Open-Air Sculpture Workshop in continuum/developing-a-cmp-final. 2007. Hence, the role of public art on pdf?sfvrsn=4 university campuses is to make places Bagdasarian, E. L. (2017). A Para- fertile for creativity, critical thinking, digm Shift Within University Muse- and the search of truth (Grenier, 2009, ums. (Unpublished master’s thesis). 34). Public art can embody and reflect College of William & Mary, USA. the intellectual and creative missions Boylan, P. (1999). Universities and of the institution. It can foster campus Museums: Past, Present and Future. community spirit, and memorialize Museum Management and Curator- both key individuals and events of sig- ship, 18,1, 43-56. nificance (Mankin, 2002). Brattli, T. and Steffensen, M. (2014). The major focus of this study was to Expertise and the Formation of Uni- compile the artworks in possession of versity Museums Collections, Forsk- ITU and to determine if they indeed ningsprosjekter Nordisk Museologi, 1, constituted an art collection. The anal- 95-102. ysis proves that the artworks may ac- Cebecioğlu, C. (2006). SWOT Anal- tually form a valuable art collection if izi ve Bir İşletme Üzerinde Uygulaması. the recommendations that have been (Unpublished master’s thesis). Gebze suggested are followed and the right Institute of Technology, Gebze. collection management system is es- CIDOC. (1995). International tablished. During the course of this Guidelines for Museum Object Infor- study, the relationship between art and mation: The CIDOC Information Cat- science as the core of the collection was egories. Retrieved from http://icom. mentioned several times and it would museum/fileadmin/user_upload/pdf/ only be fitting that ITU Art Collection Guidelines/CIDOCguidelines1995.pdf is approached in the latest scientific CURCOM. (2009). A Code of Eth- methods of collecting. As a pioneer ics for Curators. Retrieved from http:// and contemporary education institu- aam-us.org/docs/continuum/curcom- tion ITU has the necessary sources, ethics.pdf?sfvrsn=0 potential, feasibilities, and facilities to Çalıkoğlu, L. (2009). Koleksiyon, enhance its art collection, which will fit Koleksiyonerlik ve Müzecilik. İstanbul: its vision, mission, and quality policy. Yapı Kredi Yayınları. Dal, E. (1997). Berk, Nurullah. Ec- Acknowledgments zacıbaşı Sanat Ansiklopedisi, vol. 1, The authors would particularly like 223. İstanbul: YEM Yayınları. to express their gratitude to the Rec- Dal, E. (1997). Eyüboğlu, Bedri Rah-

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Url-1: UMAC (http://umac.icom. try%5B%5D=205) museum/about-umac/what-is-umac/) Url-3: Global ITU (http://global.itu. Url-2: Worldwide Database of edu.tr/global-itu/vision-and-mission) University Museums and Col- Url-4: Rectorate Art Gallery (http:// lections (http://university-muse- www.rsg.itu.edu.tr/) ums-and-collections.net/search?coun-

Istanbul Technical University Art Collection Inventory: Analysis and recommendations for its development