DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 ATLIğ1, 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.” ITU A|Z • Vol 17 No 1 • January 2020 • C. Atlığ, A. Erkmen 57 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
Load more

Recommended publications
  • Sakarya Üniversitesi Sosyal Bilimler Enstitüsü
    T.C. SAKARYA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ BAUHAUS EKOLÜ’NÜN ERKEN CUMHURİYET DÖNEMİ MODERNLEŞMESİ ÜZERİNE ETKİLERİ: 1933’TE ALMANYA’DAN GÖÇ EDEN BİLİM İNSANLARININ TÜRKİYE SANAT EĞİTİMİNE KATKILARI YÜKSEK LİSANS TEZİ Emel ERDEN Enstitü Anasanat Dalı: Resim Tez Danışmanı: Dr. Öğretim Üyesi Şirin YILMAZ Tez Eş Danışmanı: Dr. Öğretim Üyesi Âdil Emre ZEYTİNOĞLU MAYIS-2019 İ İÇİNDEKİLER ÖZET.......................................................................................................................... iii SUMMARY ................................................................................................................ iv RESİM LİSTESİ ........................................................................................................ v GİRİŞ .......................................................................................................................... 1 BÖLÜM 1. BAUHAUS’UN TARİHSEL GELİŞİMİ VE EĞİTİM SİSTEMİ ......... 5 1.1. Bauhaus’un Kuruluşu ve Amaçları ..................................................................... 5 1.2. Bauhaus’un Eğitim Programı ve İlkeleri ........................................................... 10 1.3.Bauhaus’ta Sanat Eğitimi ve Eğitimciler ........................................................... 17 BÖLÜM 2. ALMAN BİLİM ADAMLARININ TÜRKİYE’YE GELİŞİ VE CUMHURİYET SONRASI MODERNLEŞME SÜRECİNE ETKİLERİ ............. 28 2.1.Cumhuriyet Dönemi Sanat Eğitimi Ortamı ........................................................ 28 2.2. Erken Cumhuriyet Döneminde Modernleşme
    [Show full text]
  • The Art of Hans Arp After 1945
    Stiftung Arp e. V. Papers The Art of Hans Arp after 1945 Volume 2 Edited by Jana Teuscher and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 2 The Art of Arp after 1945 Edited by Jana Teuscher and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Foreword Jana Teuscher and Loretta Würtenberger 16 The Art of Hans Arp after 1945 An Introduction Maike Steinkamp 25 At the Threshold of a New Sculpture On the Development of Arp’s Sculptural Principles in the Threshold Sculptures Jan Giebel 41 On Forest Wheels and Forest Giants A Series of Sculptures by Hans Arp 1961 – 1964 Simona Martinoli 60 People are like Flies Hans Arp, Camille Bryen, and Abhumanism Isabelle Ewig 80 “Cher Maître” Lygia Clark and Hans Arp’s Concept of Concrete Art Heloisa Espada 88 Organic Form, Hapticity and Space as a Primary Being The Polish Neo-Avant-Garde and Hans Arp Marta Smolińska 108 Arp’s Mysticism Rudolf Suter 125 Arp’s “Moods” from Dada to Experimental Poetry The Late Poetry in Dialogue with the New Avant-Gardes Agathe Mareuge 139 Families of Mind — Families of Forms Hans Arp, Alvar Aalto, and a Case of Artistic Influence Eeva-Liisa Pelkonen 157 Movement — Space Arp & Architecture Dick van Gameren 174 Contributors 178 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp’s late work after 1945 can only be understood in the context of the horrific three decades that preceded it. The First World War, the catastro- phe of the century, and the Second World War that followed shortly thereaf- ter, were finally over.
    [Show full text]
  • 5989 Turcica 35 05 Berksoy
    Funda BERKSOY 165 RUDOLF BELLING AND HIS CONTRIBUTION TO TURKISH SCULPTURE During the years following the World War I Rudolf Belling (1886- 1972), a pioneer of abstract sculpture, became one of the most celebrated artists in Germany (Fig.1). His fame was based primarily on works such as his Triad (1919) and Sculpture 23 (1923), in which he strove toward a synthesis of Russian revolutionary art with the current modernist trends. As a member of the Arbeitsrat für Kunst (Workers’ Council on Art) and a cofounder of the Novembergruppe, he also sought a closer relationship between sculpture and architecture, successfully collaborat- ing on many occasions with architects. In the German literature on mod- ern art of the period, Belling was highly praised and embraced as one of the spokesmen of the new art1. When the National Socialists came to power in 1933 and started their campaign against avant-garde art, like many other artists, Belling too sought refuge abroad∞; accepting an invitation from the Turkish govern- ment he left Berlin for Istanbul in 1937. When his professorship at the Kunstakademie (Berlin-Charlottenburg Academy of Art) was interrupted Funda BERKSOY is associate professor, Uludag University, Department of art history, Görükle Kampüsü, Bursa, Turkey. * Unless otherwise indicated, translations are mine. 1 Carl EINSTEIN, «∞Die Kunst des 20 Jahrhunderts∞», Propyläen Kunstgeschichte 16, Berlin, 2nd ed., 1928, p. 228-29∞; Paul Ortwin RAWE, Deutsche Bildnerkunst von Schadow bis zur Gegenwart, Berlin, 1929, p. 223-25. For a list of publications with state- ments by Belling, see J.A. SCHMOLL gen. EISENWERTH, Rudolf Belling, vol.
    [Show full text]
  • Hans Arp & Other Masters of 20Th Century Sculpture
    Hans Arp & Other Masters Stiftung Arp e. V. Papers of 20th Century Sculpture Volume 3 Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 3 Hans Arp & Other Masters of 20th Century Sculpture Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Hans Arp & Other Masters of 20th Century Sculpture An Introduction Jana Teuscher 20 Negative Space in the Art of Hans Arp Daria Mille 26 Similar, Although Obviously Dissimilar Paul Richer and Hans Arp Evoke Prehistory as the Present Werner Schnell 54 Formlinge Carola Giedion-Welcker, Hans Arp, and the Prehistory of Modern Sculpture Megan R. Luke 68 Appealing to the Recipient’s Tactile and Sensorimotor Experience Somaesthetic Redefinitions of the Pedestal in Arp, Brâncuşi, and Giacometti Marta Smolińska 89 Arp and the Italian Sculptors His Artistic Dialogue with Alberto Viani as a Case Study Emanuele Greco 108 An Old Modernist Hans Arp’s Impact on French Sculpture after the Second World War Jana Teuscher 123 Hans Arp and the Sculpture of the 1940s and 1950s Julia Wallner 142 Sculpture and/or Object Hans Arp between Minimal and Pop Christian Spies 160 Contributors 164 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp is one of the established greats of twentieth-century art. As a founder of the Dada movement and an associate of the Surrealists and Con- structivists alike, as well as co-author of the iconic book Die Kunst-ismen, which he published together with El Lissitzky in 1925, Arp was active at the very core of the avant-garde.
    [Show full text]
  • Biography Rudolf Belling
    Biography Rudolf Belling 1886 Rudolf Belling is born in Berlin on 26 August. 1905 In addition to attending a modeller training programme, he takes sculpting classes and attends lectures and dissection classes at a veterinary college. 1908 Opens a studio for applied art, which, among other things, supplies Max Reinhardt’s theatres with theatrical decoration. 1910 The studio closes. He studies at the royal arts college Königlich akademische Hochschule für die bildenden Künste while working for a theatre workshop that caters to film productions. 1914 Participates for the first time in the exhibition Grosse Berliner Kunstausstellung. 1915 In the First World War, he is conscripted and assigned to the Johannisthal-Adlershof airfield. He is artistically active in his spare time, modelling the figure of Golem for the film by Paul Wegener. 1918 Membership in the Arbeitsrat für Kunst (Workers’ Council for Art) and the Novembergruppe (November Group). Belling collaborates with architects, for example working on the home of art dealer Wolfgang Gurlitt, for which Grosse Gruppe Natur (Large Nature Group) is created. 1919 First solo exhibition in Gurlitt’s art salon. The sculpture Dreiklang (Triad) is completed. 1920 Designs interiors for the Scala dance casino. Exhibition at Galerie Flechtheim in Düsseldorf. 1921 Exhibition at Galerie Goyert in Cologne. Belling designs modern mannequins, which are patented as »Moden-Plastiken« or »fashion sculptures«. 1922 Marries the dancer Toni Friedlaender (stage name: Toni Freeden). 1923 Fountain sculpture for Villa Goldstein. Enters the competition for the development of the square Nollendorfplatz. Skulptur 23 is created. 1924 The Nationalgalerie holds a solo exhibition of his works at the Kronprinzenpalais.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Building Beyoğlu Histories of place in a central district in Istanbul Maessen, J.M.A.H. Publication date 2019 Document Version Other version License Other Link to publication Citation for published version (APA): Maessen, J. M. A. H. (2019). Building Beyoğlu: Histories of place in a central district in Istanbul. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:06 Oct 2021 GALATA teutonia 100 Building Beyoğlu Teutonia 101 n Galata, along the Galip Dede Caddesi, previously known as the Grand Rue de Pera or Cadde-i Kebir together with the present-day İstiklal Caddesi, lies the building of the German Teutonia club. A modest building with neoclassical details and in restoration for several years now.
    [Show full text]
  • An Overview of the Turkish Students of André Lhote
    An Overview of the Turkish Students of André Lhote Zeynep Kuban ABSTRACT In the history of Turkish painting of the 20th century André Lhote has been known as the teacher of many Turkish painters. His name appears in their biographies; the similarities of style have often been discussed. The Académie Lhote was frequented by many Turkish students from the second half of the 1920s to the middle of the 1950s. In Turkish history, this was the period of modernization when arts were directly promoted by the state. So far we have found the names of 32 Turkish students of Lhote, some of them famous in Turkey, some less known, and some almost completely unknown. Most of the names could not be found in the archive of André Lhote, as there are no com- plete enrollment lists. This article will present an overview of Lhoteʼs Turkish studentsʼ work, their careers and influences on the Turkish art scene as pro- fessors in the Academy of Fine Arts, as teachers in high schools, as museum directors and civil servants in the cultural departments of the government. Introduction Generations of artists of the late 19th and early 20th centuries paved the path for the young artists of the new Turkish Republic founded in 1923, only two years prior to the establishment of André Lhoteʼs academy. To get an overall picture of the circumstances of fine arts during the early years of the Turkish Republic, in which the Turkish Lhote students were embedded, we will first take a short look into the past. The Republic was a new formation, but the previous social and political conditions played a role in shaping the next generations.
    [Show full text]
  • PETROPOULOS Bridges from the Reich
    Kunstgeschichte. Open Peer Reviewed Journal www.kunstgeschichte-ejournal.net JONATHAN PETROPOULOS Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies of Curt Valentin and Otto Kallir– Nirenstein 1 Abstract Curt Valentin and Otto Kallir–Nirenstein, two of the most important dealers of modernist art in the twentieth century, helped transform the American museum landscape. Yet they also engaged in a series of dubious activities that involved the National Socialist regime: despite being Jewish, both dealers established a modus Vivendi with the Nazi authorities that enabled them to export artworks from the Reich. This included works purged from German state collections, and those known as »flight goods,« where persecuted Jews sold their possessions under duress. Valentin and Kallir enriched themselves in the process. Despite ethically dubious activities, they have been celebrated in the art world and hitherto avoided a critical scholarly examination. Introduction <1> The early–1990s ushered in a kind of renaissance with regard to the study of Nazi art plundering and the Allies' restitution efforts. While earlier authors had usually written journalistic or, in the case of the »Monuments Men,« autobiographical treatments of these subjects, more recent approaches have emphasized archival research and focused on the role of the art experts who implemented the Nazis' criminal programs. After the war, many of these operatives, or, in German, » Handlanger, « evaded meaningful justice, and archival laws in Europe and the United States subsequently prevented historians from reaching a true understanding of these second–rank figures: their roles in the looting bureaucracy, their precise operational strategies, and, perhaps most interestingly, their complex motivations.
    [Show full text]
  • Yordanka BIBINA1 Public Art in Turkey: Between Politics And
    Colloquia Comparativa Litterarum, 2017 Yordanka BIBINA1 Public Art in Turkey: Between Politics and Aesthetics Abstract What we may call “public art” in Turkey starts with the establishment of the Turkish Republic itself. Mostly, it is associated with monuments and sculptures in public spaces in the modernising urban environment within the newly founded secular state that brought changes not only to the way of life and its dynamics, but also to the entire system of values and the aesthetics of space. The most popular public space, the square, altered completely its function and vision: from being entirely the domain of men enclosed between the mosque, the bazaar, and the coffee-house, to becoming the vital point of the new Europeanised Turkish cities highlighting thus the national identity and memory, and the new political order. This brief survey focuses on the different approaches to public spaces in Turkey and to public works of art, which are more than just ideological instruments of power. The study of this situation in a society that is concerned with its own identity appears as one of the most important issues of contemporary public art in Turkey. On the other hand, public art raises awareness about the value of art in public dialogue, and helps bring forward new interpretations and artistic quests. Keywords: public art; Turkish sculpture; Kemalism; secularism; Turkish cultural identity Публичното изкуство в Турция: между политиката и естетиката Резюме Онова, което можем да наречем „публично изкуство“ в Турция, започва със създаването на самата турска Република. То се свързва предимно с паметници и скулптури в публичното пространство в модернизиращата се градска среда на новата светска държава, която променя не само начина на живот и неговата динамика, но и системата от ценности и естетиката на пространството.
    [Show full text]