Institutional Transformation of Arts in Turkey: Emergence of Private Art Museums
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INSTITUTIONAL TRANSFORMATION OF ARTS IN TURKEY: EMERGENCE OF PRIVATE ART MUSEUMS A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖZDE ÇERÇĠOĞLU YÜCEL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SOCIOLOGY SEPTEMBER 2014 Approval of the Graduate School of Social Sciences Prof. Dr. Meliha ALTUNIġIK Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof. Dr. AyĢe SAKTANBER Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Dr. Tuğba Tanyeri Erdemir Prof. Dr. AyĢe Saktanber Co-Supervisor Supervisor Examining Committee Members Prof. Dr. AyĢe Ayata (METU, ADM) Prof. Dr. AyĢe Saktanber (METU, SOC) Assist. Prof. Dr. Nedim Karakayalı (Bilkent Uni., ADM) Assist. Prof. Dr. AyĢe Ġdil Aybars (METU, SOC) Assist. Prof. Dr. Çağatay Topal (METU, SOC) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Gözde, Çerçioğlu Yücel Signature : iii ABSTRACT INSTITUTIONAL TRANSFORMATION OF ARTS IN TURKEY: EMERGENCE OF PRIVATE ART MUSEUMS Çerçioğlu Yücel, Gözde Ph.D., Department of Sociology Supervisor : Prof. Dr. AyĢe Saktanber Co-Supervisor: Dr. Tuğba Tanyeri Erdemir September 2014, 409 pages This dissertation explores the emergence of private art museums in 2000‘s in Ġstanbul, by focusing on three pioneering cases: Sabancı University Sakıp Sabancı Museum (Sabancı Museum), Ġstanbul Museum of Modern Art (Ġstanbul Modern) and Pera Museum. The aim of this study is to trace the history of emergence of private museums in Turkey, and their construction as an organizational field (DiMaggio & Powell 1983). Inquiring how did private museums emerge in Turkey, this dissertation argues that these three private museums in Turkey emerged as an outcome of structuration processes driven by corporate interests of large conglomerates and personal interests of corporate philanthropists, and with the crucial support of precursory organizational form of philanthropic foundations founded by the respective actors. Key words: private museum, large conglomerates, philanthropic foundations, organizational field iv ÖZ TÜRKĠYE‘DE SANATIN KURUMSAL DÖNÜġÜMÜ: ÖZEL SANAT MÜZELERĠNĠN ORTAYA ÇIKIġI Çerçioğlu Yücel, Gözde Doktora, Sosyoloji Bölümü Tez Yöneticisi : Prof. Dr. AyĢe Saktanber Ortak Tez Yöneticisi: Dr. Tuğba Tanyeri Erdemir Eylül 2014, 409 sayfa Bu çalıĢma 2000‘lerde, Ġstanbul‘da kurulan, Sakıp Sabancı Müzesi, Ġstanbul Modern Sanat Müzesi ve Pera Müzesi‘ne odaklanmaktadır. Bu çalıĢmanın amacı, özel sanat müzelerinin ortaya çıkıĢının tarihine odaklanmak ve özel sanat müzelerinin bir organizasyoel alan (DiMaggio ve Powell 1983) olarak kurulmasını irdelemektir. Söz konusu üç müzenin nasıl ortaya çıktığına odaklanan çalıĢma, bu üç müzenin bir organizasyonel alan olarak kurgulanmasında, Ģirketlerin ve Ģirket hayırseverliğini sürdüren sermayedar bireylerin menfaatlerinin itici bir güç oluĢturduğunu ve bu aktörler tarafından kurulan vakıfların öncü kurumlar olarak özel müze alanını yapılandırdığını iddia etmektedir. Anahtar Kelimeler: Özel müze, vakıf, holding Ģirketleri, organizasyonel alan v To My Mother Hatice Nazan Çerçioğlu and My Father Zeki Çerçioğlu vi ACKNOWLEDGMENTS I would like to express my gratitude to my supervisor, Prof. Dr. AyĢe Saktanber, whose expertise, understanding, and patience, added considerably to my graduate experience. I would like to express special thanks to my co-supervisor Dr. Tuğba Tanyeri Erdemir, whose generous support, guidance, motivation and encouragement kept me stay ―focused‖. I would like to thank the other members of my committee, Prof. Dr. AyĢe Ayata, Assist. Prof. Dr. AyĢe Ġdil Aybars, Assist. Prof. Dr. Çağatay Topal and Assist. Prof. Dr. Nedim Karakayalı for their understanding and insightful comments. I must also acknowledge my former advisor Assoc. Prof. Dr. Aykan Erdemir for his initial guidance and enthusiasm. And I would like to thank, Assoc. Prof. Dr. Ayça Ergun Özbolat for her encouragement and support. Very special thanks goes out to my husband Cemal Ökmen Yücel, without whose motivation and encouragement I would have felt lost in New York City during the course of writing up. He provided me with direction, support and became a patient mentor. I would like to thank my beloved friends, Ayça Topaloğlu Bozkurt, Ceren Gergeroğlu, Erzen Söğüt, Ġrem Ünsal Yılmaz and her amazing son Uzay Yılmaz, Ġpek (Top) Batur, Melih Bozkurt and Onur Öztürk for their continuous support, encouragement and motivation. I would like to thank my friends whom I worked together at the Graduate School of Social Sciences, METU. Particularly, my dearest friends Canan NeĢe Karahasan, Esra Demirkol, Figen Uzar Özdemir and Caner Özdemir for their crucial guidance, support and encouragement and for our sociological debates, exchanges of knowledge and most importantly venting frustration during my graduate years. I wish to thank Esra Can and Kübra Oğuz for their generous support and friendship. Special thanks to Sündüs Aydın and Selma ġahindokuyucu for always making things happen! I would also like to thank my family for the support they provided me through my entire life and in particular, I must acknowledge my father Zeki Çerçioğlu, my vii mother Hatice Nazan Çerçioğlu and my sister Gülfem Çerçioğlu, without whose patience for being distant in two cities, I would not have started graduate studies. I want to express my gratitude to my father and mother for their commitment to my education. Special thanks to my grandmother Huriye Çerçioğlu whose love has embraced me through my life. I would like to acknowledge my late grandmother Perihan IĢıktekin whom I lost during the course of the writing up of this dissertation. She was full of inspiration with her sense of humor and powerful personality. Special thanks to Perihan and Selami Yücel for their support as my family in Ankara. I would like to thank to my respondents for taking their time to share their views with me. I would also like to acknowledge Sabancı Museum, Sabancı Foundation, Vehbi Koç Foundation, Sadberk Hanım Museum, Elgiz Contemporary Art Museum, Arter, CerModern, for responding my interview requests. I would like to thank the cities that contributed to this study by the heart-full of emotions they have given me: Ġstanbul, Ankara and New York City. Particularly, I would not have finished this thesis without the journeys between Ankara and Ġstanbul, which had provided insight vision and opportunity of extensive thinking. viii TABLE OF CONTENTS PLAGIARISM ........................................................................................................ iii ABSTRACT………………………………………………………………………iv ÖZ............................................................................................................................. v DEDICATION ........................................................................................................ vi ACKNOWLEDGMENTS ...................................................................................... vii TABLE OF CONTENTS…………………………………………..……………..ix LIST OF ABBREVIATIONS ................................................................................ xii CHAPTER 1. INTRODUCTION ................................................................................................ 1 1.1. Research Question ........................................................................................ 5 1.2. Theoretical Framework ................................................................................. 7 2. METHODS ......................................................................................................... 26 2.1. Studying Three Pioneering Private Museums in Turkey........................ 26 2.2. Methods of Data Collection in Conglomerates ...................................... 29 2.3. Methods of Data Collection in Corporate Philanthropists...................... 30 2.4. Methods of Data Collection in Philanthropic Foundations .................... 31 2.5. Methods of Data Collection in State Institutions and Regulations and Laws ................................................................................................................... 32 2.6. Methods of Data Collection in Sabancı Museum, Ġstanbul Modern and Pera Museum ...................................................................................................... 32 2.7. Methods of Data Collection in Professionals ......................................... 34 2.8. Data Analysis .......................................................................................... 35 3. MARKET EMBRACES ART AS COMMODITY and CAPITAL: ART and BUSINESS ............................................................................................................. 40 3.1. Commodification of Art .......................................................................... 40 3.2. Corporate involvement in the arts: corporate sponsorship ...................... 46 4. SOCIAL SIGNIFICANCE OF ART MUSEUMS ............................................. 59 4.1. Art Museums as Modern Institutions ...................................................... 61 4.2.