DOCSLIB.ORG

Mediatization of Culture: Queuing up for Museums Evrim Dogan Project Coordinator, Beyoglu Memory Research Center – Istanbul, Turkey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mediatization of Culture: Queuing up for Museums Evrim Dogan Project Coordinator, Beyoglu Memory Research Center – Istanbul, Turkey Mediatization of Culture: Queuing up for Museums Evrim Dogan Project Coordinator, Beyoglu Memory Research Center – Istanbul, Turkey Evinc Dogan PhD Student, IMT Institute for Advanced Studies – Lucca, Italy Why do people visit a Museum? what determines the demand for museums? •The cost of visiting a museum • entrance fee • opportunity cost of time: • the price of alternative leisure activities • other costs of visiting like transport costs, parking costs. •Level of education/intelligence •Contents of the exhibition (art matters) •The design of the building •The provision of services like catering, museum shop, customer friendliness, hygiene. •Satisfying visits in the past •Marketing & Communication efforts http://www.museummarketing.info/2008/09/why-do-people-visit-a-museum/ Private Museums According to their management types, private museums are defined in the Law for Preservation of Cultural and Natural Artifacts (No. 2863), enacted in 1983. Museums which are not managed by the Ministry of Culture (former name) but dependent to the supervision of the ministry are legally named as “Private Museums”. This definition has a wide context, whereas museums dependent to the: - Turkish National Assembly, - Other ministries than of culture, - Public institutions and associations, - Real and corporate bodies, - Foundations, are entitled as “private museums”. Collectors’ and corporate museums: •The 2000s marked the shift in the demand for museums • Past: Museum as spaces of history and collective memory. • Present: Museums as spaces of consumption according to the emerging orders of consumerism and leisure patterns, privatization and the influence of mass media and marketing. •2002 Sabanci University’s Sakip Sabanci Museum (SSM) – Sabanci Familiy •2004 Istanbul Museum of Modern Art - Eczacibasi Family (Istanbul Modern) •2005 Pera Museum – Suna & Inan Kırac (Koc Family) First solo exhibition of a Modern Art & Urban 1st Private Museum is Sadberk Western artist in Turkey Transformation Hanim Museum (1980) Pera Museum – Orientalist Art Opening 2002 2004 2005 Premises Private Property: 4th warehouse on the An historical structure Emirgan Atlı Köşk Galata pier owned by the which was originally (Horse Mansion) Turkish Maritime constructed in 1893 by Organization, the architect Achille The exhibition space was was transformed into a Manoussos in Tepebaşı, expanded in 2005 modern museum building and which was, until rather recently, known as the Bristol Hotel, Collection • Calligraphy Modern & • Anatolian Weights and • Painting contemporary art Measures • Archeological and •painting and sculpture • Kütahya Tiles and Stone Works and •installation and video Ceramics Furniture and • Orientalist art Decorative Arts Facilities • education programs • cinema • pera education • gift shop • restaurant • pera film • café • design store • pera café • library • artshop and • education programs publications http://www.facebook.com/SakipSabanciMuzesi http://www.facebook.com/istanbulmodernsanatmuzesi http://www.facebook.com/PeraMuzesi.Museum/likes Temporary exhibitions & Media • official web-pages of the museums as the main source of information, • national and international daily newspapers. • How does the media content associate with the exhibitions along with the activities and the marketing strategies of the museums? • What are the message highlights and the information given? • How does this content vary compared to different sources of media? media content and press coverage … Queuing up for museums … Sakıp Sabancı Müzesi http://muze.sabanciuniv.edu/page/picasso-in-istanbul http://muze.sabanciuniv.edu/page/picasso Share EN TR content of the web-site COLLECTION EXHIBITIONS EDUCATION EVENTS GIFT-SHOP VISIT ABOUT SSM CONTACT - number of paintings Past Exhibitions - 1st occasion of such an exhibition being held in Turkey. - sponsors (Sabanci Holding!) - “technical facilities”, “international standards”, Picasso in Istanbul “humanistic approach”, “social sensitivity and Exhibitions responsibility” Current Exhibitions Past Exhibitions - “world museum” SSM Abroad SSM Loans - in Picasso in Istanbul - istanbul content on the BBC About the Exhibition Exhibition Highlights Publications Sabancı University's Sakıp Sabancı Museum hosted an exhibition of works by Pablo Picasso, one of the - Turkey as source nation giving its artifacts to the West, twentieth century’s greatest artists. Picasso in Istanbul was the first major exhibition devoted to a western artist to be held in Turkey, with 135 paintings covering every period of his work. The exhibition brought together works from the Picasso Museums in Paris and Barcelona, the Lille Modern Art Museum, Fundación Almine y Bernard Ruiz-Picasso para el Arte (FABA), and the family collections, reverses this trend by bringing works of Western artist selected by Picasso's grandson Bernard Ruiz-Picasso. In addition, the exhibition featured photographs of the artist taken by famous photographers. Picasso in Istanbul was made possible by Sabancı Holding, and in cooperation with FABA and the - the exhibition will reinforce art appreciation French Cultural Centre in İstanbul. - “The museum aims to educate, as well as entertain.” - mandatory audio guides content on Hurriyet Daily News Sabancı Üniversitesi Sakıp Sabancı Müzesi Sakıp Sabancı Üniversitesi Sakıp Sabancı Müzesi Sakıp Contact Sabancı Cad. No:42 Emirgan 34467 İstanbul Visit Sabancı Cad. No:42 Emirgan 34467 İstanbul - the difficulties faced in bringing the artefacts and Bernard Tel : 0 212 277 22 00 Tel : 0 212 277 22 00 Copyright © 2011 SÜ - SSM Privacy Policy Contact Site Map Türkçe Design and Technology by Dreams&Bytes Picasso’s hesitation about the safety measures to transport the collection - legal isues - promotion and education - “beginner's course” for the appreciation of art 1 -> 1 17.08.2012 13:03 http://www.istanbulmodern.org/en/exhibitions/past Fikret Mualla Retrospective - !stanbul Modern http://www.istanbulmodern.org/en/exhibitions/past-exhibitions... (/en) CURRENT LOCATION » HOME (/en) » EXHIBITIONS » NEWS Tweet 0 Like 0 PAST EXHIBITIONS (/en/exhibitions/past-exhibitions) Fikret Mualla Retrospective content of the web-site (/en/press/news/our-mobile- TÜRKÇE (/tr) - Educational activities application-is-out_887.html) Our mobile application is out! MUSEUM (/en/press/news/our-mobile- application-is-out_887.html) YOUR VISIT Now you can follow our EXHIBITIONS events and announcements About (/en/exhibitions from your mobile! /about_57.html) MORE (/en/press/news/our-mobile- - mobile education vehicle – "young volunteers for art" Cur rent Exhibitions (/en/exhibitions/current- exhibitions) 15 April 2005 - 25 August 2005 Upcoming Exhibitions (/en/exhibition/upcoming- with the contribution of Lafarge Turkey exhibitions) !stanbul Modern is celebrating the 102nd birthday of Fikret Muallâ, one of the leading names in Turkish painting, EDUCATION Past Exhibitions (/en/exhibitions with a comprehensive exhibition of his work. /past-exhibitions) For the first time ever, this retrospective is bringing together 243 works of art from 35 collections, which it is Colors of the City Past Exhibitions Abroad presenting both thematically and historically so as to reflect every dimension of Fikret Muallâ’s unique world. - audio tour with the contribution of MNG Bank (/en/exhibitions/past-exhibitions- abroad) (/en/education/colors- The exhibition aims to turn overturn the common perception of the artist deriving from his unusual, turbulent and EDUCATION of-the-city_912.html) bohemian lifestyle, and is the most comprehensive retrospective ever of Fikret Muallâ in terms of number of works EVENTS involved. - Fikret Mualla – "hide-and-seek abc" book Educational programs held CINEMA conjunction with the exhibition The exhibition creates associations between Fikret Muallâ’s understanding of painting and diverse themes and Fifty Years of Urban Walls LIBRARY includes the artist’s gouaches, watercolors and sketches as well as a photobiography of pictures taken by Ara Güler. with the contribution of dogus cocuk and MEMBERSHIP SUPPORT Sponsored by Eti, the Fikret Muallâ Retrospective has opened on 14 April in the Temporary Exhibition Gallery. This STORE is the first retrospective of !stanbul Modern and with it, the museum is launching its first touring educational garanti mini bank exhibition and audio tour as well as a documentary and alphabet book produced specially for the exhibition. Also for the first time, the museum has organized the printing of selected Fikret Muallâ paintings on "Tutku" cookie tins and tissue paper boxes produced respectively by Eti and Selpak. PRESS During the exhibition, !stanbul Modern hold a variety of activities and events in its educational unit, library, auditorium, and mobile exhibition vehicle. Special exhibition products are available for purchase in the museum - Fikret Mualla documentary shops. Curated by Ha" im Nur Gürel, Levent Çalıko#lu and Ali Akay, the Fikret Muallâ Retrospective introduces viewers to the creativity and rich imagination of this artist, whose life and work have made him both one of the most important - exhibitions/fikret and one of the most debated names in Turkish painting. Known as much for his tragic life as for his superior artistic - Lectures persona, Fikret Muallâ has become a legendary figure since his death. While endeavoring to draw attention to the lesser known sides of this celebrated artist, the exhibition highlights the differences between works of art that appear to be the same, suggests how works dealing with the same
Load more

Recommended publications
  • The Protection of Historical Artifacts in Ottoman Empire: the Permanent Council for the Protection of Ancient Artifactsi
    Universal Journal of Educational Research 7(2): 600-608, 2019 http://www.hrpub.org DOI: 10.13189/ujer.2019.070233 The Protection of Historical Artifacts in Ottoman Empire: The Permanent Council for the i Protection of Ancient Artifacts Sefa Yildirim*, Fatih Öztop Department of History, Faculty of Science and Letters, Ağrı İbrahim Çeçen University, Turkey Copyright©2019 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The historical artifacts that reveal the social, establishment, functioning, duties and activities of the political, aesthetic, moral, architectural, etc. stages, before-said council are tried to be explained. through which the human beings have been; which transfer and reveal information from past to present and Keywords Historical Artifacts, Protection of future; which have an artistic, historical or archaeological Historical Artifacts, Council importance are very important physical elements that the present-day civilized societies protect or must protect as cultural values. Such works both strengthen the ties to the past due to the transfer of cultural heritage to existing and 1 . Introduction future generations and plays a very important role in the writing of the past through the data provided to the The first initiative for the protection of the historical researchers. The protection of the historical artifacts was artifacts in the Ottoman Empire can be considered as the under sharia laws until 1858 in Ottoman Empire, since beginning of the storage of two collections of old weapons then, some regulations were done about this issue, in the and artifacts since 1846 in the Hagia Irene Church end, The Permanent Council for the Protection of Ancient (Sertoğlu & Açık, 2013, p.160).
    [Show full text]
  • Osman Hamdi Bey New Interpretations
    ESSAYS: OSMAN HAMDI BEY NEW INTERPRETATIONS WHAT’S IN A NAME? OSMAN HAMDI BEY’S GENESIS Edhem Eldem; Boğaziçi University, Istanbul Osman Hamdi Bey (1842-1910) is one of the most studied characters of late Ottoman cultural history. Quite a number of reasons can be invoked to explain this phenomenon, from Osman Hamdi’s pioneering role in the arts to his striking character of a polymath, from his prolific artistic production to the relative dearth of any serious rival during his lifetime. The list could be extended ad infinitum and would be confirmed by what is one of the best indicators of public interest: the incredible market prices that his paintings have reached in the last ten years or so. This “overstudying” to which Osman Hamdi has been subjected is further characterized by a systematic disregard for historical context and a tendency to seek meaning in the artist’s paintings. Every point in the artist’s life becomes a self-fulfilling prophecy: given a general knowledge of Osman Hamdi Bey’s artistic, intellectual, and political inclinations, all it takes is a proper “reading” of one of his paintings to discover what was intended from the very beginning. The agenda, moreover, is rather limited: the discussion revolves around the question of whether or not Osman Hamdi Bey was an Orientalist, and if so, whether his Orientalism is comparable to that of his western contemporaries. The verdict is almost unanimous: he may have been Orientalist in style, but his intentions were quite different from that of European painters of the 1 same genre.
    [Show full text]
  • The Historiography of Ottoman Archaeology: a Terra Incognita for Turkish Archaeologists
    Cihannüma Tarih ve Coğrafya Araştırmaları Dergisi Sayı III/1 – Temmuz 2017, 109-122 THE HISTORIOGRAPHY OF OTTOMAN ARCHAEOLOGY: A TERRA INCOGNITA FOR TURKISH ARCHAEOLOGISTS Filiz Tütüncü Çağlar* Abstract The history of Ottoman archaeology is yet to be written. The existing scholarship is lacking an exhaustive account on the subject and is in need of a critical outlook to the current discourse. There is ample literature taken into account by Turkish historians on the history of the Ottoman Imperial Museum (Müze-i Hümayun) with a particular focus on the period following Osman Hamdi Bey’s appointment as director of the museum in 1881. Turkish archaeologists, on the other hand, have remained remote to the early history of archaeology prior to the Republican era due to practical and ideological reasons. As a result, the field has been dominated by historians, whose approaches and areas of interest greatly differ from those of archaeologists. The concentration of historiographical interest on Osman Hamdi Bey and his role in the protection of antiquities lying in the Ottoman territory has overshadowed the merits and contributions of other pioneering figures in the field, most of whom with more in-depth knowledge and substantial technical expertise on archaeology. This paper aims to draw attention to the major issues prevalent in the Turkish historiography of Ottoman archaeology and calls for expanding the sources and areas of study in the field. Writing the disciplinary history of archaeology in Turkey is not an easy task; it requires language skills – the majority of the archival sources are in Ottoman Turkish, familiarity with historical methodology as well as a good understanding of archaeological method and theory.
    [Show full text]
  • Cagaloglu Hamam 46 Ecumenical Patriarchate
    THIS SIDE OF THES GOLDEN Yerebatan Cistern 44 Spiritual brothers: The HORN: THE OLD TOWN AND Cagaloglu Hamam 46 Ecumenical Patriarchate EYUP 8 Nuruosmaniye Mosque 48 of Constantinople 84 Topkapi Palace 10 Grand Bazaar 50 Fethiye Mosque (Pamma- The Power and the Glory Knotted or woven: The Turkish karistos Church) 86 of the Ottoman Rulers: art of rug-making 52 Chora Church 88 Inside the Treasury 12 Book Bazaar 54 Theodosian City Wall 90 The World behind the Veil: Traditional handicrafts: Eyiip Sultan Mosque 92 Life in the Harem 14 Gold and silver jewelry 56 Santralistanbul Center of Hagia Eirene 16 Beyazit Mosque 58 Art and Culture 94 Archaeological Museum 18 Siileymaniye Mosque 60 Fountain of Sultan Ahmed 20 Rustem Pa§a Mosque 64 BEYOND THE GOLDEN Hagia Sophia 22 Egyptian Bazaar HORN:THE NEWTOWN Constantine the Great 26 (Spice Bazaar) 66 AND THE EUROPEAN SIDE Sultan Ahmed Mosque Yeni Mosque, OF THE BOSPHORUS 96 (Blue Mosque) 28 Hiinkar Kasri 68 Karakoy (Galata), Tophane 98 Arasta Bazaar 32 Port of Eminonii 70 Jewish life under the The Great Palace of the Galata Bridge 72 Crescent Moon 100 Byzantine Emperors, Myths and legends: The Istanbul Modern Museum 102 Mosaic Museum 34 story(ies) surrounding Shooting stars above the Istanbul's Traditional the Golden Horn 74 gilded cage of art: Wooden Houses and Sirkeci train station 76 Istanbul Biennal 104 the Ravages of Time 36 $ehzade Mosque Kilig Ali Pa§a Mosque, The Hippodrome 38 (Prince's Mosque) 78 Nusretiye Mosque 106 Sokollu Mehmet Pa§a Valens Aqueduct 80 Galata Tower 108 Mosque 40 Fatih
    [Show full text]
  • ENVIRONMENT of CULTURE and ART in the OTTOMAN EMPIRE in 19Th CENTURY
    The Online Journal of Science and Technology - April 2018 Volume 8, Issue 2 ENVIRONMENT OF CULTURE AND ART IN THE OTTOMAN th EMPIRE IN 19 CENTURY Nesli Tuğban YABAN Baskent University, Department of Public Relations and Publicity, Ankara-Turkey [email protected] Abstract: Westernisation and modernisation of the Ottoman Empire began to burgeon in the 17th century; it became evident in the 18th century and the 19th century witnessed the most intense interaction and the exact reconstruction process. New way of living which was originated in Europe and representatives thereof became influential as guides and determinants of reconstruction process in the Ottoman Empire. It is possible to point out that the Ottoman Empire which got closer to France for handling military problems, to England for industrialisation purposes and to Italy for architecture and arts had intense communication and the resulting interaction with European states in the course of reconstruction process. This study aims to give information about the social, cultural and artistic environment in the Ottoman Empire during the reign of Sultan Abdul Hamid II (1876-1909). Key Words: Culture, Art, Ottoman Empire, Sultan Abdul Hamid II. General View of the Environment of Culture and Art in 19th Century in the Ottoman Empire It is clear that sultans had a very important role in the ruling of the country as a part of state system of the Ottoman Empire thus, good or bad functioning of the state and events and actions which might affect the society from various aspects were closely connected to personality, behaviours and mentality of the sultan.
    [Show full text]
  • Görünenin Ötesinde Osman Hamdi Bey Osman Hamdi Bey Beyond Vision Görünenin Ötesinde Osman Hamdi Bey Beyond Vision
    GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY OSMAN HAMDİ BEY BEYOND VISION GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY BEYOND VISION ISBN: 978-605-2095-42-3 9 786052 095423 İŞBİRLİĞİYLE / IN COLLABORATION Sabancı Üniversitesi Sakıp Sabancı Müzesi / Sabancı University Sakıp Sabancı Museum Filiz Kuvvetli Danimarka Müzeleri Ortak Konservasyon Merkezi, Tablo Konservasyon Uzmanı Hüma Arslaner SSM Resim Koleksiyonu Yöneticisi Nurçin Kural Özgörüş SSM Konservasyon Laboratuvarı Yöneticisi Sabancı Üniversitesi Nanoteknoloji Araştırma ve Uygulama Merkezi / Sabancı University Nanotechnology Research and Application Center Prof. Dr. Mehmet Ali Gülgün Dr. Öğretim Görevlisi Meltem Sezen Dr. Öğretim Görevlisi Feray Bakan Koç Üniversitesi Yüzey Teknolojileri Araştırma Merkezi / Koç University Surface Science and Technology Center Dr. Gülsu Şimşek İstanbul Teknik Üniversitesi Organik Kimya Laboratuvarı/ Istanbul Technical University Organic Chemistry Laboratory Dr.Öğretim Görevlisi Cüneyt Ünlü Getty Konservasyon Enstitüsü / The Getty Conservation Institute Dr. Lynn Lee Proje destekçisi / Project supporter İletişim ve Teknoloji Sponsoru / Communication & Technology Sponsor GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY OSMAN HAMDİ BEY BEYOND VISION Sakıp Sabancı Müzesi Koleksiyonu’ndaki Osman Hamdi Bey tabloları için yapılan bilimsel analiz ve konservasyon çalışmalarının sonuçları The results of the scientific analysis and conservation of Osman Hamdi Bey’s paintings from the Sakıp Sabancı Museum Collection İÇİNDEKİLER ÖNSÖZ 6 Dr. Nazan Ölçer DOĞULU BİR ORYANTALİST NASIL OLUNUR? 10 Edhem Eldem GÖRÜNENİN ÖTESİNDE OSMAN HAMDİ BEY 58 X-IŞINI GÖRÜNTÜLEME TEKNİĞİ NEDEN GEREKLİDİR? 60 PİGMENT ANALİZİ NEDİR? TUVAL BEZİNİN ÖZELLİKLERİ NASIL BELİRLENİR? NAİLE HANIM PORTRESİ 62 KOKONA DESPİNA 66 KURAN OKUYAN HOCA 70 ARZUHALCİ 74 VAZODA ÇİÇEKLER 78 CAMİ 82 OSMAN HAMDİ BEY TABLOLARININ 86 BİLİMSEL ANALİZLERİ VE KONSERVASYONU — BULGULAR PİGMENT ANALİZİ VERİLERİ 88 ZAMAN İÇİNDE OSMAN HAMDİ BEY 90 CONTENTS FOREWORD 7 Dr.
    [Show full text]
  • Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art
    Annika K. Johnson exhibition review of Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Annika K. Johnson, exhibition review of “Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www.19thc-artworldwide.org/autumn12/johnson-reviews-osman-hamdi-bey-and-the- americans. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Johnson: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art The Suna and Inan Kıraç Foundation Pera Museum, Istanbul October 14, 2011 – January 8, 2012 Archaeologists and Travelers in Ottoman Lands University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia September 26, 2010 – June 26, 2011 Catalogue: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art (Osman Hamdi Bey & Amerikalilar: Arkeoloji, Diplomas, Sanat) Edited by Renata Holod and Robert Ousterhout, with essays by Renata Holod, Robert Ousterhout, Susan Heuck Allen, Bonna D. Wescoat, Richard L. Zettler, Jamie Sanecki, Heather Hughes, Emily Neumeier, and Emine Fetvaci. Istanbul: Pera Museum Publication, 2011. 411 pp.; 96 b/w; 119 color; bibliography 90TL (Turkish Lira) ISBN 978-975-9123-89-5 The quietly monumental exhibition, titled Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art, was the product of a surprising collaboration between the Suna and Inan Kıraç Foundation Pera Museum in Istanbul and the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia.
    [Show full text]
  • Journal of Recreation and Tourism Research
    Göktaş & Dinçer/JRTR 2017, 4 (Special Issue 1), 328-342 Journal of Recreation and Tourism Research Journal home page: www.jrtr.org ISSN:2148-5321 A CONTENT ANALYSIS OF E-REVIEWS ON PRIVATE MUSEUMS: THE CASE OF ISTANBUL Levent Selman GÖKTAŞa Mithat Zeki DİNÇERb a İstanbul Üniversitesi Sosyal Bilimler Enstitüsü, İstanbul, Türkiye ([email protected]) b İstanbul Üniversitesi İktisat Fakültesi, İstanbul, Türkiye ([email protected]) EXTENSIVE SUMMARY The research aims to identify and interpret the positive and negative characteristics of private museums located in Istanbul while conveying their experiences in electronic environment. The study includes evaluating the e- comments made about the private museums in İstanbul by analyzing the contents by taking advantage of the comments shared in the electronic environment. The comments are divided into building, restaurant and souvenir, management, environment and transportation, wages, collection, personnel sub-dimensions. In this study, the top ten museums that received the most comments from the private museums in Istanbul on the TripAdvisor site were examined. The reason why www.tripadvisor.com is preferred for content analysis of e- comments is that it has the largest source of travel, accommodation and destination information in 49 countries operating in the world where 435 million comments and opinions come in with 390 million unique visitors per month. As a result of the evaluation, 4,868 reviews were reviewed and the interpretations were divided into subcategories such as building, restaurant and souvenir, management, environment and transportation, wage, collection and personnel, and positive and negative evaluations were provided. Visitors to the Museum of reviews conducted when examined, Rahmi M.
    [Show full text]
  • WINTER 2020 / 2021 ISSUE 57 ALE ASARIM VE ANAT ERKEZİ Disiplinlerarası Paylaşımlara İmkan Veren Üretim Ve Buluşma Noktası
    WINTER 2020 / 2021 ISSUE 57 RC QUARTERLY WINTER 2020 / 2021 ISSUE 57 ALE ASARIM VE ANAT ERKEZİ Disiplinlerarası Paylaşımlara İmkan Veren Üretim ve Buluşma Noktası tarafından desteklenmektedir. tepta_robertcollege_ilan_kasim2020_195x260mm_2.pdf 1 19/10/20 18:45 C M Y CM MY CY CMY K The cover for this WINTER 2020 / 2021 ISSUE 57 issue was once again illustrated by Kayansel Kaya RC L12 03. With a cover theme so close to her heart, Kayansel included objects that inspire the artist in her Alumni Journal published periodically by the illustration. There is RC Development Office for approximately also a nod to a beloved 10,000 members of the RC community: art book taught at RC for many years. graduates, students, faculty, administration, parents and friends. As we reflect on 2020 with all the surprises and changes it brought, and move into 2021 with hope and resilience, the RC Quarterly’s 57th issue turns its focus to the fine arts. Indeed, is there a better source of reinvigoration and inspiration than art? This issue surveys how art was taught at RC and how it is evolving to provide students new skills, as well as presenting the illuminating perspectives that our alumni in the arts offer (p. 34). Can Göknil ACG 66 was kind enough to allow us to reprint one of her works as a In postcard insert for this issue, and we thank her for her generosity. Because the precautions around the pandemic continue, the RCQ reports on how Robert College is handling it all in the 2020-2021 school year (p.
    [Show full text]
  • Synopsis : • Istanbul Natural Resources : • Water
    Synopsis : Istanbul I. Natural resources : Water Wild life and open spaces Mineral ressources Monuments II. Human resources : Health Education Culture Economy Istanbul Istanbul is the largest city in Turkey, constituting the country's economic, cultural, and historical heart. Istanbul is a transcontinental city in Eurasia, with its commercial and historical centre lying on the European side and about a third of its population living on the Asian side of Eurasia. With a population of 14.1 million, the city forms the largest urban agglomeration in Europe as well as the largest in the Middle East, and the sixth-largest city proper in the world. Istanbul straddles the Bosphorus strait in northwestern Turkey, between the Sea of Marmara and the Black Sea. Founded on the Sarayburnu promontory around 660 BC as Byzantium, the city now known as Istanbul developed to become one of the most significant cities in history. For nearly sixteen centuries following its reestablishment as Constantinople or Nea Roma ("New Rome") in 330 AD, it served as the capital of three empires: the Roman and Byzantine (330–1204 and 1261–1453), the Latin (1204–1261), and the Ottoman (1453–1922) empires. It was instrumental in the advancement of Christianity during Roman and Byzantine times, before the Ottomans conquered the city in 1453 and transformed it into an Islamic stronghold and the seat of the Ottoman Caliphate. Approximately 11.6 million foreign visitors arrived in Istanbul in 2012, two years after it was named a European Capital of Culture, making the city the world's fifth-most-popular tourist destination.
    [Show full text]
  • What Do We Recommend?
    While travelling, we like feeling the city, wake up early with the sun rise, visit all the cultural and historical places and taste the city’s special flavors. According to that concept, we preapared the “Eat, Love, Pray in Istanbul Guide” which is all about our suggestions with little tips. We hope you could benefit from the hand book. Have a good stay and enjoy the city. Ramada Istanbul Grand Bazaar Family SOPHIA PITA RESTAURANT &TAPAS Offers a fusion of authentic and modern Spanish tapas accompanied by a distinguished selection of Turkish wines and selected international wines and liqours, also open for breakfast and dinner with a relaxing atmosphere at the Aya Sofya’s backyard. Adress;Boutique St. Sophia Alemdar Cad. No.2 34122 Sultanahmet / Istanbul Phone;009 0212 528 09 73-74 PS:How to get there;The nearest tram station is Sultanahmet or Gulhane tram station. BALIKÇI SABAHATTİN “Balıkçı Sabahattin” ( Fisherman Sabahattin) was at first running a traditional restaurant left by his father some streets behind which not everyone knew but those who knew could not give up, before he moved to this 1927 made building restored by Armada... Sabahattin, got two times the cover subject of The New York Times in the first three months in the year 2000… Sabahattin, originally from Trilye (Mudanya, Zeytinbag), of a family which knows the sea, fish and the respect of fish very well, know continues to host his guest in summer as in winter in this wooden house...His sons are helping him... In summer some of the tables overflow the street.
    [Show full text]
  • Dutchcu|Ture Contemporary Visual Arts in Turkey
    Centre for international DutchCu|ture | cooperation Contemporary Visual Arts in Turkey Version 2019 | Written by Anna Zizlsperger Contemporary Visual Arts in Turkey Version 2019 In 2011, SICA (the predecessor of DutchCulture) Acknowledgements produced a comprehensive mapping of the Turkish Written by Anna Zizlsperger based on 2011 mapping cultural field. This mapping was written by local by Hanife Ölmez. experts and edited by Teike Asselbergs and Chantal Hamelinck. The mapping was produce as a means to Edited by Chantal Hamelinck and Teike Asselbergs. promote cultural exchange between the Netherlands Proofread by Natasha Hay. and Turkey and as a starting point of the year 2012, which marked 400 years of Dutch – Turkish diplo- Commissioned by DutchCulture, centre for internati- matic relations. The mapping was supported and onal cooperation. produced in close co-operation with the Dutch public funds. Supported by the Ministry of Education, Culture and Science of the Netherlands. An update of these mappings was commissioned in 2018 by DutchCulture while working with the same editors. The existing mappings were revised and several new mappings were added. The updated mappings are focusing more on giving Dutch cultural practitioners an insight into the Tur- kish cultural field and its infrastructure, and helping them get in contact with colleagues. This mapping is supported by the Ministry of Education, Culture and Science of the Netherlands. Page 2 Contemporary Visual Arts in Turkey Contents Summary 4 Introduction 6 Short history 8 Main
    [Show full text]