suna and inan kiraç foundation pera museum istanbul (7 results)

Soft cover. Condition: New. 1st Edition. Paperback. Pbo. Small 4to. In English and Turkish. 165 p., b/w and color ills. Cities of the three books: Jerusalem and the Holy Land in 19th century photographs.= Üç kitapli kentler: 19. yüzyil fotograflarinda Kudüs ve kutsal topraklar. The Album of Grand Vizier Kâmil Pasha and Local Photographers: The photograph album presented to Grand Vizier Kâmil Pasha encompasses 111 images of the Holy Land. A portion of these photographs was taken by Garabed Krikorian of the Jerusalem Armenian community. The person who introduced Krikorian to the art of photography was none other than Yessayi Garabedian, the first local photographer of Jerusalem. He established his own photographic studio in 1859 within the Jerusalem Armenian Monastery. Mendel John Diness, Peter Bergheim, Davud Sabunci, Leon Katz, Khalil Raad and Yeshayahu Raffalovich are recognized as outstanding masters of local photography in late-19th century. Jerusalem: The City of Faith and Passion: Prophets and kings constructed hand in hand the mythology of Jerusalem. The thrones of the heavens and earth were set in this city. From David to Solomon, and from Jesus Christ to Muhammad, it was the singular pole in a geography of faith. In the Middle Ages, it replaced Rome, which regarded itself as the navel of the earth. Jerusalem was the dream of those who embraced the Cross and the indispensable, holy land of Umayyad, Abbasid, Ayyubid, Fatimid caliphs, as well as Mamluk and Seljukid sultans. The city found peace under Ottoman rule from 1516 until 1917. Yet, before and after that time, the tears of humanity did not subside. First Photographers in the Holy Land: In 1833, British explorer Frederick Catherwood used the camera lucida in the Holy Land and produced the very first images of the Noble Sanctuary (Haram al-Sharif). Catherwood, who unveiled the Sacred, was followed by Scottish minister Alexander Keith. Keith's goal was to corroborate the text of the Holy Bible with images. This concept set the groundwork for British picturesque photography, which was particular to the Orient. In 1844, Joseph-Philibert Girault de Prangey experimented with a different style and focused on Islamic architecture in the Holy Land. Thus came along the first products of French documentary photography vis-à-vis the British picturesque. The photographers who convey to us today the history of the Holy Land have, to a large extent, emerged out of this school.

Soft cover. Condition: New. Paperback. 4to. (29 x 24 cm). Bilingual in English and Turkish. 167 p., color ills. The exhibition focuses on Albanian social realism through painting, poster and drawings, and it offers a selection of artworks produced under the dictatorship that aimed to spread socialism's main principles among the proletarian. The exhibition investigates the impact of the communist ideology on Albanian visual arts during the second half of the 20th century. The selected artworks reflect the ideology that played an important role in the works' dogmatic content. The exhibition offers an opportunity to become familiar with the culture and identity of Albanian people who had been isolated from the rest of the world for a long time, and centers around the daily life, working class, portraits of leadership, representations of the regime and a hopeful approach to upcoming generations. The exhibition catalogue features an essay titled Socialist Realism in Albanian Style by the art historian Ermir Hoxha, presenting an art historical analysis of the period, as well as a comprehensive text about the exhibition by the curator Artan Shabani, titled Constructing a Dream: Socialist Realism in Albanian Art. Texts are accompanied by a chronology entitled 20th Century Albanian Art and Politics, providing historical information. Contents: Foreword by Suna, Inan ve Ipek Kiraç.; Socialist Realism in Albanian Style, Ermir Hoxha.; Constructing a Dream: Socialist Realism in Albanian Art, Artan Shabani.; 20th Century Albanian Art and Politics.; Catalog.

Soft cover. Condition: New. Paperback. 4to. (28 x 23 cm). In English and Turkish. 235 p., b/w photos. Singapur unseen.= Görünenin ardindaki Singapur. [Exhibition catalogue]. Curated by Tay-Kay Chin. Prep. Begüm Akkoyunlu Ersöz, Yasemin Ülgen. Singapore Unseen exhibition brings together ?ordinary? scenes from the daily life in Singapore through unique viewpoints of photographers living in the country. Curated by photographer Kay Chin TAY, the exhibition is the outcome of a two-year collaboration by PLATFORM- a photography collective to promote photojournalism and documentary work in Singapore. This exhibition is an in-depth study into the nation's rather unknown face solely visible from a local perspective. In the works selected, the photographers dealt with everyday places like public housing estates, factories, mass rapid transit stations, hawker centres (local food centres) and wet markets. The images uncover delight in the otherwise sterile and banal environment. It is also rather revealing through the eyes of the younger generation how the previous generation have persevered in what seemed like their destined roles as anchors for a more stable society.

Soft cover. Condition: New. 1st Edition. Paperback. Color and b/w ills. 670 p. In English and Turkish. The anatomy of a tradition: 150 years of Robert College.= Bir gelenegin anatomisi: Robert Kolej'in 150 yili. [Exhibition catalogue]. A very heavy volume. Istanbul Research Institute in collaboration with Robert College presented the exhibition The Anatomy of a Tradition: 150 Years of Robert College 1863 - 2013 at the Istanbul Research Institute on the occasion of 150th anniversary of Robert College, one of the long-established and meritocratic educational institutions of Istanbul. Robert College was founded in Istanbul in 1863 by Cyrus Hamlin and Christopher R. Robert, two men who believed in the universal value of education. It was the first American school to be established in the Ottoman lands, and outside the USA. Surviving revolutions, wars, earthquakes, fires, and epidemics, the College never closed down a single day throughout its 150-year history. Robert College has educated seven prime ministers (four of them Bulgarian), countless statesmen, writers, artists, musicians, actors, athletes, businessmen, engineers, doctors, lawyers, and educators.It has been the standard against which other schools measure themselves, even when Robert College itself had the challenge of living up to its own standards, due to lack of funding, inadequate buildings etc. from time to time throughout its history. Curated by Cem Akas, the exhibition shed light on the 150 years of the College, as well as the educational, cultural, social and intellectual life in Istanbul through selected photographs and objects from Robert College Archives, Columbia University Rare Book & Manuscript Library and private collections.

Soft cover. Condition: New. Paperback. 4to. (29 x 24 cm). In English and Turkish. 281, [2] p., color and b/w photos and ills. A road story: 180 years of photography.= Bir yol öyküsü: Fotografin ardinda 180 yil. [Exhibition catalogue]. At the 180th anniversary of invention of photography and the first photography trip that took place in 1839, A Road Story: 180 Years of Photography exhibition brings together interpretations and perspectives of photographers who explore the same route with today?s techniques. French painter Émile Jean Horace Vernet, painter Charles Marie Bouton who is among the inventors of Diorama technique, and daguerreotypist Frédéric Auguste Antoine Goupil-Fesquet depart from the Port of Marseille in October 1839 to take photographs and return to Marseille six months later, in April 1840 passing from Livorno, Malta, Syros, Paros, Naxos, Santorini, Alexandria, Cairo, Luxor, Suez, Mount Sinai, Gaza, Bethlehem, Jerusalem, Nablus, Sayda, Deir Al Qamar, Damascus, Tripoli, Baalbek, Beirut, Larnaca, Rhodes, Kos, Izmir, Dardanelles, Istanbul and Rome. Frédéric Auguste Antoine Goupil-Fesquet conveyed his impressions about this journey in his book, Voyage d?Horace Vernet en Orient that would be published in 1843. At the 180th anniversary of this first known group photography trip, the exhibition curated by Engin Özendes features the artists Co?kun Aral, Laleper Aytek, Ali Boroval?, Murat Germen, Sinan Koçaslan, Yusuf Sevinçli, Alp Sime, Lale Tara, Serkan Taycan and Cem Turgay. The photographs they took during their trips to the stops of the earlier journey reflect a contemporary take on these cities with rich histories.

Dust jacket. Condition: New. Dust Jacket Condition: New. Original bdg. Dust wrapper. 4to. (33 x 25 cm). In English. 405 p. Color ills. Some areas of art history have been overlooked in comparison to others, attracted less attention, and for this reason been the subject of less research and evaluation. Such situations are observed in particular where one branch or period of art in a country is so prominent as to overshadow its neighbours and counterparts. These neglected areas often deserve far more interest than circumstances grant them. Moreover, the bright light cast by their more famous cousins makes it harder, or even sometimes impossible, to do them justice and gain a true understanding of their qualities. A striking example of this phenomenon in Ottoman art is Kutahya ceramics, which have remained relatively unnoticed with the spotlight of attention focused on Iznik. When speaking of Ottoman ceramics it is first of all those of Iznik that spring to mind today, and this was no less true in the past. Kutahya pottery, like that of Canakkale, has been left to straggle far behind. Yet even a little examination reveals that although in comparison with these splendid 'court art' of Iznik, the pottery of Kutahya is regarded as provincial in character, and that of Canakkale as 'folk art', both these traditions are marked by lively originality and creativity. This book has been designed to throw new light on one of these overshadowed areas, the richly endowed world of Kutahya ceramics. In a region where pottery has been produced without interruption through the Phrygian, Greek, Roman, Byzantine, Ottoman and modern periods, Kutahya's long history of pottery production - its development, materials, workshops and craftsmen - has now been re-examined in new depth. Garo Kurkman has combed museums and archives all over the world, bringing to light a myriad documents and photographs that have never been published before, and his fascinating study based on all this new information takes us on a thrilling journey through the magical world of clay, fire and glaze. Some aspects of art history are inevitably overshadowed, and attracting less attention are inadequately researched and evaluated. This happens particularly when one branch or period of a country's art rises to the fore and casts a dazzling light in which other close and similar forms pale into indignificance. arts which are so outshone do not receive the appreciation they really deserve, the brigjht of their illustrious fellow over shadwowed arts possess unexpected riches, uniqe flavours and unforeseen depths thath await discovery by the alert arthistorian, the sharp eyed collector, and the art lover who enjoys following rarely trodden paths.

Soft cover. Condition: New. 1st Edition. First edition, first printing. Soft cover. Photographically illustrated matt-laminated French-fold wrappers; no dust jacket as issued. Photographs and text (in Turkish and English) by Josef Koudelka. Essay (in Turkish and English) by Romeo Martinez. Interviews with Koudelka (in Turkish and English) by Hervé Guibert, Robert Delpire and Karel Hvízdala. Designed by Tut Ajans. Includes a biography (in Turkish and English) compiled by Stuart Alexander. 140 pp., with 70 quadtone plates beautifully printed on heavy coated stock in Turkey by Mas Matbaacilik A.S., Istanbul. 11 x 9-1/2 inches. This edition was limited to 1000 copies. Out of print. Scarce. Published on the occasion of a major retrospective exhibition at the Suna and Ínan Kiraç Foundation Pera Museum, Istanbul, organized with the collaboration of Magnum Photos. New. From the publisher: "In this exhibition Josef Koudelka reveals a side of himself we rarely see because it is usually covered up by the striking aesthetic quality of his photographs. With time this apparent globetrotter has shown himself to be an engaged photographer whose now world-renowned, fundamental subject matter is, internally, always related to his native land, whether as a conscious message or out of a subconscious need. In this work the local dimension meets the universal. The retrospective takes stock of all the stages of Koudelka's work and its main thematic areas. The exhibition opens with a set of rare original prints from the late 1950s and early 1960s. They are followed by two parallel topics from the 1960s - Koudelka's key series Gypsies, and, on the other hand, his work for respected Czech theatres. In Prague, Koudelka met important figures in the arts, such as the theatre directors Otomar Krejca and Jan Grossman and the writer-dramatists Josef Topol and Václav Havel, who helped to maintain the continuity of Czech culture when it was under heavy ideological pressure from the totalitarian state. An important part of Koudelka's work is the Invasion series made in Prague, in August 1968. Shortly afterwards, in 1970, he emigrated, and the resultant feelings of being uprooted found expression in photographs which, as a series, are called Exiles. The two series, Invasion and Exiles, may be understood as a whole that is related to the Czech situation, its causes and effects. With increasing frequency and gravity his work came to include both politics (as concern for public affairs) and his own personal themes of searching and finding, all within the problematic reality of the contemporary world. Shortly after leaving his homeland he began to work with Magnum Photos, and, in 1974, became the only Czech full member of this international agency. After returning to Czechoslovakia for the first time since his departure, Koudelka photographed the devastation of the natural environment in the Ore Mountains of Bohemia, from 1990 to 1994. The photographs exhibited and published as The Black Triangle, tie in to the set made with a panoramic camera in the northern France, an area that has also been greatly affected by human intervention. These photographs became part of Koudelka's large project called Chaos, which the current retrospective concludes with. In the devastated landscape of today, the photographer has found 'tragic untamed beauty', the search for which may be understood as Koudelka's lifelong topic.".