687 résultats
Very Good Very Good English Original bdg. Dust wrapper. 4to. (32 x 22 cm). In English and Turkish. [224] p., color ills. The art of the Seljuks.= Selçuklu sanati. First Edition.
Fine Fine English Original bdg. Dust wrapper. 4to. (32 x 27 cm). In English and Turkish. 2 volumes set: (359 p.; 473 p.), color and b/w ills. The centennial tale of Turkish painting.= Türk resim sanatinin bir asirlik öyküsü. 2 volumes set. Texts by Kiymet Giray, Kaya Özsezgin, Zeynep Inankur et alli. 1500 copies were printed. A comprehensive set on history of the Turkish art of painting. A very heavy set.
As New English Paperback. Pbo. Fine. 4to. (30 x 21 cm). In Italian, English, and Turkish. 67 p. 1600 copies were printed. Color ills. "The Dawn of Tomorrow is an exceptional exhibition consisting of selected contemporary artworks from private Italian collections where each collector transmits their passion and preferences of collecting art. Proje 4L / Elgiz Museum of Contemporary Art, hosting the Elgiz Collection permanently, is a space founded specially upon this passion. We all share same emotions and believe that through art, we can improve understanding, friendship and peace; we can dream of a beautiful 'tomorrow'. We are delighted to present in Turkey the Italian Contemporary Art within the frame of private collection and to open a dialogue between the artists and collectors of Italy and Turkey.".
New English Original embossed black cloth bdg. Demy 8vo. (22 x 15 cm). In English and Arabic. [56] p., b/w ills. The dialogue that is us.= Al-muhawarat al-ti tualifuna. Drawings by Ali Eyal. Edited by Fadi El Abdallah, Muna Abu Rayyan.
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 236 p., color ills. The event of a thread: Global narratives in textiles.= Iplikten çözülmeler: Tekstilde küresel anlatilar. [Exhibition catalogue]. 'The Event of a Thread' brings together 25 international contemporary artists, who use textile to create aesthetic and cultural narratives through objects, installations and video works. The title of the exhibition is a quotation from On Weaving (1965), the reference book by Anni Albers, one of the most important artists from the Bauhaus textile workshops. Albers believed that socio-cultural and economic activities impacted textiles, and stated that 'Just as it is possible to go from any place to any other, so also, starting from a defined and specialized field, can one arrive at a realization of ever-extending relationships. Thus tangential subjects come into view.?' According to Albers, one could discover 'the event of a thread"' at the root of each development. In the exhibition, weaving threads are utilized as a metaphor, which facilitate the interaction of weaving styles, stories and production techniques from different cultures, and mediate the development of new connections between them. Organized in collaboration with the Institute for Foreign Cultural Relations (ifa, Institut für Auslandsbeziehungen), one of the oldest art institutions in Germany, the exhibition is curated by Susanne Weiss and Inka Gressel on the invitation of ifa and aims to build on the original selection by creating new connections in each institution the exhibition travels to, with the assistance of curators at each institution and the addition of new works from local artists. 'The Event of a Thread' brings together a variety of stories ranging from the tradition of quipu used by ancient Andean cultures in South America to the textile techniques from the indigenous people of Wichi in Argentine and from Bedri Rahmi Eyüboglu's revival and adoption of the long-forgotten tradition of yazma (originally used for hand-painted kerchief) to Burhan Dogançay's tapestries created at the Aubusson workshops. The exhibition focuses on the historical, social and cultural meanings of fabrics, investigates the various uses of textile as a tool of expression and brings together different artistic positions that interact with one another within the exhibition space.
Fine English Paperback. 4to. (30 x 21 cm). Bilingual in English and Turkish. 93, [1] p., color ills. Contents: Messages, essays, plates, list of works, profiles of the ceramic artists, explanations of technical terms. The Exhibition of the Contemporary Japanese Ceramics in Traditional Style.= Geleneksel Stilde Çagdas Japon Seramikleri Sergisi. [Exhibition catalogue]. June 1-30, 1998, Türk ve Islam Eserleri Müzesi, Istanbul.
New New English Original bdg. Dust wrapper. Roy. 8vo. (24 x 17 cm). English Edition. 264 p., ills. The global art compass. New directions in 21st century art. See the art, listen to the artist, trust your responses. The Global Art Compass shows us how to navigate the complex maze of the contemporary art world and unravel the intricacies of art today. In the past, writers and critics such as Goethe, Ruskin and Clement Greenberg perpetuated particular ideas about art and even dictated these ideas to the artists themselves. Since then, however, artists have rebelled. They no longer have to follow one prevailing theory or head for any particular city. New York, London, Paris, Berlin and Beijing are all great places to make art, but none today has a stranglehold on creation. In The Global Art Compass, Alistair Hicks demonstrates his belief that no single curator, critic or dealer can or should monopolize our view of what is happening in the art world today. Instead, he shows us how exciting and rewarding it is to navigate our own way through the art world by listening to the artists themselves. Organized by continent and including extracts from interviews with artists as diverse as Laure Prouvost (France), Anri Sala (Albania), GabrielOrozco (Mexico), Sandra Gamarra (Peru), Cai Guo-Qiang (China) and Nandan Ghiya (India), among many others, The Global Art Compass is an account of the author's explorations in the contemporary art world and a manifesto for how we might all discover our own inner art compass to help steer us towards the art that we find most meaningful and engaging. Now with a new chapter titled "The Compass in Turkey" written specially for this edition, The Global Art Compass shows that the preoccupations of artists in the twenty-first century are largely universal: that ever-faster communications are balanced by a resistance to globalization; that while art is seen by many as a commodity, it also has the power to be a regenerative tool; and that, despite an increasing confidence in an ever-growing range of media, artists are often searching for simple stories that will reach out to bigger audiences and change their lives for the better.
1981OKKU1414(Ldn.), Thames & Hudson (1981). 4°, 96 S., m. 118 (dav. 15 farb.) Ill., farb. ill. OKart. The Art and Imagination Series. - In Englisch.
198639651Harrison House, New York, 1986. 592 Seiten / pp., mit zahlreichen Abbildungen / richly illustrated; 4°, 28 x 25 cm, Pappeinband mit Schutzumschlag / Hardcover with Jacket
New English Paperback. Demy 8vo. (21 x 14 cm). In English. 256 p. The dynamic process of identification of action and interpretation consists in interdependence between the social world and its mental model with its intellectual and emotional context. People do not relate to nature directly but do so through symbolic interpretations where symbols represent and stand for nature or any object of perception. Thus, the main issue seems to be the relation between symbols and that which is symbolized, what symbols stand for and how this relation is established. Whatever other function sign and symbol may fulfill, it is clear that they make it possible for human individuals to send and receive messages, and therefore to establish relations between each other and consequently make all kinds of human groupings and cultural constructions possible. Establishing identities of objects through acts of identification composes one dimension of this process of creating the world of culture. The question of the origin of Islamic art and the nature of the forces and principles which brought this art into being must be related to the worldview of Islam itself, to the Islamic revelation, one of whose radiations is directly the sacred art of Islam and indirectly the whole of Islamic art through jewellery. This work offers a comprehensive yet complex study on the matter.
13578New York, Museum of Modern Art, n. d. 4°. With 1070 illustrations (319 in full colour). 599 pp. Carton. Very good condition.
8vo., First Edition, with portrait frontispiece, title in red and black, and 12 plates, some mild offsetting from fold-ins to free endpapers, signature on front paste-down; original blue buckram, backstrip lettered in silver, a very good, bright, clean copy.
8vo., Second Impression, with portrait frontispiece, title in red and black, and 12 plates, some mild offsetting from fold-ins to free endpapers, neat contemporary signature on front free endpaper; ivory boards, backstrip lettered in red, a very good, bright, clean copy in unclipped, moderately dust-soiled dustwrapper, the latter with loss (just affecting lettering) at head of backstrip. With the trade ticket of Blackwell of Oxford on front paste-down. Published a month after the first edition.
New English Paperback. Pbo. Dust wrapper. Oblong small 4to. (24 x 25 cm). In English and Turkish. 145 p., color and b/w ills. The Ottoman identity in western-style palace furniture.= Bati tarzi saray mobilyasinda Osmanli kimligi. [Exhibition catalogue]. This catalogue was prepared in conjunction with an exhibit entitled. The Ottoman Identity in Western-Style Palace Furniture¿. This exhibit was organized by TBMM General Secretariat Directorate of National Palaces and Marmara University's Faculty of Fine Arts Interior Architecture Department and held at Dolmabahçe Culture Center between 06 July - 06 September, 2005. Furniture shown in the catalogue belongs to the National Palaces Collection. Project Sections were prepared by MUFFA's Interior Architecture Department.
1966EEzz6543Lawrence, The Univertiy of Kansas 1966. hoch-gr. 8°, 64 S., mit einigen Abb. im Text, OKart. Gebrauchsspuren. Contents: An Ivory Carving of Judith and Holofernes and the Work of the Master B. G. - The Honorable Miss Jane Reade by Sir William Beechey. - The Krishna Legend in a Pahari Miniature.
Offices of the studio, London, Paris, Neuw York 1904. Special summer number. In-4 broché, non paginé. Nombreuses planches en noir, bistre ou couleur. Partiellement non coupé. L'Académie Royale de Londres de sa fondation (1768) à l'année 1868. The Royal Academy : it's origin and history. Painters of the Royal Academy 1768 - 1868. The sculptors of the Royal Academy. Engravers of the Royal Academy. The architects of the Royal Academy.Bon état
New English Paperback. 4to. Edition in English. 191 p., color ills. The Russian avant-garde dreaming the future through art and design. [Exhibition catalogue]. The exhibition is co-curated by Dr. Nazan Ölcer Head of Sakip sabanci Museum and Dr. Maria Tsantsanoglou, Head of the George Costakis Collection at State Museum of Contemporary Art, Thessaloniki, and besides the Costakis Collection it contains a selection of 513 works from Moscow's All-Russian Museum of Decorative Arts and Multimedia Art Museum and works from leading private collections in Europe shown together for the first time thus shedding a light upon the important place Russian Avant-Garde occupied in the history of art. The 'Dreaming the Future. Russian Avant-garde Art and Design' exhibition does not only focus on the dramatic changes and radical developments that happened during first quarter of the 20th century and prepared the groundwork for intellectual and artistic progress, not just within the Russian artistic culture, but it is designed to hod a mirror to the effect on world art. The exhibition shows the Russian avant-garde artists that in the early 1900s tried to introduce art as a lifechanging power, the ground-breaking work of the artists in this period where the reformist atmosphere had been brought about by the October Revolution in 1917, and the social design they tried to put into practice supported by the new regime and also the wide boundaries of the future they dreamed of. The exciting technological developments and industrialisation that occurred in the early 20th century turned the avant-garde artists towards science and overcoming the boundaries of the earth, dreams of space reflected the beliefs the artists had in the future and tihs is very vividly reflected in the works displayed in this exhibition.
New English Paperback. Pbo. 4to. In English and Turkish. 144 p., color ills. "A comprehensive catalogue has been published to accompany Marc Quinn's solo exhibition ''The Sleep of Reason'' at ARTER. The publication features three newly commissioned texts along with photos of the works in the exhibition. The essay by art theoretician Selen Ansen, the exhibition's curator, is titled ''On the Edge'' and provides a conceptual framework to the exhibition. The interview Tim Marlow conducted with Quinn focuses on the artist's most recent works and the new works he has produced to be shown for the first time at ARTER. Emre Ayvaz wrote an essay where he discusses ''Self'', the self-portrait busts Quinn has been producing since 1991 using his own frozen blood.".
New English Paperback. Pbo. 4to. In English and Turkish. 216 p., color ills. "The publication that accompanies Asli Cavusoglu's exhibition "The Stones Talk" features drawings of the 71 study pieces reconstructed by the artist, 3D sketch renderings of the objects in the exhibition and photos of selected objects. The books includes new essays commissioned exclusively for this publication. Özge Ersoy's curatorial essay is followed by sociologis Asli Gür's text titled "The Fragment That Resists the Story" and based on her research at the Museum of Anatolian Civilisations in Ankara. Revolving around symptoms and dreams as "foreign languages that speak with us", the essay by psychologist and editor Gülin Ekinci proposes a reading of "The Stones Talk" through Freud's work, while curator and writer Adam Kleinman focuses on the role of imagination in our relationship with objects.".
New English Paperback. Pbo. 4to. (32 x 22 cm). Color ills. 66 p. How numerous and how exquisitely beautiful are the many pieces of writing on the subject of the tulip and its place in the life of our society during the eighteenth century; this graceful blossom became the symbol of an entire epoch, and gave its name to an era. The Occidental, Turks loved all flowers with unrestrained exuberance. Within the fellowship of Islamic civilization, it was solely the Turks who adopted the flower as an independent element, creating a distinctive and personal universe of ornamentitaion in architecture and in tiles. But the passion for tulips so far surpassed the affecrion for other flowers that it became a wolrd in its on right.
New English Paperback. Pbo. 4to. (32 x 22 cm). Color ills. 66 p. How numerous and how exquisitely beautiful are the many pieces of writing on the subject of the tulip and its place in the life of our society during the eighteenth century; this graceful blossom became the symbol of an entire epoch, and gave its name to an era. The Occidental, Turks loved all flowers with unrestrained exuberance. Within the fellowship of Islamic civilization, it was solely the Turks who adopted the flower as an independent element, creating a distinctive and personal universe of ornamentitaion in architecture and in tiles. But the passion for tulips so far surpassed the affecrion for other flowers that it became a wolrd in its on right.
As New English Original bdg. HC. Mint. 4to. (33 x 22,5 cm). In English. 167 p. Color and b/w ills. The Turkish ballet in its 60th year.
Fine Fine English Original bdg. Dust wrapper. 4to. (34 x 24 cm). In English, Turkish, and Arabic. 248, 68 p., color and b/w ills. The Turkish contribution to Islamic arts.= Islâm sanatinda Türkler. Photos by Ara Güler, Sami Güner, Gönül Öney, M. Olus Arik, Semsi Güner. Translated by Adair Mill, Maggi Quigley, Graham Clarke. Contents: M. Olus Arik "The Turkish contribution to Islamic architecture". M. Ugur Derman "The Turks and the art of calligraphy". Filiz Cagman "Thr place of the Turkish miniature in Islamic art". Gonul Oney "The Turkish contribution to Islamic decorative arts". Ulker Erginsoy "Turkish contribution to the art of Islamic metalwork". Kemal Cig "The sacred Islamic relics in the Topkapi Palace Museum".
New English Paperback. Demy 8vo. (22 x 16 cm). In English. 104 p., ills. The visit, (2009-2017). "Just like walking is a form of thinking, writing is also a form of thinking leaving its trace. Usually, I experience the process of imagining and creation of work as a mental flow. It's been a while since I undertook the trial-and-error phase at the workshop. I tackle this phase in a zone I call "Kabine [The Cabinet]", something you will read more about later on. The exhibition venue becomes my workshop. These zones take on value as temporary places for implementation. I am standing in an area allocated to me for an exhibition. I chose this spot, which rarely happens, and it is still empty. I work hard, trying to turn the emptiness into a warmer, a more personal place. The transformation starts as I slowly place my art objects here and there. I take every opportunity to spend some more time in this spot surrounded by my work. Then, I take off, leaving them there to the eyes of the outside world.". Reprint of the 1840 Edition.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English and Turkish.304 p., ills. Theory in the art and design: Add-Ist Art and Design Dialogues Symposium. February 2018 proceedings book and exhibition catalogue.= Sanat ve tasarimda kuram: Add-Ist Sanat ve Tasarim Diyaloglari Sempozyumu - Subat - 2018 bildiriler kitabi ve sergi katalogu.
