Resim Sanat Bilim Dalı yayınlarını içerir. http://hdl.handle.net/20.500.12416/6622 2026-10-28T16:30:22Z 2026-10-28T16:30:22Z Memikoğlu, İpek Sümengen Berker, Olgu Tolun, Elif http://hdl.handle.net/20.500.12416/6925 2024-01-18T11:59:19Z 2015-01-01T00:00:00Z

Experience with clay in the basic design education Memikoğlu, İpek; Sümengen Berker, Olgu; Tolun, Elif Basic Design is a first year fundamental course that is taught in different disciplines such as architecture, design and fine arts. Basic Design introduces the basic concepts and principles of design and enables students to develop mental and manual skills to cope with design problems. It allows students to structure and articulate two and three dimensional spatial compositions in different media. Clay as a plastic material was chosen to develop their creativity in making 3D abstract design works. For four semesters clay was integrated into the Basic Design courses of Interior Architecture and Architecture departments of Çankaya University in Ankara, Turkey. During this period, 270 students produced 3D design works consisting of clay and/or metal based on different design concepts. The aim was to broaden their viewpoints while designing with such a plastic material and create sensual artistic works by using an extra material that contrasted with the plasticity of clay. The final products showed that students were able to use clay and/or metal as effective tools in representing their design ideas. The outcome of this design experience showed that students can utilize ceramic/clay in their design projects.

2015-01-01T00:00:00Z Okur Tolun, Elif http://hdl.handle.net/20.500.12416/6924 2024-01-18T11:59:13Z 2015-01-01T00:00:00Z

A sign of the past: Aliye berger Okur Tolun, Elif Aliye Berger , who has a privileged place in The Turkish Painting Art , stayed away from the generation clash of her time and various groupings. She was an artist who had an aim to acquire a place in art community. Her privileged place in art , and her life without giving attention to social pressure has result as reflecting her own her life style to her works. She is one of the artists who acts as herself. Her artistic style is just like an action which has a fictional expression upon her own identity. Creation is not producing extraordinary things, creating shapes and strolling around the current time. Art has no gender, nationality and race. What is important is the necessity to do something real by feeling those deeply. People whom we can call genuine artists can easily assimilate polyphony in life and with some sensibility they can spend a whole life to reflect these with some bravery. Just as Aliye Berger, her art is also fed by her life. Her actions become a part of her life and create their own symbols. Thus, her works turn into their genuine feature. In this paper, it is aimed to understand the identity of Aliye Berger through her gravures. As a woman artist who has gone beyond her own age with an analysis through her art, it is aimed to investigate her artistic personality and extraordinary sensitivity. This study is neither a history of art nor a biography of literary agent; it is an approach with the artist’s eye Berger’s drawings. Trying to understand her through the fancy world she created, insight of beauty, a place of fiction, technical restructuring and critiques related to her art and the visual materials and by investigating her works we wanted to create a written portrait of Aliye Berger. Keywords: Aliye Berger, print making, identity, gravure, image.

2015-01-01T00:00:00Z Tolun, Elif Fatma İçemer, Pınar Saadet http://hdl.handle.net/20.500.12416/6660 2023-11-28T08:59:40Z 2021-01-01T00:00:00Z

Dil ve İktidar ̇ İlişkisine Sanatsal Bir Bakış Tolun, Elif Fatma; İçemer, Pınar Saadet

2021-01-01T00:00:00Z Tolun, Elif Fatma http://hdl.handle.net/20.500.12416/6652 2023-11-27T11:25:22Z 2021-01-01T00:00:00Z

TÜRKİYE’DE ÖZEL SANAT KOLEKSİYONERİ OLARAK ORHAN KARADOĞAN Tolun, Elif Fatma Geçmiş, bugün ve gelecek üçgeninde koleksiyonerlik hep var olmuş ve var olacak bir eylemdir. Düşünürler kendi araştırma alanları doğrultusunda koleksiyonerlik kavramının geçmişini ve bugününü irdelemişlerdir. Bu makalede düşünürlerin görüşlerine paralel olarak, Türkiye'deki çağdaş sanat dünyasına yaptığı önemli katkılarla fark yaratan Orhan Karadoğan'ın koleksiyoner kimliği üzerinden koleksiyonculuğu ve Türkiye'deki koleksiyoner yapısı üzerinde durulmuştur. Orhan Karadoğan’ın kimliği, koleksiyonerliğe nasıl başladığı, koleksiyoncu olarak neden seçildiği, onu diğer koleksiyonerlerden ayıran özelliği ve yöntemleri nedir gibi soruların cevabına bu çalışmada yanıt aranmıştır. Çalışmanın bir diğer amacı Türk Çağdaş Sanatı bağlamında Karadoğan’ın yaptıkları, yapmak istedikleri üzerinde düşünmek ve sanat dünyasına ait düşüncelerini geniş kitlelere yayarak destekleme gerekliliğini ön plana çıkarmaktır. Orhan Karadoğan sadece resim koleksiyonu yapmakla kalmayıp resim sanatının ülke çapında fiziksel ve dijital olarak yaygınlaştırılması adına bir farkındalık yaratmaya çalışmıştır. Orhan Karadoğan’ın kendisi, röportajları ve Türkiye’de sanat galericiliği anlamında tartışmasız bir öncü olan Yahşi Baraz’ın “Özel Koleksiyonlardan Örneklerle Türkiye’de Sanat Koleksiyonculuğu” ismiyle iki cilt olarak Oğuz Erten tarafından yayıma hazırlanan kapsamlı kitap bu çalışmanın alt yapısını oluşturmuştur.; In the triangle of past, present and future, collecting is an action that has always existed and will exist. Philosophers have examined the past and present of the concept of collecting in line with their research fields. This article focuses on collecting and the structure of collectors in Turkey through the identity of collector Orhan Karadoğan, who made a difference with his important contributions to the contemporary art world in Turkey, in parallel with the views of thinkers. In addition to his identity, this study seeks answers to questions such as how Orhan Karadoğan started collecting, why he was chosen as a collector, and what distinguishes him from other collectors. Another aim of the study is to reflect on what Karadoğan did and what he wanted to do in the context of Turkish Contemporary Art and to highlight the necessity of supporting his thoughts about the art world by spreading them to large masses. Orhan Karadoğan not only collects paintings, but also try to raise awareness for the physical and digital dissemination of painting throughout the country. Orhan Karadoğan himself, his interviews and the undisputed pioneer in terms of art gallerist in Turkey, Yahşi Baraz's comprehensive book that is prepared for publication in two volumes by Oğuz Erten (Art Collecting in Turkey with Examples from Private Collections) formed the basis of this study.

2021-01-01T00:00:00Z