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Well known for his provocative realist paintings, Taner Ceylan (born 1967) began his Lost Paintings Series as a contemporary exploration of the Orientalist gaze. Upsetting both Western and Eastern master narratives, the Lost Paintings Series presents Eastern figures in a fascinating navigation of history, power and narrative. "Esma Sultan," Ceylan's depiction of an eighteenth-century Ottoman princess renowned for her cruel disposition, draws on the empowering mythology of passionate, ruthless and assertive womanhood that characterizes accounts of her life. In other works, an Ottoman man gazes defiantly, cigarette in hand; a pair of male lovers give a chaste farewell; a veiled woman stands before Courbet's "L'Origine du monde." Ceylan assembles a cast of lost characters and voices that embody the many silenced by both Orientalist and official nationalist histories. The book is published on the occasion of Ceylan's exhibition The Lost Paintings Series at the Paul Kasmin Gallery in New York.
One of Turkey's most prominent artists, Taner Ceylan makes hyperrealist paintings that bespeak absolute technical mastery and precision, but which are also freighted with an emotional and sexual dimension usually absent from the genre--qualities that have set him apart from the prevailing tendencies in contemporary Turkish art, and which at times have also brought him outright abuse in the press. Ceylan's paintings occupy a register somewhere between the mutely homoerotic (as in his portrait of a bloodied and perspiring boxer--possibly an allegory of the artist's own trials) and the overtly sexual (to enter his website "you must be at least 18 years of age" ). Curator Dan Cameron, who has championed the painter, orients him in a tradition of sexually explicit art stemming from Robert Mapplethorpe to Jeff Koons, but points out that the implicit argument of Celyan's work is "a romantic arguing for the wholesomeness of gay male sexuality."
The contemporary art world is increasingly global, with a larger population, wider territory, and greater number of nationalities than ever before. Its prevailing conversation, however, has yet to catch up. Art Cities of the Future: 21st Century Avant-Gardes uncovers twelve distinct avant-gardes that have surfaced in recent decades, exploring their artistic heritage, cultural climate, and contemporary milieu. The book's format is simple: for each of the twelve cities - Beirut, Bogotá, Cluj, Delhi, Istanbul, Johannesburg, Lagos, San Juan, São Paulo, Seoul, Singapore and Vancouver - a curator selected eight artists to represent the contemporary avant-garde. Though the artists work in a variety of media, including photography, painting, sculpture, installation, video, and performance art, all share two distinct qualities: a commitment to experimental art and a dedication to their local landscape. Lively, thought-provoking, comprehensive, and packed with more than 500 images, Art Cities of the Future is sure to widen the historical narrative, allowing us to imagine a future of diverse aesthetics and shared concerns in the common language of contemporary art.
The new look on the history of art and its blind spots, the far-reaching digitization of structures and content, the changing role of museums and art criticism, new forces from influencers to NFTs: Hardly any market system has evolved as profoundly in the last decade as the distribution of art. With 25 years of experience in the art industry, Dirk Boll acts as a continuous chronicler and seasonal commentator of these pervasive developments. His handbook Art and its Market is a reliable source of in-depth knowledge about the inner workings of global art market systems. How do auctions, the network of galleries, and fairs work? How are prices being made, and how do trends both in the production of art as well as its collection emerge? What is more, this edition provides comprehensive information on the practical issues of art acquisition: What are the customs and pitfalls, the economic interdependencies between the artists, buyers and other market players, and the legal regulations governing the trade with art?
Portraits and texts recover lost queer history: the lives of people who didn't conform to gender norms, from the fifteenth through the twentieth centuries. “A serious—and seriously successful—queer history recovery project.” —Publishers Weekly Katherina Hetzeldorfer, tried “for a crime that didn't have a name” (same sex sexual relations) and sentenced to death by drowning in 1477; Charles aka Mary Hamilton, publicly whipped for impersonating a man in eighteenth-century England; Clara, aka “Big Ben,” over whom two jealous women fought in 1926 New York: these are just three of the lives that the artist Ria Brodell has reclaimed for queer history in Butch Heroes. Brodell offers a series of twenty-eight portraits of forgotten but heroic figures, each accompanied by a brief biographical note. They are individuals who were assigned female at birth but whose gender presentation was more masculine than feminine, who did not want to enter into heterosexual marriage, and who often faced dire punishment for being themselves. Brodell's detailed and witty paintings are modeled on Catholic holy cards, slyly subverting a religious template. The portraits and the texts offer intriguing hints of lost lives: cats lounge in the background of domestic settings; one of the figures is said to have been employed variously as “a prophet, a soldier, or a textile worker”; another casually holds a lit cigarette. Brodell did extensive research for each portrait, piecing together a life from historical accounts, maps, journals, paintings, drawings, and photographs, finding the heroic in the forgotten.
This volume brings together a selection of discussions on LGBT that are presented from different points of view and from different disciplines. This compilation consisting of nine chapters, focuses on the perspectives on LGBT in Turkey, in a broad range from NGOs to cinema, social policies to theatres. All chapters discuss Turkey and the studies of LGBT in Turkey and presented in two parts. First part is about the theoric and empirical studies which takes over Turkey experiences from a structural perspective. Still, in this first part, there are two chapters which explain the comparison of UK and EU experiences with Turkey. The second part has more of text analysis which indicates cultural studies.
Introducing the ultimate guide to exploring the world, "All Countries of the World". This comprehensive book provides a wealth of information on every country on the planet, covering all aspects of their history, language, food, sports, nature, arts, religion, economy, education, people, culture, music, interesting facts, and geography. Each chapter dives deep into the unique features and characteristics of each country, providing insights into what makes them special and how they contribute to the diversity of our world. Whether you're an avid traveler, a curious learner, or simply someone who wants to expand their knowledge of the world, "All Countries of the World" is the perfect resource for you. With detailed information, this book will take you on a journey across the globe, discovering new and exciting places along the way. To test your comprehension and enhance your learning, multiple choice questions are provided at the end of each country's description, with answers included. Get ready to embark on an adventure like no other with "All Countries of the World" - the ultimate guide to exploring the world's rich and diverse cultures.
Introduction : measuring the economy of the arts -- Museums in flux -- The exhibitionary complex -- Art and the global marketplace -- Conclusion : non-profits and artist collectives as market alternatives
Since the late 1990s, contemporary art markets have emerged rapidly outside of Europe and the United States. China is now the world's second largest art market. In counties as diverse as Brazil, Turkey and India, modern and contemporary art has been recognized as a source of status, or a potential investment tool among the new middle classes. At art auctions in the US, London and Hong Kong, new buyers from emerging economies have driven up prices to record levels. The result of these changes has been an increase in complexity, interconnectedness, stratification and differentiation of contemporary art markets. Our understanding of them is still in its early stages and empirical research in the field of globalization of high arts is still scarce. This book brings together recent, multidisciplinary, cutting edge research on the globalization of art markets. Focusing on different regions, including China, Russia, India and Japan, as well as different institutions and organizations, the chapters in this volume study the extent to which art markets indeed become global. They show the various barriers to, and the effects of, globalization on the art market's organizational dynamics and the everyday narratives of people working within the art industry. In doing so, they recognize the coexistence of various ecologies of contemporary art exchange, and sketch the presence of resilient local networks of actors and organizations. Some chapters show Europe and the US continue to dominate, especially when taking art market rankings and the most powerful events such as Art Basel into account. However, other chapters argue that things such as art fairs are truly global events and that the 'architecture of the art market' which has originally been developed in Europe and the US from the 19th century onwards, is increasingly adopted across the world.
Paul de Moor freezes pictures, snapshots, conversations, impressions and emotions to form a portrait of Luc Tuymans like water turning gradually into ice. In this book de Moor invites the young reader into the strange and gripping world of Luc Tuymans, one of the most important contemporary artists on the international scene. 'My grandfather is a huge hat in the park. His face a black patch under a wide brim. He's holding me firmly by the hand. We're feeding the wild ducks and the geese. It's cold. Ice cold. My grandfather's voice comes from the black patch under the wide brim of his hat. A warm, soft voice. A grandfather voice. A big-hat voice. With stories in. With stories he told me and with stories he would tell me one day.'