Esra Alicavusoglu

11/03/2026

Mark Bradford and me

08/03/2026

22/01/2026

07/10/2025

1969 XX. Yüzyıl Fransız Sanatı Sergisi

Sergiye dair en dikkat çekici görsellerden biri, Filiz Akın’ın Pierre Bonnard’ya ait bir tablo önünde, dönemin modasını yansıtan kıyafeti ve elinde sergi kataloguyla verdiği pozdur. Bu görsel, serginin yalnızca sanat alanıyla sınırlı bir etkinlik olmadığını, aynı zamanda popüler kültürle kesişen bir temsile dönüştüğünü gösterir. Dolayısıyla söz konusu fotoğraf, sanatın kamusal dolaşımında medya figürlerinin ve popüler ikonların oynadığı rolü görünür kılarak, görsel sanatların toplumla kurduğu ilişkinin kültürel boyutlarını açığa çıkarır. Bu bağlamda Filiz Akın’ın temsili, serginin alımlanışını yalnızca sanat meraklılarının ilgi alanına sıkıştırmaktan çıkarıp, onu geniş bir toplumsal izleyici kitlesine yönlendiren bir strateji olarak değerlendirilebilir. Günümüz sanat fuarlarında gözlemlenen trend belirleyici figürler ya da influencerlarla kurduğu benzerlik ise, sanat ile popüler kültür arasındaki geçirgen sınırların tarihsel sürekliliğini hatırlatır.

09/09/2025

10 years old painter is Turkish delight of the art world #1952 dernegi

04/08/2025

Iba Ndiaye (1928-2008) Tabaski III
1970
Acrylic on plywood

Millions of sheep are sacrificed at once each year to celebrate Tabaski, or Eid al-Adha, the second most holy day in Islam. This commemoration of the prophet Abraham’s willingness to make the ultimate sacrifice of his only son to God releases weeks of tense preparation as families strive to afford the most beautiful animals. Ndiaye began his Tabaski series in 1967, when he returned to France after an important period in Dakar helping to realize the ambitious state-sponsored cultural program of President Léopold Sédar Senghor. This is one of three monumental paintings at the series’s core that have become landmarks of African modernism. Ndiaye described his subject as deeply entrenched in the legacy of West African experience and as the “pretext to denounce oppression and massacres.” He asserted that “the lack of a conscience of revolt always leads us to be someone else’s sheep.”

03/08/2025

my new victims

17/07/2025

In 2017, Sherald was invited to create the official portrait of First Lady Michelle Obama. Although this was her first commission, she approached it as she had all her previous portraits: she focused on the essence of her subject. As Sherald has stated, “I wanted to produce something that... alluded to the nuances of who [Obamal really is versus who she has to be.” When choosing Obama’s clothing for the portrait, a dress by Milly designer Michelle Smith, Sherald was drawn to its contemporary quality and geometric print, which reminded her of patterns used by the Gee’s Bend quilters in Alabama. She then photographed Obama in natural light, capturing her in an open and unguarded pose.
The painting breaks significantly with the conventions of state portraiture, presenting Obama as gracious and comfortable, but also inward-looking and self-contained. The latter is an especially notable achievement, given that Obama’s movements, statements, and appearance were and still are subject to endless public scrutiny.
In Sherald’s painting, Obama is both a Black woman from the South Side of Chicago and the ultimate African American first: a Black First Lady who is the descendant of enslaved Africans. As a result, while no less poised or formal, Sherald’s powerful portrait has more in common with her paintings of everyday Black people than with the depictions of any of the first ladies who preceded or followed Obama.

18/06/2025

Sevgili Aygen Demiriz’in doktora tezi İSTANBUL HILTON: YÜZYIL ORTASI MODERNİZMİNİN İSTANBUL KENT VE KÜLTÜR HAYATINDAKİ MERKEZİ, pek çok önemli ayrıntının yanı sıra, Türkiye’de kültür endüstrisinin bugüne dek yazılmamış çok önemli konularına da ışık tutuyor. Kendim sunmuş kadar heyecanlı olduğum açıkça görülüyor 🫠🙈🥰

22/05/2025

Franz West, Auditorium, 1992

06/05/2025