artabout-blog

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Shen Zou - Poet top on the mountain

On that work Shen Zou show us a story about a poet. Artist clearly explain the all of poet’s mood and idea on there. When we look at this we can see the poet’s loneliness with together alone on mountain. Maybe we can explicate this with the wisdom because of the compozition. Because there is no population there aside from only one between two mountain. We could not know but on that times, wise people use the short words or poet to explain something and beauty, we can call about that rhyme. Therefore, ı think about the Chineese writing tell us someting as heard directly from poet. Also we can not directly about this give a idea linguistic message. If we look at the style of artwork, artist use the pure, black and white drawing on that. With the using of drawing have been followed calligraphic touching on drawing. Otherwise, with ink are added transparent and fluental view. We can say that artist while compose this follow the abstract forms and black stain. Stains have been put on there perfectly on they subserve the typography, calligraphy. Because while we look  at this firstly see the typography and poet on the mountain and get message directly. 

Actually we can not say the artist use perspective line. We look at poet like toward mountain. But we watch perspective with object and poet’s smallness and while bring white background this give a feel about work’s opinion. Apart from whiteness, while using black calligraphic lines to form drawing, can not used toning in forming and it formed by two dimentional skeching style with staing.

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Fine Arts with Cubiz Forms

http://www.behance.net/gallery/Fine-Arts-with-Cubic-forms/3125595

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Typographic poster series/Tipografik poster serisi - Elif Yaman

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Eddie Adams

Eddie Adams, bir asır sonra Vietnam Savaşı'nın dehşet verici anlarını, eşit derecede simgesel görüntülerle kaydediyordu. Bir Vietkong Tutsağının Sokakta İnfaz Edilişi, Saygon (1968), Vietnam ordusundan bir askerin, bir Vietkong savaşçısını başından vurarak öldürüşünü gösterir. Adams, bu acımasız cinayetin hemen öncesini, infaz anını ve sonrasını açık bir dürüstlükle görüntüler. İzleyici kendini bir anda bir cinayete şahit konumunda bulduğundan, buradaki vahşet elle tutulabilir somutlukta ve son derece rahatsız edicidir.

Üç kareden oluşan bu fotoğraf serisini derinlemesine incelediğimizde ise kendimizi bir vahşete ve cinayete tanıklık ederken buluyoruz. İlk karede Vietkong tutsağının iki Güney Vietnam askerleri tarafından götürülüşünü görüyoruz. Bu kare sonraki gelişen ve olacak sonun habercisidir. İzleyici artık devam edecek olan olaya dahil olmuş ve seyire dahil edilmiştir. 

Diğer karede ise olası sonun öncesine şahit olunmaktadır. Vietkong tutsağının yüzündeki dehşet ve korku izleyici tarafından tecrube edilmiş ve bu durum durdurulması istenen bir hissiyat yaratmaktadır. Sanki olay gözlerimiz önünde cereyan etmektedir ve bizler birşey yapmamaktayız, yapamamaktayız. Bu durdurulması mümkün olmayan kare bizi sona şahit olmaya iter. Savaşın dahilinde askerlerin bir insanı nasıl maddesel algıladıklarını ve empoze edilmiş bilinçle hareket ettiklerini görürüz.

Son karede ise başlatılan döngü son bulmuştur. Bir cinayet gözler önünde işlenmiş, bir cinayetin seyirinde bulunulmuştur. Asker ‘görevini’ yapmış ve silahını kılıfına koymaktadır. Şahit olunan manzara karşısında ise sanatçı bize psikolojik bir gerilim yansıtmakta ve engel olamadığımız gerçekliği açıkca bize sunmakta.

[artabout-blog]

There is a belief that about comtemporary art by some people that some artworks do not contain any denotation about what it tries to tell. But it is not true, because art does not tell us directly what it mean. It catch us and provide to walk about on it. For these reasonwe can experience it and catch its soul. Some artworks eventhough look like formed by random. But its randomly seen actually tell us different thing and Kandinsky actually say this with said 'the artist purposelly sets the soul vibrating'. An artist when he/she form his/her artwork, before finds what he/she want to explain on it and form before it. Every element formed by this illuminating. When we look at Kandinsky's artwork, first we realize abstract forms rhytm. While he catch the harmony of colours and theirs contrast, he use the diagonal form with black lines and these embrangle our notice and eyes all over it. For this reason we can make out different meaning every side of form. And if we analyse with semiology, actually all of these forms are composed to tell something. While we looking at back side as if sunrise above the mountain and fronside there is a rainbow. Afew houses are sorroyed side by side and generally all of these gives us pozitive effect. Unlike upside sky have been formed on frontside. We can say that all of these contrasts ope us different kind of world's door and take out to travel in there. On the other hand there is accepted thing that about Kandinsky he have a different kind of touch to colour. He had a musical touch on abtract object. When ı in a search about Kandinsky, i find these good video and want to share with you...

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Kandinsky Effect

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Fine Arts by Barbie / Barbie'yle Güzel Sanatlar

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Walter Salles

This week ı want to talk about Salles' movie which name is Terra Estrangeira. Because of when ı watch it lots of time and it give a feel every time that is form of with photograph screen like.

The movie talk about the a boy who want to be actor, and a women who is waitress and how their paths crossed.

In that movie all screen of give a sense like photograph and when the story moves, screens continue with different touch... Camera never turn around the character and it just show us the sense of the story. Time to time, while it close to the story of the screen, also it can look at all of them behind of these. And definitelly, it give theatrical feel.

While we look at that screens, we realize of high contrast and its depressive atmosphere and all of these give a idea, how is closeness and distance from story and space.

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Nadav Kander

When we look at that photography series firstly we see peeking of people. They look like random get in. But series are formed after planning. Series name of Parade is actually the name of a quiet coastal road in south east England. Stretching for approximately 2 miles, the 150 or so houses that line one side of the road all share uninterrupted views of the sea from the front, whilst from behind they are overshadowed by dungeness, the oldest nuclear power station in England.

On the other hand, we see that photographer make contact name of country to form of photography. Therefore, series formed like these people are peeked and we watch all ol these outside of them.

[artabout-blog]

Irina Werning

Fer 1981 & 2011 Buenos Aires

BACK TO THE FUTURE

Irina Werning offer us a screen about people's special moment or their past. While she offer that photographs, she generally prefer different place and country each other. Therefore, she form different kind of people's screen.

Werning before the create that, first she announce on her web site that where will she travel and she get appeal or get volunteer from people who live there. Then, she appreciates all of these and she start to form of these people's of photographs. 

While we look at that photographs, we never differentiate these screen between two of them besides people changing. Because, while she form of these screen, she appreciate colour tone, place and angle etc. On the other hand, we do not know that she planned to show us changing of people or deformation, but we can watch these some of photographs. But besides of these, we can say that it is so funny work.

Christoph 1990 & 2011 Berlin Wall

Lea B 1980 & 2011 Paris

Maartje 1990 & 2011 Amsterdam

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Rena Effendi

               ''Blank Dreams: Story which are lived during tube line'' series, tell a story about people who live Bakü, Tiflis and Ceylan petroleum tube lines and this how do affect these people's life. Every photographs of these series have a different story about line. First, Effendi get a search about them, and compoze her screen about these. She definitelly listen everyone and form photos about these.

Some photographs give us about throwing to the wind, some of them are about changing life how is badder. While tube line was formed, never was planned others how can they affect. Therefore, some people lost their houses with flood. 

            On the other hand, some people suffer from construction of tube line. Therefore, they get a promise about working, but this never actualize and lots of lives damaged because of these reason. We can see these damaging on their faces and eyes. They had to accept this and trying to continue their live. 

             Also, this series located 11th international İstanbul bienal. If we talk about these creation, the photographs were taken over six-year period, which spanned the pipeline's construction and the opening in 2006. The documentary photographs show the devastation caused by the activities of international capitalism in conflict situations, everyday resistance to its side effects and vague promises of progress fuelled by petro-dollars.

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Zoriah

Zoriah whose photographes has been exhibited is a famous photographer and photo-reporher who has won lots of award. Zoriah generallt known about war photos. He generally chose newest developing of cities and countries. Therefore, he can explain there to people who are any idea about there.

Actually, we can say that Zoriah never give idea or never give a view directly about position of these countries. Definitely, he try to find fine point and these touch differ him from anothers. When he refer pain, killing, politician things, his photographs push us to think general not just that square like above of.

While we look at that, we figure out with 3 scene. Tattoo, soldier uniform and gun... These three code give us general view. We understand soldiers of psychology how it return. They have to be there out of their pleasure. And they accept this with time. They have to do this and while we watch all of this idea on that photo, photographer give us these contradictory psychology with only one screen.

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Ahmet Polat

Ahmet Polat when he take a photo, he try to understand ambient of form. He provide us different kind of photograph square. Therefore, when we look at the all of different square they tell a story about atmosphere. 

We see that he create his series of photo different kind of atmosphere. He catch a point about it and he create all of these with this idea. 

While we see that picture, We realize its depressive view. Figures look deply and they throw everything to winds. Also, we can not get on them what they think. They just stay and pose on that situation.

On the other hand, if ı give an information about Polat, he is first winner of ICP (International Center of Photography). He won that award on 22. Infinity Awards with young photographer.

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Petur Thomsen

Thomsen started to take these photograps with starting to create new landscapes which is unnatural in Iceland. When these started, lots of conversials appered. Because of, these project insert in terms of changing landscapes to synhetic lake, glacial river etc. Therefore, environmentalists elicit and try to stop it because of nature does not damaged.

For these reason these project is the biggest of their times as well as most conversial project also… Therefore Thomsen decide to follow these how it will to return.

When Thomsen take the photographs, he specially accent of naturalness and artificiality and although photographs give us a feel about naturality, actually they tell about a story damaging naturality to convert another view. Thomsen intentional touch on these subject to compose contrast.When he compose a natural view, actually it is gived chapter and verse about this.

And he touch on unnaturality with compozing object on them. While we look at that, we see the compozing object. Actually these objects are huge and staying but Thomsen take them in terms of their balanced views. As if, they look like to locate.

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Elizabeth Heyert

                         About the Egyptian beliefs, mummification made for saving asset of people and their energy and making them eternal. For these reason, people whose sprit migrate eternal life, they would live and are remembered with their bodies which does not decay. In 16. century with the developing of painting art, by Kings, queens and lots of padishah have been made their portraits, they could not get immortal but they made their view eternal. Anymore, they had something to remember for centuries, for that way they could be on the world. Although relative of body is not endless, this was motive of giving something which is eternal. Besides being it's need, did not many scientists invent something with this desire?

From the pastup to now, this beliefs change with the taking ''relative images'' or snap view with developing of photograph art. As for Elizabeth Heyert, she make deatless motion of immortalization on series of '' Travellers '' with creating contrast and for these reason she immoralize death now.

On that serial, Heyert monitorize death people with before their undeath of view. Now, their being are endless... They were death, they will decay and dissappear. But they are always never-ending on these photograph. Also they are death on these photograph, but there is no decaying to there. Well, why these are not their views of live? Heyert says like this words about this contrast: '' My portraist are not about death, these are about theirs live. These photographs are history of view who are live and remember death people like this.''

Heyert abstain taking photograph which telling story about view of spot and she monitorize their being which spread endless and she concretize their being.

Mısır inanışlarına göre mumyalama, insan varlığını ve enerjisini korumak ve ebedi kılmak için yapılmaktadır. Bu sayede ebedi hayata göç eden ruh bedenin varlığı ile ilelebet hatırlanacak ve bizimle kalacaktır. 16.yy'da resim sanatının gelişmesiye ise krallar, kraliçeler ve birçok padişahlar portrelerini yaptırarak, ölümsüzlüğü elde edemeselerde, ölümsüz görünümlerini ebedileştirdiler. Artık yüzyıllarca hatırlanabilecekleri ve varlıklarını dünya üzerinde sonsuz kılabilcekleri birşey vardı. Bu anlayış biraz da bedenin dünya üzerinden silinecek olduğu gerçegine karşın birşey bırakma isteminin getirisiydi. Bir çok bilim adamı gereksinimlerin yanı sıra bu arzuyla da icatlarda bulunmamış mıdır?

Günümüze uzanan süreçte ise fotoğraf sanatının gelişmesiyle anlayış yerini 'gerçek görüntülere' ya da anlık görüntülere bırakmakta. Elizabeth Heyert ise ölümsüzleşme güdüsünü ''Yolcular'' serisinde bir contrast yaratarak bu kez  ölümü ölümsüzleştiriyor.

Ölmüş insan fotoğraflarından oluşan bu seride Heyert insanları ölümünden önceki halleriyle, yani yaşamlarıyla görüntülüyor. Artık varlıkları sonsuzdu. Ölmüşlerdi... Çürüyecek ve yok olacaklardı. Ama fotoğraflarda ebedi kalacaklardı. Burda da ölüler ancak asla yok olmayacaklardı. Peki neden yaşarkenki görüntüler değil konusunda da Heyert şöyle söylüyor: '' Benim portrelerim ölüm hakkında değil, insanların yaşamları hakkındadır. Onlar övgülerden farklı değildir. Bu fotoğraflar yaşayanların hatırlamak istedikleri şeyin görsel hikayeleridir.''

Heyert bu sebeple ''anlık'' görüntülerin hikayelerini anlatan fotoğraflardan kaçınmış ve onları sonsuzluğa uzanan varlıklarını görüntüleyerek, somutlaştırmıştır.

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Abbas Kiarostami

Although Abbas Kiarostami has interesred with photograph for 25 years, at the same time he is a director, scenarist and producer and we generally know him these identity. When he talked about these specialities that he looks around like in a window... Everything moves and continue that it should be and we only see what is there on the window. We are motionless and everything materializes on our front. And than, when we look at his photographs, we see this effects on these.

There is a instability, where they may locate. Actually, they seems like a picture, drawing or spot. Because he used the technic of long posing and he used that technic on snow.

When he has gone out to find place for his new film, this photos appeared. Trees compoze black shape and white snow gives a feel that there is a big and endless blank area. We never see another thing or imagine what are there outside of these. Trees reborn of their shapes and when they compoze black dots with their shadows, we are in contrast of their realities.

Abbas Kiarostami 25 yıldır fotoğrafla ilgilenmesine rağmen, aynı zamanda daha çok yönetmen, senarist ve yapımcı kimliği ile tanınıyor. Tüm bu özelliklerinden bahsettiğinde ise çevresine bir pencere içinden baktığını söylüyor. Herşey olurunda ve olması gerektiği gibi akıyor, ancak biz sadece onun penceresinden gelişen olayları görebiliyoruz. Ancak herşey akmaya ve olurunda devam ediyor. Bizler hareketsiziz ve herşey etrafımızda cereyan etmektedir ve fotoğraflarına baktığımızda ise bu etkiyi burda da yansıttığını görebilmekteyiz.

Fotoğraflarda objelerin veya anlatımın nereye yerleşeceği konusunda bir kararsızlık görürüz. Diğer yandan tüm bunlar aynı zamanda lekesel bir denge ve derinlik katmaktadır. Aslında, fotoğraflar bir resim, çizim ya da leke gibi görünmektedir. Çünkü kendisi bu etkiyi yakalayabilmek için uzun pozlama tekniğini kullanarak çevresinde ki ışıkla beyazlığı arttırmış ve hareketsiz bulunan ağaçları daha da belirgin hale getirmiştir.

Aslında bu fotoğraflar yeni filmi için mekan araştırması yaparken ortaya çıkmıştır. Bu sebeple filmlerindeki pencereden bakma etkisini yakalamaya çalışmış ve bu fotoğraflar ortaya çıkmıştır. Ağaçlar siyah formlar oluştururken, karın beyazlığıyla sonsuz ve boş bir alan hissi yaratmaktadır. Bu kare dışında hiçbir şey görmüyor ve karenin dışında ne olabileceğini hayal edemiyoruz. Ağaçlar gölgeleriyle yeniden varolurken, izleyici gerçekliği konusunda çelişkiye düşüyor.