Journal Article
Introduction to İsmail Saray's "Leonardo da Vinci"

Aiming to contextualize Turkish artist İsmail Saray's artist bookLeonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.

Title
Publication TypeJournal Article
Year of Publication2014
AuthorsDemir D
JournalArt Margins
Volume3
Issue3
Start Page111
Date Published10/2014
ISSN2162-2574
Keywords1970s, 1980 military coup, artist book, İsmail Saray, Paris Bienniale, Sanat Tanım Topluluğu, Turkish art, Türkiye Devlet Resim Heykel Sergileri [State Painting and Sculpture exhibitions in Turkey]
Abstract

Aiming to contextualize Turkish artist İsmail Saray's artist bookLeonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.

URLhttp://www.mitpressjournals.org/doi/abs/10.1162/ARTM_r_00097#.VJHKKWTF9tI
Refereed DesignationUnknown