Abstract
Western art history draws on periodization as a method for organizing knowledge about the art of the past. This article examines the use of periodization in Turkey between 1970 and 2010, focusing on a select number of Turkish-language narratives, published in books, journals, and exhibition catalogs. The artistic periods of modern and contemporary art, which are common in traditional Eurocentric art history, are
also present in Turkish art history but are followed by an additional period, which can be translated as current. The use of shorter artistic periods in Turkish art history also presents differences to Western conventions, as the short periods can refer to a specific type of art as well as a period. This article examines different narratives, identifying novelties, changes, and repetitions in Turkish art historiography over a
period of forty years. The article discusses how Turkish art history challenges
established models of modern art history. It aims to reveal the diverse temporal and original arrangements of the past, many of which are found in vernacular narratives and confront global dominant art histories.
also present in Turkish art history but are followed by an additional period, which can be translated as current. The use of shorter artistic periods in Turkish art history also presents differences to Western conventions, as the short periods can refer to a specific type of art as well as a period. This article examines different narratives, identifying novelties, changes, and repetitions in Turkish art historiography over a
period of forty years. The article discusses how Turkish art history challenges
established models of modern art history. It aims to reveal the diverse temporal and original arrangements of the past, many of which are found in vernacular narratives and confront global dominant art histories.
| Original language | English |
|---|---|
| Pages (from-to) | 249-276 |
| Journal | Art in Translation |
| Volume | 10 |
| Issue number | 3 |
| DOIs | |
| Publication status | Published - 18 Dec 2018 |
Bibliographical note
This is an Accepted Manuscript of an article published by Taylor & Francis in Art in Translation on 18/12/2018, available online: http://www.tandfonline.com/10.1080/17561310.2018.1496604Translated by: Ayşe Lucie Batur
