he methodology aims to demonstrate the positionality of actors in relation to the power dynamics of the art world and explore the strategies and discourses that are asserted for building external relations.I argue that the development of regional ties does not result from a top-down strategy, but from the construction of cognitive frames describing the rise of a regional art market or an alternative scene; and Istanbul as a rising regional art hub.
he methodology aims to demonstrate the positionality of actors in relation to the power dynamics of the art world and explore the strategies and discourses that are asserted for building external relations.Tags: A Good History Essay IntroductionCal State Application Essay PromptsPoem Not My Business EssayCreative Writing Phd RankingsThesis Statement About Soil ErosionEssay On Social Impact Of Advances In Communications TechnologyCornell Chemical Engineering EssaySame Sex Marriage Research Papers
Consequently, the emergence of Turkey’s art market has been a comparatively recent development: Fifty years ago, it was virtually non-existent with only a few short-lived art galleries referenced before the 1970s.
The sale of late-Ottoman and early-Republican paintings by pioneer art dealers, such as Yahşi Baraz (1975) and Aydın Cumalı (1973), thereafter, started to promote a taste for collecting.
Nye (1990) coined the term “soft power” to analyse the reconfiguration of American presence in the world following the fall of the Berlin Wall and the end of the bipolar order, which had been at the forefront of US military strategy for the past four decades.
Rather than resulting in the predicted decline of power, Nye argued that a variety of tools were available to the US to maintain their influence.
It will be argued that within this context, actors in the art world construct cognitive frames in order to put new territories on the map.
Therefore, increasing links between Istanbul and its surrounding region can be analysed as the outcome of the framing of the Middle East as an emerging region, and Istanbul as a rising regional centre.Then I would like to thank the EJTS editorial board as well as the two anonymous referees for their comments and criticisms that enabled me to restructure and improve this article.Finally, I would like to thank Kerrie Bramhall for her very thorough editing of the final version.This paper will critically examine an understanding of regional interactions as a consequence of Turkish soft power and elaborate on the construction of spatialised cognitive frames within the art world.By asking how the Middle East has been framed as an emerging art market region, the study will discuss the ways in which Istanbul art galleries have seised this opportunity and subsequently altered their discursive position toward the relationship between Istanbul and the Middle East.In the last ten years, ties between the art worlds of Istanbul and its surrounding region have been increased.These developments would initially appear to be a component of so-called “Turkish soft power”, indicating the rise of Turkey’s regional influence.Nye’s theory marked an effort to expand the notion of power by differentiating between its various processes (coercion, inducement, agenda-setting, and attraction), and defining the role of “soft” tools such as television, cinema, political discourse and cultural centres.While Nye’s approach has been widely applied to the analysis of Turkey’s new geopolitical context, two limitations can be perceived.Thereby, they have framed Istanbul as an emerging regional art centre.I would like to thank Anlam Arslanoğlu for our discussions that laid the basis for this article.