{"id":4476,"date":"2024-07-16T02:30:51","date_gmt":"2024-07-16T00:30:51","guid":{"rendered":"https:\/\/nudeartworkshops.com\/?p=4476"},"modified":"2026-07-16T18:47:40","modified_gmt":"2026-07-16T16:47:40","slug":"nu-sanat-fotografciliginin-evri%cc%87mi%cc%87-160-tari%cc%87h-boyunca-etki%cc%87li%cc%87-sanatcilar","status":"publish","type":"post","link":"https:\/\/nudeartworkshops.com\/tr\/the-evolution-of-nude-art-photography-160-influential-artists-through-history\/","title":{"rendered":"N\u00fc Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131n Evrimi: N\u00fc Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 Tarihinde Etkili 160 Sanat\u00e7\u0131"},"content":{"rendered":"

\u00c7\u0131plak Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131n Tarihi: Foto\u011fraflarda V\u00fccut Alg\u0131s\u0131n\u0131 De\u011fi\u015ftiren 160 Sanat\u00e7\u0131<\/h1>\n

\u00c7\u0131plak foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n her tarihi, ayn\u0131 zamanda bir iktidar tarihidir: kimin bakmas\u0131na izin verildi, kimin bak\u0131lmas\u0131na zorland\u0131, negatifleri kim kontrol etti ve kurumlar hangi bedenleri sanat olarak kabul etti. Kameran\u0131n icad\u0131ndan bu yana, \u00e7\u0131plak beden anatomik kan\u0131t, \u00f6zel fantezi, bi\u00e7imsel deney, siyasi silah, ticari yem, ki\u015fisel g\u00fcnl\u00fck ve ki\u015finin kendi imaj\u0131 \u00fczerindeki m\u00fclkiyet beyan\u0131 olarak kullan\u0131lm\u0131\u015ft\u0131r. Bu makale, 1840\u2019lardan g\u00fcn\u00fcm\u00fcze kadar bu arg\u00fcman\u0131, t\u00fcr\u00fc de\u011fi\u015ftiren ak\u0131mlar ve bu t\u00fcr\u00fc geni\u015fleten, sarsan, ticarile\u015ftiren, siyasalla\u015ft\u0131ran ya da yeniden icat eden 160 foto\u011fraf\u00e7\u0131 ve sanat\u00e7\u0131n\u0131n kronolojik listesi arac\u0131l\u0131\u011f\u0131yla ele almaktad\u0131r.<\/p>\n

Bunu, Berlin\u2019de ya\u015fayan bir foto\u011fraf\u00e7\u0131 ve e\u011fitimci olarak yaz\u0131yorum; \u00e7\u0131plak sanat foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131n tarihini ve uygulamalar\u0131n\u0131 \u00f6\u011fretir<\/a>. A\u015fa\u011f\u0131daki isimler benim i\u00e7in uzak bir m\u00fczenin vitrininde sergilenen nesneler de\u011fil; bir model ve foto\u011fraf\u00e7\u0131, bedenin ne anlama gelece\u011fine karar verdiklerinde, bu isimlerin hen\u00fcz \u00e7\u00f6z\u00fclmemi\u015f sorular\u0131 h\u00e2l\u00e2 st\u00fcdyoya giriyor.<\/p>\n

G\u00f6r\u00fc\u015f\u00fcm gayet a\u00e7\u0131k:<\/strong> \u00c7\u0131plakl\u0131k asla tarafs\u0131z de\u011fildir. En soyut g\u00f6vde bile g\u00fczellik, cinsiyet, s\u0131n\u0131f, \u0131rk, ya\u015f, arzu ve izinle ilgili varsay\u0131mlar bar\u0131nd\u0131r\u0131r. \u0130yi foto\u011fraflar bu bask\u0131lardan ka\u00e7maz. Onlar\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n\n

Ressam\u0131n G\u00f6lgesi: \u0130lk \u00d6nc\u00fcler ve Akademik \u00c7\u0131plak Resim (1840\u20131910)<\/h2>\n

Bu n\u00fc foto\u011fraf\u00e7ili\u011fin tari\u0307hi\u0307<\/strong> 19. y\u00fczy\u0131l\u0131n ortalar\u0131nda, uygun bir kurgunun i\u00e7inde ba\u015flar: \u00c7\u0131plak modellerin foto\u011fraflar\u0131, ba\u011f\u0131ms\u0131z g\u00f6r\u00fcnt\u00fclerden ziyade ressamlar i\u00e7in teknik yard\u0131mc\u0131 ara\u00e7lar olarak kabul ediliyordu. Eug\u00e8ne Durieu (1800\u20131874), F\u00e9lix-Jacques Moulin (1802\u20131875), Gaudenzio Marconi (1841\u20131885) ve di\u011ferleri akademiler<\/em>, Paris\u2019teki denetime tabi bir ticaret a\u011f\u0131 arac\u0131l\u0131\u011f\u0131yla sat\u0131lan, \u00f6zenle poz verilmi\u015f \u00e7al\u0131\u015fmalar. Foto\u011fraf makinesi, canl\u0131 poz verme seans\u0131ndan daha verimli bir \u015fekilde anatomik ayr\u0131nt\u0131lar\u0131 ortaya koyuyordu; ancak ayn\u0131 zamanda resmin ka\u00e7\u0131nabilece\u011fi bir \u015feyi de ortaya \u00e7\u0131kar\u0131yordu: Ger\u00e7ek bir insan\u0131n bir makinenin \u00f6n\u00fcnde \u00e7\u0131plak durdu\u011funa dair inat\u00e7\u0131 kan\u0131t.<\/p>\n

Foto\u011fraf\u00e7\u0131l\u0131k \u00e7\u0131plakl\u0131\u011f\u0131 icat etmedi. Sanat\u0131n \u00e7ifte standard\u0131n\u0131 ortaya \u00e7\u0131kard\u0131. Resmedilmi\u015f bir Ven\u00fcs, sayg\u0131n bir sergide as\u0131l\u0131 kalabilirken, ayn\u0131 pozu kullanan bir foto\u011fraf m\u00fcstehcenlik gerek\u00e7esiyle el konulabilirdi; \u00e7\u00fcnk\u00fc izleyici art\u0131k o bedenin yaln\u0131zca mitolojiye aitmi\u015f gibi davranamazd\u0131. Skandal, \u00e7\u0131plakl\u0131\u011f\u0131n kendisinden kaynaklanm\u0131yordu. Foto\u011fraf\u0131n ger\u00e7ek bir kar\u015f\u0131la\u015fmaya olan yak\u0131nl\u0131\u011f\u0131ndan kaynaklan\u0131yordu.<\/p>\n

Bruno Braquehais (1823\u20131875), bu gerilimi en iyi \u015fekilde yans\u0131tan bir \u00f6rnektir. Modelin bi\u00e7imsel pozu, s\u00fctun, kuma\u015f k\u0131vr\u0131mlar\u0131 ve kontroll\u00fc profili, antik \u00e7a\u011f\u0131n dilinden esinlenerek kameran\u0131n ger\u00e7ek\u00e7ili\u011fini dizginlemektedir. G\u00f6r\u00fcnt\u00fc, izleyici \u201carzu\u201d diyemeden \u00f6nce \u201cakademi\u201dyi ifade etmeye \u00e7al\u0131\u015f\u0131r.\u201d<\/p>\n

\"Drapaj

Bruno Braquehais<\/p><\/div>\n

Y\u00fczy\u0131l\u0131n sonuna do\u011fru, Fred Holland Day (1864\u20131933) gibi Pikt\u00f6ryalist foto\u011fraf\u00e7\u0131lar, foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 bir g\u00fczel sanat dal\u0131 olarak kabul ettirmek i\u00e7in yumu\u015fak odaklama, kontroll\u00fc bask\u0131 ve tarihsel sahneleme tekniklerini kulland\u0131lar. Anne Brigman (1869\u20131950) ise daha radikal bir ad\u0131m att\u0131: Sierra Nevada\u2019da kendi \u00e7\u0131plak v\u00fccudunu foto\u011fraflayarak, kadrajdaki kad\u0131n\u0131 kiralanm\u0131\u015f bir akademik modelden g\u00f6r\u00fcnt\u00fcn\u00fcn yarat\u0131c\u0131s\u0131na d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. Nesneden yarat\u0131c\u0131ya do\u011fru bu ge\u00e7i\u015fin tam olarak kabul g\u00f6rmesi, sonraki y\u00fczy\u0131l\u0131n b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcn\u00fc alacakt\u0131. Bu d\u00f6nem, \u00c7\u0131plak foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n ilk \u00f6nc\u00fclerinin tarihi<\/a>.<\/p>\n\n

Bi\u00e7imin \u00d6tesine Ge\u00e7mek: Modernist Devrim (1920\u20131960)<\/h2>\n

Modernizm, foto\u011fraf\u0131n sayg\u0131n sanat\u0131 taklit edip edemeyece\u011fini sorgulamay\u0131 b\u0131rak\u0131p, yaln\u0131zca bir kameran\u0131n neler yapabilece\u011fini sorgulamaya ba\u015flad\u0131. K\u0131rpma, solarizasyon, s\u0131ra d\u0131\u015f\u0131 bak\u0131\u015f a\u00e7\u0131lar\u0131, keskin odak, \u00e7oklu pozlama ve optik bozulma, bedeni yeni bir g\u00f6rsel dilin par\u00e7alar\u0131na ay\u0131rd\u0131. Man Ray (1890\u20131976), cildi metalik ve dengesiz bir g\u00f6r\u00fcn\u00fcme kavu\u015fturdu. Bill Brandt (1904\u20131983) geni\u015f a\u00e7\u0131l\u0131 lensler kullanarak odalar\u0131, uzuvlar\u0131 ve k\u0131y\u0131 \u015feridini tek bir kesintisiz mimariye d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. Edward Weston (1886\u20131958) eti, kans\u0131z hale gelmesine izin vermeden heykele do\u011fru itti.<\/p>\n

Imogen Cunningham (1883\u20131976) bu de\u011fi\u015fimin merkezinde yer ald\u0131. Foto\u011fraflar\u0131nda s\u0131rtlar\u0131, kollar\u0131, g\u00f6vdeleri ve hamile bedenleri, anatomi geometriye d\u00f6n\u00fc\u015fene kadar izole eder; ancak beden hi\u00e7bir zaman fiziksel a\u011f\u0131rl\u0131\u011f\u0131n\u0131 kaybetmez. Modernist \u00e7\u0131plak resmin en b\u00fcy\u00fck ba\u015far\u0131s\u0131 yaln\u0131zca soyutlama de\u011fildi. Bu ak\u0131m, soyutlaman\u0131n bedeni silmek yerine daha da yo\u011funla\u015ft\u0131rabilece\u011fini kan\u0131tlad\u0131.<\/p>\n

\"Kavisli

Imogen Cunningham<\/p><\/div>\n

Soyutlamay\u0131 \u00f6\u011fretirken, foto\u011fraf\u00e7\u0131lara y\u00fcz\u00fc gizlemelerini ya da rastgele kadrajlamalar\u0131n\u0131 s\u00f6yleyerek ba\u015flamam. Onlardan bedenin neye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcne karar vermelerini isterim: mimari, ritim, bask\u0131, manzara ya da bir \u0131\u015f\u0131k alan\u0131. Bu d\u00f6n\u00fc\u015f\u00fcm netle\u015fti\u011finde, kadrajlama bir efekt olmaktan \u00e7\u0131k\u0131p bir arg\u00fcman haline gelir. Ayn\u0131 d\u00f6n\u00fc\u015f\u00fcm \u015furada da izlenebilir: modernist \u00e7\u0131plak resim \u00fczerine kapsaml\u0131 rehber<\/a>.<\/p>\n\n

Ticari Bak\u0131\u015f: Moda, Glamour ve Devrim (1950\u2019ler\u20131970\u2019ler)<\/h2>\n

Kitle dergileri, \u00e7\u0131plakl\u0131k kavram\u0131n\u0131 herhangi bir avangart manifestosu kadar k\u00f6kl\u00fc bir \u015fekilde de\u011fi\u015ftirdi. Vogue<\/em>, Harper\u2019s Bazaar<\/em>, Playboy<\/em>, parf\u00fcm reklam kampanyalar\u0131, alb\u00fcm kapaklar\u0131 ve moda kitaplar\u0131, foto\u011fraf\u00e7\u0131lara geni\u015f bir izleyici kitlesi, prod\u00fcksiyon b\u00fct\u00e7eleri ve yeni bir g\u00f6rev kazand\u0131rd\u0131: arzuyu dola\u015f\u0131ma sokmak. \u00c7\u0131plakl\u0131k, \u00f6zel portf\u00f6ylerden ve uzman galerilerden ticari k\u00fclt\u00fcre ta\u015f\u0131nd\u0131; burada k\u0131\u015fk\u0131rtma, sofistike bir unsur olarak sat\u0131labilirdi.<\/p>\n

Helmut Newton (1920\u20132004), haute couture, r\u00f6ntgencilik, hakimiyet ve l\u00fcks\u00fc, h\u00e2l\u00e2 pahal\u0131 bir su\u00e7 mahallinden al\u0131nm\u0131\u015f kan\u0131tlar gibi hissettiren foto\u011fraflar\u0131nda bir araya getirdi. Richard Avedon (1923\u20132004) ise \u00e7ok farkl\u0131 bir y\u00f6ntem izleyerek st\u00fcdyoyu beyaz bir alana indirgedi ve y\u00fczle\u015fmeye odakland\u0131. Sam Haskins (1926\u20132009) ise bu t\u00fcre grafiksel sekanslar, espri ve foto\u011fraf kitab\u0131n\u0131 kazand\u0131rd\u0131. Onun Kovboy Kate ve Di\u011fer \u00d6yk\u00fcler<\/em> bir \u00e7\u0131plakl\u0131k serisinin ka\u011f\u0131t \u00fczerinde sinema gibi bir etki yaratabilece\u011fini ortaya koydu.<\/p>\n

\"1960\u2019lardan

Sam Haskins<\/p><\/div>\n

Bu d\u00f6nem, ihti\u015fam\u0131 k\u00fclt\u00fcrel a\u00e7\u0131dan g\u00fc\u00e7l\u00fc bir unsur haline getirdi; ancak ayn\u0131 zamanda gen\u00e7li\u011fi, zay\u0131fl\u0131\u011f\u0131, beyaz teni ve kad\u0131nlar\u0131n eri\u015filebilirli\u011fini g\u00f6rsel bir de\u011fer olarak standartla\u015ft\u0131rd\u0131. Bu d\u00f6neme ait foto\u011fraflar, hem ba\u015ftan \u00e7\u0131kar\u0131c\u0131 hem de siyasi a\u00e7\u0131dan tart\u0131\u015fmal\u0131 olabilir. Bu \u00e7eli\u015fki, eseri ahlaki bir yarg\u0131ya indirgemek i\u00e7in bir gerek\u00e7e de\u011fildir. Tam da bu \u00e7eli\u015fki, eserin h\u00e2l\u00e2 tart\u0131\u015fmaya de\u011fer olmas\u0131n\u0131n sebebidir.<\/p>\n\n

Siyasi Beden: Kimlik, Sans\u00fcr ve \u00c7a\u011fda\u015f \u00c7\u0131plakl\u0131k (1970\u2019ler\u2013G\u00fcn\u00fcm\u00fcz)<\/h2>\n

1970\u201clerden itibaren beden, a\u00e7\u0131k bir m\u00fccadele alan\u0131 haline geldi. Feminist sanat\u00e7\u0131lar, queer foto\u011fraf\u00e7\u0131lar, siyahi sanat\u00e7\u0131lar, engelli sanat\u00e7\u0131lar, otoportre sanat\u00e7\u0131lar\u0131 ve g\u00fcnl\u00fck yazarlar\u0131, \u00e7\u0131plakl\u0131\u011f\u0131n \u00f6ncelikle tarafs\u0131z bir izleyici i\u00e7in var oldu\u011fu \u015feklindeki geleneksel kabul\u00fc sorgulad\u0131lar. Soru, \u201dBu beden g\u00fczel mi?\u201cden \u201dAnlam\u0131n\u0131 kim kontrol ediyor ve beden geri bakt\u0131\u011f\u0131nda kim tehdit alt\u0131nda hissediyor?\u201da kayd\u0131.\u201d<\/p>\n

Robert Mapplethorpe (1946\u20131989), Amerikan k\u00fclt\u00fcr sava\u015flar\u0131nda belirleyici bir fig\u00fcr haline geldi. 1989\u2019da Corcoran Galerisi\u2019ndeki sergisinin iptal edilmesi ve 1990\u2019da Cincinnati \u00c7a\u011fda\u015f Sanat Merkezi\u2019nde g\u00f6r\u00fclen m\u00fcstehcenlik davas\u0131, resmi siyah-beyaz foto\u011fraflar\u0131 cinsellik, kamu fonlar\u0131 ve sans\u00fcr \u00fczerine ulusal bir tart\u0131\u015fma konusu haline getirdi. Savc\u0131l\u0131k ba\u015far\u0131s\u0131z oldu, ancak bu \u00e7at\u0131\u015fma, queer bedenler an\u0131tsall\u0131k iddias\u0131nda bulunduklar\u0131nda kurumlar\u0131n estetik tarafs\u0131zl\u0131ktan ne kadar \u00e7abuk vazge\u00e7ti\u011fini ortaya koydu.<\/p>\n

\"Klasik

Robert Mapplethorpe<\/p><\/div>\n

Nan Goldin (1953\u2013), samimiyeti g\u00fcnl\u00fck niteli\u011finde ve istikrars\u0131z bir hale getirdi. Sally Mann (1951\u2013), aile, \u00f6l\u00fcml\u00fcl\u00fck ve anne bak\u0131\u015f\u0131n\u0131 kamuoyunda tart\u0131\u015fma konusu haline getirdi. Rotimi Fani-Kayode, Laura Aguilar, Zanele Muholi, Sunil Gupta ve daha pek \u00e7ok sanat\u00e7\u0131, \u0131rk, queerlik, g\u00f6\u00e7, \u015fi\u015fmanl\u0131k, engellilik ve kendini temsil etme konular\u0131n\u0131n art\u0131k yan ba\u015fl\u0131klar olarak ele al\u0131nmas\u0131n\u0131 imkans\u0131z hale getirdi. \u00c7a\u011fda\u015f \u00e7\u0131plakl\u0131k tek bir \u00fcslup de\u011fildir. Eski izin yap\u0131s\u0131n\u0131n \u00e7\u00f6k\u00fc\u015f\u00fcd\u00fcr. Siyasi s\u00fcre\u00e7 \u015fu \u015fekilde incelenmektedir: 1970'ten bu yana \u00e7\u0131plak foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n tarihi<\/a>.<\/p>\n\n

Dijital Devrim: Eri\u015fim, Manip\u00fclasyon ve Platform Sans\u00fcr\u00fc<\/h2>\n

Dijital foto\u011fraf\u00e7\u0131l\u0131k ve internet, \u00fcretim ve da\u011f\u0131t\u0131m maliyetlerini d\u00fc\u015f\u00fcrd\u00fc; b\u00f6ylece sanat\u00e7\u0131lar dergileri, yay\u0131nc\u0131lar\u0131 ve galerileri devre d\u0131\u015f\u0131 b\u0131rakabildi. Bu \u00f6zg\u00fcrl\u00fck ger\u00e7ekti, ancak eksikti. Kontrol mekanizmalar\u0131 ortadan kalkmad\u0131; platformlara, algoritmalara, \u00f6deme sistemlerine ve \u015feffaf olmayan denetim sistemlerine d\u00f6n\u00fc\u015ft\u00fc. \u00c7\u0131plak foto\u011fraflar art\u0131k dakikalar i\u00e7inde k\u00fcresel bir kitleye ula\u015fabiliyor ve ayn\u0131 h\u0131zla bu kitleden silinebiliyor.<\/p>\n

David LaChapelle (1963\u2013), dijital kompozisyon, doygun renkler, \u00fcnl\u00fcler, dini ikonografi ve t\u00fcketim odakl\u0131 g\u00f6steri unsurlar\u0131n\u0131 kullanarak, belgesel sahneler olarak var olamayacak teatral d\u00fcnyalar yaratt\u0131. Eserlerinde yapayl\u0131\u011f\u0131 bir kusur olarak de\u011fil, bir konu olarak ele al\u0131r.<\/p>\n

\"Pop

David LaChapelle<\/p><\/div>\n

Nobuyoshi Araki (1940\u2013), modern g\u00f6rsel k\u00fclt\u00fcr\u00fcn i\u00e7inden ge\u00e7en ba\u015fka bir yolu temsil ediyor: \u00fcretken, g\u00fcnl\u00fck niteli\u011finde, samimi ve her zaman tart\u0131\u015fmal\u0131. Onun anl\u0131k foto\u011fraf\u0131 and\u0131ran I-Foto\u011fraf\u00e7\u0131l\u0131k<\/em> cinselli\u011fi, kederi, aile ya\u015fam\u0131n\u0131, esareti, \u00e7i\u00e7ekleri ve Tokyo\u2019yu tek bir kesintisiz otobiyografide birle\u015ftirir. Bu eser, kad\u0131n d\u00fc\u015fmanl\u0131\u011f\u0131 ve iktidar hakk\u0131ndaki tart\u0131\u015fmalardan ayr\u0131 d\u00fc\u015f\u00fcn\u00fclemez ve ayr\u0131lmamal\u0131d\u0131r. Tarihsel \u00f6nem, ahlaki masumiyet anlam\u0131na gelmez.<\/p>\n

\"Do\u011frudan

Nobuyoshi Araki<\/p><\/div>\n\n

\n

\u00c7\u0131plak Sanat At\u00f6lyeleri \u00b7 Berlin ve \u0130stanbul<\/p>\n

Tarih, onu bir kamerayla s\u0131nayabildi\u011finizde anlam kazan\u0131r. Her at\u00f6lye \u00e7al\u0131\u015fmas\u0131, bir konsept ve g\u00f6rsel bir sorunla ba\u015flar; cinsellik, tema, bi\u00e7im, \u0131\u015f\u0131k ve foto\u011fraf\u00e7\u0131-model i\u015fbirli\u011finin gerisinde kas\u0131tl\u0131 olarak ikinci plana itilir. Ama\u00e7, \u00fcnl\u00fc bir \u00e7\u0131plak foto\u011fraf\u0131n\u0131 taklit etmek de\u011fil, onu ka\u00e7\u0131n\u0131lmaz k\u0131lan karar\u0131 anlamakt\u0131r.<\/p>\n

Yakla\u015fan at\u00f6lye tarihlerini g\u00f6r\u00fcn<\/a>\u00a0\u00a0\u00a0ya da \u00f6ncelikli eri\u015fim i\u00e7in bize e-posta g\u00f6nderin \u2192<\/a><\/p>\n<\/div>\n\n

Elindeki Kamera: \u00c7\u0131plakl\u0131\u011f\u0131 Yeniden Yazayan Kad\u0131nlar<\/h2>\n

Kad\u0131n foto\u011fraf\u00e7\u0131lar, mevcut bir t\u00fcre sadece kad\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 katmakla kalmad\u0131lar. Bu t\u00fcr\u00fcn temel dinamiklerini de\u011fi\u015ftirdiler. Imogen Cunningham bi\u00e7imsel yazarl\u0131\u011f\u0131 sahiplendi; Anne Brigman kendi bedenini kameras\u0131n\u0131n \u00f6n\u00fcne koydu; Diane Arbus g\u00f6z al\u0131c\u0131l\u0131\u011f\u0131 reddetti; Francesca Woodman kaybolmay\u0131 bir t\u00fcr otoportre bi\u00e7imi haline getirdi; Cindy Sherman kad\u0131nl\u0131\u011f\u0131 sahnelenen bir senaryo olarak ortaya koydu; Sally Mann k\u0131r\u0131lganl\u0131\u011f\u0131n geleneksel y\u00f6n\u00fcn\u00fc tersine \u00e7evirdi; Zanele Muholi ise kendini temsil etmeyi g\u00f6rsel aktivizme d\u00f6n\u00fc\u015ft\u00fcrd\u00fc.<\/p>\n

\u201cErkek bak\u0131\u015f\u0131\u201d kavram\u0131, bir sistemi tan\u0131mlad\u0131\u011f\u0131 i\u00e7in h\u00e2l\u00e2 ge\u00e7erlili\u011fini koruyor; her erke\u011fin ayn\u0131 \u015fekilde bakt\u0131\u011f\u0131 ya da her kad\u0131n\u0131n otomatik olarak nesnele\u015ftirilmekten kurtuldu\u011fu i\u00e7in de\u011fil. De\u011fi\u015fen \u015fey, yarat\u0131c\u0131l\u0131k rol\u00fcyd\u00fc. Foto\u011fraftaki beden art\u0131k g\u00f6r\u00fcnt\u00fcn\u00fcn sessiz bir malzemesi olmak yerine, g\u00f6r\u00fcnt\u00fcn\u00fcn yarat\u0131c\u0131s\u0131, i\u015fbirlik\u00e7isi, tan\u0131\u011f\u0131 ve ele\u015ftirmeni olabilirdi. Bu tersine d\u00f6n\u00fc\u015f, \u015fu eserde ele al\u0131nmaktad\u0131r: \u00c7\u0131plak foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 yeniden tan\u0131mlayan kad\u0131nlar\u0131n tarihi<\/a>.<\/p>\n

Kendi st\u00fcdyo \u00e7al\u0131\u015fmalar\u0131mda, model hi\u00e7bir zaman foto\u011fraf\u00e7\u0131n\u0131n fikrini bekleyen bir hammadde olarak g\u00f6r\u00fclmez. G\u00f6r\u00fcnt\u00fc, y\u00f6nlendirme, reddetme, ayarlama ve g\u00f6zden ge\u00e7irme s\u00fcre\u00e7leri arac\u0131l\u0131\u011f\u0131yla \u015fekillenir. Bu, eserin sahipli\u011fini zay\u0131flatmaz. Aksine, foto\u011frafa tek bir ki\u015finin dayatabilece\u011finden daha fazla zeka katar.<\/p>\n\n

\u00c7\u0131plak Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131n Gelece\u011fi: Ger\u00e7ek V\u00fccutlar m\u0131, Yoksa Uydurulmu\u015f V\u00fccutlar m\u0131?<\/h2>\n

\u00dcretken yapay zeka, sanal prod\u00fcksiyon, hacimsel \u00e7ekim ve sentetik bedenler, g\u00f6rsel k\u00fclt\u00fcr\u00fc \u015fimdiden de\u011fi\u015ftiriyor. Bunlar, daha \u00f6nce hi\u00e7bir zaman kamera kar\u015f\u0131s\u0131na \u00e7\u0131kmam\u0131\u015f bedenlerin ve hi\u00e7 ger\u00e7ekle\u015fmemi\u015f kar\u015f\u0131la\u015fmalar\u0131n inand\u0131r\u0131c\u0131 g\u00f6r\u00fcnt\u00fclerini ortaya \u00e7\u0131karacak. Bu, fiziksel foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 modas\u0131 ge\u00e7mi\u015f hale getirmez. Aksine, foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n tan\u0131mlay\u0131c\u0131 \u00f6zelli\u011fini yeni bir bak\u0131\u015f a\u00e7\u0131s\u0131yla g\u00f6r\u00fcn\u00fcr k\u0131l\u0131yor: Ger\u00e7ek bir bedenin foto\u011fraf\u0131, insanlar, \u0131\u015f\u0131k, zaman ve bir mekan aras\u0131nda bir \u015feyin ger\u00e7ekle\u015fti\u011fini kaydeder.<\/p>\n

Yapay zeka, foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n gelece\u011fi anlam\u0131na gelmez.<\/strong> Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131, neye de\u011fer verdi\u011fini ortaya koymaya zorlayan \u015fey i\u015fte bu bask\u0131d\u0131r. G\u00fczel sanatlar \u00e7al\u0131\u015fmalar\u0131m, \u00fcretken g\u00f6r\u00fcnt\u00fc olu\u015fturma yerine fiziksel, kamera i\u00e7i teknikler arac\u0131l\u0131\u011f\u0131yla \u015fekillenir; \u00e7\u00fcnk\u00fc s\u00fcrt\u00fc\u015fme \u00f6nemlidir: kuma\u015f direnir, bedenler yorulur, \u0131\u015f\u0131k ka\u00e7\u0131r\u0131l\u0131r, r\u0131za de\u011fi\u015fir, kazalar bi\u00e7ime d\u00f6n\u00fc\u015f\u00fcr. Sentetik bir beden g\u00f6rsel olarak ikna edici olabilir, ancak kar\u015f\u0131l\u0131k verebilen birini foto\u011fraflaman\u0131n etik ve psikolojik boyutunun yerini alamaz.<\/p>\n

\"\u00c7\u0131plak

Post-insan bir aray\u00fcz olarak hayal edilen beden<\/p><\/div>\n

Bir sonraki belirleyici ak\u0131m, bir stil bile olmayabilir. Bu, k\u00f6ken konusuna y\u00f6nelik yenilenmi\u015f bir \u0131srar olabilir: bedeni kim yaratt\u0131, kullan\u0131m\u0131na kim r\u0131za g\u00f6sterdi, fiziksel olarak ne foto\u011frafland\u0131, ne \u00fcretildi ve izleyici bir kar\u015f\u0131la\u015fmaya davet ediliyor mu, yoksa sadece inand\u0131r\u0131c\u0131 bir y\u00fczey mi g\u00f6steriliyor?.<\/p>\n\n

160 Sanat\u00e7\u0131dan Olu\u015fan Bir Kanon Nas\u0131l Okunur?<\/h2>\n

Etkili foto\u011fraf\u00e7\u0131lar\u0131n listesi hi\u00e7bir zaman tarafs\u0131z de\u011fildir. Kanonlar, m\u00fczeler, yay\u0131nevleri, pazarlar, sans\u00fcr m\u00fccadeleleri, modellere eri\u015fim, ele\u015ftirel moda ve tekrarlama yoluyla \u015fekillenir. A\u015fa\u011f\u0131daki isimlerden baz\u0131lar\u0131 g\u00fczel sanatlar alan\u0131na aittir; di\u011ferleri ise moda, erotik sanat, belgesel \u00e7al\u0131\u015fmalar\u0131, yay\u0131nc\u0131l\u0131k, skandallar ya da teknik etkiler yoluyla tarihe ge\u00e7mi\u015ftir. Bu listeye dahil edilmek, bir etki g\u00f6stergesidir. Bu, her g\u00f6r\u00fcnt\u00fcy\u00fc, \u00e7al\u0131\u015fma y\u00f6ntemini ya da ki\u015fisel ge\u00e7mi\u015fi onaylamak anlam\u0131na gelmez.<\/p>\n

Bu makalenin ilk versiyonunda 160 sanat\u00e7\u0131dan s\u00f6z ediliyordu, ancak listede 158 isim yer al\u0131yordu. Anne Brigman ve Zanele Muholi listeye eklendi; zira modernizmin do\u011fu\u015funda kad\u0131nlar\u0131n kendi iradesiyle sergiledi\u011fi \u00e7\u0131plakl\u0131\u011f\u0131 ve \u00e7a\u011fda\u015f d\u00f6nemde Siyah queer kimli\u011fin kendi kendini temsil etmesini d\u0131\u015flayan bir tarih anlat\u0131s\u0131, sadece bir bo\u015fluk b\u0131rakmakla kalmaz. Yanl\u0131\u015f bir hik\u00e2ye anlat\u0131r.<\/p>\n\n

160 \u00d6nc\u00fc \u00c7\u0131plak Sanat Foto\u011fraf\u00e7\u0131s\u0131 ve Sanat\u00e7\u0131s\u0131<\/h2>\n

1\u201340 \u00b7 Temeller, Piktorializm ve Modernizm<\/h3>\n
    \n
  1. Eug\u00e8ne Durieu (1800-1874)<\/li>\n
  2. F\u00e9lix-Jacques Moulin (1802-1875)<\/li>\n
  3. Bruno Braquehais (1823-1875)<\/li>\n
  4. Gaudenzio Marconi (1841-1885)<\/li>\n
  5. Wilhelm von Gloeden (1856-1931)<\/li>\n
  6. Fred Holland Day (1864-1933)<\/li>\n
  7. Anne Brigman (1869-1950)<\/li>\n
  8. Karl Blossfeldt (1865-1932)<\/li>\n
  9. Vincenzo Galdi (1871-1961)<\/li>\n
  10. Selma Genthe (1873-1950)<\/li>\n
  11. Ernest J. Bellocq (1873-1949)<\/li>\n
  12. Jean Ag\u00e9lou (1878-1921)<\/li>\n
  13. Gerhard Riebicke (1878-1957)<\/li>\n
  14. Magnus Weidemann (1880-1967)<\/li>\n
  15. Friedrich Seidenst\u00fccker (1882-1966)<\/li>\n
  16. Imogen Cunningham (1883-1976)<\/li>\n
  17. Lotte Herrlich (1883-1956)<\/li>\n
  18. Hermann Schieberth (1883-1948)<\/li>\n
  19. Rudolf Koppitz (1884-1936)<\/li>\n
  20. Edward Weston (1886-1958)<\/li>\n
  21. Albert Arthur Allen (1886-1962)<\/li>\n
  22. Man Ray (1890-1976)<\/li>\n
  23. Florence Henri (1893-1982)<\/li>\n
  24. Josef Breitenbach (1896-1984)<\/li>\n
  25. Brassa\u00ef (1899-1984)<\/li>\n
  26. Yva (1900-1942)<\/li>\n
  27. Wynn Bullock (1902-1975)<\/li>\n
  28. Herbert List (1903-1975)<\/li>\n
  29. Bill Brandt (1904-1983)<\/li>\n
  30. Ruth Bernhard (1905-2006)<\/li>\n
  31. Horst P. Horst (1906-1999)<\/li>\n
  32. Philippe Halsman (1906-1979)<\/li>\n
  33. George Platt Lynes (1907-1955)<\/li>\n
  34. Andre de Dienes (1913-1985)<\/li>\n
  35. Konrad Helbig (1917-1986)<\/li>\n
  36. Helmut Newton (1920-2004)<\/li>\n
  37. Francesco Scavullo (1921-2004)<\/li>\n
  38. Milton Greene (1922-1985)<\/li>\n
  39. Diane Arbus (1923-1971)<\/li>\n
  40. Richard Avedon (1923-2004)<\/li>\n<\/ol>\n

    41\u201380 \u00b7 Sava\u015f Sonras\u0131 Bedenler, Yay\u0131nc\u0131l\u0131k K\u00fclt\u00fcr\u00fc ve Kar\u015f\u0131 K\u00fclt\u00fcr<\/h3>\n
      \n
    1. Herbert Tobias (1924-1982)<\/li>\n
    2. Sam Haskins (1926-2009)<\/li>\n
    3. G\u00fcnter R\u00f6ssler (1926-2012)<\/li>\n
    4. Garry Winogrand (1928-1984)<\/li>\n
    5. Guy Bourdin (1928-1991)<\/li>\n
    6. Charlotte March (1929-2005)<\/li>\n
    7. George Dureau (1930-2014)<\/li>\n
    8. Bunny Yeager (1930-2014)<\/li>\n
    9. Bob Guccione (1930-2010)<\/li>\n
    10. Eikoh Hosoe (1933-2024)<\/li>\n
    11. David Hamilton (1933-2016)<\/li>\n
    12. Jeanloup Sieff (1933-2000)<\/li>\n
    13. Douglas Kirkland (1934-2022)<\/li>\n
    14. Lee Friedlander (1934-)<\/li>\n
    15. G\u00fcnter Gueffroy (1944-2015)<\/li>\n
    16. Peter Hujar (1934-1987)<\/li>\n
    17. Jan Saudek (1935-)<\/li>\n
    18. Amos Badertscher (1936-)<\/li>\n
    19. David Bailey (1938-)<\/li>\n
    20. Joel-Peter Witkin (1939-)<\/li>\n
    21. Ralph Gibson (1939-)<\/li>\n
    22. Klaus Ender (1939-2021)<\/li>\n
    23. Nobuyoshi Araki (1940-)<\/li>\n
    24. Kishin Shinoyama (1940-2024)<\/li>\n
    25. Ewald Hoinkis (1897-1960)<\/li>\n
    26. Sarah Moon (1941-)<\/li>\n
    27. Oliviero Toscani (1942-)<\/li>\n
    28. Serge Lutens (1942-)<\/li>\n
    29. Albert Watson (1942-)<\/li>\n
    30. Peter Berlin (1942-)<\/li>\n
    31. Dianora Niccolini (1942-)<\/li>\n
    32. Larry Clark (1943-)<\/li>\n
    33. Guy Le Baube (1944-)<\/li>\n
    34. Sebasti\u00e3o Salgado (1944-2025)<\/li>\n
    35. Robert Farber (1944-)<\/li>\n
    36. Tamara Amhoff-Windeler (1945-2013)<\/li>\n
    37. Eric Kroll (1946-)<\/li>\n
    38. John Swannell (1946-)<\/li>\n
    39. Bruce Weber (1946-)<\/li>\n
    40. Robert Mapplethorpe (1946-1989)<\/li>\n<\/ol>\n

      81\u2013120 \u00b7 Kimlik, Moda, Performans ve Geni\u015fletilmi\u015f \u00c7\u0131plakl\u0131k<\/h3>\n
        \n
      1. Suze Randall (1946-)<\/li>\n
      2. Paolo Roversi (1947-)<\/li>\n
      3. Dominique Isserman (1947-)<\/li>\n
      4. James Nachtwey (1948-)<\/li>\n
      5. Laurie Simmons (1949-)<\/li>\n
      6. Lois Greenfield (1949-)<\/li>\n
      7. Sally Mann (1951-)<\/li>\n
      8. Alain Daussin (1951-)<\/li>\n
      9. Herb Ritts (1952-2002)<\/li>\n
      10. Nan Goldin (1953-)<\/li>\n
      11. John Sexton (1953-)<\/li>\n
      12. Michael Kenna (1953-)<\/li>\n
      13. Klaus Mitteldorf (1953-)<\/li>\n
      14. Cindy Sherman (1954-)<\/li>\n
      15. Steven Meisel (1954-)<\/li>\n
      16. Annie Sprinkle (1954-)<\/li>\n
      17. Michael Thompson (1954-)<\/li>\n
      18. David Armstrong (1954-2014)<\/li>\n
      19. Richard Kern (1954-)<\/li>\n
      20. Matthew Rolston (1955-)<\/li>\n
      21. Andreas Gursky (1955-)<\/li>\n
      22. Anton Corbijn (1955-)<\/li>\n
      23. Sante D'Orazio (1956-)<\/li>\n
      24. Gilles Berquet (1956-)<\/li>\n
      25. Prabuddha Dasgupta (1956-2012)<\/li>\n
      26. Marc Lagrange (1957-2015)<\/li>\n
      27. Peter Klashorst (1957-2024)<\/li>\n
      28. Ingo Taubhorn (1957-)<\/li>\n
      29. Thomas Karsten (1958-)<\/li>\n
      30. Francesca Woodman (1958-1981)<\/li>\n
      31. Rineke Dijkstra (1959-)<\/li>\n
      32. Dahmane (1959-)<\/li>\n
      33. Tono Stano (1960-)<\/li>\n
      34. Helene Schmitz (1960-)<\/li>\n
      35. Gabriele Viertel (1960-)<\/li>\n
      36. Peter Coulson (1961-)<\/li>\n
      37. Vinoodh Matadin (1961-)<\/li>\n
      38. Nadav Kander (1961-)<\/li>\n
      39. Henning von Berg (1961-)<\/li>\n
      40. Vince Lussa (1961-)<\/li>\n<\/ol>\n

        121\u2013160 \u00b7 \u00c7a\u011fda\u015f, K\u00fcresel ve Dijital Ortamda Ger\u00e7ekle\u015fen Uygulama<\/h3>\n
          \n
        1. Michael Sonntag (1961-)<\/li>\n
        2. Corinne Day (1962-2010)<\/li>\n
        3. Gregory Crewdson (1962-)<\/li>\n
        4. Bettina Rance (1962-)<\/li>\n
        5. David LaChapelle (1963-)<\/li>\n
        6. Inez van Lamsweerde (1963-)<\/li>\n
        7. Marc Collins (1963-)<\/li>\n
        8. Olaf Martens (1963-)<\/li>\n
        9. Tom Munro (1964-)<\/li>\n
        10. Juergen Teller (1964-)<\/li>\n
        11. Dani Fehr (1964-)<\/li>\n
        12. Andreas H. Bitesnich (1964-)<\/li>\n
        13. Terry Richardson (1965-)<\/li>\n
        14. Karl Vanselow (1965-)<\/li>\n
        15. Jean-Baptiste Huynh (1966-)<\/li>\n
        16. David Sims (1966-)<\/li>\n
        17. Rankin (1966-)<\/li>\n
        18. Sylvie Blum (1967-)<\/li>\n
        19. Spencer Tunick (1967-)<\/li>\n
        20. Jens Br\u00fcggemann (1967-)<\/li>\n
        21. Ji\u0159\u00ed R\u016f\u017eek (1967-)<\/li>\n
        22. Platon (1968-)<\/li>\n
        23. Glen Luchford (1968-)<\/li>\n
        24. Manfred Baumann (1968-)<\/li>\n
        25. Dov Charney (1969-)<\/li>\n
        26. Petter Hegre (1969-)<\/li>\n
        27. Henrik Pfeifer (1972-)<\/li>\n
        28. Zanele Muholi (1972-)<\/li>\n
        29. Ron Kuhwede (1972-)<\/li>\n
        30. Bjarne Jonasson (1973-)<\/li>\n
        31. Astrid Susanna Schulz (1974-)<\/li>\n
        32. Yu Tsai (1975-)<\/li>\n
        33. Martin Rehm (1975-)<\/li>\n
        34. Aneta Bartos (1977-)<\/li>\n
        35. Juha Arvid Helminen (1977-)<\/li>\n
        36. Oliver Rath (1978-2016)<\/li>\n
        37. Niels van Roij (1979-)<\/li>\n
        38. Adrian Hamilton (1980-)<\/li>\n
        39. Kingdome 19 (1980-)<\/li>\n
        40. Burak Bulut Y\u0131ld\u0131r\u0131m (1982-)<\/li>\n<\/ol>\n\n

          Foto\u011fraf\u00e7\u0131lar\u0131n Sordu\u011fu Sorular<\/h2>\n

          \u0130lk \u00e7\u0131plak foto\u011fraflar\u0131 kim \u00e7ekti?<\/h3>\n

          Tart\u0131\u015fmas\u0131z tek bir ilk yazar yoktur. \u00c7\u0131plak daguerreotipler ve ka\u011f\u0131t \u00fczerine yap\u0131lan \u00e7al\u0131\u015fmalar, foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n icad\u0131ndan k\u0131sa s\u00fcre sonra ortaya \u00e7\u0131km\u0131\u015fken, Eug\u00e8ne Durieu, F\u00e9lix-Jacques Moulin, Bruno Braquehais ve Gaudenzio Marconi gibi isimler, 19. y\u00fczy\u0131l akademik \u00e7\u0131plak resmini tan\u0131nabilir bir alan haline getirmi\u015ftir.<\/p>\n

          Neden tart\u0131\u015fmal\u0131 ya da ticari foto\u011fraf\u00e7\u0131lar\u0131 dahil edelim ki?<\/h3>\n

          \u00c7\u00fcnk\u00fc etki, erdemle ayn\u0131 \u015fey de\u011fildir. Moda dergileri, erotik yay\u0131nlar, sans\u00fcr vakalar\u0131, s\u00f6m\u00fcr\u00fcc\u00fc uygulamalar ve ticari estetik, bedenlerin nas\u0131l foto\u011fraflan\u0131p yayg\u0131nla\u015ft\u0131r\u0131ld\u0131\u011f\u0131n\u0131 tamamen de\u011fi\u015ftirdi. Zorlu fig\u00fcrleri liste d\u0131\u015f\u0131 b\u0131rakmak, daha \u201ctemiz\u201d bir liste ve sahte bir tarih ortaya \u00e7\u0131kar\u0131rd\u0131.<\/p>\n

          \u00c7\u0131plak foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 en \u00e7ok hangi ak\u0131mlar etkiledi?<\/h3>\n

          Akademik \u00e7\u0131plakl\u0131k, kameran\u0131n beden \u00fczerindeki hak iddias\u0131n\u0131 peki\u015ftirdi; modernizm, anatomiyi bi\u00e7ime d\u00f6n\u00fc\u015ft\u00fcrd\u00fc; moda, arzuyu end\u00fcstrile\u015ftirdi; feminist ve queer uygulamalar, bak\u0131\u015f\u0131n sahipli\u011fine meydan okudu; dijital da\u011f\u0131t\u0131m, eri\u015fimi k\u00fcreselle\u015ftirirken yeni sans\u00fcr bi\u00e7imleri de ortaya \u00e7\u0131kard\u0131.<\/p>\n

          Bu tarihi uygulamal\u0131 olarak nas\u0131l \u00e7al\u0131\u015fabilirim?<\/h3>\n

          Tarihsel bir g\u00f6r\u00fcnt\u00fcy\u00fc kopyalamak yerine, tarihsel sorunlardan birini se\u00e7in: soyutlama, gizleme, y\u00fczle\u015fme, s\u0131ralama, otoportre ya da bak\u0131\u015f\u0131n siyaseti. Bizim Berlin ve \u0130stanbul'da \u00e7\u0131plak sanat at\u00f6lyeleri<\/a> Her say\u0131y\u0131 bu t\u00fcr bir sorun etraf\u0131nda \u015fekillendirin; bu s\u00fcre\u00e7te \u00e7\u0131plakl\u0131\u011f\u0131n kendisinden ziyade konsept ve i\u015fbirli\u011fi \u00f6ncelikli olsun.<\/p>\n\n

          \n

          Bu sayfada yer alan tarih\u00e7e, at\u00f6lyelerimizde h\u00e2l\u00e2 canl\u0131l\u0131\u011f\u0131n\u0131 korumaktad\u0131r. Her bir sergi, \u00e7ekici pozlardan olu\u015fan bir katalog de\u011fil, bir konsept etraf\u0131nda d\u00fczenlenmektedir; cinsellik, tema, g\u00f6r\u00fcnt\u00fcn\u00fcn yap\u0131s\u0131 ve model-foto\u011fraf\u00e7\u0131 i\u015fbirli\u011finin ard\u0131ndan \u00fc\u00e7\u00fcnc\u00fc veya d\u00f6rd\u00fcnc\u00fc s\u0131rada yer almaktad\u0131r. At\u00f6lyeler, ayn\u0131 \u00e7\u0131plak pozun farkl\u0131 varyasyonlar\u0131n\u0131 biriktirmek yerine, \u00f6zg\u00fcn \u00e7al\u0131\u015fmalar ortaya koymak isteyen foto\u011fraf\u00e7\u0131lara y\u00f6neliktir.<\/p>\n

          Liderli\u011finde Burak Bulut Y\u0131ld\u0131r\u0131m<\/strong>, 2005 y\u0131l\u0131ndan bu yana profesyonel olarak faaliyet g\u00f6steren, Berlin merkezli foto\u011fraf\u00e7\u0131, \u00e7a\u011fda\u015f sanat\u00e7\u0131, k\u00fcrat\u00f6r ve e\u011fitimci: 14 y\u0131l\u0131 a\u015fk\u0131n s\u00fcredir \u00e7\u0131plak sanat at\u00f6lyeleri d\u00fczenliyor, 50\u2019den fazla sergi, 300\u2019den fazla kat\u0131l\u0131mc\u0131 foto\u011fraf\u00e7\u0131, Berlin, Z\u00fcrih, Barselona, Roma, Selanik ve Heilbronn\u2019da sergiler ve ayr\u0131ca \u0130stanbul\u2019un \u00c7\u0131plaklar\u0131<\/em> 2026 y\u0131l\u0131nda Berlin\u2019deki Die Akt Galerie\u2019de sergilenecek ve Mijuk Papers Berlin taraf\u0131ndan yay\u0131nlanan ciltli bir kitapla birlikte sunulacak.<\/p>\n

          Yakla\u015fan at\u00f6lye tarihlerini g\u00f6r\u00fcn<\/a>\u00a0\u00a0\u00a0\u0130lk eri\u015fim i\u00e7in bize e-posta g\u00f6nderin \u2192<\/a><\/p>\n

          Portf\u00f6y: burakbulut.org<\/a> \u00b7 S\u0131n\u0131rl\u0131 say\u0131da \u00fcretilen \u00fcr\u00fcnler Saatchi Sanat<\/a> ve Artsper<\/a> \u00b7 \u0130leti\u015fim: hello@nudeartworkshops.com<\/a><\/p><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":4485,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ai_generated_summary":"","footnotes":""},"categories":[1],"tags":[170,171],"class_list":["post-4476","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-2","tag-nude-art-photographer","tag-nude-art-photography"],"_links":{"self":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4476","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/comments?post=4476"}],"version-history":[{"count":2,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4476\/revisions"}],"predecessor-version":[{"id":20693,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4476\/revisions\/20693"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media\/4485"}],"wp:attachment":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media?parent=4476"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/categories?post=4476"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/tags?post=4476"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}