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The aim of this study is to examine the reflection of today's art practices related to migration according to Barthes' semiotic analysis. In the study, the literature review was used to form a theoretical basis for the phenomenon of migration. In addition, the semiotic analysis method was used in the analysis of visual art practices related to migration. The practices of Halil Altındere (Meatball Airlines), Ai Wewei (The Law of Travel), Tammam Azzam (Bon Voyage: New York, Bon Voyage: Suria) and Bruno Catalano (Parçalar, Venice) were examined with the purposeful sampling method. In all practices, there are indicators such as migrations, exclusion, poverty, being the other, culture, identity, stigma perception and marginalization, as well as the destructive and damaging physical images of the war and conflicts that are experienced today. The phenomenon of migration, the difficulties of migration on social life and the reflections of changes in sociological practices on the individual and society were strongly emphasized. As a result, in these studies, the problems that arise with migration, which have social, cultural and psychological dimensions, have been tried to be made visible from an artistic point of view. It has been revealed that the stakeholders have not developed effective solutions to the problems that arise with migration, and it has been requested to develop the necessary sensitivity regarding migration in the world public opinion. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, Superstroke and Superblur art movements, which continue to actively continue their art activities, but are not known and pronounced much, are mentioned. These art movements, influenced by past trends and understandings, but showing their existence with a different stance, published their declarations stating their goals. Especially the reactive art movements inspired by art movements such as Cubism, Expressionism and Pointillism are interesting in the history of art with the productions they create using different techniques and symbols. These responses; It is about the fact that unique new styles can be created without adhering to Western understandings and based on existing painting traditions. Because, some countries have entered into a change of direction in the art styles continuing with these approaches. With these insights, Superstroke and Superblur art movements have been evaluated both between each other and with other movements, and with examples from artists. [ABSTRACT FROM AUTHOR]

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Academic Inquiries / Akademik Incelemeler Dergisi is the property of Akademik Incelemeler Dergisi (Journal of Academic Inquiries) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Photography has partaken in the art with different ways and forms since its invention. Photography which was used as a supplementary material previously put itself in appearance in the art world in post modernism and therefore it strengthened its place in the indispensable elements of the art. During the postmodern era, witness function of an event was not valid anymore. During this era, as the originality of the photographic product was corrupted, the view that the art was only focusing on the repeated activity was dominant. Photograph products show themselves especially with recreation of the reality. Postmodernists use the photograph as the most important tool to translate their expressions. Artists preferred the photograph since it is a new discipline and open to many fields; it is easy to access; it is fast, consumption-oriented and reproductive. Cindy Sherman, Sherrie Levine, Barbara Kruger, Richard Prince are among the artists, who used the photograph as a translation tool in appropriation action. [ABSTRACT FROM AUTHOR]

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Conservative Thought / Muhafazakar Düşünce is the property of Muhafazakar Dusunce Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Conservative Thought / Muhafazakar Düşünce is the property of Muhafazakar Dusunce Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Today Art advances at a dizzying pace and hosts many subject and tecnique. In our era very favorable rapid consumption of this environment, the arts also inevitably affected. Movement from the fact that another type of technology emerging with every last day occupied all our lives, art is oblivious to these influences. These changes are changing our visual style, senses and aesthetic understanding at the same time. Period, understandings and ways of life change as a result of this change also keeps up with art. In the first quarter of 20th century at the time of plastic arts expanding its boundaries, effects of technology starting with dizzying world of photograph formed by cameras, printing methods, video and computer tecniques and today whole known memorizes are started re-edited. Now, rejecting the speed of technology or stay in the old tecniques pressure on the artist. Artist who applies oil painting or other classical tecniques, technology help artist at any step of work. Today, art don't expect staying behind like everything, it is hard to keep time and staying behind limits artists and following modern art built on the concept of modern artist. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)