This study examines how consumer culture is reproduced through advertising visuals in the context of graphic design. Three different advertisements were selected, and the graphic design elements used in these visuals (such as color, composition, and symbols) were analyzed in terms of their impact on consumer perception. Employing the semiotic analysis method, the study reveals that advertising visuals are not merely aesthetic tools but also carriers of ideological and social meanings. The findings indicate that graphic design elements effectively convey the ideological messages of consumer culture and establish profound symbolic connections between brands and consumers. Additionally, the role of graphic design has become more prominent in the digital era, evolving into an interactive and multi-layered structure within modern consumer culture. This study underscores the critical function of graphic design as a communication tool that not only creates visual aesthetics but also shapes social values and consumer behaviors. In conclusion, advertising visuals are evaluated as strategic tools in the reproduction of consumer culture, contributing to theoretical and applied studies in this field.

Problems that have been the subject of discussion in recent years, such as the destruction of resources associated with the fashion industry, environmental pollution, violations of workers’ rights, and discrimination based on body, age and gender, have made the call for systematic change inevitable for the fashion industry. This study aims to discuss the role of art in creating social awareness and transformation in the consumer society structure for the necessary change of the industry. To form a clear perspective of the problems that need to be addressed for change, the research begins with a historical analysis of the fashion system, identifying issues at various stages of the fashion lifecycle through qualitative data from literature reviews and case studies. Among the issues, the study focuses on over-consumption and production, environmental issues, the perception of the body and women, and labor issues and interpretive visual analysis is used to examine artworks that critique these issues by using fashion related materials—which are identified as the fashionable in the title. This examination seeks to reveal the possibilities of criticizing and changing one’s own industry through art by removing the materials that serve the fashion industry and consumption from the monopoly of the industry and consumption. The findings reveal that the characteristics of the examined artworks, such as by fostering communication and empathy, activating emotions, and making people think about problems, draw attention to the problems related to the industry, raise awareness and play a role in creating social pressure that can direct the fashion industry to change.

This research examines Richard Mock’s contributions to printmaking from both technical and conceptual perspectives. As a printer, painter, sculptor, and editorial cartoonist, Mock interpreted political and social events critically through his linoleum prints created with bold lines. The study aims to explore how the artist utilized the linoleum printing technique, the themes around which his works were structured, and the position of these works within the discipline of printmaking. The research was conducted using qualitative methods, and the data were analyzed through descriptive and content analysis techniques. In this context, articles, exhibition catalogs, and interviews related to the artist were examined. Mock’s use of ironic language, technical mastery, and compositional structure were evaluated. The study investigates how the social and political experiences of the artist influenced his productions and how these elements shaped the thematic and technical characteristics of his works. As a result, Mock’s approach to social irony, his artistic narrative, and the impact of the linoleum printing technique were thoroughly assessed. The artist’s unique style and innovative approach to linoleum printing have been introduced to Turkish literature, aiming to serve as a resource for future research in this field. This study evaluates Mock’s distinctive and impactful works in printmaking both thematically and technically, while emphasizing the significance of his productions within the discipline of printmaking.

This study examines the re-functionalization process of the Ankara Word Museum and digital exhibition methods. The main purpose of the research is to reveal how the re-functioning of the museum by preserving its original historical texture offers a model for the protection of cultural heritage. At the same time, it aims to analyze the use of digital technologies in museum exhibitions and evaluate their impact. The Planet Word Museum, the Portuguese Language Museum and the Canadian Language Museum were included in the study to provide contextual comparisons and add depth to the analyses. These museums allowed for comparative evaluation in terms of re-functionalization processes and digital exhibition methods. The research was conducted using a case study design and qualitative research methods. Data were collected through a literature review, field observations, visual records, documents and semi-structured interviews. The collected data were evaluated by content analysis method and themes were formed in the context of spatial organization, exhibition methods and technology use. As a result, it was determined that the Ankara Vocabulary Museum has preserved its original historical texture to a great extent, but its exhibition methods need to be improved in terms of digital technologies. This research provides recommendations for the preservation of cultural heritage and the development of digital exhibition methods and provides a methodological basis for future studies.

This study aims to explore the untapped potential of waste wood materials and investigate how their unique textures, patterns, and forms could be harnessed to create compelling outdoor art installations. As part of a qualitative research methodology, the study employs a case study and iterative design approach to explore the artistic potential and aesthetic value of waste wood in outdoor environments. An extensive collection process was undertaken, gathering various waste wood pieces from furniture shops. These samples were carefully cataloged based on their origin, wood type, dimensions, and distinguishing features. Through an iterative design approach, different arrangement techniques were explored to compose the waste wood fragments into larger sculptural forms that harmonized their irregular shapes and textures. Field studies were conducted to identify suitable outdoor locations where these ephemeral installations could be sensitively integrated while provoking dialogue on themes of temporality, renewal, and mankind relationship with nature. The research reveals a profound duality within waste wood pieces their discarded status juxtaposed against the intricate beauty of their details, grains, and organic imperfections. In conclusion, this research shows that waste wood art installation offers new perspectives on material reuse, encouraging a deeper appreciation for the overlooked beauty in discarded objects.

This article examines representations of gender, identity, and the body in contemporary art from a feminist perspective. Many artists and theorists seek to make social inequalities visible by addressing how women’s identity is culturally constructed and imposed through social norms. The study focuses on the works of Barbara Kruger, Cindy Sherman, Tracey Emin, and Lorna Simpson. While Kruger draws attention to social pressures with a strong language and media critique, Sherman presents women’s identity in photographic art as a fluid and constructed phenomenon. Emin questions the relationship between women’s identity, body, freedom, and trauma through personal experiences. Simpson, on the other hand, focuses on social inequalities through identities formed at the intersection of race and gender. The aim of this study is to examine gender, identity, and body representations in contemporary art from a feminist perspective. The scope of the research is focused on analyzing how the cultural construction of women’s identity, social norms, and inequalities are critiqued through art, using the works of Barbara Kruger, Cindy Sherman, Tracey Emin, and Lorna Simpson. The study is conducted using qualitative research methods within an artistic context grounded in feminist theory. In this regard, with a literature review, content analysis techniques are employed. As a result, it has been revealed that feminist art is an effective tool in questioning gender norms and making inequalities visible while contributing to individual and social transformation by critiquing the constructed dimensions of women’s identity. In this context, the study emphasizes the importance of feminist practices in contemporary art.

Cyanotype printing, developed in 1842 by Sir John Herschel, is a technique of significant importance in the history of photography, enabling the creation of unique prints in deep blue tones through the use of light-sensitive iron salts. Initially employed for scientific documentation, cyanotype printing gradually emerged as a medium of artistic expression, establishing a lasting presence in the realms of photography and art from its historical origins to the present day. Beyond its traditional applications, cyanotype printing has been rediscovered by contemporary artists and designers, maintaining its relevance as both a tool for scientific documentation and a medium for artistic expression. This study examines the use of cyanotype printing within the art world, exploring its evolution into an aesthetic and expressive medium in both art and textile domains. It particularly highlights the artistic and scientific transformations of cyanotype printing and connects these to contemporary practices, showcasing its reinterpretation in the modern art landscape. Using literature review and visual analysis methods, the research delves into historical examples, contemporary applications, and cyanotype printing’s role in art and design. The findings demonstrate that cyanotype printing can be appreciated both as a historical legacy and as a modern form of expression. Ultimately, this study bridges photography and textile art, presenting cyanotype printing as a rich aesthetic and conceptual medium through illustrative examples.