This SALT Interpretation Pack has been designed as a resource for educators and students as they explore the themes of the Ahmet Öğüt "Across the Slope" exhibition at SALT Beyoğlu in Istanbul, Turkey. Designed for use in high school classrooms, its contents include activities, multimedia resources, terminology and opportunities for discussion. Educators are encouraged to adapt, shape and build upon these materials to best meet the needs of their students and teaching curricula.

"Across the Slope" was first exhibited at Centre d’Art Santa Mònica, Barcelona, in 2008. An installation of a modified Seat 131 (the Fiat 131 Mirafiori model produced in Spain) hovering over a man-made slope, "Across the Slope" responds to the dream of an emerging working class. When, in the 1970s, Fiat began licensing automobile production to manufacturers in Turkey, Spain and Morocco, car prices in these countries dropped. Cars were no longer luxury items. They became affordable consumer products—and symbols of a “modern,” Western lifestyle. Though modification of the Fiat was common, as Öğüt demonstrates, no matter how advanced or decorative the modifications, a car’s capacity remains the same: “A slope is always a slope, and it is always possible for a car to get stuck on one.”

SALT Beyoğlu’nda düzenlenen “Yokuş Boyunca” sergisindeki temaları açıklayan bu Yorumlama Rehberi, eğitimciler ve lise öğrencileri için bir kaynakça olarak hazırlanmıştır. Eğitimcilerin, rehberin içeriğindeki aktiviteler, multimedya kaynakları, terminoloji ve tartışma olanaklarını öğrencilerinin ihtiyaçlarına en iyi cevap verecek şekilde düzenleyerek müfredatlarına uyarlamalarını öneririz.

“Yokuş Boyunca” ilk olarak 2008 yılında, Barselona’daki Centre d’Art Santa Mònica’da [Santa Mònica Sanat Merkezi] sergilenmiştir. Sergi alanında oluşturulmuş bir yokuşta kalmış modifiye bir Seat 131 (İspanya’da üretilmiş Fiat 131 Mirafiori modeli) enstalasyonu olan “Yokuş Boyunca,” gelişmekte olan orta sınıfın mütevazı hayallerine gönderme yapmaktadır.

Fiat’ın 1970’lerde Türkiye, İspanya ve Fas’taki imalatçılara otomobil üretim ruhsatı vermeye başlamasıyla bu ülkelerdeki araba fiyatları düşer. Araba artık bir lüks olmaktan çıkar; bütçeye uygun bir tüketim ürünü ve “modern”, Batılı yaşam tarzının bir simgesi haline gelir. Fiat’ın modifikasyonu yaygındır; ancak Öğüt’ün “Yokuş Boyunca”’da gösterdiği gibi, modifikasyonlar ne denli gelişmiş ya da dekoratif olursa olsun, bir arabanın kapasitesi hep aynı kalır: “Yokuş hep yokuştur ve bir arabanın bir yokuşta kalakalması her zaman mümkündür.”

SALT Beyoğlu’nda düzenlenen “Ben bir stüdyo sanatçısı değilim” sergisindeki temaları açıklayan bu Yorumlama Rehberi, eğitimciler ve lise öğrencileri için bir kaynakça olarak hazırlanmıştır. Eğitimcilerin, rehberin içeriğindeki aktiviteler, multimedya kaynakları, terminoloji ve tartışma olanaklarını öğrencilerinin ihtiyaçlarına en iyi cevap verecek şekilde düzenleyerek müfredatlarına uyarlamalarını öneririz.

2007 yılının sonunda kaybettiğimiz Hüseyin Bahri Alptekin, sanatçı kimliğinin yanı sıra düşünür, öğretim üyesi, yazar ve küratör olarak kültürel üretime katkıda bulundu. 1990’ların başından itibaren sanat üretimine yoğunlaşan Alptekin, eserlerinde küreselleşmenin etkileri, göç ve sürgün, kültürlerarası imge dolaşımı gibi temaları inceledi. İşbirliği ve müellifsiz üretim ile ilgilenen Alptekin, kariyeri boyunca Grup Grip-in, Sea Elephant Travel Agency [Deniz Fili Seyahat Acentası] ve Bunker Research Group [Korugan Araştırma Grubu] gibi birçok grup kurdu. İşlerinde fotoğraf enstalasyonları, kolajlar, videolar, nesneler -kasası plastik futbol toplarıyla dolu bir kamyon gibi- birçok farklı malzeme ve yöntemler kullanarak, birbirine referans veren çok katmanlı bir görsel dil yarattı.

“Ben bir stüdyo sanatçısı değilim”, sanatçının Türkiye’de ve uluslararası platformda düzenlenen en kapsamlı sergisi olma niteliğini taşıyor.

This SALT Interpretation Pack has been designed as a resource for educators and students as they explore the themes of the Hüseyin Bahri Alptekin “I am not a studio artist” exhibition at SALT Beyoğlu in Istanbul, Turkey. Designed for use in high school classrooms, its contents include activities, multimedia resources, terminology and opportunities for discussion. Educators are encouraged to adapt, shape and build upon these materials to best meet the needs of their students and teaching curricula.

Hüseyin Bahri Alptekin was an artist, thinker, teacher, writer and curator who passed away in 2007. In the early 1990s, Alptekin began to form an artistic production that explored the effects of globalization, immigration and exile, as well as cross-cultural image circulation. Alptekin was a determined collaborator interested in authorless production, and throughout his career formed many artist-run collaboratives, including Grup Grip-in, the Sea Elephant Travel Agency and the Bunker Research Group. His multi-referential work consists of photo-installations, collages, videos, objects, and large-scale production such as a life-size truck overloaded with colorful plastic soccer balls, which together express a multi-layered and complex visual language.

“I am not a studio artist” is the most comprehensive exhibition of Alptekin’s works to date, both in Turkey and internationally.

Image Manipulation for Graphic Artists is an open source textbook formatted using Google Slides so that it can be embedded into the Canvas (digital) version of our own courses. You may post the slideshows as is or edit them to your liking. A PDF version of each slideshow can be downloaded via the embedded examples below. If you would like to download the Google Slides version of each slideshow for editing purposes you can do so here. The current version of this text is version 1.0. We are working to remove typos and to have the text peer reviewed. If you find typos or would like to help peer review please email opengraphicarts@gmail.com.

This text was developed for ART 1280 Photoshop Software at Salt Lake Community College. It is offered as a foundational skills-based Photoshop class for all Visual Art & Design students. It covers hundreds of learning objectives relating to image editing and manipulation for graphic artists. The goal of this course is to expose students to Photoshop’s breadth of possibilities and to ensure students have the knowledge and skillset necessary to properly prepare images for various output methods. Our programs are designed with one common foundational Photoshop course. Once a student completes this course he or she continues on to a program specific advanced Photoshop course that takes a deeper dive into the topics relating to a specific program (ex- photography, graphic design, multimedia).

This SALT Interpretation Pack has been designed as a resource for educators and students as they explore the themes of Hrair Sarkissian's "Istory" and Tayfun Serttaş's "Foto Galatasaray" exhibitions at SALT Beyoğlu and SALT Galata in Istanbul, Turkey. Designed for use in high school classrooms, its contents include activities, multimedia resources, terminology and opportunities for discussion. Educators are encouraged to adapt, shape and build upon these materials to best meet the needs of their students and teaching curricula.

The "Foto Galatasaray" project is based on the re-visualization of the complete professional archive of Maryam Şahinyan (Sivas, 1911 – Istanbul, 1996), who worked as a photographer at her studio in Galatasaray, Beyoğlu from 1935-1985. The archive is a unique inventory of the demographic transformations occurring on the socio-cultural map of Istanbul after the declaration of the Republic and the historical period it witnessed; it is also a chronological record of a female Istanbulite studio photographer’s professional career. Consisting entirely of black-and-white and glass negatives, the physical archive of Foto Galatasaray is a rare surviving example of the classical photography studios of Istanbul’s recent past. After Şahinyan left the studio in 1985, the archive was transferred to a storehouse belonging to Yetvart Tomasyan, owner of Aras Publishing. Twenty-five years later, approximately 200,000 negatives in the archive were, over the course of two years, sorted, cleaned, digitized, digitally restored, categorized and protected by a team under the direction of artist/researcher Tayfun Serttaş.

In 2010, Hrair Sarkissian spent two months in
İstanbul documenting the history sections of
various semi-private and public libraries and
archives in the city, from the Archaeological
Museum and Topkapı Palace libraries to the
Atatürk Library in Taksim, the Ottoman Archives
of the Prime Ministry General Directorate of State,
and the Ottoman Bank Archives and Research
Centre. The second exhibition in the "Modern Essays"
series, Sarkissian’s photographs of rows of shelving
caught in time and racks of files that appear rarely
opened - of dark and oppressive spaces shot with
only the light available - express the complexity
of information these archives contain, and their
role in denying or confirming the artist’s inherited
history and existence within the present.

Math for Visual Arts is a collection of open-source slideshows mostly written in a textbook format using Google Slides so that it can be embedded into the Canvas (digital) version of our own courses. You may post the slideshows as is or edit them to your liking. A PDF version of each slideshow can be downloaded.

An open textbook created by Salt Lake Community College for ENG 101 and ENG 102 classes.

Open English @ SLCC is an evolving digital book created and maintained by English Department faculty at Salt Lake Community College. It exists to provide our faculty–over one hundred full- and part-time instructors–with robust, flexible, and locally produced open educational resources (OER) that can be used for teaching a variety of courses across our composition sequence.

This book is evolving and adaptive, offering a range of texts on rhetoric, writing and reading, all written by SLCC faculty with specific attention to the needs of SLCC students and the local conditions of our work and study at a large, multi-campus, increasingly diverse community college in Salt Lake City, Utah. Unlike a traditional textbook, the writing in this book invites remix, adaptation, and repurposing to match the specific needs of its users–SLCC writing students and instructors primarily–but also faculty and students at other schools, course designers, WPAS, and anyone else interested in open texts about writing, language and literacy.

Open English @ SLCC is a community-authored, community-focused text, one that invites conversation, change, addition, and repurposing over time in the interests of attuning itself to the needs of those who use it. To this end the book invites public digital annotation through Hypothesis, allowing readers to add notes, questions, observations and resources directly to the texts. This ethos of shared knowledge, creative reuse, and ongoing conversation is at the heart of the Open English @ SLCC project.

Risograph printing is a type of digital printing that uses heat to burn an image into a master. When the image is burned into the master it creates an opening that functions as an image carrier. It works similarly to screen printing where liquid ink is pushed through a mesh, or in this case a master, in the shape of the image being printed. RISO printers print using spot colors made from soy inks which allows for fun color combinations, overprinting, printing bright colors on colored paper, and more. However, RISO inks never fully dry so it is important to consider how much ink is used in a design and how much time is allowed for drying between print runs. Our MF9450 prints two colors in one pass, but addiitonal color combinatons can be achieved by running multiple passes on press.

This SALT Interpretation Pack has been designed as a resource for educators and students as they explore the themes of the ars viva 2010/11 “Laboratory” exhibition at SALT Beyoğlu in Istanbul, Turkey. Designed for use in high school classrooms, its contents include activities, multimedia resources, terminology and opportunities for discussion. Educators are encouraged to adapt, shape and build upon these materials to best meet the needs of their students and teaching curricula.

Since 1953, the ars viva prize for fine arts has been awarded by the Kulturkreis der deutschen Wirtschaft (Cultural Committee of German Business) to promising young artists based in Germany. Each year, the competition adopts a different search term that takes current tendencies in contemporary art into consideration. Previous themes have included Time, Mise en scène, and History, while the topic for 2010 is Laboratory. The entire selection process was therefore accompanied by questions concerning the practice of making art, with an emphasis on experimental forms and fields and on the importance of coincidence, accident, and error in the production of art.

SALT Beyoğlu’nda düzenlenen ars viva 2010/11 "Laboratuvar" sergisindeki temaları açıklayan bu Yorumlama Rehberi, eğitimciler ve lise öğrencileri için bir kaynakça olarak hazırlanmıştır. Eğitimcilerin, rehberin içeriğindeki aktiviteler, multimedya kaynakları, terminoloji ve tartışma olanaklarını öğrencilerinin ihtiyaçlarına en iyi cevap verecek şekilde düzenleyerek müfredatlarına uyarlamalarını öneririz.

Görsel sanatlarda ars viva (Yaşayan Sanat) ödülü, Kulturkreis der deutschen Wirtschaft tarafından Almanya’da yaşayan ve gelecek vaadeden genç sanatçılara, 1953’ten bu yana verilmekte. Güncel sanattaki eğilimler dikkate alınarak her yıl farklı
araştırma konuları belirleyen söz konusu ödülün, 2010 yılı için seçtiği tema “laboratuvar” oldu. Tüm seçim süreci sanat pratiğine dair sorular, özellikle de deneysel biçim ve alanlar, sanat üretiminde rastlantısal bir şekilde veya kazaen ortaya çıkanın önemi ve hata yapmanın yerine dair sorgulamalarla geçti.