GEAR 213 | Course Introduction and Application Information

Course Name
Art Movements and Artists of the 20th Century
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
GEAR 213
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Service Course
Course Level
First Cycle
Course Coordinator
Course Lecturer(s)
Assistant(s) -
Course Objectives The course emphasizes a conceptual understanding of art history concepts in the 20th century. Students are expected to develop essential skills of visual and contextual perception. By analyzing selected works of art from different years and diverse artists, students will develop an understanding of global artistic traditions.
Learning Outcomes The students who succeeded in this course;
  • Classify the major artistic movements from the 20th century of art history
  • Describe an art work
  • Discuss an art work and artist
  • Describe all styles of artistic movements from the 20th century of art history
  • Compare different artists and their works from the same artistic movements
Course Content Students will be able to identify different art movements, will gain basic understanding of each work’s possible concept, significance and style and will be able to examine selected art works from the 20th century.

 



Course Category

Core Courses
Major Area Courses
Supportive Courses
Media and Management Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Introduction. Short introduction to the last decades of art (Impressionism and Post-Impressionism) Mary Anne Staniszewski, “Believing in Seeing. Creating the Culture of Art”, (Penguin Books, 1995), Chapter 2, Chapter 3 Debra J. DeWitte, Ralph M. Larman, M. Kathryn Shields, “Gateways To Art. Understanding the Visual Arts”, Thames&Hudson, (C&C Offset Printing Ltd.: China, 2012), 415-420
2 Revolution of the Color and Form (Henri Matisse). Geometrical illusion of reality: Cubism (Pablo Picasso, Georges Braque, Robert Delaunay, Gabon Mahongwe etc.) Herschel Browning Chipp, Peter Selz, Joshua Charles Taylor,“Theories of Modern Art: A Source Book by Artists and Critics”, University of California Press, (Berkeley and Los Angeles, 1968), Chapter 4 Laurie Schneider Adams, “Art Across Time”, Second Edition, (McGraw-Hill Education, 2010), 887-895; Mary Anne Staniszewski, “Believing in Seeing. Creating the Culture of Art”, (Penguin Books, 1995), Chapter 9
3 La Caffeina dell’ Europa: Futurism (Filippo Tommaso Marinetti, Umberto Boccioni, Giacomo Balla, Kazimir Malevich, Jacop Epstein, Marcel Duchamp, Albert Speer etc.) Laurie Schneider Adams, “Art Across Time”, Second Edition, (McGraw-Hill Education, 2010), 896-901; Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994) 86-96
4 Art ideal of Leninism: Constructivism (Natalya Goncharova, Vladimir Tatlin, El Lissitzky, Aleksandr Rodchenko, Dziga Vertov etc.) Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994) 96-122 Debra J. DeWitte, Ralph M. Larman, M. Kathryn Shields, “Gateways To Art. Understanding the Visual Arts”, Thames&Hudson, (C&C Offset Printing Ltd.: China, 2012), 268-270
5 Ecstasy or Chaos: Expressionism. Fauvism (Paula Modersohn-Becker, Paul Cezanne, Paul Gauguin, Oskar Kokoschka, Vasily Kandınsky, Ernst Ludwing Kirchner etc.) Herschel Browning Chipp, Peter Selz, Joshua Charles Taylor,“Theories of Modern Art: A Source Book by Artists and Critics”, University of California Press, (Berkeley and Los Angeles, 1968), 152-178; Nobert Wolf, “Expressionism”, (Taschen, 2004), 1-14
6 Eclectic freedom to experiment: Dada (Ernst Ludwig Kirchner, John Heartfield, Gearge Grosz, Raul Hausmann, Hugo Ball, Jean Arp, Marcel Duchamp etc.) Marc Aronson, “Art Attack: A Short Cultural History of the Avant-garde”, Clarion Books ( New York, 1998), 62-70; Mary Anne Staniszewski, “Believing in Seeing. Creating the Culture of Art”, (Penguin Books, 1995), Chapter 8
7 Par excellence: Art of Utopia (Louis Sullivan, Max Berg, Bruno Taut, Walter Gropius, Gerrit Rietveld, Piet Mondrian etc.) R. Hughes, “The Shock of The New. Art and The Century of Changes”, (Singapore: Thames &Hudson: 2009), 165-211.
8 Midterm
9 Reconstructed Dreams: Surrealism (Giorgio De Chirico, Max Ernst, Joan Miro, Salvador Dali, Rene Magritte, Hans Bellmer, Kurt Seligman etc.) Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994) Edward Lucie- Smith, “Movements in Art Since 1945: issues and concepts”, Third edition, (Thames&Hudson: London, 1995, Chapter 2 Debra J. DeWitte, Ralph M. Larman, M. Kathryn Shields, “Gateways To Art. Understanding the Visual Arts”, Thames&Hudson, (C&C Offset Printing Ltd.: China, 2012), 503-505
10 Theological side of Art: Abstraction (Mark Rothko, Kazimir Malevich, Theo van Doesburg, Constantin Brancusi etc.) Abstract Expressionism (Jackson Pollock, Willem De Kooning, Francis Bacon etc.) Debra J. DeWitte, Ralph M. Larman, M. Kathryn Shields, “Gateways To Art. Understanding the Visual Arts”, Thames&Hudson, (C&C Offset Printing Ltd.: China, 2012), 438-440 Edward Lucie- Smith, “Movements in Art Since 1945: issues and concepts”, Third edition, (Thames&Hudson: London, 1995, Chapter 2 Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994) Chapter 7
11 Identifiable imagery: Pop Art (Andy Warhol, Richard Hamilton, Sigmar Polke, David Hockney etc.) Edward Lucie- Smith, “Movements in Art Since 1945: issues and concepts”, Third edition, (Thames&Hudson: London, 1995, Chapter 5 Eric Shanes, “Pop Art”, (Parkstone International, 2009), 41-45
12 Materility of the work: Minimalism (Frank Stella, Tony Smith etc.) Rejecting standard ideas of Art: Conceptual Art (Joseph Kosuth, Robert Rauschenberg, Walter de Maria etc.) Debra J. DeWitte, Ralph M. Larman, M. Kathryn Shields, “Gateways To Art. Understanding the Visual Arts”, Thames&Hudson, (C&C Offset Printing Ltd.: China, 2012), 441-443 Edward Lucie- Smith, “Movements in Art Since 1945: issues and concepts”, Third edition, (Thames&Hudson: London, 1995, Chapter 7
13 Identity and multiculturalism: Postmodernism Debra J. DeWitte, Ralph M. Larman, M. Kathryn Shields, “Gateways To Art. Understanding the Visual Arts”, Thames&Hudson, (C&C Offset Printing Ltd.: China, 2012), 443-450 Edited by Hal Foster, “The Anti-Aesthetics. Essays on Postmodern Culture”, Fifth Edition (Bay Press: Washington, 1987)
14 Live Art: Performance Art (Yves Klein, Yoko Ono, Joseph Beuys, Marina Abramovic etc.) Art and Gender: Feminist Art (Martha Rosler, Lynda Benglis, Judy Chicago, The Guerrilla Girls, Barbara Kruger etc.) “New Media in Late 20th Century Art”, World of Art, (Thames&Hudson: Singapore, 1999), 7-36 Edward Lucie-Smith, “Sexuality in Western Art”, World of Art (Singapore: Thames&Hudson: 1993), Chapter 7, Chapter 15; Whitney Chadwick, “Women, Art and Society”, World Of Art (Thames&Hudson: Singapore, 1997) Chapter 9-13; Edward Lucie- Smith, “Movements in Art Since 1945: issues and concepts”, Third edition, (Thames&Hudson: London, 1995, Chapter 5
15 Review of the semester
16 Final Exam

 

Course Textbooks

David Cottington, “Modern Art. A Very Short Introduction” Oxford University Press, 2005; Jullian Stallabrass, “Contemporary Art. A Very Short Introduction”, Oxford University Press, 1995

References

Odd Nerdrum, Kıtsch Üzerine, Çev. A. Feyzi Korur, Mitos-Boyut Sanat Dizisi 1, 2010; Mary Anne Staniszewski, “Believing in Seeing. Creating the Culture of Art”, Penguin Books, 1995; Edited by Uta Grosenick, “ART NOW”, Taschen;  Edward Lucie-Smith, “Sexuality in Western Art”, World of Art (Singapore: Thames&Hudson: 1993), Whitney Chadwick, “Women, Art and Society”, World Of Art (Thames&Hudson: Singapore, 1997); Jo Anna Isaak, “Feminism&Contemporary Art”, Routledge: London and New York, 1996;

Herbert Read, “Sanatın Anlamı”, Hayalperest Kitap 30, Sanat Kuramları, Özkaracan Matbacılık ve Ciltcilik San. Tic. Ltd. Şti., 2014; Debra J. DeWitte, Ralph M. Larman, M. Kathryn Shields, “Gateways To Art. Understanding the Visual Arts”, Thames&Hudson, (C&C Offset Printing Ltd.: China, 2012), Marc Aronson, “Art Attack: A Short Cultural History of the Avant-garde”, Clarion Books ( New York, 1998), Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994); Edward Lucie- Smith, “Movements in Art Since 1945: issues and concepts”, Third edition, (Thames&Hudson: London, 1995; Nobert Wolf, “Expressionism”, (Taschen, 2004); Eric Shanes, “Pop Art”, (Parkstone International, 2009);

Edited by Hal Foster, “The Anti-Aesthetics. Essays on Postmodern Culture”, Fifth Edition (Bay Press:  Washington, 1987).

 

EVALUATION SYSTEM

Semester Requirements Number Percentage
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
10
Presentation / Jury
1
20
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
1
30
Final / Oral Exam
1
30
Total

Contribution of Semester Work to Final Grade
4
70
Contribution of Final Work to Final Grade
1
30
Total

ECTS / WORKLOAD TABLE

Activities Number Duration (Hours) Workload
Course Hours
Including exam week: 16 x total hours
16
3
48
Laboratory / Application Hours
Including exam week: 16 x total hours
16
Study Hours Out of Class
10
2
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
10
Presentation / Jury
1
10
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
1
10
Final / Oral Exam
1
12
    Total
110

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Qualifications / Outcomes
* Level of Contribution
1
2
3
4
5
1 To be able to scientifically examine concepts and ideas in the field of sociology; to be able to interpret and evaluate data.
2 To be able to define classical and contemporary theories in sociology; to be able to identify the differences and similarities among those theories and to be able to evaluate them.
3 To be able to critically use the knowledge acquired in the field of sociology
4 To be able to plan and conduct, individually or as a member of a team, an entire sociological research process with the knowledge of methodological requirements of the field.
5 To be able to identify and evaluate local, regional and global issues and problems.
6 To be able to share their ideas and solutions supplemented by qualitative and quantitative data in written and oral forms.
7 To be able to make use of other disciplines related to sociology and to have core knowledge related to those disciplines.
8 To be able to follow developments in sociology and to be able to communicate with international colleagues in a foreign language. (“European Language Portfolio Global Scale,” Level B1)
9 To be able to use computer software required by the discipline and to possess advancedlevel computing and IT skills. (“European Computer Driving Licence”, Advanced Level)
10 To be able to use a second foreign language at the intermediate level.
11 To have social and scholarly values and ethical principles during the collection and interpretation of data for implementation, publication, dissemination, and maintenance
12 To acquire life long learning abilities that will enable the socially responsible application of knowledge based on their field of study to their professional and everyday lives.

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest