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 objective of this course is to emphasize a conceptual understanding of art movements in the 20th century.
Course Description The students who succeeded in this course;
  • Will be able to classify art movements from the 20th century
  • Will be able to define an art movement from the 20th century
  • Will be able to describe an art work from the 20th century
  • Will be able to discuss the artists from the 20th century
  • Will be able to compare different art works from the 20th century
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) Paul Cezanne, Paul Gauguin VİDEO/POST İMPRESSİONİSM
2 Revolution of the Color and Form: Neo-Impressionism. Symbolism (Henri Matisse, Georges Seurat, Vincent van Gogh, Paul Signac, Camille Pissarro, Gustave Moreau, Edward Munch). VIDEO/Henri Matisse, Vincent van Gogh - Geometrical illusion of reality: Cubism (Pablo Picasso, Georges Braque, Robert Delaunay etc.) VIDEO/ Pablo Picasso, Cubism 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, Jacop Epstein, Albert Speer etc.) VIDEO/futurism Laurie Schneider Adams, “Art Across Time”, Second Edition, (McGraw-Hill Education, 2010), p 896-901 Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994), p 86-96
4 Art ideal of Leninism: Constructivism (Natalya Goncharova, Vladimir Tatlin, El Lissitzky, Aleksandr Rodchenko, Dziga Vertov etc.) VİDEO/ Vladimir Tatlin Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994), p 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), p 268-270
5 Ecstasy or Chaos: Expressionism. Fauvism (Edvard Munch, Ernst Ludwing Kirchner, Francis Bacon , Paul Cezanne, Paul Gauguin, Oskar Kokoschka, 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), p 152-178 Nobert Wolf, “Expressionism”, (Taschen, 2004) ,p 1-14
6 Eclectic freedom to experiment: Dada (Ernst Ludwig Kirchner, John Heartfield, Gearge Grosz, Raul Hausmann, Hugo Ball, Jean Arp, Marcel Duchamp etc.) video/Dada Marc Aronson, “Art Attack: A Short Cultural History of the Avant-garde”, Clarion Books ( New York, 1998), p 62-70 Mary Anne Staniszewski, “Believing in Seeing. Creating the Culture of Art”, (Penguin Books, 1995), Chapter 8
7 Reconstructed Dreams: Surrealism (Giorgio De Chirico, Max Ernst, Joan Miro, Salvador Dali, Rene Magritte, Hans Bellmer, Kurt Seligman etc.) R. Hughes, “The Shock of The New. Art and The Century of Changes”, (Singapore: Thames &Hudson: 2009), p 165-211
8 Midterm
9 Theological side of Art: Abstraction (Mark Rothko, Kazimir Malevich, Vasily Kandınsky, Theo van Doesburg, Constantin Brancusi etc.) Abstract Expressionism (Jackson Pollock, Willem De Kooning, etc.) 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), p 503-505
10 Identifiable imagery: Pop Art (Andy Warhol, Richard Hamilton, Sigmar Polke, David Hockney 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), p 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 Materiality of the work: Minimalism (Frank Stella, Tony Smith etc.) Rejecting standard ideas of Art: Conceptual Art (Joseph Kosuth, Robert Rauschenberg, Walter de Maria 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), p 41-45
12 Review/ Presentation 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), p 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 Art and Gender: Feminist Art (Martha Rosler, Lynda Benglis, Judy Chicago, The Guerrilla Girls, Barbara Kruger 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), p 443-450 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
14 Live Art: Performance Art (Yves Klein, Yoko Ono, Joseph Beuys, Marina Abramovic etc.) Video/marina Abramovic • Michael Rush, “New Media in Late 20th Century Art”, World of Art, (Thames&Hudson: Singapore, 1999), p 7-36 • 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 Notes/Textbooks
  • David Cottington, “Modern Art. A Very Short Introduction” Oxford University Press, 2005, ISBN13 9780192803641;
  • Jullian Stallabrass, “Contemporary Art. A Very Short Introduction”, Oxford University Press, 1995, ISBN-13: 978-0192806468;
Suggested Readings/Materials
  • Odd Nerdrum, Kıtsch Üzerine, Çev. A. Feyzi Korur, Mitos-Boyut Sanat Dizisi 1, 2010, ISBN:  9789757785873;
  • Mary Anne Staniszewski, “Believing in Seeing. Creating the Culture of Art”, Penguin Books, 1995, ISBN 0140168249;
  • Edited by Uta Grosenick, “ART NOW”, Taschen, ISBN-13: 978-3822814444; 
  • Edward Lucie-Smith, “Sexuality in Western Art”, World of Art (Singapore: Thames&Hudson: 1993), ISBN-10: 9780500202524;
  • Whitney Chadwick, “Women, Art and Society”, World Of Art (Thames&Hudson: Singapore, 1997), ISBN-13: 978-0500204054;
  • Jo Anna Isaak, “Feminism&Contemporary Art”, Routledge: London and New York, 1996, ISBN-10: 0415080150;
  • Herbert Read, “Sanatın Anlamı”, Hayalperest Kitap 30, Sanat Kuramları, Özkaracan Matbacılık ve Ciltcilik San. Tic. Ltd. Şti., 2014, ISBN: 9786058502529;
  • Laurie Schneider Adams, “Art Across Time”, Second Edition, (McGraw-Hill Education, 2010), 887-895, ISBN-10: 0072449977;
  • 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), ISBN-10: 9780500292037;
  • Marc Aronson, “Art Attack: A Short Cultural History of the Avant-garde”, Clarion Books ( New York, 1998), ISBN: 9780395797297;
  • Norbert Lynton, “The Story Of Modern Art”, (PhaidonPress, 1994), ISBN:  9780714824222;
  • Edward Lucie- Smith, “Movements in Art Since 1945: issues and concepts”, Third edition, (Thames&Hudson: London, 1995, ISBN-10: 0500202826;
  • Nobert Wolf, “Expressionism”, (Taschen, 2004), ISBN: 9783822821268;
  • Eric Shanes, “Pop Art”, (Parkstone International, 2009), ISBN-13: 978-1844846191;
  • Edited by Hal Foster, “The Anti-Aesthetics. Essays on Postmodern Culture”, Fifth Edition (Bay Press:  Washington, 1987), ISBN-10: 1565847423;
  • 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, ISBN-10: 9780520052567
  • Michael Rush, “New Media in Late 20th Century Art”, World of Art, (Thames&Hudson: Singapore, 1999), 7-36, ISBN-13: 978-0500203781;
  • R. Hughes, “The Shock of The New. Art and The Century of Changes”, (Singapore: Thames &Hudson: 2009), 165-211, ISBN13:  9780500275825;

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
10
Presentation / Jury
1
20
Project
Seminar / Workshop
Oral Exams
Midterm
1
30
Final Exam
1
30
Total

Weighting of Semester Activities on the Final Grade
4
70
Weighting of End-of-Semester Activities on the Final Grade
1
30
Total

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Theoretical 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
Oral Exam
Midterms
1
10
Final Exam
1
15
    Total
113

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To have adequate knowledge in Mathematics, Science, Computer Science and Software Engineering; to be able to use theoretical and applied information in these areas on complex engineering problems.

2

To be able to identify, define, formulate, and solve complex Software Engineering problems; to be able to select and apply proper analysis and modeling methods for this purpose.

3

To be able to design, implement, verify, validate, document, measure and maintain a complex software system, process, or product under realistic constraints and conditions, in such a way as to meet the requirements; ability to apply modern methods for this purpose.

4

To be able to devise, select, and use modern techniques and tools needed for analysis and solution of complex problems in software engineering applications; to be able to use information technologies effectively.

5

To be able to design and conduct experiments, gather data, analyze and interpret results for investigating complex Software Engineering problems.

6

To be able to work effectively in Software Engineering disciplinary and multi-disciplinary teams; to be able to work individually.

7

To be able to communicate effectively in Turkish, both orally and in writing; to be able to author and comprehend written reports, to be able to prepare design and implementation reports, to be able to present effectively, to be able to give and receive clear and comprehensible instructions.

8

To have knowledge about global and social impact of engineering practices and software applications on health, environment, and safety; to have knowledge about contemporary issues as they pertain to engineering; to be aware of the legal ramifications of Engineering and Software Engineering solutions.

9

To be aware of ethical behavior, professional and ethical responsibility; to have knowledge about standards utilized in engineering applications.

10

To have knowledge about industrial practices such as project management, risk management, and change management; to have awareness of entrepreneurship and innovation; to have knowledge about sustainable development.

11

To be able to collect data in the area of Software Engineering, and to be able to communicate with colleagues in a foreign language.

12

To be able to speak a second foreign language at a medium level of fluency efficiently.

13

To recognize the need for lifelong learning; to be able to access information, to be able to stay current with developments in science and technology; to be able to relate the knowledge accumulated throughout the human history to Software Engineering.

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