| EUROPEAN UNION RELATIONS | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| POV4411 | Topics in History of Art | Fall | 2 | 2 | 3 | 5 |
| This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
| Language of instruction: | English |
| Type of course: | Non-Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Instructor DENİZ EYÜCE ŞANSAL |
| Recommended Optional Program Components: | None |
| Course Objectives: | This history of art course will explore topics in the history and theory of art in a range of pictorial and spatial arts across different geographies since the invention of photography and in relation to subsequent developments of the moving image technologies of film and video. It will assess the relations between traditions of art and these new image-making technologies, as well as exploring a range of other factors in the shifts and alterations in the practices and theories of art since the mid-19th century, but it will concentrate on the recent emergence of different types of work with or in relation to cameras. |
|
The students who have succeeded in this course; 1. Recognize work made by artists in relation to a series of modern art movements 2. Assess alternative modes of understanding and assessing this tradition of modern art 3. Recognize debates about the status of the photographic, filmic and video image in relation to operative definitions of art 4. Recognize different modes of modernism in the visual arts and differentiate particular works in relation to these. 5. Identify and assess different modes of the breakdown of progressivist accounts of modern art 6. Identify and assess the emergence of work associated with generic innovation in the visual arts, including happenings, performance, installation and intervention 7. Identify and differentiate different accounts of the postmodern in the visual arts 8. Critically differentiate the effects, aims and achievements of recent camera or other work in the gallery or elsewhere 9. Respond to the innovations in modern and postmodern art in the preparation of camera assignments |
| Students can expect to become familiar with accounts of modern art as a series of movements including realism, impressionism, cubism, surrealism, abstract expressionism, conceptualism and minimalism, as well as accounts which stress other factors and modes of analysis. Work using photography, film and video will be introduced alongside more traditional genres and media of art. Critical arguments about the value and purpose of art, in particular accounts of modernism and postmodernism will be outlined. These will be tested by and through the critical investigation of recent art, its meanings and effects. Students will be encouraged to ask critical questions about the relations between art, traditions, institutions and knowledge and to propose work that interests them for analysis. Work by Turkish artists will be introduced where appropriate. There will be three camera assignments set in relation to the arguments and ideas of the course. |
| Week | Subject | Related Preparation |
| 1) | Introduction - Art and its institutions: Academies, salons, museums, galleries. | |
| 2) | From Realism to Surrealism. | Reading: Gombrich, E.H. ‘Permanent Revolution: The nineteenth century’, ‘In Search of New Standards: The late nineteenth century’, and ‘Experimental Art: The first half of the twentieth century’, The Story of Art, 499-555 and 557-97. |
| 3) | Modern art movements: advantages and disadvantages of ‘-isms.’ Assignment I. | Reading: Richard R. Brettel, ‘Realism to Surrealism’, 11-47. |
| 4) | Photography, art and modern visual culture. | Brettel, ‘Photography’, 74-8; ‘Representation, Vision, and “Reality”: the Art of Seeing’, 83-103; and ‘Fragmentation, dislocation and recombination’, 120-3. |
| 5) | Post-war art and modernisms: Abstract Expressionism, Neo-Dada and Pop. | Reading: Gombrich, E.H. ‘A Story Without End: The triumph of Modernism’, 599-626 and Hopkins, D. ‘The Politics of Modernism: Abstract Expressionism and the European Informel’, ‘Duchamp’s Legacy: The Rauschenberg-Johns Axis’ and ‘The Artist in Crisis: From Bacon to Beuys’, 5-34, 37-93. |
| 6) | Minimalism, Conceptualism, performance and the uses of video. | Hopkins, ‘Modernism in Retreat: Minimalist Aesthetics and Beyond’ and ‘The Death of the Object: The Move to Conceptualism’, 131-95. |
| 7) | Revision and assignment evaluation. | Working on the assignments. |
| 8) | Assignment 2 | Working on the assignments. |
| 9) | Postmodernisms, hybrid genres and cultures. | Reading: Hopkins, ‘Postmodernism: Theory and Practice in the 1980s’ and ‘Into the 1990s’, 197-245. |
| 10) | Issues in recent art-I: the photographic image, objectivity, memory, history. | Campany, D. ‘Survey’, Art and Photography, 11-45; works from Art and Photography, 46-87. |
| 11) | Issues in recent art-II: the photographic image, the body and identity and the everyday. | Reading: Works from Art and Photography, 88-133. |
| 12) | Issues in recent art-III: studio images, reproduction and simulation, nature as culture. | Reading: Works from Art and Photography, 134-205. |
| 13) | Issues in recent art-IV: the moving image in the gallery-spectacle, appropriation, intimacy, temporality. | Newman, M. ‘Moving Image in the Gallery since the 1990s’, Film and Video Art, 86-121. |
| 14) | Assignment 3 | Working on the assignments. |
| Course Notes / Textbooks: | GOMBRICH, E.H. (1995). The Story of Art. 16th edition, London: Phaidon. [relevant chapters] |
| References: | 1. BRETTEL, Richard R. (1999). Modern Art. 1851-1929. Oxford: Oxford University Press. [extracts] 2. CAMPANY, David. (2003). Art and Photography. London: Phaidon. 3. COMER, Stuart (ed.). (2009). Film and Video Art. London: Tate Gallery. 4. HOPKINS, David. (2000). After Modern Art. 1945-2000. Oxford: Oxford University Press. 5. www.artarchive.com & The Heilbrunn Timeline of Art History (by the Metropolitan Museum of Art, New York)www.metmuseum.org/toah. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Homework Assignments | 3 | % 30 |
| Midterms | 1 | % 20 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 13 | 4 | 52 |
| Homework Assignments | 3 | 8 | 24 |
| Midterms | 1 | 1 | 1 |
| Final | 1 | 1 | 1 |
| Total Workload | 120 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | To be able to examine, interpret data and assess ideas with the scientific methods in the area of EU studies. | 2 |
| 2) | To be able to inform authorities and institutions in the area of EU studies, to be able to transfer ideas and proposals supported by quantitative and qualitative data about the problems. | 2 |
| 3) | To be introduced to and to get involved in other disciplines that EU studies are strongly related with (political science, international relations, law, economics, sociology, etc.) and to be able to conduct multi-disciplinary research and analysis on European politics. | 3 |
| 4) | To be able to evaluate current news on European Union and Turkey-EU relations and identify, analyze current issues relating to the EU’s politics and policies. | 2 |
| 5) | To be able to use English in written and oral communication in general and in the field of EU studies in particular. | 1 |
| 6) | To have ethical, social and scientific values throughout the processes of collecting, interpreting, disseminating and implementing data related to EU studies. | 1 |
| 7) | To be able to assess the historical development, functioning of the institutions and decision-making system and common policies of the European Union throughout its economic and political integration in a supranational framework. | 2 |
| 8) | To be able to evaluate the current legal, financial and institutional changes that the EU is going through. | 2 |
| 9) | To explain the dynamics of enlargement processes of the EU by identifying the main actors and institutions involved and compare previous enlargement processes and accession process of Turkey. | 2 |
| 10) | To be able to analyze the influence of the EU on political, social and economic system of Turkey. | 2 |
| 11) | To acquire insight in EU project culture and to build up project preparation skills in line with EU format and develop the ability to work in groups and cooperate with peers. | 2 |
| 12) | To be able to recognize theories and concepts used by the discipline of international relations and relate them to the historical development of the EU as a unique post-War political project. | 3 |