ECONOMICS | |||||
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) | As a world citizen, she is aware of global economic, political, social and ecological developments and trends. | 2 |
2) | He/she is equipped to closely follow the technological progress required by global and local dynamics and to continue learning. | 2 |
3) | Absorbs basic economic principles and analysis methods and uses them to evaluate daily events. | 2 |
4) | Uses quantitative and statistical tools to identify economic problems, analyze them, and share their findings with relevant stakeholders. | 2 |
5) | Understands the decision-making stages of economic units under existing constraints and incentives, examines the interactions and possible future effects of these decisions. | 1 |
6) | Comprehends new ways of doing business using digital technologies. and new market structures. | 2 |
7) | Takes critical approach to economic and social problems and develops analytical solutions. | 1 |
8) | Has the necessary mathematical equipment to produce analytical solutions and use quantitative research methods. | 2 |
9) | In the works he/she contributes, observes individual and social welfare together and with an ethical perspective. | 2 |
10) | Deals with economic problems with an interdisciplinary approach and seeks solutions by making use of different disciplines. | 1 |
11) | Generates original and innovative ideas in the works she/he contributes as part of a team. | 2 |