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
Mode of Delivery -
Teaching Methods and Techniques of the Course Discussion
Group Work
Lecture / Presentation
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.
Learning Outcomes 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 Description 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.
Related Sustainable Development Goals

 



Course Category

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

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Required Materials
1 Introduction: Brief information about the art journey of humanity. The changing conditions which lay foundation for Modernism. Weston, R. (1996), Modernism, Phaidon Press, pp: 8-19, video on Industrial Revolution.
2 Last decades of 19th century. Impressionism, Post Impressionism, Symbolism, Art Nouveau Kleiner, Fred, et.al, (2004). Gardner’s Art Through the Ages. Thomson Wadsworth, pp. 919-930.
3 Cubism, Primitivism and Futurism Kleiner, Fred, et.al, (2004). Gardner’s Art Through the Ages. Thomson Wadsworth, pp. 959-967.
4 Expressionism, Fauvism Kleiner, Fred, et.al, (2004). Gardner’s Art Through the Ages. Thomson Wadsworth, pp. 919-930. Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag, pp. 415-459
5 Bauhaus, Constructivism Weston, R. (1996), Modernism, Phaidon Press, pp: 119-137; Shiner, L. (2001). The Invention of Art. Chicago, The University of Chicago Press. pp.246-268.
6 New Experiments: Dada, Suprematism, Neo-Plasticism Philips, S. (2018) isms: Understanding Modern Art, Herbert Press. Pp.52-56 Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag.
7 Surrealism Philips, S. (2018) isms: Understanding Modern Art, Herbert Press.pp.64-67 Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag.
8 Midterm
9 Realism: Social Realism, Kitchen Sink Realism Philips, S. (2018) isms: Understanding Modern Art, Herbert Press.
10 Abstract Expressionism. Philips, S. (2018) isms: Understanding Modern Art, Herbert Press. Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag.
11 Pop Art, Op Art, Conceptual Art Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag. Adorno, W.T., Culture Industry, Routledge Classics “The Schema of Mass Culture”
12 Post Modernism. Feminist Art. Broude, N., Garrard M. D., (1994) The Power of Feminist Art, Thames and Hudson, pp. 10-29.
13 Live Art: Installation, Performance and Dance Videos
14 Environmental art, Technological Art. Invitation to the Gallery pp.281-285
15 Review
16 FINAL EXAM
Course Notes/Textbooks

Adorno, W.T., Culture Industry, Routledge Classics.
Broude, N., Garrard M. D., (1994) The Power of Feminist Art, Thames and Hudson.
Kleiner, Fred, et.al, (2004). Gardner’s Art Through the Ages. Thomson Wadsworth. 
Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag.
Little, S. (2004), isms: Understanding Art, A&C Black Visual Arts. 
Lynton, N. (1994), The Story of Modern Art, Phaidon Press
Philips, S. (2018) isms: Understanding Modern Art, Herbert Press.
Phipps, R., Wink, R. (1987) Invitation to the Gallery, WCB.
Shiner, L. (2001). The Invention of Art. Chicago, The University of Chicago Press.
Weston, R. (1996), Modernism, Phaidon Press.

 
Suggested Readings/Materials

https://www.khanacademy.org/
https://www.tate.org.uk/visit/tate-modern
https://www.moma.org/
https://whitney.org/
https://www.artforum.com/
https://www.artnews.com/

 

EVALUATION SYSTEM

Semester Activities Number Weighting
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
1
10
Presentation / Jury
1
20
Project
Seminar / Workshop
Oral Exam
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
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
3
30
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
1
10
Presentation / Jury
1
10
Project
Seminar / Workshop
Oral Exam
Midterms
1
10
Final Exams
1
15
    Total
123

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

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

To be able master and use fundamental phenomenological and applied physical laws and applications,
2

To be able to identify the problems, analyze them and produce solutions based on scientific method,
3

To be able to collect necessary knowledge, able to model and self-improve in almost any area where physics is applicable and able to criticize and reestablish his/her developed models and solutions,
4

To be able to communicate his/her theoretical and technical knowledge both in detail to the experts and in a simple and understandable manner to the non-experts comfortably,
5

To be familiar with software used in area of physics extensively and able to actively use at least one of the advanced level programs in European Computer Usage License,
6

To be able to develop and apply projects in accordance with sensitivities of society and behave according to societies, scientific and ethical values in every stage of the project that he/she is part in,
7

To be able to evaluate every all stages effectively bestowed with universal knowledge and consciousness and has the necessary consciousness in the subject of quality governance,
8

To be able to master abstract ideas, to be able to connect with concreate events and carry out solutions, devising experiments and collecting data, to be able to analyze and comment the results,
9

To be able to refresh his/her gained knowledge and capabilities lifelong, have the consciousness to learn in his/her whole life,
10

To be able to conduct a study both solo and in a group, to be effective actively in every all stages of independent study, join in decision making stage, able to plan and conduct using time effectively.
11

To be able to collect data in the areas of Physics and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).
12

To be able to speak a second foreign at a medium level of fluency efficiently
13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise.

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