This course is an introduction to works by women artists that practice(d) in the field of visual arts, in the 19th and 20th centuries. It covers art historical areas from Realism, Symbolism, Impressionism to Expressionism, Dada, Surrealism, Abstract Expressionism, Pop Art & Feminist Art of the 1960's onwards. It focuses on women artists whose fame had/has already been established during their own life times. This course aims to provide students with an understanding of visual and cultural aspects of modern and postmodern art approached through the study of women's works. It also gives them an insight into the conditions of art practice for women before and at the start of the feminist art movement.
Women Artists (HART 320)
2022 Spring
Faculty of Arts and Social Sciences
History of Art(HART)
3
6
Ahu Antmen Akiska ahuantmen@sabanciuniv.edu,
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English
Undergraduate
HUM202 HUM212
Formal lecture,Interactive lecture
Interactive,Communicative,Discussion based learning,Project based learning,Task based learning,Guided discovery
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| Programs\Type | Required | Core Elective | Area Elective |
| Art Theory and Criticism Minor | * | ||
| Gender and Women's Studies (Previous Name: Gender Studies) Minor | * | ||
| Visual Arts and Visual Communications Design | * | ||
| Visual Arts and Visual Communications Design | * |
CONTENT
OBJECTIVE
LEARNING OUTCOMES
- Upon completion of this course, students should be able to: --Identify the key developments of 20th century art, set against political, social, and technological developments but through the analysis of women artists' works. --Identify key differences between modern and postmodern art. --Gain an insight into the conditions of art practice for women before and at the start of the feminist art movement. --Analyze the basic art issues but also the multiplicity of cultural, social and political issues that can inform the making and thus the reading of a painting, sculpture or architecture.
PROGRAMME OUTCOMES
1. Understand the world, their country, their society, as well as themselves and have awareness of ethical problems, social rights, values and responsibility to the self and to others. 1
2. Understand different disciplines from natural and social sciences to mathematics and art, and develop interdisciplinary approaches in thinking and practice. 2
3. Think critically, follow innovations and developments in science and technology, demonstrate personal and organizational entrepreneurship and engage in life-long learning in various subjects; have the ability to continue to educate him/herself. 1
4. Communicate effectively in Turkish and English by oral, written, graphical and technological means. 3
5. Take individual and team responsibility, function effectively and respectively as an individual and a member or a leader of a team; and have the skills to work effectively in multi-disciplinary teams. 1
1. Demonstrate safe working habits and a general understanding of materials and processes in the visual arts. 3
2. Demonstrate knowledge of representational processes using visual as well as audial material as mediums of representation. 1
3. Show working knowledge of the process of transforming abstract/textual concepts into concrete, audio/visual forms. 1
4. Appreciate and express the cultural significance of art and understand its evolution and purposes. 5
5. Develop an awareness of compositional and organizational strategies for the effective deployment of formal elements of visual art. 5
6. Read visual texts with a deep knowledge of art history and theory and the ability of situating the content and form of the visual representation both in a historical and thematic context. 5
7. Employ necessary background knowledge regarding art administration in the body of museums and galleries. 3
8. Show a practical and technical command of materials and methods in one or more media of the visual arts. 1
Update Date:
ASSESSMENT METHODS and CRITERIA
| Percentage (%) | |
| Final | 40 |
| Assignment | 20 |
| Participation | 20 |
| Presentation | 20 |
RECOMENDED or REQUIRED READINGS
| Readings |
Whitney Chadwick, “Art History and the Woman Artist”, Women, Art and Society (Thames&Hudson, 1996): 17-42. Gil Perry, “Introduction”, Gender and Art History (Yale University Press, 1999): 8-33. Simone de Beauvoir, “Introduction”, The Second Sex (Vintage Books Edition, 1989) John Berger, Ways of Seeing (London: Penguin Books, 1972). Linda Nochlin, “Why Have There Been No Great Women Artists?”, The Feminism and Visual Culture Reader (Routledge, 2003): 229-234. Nanette Salomon, “The Art Historical Canon: Sins of Omission”, The Art of Art History: A Critical Anthology, ed. D. Preziosi (Oxford University Press, 1998): 344-369. Sarah Hyde, Exhibiting Gender (Manchester University Press, 1997). Tracy X. Karrner, “Gender and Evaluation in Fine Art”, Mid-American Review of Sociology , WINTER 1991, Vol. 15, No. 1, pp. 53-69 Isabelle Bernier, “In the Shadow of Contemporary Art”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 41-43. Norma Broude, “The Gendering of Impressionism”, Reclaiming Female Agency-Feminist Art History after Postmodernism, ed. N. Broude-M. Garrard (University of California Press, 2005): 217-235. Carol Duncan, “The Modern Art Museum-It’s a Man’s World”, Civilizing Rituals: Inside Public Art Museums (Routledge, 1995): 102-133. Shulamith Firestone, “(Male) Culture”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 13-17. Valerie Jaudon-Joyce Kozloff, “Art Hysterical Notions of Progress and Culture”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 168-178. Griselda Pollock, “Modernity and the Spaces of Femininity”, Vision and Difference (Routledge, 1988): 50-90. Tamar Garb, “L’Art Féminin: The Formation of a Critical Category in Late Nineteenth Century France”, The Expanding Discourse, ed. N. Broude-M. Garrard (Icon Editions, 1992): 207-229. Judy Chicago-Miriam Schapiro, “Female Imagery”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 13-17. Judy Chicago, “Woman as Artist”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 294-295 Silvia Bovenschen, “Is There a Feminist Aesthetic?” Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 298-308. Judith Barry-Sandy Flitterman Lewis, “Textual Strategies: The Politics of Art Making”, Marjorie Kramer, “Some Thoughts on Feminist Art”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 292-293. Lucy Lippard, “Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s”, Art Journal, Fall/Winter, 1980, 362-365. Craig Owens, “The Discourse of Others: Feminism and Postmodernism”, The Expanding Discourse, ed. N. Broude-M. Garrard (Icon Editions, 1992): 487-503. Amelia Jones, “Post-feminism”: A Remasculanization of Culture?”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 496-507. Judith Williamson, “Images of Woman: The Photography of Cindy Sherman”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 453-459. Mary Kelly-Paul Smith, “No Essential Femininity”, The Art of Art History: A Critical Anthology, ed. D. Preziosi (Oxford University Press, 1998): 370-382. bell hooks, “Women Artists: The Creative Process”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 635-640. Trinh T. Minh-Ha, “Difference: A Special Third World Women Issue”, The Feminism and Visual Culture Reader, ed. A. Jones (Routledge, 2003): 151-175. Adrian Piper, “The Triple Negation of Colored Women Artists”, The Feminism and Visual Culture Reader, ed. A. Jones (Routledge, 2003): 239-248. Coco Fusco, “We Wear the Mask”, Feminism, Art, Theory (Oxford: Blackwell Publishing, 2001): 430-433. Maura Reilly, “Curating Transnational Feminisms”, Feminist Studies, March 2010, 156-173. Harmony Hammond, “Lesbian Artists”, The Feminism and Visual Culture Reader, ed. A. Jones (Routledge, 2003): 128-129. Harmony Hammond, “Against Cultural Amnesia”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 555-561. Buseje Bailey, “I Don’t Have to Expose My Genitalia”, Feminism, Art, Theory, ed. Hilary Robinson (Blackwell, 2001): 584-587. Monique Wittig, “The Straight Mind”, The Feminism and Visual Culture Reader, ed. A. Jones (Routledge, 2003): 130-135. The Guerilla Girls, “Introduction”, The Feminism and Visual Culture Reader, ed. A. Jones (Routledge, 2003): 348-353. Amy Mullin, “Feminist Art and the Political Imagination”, Hypatia, Vol. 18, no 4, Fall 2003, 189-213. Suzi Gablik, “Beyond the Rectangle, Out of the Frame-Art as Compassionate Action”, The Reenchantment of Art (Thames&Hudson, 1991): 115-131. |