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 520)
2022 Spring
Faculty of Arts and Social Sciences
History of Art(HART)
3
10
Ahu Antmen Akiska ahuantmen@sabanciuniv.edu,
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English
Doctoral, Master
--
Formal lecture,Interactive lecture
Interactive,Communicative,Discussion based learning,Task based learning,Guided discovery
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| Programs\Type | Required | Core Elective | Area Elective |
| Computer Science and Engineering - With Master's Degree | * | ||
| Leaders for Industry Biological Sciences and Bioengineering - Non Thesis | * | ||
| Leaders for Industry Industrial Engineering - Non Thesis | * | ||
| Leaders for Industry Materials Science and Engineering - Non Thesis | * | ||
| Leaders for Industry Mechatronics Engineering - Non Thesis | * | ||
| Visual Arts and Visual Communications Design - Non Thesis | * | ||
| Visual Arts and Visual Communications Design - With Thesis | * |
CONTENT
LEARNING OUTCOMES
PROGRAMME OUTCOMES
1. Develop and deepen the current and advanced knowledge in the field with original thought and/or research and come up with innovative definitions based on Master's degree qualifications
2. Conceive the interdisciplinary interaction which the field is related with ; come up with original solutions by using knowledge requiring proficiency on analysis, synthesis and assessment of new and complex ideas.
3. Evaluate and use new information within the field in a systematic approach.
4. Develop an innovative knowledge, method, design and/or practice or adapt an already known knowledge, method, design and/or practice to another field; research, conceive, design, adapt and implement an original subject.
5. Critical analysis, synthesis and evaluation of new and complex ideas.
6. Gain advanced level skills in the use of research methods in the field of study.
7. Contribute the progression in the field by producing an innovative idea, skill, design and/or practice or by adapting an already known idea, skill, design, and/or practice to a different field independently.
8. Broaden the borders of the knowledge in the field by producing or interpreting an original work or publishing at least one scientific paper in the field in national and/or international refereed journals.
9. Demonstrate leadership in contexts requiring innovative and interdisciplinary problem solving.
10. Develop new ideas and methods in the field by using high level mental processes such as creative and critical thinking, problem solving and decision making.
11. Investigate and improve social connections and their conducting norms and manage the actions to change them when necessary.
12. Defend original views when exchanging ideas in the field with professionals and communicate effectively by showing competence in the field.
13. Ability to communicate and discuss orally, in written and visually with peers by using a foreign language at least at a level of European Language Portfolio C1 General Level.
14. Contribute to the transition of the community to an information society and its sustainability process by introducing scientific, technological, social or cultural improvements.
15. Demonstrate functional interaction by using strategic decision making processes in solving problems encountered in the field.
16. Contribute to the solution finding process regarding social, scientific, cultural and ethical problems in the field and support the development of these values.
1. Develop the ability to use critical, analytical, and reflective thinking and reasoning
2. Reflect on social and ethical responsibilities in his/her professional life.
3. Gain experience and confidence in the dissemination of project/research outputs
4. Work responsibly and creatively as an individual or as a member or leader of a team and in multidisciplinary environments.
5. Communicate effectively by oral, written, graphical and technological means and have competency in English.
6. Independently reach and acquire information, and develop appreciation of the need for continuously learning and updating.
1. Show a practical and technical command of materials and methods in one or more media of the visual arts.
2. Demonstrate knowledge of representational processes using visual as well as audial material as mediums of representation.
3. Show working knowledge of the process of transforming abstract/textual concepts into concrete, audio/visual forms.
4. 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.
1. Show a practical and technical command of materials and methods in one or more media of the visual arts.
2. Demonstrate knowledge of representational processes using visual as well as audial material as mediums of representation.
3. Show working knowledge of the process of transforming abstract/textual concepts into concrete, audio/visual forms.
4. 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.
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. 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. |