COURSE SYLLABUS

NON-FIGURATIVE ART AND GEOMETRY

1	Course Title:	NON-FIGURATIVE ART AND GEOMETRY
2	Course Code:	RSM5120
3	Type of Course:	Optional
4	Level of Course:	Second Cycle
5	Year of Study:	1
6	Semester:	2
7	ECTS Credits Allocated:	4
8	Theoretical (hour/week):	2
9	Practice (hour/week) :	0
10	Laboratory (hour/week) :	0
11	Prerequisites:	None
12	Recommended optional programme components:	None
13	Language:	Turkish
14	Mode of Delivery:	Face to face
15	Course Coordinator:	Doç. Dr. Tolga Şenol
16	Course Lecturers:	Doç. Tolga ŞENOL
17	Contactinformation of the Course Coordinator:	0 224 2940897 tolgasenol@uludag.edu.tr Bursa Uludağ Üniversitesi, Güzel Sanatlar Fakültesi, Resim Bölümü, Görükle Kampüsü / BURSA
18	Website:
19	Objective of the Course:	To discuss the formation of abstract geometric expression, its content and the phases it went through in the context of art philosophy, and to analyze the work in the light of related publications.
20	Contribution of the Course to Professional Development	Have in-depth knowledge of abstract geometric art in terms of plastic and art philosophy. It analyzes related works of art and supports the production of original works.

Learning Outcomes:

1	It distinguishes abstract, abstraction and objective expression.;
2	Knows the formation, development and processes of abstract geometric expression.;
3	Discusses abstract geometric expression in the context of philosophy of art;
4	He/she correctly evaluates the variables that emerge in the context of Modern-Contemporary Art and establishes a cause-effect relationship. ;
5	Makes examples of artist-artwork related to the related expression.;
6	Examines works with abstract geometric expression in terms of form and content.;

22	Course Content:

Week	Theoretical	Practical
1	Abstract-abstraction-objective expression and beautiful-reality concept analysis and discussion
2	Examination of abstract-geometry concepts within the framework of the concepts of beauty and reality
3	Pre-modern abstract-geometric expression
4	Avant-garde in abstract art-P. Picasso; analytical cubism
5	W. Kandinsky; On Spirituality in Art
6	W. Kandinsky; Starting Plane
7	P. Mondrian; Neoplasticizm
8	K. Malevich; Objectless World
9	Abstract geometric painting overflowing from the surface P. Picasso V. Tatlin E. Lissitzky
10	J.R. Soto S. Preschoux S. Libensky
11	Abstract Geometric Expression in Contemporary Art; A. Reinhard
12	Fractal Art-Anamorphic geometric abstract expression
13	Examples from Turkish Artists using abstract geometric expression; İsmail Ateş-Adnan Çoker
14	Examples from Turkish Artists using abstract geometric expression; Devabil Kara- Utku Dervent

23	Textbooks, References and/or Other Materials:	AKYÜREK Melek (2017). Resmin Soyut ve Soyutlamadaki Yüzü: Yeni Plastisizm, The Journal of Academic Social Science Studies, Spring II, Number: 55, p. 209-224. FARTHING Stephen (2014). Sanatın Tüm Öyküsü, (2.Basım), Çev.: Gizem Aldoğan, Firdevs Candil Çulcu, İstanbul: Hayalperest Yayınevi. GOMBRICH E.H. (1999). Sanatın Öyküsü, (2.Basım), Çev. Erol Erduran, Ömer Erduran, İstanbul: Remzi Kitabevi LYNTON Norbert (2004). Modern Sanatın Öyküsü, (3.Baskı), Çev.: Cevat Çapan, Sadi Öziş, Çin: Remzi Kitabevi NAKOV Andrei (2000). “Siyah Kare: Düzlemin Araçsal Kavram Düzeyinde Olumlanması”, (Ed.Özge Açıkkol), Sanat Dünyamız, Üç Aylık Kültür ve Sanat Dergisi, sayı: 76, yaz. 173-194. NERET Gill (2003). Malevich, Köln: Taschen Basic Art. ÖZÜKAN Bülent (Ed.). (2010). Sanat Atlası, İstanbul: Boyut Yayıncılık. ŞENOL Tolga (2017) . Görmenin Morfolojisi: Soyut-Geometrik Olasılıklar ve Anamorfik Oluşumlar, Atatürk Üniversitesi Güzel Sanatlar Enstitüsü, Sanatta Yeterlik Tezi, Erzurum. THOMPSON Jon (2014). Modern Resim Nasıl Okunur, Çev.: Firdevs Candil Çulcu, İstanbul: Hayalperest Yayınevi. YILMAZ Evren (2009). Mondrian ve Maleviç’in Sanatında Metafizik ve Felsefi Arayışlar Sanatçı Metinleri Işığında Bir Değerlendirme, İstanbul Teknik Üniversitesi Sosyal Bilimler Enstitüsü, Doktora Tezi, İstanbul. YOLCU Enver (2009). Sanat Eğitimi Kuramları ve Yöntemleri, (2.Basım), Ankara: Nobel Yayınları. Annika, M. (2014), Ad Reinhardt: Mystic or Materialist, Priest or Proletarian?, Art Bulletin. December, Vol. 96 Issue 4, p463-484. 22p. DOI: 10.1080/00043079.2014.916566. Ataseven, O. (2017), Eleştiri Aracı Olarak Kavramsal Sanat ve Daniel Buren, SDÜ ART-E Güzel Sanatlar Fakültesi Sanat Dergisi, Aralık, Cilt:10 Sayı:20 ISSN 1308-2698, s. 518-536. Dervent Utku, “Her Resim Bir Oto Portredir”. Her Resim Bir Oto Portredir: Utku Dervent. Ed. Özlem İnay Erten. İstanbul: Bozlu Art Project, 2016. 8-11. Yeşiltaş, Selda. “Sanat ve Düşünce Dünyasına Saygı Duruşu Otoportre” Sarten World Magazine 14 ( 2017 Haziran 2017): 50-54. Genç, Adem Antropi ve Nedensizlik Açısından Dadacı Sanat Hareketlerinin Çözümlenmesine İlişkin Bir Yöntem Araştırması, Doktora Tezi. İzmir: Dokuz Eylül Üniversitesi,1983. Fineberg, J. (2014), 1940’tan Günümüze Sanat: Varlık Stratejileri, Çev.: Simber Atay Eskier, Göral Erinç Yılmaz, Karakalem Kitabevi Yayınları: İzmir. Frelik, E. (2014), Ad Reinhardt: Painter- as- Writer, American Art.28; University of Chicago Press, 104-125. Lynton, N. (1982), Modern Sanatın Öyküsü, Çev.: Cevat Çapan, Sadi Öziş, Remzi Kitabevi: Çin. Özükan, B. (Ed.), (2010), Sanat Atlası, Çev. Ayça Sabuncuoğlu, Begüm Kovulmaz, Esen Gür, Arda Savcı, Füsun Savcı, Boyut Yayıncılık: İstanbul. Reed, A. (2015), Ad Reinhardt’s “Black” Paintings A Matter of Time, Religion and the Arts 19, 214–229 Thompson, J. (2014), Modern Resim Nasıl Okunur Modern Ustaları Anlamak, Çev.: Firdevs Candil Çulcu, Hayalperest Yayınevi: İstanbul. Yılmaz, M. (2006), Modern Sanattan Post Moderne Sanat, Ütopya Yayınevi: Ankara. İnternet Kaynakça https://www.moma.org/collection/works/78976 E.T.10.09.2018 https://hyperallergic.com/98063/how-to-look-at-ad-reinhardts-cartoons/ E.T. 29.08.2018 https://lamodern.com/2016/08/the-artists-artist-ad-reinhardt-black-painting-goes-to-auction/E.T. 31.08.2018 http://www.carolineb.fr/category/aires-geographiques/2000-amerique-du-nord/ 27.08.2018 http://johndanversart.co.uk/buddhist-ideas-practice/buddhism-and-art/ E.T.12.08.2018 https://tr.khanacademy.org/humanities/art-1010/abstract-exp-nyschool/new-york school/v/moma -painting-technique-reinhardt E.T.10.08.2018 Hosmer, Katie (2012). (https://mymodernmet.com/sebastien-preschoux-optical-disorder-string-installations/),onMay30. Gallard,Jean(2017). jean.gallard@widewalls.ch https://www.izlesene.com/video/iplik-sanati/75
24	Assesment

TERM LEARNING ACTIVITIES	NUMBER	PERCENT
Midterm Exam	0	0
Quiz	0	0
Homeworks, Performances	0	0
Final Exam	1	100
Total	1	100
Contribution of Term (Year) Learning Activities to Success Grade		0
Contribution of Final Exam to Success Grade		100
Total		100
Measurement and Evaluation Techniques Used in the Course	Homework, Classic Written Exam
Information	An absolute or relative evaluation is made according to the number of students taking the course.

ECTS / WORK LOAD TABLE

Activites	NUMBER	TIME [Hour]	Total WorkLoad [Hour]
Theoretical	14	2	28
Practicals/Labs	0	0	0
Self Study and Preparation	1	14	14
Homeworks, Performances	0	15	30
Projects	0	0	0
Field Studies	0	0	0
Midtermexams	0	0	0
Others	0	0	0
Final Exams	1	48	48
Total WorkLoad			120
Total workload/ 30 hr			4
ECTS Credit of the Course			4

CONTRIBUTION OF LEARNING OUTCOMES TO PROGRAMME QUALIFICATIONS

	PQ1	PQ2	PQ3	PQ4	PQ5	PQ6	PQ7	PQ8	PQ9	PQ10	PQ11	PQ12
LO1	5	4	3	3	2	4	2	2	2	1	2	2
LO2	5	2	2	4	5	4	4	2	4	4	2	5
LO3	5	4	4	4	4	4	3	4	3	4	2	4
LO4	5	4	4	4	4	4	3	4	3	4	3	5
LO5	5	2	1	1	1	1	1	1	1	1	1	4
LO6	5	4	3	4	3	4	2	2	2	4	2	4

LO: Learning Objectives

PQ: Program Qualifications

Contribution Level:

1 Very Low

2 Low

3 Medium

4 High

5 Very High