| Week |
Subject |
Related Preparation |
| 1) |
Introduction Course
This course will examine the aesthetic, theoretical and conceptual transformations that took place in the art world between 1959-2000, and explain how art interacts with social, political and cultural contexts. How art developed new forms of expression during this process will be evaluated through the methods used by artists and the works they produced. Transition from Modernism to Postmodernism: The changes that art went through in the post-World War II period will be examined, and the emergence processes of movements such as abstract expressionism, minimalism and conceptual art will be explained. The focus of art on individual expression, form and color relationships since the late 1950s will be analyzed, but how artists re-questioned the relationship between object, process and concept from the mid-1960s will be evaluated. In this context, how movements such as New Realism, Happenings, Performance Art, Video Art and Land Art took shape will be examined. Art and Society: How art interacted with political issues since the 1970s and the critical approaches developed by artists through body, identity and media representations in this process will be explained. The rise of feminist discourses in art, the interaction between the artist and the audience, and the role of art in the public sphere will be discussed. The relationship between video art, installation art, and photography-based art and media and technology will be discussed, and how art differs from traditional exhibition forms will be evaluated. Digitalization and Globalization The globalization of art since the 1980s and the impact of new media technologies on art production will be explained. Postmodern art will be defined, and conceptual, interdisciplinary, and interactive art forms developed by artists will be analyzed. How art adapted to the digitalization process in the 1990s will be evaluated, and how identity politics, memory, and consumer culture are addressed in art will be discussed. In this introductory course, it will be explained how transformations in art history are intertwined not only in their formal but also in their conceptual, technological, and social dimensions, and the basic approaches to be followed throughout the course will be summarized. |
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| 2) |
1945-1952
(Abstraction, Experimental Forms and Concepts)
This week examines the abstract, experimental and conceptual trends of post-World War II art, examining the beginnings of modernist aesthetics and new media practices. The development of movements such as abstract expressionism, Art Brut, Fauvism, Spazialism and early conceptual art are evaluated within the political, cultural and technological context of the period. Works such as Barnett Newman’s “Onement I” (1948), Mark Rothko’s “No. 10” (1950) and Willem de Kooning’s “Woman I” (1950-52) demonstrate Abstract Expressionism’s emphasis on individual expression and spontaneous gesture, while figurative works such as Francis Bacon’s “Head VI” (1949) show how traumatic human representations were translated into visual language. Jean Dubuffet’s “Corps de Dame” (1950) is considered within the context of the Art Brut movement, while Lucio Fontana’s “Concetto Spaziale, Attese” (1950) radically demonstrates the inclusion of space into art through the physical perforation of the surface. Robert Rauschenberg’s “White Painting” (1951) and John Cage’s “4’33” (1952) silent performance, as early examples of conceptual art, open up discussions of a new understanding of art that focuses on the context rather than the content of the art object. During this period, art’s relationship with media, graphics and typography also gains importance; Saul Bass’s “The Man with the Golden Arm” (1955, film poster) and Paul Rand’s “IBM Logo” (1956, first version) demonstrate how graphic design evolved in the process of integrating with art. In the discussion section of the course, the tension between traditional techniques and modernist experiments will be analyzed by considering how artists transformed art practice with new materials and forms of expression. |
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| 3) |
1953-1960
(Performance, Video Art and Media Aesthetics)
This week examines the emergence of performance art, conceptual art, Op Art, Kinetic Art and Happenings movements by addressing the relationship between art and the body, space and technology. Works such as Yves Klein’s “Monochrome Blue IKB 3” (1957), Ellsworth Kelly’s “Spectrum I” (1953) and Josef Albers’ “Homage to the Square: With Rays” (1959) demonstrate how color theory is addressed in the context of minimalist and conceptual art, while Op Art works such as Bridget Riley’s “Kiss” (1959) and Victor Vasarely’s “Zèbres” (1950) open up discussions of how optical illusions manipulate visual perception. Jean Tinguely’s “Méta-matic No. 17” (1959) and Alexander Calder’s “Black Widow” (1959) kinetic artworks demonstrate how art integrates movement, technology, and spatial perception, while Wolf Vostell’s “Transmigration” (1958) and Allan Kaprow’s “18 Happenings in 6 Parts” (1959) performances illustrate the Happening movement, in which art is conceptualized as an experience. Nam June Paik’s “Zen for Film” (1960, early experimental phase) is discussed as a precursor to video art, and the use of media as an artistic tool is discussed. The concept of abstract art that developed in Turkey during the same period will be evaluated through works such as Fahrelnissa Zeid's "My Hell" (1951), Burhan Doğançay's "Blue Symphony" (1959) and Özer Kabas's "Composition" (1958) and their connections with global art movements will be examined. Within the scope of the course, the mediatization process of art, pre-digital experimental art practices and the rise of performance as a form of artistic expression will be analyzed and how art broke away from traditional exhibition forms and transformed into experiences that directly interact with the audience will be discussed. |
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| 4) |
1959-1965
The new trends that emerged in the art world between 1959-1965 will be examined in relation to the aesthetic, social and political dynamics of the period. The artistic and theoretical frameworks of movements such as Minimalism, Conceptual Art, New Realism, Lyrical Abstraction, Neo-Concretism, Happenings, Kinetic Art, Pop Art, Abstract and Figurative Expressionism, Feminist Performance Art, Body Art and Experimental Cinema will be discussed. Frank Stella's Die Fahne Hoch! (1959) and Ad Reinhardt's Abstract Painting (1960) reveal the structural simplicity and understanding of form in the early painting practice of Minimalism, while Donald Judd's Untitled (1963), Dan Flavin's The Diagonal of May 25, 1963 (1963) and Agnes Martin's Untitled #5 (1963) will be analyzed in the context of Minimalism's relationship with space and light. Piero Manzoni’s Artist’s Breath (1960) and Hans Haacke’s Condensation Cube (1963) will show how Conceptual Art redefined the relationship between object, process and meaning. Daniel Spoerri’s Tableaux-Pièges (1960) and Niki de Saint Phalle’s Shooting Picture (1961) will be analyzed within the framework of Neorealism’s relationship with everyday objects and art practice, while Bernd & Hilla Becher’s Water Towers (1960) series will be evaluated in terms of Conceptual Photography. Lygia Clark’s Bichos (1960) sculpture series will be discussed in the context of Neo-Concretism and Conceptual Sculpture, while Mark Tobey’s White Journey (1960) will be considered within the tradition of Lyrical Abstraction. Allan Kaprow's Yard (1961) and Wolf Vostell's Sun in Your Head (1963) will be evaluated in terms of Happenings and early Video Art, while Hermann Nitsch's performance Orgy Mystery Theater (1962) will be interpreted in the context of Actionist art's relationship with the body, ritual, and violence. Jean Tinguely's Study for an End of the World No. 2 (1962) and David Medalla's Cloud Canyons (1964) will be discussed in terms of Kinetic Art's aesthetic relationship with concepts of dynamism and the machine. Claes Oldenburg's Floor Cake (1962), Richard Hamilton's Interior II (1964), and Andy Warhol's Marilyn Diptych (1962) will question Pop Art's relationship with consumer culture and media imagery, while Giorgio de Chirico's The Disquieting Muses (1962) will be examined from the perspective of Surrealism and Metaphysical Art. Fahrelnissa Zeid’s My Hell II (1962), one of the important representatives of Abstract Expressionism in Turkey, will be analyzed in relation to international abstract art movements; Jean Fautrier’s Tête d’otage (1962) and Francis Bacon’s Three Studies for a Crucifixion (1962) will be analyzed within the framework of the relationship of Abstract and Figurative Expressionism with the human body, emotion, and historical narratives. Robert Morris’ Untitled (L-Beams) (1965) will be evaluated within the context of Minimalism’s new approaches to spatial perception and use of materials; Carolee Schneemann’s Meat Joy (1964) and Yoko Ono’s Cut Piece (1964) will be examined in terms of Feminist Performance Art. Finally, Stan Brakhage’s Mothlight (1963) will be discussed within the context of the innovative narrative language it developed regarding the use of light, nature, and materials within the framework of Experimental Cinema. In this context, an in-depth evaluation will be made on how art transformed and how new forms of expression developed between 1959 and 1965. |
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| 5) |
1965-1970
This week, new forms of expression in contemporary art will be examined through works produced between 1965-1970 and representing the conceptual, political and formal transformation of art. Various movements such as Minimalism, Conceptual Art, Post-Minimalism, Land Art, Kinetic Art, Photorealism, Feminist Performance Art, Video Art, Political Art and Op Art will be discussed in the context of the works of the artists of the period. Joseph Beuys' performance How to Explain Pictures to a Dead Hare (1965) will be examined in the context of Conceptual Art and mystical narratives, while George Rickey's Two Lines Up Excentric (1965) will be evaluated in the context of Kinetic Art. Özer Kabas's Abstract Composition (1965) and Özdemir Altan's Abstract Composition (1968), which are among the representatives of abstract art in Turkey, will be analyzed in their relations with international abstract art movements. Jean Fautrier’s Tête d’otage (1965) will demonstrate how Abstract Expressionism merges with figurative and political narrative, while Erol Akyavaş’s Sacred Books (1966) will be evaluated as one of the early examples of Conceptual Art in Turkey. Ed Ruscha’s Standard Station (1966) and Every Building on the Sunset Strip (1966) will be examined in terms of the understanding of Conceptual Photography, while Carl Andre’s Equivalent VIII (1966) will demonstrate how Minimalism transformed the understanding of objects and materials. On Kawara’s Date Paintings (1966) and John Baldessari’s Cremation Project (1970) will be analyzed in terms of the relationships art establishes with temporality and memory. While Richard Long's A Line Made by Walking (1967) and Michael Heizer's Double Negative (1969) demonstrate how Land Art reconstructs the relationship between space, nature, and art, Yaacov Agam's Double Metamorphosis III (1967) and Victor Vasarely's Vega-Nor (1969) will be discussed within the axis of Kinetic Art and Op Art. Richard Estes's Telephone Booths (1967) and Chuck Close's Big Self-Portrait (1968) will be analyzed in the context of Photorealism, Eduardo Paolozzi's Bunk! (1967), David Hockney's A Bigger Splash (1967), and Öyvind Fahlström's Ade-Ledic-Nander II (1967) will be evaluated within the framework of Pop Art's relationship with visual culture. While Hélio Oiticica’s Tropicália (1967) reveals the points where Neo-Concretism and Conceptual Art meet, Martha Rosler’s photo montage series House Beautiful: Bringing the War Home (1967) will be discussed in terms of the critical relationship that political and feminist art established with the media images of the period. Sarkis’s Black and White Squares (1967) will be considered as one of the pioneering examples of Conceptual Art in Turkey, while Mel Bochner’s Measurement Room (1968) will be evaluated in terms of Conceptual Art practices that question spatial perception. Valie Export’s performance Tapp und Tastkino (1968) will be examined within the scope of Feminist Performance Art, while Marcel Broodthaers’ Museum of Modern Art, Department of Eagles (1968) and Gilbert & George’s Singing Sculpture (1968) will be analyzed in the context of Conceptual Art’s relationship with the museum, art object and performance. While Eva Hesse's Accession II (1968) and Richard Serra's One Ton Prop (House of Cards) (1969) will be analyzed in the context of Post-Minimalism, Vito Acconci's Following Piece (1969) and Santiago Sierra's Person Paid to Remain Inside a Box (1969) will be discussed in the context of Performance Art's relationship with the audience, the body and socio-political structures. |
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| 6) |
1970s
While Bruce Nauman’s performance Walking in an Exaggerated Manner Around the Perimeter of a Square (1969) will be discussed in the context of the antecedents of Video Art, Bill Viola’s Studies for The Reflecting Pool (1969) will be evaluated within the development process of video art. Luis Camnitzer’s Uruguayan Torture Series (1970) and Cildo Meireles’ Insertions into Ideological Circuits (1970) will be analyzed in terms of the relationship between Political Conceptual Art and media, communication, and critical thought, while Robert Smithson’s Spiral Jetty (1970) and Dennis Oppenheim’s Reading Position for Second Degree Burn (1970) will be discussed in terms of the relationship between Land Art and the temporality of art, nature, and the body. Finally, Füsun Onur’s Şey (1970) will be analyzed to show how Conceptual Art transformed the relationship between space and object in Turkey. In this context, the transformation of art between 1965-1970 will be comprehensively addressed through the use of materials, conceptual frameworks and interdisciplinary interactions. This week, New Media Art, Video Art, Performance Art, Conceptual Art, Political Art, Photography-Based Art and contemporary art practices in Turkey will be comprehensively addressed through works produced between 1970-1973. The transformations that art went through during this period will be analyzed within the framework of the integration of media technologies into art, the use of the body as a means of artistic expression and the critical power of conceptual art. Focusing on 1970, Nam June Paik & Charlotte Moorman's work TV Cello reveals how video art merges with its musical and performative aspects, while Dan Graham's work Present Continuous Past(s) will be evaluated as a spatial experience developed on the perception of time. Chris Burden’s performance Shoot will be discussed as an example of pushing the physical boundaries of art, while Vito Acconci’s performance Trademarks will be discussed in terms of how the body is used as the content of art. Füsun Onur’s work Limitlessness will reveal the relationship between conceptual art and space and object in Turkey, while Luis Camnitzer’s work Uruguayan Torture Series will reveal how political art combines visuality and critical discourse. Robert Smithson’s work Spiral Jetty will question the new forms of relationship land art establishes with nature, while Dennis Oppenheim’s performance Reading Position for Second Degree Burn will be analyzed in terms of examining the body’s fragility against time and nature. |
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| 7) |
mid-term exam |
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| 8) |
1970s
By 1971, art began to address socio-political issues more directly. Hans Haacke’s Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System critiques property relations and urban policies through art, while Gina Pane’s performance The Conditioning will be examined in terms of its exploration of the body’s relationship with its boundaries. Nil Yalter’s video work The Headless Woman or the Belly Dance will be evaluated as an early example of feminist art in Turkey, while Mierle Laderman Ukeles’ text Maintenance Art Manifesto will be discussed in terms of how it developed a new discourse at the intersection of labor, women, and art. Joseph Beuys’ performance I Like America and America Likes Me demonstrates how the artist communicates his mystical and social critiques through the body, while Sarkis’ work Surfaces will demonstrate how conceptual art developed material and spatial research in Turkey. The year 1972 will be discussed as a period when video art rose and spatial experiences came to the fore. Bill Viola’s video work Information will be analyzed as an early example of the digitalization of art, while Bruce Nauman’s Corridor Installation will be analyzed as an experience that questions the effect of space on the body. Marina Abramović’s performance Rhythm 10 will be evaluated in terms of the artist’s pushing of her bodily boundaries, while Burhan Doğançay’s photographic work Blue Walls of New York will be discussed in the context of the visual relationship that artists in Turkey establish with the city and surfaces. Joseph Kosuth’s conceptual artwork One and Three Chairs will be analyzed in terms of how it questions the relationship between representation and reality, while Dara Birnbaum’s video work Attack Piece will be analyzed in terms of how it reveals how media representations are manipulated. Dan Graham’s Homes for America will examine the impact of conceptual art on documentary and visual language, while Erol Akyavaş’s Mysticism Series will be discussed in terms of how conceptual art in Turkey was enriched with mystical and cultural references. The year 1973 will be evaluated as a period when video art, political art and conceptual art intertwined. Martha Rosler’s video Semiotics of the Kitchen will analyze how media and art are addressed in the context of gender, while Peter Campus’ Three Transitions will show how video technology creates new layers in artistic experiences. Allan Sekula’s Aerospace Folktales will address the relationship between photography and political art, Adrian Piper’s Mythic Being Series will address the relationship between identity and art, and Cildo Meireles’ Zero Dollar will show how the capitalist system is critiqued through the art object. Dennis Oppenheim’s performance Parallel Stress will be analyzed in terms of how it addresses the body’s relationship with spatial tensions. Finally, Şirin Devrim’s work titled Performing Arts and Conceptual Illustrations will reveal how the intersections of performing arts and conceptual art in Turkey are brought together. In this course, the digitalization of art between 1970 and 1973, the rise of video art, the critical discourse of political art, the effects of performance art on the body, and the relationship between art production in Turkey and the global art scene will be comprehensively addressed. |
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| 9) |
1970s
Between 1974 and 1980, art underwent a transformation through media, performance, conceptual approaches and spatial perception. During this process, video art, feminist art, conceptual art, new media, spatial art and light art diversified the forms of expression in art. Art productions in Turkey will also be discussed together with this global transformation. The year 1974 stands out with the rise of video and performance art. Nam June Paik’s work TV Buddha examines the relationship between video art and East-West philosophy, while Chris Burden’s performance Trans-Fixed reveals the use of the body as a political and aesthetic tool. Vito Acconci’s work Seedbed examines the direct interaction of conceptual art with the viewer, while Sarkis’ work Icons and Possibilities shows how conceptual art in Turkey transformed the relationship between surface and form. Marina Abramović’s performance Rhythm 5 is evaluated in terms of bodily experimentation and ritualistic elements, while Ana Mendieta’s performance Silueta Series addresses the relationship between the body and nature. Jenny Holzer’s text-based conceptual art approach Truisms opens up the relationship between public space and art, while Canan Tolon’s work Architectural Drawings and Spatial Interpretations demonstrates the reconstruction of the perception of space in Turkey through art. Joan Jonas’s video performance Mirage addresses how the body and time are reconstructed in video art, while Christian Boltanski’s work Inventaire questions the relationship between identity and memory. The year 1975 draws attention with the development of spatial art and video art. Gordon Matta-Clark’s work Splitting examines how conceptual art transforms its relationship with space through architectural interventions, while Richard Serra’s video performance Boomerang opens up the relationship between language, space and the body. Bruce Conner’s video piece Crossroads offers a critique of the aestheticization of nuclear explosions, while Ömer Uluç’s Renk Hareketleri will be examined in terms of examining the dynamics of abstract art in Turkey. Sophie Calle’s Suite Vénitienne demonstrates how photography-based conceptual art questions the subject-observation relationship. The year 1976 will be evaluated as a period when feminist art expanded its theoretical and artistic perspectives. Mary Kelly’s Post-Partum Document addresses the concepts of motherhood and femininity from a feminist perspective, while Dara Birnbaum’s video piece Technology/Transformation: Wonder Woman includes a feminist critique of popular media representations. Shigeko Kubota’s Video Haiku reveals the poetic and experimental aspects of video art, while İlhan Koman’s Fluid Sculpture will be analyzed as one of the important examples of kinetic art in Turkey. In this course, how art transformed through media, performance, space and conceptual approaches between 1974 and 1980 will be examined, and the social and cultural contexts of the artistic production styles that developed in this process will be evaluated. |
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| 10) |
1970s
The year 1977 demonstrates how performance and video art developed in terms of space, audience and visuality. Dan Graham’s work Performer/Audience/Mirror demonstrates how the relationship between audience and artist transformed, while Barbara Kruger’s Your Gaze Hits the Side of My Face will be analyzed in the context of feminist art and visual culture criticism. 1978 will be considered as a period when light, photography and video arts merged. James Turrell’s work Afrum (White) offers a new perspective on space and light perception, while Bill Viola’s work Reflecting Pool will be evaluated in terms of how video art evolved as a new form of expression. Cindy Sherman’s series Untitled Film Stills will be discussed as an important study that reveals how feminist art critiques gender roles through photography. 1979 will be examined as a year when new media art and political art increased their influence. Lynn Hershman Leeson’s Lorna explores the interaction of new media art with the viewer, while Peter Weibel’s video work Endless Sandwich will show how media language is deciphered through art. Sonia Sheridan’s Generative Systems contributes to the digitalization of art, while Ant Farm’s Media Burn, a political and media art study, will be examined in the context of television culture and media criticism. Finally, the year 1980 will be evaluated in terms of how art intertwines with television, media, and new communication tools. Nam June Paik’s television art work Good Morning, Mr. Orwell will be discussed as an important example of the elimination of boundaries between media and art. Laurie Anderson’s sound, performance, and video art work O Superman reveals that art has become multidisciplinary, while Nancy Holt’s Sun Tunnels will be analyzed in terms of the relationship between land art and new media technologies. Tina Keane's video work Shadow of a Journey will be used to demonstrate how feminist art merges with video, while Cevdet Erek's Sound and Space Performances will be used to demonstrate how new media art has transformed the perception of space and time in Turkey. This course will comprehensively analyze how art evolved between 1974 and 1980 through video, new media, performance, space, light, and conceptual approaches. The works will be examined in terms of the relationships art establishes with media, technology, and social criticism, and the new connections and interactive experiences the artist establishes with the audience will be discussed in detail. |
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| 11) |
1980s
This week, the innovative trends, works and artists that emerged in the art world between 1980-1987 will be discussed in the context of their works. It will examine how various movements such as Neo-Expressionism, Conceptual Art, Photo-Based Art, Installation Art, Minimalism, Graffiti Art, Pop Art, Feminist Art and Public Art interacted with the social, political and aesthetic dynamics of the period. 1980-1983: This period is characterized by conceptual art’s shift towards text-based works, feminist art’s merging with media and photography, and Neo-Expressionism’s return to emotional and figurative narratives. Cindy Sherman’s Untitled Film Still #58 (1980) and Sophie Calle’s The Hotel (1981) will be evaluated as important examples of feminist art that question identity and perspective. Barbara Kruger’s Untitled (Your Gaze Hits the Side of My Face) (1980) and Jenny Holzer’s Truisms (1980) will be analyzed in terms of strategies to create a psychological effect on the viewer, while Bruce Nauman’s video work Clown Torture (1980) will be analyzed in terms of strategies to create a psychological effect on the viewer. The rise of Neo-Expressionism will be evaluated through Jean-Michel Basquiat’s Untitled (Head) (1980), Julian Schnabel’s St. Francis in Ecstasy (1981), David Salle’s Sextant in Dogtown (1981) and Eric Fischl’s Bad Boy (1982). These artists developed a style that combined historical and mythological references with contemporary imagery while returning to figurative narrative. Keith Haring’s Radiant Baby (1981) will be analyzed in terms of how pop art and graffiti art became widespread in the public sphere. Juan Muñoz’s sculpture Many Times (1983) will be evaluated in the context of figurative space construction. 1984-1987: During this period, artists developed new narrative forms by addressing individual and social identity issues, media images, and concepts of historical memory. Robert Mapplethorpe’s photographic works Ken Moody and Robert Sherman (1984) and Nan Goldin’s The Ballad of Sexual Dependency (1986) will be analyzed in the context of body representation, gender, and identity politics. Louise Bourgeois’s sculptures Spider (1983) and Arch of Hysteria (1986) will reveal how feminist art deepens with psychoanalytic and bodily references. Barbara Kruger’s I Shop Therefore I Am (1985) and Jenny Holzer’s Survival Series (1984) will be examined to examine critical approaches to capitalism and consumer culture from a conceptual art perspective. |
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| 12) |
Towards the 1990s
The years 1980-1987 were a period in which art, social and political contexts deepened, and photography, installation and conceptual art developed new forms of expression. Richard Serra’s Tilted Arc (1982) and Torqued Ellipses (1987) will be analyzed in terms of the relationship between sculpture and the public space and the audience. Felix Gonzalez-Torres’ installation Untitled (Perfect Lovers) (1987) will be discussed within the framework of time and identity themes, while Sophie Calle’s photography-based conceptual art The Shadow (1987) will be examined in terms of subject and surveillance practices. Francesco Clemente’s Alba (1980) and Self-Portrait (1985) and Luc Tuymans’ Gaskamer (1986) will be discussed in the context of abstraction and historical image production in painting. During this period, photography gained power as a critical tool in the art world, and installation and conceptual art developed new forms of expression. Glenn Ligon’s Untitled (I Am a Man) (1988) will be examined as a text-based painting that addresses African-American identity and historical references, while Cindy Sherman’s Untitled #209 (1988) will offer a critical reading of the media’s representation of the female body. Christopher Wool’s Apocalypse Now (1988) will show how language and text create new layers of meaning in painting. The year 1989 is marked by the rise of Neo-Pop and conceptual photography. Richard Prince’s Untitled (Cowboy) (1989) will show how advertising and popular culture imagery are reproduced within art, while Jeff Koons’s sculpture Michael Jackson and Bubbles (1989) will open up discussion of how celebrity culture is intertwined with art. Rachel Whiteread’s Ghost (1989) will be analyzed in terms of representing the memory of interior spaces through sculpture, while Ann Hamilton’s installation Privation and Excesses (1989) will be analyzed within the framework of the relationship between body and memory. In the 1990s, the influence of the Young British Artists (YBA) movement became evident, and sculpture, photography and video art came to the fore. Damien Hirst’s A Thousand Years (1990) and The Physical Impossibility of Death in the Mind of Someone Living (1991) will be examined within the framework of life and death themes. Christian Boltanski’s installation Reserve (1991) will show how he made visible the themes of memory, loss and identity through art. The year 1992 was marked by the rise of participatory art. Rirkrit Tiravanija's Untitled (Free) (1992) demonstrates how art can be transformed through interaction with the viewer, while Jenny Saville's painting Propped (1992) will be evaluated in the context of feminist art. Gillian Wearing's photographic series Signs that Say What You Want Them to Say… (1992) questions individual identity and social perception, while Wolfgang Tillmans's Lutz & Alex Sitting in the Trees (1992) will be examined in the context of queer identity and youth culture. |
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| 13) |
1990s and 2000s
1993-1997: Identity, history and media representations became the main themes of the artists during this period. Steve McQueen’s video work Bear (1993) questions the perception of the body and movement, while Andreas Gursky’s photograph Paris, Montparnasse (1993) addresses modern urban life from an artistic perspective. William Kentridge’s animated film Felix in Exile (1993) presents a narrative of memory in post-apartheid South Africa. 1994 was a period in which feminist art and critical studies on the representation of race came to the fore. Marlene Dumas’ work The Painter (1994) questions the position of the female body in art history, while Kara Walker’s silhouette installation Gone: An Historical Romance… (1994) reinterprets representations of race in American history. Gillian Wearing’s video work Dancing in Peckham (1994) explores the tension between individual and public space. The intersection of video art, installation and conceptual art came to the fore between 1995 and 1997. Matthew Barney’s video series Cremaster 1 (1995) explores the relationship between the body, mythology and biology, while Ai Weiwei’s performance photograph Dropping a Han Dynasty Urn (1995) opens up discussions about historical legacy and the destructiveness of art. Bill Viola’s video work The Greeting (1995) reinterprets the iconography of art history in a contemporary narrative language, while Tacita Dean’s Disappearance at Sea (1996) explores the relationship between loss and memory. Takashi Murakami’s 727 (1996) demonstrates the connection between the Japanese Superflat movement and popular culture. The influence of new media and digital art increased between 1997 and 1999. Yayoi Kusama’s installation Infinity Mirror Room (1997) addresses the relationship between perception and space, while Thomas Demand’s photograph Bathroom (1997) questions the relationship between hyper-realistic images and art. Olafur Eliasson’s Green River (1997) blurs the boundaries between nature and art, while Rachel Whiteread’s Monument (1998) makes architectural voids the subject of art. Maurizio Cattelan’s sculpture La Nona Ora (1998) satirically comments on the relationship between art and religion. The year 2000 is a period when art addresses the relationship between global capitalism, labor and space. Santiago Sierra's Workers Who Cannot Be Paid, Remunerated to Remain Inside Cardboard Boxes (2000) explores themes of migration, labor, and invisibility, while Sarah Sze's installation Everything That Rises Must Converge (2000) demonstrates how spatial perception is reproduced through art. This course will analyze how art interacted with identity, history, media, politics, and space between 1988 and 2000. |
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| 14) |
final exam |
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| 15) |
final exam |
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