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Week
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Topics
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Study Metarials
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1
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Graffiti and Street Art
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R1. Brighenti, A. M. (2016). Graffiti, Street Art and the Divergent Synthesis of Place Valorisation. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 158-167). Routledge, New York.
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2
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Murals and Museums
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R1. Brighenti, A. M. (2016). Graffiti, Street Art and the Divergent Synthesis of Place Valorisation. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 158-167). Routledge, New York.
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3
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Graffiti art and the city
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R1. Brighenti, A. M. (2016). Graffiti, Street Art and the Divergent Synthesis of Place Valorisation. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 158-167). Routledge, New York.
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4
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Urban Graffiti and the Politics of Criminality
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R2. Evans, G. (2016). Graffiti art and the city: from piece-making to place-making. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 168-182). Routledge, London.
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5
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Graffiti in Antiquity
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R2. Evans, G. (2016). Graffiti art and the city: from piece-making to place-making. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 168-182). Routledge, London.
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6
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Street Art
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R2. Evans, G. (2016). Graffiti art and the city: from piece-making to place-making. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 168-182). Routledge, London.
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7
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The Graffiti Subculture
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R3. Phillips, S. A. (2016). Deconstructing gang graffiti. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 48-60). Routledge, London.
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8
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Political Graffiti
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R3. Phillips, S. A. (2016). Deconstructing gang graffiti. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 48-60). Routledge, London.
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9
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Deconstructing gang graffiti
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R3. Phillips, S. A. (2016). Deconstructing gang graffiti. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 48-60). Routledge, London.
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10
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Painting Without Permission
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R3. Phillips, S. A. (2016). Deconstructing gang graffiti. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 48-60). Routledge, London.
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11
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Street Art in the World
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R4. Wells, M. M. (2016). Graffiti, street art, and the evolution of the art market. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 464-474). Routledge, New York.
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12
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Ornament and Order
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R4. Wells, M. M. (2016). Graffiti, street art, and the evolution of the art market. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 464-474). Routledge, New York.
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13
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Walls That Speak
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R4. Wells, M. M. (2016). Graffiti, street art, and the evolution of the art market. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 464-474). Routledge, New York.
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14
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Graffiti and the art market
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R4. Wells, M. M. (2016). Graffiti, street art, and the evolution of the art market. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 464-474). Routledge, New York.
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Prerequisites
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-
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Language of Instruction
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Turkish
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Responsible
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Assist. Prof. Emre Şen
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Instructors
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-
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Assistants
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-
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Resources
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R1. Brighenti, A. M. (2016). Graffiti, street art and the divergent synthesis of place valorisation. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 158-167). Routledge, New York.
R2. Evans, G. (2016). Graffiti art and the city: from piece-making to place-making. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 168-182). Routledge, London.
R3. Phillips, S. A. (2016). Deconstructing gang graffiti. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 48-60). Routledge, London.
R4. Wells, M. M. (2016). Graffiti, street art, and the evolution of the art market. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 464-474). Routledge, New York.
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Supplementary Book
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-
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Goals
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To develop individual aptitudes and to paint on a surface with a unique style based on contemporary art
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Content
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To recognize the wall painting history, to examine the examples, to design a picture on a wall, to color and to perform as a practical on the wall is the content of this course.
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Program Learning Outcomes |
Level of Contribution |
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1
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The student gets acquainted with the basic concepts and problems of art and painting art.
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-
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2
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The student has general information about the historical process of the painting art.
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2
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3
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The student is acquainted with the methods, techniques and tools of the painting art and applies them.
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4
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4
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The student analyses and compares paintings of different historical periods in the light of different artistic concepts.
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4
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5
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The student has the critical culture to follow the artistic problems and innovations of her/his age.
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-
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6
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The student develops professionally artistic and cultural projects.
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-
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7
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The student has the skill of performing interdisciplinary studies.
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2
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8
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The student has the study discipline, communion and responsibility of the workshop environment.
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-
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9
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The student gets acquainted with the professional ethics and applies it.
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-
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10
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The student makes a connection between the work of art and life, and applies it.
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5
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11
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The student presents and shares her/his artistic, cultural and intellectual opinions by means of modern mediums.
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2
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12
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The student has the awareness of life-long learning and the skill of applying it.
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4
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13
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The student designs and applies unique works of art.
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4
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14
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The student has the application knowledge to share and display her/his designs.
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-
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15
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The student has the skills of conducting research regarding her/his field, reaching the resource, and interpreting assessing and using the knowledge.
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-
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