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PAINTING
two RESEARCH PAPER
Painting
one Paper option
Instructions
· Select
one of the following case histories to discuss. Be sure that you
expand your thoughts to address both sides of an issue.
· Expected length: minimum 750 words
· Insert any images that pertain to your paper.
Attach a bibliography documenting your research. Use correct
bibliographical forms, including those for the internet.
· North
Lake College: MLA Format Online Source Citation samples http://www.northlakecollege.edu/nlcl/PDFs/citations.pdf
· Style Sheets for Citing Internet & Electronic Resources
http://www.lib.berkeley.edu/TeachingLib/Guides/Internet/Style.html
Please note:
· Please
be specific while still using efficient language skills.
· Please use your best academic writing.
· Organize your thoughts carefully.
· Do not use first person.
· Remember that works of art are underlined or appear in
italics.
· Our college does provide help through its Writing
Center
· Plagiarism is not acceptable: All quotes must be properly
punctuated and documented. (DCCCD Student Code of Conduct: http://www.dcccd.edu/cat0102/ss/conduct.htm
.)
· All papers must be typewritten and double-spaced.
Internet
Use Note:
The internet
can be rich resource for research IF the student uses a discernment
to locate legitimate sources. Do not be tempted to "cut and
paste" information into your paper. Use your own words. Our
NLC library has on-line data bases that may help in the search for
scholarly information.
To Turn In:
Email to cfulmer@dcccd.edu
by midnight on the due date. It is best to paste the text of your
paper into the email itself as well as attaching the document.
Choose one of these topics:
First Choice
Part One:
"Contemporary artist Sherrie Levine is part of a group of artists
know as "image appropriators," so called because members
tend to lift parts or details from works of art by other artists.
Levine is even bolder. Interested in Edward Weston's photographs
of his son Neil, she simply photographed Weston's photographs and
exhibited the virtually indistinguishable photos as her own works
of art. Are these really original works of art by Levine, or are
they simply copies of Weston originals?" (Puzzle about Art:
An Aesthetics Casebook,1989, p.136)
Part Two:
Compare the work of Sherrie Levine to work (such as Fountain) by
Marcel Duchamp.
Second Choice
Part One:
"In the late nineteenth century, the Berlin Museum, which then
owned part of the paintings belonging to the Ghent Altarpiece, separated
the painted fronts of these panels from their backs, which were
also painted, by sawing them apart. This harsh measure was intended
to facilitate the exhibition of the panels and their inspection
by an art-loving public. But it also served to obscure the fact
that the panels were created as ecclesiastical objects for display
in a church, and to stress their character simply as art. Is there
something wrong with the display of religious objects as art? Did
the Berlin Museum mistreat the Ghent Altarpiece by facilitating
its public display, or should religious art be displayed like other
works of art?" (Puzzle about Art: An Aesthetics Casebook,1989,
p.170)
Part Two:
Make reference to Arsene Goedertier in your answer (see ARTnews,
January 2001, p. 66)
Third Choice
Part One:
"In his memoirs, Ambroise Vollard, the nineteenth-century art
dealer, tells of putting a Cézanne painting of female nudes
in an old frame for an exhibit, but forgetting to remove the title
of the former canvas, Diana and Actaeon. The press described the
work as Diana Bathing and praised the picture of the goddess surround
by her virgins.
Shortly thereafter, Vollard agreed to loan Cézanne's Temptation
of St. Anthony to another exhibition. To his horror, he discovered
that he had already sold the St. Anthony, so she sent the Diana
and Actaeon instead. However, the title of Temptation of St. Anthony
had already been entered in the catalogue. The press, which had
previously praised the noble qualities of Diana and her virgins,
now praised the "sly, beguiling smile" in one of the daughters
of Satan.
Did the press make a mistake? Did Vollard? Are titles a help or
a hindrance in interpreting art?
Postscript: Vollard told the story to Cézanne, who was quite
indifferent, saying that he had no particular subject in mind at
all and was just trying to render certain kinds of movement.
Was he right in his unconcern?" (Puzzle about Art: An Aesthetics
Casebook,1989, p.85)
Part Two:
Select 5 twentieth century artists and discuss the relevancy of
their titles to their work
Fourth Choice
Part One:
"Robert Rauschenberg's 1955 work Bed consists of his own quilt,
sheets, and pillow attached to a stretcher. In the upper half, the
linen is lavishly painted with clots, runnels, and swipes of various
colors; in the lower half, the quilt, itself brightly colored, shows
only a splash or two of paint.
When in 1958 Rauschenberg was invited to participate in the Festival
of Two Worlds in Spoleto, Italy, he submitted Bed. The officials
were shocked and refused to show it in the main gallery. Bed was
placed, instead, in the storage room of the exhibition building.
What could have been the cause of the officials' shock, and what
sort of artwork would be required to produce a similar response
today? Or is "shock" of this sort no longer possible in
the art world?" Puzzle about Art: An Aesthetics Casebook,1989,
p.210)
Part Two:
Find five or more contemporary art works that you think are shocking
today. Explain your thoughts. Include a photocopy.
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