Research Paper: This will be an ongoing assignment throughout the - - PowerPoint PPT Presentation

Research Paper: This will be an ongoing assignment throughout the semester, which is meant to improve your wri7ng skills as well as work on the specialized cra; of wri7ng about art. You will work throughout this semester on this paper to develop a carefully researched and organized thesis essay. For this paper, I would like you to compare any par7cular piece of artwork or par7cular style of artwork discussed in your text with the work of a contemporary ar7st discussed in PBS’s Art 21 series. The website for this show is: hJp://www.pbs.org/art21/ The connec7on between the ancient work and the contemporary ar7st’s work discussed is up to you to discover, and up to you to ul7mately clearly define as the thesis of your paper. You should be crea7ve, thoughMul, and challenging in your thesis. You should also be sure to back up your ideas with careful analysis and research of the works discussed.

Specifics This paper should be 3‐4 pages in length. You must have at least 4 sources in your bibliography and at least 2 non‐internet sources. You should be sure to cite all of you

• sources. You should use MLA or APA format. This can be found on the CCBC website at

Please be sure to include an image page, which includes an image of all works discussed in this essay. Please label each image (as in “image 1”, “images 2”, etc.) and refer to the image when you discuss it in your paper. Please note: Your book does this by puXng the work it is discussing in parentheses such as (FIG. 1‐1). hJp://library.ccbcmd.edu/screens/web/index.html

Because of the complexity of this assignment, and also to emphasize the process of wri0ng, you will be required to turn in documents at mul0ple stages of wri0ng this paper. Here is a list of things to hand in: 10/7 ‐ Thesis Statement, outline, and bibliography of Research Paper Due – You must have at least 4 sources (at least two non‐internet sources) 10/28 ‐ Research Paper DraN Due 11/23 ‐ Final DraN of Research Paper Due

Do‐Ho Suh

Do‐Ho Suh, Souel Home/ L.A. Home/ New York Home/Bal7more Home/London Home/SeaJle Home 1999, Silk, 149 x 240 x 240 inches

Model of a House and Garden Tomb of Meketre, Deir el‐Bahi 11th Dynasty

• c. 2125‐2055 BCE

Painted and plastered wood and copper Length = 33 inches

Do‐Ho Suh Public Figures 1998‐1999 Installa7on at Brooklyn, NYC

Do‐Ho Suh Some/One 2001 Installa7on view Stainless steel military dog tags, nickel plated copper sheets, steel Structure, glass fiber reinforced Resin, rubber sheets

Great Pyramids Gizeh, Egypt

Pyramids of Menkaure, ca. 3,000‐2,920 B.C.E.; Khafre, ca. 2520‐2494 B.C.E.; Khufu ca. 2551‐2528 B.C.E. limestone largest (Khufu) approximately 450 ;. high

Victory stele of Naram‐Sin from Susa, Iran

Akkadian

• ca. 2,254‐2,218 B.C.E.

sandstone 79 in. high

James Turrell

James Turrell, Roden Crater 1978 – ongoing Located at Grand Canyon and Arizona’s Painted Desert An ex7nct volcano Turrell has been Conver7ng to a modern day celes7al observatory

James Turrell, Skyspace at Live Oaks Friends Mee7ng House, Houston, Texas, 2000 Retracted skyspace shows light changing as sun sets

Stonehenge Salisury Plain, Wiltshire, England

• ca. 2,550-1,600 B.C.E.

sarsen and bluestone

Newgrange, Ireland, 3000 - 2500 BCE

Newgrange Interior

Lascaux Cave paintings Lascaux, Dordogne, France

• ca. 15,000-13,000 B.C.E.

pigment on stone

Nancy Spero

Nancy Spero "Cri du Coeur” 2005 Handprin0ng on paper dimensions variable

Egypt, Thebes, Luxor, Sheikh 'Abd al‐Qurna, Tomb of city governor and vizier Ramose, Hypostyle hall, Mural pain7ngs, Mourners Dynasty 18, Amenhotep IV, 1364‐1347 BC)

"Azur," detail 2002 Handprin0ng and printed collage on paper 39 sec0ons totaling approximately 2 x 277 feet.

I heard about WAR (Women Ar4sts in Revolu4on), a group

• f women ar4sts who realized

that women’s voices were not being heard. I joined that

• group. I researched; I picketed

against the Vietnam War. And I became interested in women ar4sts and how the art world was set up‐ how mostly male ar4sts got aGen4on‐ and what it meant to be a woman ar4st.

The original document was over thirty‐seven metres long, with spells illustrated by a series of vigneJes. One of the most important scenes shows an episode in the crea7on of the world, and centers on god Atum as the

• creator. According to the myth Atum created his two offspring Tefnut (moisture) and Shu (air) by sneezing and
• spiXng. They in turn gave birth to Nut (heaven) and Geb (earth). This vigneJe shows Nut stretched over the earth,

represented by Geb, who lies below her. She is separated from Geb by her father Shu, who holds her up with both hands. This separa7on did not prevent Geb and Nut having four children: Osiris, Isis, Seth and Nephthys. The myths surrounding these four dei7es relate to the emergence of human society; the separa7on of earth and sky cons7tutes the crea7on of the world.

VigneJe from the Book of the Dead of Nesitanebtashru From the burial of Nesitanebtashru Deir el‐Bahari, Thebes, 21st Dynasty, around 1025 BC Shu suppor7ng Nut: the separa7on of the earth from heaven by the god of the air

Maya Lin

Vietnam Veterans Memorial, 1982 Black granite, Washington DC

Victory stele of Naram‐Sin Akkadian from Susa, Iran

• ca. 2,254‐2,218 B.C.E.

sandstone 79 in. high

Civil Rights Memorial, 1989, Black Granite and water table, Montgomery, Alabama

Stele with code of Hammurabi Babylonian from Susa, Iran

• ca. 1,780 B.C.E.

basalt 88 in. high

The Wave Field, 1995, Shaped earth University of Michigan, Ann Arbor

Great Serpent Mound, Adams County, Ohio, c. 1070 CE Length approximately 1,254’

Janine Antoni

Janine Antoni, Lick and Lather, 1993 7 soap and 7 chocolate self portrait busts "I wanted to work with the tradi7on of self‐portraiture but also with the classical bust...I had the idea that I would make a replica of myself in chocolate and in soap, and I would feed myself with my self, and wash myself with my self. Both the licking and the bathing are quite gentle and loving acts, but what’s interes7ng is that I’m slowly erasing myself through the process. So for me it’s about that conflict, that love/hate rela7onship we have with our physical appearance, and the problem I have with looking in the mirror and thinking, ‘Is that who I am?

Head of an Akkadian ruler from Ninevah (modern Kuyunjik) Iraq

• ca. 2,250‐2,200 B.C.E.

copper 14 3/8 in. high

The tradi7onal Roman concept of virtue called for old‐fashioned morality, a serious, responsible public bearing, and courageous endurance in the field of baJle. Pres7ge came as a result of age, experience, and compe77on among equals within the established poli7cal system. These are the values expressed in portraits of grim‐faced, middle‐aged men, such as the one featured here. Roman cultural iden7ty was also structured around a profound respect for family and ancestry, and a principal funerary prac7ce involved the public display of portraits of dis7nguished ancestors at the funeral of family

• members. These wax masks, called "imagines,"

served to adver7se the family's illustrious history of public service and to inspire younger genera7ons to strive for such achievements. Similarly, "veris7c" portraits, so‐called because

• f their seemingly harsh and severe realism,

emphasized the solemnity with which the Romans regarded their civic and military

• responsibili7es. Because the Romans

considered facial features to be the best conveyors of personality, age and wisdom gained through long, hard years of life experience were accentuated in portraiture in

• rder to project the quali7es they valued most

highly.

Veris7c Male Portrait, 1st Century BCE, life size, marble

Janine Antoni "Coddle” 1998 Cibachrome print and hand‐carved frame 21 1/2 x 16 inches

Virgin of Vladimir Icon, probably from Constan7nople 11th‐12th Century Tempura on Panel 31 inches high

Shazia Sikhander

Shahzia Sikander "Wri0ng the Wri\en” 2000 Vegetable color, dry pigment, watercolor, tea,

• n hand prepared Wasli paper

8 x 5 1/2 inches

The most important element in any mosque is the mihrab, the niche that indicates the direc7on

• f Mecca. Because it func7ons as

the focal point in prayer ritual, its decora7on was executed with great skill and devo7on. This example is composed of a mosaic

• f small glazed 7les fiJed together

to form various geometric and floral paJerns and inscrip7ons.

Mihrab from the Madrasa Imami Isfahan, Iran

• ca. 1354

Mosaic of monochrome‐glaze 7les on composite body set on plaster 11 ;. 3 in. x 7 ;. 6 in. This mihrab has 3 inscrip7ons‐ 1)The outer contains Qur’anic verses that describe the du7es of the believers of the 5 pillars of Islam 2) Framing the arch are sayings of the prophet 3) In the center, the horizontal text states, “The mosque is the house of every pious person.”

Shahzia Sikander "Fleshy Weapons” 1997 Acrylic, dry pigment watercolor, tea wash on linen 96 x 70 inches “I was looking at the idea of the goddess. And it didn’t maJer how many hands it had, just the no7on that it was the female body with several hands was important. A Hindu goddess has a very specific face, and here I was stripping off the face and taking away the iden7ty that defines the goddess and puXng the veil on top of it. So it was like playing with both aspects‐ not to underes7mate what’s behind the veil, and at the same 7me taking away the physical violence of the facial expression and the par7cular sort of iden77es that come through the image of the goddess."‐ Shahzia Sikander

The Goddess Durga Killing the Buffalo Demon, Mahisha Pala period (ca. 700–1200), 12th century Bangladesh or India Argillite

• H. 5 5/16 in

Durga is portrayed as the sixteen‐armed slayer of a buffalo inhabited by the fierce demon Mahisha. A threat to the world, Mahisha was invincible. Even the Hindu gods who had challenged him could not kill

• him. In despera7on they created the

goddess Durga to be their champion and gave her their weapons.

Oliver Herring

Oliver Herring regularly enlists people he has just met as models, performers, and collaborators in his work. For the sculpture "GLORIA," Herring photographed a woman named Gloria, carved a foam sculpture in her likeness, and collaged the photographs onto the surface of the figure like a skin.

Gloria, 2004 Digital C‐print photographs, museum board, Foam core and polystyrene

Patrick 2004 Digital C print photographs Museum board, foam core And polystyrene

Human Skulls with Restored Features from Jericho, Israel/Gaza

• ca. 7,000‐6,000 B.C.E.

skulls, plaster, shells

Plastered Skull from Ain Ghazal

Ain Ghazal Burials 4 adult male skulls placed Facing SW in a pit in a Courtyard Skull on Right s7ll retains Plaster

Cai Guo‐Qiang

"Reflection"2004, Excavated boat, porcelains, 18 x 50 x 16 feet. Installation view: Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C. Cai Guo-Qiang"Kuan Yin is a god or goddess that I hold very close, a god that I worship. And when you say that, you’re relying on some kind of eternal power this figure has. However when I look at the Kuan Yin statues in the museum, I see that they are artworks. I do not see them as gods and goddesses. They are artistic representations that are different from the types of idols that we use to draw a link between us and the eternal power of the deity."- Cai Guo-Qiang

Venus of Willendorf from Willendorf, Austria

• ca. 28,000-25,000 B.C.E.

limestone 4 1/4 in. high

Daric, A coin first minted under Darius I of Persia, 4th Century BCE, Gold

Inopportune: Stage Two, 2004, Tigers: paper mache, plaster, fiberglass, painted hide arrows, brass, bamboo, feathers, etc. Installed at MASS MoCA, North Adams, MA

Ashurbanipal hun0ng lions, relief from the North Palace of Ashurbanipal, Nineveh, Assyrian Iraq, ca. 645–640 BCE. Gypsum, 5’ 4” high.

Ashurbanipal hun7ng lions from the North Palace of Ashurbanipal, Ninevah (modern Kuyunjik) Iraq

• ca. 645‐640 B.C.E.

gypsum approximately 5 ;. high

Other possible topics……… How is narra7ve shown in a contemporary ar7st’s work vs. ancient culture…. How the use of abstrac7on in cave pain7ngs, early figurines, etc. could relate to abstrac7on in a contemporary ar7st’s work…… Compare and contrast a culture’s use of performa7ve art with a contemporary ar7st whose work is performa7ve….. Wri7ng on walls: cave pain7ngs to graffi7 art…..