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 hJp://library.ccbcmd.edu/screens/web/index.html 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).
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 11 th 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 of 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.
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 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.
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, Veris7c Male Portrait, 1 st Century BCE, life size, marble 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 of 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 order to project the quali7es they valued most highly.
Janine Antoni "Coddle” 1998 Cibachrome print and hand‐carved frame 21 1/2 x 16 inches
Virgin of Vladimir Icon, probably from Constan7nople 11 th ‐12 th Century Tempura on Panel 31 inches high
Shazia Sikhander
Shahzia Sikander "Wri0ng the Wri\en” 2000 Vegetable color, dry pigment, watercolor, tea, on 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 of 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 of small glazed 7les fiJed together to form various geometric and floral paJerns and inscrip7ons. 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.” 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.
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