Art assignment, anyone?

ARTS 1301: Art Appreciation

Darren Longman

Final Response Instructions

Presentation: 5/2/2021

Final Paper: 5/10/2021

The final project contains two separate components: a class presentation (posted to a discussion

board) and a response paper, which will be graded separately. The presentation is worth 100

points and will be assessed on your overall preparation, delivery, and strength of your visual

aid—i.e., PowerPoint slides, Google Slides, PDF document, etc. The response paper is worth 200

points and will be graded on proper formatting, grammar, cogency, citing, and the quality of

your arguments/conclusions.

The digital presentations should be posted to the discussion board no later than May 2, by 5pm.

You are to upload a visual aid and a 3-5-minute audio or video clip describing your research and

conclusions. Your response to a classmate’s project must be posted by May 10, by 5pm. The

response paper is also due Monday, May 10, by 5 pm. Your paper should be 3-5 pages (you may

write more than 5 but please keep it under 10) and should address each component of the

guidelines listed below.

Presentation Guidelines

You are to develop a short presentation—about 3 to 5 minutes—that provides the class with an

overview of your image(s), artist(s), and arguments.

A. Images
a. You may download and use the images I provide in the Final Response Paper

module.

b. Upload your images to PowerPoint, Google Slides, or PDF document (create in
Word). Make sure to provide the identification information for all images—

including the artist’s name, artwork (italicized), the date, medium, dimensions,

and provenance.

B. Presenting
a. Delivery

i. You may choose to write down your presentation and read it while
presenting the slides/images. This is perfectly acceptable, but make sure

the length of your paper is concomitant with the time allotted (3-5

minutes).

ii. If you choose to speak off-the-cuff, make sure you have bullet points
written down to avoid getting stuck with nothing to say.

iii. Practice! Give yourself some time before you upload the video/audio clip
to practice your presentation out loud.

C. Visual Aids Options

a. You may upload the following visual aids to accompany your audio/video clip:
i. PDF

1. Includes the images and bullet points about your thesis/arguments.
ii. PowerPoint (PDF format)

1. Includes images and points about your thesis/arguments.
iii. Google resources (Slides, Sites, etc.)

1. Includes images and points about your thesis/arguments.
b. Content

i. Your presentation needs to include the following:
1. A thesis

a. It should be very clear to us what you are arguing about in
this project.

2. Artist information
a. Name, background, short biography, etc.

3. The artwork(s)
a. A visual analysis
b. How the work relates to your thesis

4. Conclusions
a. A good presentation provides the audience with clear

directions for moving forward, which may include

questions, concerns, or difficulties regarding your

reflection. You may not have reached a definitive

conclusion, which is perfectly acceptable! Presenting

questions to the class is a great way to make the project

more collaborative and show that your research is ongoing.

c. Feedback
i. You are also graded on your contributions to the class discussion board.

Providing constructive feedback is part of any collaborative effort, so be

prepared to ask questions, suggest minor changes, or give words of

encouragement to at least one classmate’s presentation. Please be kind,

respectful, and constructive. It is possible that your views will not always

align with your classmates, but any disrespectful or vitriolic language is

unacceptable and will result in an automatic zero.

Final Response Paper Guidelines:

The final response is a 3-5-page reflection that provides a thorough analysis of your

artist(s)/artwork(s).

A. Format
a. The paper should be written with either MLA or Chicago Manuel styles. Please

refer to the MLA and Chicago Manuel handouts/sample papers located in the

Final Response Paper module.

b. You will choose any two artworks from the lists provided in this document to
compare/contrast. These are not artworks we have discussed in the class, but

they do use the concepts we’ve discussed.

i. Your paper should use comparative analysis to draw conclusions
about the processes and techniques used by the artist(s).

ii. Consider the following questions:
1. What are the similarities/differences in materials between

these works?

2. How did each artist approach line, shape, texture, pattern,
perspective, color, light, composition, etc.? Be specific and

thorough.

3. What symbolism or meaning can be gleaned from your visual
analyses?

c. The paper should have a clear introduction, a body of concise paragraphs with
well-written analyses, and a Works Cited (or Bibliography) if you used outside

sources. You may include a title page, but it is not required.

i. Introduction
1. A good introduction includes an opening statement and an

overview of your main arguments.

ii. Body
1. This is the bulk of the paper, which provides evidence for your

principal arguments. Each paragraph should about 4 or 5 sentences

before a paragraph break (long paragraphs become difficult to

read).

iii. Conclusions
1. You can do two things here:

a. Summarize your arguments.
b. Summarize and suggest future research that can be done to

expand upon your arguments. Questions for future research

are good!

iv. Images
1. You do not need to provide images in this paper. However, if you

decide to include them, you must follow the proper format.

a. Image format
i. After your conclusion, start a new page and write

“Images” at the top. Stack your works vertically on

each page.

ii. Under each image provide identification
information—including the figure number, artist,

title, date, medium, dimensions, and location. See

the last page for an example.

d. Citation
i. You are not required to use outside sources for this project, but make sure

to cite any information taken from a source—even if you summarize their

arguments—otherwise you are committing academic plagiarism. My

primary concern is that you make a complete visual analysis of these

artworks using all the applicable principles and elements we’ve

discussed in this course.

ii. Direct quotes

1. You may choose to incorporate direct quotes from a source, but
these should be used sparingly in a paper this short. I would say

that 1-2 direct quotes, which must be 1-3 sentences maximum, are

more than sufficient for this project. If there are too many quotes,

your voice and original arguments will be difficult to detect.

iii. Works Cited/Bibliography
1. This is only required if you use outside sources. Refer to the

MLA/Chicago handouts on how to create a works cited or

bibliography.

B. Grammar/Spelling
a. A good essay will show that the student has proofread their document several

times to look for errors in grammar and spelling. It is difficult to convince readers

to believe any argument if a paper is incoherent, sloppy, or confusing. Pro tip: ask

a fellow student or member of the LSCM Writing Place to read your document

and give feedback.

Images

Paintings:

Figure 1. Elisabetta Sirani, Judith with the Head of Holofernes, 1664. Oil on canvas. 50.75 x 36 in.

Figure 3. Faith Ringgold, Jazz Stories, Mama Can Sing, Papa Can Blow #3: Gonna Get on Away from You, 2004. Acrylic on

canvas, 81″ x 66 ½.

Figure 2. Diego Rivera, Flower Festival: Feast of Santa

Anita, Encaustic on canvas, 6′ 6 1/2″ x 64″ (199.3 x 162.5

cm). The Museum of Modern Art.

Figure 4. Vincent van Gogh, Le café de nuit (The Night Café), 1888. Oil on canvas. 72.4 x 92.1 cm (28 1/2 x 36 1/4 in.)

Printmaking:

Figure 5. Charles White, Hope for the Future, 1945. Lithograph. 13 3/16 x 10 11/16″ (33.5 x 27.2 cm); sheet: 18 7/8 x 12 11/16″

(48 x 32.3 cm)

Figure 6. Kitagawa Utamaro, Praying for Rain (from the series Seven Elegant Episodes from the Life of Ono no Komachi), color

woodblock print. Sheet: 38.2cm x 25.2cm.

Figure 7. Rembrandt Harmensz van Rijn, The Hundred Guilder Print, ca. 1649, Etching, drypoint with burin. Plate: 27.8 x

38.8cm (10 15/16 x 15 1/4in.)

Figure 8. Andy Warhol, Debbie Harry, 1980. Synthetic polymer paint and silkscreen ink on canvas. 42 x 42 inches.

Photography:

Figure 9. Cindy Sherman, Untitled Film Still #21, 1978. Exhibited at Metro Pictures, Fall 1997, black and white photograph.

Figure 10. Ansel Adams, Moon and Half Dome, Yosemite National Park, California, 1960. Gelatin silver print. Overall, Primary

Support: 13 7/16 x 10 3/16 in. (34.1 x 25.8 cm); Overall, Secondary Support: 17 15/16 x 14 in. (45.6 x 35.5 cm); Image: 13 7/16

x 10 3/16 in. (34.1 x 25.8 cm).

Figure 11. Shirin Neshat, Untitled from the series “Women of Allah”, Photograph, 1995. Gelatin silver print and ink. 8 7/8 x 13

7/16 in.

Figure 12. Laura Aguilar, Nature Self-Portrait #11, 1996. Gelatin silver on print. 16 x 20 “.

Sculpture/Assemblage/Installation:

Figure 13. Meret Oppenheim (Swiss), Object, 1936. Fur-covered cup, saucer, and spoon cup. 4 3/8″

(10.9 cm) in diameter; saucer 9 3/8″ (23.7 cm) in diameter; spoon 8″ (20.2 cm) long, overall height 2

7/8” (7.3 cm). The Museum of Modern Art.

Figure 14. Terme Ruler, Statue of a Macedonian Prince, 2c.BCE. Bronze statue. Hellenistic period.

Figure 15. Auguste Rodin, The Thinker, 1904. Bronze sculpture.

Figure 16. Simone Leigh. Hammer Projects, 2016, installation view, Hammer Museum, Los Angeles, September 17, 2016–

January 8, 2017. Photo: Brian Forrest.