Art Response
***The list of Key Concepts will also appear on the midterm prompt sheet, distributed at the exam.
• Briefly define the significance and/or meaning of the relevant concept before beginning your response
• You cannot choose the same key concept for both comparisons [i.e., if you discuss neocolonialism in question 1, you must define/discuss another key concept in answer 2]. Ditto for references to course readings across the two responses.
• The chosen key concepts should be used to structure/guide your response.
• References to course readings should be identified by author’s last name/title; abbreviated versions of titles are acceptable. References should be to general ideas/points in the reading and need not extend beyond 2-3 sentences.
• You can refer to other artworks, artists, or artistic contexts if it is helpful in discussing the given works. (Note that almost all works we have looked at thus far relate to several of the listed concepts, even if the works were introduced in relation to only one of the concepts in class.)
*** Following the two slide comparisons, there will be an Extra Credit question in which I will show you an “unknown” artwork (not mentioned in lecture) from the artistic contexts covered in the course. You will be invited to offer your insights on the unknown work based on what you know.
KEY WORKS:
-Samuel Fosso, Self Portrait (As Liberated American Woman of the ‘70s), 1997
-Steven Cohen, Chandelier, 2002
-Ghada Amer, Landscape with Black Mountains, 2017
-Ghada Amer, Peace Garden, Miami Beach Botanical Garden, 2002
-Tracey Rose, Span II, 1997
-Wangechi Mutu, In Killing Fields Sweet Butterflies Ascend, 2003
-William Kentridge, Tide Table, 2003
-Yinka Shonibare, The Scramble for Africa, 2003
-Yinka Shonibare, The Swing (after Fragonard), 2001
-Allan deSouza, The Searchers, 2003
-Cheri Samba, What Future for Our Art?, 1997
-Ibou Diouf, The Three Wives, 1974
-Moshekwa Langa, Untitled (Skins), 1995
-Adel Abdessemed, Exit, 1996/2007
-Demas Nwoko, Nigeria, 1959, 1960
-Adebisi Akanji, Esso Gas Station, Oshogbo, Nigeria, 1966
-Esther Mahlangu, BMW art car, 1991
-Gavin Jantjes, South African Coloring Book,1974-5
-Berni Searle, Snow White, 2001
-David Goldblatt, The Destruction of District Six under the Group Areas Act,1982
-Siemon Allen, Screen II, 2010
-Santu Mofokeng, Black Photo Album / Look at Me (1890-1950), 1997
-Zwelethu Mthethwa, Untitled, 1997-99 [woman in white shirt reclining]
-“Papa” of Vision Studio, young woman, 1995
-Seydou Keita, untitled photograph, 1958 [man with radio and clock]
-Sue Williamson, For Thirty Years Next to His Heart, 1990
KEY CONCEPTS:
-Hybridity
-Non-place
-Pan-Africanism
-Development aesthetic
-Memory industry
-Urban palimpsest
-Museum as contact zone
-Neocolonialism
-Primitivism
-Space as technology of power
-Natural synthesis
-Artwork vs. commodity
-Artwork as storage
-Informal economy
-Medium as site
-Pastiche
-Re-appropriation
5 Feb 2019 20:55
• You cannot choose the same key concept for both comparisons [i.e., if you discuss neocolonialism in question 1, you must define/discuss another key concept in answer 2]. Ditto for references to course readings across the two responses.
• The chosen key concepts should be used to structure/guide your response.
• References to course readings should be identified by author’s last name/title; abbreviated versions of titles are acceptable. References should be to general ideas/points in the reading and need not extend beyond 2-3 sentences.
• You can refer to other artworks, artists, or artistic contexts if it is helpful in discussing the given works. (Note that almost all works we have looked at thus far relate to several of the listed concepts, even if the works were introduced in relation to only one of the concepts in class.)
*** Following the two slide comparisons, there will be an Extra Credit question in which I will show you an “unknown” artwork (not mentioned in lecture) from the artistic contexts covered in the course. You will be invited to offer your insights on the unknown work based on what you know.
KEY WORKS:
-Samuel Fosso, Self Portrait (As Liberated American Woman of the ‘70s), 1997
-Steven Cohen, Chandelier, 2002
-Ghada Amer, Landscape with Black Mountains, 2017
-Ghada Amer, Peace Garden, Miami Beach Botanical Garden, 2002
-Tracey Rose, Span II, 1997
-Wangechi Mutu, In Killing Fields Sweet Butterflies Ascend, 2003
-William Kentridge, Tide Table, 2003
-Yinka Shonibare, The Scramble for Africa, 2003
-Yinka Shonibare, The Swing (after Fragonard), 2001
-Allan deSouza, The Searchers, 2003
-Cheri Samba, What Future for Our Art?, 1997
-Ibou Diouf, The Three Wives, 1974
-Moshekwa Langa, Untitled (Skins), 1995
-Adel Abdessemed, Exit, 1996/2007
-Demas Nwoko, Nigeria, 1959, 1960
-Adebisi Akanji, Esso Gas Station, Oshogbo, Nigeria, 1966
-Esther Mahlangu, BMW art car, 1991
-Gavin Jantjes, South African Coloring Book,1974-5
-Berni Searle, Snow White, 2001
-David Goldblatt, The Destruction of District Six under the Group Areas Act,1982 -Siemon Allen, Screen II, 2010
-Santu Mofokeng, Black Photo Album / Look at Me (1890-1950), 1997
-Zwelethu Mthethwa, Untitled, 1997-99 [woman in white shirt reclining]
-“Papa” of Vision Studio, young woman, 1995
-Seydou Keita, untitled photograph, 1958 [man with radio and clock]
-Sue Williamson, For Thirty Years Next to His Heart, 1990
please also add image in each keywork
