My responses to my tutor’s feedback are in italic font throughout the report.
Thank you for your final assignment and well done for completing the course!
This submission demonstrates accurate knowledge and manipulation of key ideas. You have developed your acuity in observing, identifying, and analysing visual culture, and you have also displayed good working habits (such as the keeping of a learning blog).
I would recommend trying to demonstrate more awareness of underlying theoretical/methodological issues (and their wider significance). You should also try to expand your analytical comments – make sure your observations are critical rather than overly descriptive. Check through your written work to eliminate examples of simple assertion/opinion that are not supported or sustained by evidence.
I have gone through my blog and checked my work in accordance with this advice and also tried to expand or develop the issues or comments my tutor has suggested.
You will need to clearly show your assessors that you have attempted to synthesise and reflect upon a range of research sources. The more you can display your ability to engage constructively with art historical arguments/debates to inform your essay, projects, annotations, and learning blog, the more likely you are to pass at assessment.
Again I have gone through my blog and tried to reflect on a range of different research sources although I am aware of the limitations due to simply not being able to access the range I would have liked. I believe I have demonstrated an ability now to engage in art historical annotations in my annotations, essays etc – I can see a definitive learning curve throughout the course now and certainly have improved in confidence.
There are a number of areas that I would encourage you to rework or expand on in relation to this assignment, which I will outline below. In particular, see my comments on your review.
Feedback on Assignment
General: Some of the themes central to artists in the period from 1900 to 1950 are listed below – check that you have covered them:
Art as more than a mere visual representation of objective reality: why is there such a shift in the visuality of art around 1900? What motivating factors are there?
Art as the depiction of modernity: how do representations of the modern city often define modern art? What sorts of visual tropes allow us to discern an artist’s attitude toward modernity and the new city?
Art as a means of social or political engagement: how does art continue—from a trajectory started in the middle of the nineteenth century—to approach issues of social justice or to allow politics into its form and subject matter?
Art as a reflection of history: how do historical events or changes direct the course of art in the early twentieth century?
I have taken these questions into account and either answered them directly at the end of my notes or they have been answered separately in additional blogs.
Given Modernism’s penchant for short-lived movements preceded by manifestos that expressed their unique aims, Caws’ Manifesto: A Century of Isms (Omaha: University of Nebraska Press, 2000) may be a useful source if you would like to read such groundbreaking works as the “Founding and Manifesto of Futurism” by Marinetti.
As you stated, the Post-Impressionist Cézanne was credited by two of Modernism’s pioneers—Matisse and Picasso—for laying the groundwork for twentieth-century art. Among other things, his depiction of objects from multiple viewpoints and his use of colour as a building block for form (rather than as a necessary attribute of form) led both to the fracturing of form in Picasso’s Cubism and the use of arbitrary (non-naturalistic) colour in Matisse’s Fauvism.
While some critics recognised the passion and vitality of Matisse and his followers’ new direction, others challenged Matisse for painting in this radical idiom, and his reaction said a lot about the new territory of Modernism. Responding to charges of ugliness made about his Blue Nude of 1907, Matisse famously quipped: “If I met such a woman in the street, I should run away in terror. Above all, I do not create a woman, I make a picture.” As you hinted, this idea—that art could be about something greater than mere representation—marked a radical shift that was taken up by two of Modernism’s major movements, Expressionism (ref. Kandinsky’s use of colour and form to express internal/extra-pictorial qualities such as spirituality and emotion) and Cubism (e.g. the hard geometry underlying Picasso’s Les Demoiselles d’Avignon [and the use of Primitivism to find new forms of expression]).
In thinking about how the visual innovations of Cubism and Expressionism catalyzed artists across Europe who sought to express the modern age in their art, you referred to the way in which Italian (and later, Russian) Futurism embraced modernity, specifically seeking to incorporate advances from science and industry into their multifaceted production. (Ref. the Futurists belief in the concept of simultaneity.)
It is important to consider that there are very different demands, limitations, and criteria when it comes to architectural innovation and history. Architecture in the twentieth century is a huge topic, so it was good to see you concentrate on two brief architectural narratives originating in the United States and Europe – the International Style and the designs of Frank Lloyd Wright. (Lloyd Wright fervently critiqued the International Style and this critique was revived, mid-century, in the multifaceted designs of Postmodernism—which, again, tried to break open the International Style’s ‘glass box’.)
I pay particular attention to the last paragraph due to having worked for an architect and it is interesting to study the differing styles of the last century and I note the differing demands, criteria and limitations which my tutor states.
Between the two World Wars
It is worth emphasising that in the arts, there was a decided shift following World War I toward concepts of order, harmony, and beauty to counteract the chaos, division, and ugliness of the war machine. This is not to say, however, that all attempts at postwar organisation and harmony were retreats. Some of the most radical abstraction that Modernism featured was also built around principles of simplicity, order, and functionality. (Ref. Neoplasticism and Constructivism.)
As you indicated, a set of ideas more than a coherent movement, Dada has been referred to as an ‘anti-art’ movement due to its iconoclastic nature and its tendency to critique and question the very principles underlying the commissioning, creation, and dissemination of art. Dada stood for an embrace of the irrational and original versus traditional concepts of reason and tradition, and Duchamp’s Fountain raises a number of important questions regarding the status of art itself. What is a work of art? Who gets to decide? If the artist gets to decide what a work of art is, then is choosing a work of art significantly different than creating it? Can an idea—not an object—be a work of art?
I have answered the questions my tutor mentions at the end of my blog in reference to my own opinions which I have considered carefully and in context.
You clearly outlined how, following the philosophical concepts of psychologists like Freud, Surrealism claimed precedence for the irrational, for chance, for the uncanny, and for the unconscious, which it sought to connect with through automatism and the interpretation of dreams.
Your comment on Diego Rivera was good, but try to reflect on the ways that artistic representation expresses cultural values. For example, in the 1920s when muralism began, there was a concern with defining a new ‘Mexican’ character. This often led to themes of mestizaje (celebration of Mexico’s mixed-race heritage), but also recognition of the native value of the indigenous Indian. Stemming from a 1921 manifesto written by Siqueiros, muralism was pitched as an art of social and political engagement. So, muralism provides a chance to talk about the intersection of art and politics. What is the goal of art? To what extent is art supposed to be autonomous and separated from everyday life? Does art that has a function cross the line from art to propaganda, or is there a hazier area between the two? Another major theme to discuss is the value of public art in society. What does public art accomplish? If muralism is monumental and public, how are its conditions different than small, private works of art that are made for consumption by the art market and institutions like museums?
I have answered this paragraph and my tutor’s questions in a separate blog which can be seen at: https://theinquisitivebunny47.wordpress.com/2017/01/22/questions-posed-regarding-ways-that-artistic-representation-expresses-cultural-values-tutor-report-assignment-5/
Bauhaus was a revolutionary new take on the traditional art school model, bringing the fine arts and the applied arts under one roof and one curriculum. Can you say a bit about the architectural design of the Bauhaus? Look at Gropius’ Workshop Wing, created in Dessau in 1925–6. Here, ‘form follows function’ is taken to its logical extreme, with no superfluous additions. Gropius adopted new industrial materials and, with the added support of steel, introduced the glass curtain wall. This pared down aesthetic could also be related to the ideals of Modernism, such as the streamlined aesthetic of Piet Mondrian’s De Stijl movement, which attempted to find the universal essence of painting. Like Mondrian, Gropius’s ‘honest’ approach attempted to express the essence of these new industrial materials without hiding them behind decoration.
I have said a little more, as suggested, about the architectural design of Bauhaus at the end of the relevant blog and understand my tutor’s points.
In terms of the history of photography, how have twentieth-century photographers balanced the camera’s capacity for documentation with its aesthetic possibilities in order to convey a variety of social and cultural messages? In particular, explore further Dorothea Lange’s photographs. This Getty video is a useful resource: http://www.getty.edu/art/collection/video/399923/dorothea-lange’s-documentaryphotographs/ Think about Lange’s Migrant Mother – what makes this photograph iconic? How does it relate to other images you have seen? A thought-provoking article you might like to look at is Stein’s “Passing Likeness: Dorothea Lange’s Migrant Mother and the Paradox of Iconicity”: https://zscalarts.files.wordpress.com/2013/12/passing-likeness_0012.pdf Consider how the meaning of a photograph is constructed, and how meaning might change through time or in a particular context. What is the value of documentary photography?
This is another paragraph I decided to answer as a totally separate blog and this can be seen at: https://theinquisitivebunny47.wordpress.com/2017/01/22/question-how-have-twentieth-century-photographers-balanced-the-cameras-capacity-for-documentation-with-its-aesthetic-possibilities-in-order-to-convey-a-variety-of-social-and-cultural-messages/
Post War to Post Modern
Try to focus on the fundamental questions of art history as they apply to contemporary art:
What motivated artists to develop new artistic styles and practices in the midtwentieth century?
How have these historical developments influenced the production of art today?
How does contemporary art build upon, and depart from, its historical precedents?
I have directly answered these questions in brief at the end of the relevant blog and it was interesting to consider my answers.
Your section on Abstract Expressionism was solid, and you briefly underlined the fact that the genesis of this ‘school’ of artists was built upon a number of motivators. (I.e. many of its artists were influenced by the large-scale works of the Mexican mural movement and the WPA mural project that derived from it. The arrival of a large number of avant-garde artist-refugees from Nazi-occupied areas of Europe in the 1930s brought new techniques and philosophies. Additionally, the growing cultural milieu created by earlier New York City artists set the stage for this ‘next big thing’.)
You alluded to Pollock’s ‘drip paintings’. Pushing painting to the limits of two-dimensionality and non-objectivity prescribed by earlier artists like Mondrian, consider how Pollock and his cohorts imbued their canvases with psychological and emotional values, trying to reach something of a chaotic, primal human universality in the wake of WWII rather than the precise, orderly geometric universality of the preWWII avant-garde.
Your notes on the Colour Imagists (or Colour Field painters) Mark Rothko and Barnett Newman highlighted the metaphysical dimensions of the movement, but bear in mind its relationship to the historical sublime too. (This connection can be demonstrated through comparison to nineteenth century Romantic landscape painting, which encouraged viewers to contemplate their place in the vastness of nature, while Colour Imagists relied on expansive canvasses awash in fields of colour to generate similar responses among their audience.)
You included some useful information on Rauschenberg’s ‘combine’ paintings and Jasper Johns’ paintings of popular subjects like flags that collapsed the distance between the real object and its artistic representation. Similarly, it was good to see you refer to works by Warhol, Lichtenstein, and Oldenburg, which exemplify the subjects and techniques of American Pop Art, as well as the movement’s relationship to mass production and consumer culture. (Note that Pop Art and Minimalism emerged in a broad context of social unrest, characterised by student protests, anti-war sentiments, and the rise of the Feminist, Civil, and Gay Rights movements.)
For information on Conceptual art, see the seminal 1968 essay “The Dematerialization of Art,” by Lucy Lippard and John Chandler, which acknowledges the shift away from painting and sculpture in favour of art that emphasizes creative process over the final object: http://cast.b-ap.net/arc619f11/wpcontent/uploads/sites/8/2011/09/lippard-theDematerializationofArt.pdf
Unfortunately this pdf is no longer available as it has been archived or suspended.
Given that the body appears as a key theme in much art of the late twentieth century for artists interested in issues of identity, physical perception, and human interaction, try to have a look at works such as Marina Abramovic’s Rhythm 0 (1974): https://vimeo.com/71952791
I have watched that video and found it difficult emotionally but also fascinated as Marina Abramovic became not a person but an artistic object to the public who could not longer cope when she reverted back to her personality again as she herself stated – she puts herself as a piece of art to be created and lost her identity and discovered different ways in which she was perceived. I found it disturbing that she was cut and also the bullet was put in the gun but considering the world in which we live now with its instability I question what would happen if this artistic experiment was repeated some 43 years later i.e. now in 2017 as opposed to 1974 when it was originally filmed. The fact that someone put a rose between her hands, someone cut or took her blouse off and revealed her body and someone else wrote on her is fascinating and shows the different ways the human body is perceived and how we do interact with each other and that this point I must consider the fact this was filmed over 40 years ago and take into context the era and the different political times – the 1960’s were about freedom and expression for many and this experiment has echoes of that because each person who interacted with Marina was expressing something within themselves.
As you noted, Robert Smithson’s Spiral Jetty (1970) serves as a canonical example of earth art, highlighting the emphasis on process, site-specificity, and broader questions around institutional context, geologic time, and mankind’s place in nature. For a short, general introduction to Feminist art (and a lively polemic!), see Blake Gopnik’s 2007 review of the exhibition Wack!: http://www.washingtonpost.com/wpdyn/content/article/2007/04/20/AR2007042000400_pf.html
Artists and images worth discussing include Cindy Sherman’s series Untitled Film Stills and Barbara Kruger’s collages (which address the history of the gaze in art, and often, like Sherman’s photography, use the visual lexicon of mass-media imagery to critique the systems that it reproduces, such as sexism and capitalism).
Unfortunately again the page suggested is no longer available but I understand my tutor’s points and also in reference to Cindy Sherman and Barbara Kruger.
A summary of the significant topics addressed in all three chapters could concentrate on:
Art as social commentary
Art as cultural property
How politics shape art and art shapes politics
Learning about the past to inform the present and shape the future
*Try to refer to a wider range of sources – do not over-rely on material from the internet.
Braque – Houses at L’Estaque:
This was a solid annotation of a Cubist work that covered most of the principal features, including: the use of flat (toned-down) areas of colour (sober browns, dull greens and greys) borrowed from Cézanne; the shallow/compressed space; the simplified, fractured geometric forms; the grid-like structure.
As you noted, Braque breaks with the fundamental conventions of picture making to give the composition a fluctuating and elusive quality. This is neatly summed up by Golding, who states that “the picture plane is emphasised by the complete lack of aerial perspective…and by the fact that occasionally contours are broken and forms opened up into each other. There is no central vanishing point; indeed in many of the houses all the canons of traditional perspective are completely broken.”
I am happy with my tutor’s response to this annotation particularly considering I did not find Cubism easy to understand initially.
Derain – Le pont de Charing Cross:
You recorded the way in which the canvas, true to the aims of Fauvism (specifically, the aim of ‘liberating colour’ to give it greater emotional and expressive power) glows with intense, large, flat areas of colour (typically mosaic-like dashes of unmixed paint directly from the tube) utterly divorced from naturalistic description. So, you mentioned Derain’s use of complementary colours (e.g. oranges and blues), how the shadows in the piece are created by the extreme variations of colour, and the bright hues employed to form bold outlines.
In addition to the kinds of marks made on the surface of the canvas, think a bit more about the artist’s concern with volume and form, and the grouping of broadly suggested shapes to create harmony or a special rhythm. (The space is decoratively ‘staged’ – the organising principle of the arabesque is paramount.)
Note how Derain reflected the most important influences affecting the Parisian avantgarde (Symbolism, Neo-Impressionism, Gauguin, Cézanne, Matisse, Picasso, non-western art).
In terms of process, it is worth noting that Derain did not paint his views of London on the spot. The discovery of two sketchbooks with drawings and colour notations that match the compositions of the London views suggests that Derain drew each scene from nature but then painted the pictures back in his studio in Paris.
Your compare and contrast section was good, and you seemed to respond positively to Derain’s attempt to fundamentally reorganize our perceptual responses. (I.e. colour loses any sense that it is being used to capture the texture of one moment in time – it ceases to be presented as the quality of an object, meaning the relation of expression to experience is fragmented and left open to question.)
I have taken on board my tutor’s suggestions about thinking more about Derain’s concern with volume and form etc and adjusted my annotation accordingly. I have also added a note regarding the fact he did not paint his views in London on location but rather back in the studio.
Analysis – Hamilton’s ‘Just what is it that makes today’s homes so different, so appealing?’ & Gonzalvez’s ‘Do Angels cry?’
Generally, this was a sound piece of writing based on an interesting choice of artworks. However, I would encourage you to consult and utilise more effectively a few extra sources to address central aspects of the two pieces. This should also help you to clearly identify the links or differences between the works so that you can build a logical and meaningful set of responses.
Your paragraph on Hamilton’s collage was good, and you outlined the way in which the image acts as a compendium of luxury items and exotica identified with modern life in North America but still rare in postwar Britain (e.g. a large-screen television set, a giant tinned ham, a tape recorder, and a far-reaching vacuum cleaner). Note details such as the table lamp decorated with the Ford insignia that establish the transatlantic origins of Hamilton’s dream world, in which every imaginable appetite can be satisfied instantly.
Hamilton’s collage presents a vision of the future in which a modern Hercules, with a giant lollipop in place of the traditional club, enjoys a life of perpetual, easy pleasure. How does Gonzalvez’s photograph respond to and challenge this work? Begin by looking at Gonzalvez’s comments on the portrait – she remarks that she has “become far less materialistic” since she started producing her intimate, powerful records of life on the street.
You described the ex-military man’s wrinkles and referred to the idea of London’s forgotten population, but make sure you have covered elements such as the lighting (tone, contrast), angles, scale, perspective (including depth of field), texture, and composition (the arrangement of different elements/the methods and techniques used by the photographer – cropping, containment/confinement).
I have amended my analysis taking on board these comments and questions although my amendments have taken me over the required word limit.
Review – A biographical analysis of the art of Artemisia Gentileschi
Ensure that the presentation of your material conforms to the accepted conventions of good academic practice – e.g. full reference list, appropriate tone, use of good quality images with complete captions. Each illustration you use should be captioned using this layout (or a version similar to it): Figure number, Artist, Title (in Italics), Date, Materials, size, Collection or location.
For the purposes of Formal Assessment, when you will need to produce a Word document/hard copy, check that the pages of your essay are numbered, that you have left a space between each paragraph, that you have used 1.5 or double line spacing, and that your text is in a readable 12 point font (e.g. Times New Roman or Arial).
I have checked through my analysis very thoroughly to ensure everything conforms with good academic practice.
Vocabulary – should be varied, precise and apt
Spelling – check technical, specialist terms in particular
Grammar – Sentence structure should be varied; not too simple, nor too convoluted Structure – Have you used signpost words (‘but’, ‘however’, ‘although’ etc.) appropriately, to give your essay cohesion? Have you generally signposted where you are taking your reader (‘There are two points here…’, ‘Having covered…’ etc.)?
As I indicated in my previous comments, writing an art history essay involves creating an argument about what you see (e.g. using the terms ‘how’ or ‘why’ in the essay title). (Something like ‘To what extent are Artemisia Gentileschi’s paintings autobiographical?’ might work better.) Make sure you have developed an interpretive thesis based on close visual analysis of the artworks.
I decided to use my tutor’s suggestion for my title and have also checked the vocabularly, spelling etc.
Your text could benefit from reference to more of a range of sources (books, journal articles etc.) and art historical approaches, which need to be acknowledged in the body of your essay. For example, you referred to Bal and Garrard in your bibliography, but these sources were not mentioned in your text!
I have amended my essay and Garrad is now cited although I could not pinpoint Bal precisely but have cited a third author in the correct manner my tutor mentions below.
Citing sources within the text of an essay: When making reference to an author’s work in your text, their name is followed by the year of publication of their work. Where you are mentioning a particular part of the work, and making direct reference to this, a page reference should be included. E.g. Garrard (1991) argues that… OR for quotations: “Quotation” (Garrard, 1991, p.200). You must also indicate a source even when paraphrasing. If you want to include text from a published work in your essay then the sentence(s) must be included within quotation marks. The quotation should also be emphasised (especially if it runs to 50 words or more) by indenting it.
I have been through my essay as I have re-worked it I have taken note of my tutor’s advice and amended accordingly.
It was good to see that you had formulated a punchy first sentence to get the reader interested and to open up an area for debate within the subject, but think further about the main section of your essay. This is where you lay out your response, mixing argument with supporting evidence (facts, illustrations, quotations). Try to see it as a series of points, each to be developed in a separate paragraph, though there should be an overall thread linking the points in a thematic way. As you know, a long biography of the artist’s life is NOT what is required, so you may need to reread and ‘tweak’ some sections accordingly.
I have tweaked the paragraph relating to Artemisia’s life and also considered the main section of my essay taking note of this advice accordingly.
Investigation, knowledge and understanding of the topic studied: You provided a good overview of the artist’s life and career, covering her training in her father’s workshop, the influence of Caravaggio’s style and dramatic treatment of psychologically intense subjects (although it is important to trace the iconographic similarities of Artemisia’s work to Caravaggio’s Judith Decapitating Holofernes, do not spend too long on this), her study of perspective with her father’s collaborator Agostino Tassi who raped her, and the trial of Tassi which involved Artemisia being tortured and a series of counter-allegations being made against her chastity.
Your scrutiny of the two versions of Artemisia’s Judith and Holofernes recorded the source material (the Apocryphal text of the Jewish heroine which tells the story of a political execution) and key compositional elements, but a slightly more searching approach to visual analysis would have been useful. In relation to the 1620 version you mentioned details such as how the colours are brought into an overall harmony of gold and deep red, and the artist’s use of black glazes to create the shadows, but try to expand on Artemisia’s pentimento (indicating that she altered Holofernes’ drapery to reveal slightly more of his right leg), or how blood spurts out of the wound in distinct curves. (Ward Bissell argues that is likely that in Artemisia’s determination to be utterly convincing and to startle, she “looked to memories of animals being slaughtered in the marketplace and to the arcs of spurting blood in Rubens’ ‘Judith Decapitating Holofernes’”.)
I have expanded on Artemisia’s pentimento as suggested and also tried to have a more searching approach to the visual analysis in my amended essay.
How convincing do you find the argument that the prominence given to the bed refers to the fact that in Latin the bed is called a lectulus, and therefore can be understood simultaneously as a nuptial bed, as a dining couch (with Holofernes’ body likened to the display of meat in a butcher’s shop), and as a bier?
I have addressed this argument in my essay and found it an interesting one to consider.
Your note registering Artemisia’s adoption of a more theatrical but also more sophisticated visual language, demonstrated in decorative and elaborate details relating to lavish costume and jewellery, was good.
Try to say a bit more about the way in which the lives and legends of exemplary individuals like Judith were highly popular at the time with artists and patrons alike. (The very idea of a female of exceptional strength and daring appealed to a seventeenth-century taste for the marvelous.) Think about how Judith also played a significant role within Counter-Reformation Catholicism, in terms of her association with the Virgin Mary and the battle against religious heresy.
I have taken these comments on board and adjusted my essay accordingly.
You briefly considered Artemisia’s paintings in relation to conflicting theories and compulsively biographic or psychoanalytical readings such as Garrard’s speculation that Artemisia’s art externalizes her need to revenge her brutal treatment by Tassi and all men. (Ref. painting as an act of emotional catharsis/means of carrying out psychic vengeance, in an equation described by Garrard as “both biblical and Freudian, linking decapitation and castration – the just punishment for rape in an eye-for-an-eye tradition”.)
However, you need to evaluate this line of reasoning. Read and reflect on Salomon’s statement (in The Art Historical Canon: Sins of Omission): “Whereas Vasari used the device of biography to individualise and mythify the works of artistic men, the same device has a profoundly different effect when applied to women. The details of a man’s biography are conveyed as the measure of the ‘universal’, applicable to all mankind; in the male genius, they are simply heightened and intensified. In contrast, the details of a woman’s biography are used to underscore the idea that she is an exception; they apply only to make her an interesting case. Her art is reduced to a visual record of her personal and psychological makeup.”
I have evaluated the above reasoning and addressed it directly in my essay.
See also Pollock’s criticism of Garrard’s model – she says that “For my money Gentileschi’s painting of Judith and Holofernes has nothing to do with her life experience… What is being so calculatedly decapitated here is the art of these artistic ‘fathers’…” (I.e. To what extent do you think Judith Slaying Holofernes provided a means for Artemisia to structure her desire for a certain kind of artistic identity?)
Pollock also poses some important questions, such as ‘How do I know that what I take to be the signs of a woman artist’s consciousness at work are not merely the imposition of culturally stereotyped ideas of social femininity that have shaped me, that define ‘woman’ in my own time and culture, in my own class and ethnic background?’ (I.e. we need to be conscious of what we are looking for and what we see in the work of women artists.)
I was unable to find Pollock’s criticism on Garrard’s model and also his questions but I have still been able to address his comments in my essay in an appropriate way.
Go over your conclusion again. The conclusion is where you pull together and restate the main points of your essay in order to make some overall statement in response to the question/title. Checklist: What general inferences can you draw from your argument (i.e. conclude, do not just summarise)? Where do you stand in relation to your case? To round off, can you very briefly place your response in a wider context?
I have changed my conclusion completely and feel I have responded to my title and pulled my arguments together with a definitive answer.
Learning Logs or Blogs
It was good to see you include on your blog more notes on useful programmes and newspaper articles that you have consulted, and your gallery reviews and visit write-ups show how your understanding of the subject and related issues has developed.
As your remarks revealed, despite finding aspects of the material challenging, you have experienced the study of art as an enjoyable and rewarding activity, and have found the course useful. You have increased your appreciation for the process of making and displaying art and by recording your progress against the assessment criteria you have maintained a more reflective stance.
In terms of showing how you have become more of an active and aware learner, you might like to respond to some of the following questions: Which aspects of your work on this course did you think were most successful? How have you used and evolved your critical thinking skills? Do you think you are more confident in discussing aesthetics/using visual language? How would you judge your fluency in new ways of thinking, working, reasoning, and investigating? How difficult was it to use different techniques/approaches in your studies?
Arnason, H.H. & Mansfield, E. C. (2012) History of Modern Art. 7th edition. New York: Pearson
Danchev, A. (2012) Georges Braque: A Life. New York: Arcade Publishing
Stiles, K. & Selz, P. (2012) Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. 2 nd edition. Berkeley: University of California Press
Pointers for the next assignment
N/A. I hope that everything goes smoothly in the preparation and submission of your work for formal assessment. (Carefully read through the guidelines.)
The main points to think about include:
Reviewing and reworking material prior to assessment: Check that all your annotations are as detailed as possible and that your projects are appropriately illustrated. As previously discussed, if you are making substantial changes/amendments in light of tutor feedback, briefly acknowledge that some revision has taken place. (Do not duplicate material.)
Presenting your work to best advantage: Assessors will be looking for evidence that you have engaged with professional standards not only in the production of your work but also in the presentation of it. Include a clear contents list, label every piece of work (include your name and student number) and state which assignment it relates to. Record word counts and use the Harvard Referencing system. Ensure that your blog is carefully organised (e.g. into categories – visits, reviews, essays, reflections, reading notes etc).
I wish you luck in your future studies and do hope you continue to enjoy Art History.
I have taken a comprehensive note of all of this feedback and amended my blogs accordingly throughout as well as checking as thoroughly as possible of all my blogs for all the points and advice my tutor has mentioned.
There is no question of the fact my love of Art History will continue long after this course has been assessed and will form a vital part of my studies in the future.