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Running Head: ARTIST SURVEY
A Survey of Contemporary Artists
Jennifer Margrave
University of Central Florida
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What is considered current, relevant, impressive, and worthwhile is always changing in
the art world. The emphasis on style and technique versus content or message of a work is
always changing. Many contemporary artists of today are successfully accomplishing the goal of
expressing a message through the use of well-crafted visual images. These artists are inspiring
and motivating, which makes them perfect for use in the art classroom. In this paper I will
discuss five contemporary artists as well as several examples of visual images in the media that
can be used in a classroom setting. I will explain each artist’s background, the inspiration and
meaning of their work, and how the work could be used in a classroom setting.
The artists and media study pieces discussed all fit into one of three themes. The first
theme is identity. The artists whom will be in the identity theme are Patrick Martinez and Cindy
Sherman. Next will be Do-Ho-Suh and Andrea Zittel; their work addresses the theme of home.
Last, I will look at the work of David Haines as well as media study examples that address the
issue of character.
Patrick Martinez
The first artist I selected is Patrick Martinez. I chose him because his work is not only
visually appealing, but it also critiques youth/hip hop/low income culture. The issues that are
addresses, such as violence in low income neighborhoods, consumerism, and nutritional choices
for low income families are relevant and relatable for students today. Martinez creates brightly
colored paintings and drawings, and often uses mixed media, adding touches such as neon
lighting to help convey his message. His color use, composition, and imagery draw the viewer
into his work, and then its content gets the viewer thinking.
Patrick Martinez was born in 1980, and is from Pasadena, California, which is just
outside of Los Angeles. Before finishing art school he was the art director for Concentrated
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Entertainment. Since he received his Bachelors of Fine Arts in illustration from Art Center
College of Design in Pasadena he has been supporting himself by creating artwork and showing
his work in the United States and Canada.
Martinez bases his decisions about technique around what message he is trying to
convey. He states, “I work with many different mediums…it depends on what I’m trying to say.
If it’s more effective as a sculpture or neon, I’m going to go that route (Martinez, 2010).”
Martinez states when he creates a painting he does “real loose sketches or drawings of what I
think I want to paint…I find a lot of the details, movements, or emotions when I’m doing the
actual painting (Martinez, 2010).” The outcome of the viewer seeing his work is always
important to Martinez, as he conveys with this statement, “I like to take my time and really focus
on putting out good work. I don’t want to just fill galleries up with wallpaper pieces that have my
signature. I want to try and connect with people in a real way, not on a Facebook level (Martinez,
2010).”
In order to get more specific about the content Martinez addresses in his work I am going
to discuss three of his works: Break Bread, Productos Frescos, and Sign of the Times. Break
Bread is a mixed media work done in 2010. The work depicts jewelry being sold. The way the
items are priced, with bright orange and pink tags that appear to be handwritten, makes the
setting appear to be a pawn shop. The coloring puts emphases on the items sparkle as well as the
price tags. This piece comments on the emphasis put on material possessions in low income
neighborhoods. The work challenges viewers to question the necessity of these material
possessions. Showing this work in a classroom setting can open up the topic of consumerism.
The work does not appear to be completely one sided, only conveying the negative aspects. It
simply opens the topic up for discussion, which is ideal for a classroom setting.
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Another important mixed media work done in 2010 by Martinez is Productos Frescos.
This work is comprised of a painting of products that are commonly found in convenient stores
outlined in neon lighting with the words Productos Frescos in neon at the base of the work.
Cheetos, grape soda, and a forty ounce beer covered with a paper bag are shown in the window
next to some grapes, an orange, and a pear. The orange is moldy, the pair has worms coming out
of it, and flies circle the grapes. The sign means fresh produce in Spanish, but the produce is in
fact not in any way fresh. This piece shows the limited options for nutrition for people without
transportation to a traditional grocery store. It is common for low income families to shop for
food in convenient stores because of the transportation issue. This means that they and their
children often end up paying high prices for food, and do not get healthy groceries. Making good
nutritional choices and the consequences of not doing so is a very important issue to discuss with
young people today. With increasing obesity rates in youth populations, it is important to explore
the causes of this problem.
Sign of the Times is a mixed media work done by Martinez in 2005 that depicts an urban
bus stop. When the viewer first looks at the piece the eye is immediately drawn to a figure on the
right in the foreground. The figure is an African American male that is wearing a bullet proof
vest. He is looking over his shoulder as if he is waiting for disaster to strike at any moment. The
man is holding books, and has a backpack on his shoulder. This helps to show him as an
everyday person, probably a student, who is not able to feel safe in his neighborhood. This work
addresses the issue of violence in urban neighborhoods, and its effect on everyday people.
Martinez’ work has content that can generate genuine discussions with students because
the concepts are important, but not too complicated. In addition, the meaning of the work is
fairly easy to see when you view the work; you do not need to make a huge leap in interpretation.
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This is good for a classroom setting because students will not feel like the instructor is putting
their bias or opinion into the interpretation. Martinez lives in an urban environment, and is
involved in Hip Hop culture, yet he is able to critique the aspects of it that he feels should be
changed. This is a capability I want to encourage in students by showing his work. In addition, I
want students to listen to the messages his work is conveying.
Cindy Sherman
The second artist I chose to focus on is Cindy Sherman. She, allow with Martinez,
addresses issues of identity. She differs in that she exclusively focuses on women, and depicts
women of all classes and upbringing. Her photographs provide an opening to explore the identity
of women and their role in society as well as how physical appearance effects how others view
us. Cindy Sherman takes photographs of herself, but they are not self-portraits. S What she does
is similar to acting in that she tries to become a character. She does not want the viewer to see
her face, but to see a woman with a background story.
Sherman was born in 1954 in Glen Ridge, New Jersey, which is a suburb of New York
City. Sherman studied painting, and then photography at State University College at Buffalo.
Sherman felt that she could not convey what she wanted to through the medium of painting, so
she switched to photography. Sherman is more influenced by the film industry than the art world.
Sherman is married to video artist Michel Auder, yet her works are usually done alone. Sherman
has created many series of photographs, most of which reference a type of woman, or a role
women play.
Sherman describes her process of becoming a character in this way, “I think of becoming
a different person. I look into a mirror next to the camera…it’s trance-like (Sherman, 2009).”
Sherman is not a traditional artist in that she strives for her work to be accessible to everyone as
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she describes here, “I wanted it to look like anyone would understand it because it looks like it’s
from a movie, and maybe I saw that movie (Sherman, 2009).” Almost all of Sherman’s works
are untitled, which is another example of how she is thinking of the viewer’s experience when
she is creating these works. Sherman states, “I didn’t want people to have a preconceived notion
of what they’re supposed to imagine this character to be (Sherman, 2009).” This shows that
Sherman is not forcing her interpretation on the viewer, but understands and encourages viewers
to have different understandings of and experiences with her work.
One thing I definitely want student to take away from Sherman’s work is that the way we
look speaks about who we are. Whether it’s right or not everyone is judged on their appearance.
We can all look at the images Sherman creates and think a background story for each one based
on the way the woman is dressed, how she wears her hair, how much makeup she has on, her
position, her posture, her facial expression, and the background. Understanding that looks
portray our identity is important, and it’s equally important to know not to put too much stock in
outward appearances. Walking the line of being aware but not judgmental is a good starting point
for student thinking when creating work inspired by Sherman’s work.
The images of women that aren’t there also say a lot. Women in positions of power are
not really depicted in Sherman’s work, and I think this is because these are not images that we
see often. Sherman wants to create images that look familiar to us; she wants to create a sense of
understanding, familiarity, even deja vu. Seeing a woman as a high powered attorney, president,
or the provider for a family should be more commonplace. I think a great application for students
would be to extend the images shown and create images of women in the future when women’s
right have, hopefully, become closer to equal.
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Cindy Sherman is not just a passive photographer, taking pictures of things she happens
to see. She creates a story and transforms herself into characters in that story. It is my goal that
after students view her work they will be motivated to portray individuals from all backgrounds
in their works. In addition, I want students to take the concepts in her work to the next level.
They could do that by examining their own biases about the way people look, and/or portraying
women in positions of power.
Do-Ho-Suh
Do-Ho-Suh is a sculpture artist that deals with issues of home. This theme is particularly
complicated and interesting for Suh since he was born in South Korea and moved to the United
States. Suh creates sculptures in a variety of medium. His works address the differences between
his original home and the United States.
Suh was born in 1962 in Seoul, South Korea. Suh received his Bachelors of Fine Arts and
Masters of Fine Arts in Oriental Painting from Seoul National University. He completed a year
of mandatory service in the South Korean military. The then moved to New York City where he
expanded his taste in art and began working with new materials, such as fiber.
I will be discussing three of Suh’s works: Fallen Star, Seoul Home, and Floor. Fallen
Star and Seoul Home both helped Suh deal with his longing for home when he moved to the
United States. When Suh moved to New York he stated, “I was living on 113th Street, near
Columbia. And my apartment building was right across the street from the fire station. And it
was really, really noisy and I couldn’t sleep well. And I was thinking when it was my last time to
have a really good sleep. And that was in a small room back in Korea. And I wanted to bring the
house somehow to my New York apartment (Suh, 2003).” That is what inspired Suh to create
Seoul Home, which is a fiber art sculpture that is a replica of the home he lived in in South
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Korea. The entire sculpture can be folded into a suitcase and transported from place to place; it is
a literal way to bring your home with you. Fallen Star begins to deal more with the crashing of
Suh’s world in South Korea and his life in New York. This is a scaled down version of the
apartment building Suh lived in is New York with his home in South Korea crashing into it.
There are several applications of these works for students in the classroom. These works
expose the feeling of longing for the familiar as well as the beginning of accepting that change.
Students could create work that expresses a time when they wished things could go back to the
way they were, to a more familiar time. Alternatively, students could create work that expresses
their home, and what home means to them.
Floor is another important sculptural work which was created by Suh in 2000. Floor is a
platform which is held up by tiny men in business suits. The top of the platform is glass, so that
one can walk on it and see the men underneath. The men are various flesh tones, and have
generally pleasant expressions. Suh states, when asked about the origins of Floor, “It started
from this notion of individual space or personal space. Seoul is a very crowded city…bumping
someone shoulder is normal, but it’s different here. My perception of personal space has changed
(Suh, 2003).” This brought Suh to compare eastern and western culture further, and begin to
think about individualism versus collectivism. Suh states, when discussing his move to the
United State, “that kind of cultural displacement allowed me to compare to different cultures. I
was able to actually look back and think about this idea of individual and collective (Suh,
2003).”
Suh work allows students a perspective into eastern culture told by someone who also
understands western culture. I hope that through understanding his story and experience students
could understand that the way they live and the things they value are not the only way.
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Understanding others is always helpful to better understand ourselves, and Suh’s work is a great
opportunity for that.
Andrea Zittel
Andrea Zittel’s creates sculptures that are sometimes functional in nature. They generally
depict living spaces, and are often minimal and/or extremely organized. Zittel uses a variety of
materials for her sculptures, and common building materials are often the key ingredients of her
work. Zittel’s work causes us to think about what is important to us in our home, which is turn
keys into what is important in our lives (comfort, security, organization, privacy, etc.).
Andrea Zittel was born in Escondido, California in 1965. She received her Bachelors of
Fine Arts in painting and sculpture in 1988 from San Diego State University and her Masters of
Fine Arts in sculpture in 1990 from the Rhode Island School of Design. While Zittel is a
traditional artist, in that she participates in museum exhibitions regularly, she also has developed
commercial series of functional organizational units that are available for the public to purchase.
Zittel currently lives in New York and California.
Zittel’s work is, in a way, a combination of art and everyday life. Because of the orderly
aspect to it as well as the minimalistic spaces it could be said that it is about control. Zittel states,
“I am always looking for the gray area between freedom—which can sometimes feel too openended and vast—and security—which may easily turn into confinement (Zittel, 2001).” Zittel
looks for this in-between in her artwork as well as her life. Her home is a carefully constructed,
functional unit. She has also does things such as wear a particular outfit for an entire season. She
is an interesting artist, as well as an interesting person.
I will be discussing two of her works in more detail: A-Z Escape Vehicle and A-Z
Homestead Unit. A-Z Escape Vehicle is a compartment sculpture that is large enough to carry a
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human. It looks a bit like a metal pod with fur inside. There is a small door on the top of the
compartment that can be open and closed. When one views the work the first thing that comes to
mind is crawling in, snuggling up to the fuzzy interior, closing the door, and falling asleep. This
work reminds me of an attempt to return to the womb. I believe it is all about creating of
comfortable and secure environment to hide from the outside world, even if temporarily. This
work is a good example of how to communicate values that are important to the artist. There is
also an aspect of fantasy in this piece. The idea of this being an escape vehicle alludes to the use
of imagination and the ability to cut oneself off from reality temporarily.
A-Z Homestead Unit, on the other hand, resembles a more traditional idea of home. This
sculpture consists of a small living space with large openings in the walls and a single light in the
center. The roof is angled upward, and there is a grouping of rocks outside the unit. There is a
small light next to the grouping of rocks. The feel of the piece is of a small house where
everything that is there is necessary, and there is no excess. It has an open and warm feel, which
makes it seem as though whoever would live there is happy to have a simple life with little need
for material possessions. The small grouping of rocks simulates a garden, and the fact that a light
is next to then indicates that the person who would live there would spend time outdoors.
Zittel communicates things that are important to her and in her life through the things that
are and are not present in her sculptures. Her idea of home is a comfortable, secure, orderly, and
functional place. Students who view her work should try to express things that are important to
them through creating an ideal living space in their view. The works could express a need for
safety and security, such as in A-Z Escape Vehicle, or a need for openness and adventure. What
is important in a living space is different for everyone, and it is an important way to indirectly
speak about yourself.
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David Haines
I chose David Haines as an artist for this paper because of the content of his work. He
creates photorealistic drawings of scenes that he finds posted on the internet. His images show
scenes in which a person or persons are imposing something upon another person. The topics
that are introduced in his art are common issues in schools everywhere, and for this reason I
think they would be very relatable for students. Haines’ work is powerful, and a good example of
how art can be a platform for issues that the artist believes in.
Haines was born in the United Kingdom in 1969. He studied Fine Art at Camberwell
School of Art, London. Haines lives and works in the Blue Mountains, New South Wales. He has
participated in many group and solo exhibitions throughout Europe, and has had some exposure
in the United States. Haines depicts morally questionable images, which often make the viewer
feel as if they are viewing something they are not meant to view.
Haines states that his images, “explore characterizations of passivity and control, as well
as assumptions made about people who engage in these roles (Haines, 2007).” He often obstructs
the faces of the perpetrators in his works so that the act is not about that particular person but is
more of a generalization. This makes the viewer more able to relate what is going on in the
image. Haines also injects common brand names into his titles and clothes his characters in these
brands so that the viewer can more easily relate to the characters (Haines, 2007).
I will discuss two of Haines’ works in more detail: Adidas Boys Investigation into
Digestible and Indigestible Substances and New Balance Sneaker vs. KFC Bucket. Adidas Boys
Investigation into Digestible and Indigestible Substances is a drawing of four figures, all male.
Two of the boys are holding one of the boys down. The fourth boy is simply sitting at a table in a
relaxed position. One of the boys who is holding the boy down is force feeding him something.
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This is a classic control and submission topic. In addition it looks at the group versus the
individual. This is an example of bullying and hazing that often occurs in high schools, yet the
scene is still fairly shocking.
New Balance Sneaker vs. KFC Bucket is another drawing by Haines that depicts the use
of control and power over an individual by a group. The drawing shows two boys holding a boy
over the edge of a building while his bucket of chicken is falling off the edge of the building. I
find the title of this piece particularly interesting because it completely takes out the human
element. Instead of acknowledging that it is two boys frightening another boy it simply refers to
the bullying boys as New Balance sneakers and the boy being bullied as the KFC Bucket.
Haines depicts people in situations that they would often be ashamed of later. I want
students to consider the following questions. What do the acts shown say about the people
involved? What do you think contributed to their behavior? What does the work make you want
to do in reaction to it? My two main goals for showing these images are that students would feel
empowered to try to convey a message that’s important to them in their own artwork, and that
students would think seriously about what how bullying can effect people.
Media Criticism
My three media criticism pieces all relate to the content of the viewer’s character in some
way. The first piece is a print advertisement that is speaking against verbal abuse. The second is
a Diet Coke video advertisement, and the third is a video advertisement for Huggies jeans
diapers. My goal for using these pieces in a media criticism situation is to help students
understand the goal advertisers have when creating the advertisements and to help the students
gain a critical eye when viewing media.
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The first media piece is a print advertisement that shows a man with his mouth wide
open, and out of his mouth comes a hand that is pulling a woman’s hair. I like this image because
it is truly a purely visual way to express a concept. I think this is a great example for why the
common phrase of a picture is worth a thousand words came into existence. If you simply had
read that verbal abuse can hurt, or some other simple phrase, you would not get the immediate
understanding that you do from viewing this image.
My goal for students viewing this work would be for them to be able to describe what
makes is so effective at quickly conveying its message. Students would then be able to use what
they learned from viewing this image to create artwork that conveys whatever they think is
important in a powerful way.
The second media piece I have in a video advertisement that came out this year for Diet
Coke. The slogan they use is “Stay Extraordinary.” The advertisement shows beautiful,
powerful, and creative people all choosing Diet Coke. I chose this ad because of the large
difference in content from previous Diet Coke ads. Before the focus was on the taste, and how it
tasted just as good as regular Coke. This ad focuses on the type of person that drinks Diet Coke,
and seems to say that if you want to be like them you should be drinking Diet Coke.
My goal is for students to think about what message the ad is actually trying to get across
to the viewer as well as who is probably their target audience. This will help students gain a
critical eye and help them be less malleable when it comes to being influenced by
advertisements.
The third media criticism piece I chose was a video advertisement for a new diaper by
Huggies that is colored like jeans. This ad shows a baby walking around in the diapers while an
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announcer that sounds like he is from a fashion show makes comments about how good the baby
looks in a serious yet sarcastic voice. The ad ends with the baby getting into a red convertible.
This ad is a good example of parody, and a light way to bring up the fashion industry.
Students are constantly marketed to, and showing an overdone example of that is a good way to
make light of it. This piece is also designed to help build the critical eye in students, and help
them analyze some of their own spending habits.
Conclusion
Throughout this class I have discovered a list of exciting new artists who speak about a
variety of topics in their art. It is my goal that students will understand the messages these artists
are trying to convey and then use their own artwork to speak about issues that are important to
them. I believe that until a viewer can understand the motivations behind a piece of art they will
not be able incorporate that lesson into their studio work. I believe that giving the background
information of the artists and their lives will help students to gain more from the work. I found it
particularly helpful to give direct quotes from the artist because it will give student a realistic
understanding of the message behind the works as well as the artist’s process.
The requirement of finding artists that we could choose six images from was an important
one. This caused me to change my artists several times because some of the artists I originally
chose simply did not have a body of work that I could pull six images that were content filled
from. This process helped me to create a list of quality contemporary artists that consistently
create works that are relevant to the lives of students today.
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References
Art 21 (2003). Suh Biography. Retrieved from http://www.pbs.org/art21/artists/suh/
Art 21 (Interviewer) & Suh, D. H. (Interviewee). (2003). Do-Ho-Suh [Interview transcript].
Retrieved from http://www.pbs.org/art21/artists/suh/clip1.html#
Art 21 (Interviewer) & Andrea Zittel (Interviewee). (2001). Andrea Zittel [Audio File].
Retreived from http://www.pbs.org/art21/artists/zittel/
Aware Helpline. Verbal Abuse [digitally altered photograph]. Retrieved from
http://adsoftheworld.com/media/print/aware_helpline_verbal_abuse_1?size=_original
Cindy Sherman (2004). Retrieved from http://www.cindysherman.com
Cartoon, M. (2010). Patrick martinez. Juxtapoz, 118, 90-99.
Cooper, D. (Interviewer) & Haines, D. (Interviewee). (2007). David Haines [Interview
transcript]. Retrieved from http://denniscoopertheweaklings.blogspot.com/2007_04_24_archive.html
Haines, D. (2009). Adidas boys investigation into digestible and indigestible substances
[Drawing]. Retrieved from
http://www.davidhaines.org/DavidHainesAdidasboysinvestigation.html
Haines, D. (2007-2008). New balance sneaker vs. KFC bucket [Drawing]. Retrieved from
http://www.davidhaines.org/David%20Haines%20New%20Balance%20Sneaker%20vs%
20KFC%20Bucket.html
Haines, D. (2008). Liquid myth [Drawing]. Retrieved from
http://www.davidhaines.org/David%20Haines%20Liquid%20Myth.html
Haines, D. (2010). Adidas chicken convection [Drawing]. Retrieved from
http://www.davidhaines.org/DavidHainesAdidaschickenconvection.html
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Haines, D. (2007). Dissolving prophesies [Drawing]. Retrieved from
http://www.davidhaines.org/David%20Haines%20Dissolving%20Prophesies.html
Haines, D. (2009). Nike air boy [Watercolor]. Retrieved from
http://www.davidhaines.org/DavidHainesNikeairboy.html
Martinez, P. (2010). Hustlemania [Mixed media]. Retrieved from
http://www.patrickmartinez.com/art.html
Martinez, P. (2010). Break bread [Mixed media]. Retrieved from
http://www.patrickmartinez.com/art.html
Martinez, P. (2010). Productos frescos [Mixed media]. Retrieved from
http://www.patrickmartinez.com/art.html
Martinez, P. (2008). Don’t believe the hype [Drawing]. Retrieved from
http://www.patrickmartinez.com/art.html
Martinez, P. (2007). Wack rappers [Silkscreen and watercolor]. Retrieved from
http://www.patrickmartinez.com/art.html
Martinez, P. (2005). Sign of the times [Mixed media]. Retrieved from
http://www.patrickmartinez.com/art.html
Pilgrim, L. (n.d.) David Haines. Retrieved from http://www.shineatthebluecoat.org.uk/artists/
Sherman, C. (2003). Untitled (Woman in sun dress) [photograph]. Collection of Phyllis
Tuchman. Retrieved from
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Sherman, C. (2008). Untitled [photograph]. Retrieved from
http://nymag.com/daily/entertainment/2008/11/photographer_cindy_sherman.html
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Sherman, C. (2009). Untitled [photograph]. Retrieved from
http://www.mediabistro.com/unbeige/in-new-work-cindy-sherman-becomes-women-ofa-certain-age_b6086
Sherman, C. (2009). Untitled [photograph]. Retrieved from
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Sherman, C. (2010). Untitled [photograph]. Retrieved from
http://thatswhenireachformyrevolver.wordpress.com/2010/01/04/cindy-sherman-aretrospective/
Sherman, C. (2000) Untitled [photograph]. Retrieved from
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Suh, D. H. (2003) Fallen star [sculpture]. Los Angeles County Museum of Art. Retrieved from
http://exhibitioninquisition.files.wordpress.com/2009/09/do-ho-suh-fallen-star1sq.jpg?w=450&h=450
Suh, D. H. (1999). Seoulhome [sculpture]. Retrieved from
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Suh, D. H. (1999). Seoulhome [sculpture]. Retrieved from
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Suh, D. H. (2003) The perfect home II [sculpture]. Retrieved from
http://representingplace.files.wordpress.com/2010/01/do-ho-suh-staircasesq.jpg
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Suh, D. H. (2000). Floor [sculpture]. Retrieved from
http://www.imamuseum.org/art/collections/artwork/floor-suh-do-ho
Suh, D. H. (2003). Karma [sculpture]. Retrieved from
http://www.designboom.com/eng/interview/dohosuh.html
Sussler, B. (Interviewer) & Sherman, C. (Interviewee). (2009). Cindy Sherman Interview
[Interview transcript]. Retrieved from Art 21 Blog Web site:
http://blog.art21.org/2009/08/28/cindy-sherman-interviewed-by-betsy-sussler/
Zittel, A. (1996). A-Z escape vehicle [sculpture]. Retrieved from
http://moma.org/collection/artist.php?artist_id=7525
Zittel, A. (1996). A-Z escape vehicle (interior world model) [painting]. Retrieved from
http://moma.org/collection/artist.php?artist_id=7525
Zittel, A. (2010). Pocket property [sculpture]. Retrieved from
http://www.pbs.org/art21/slideshow/popup.php?slide=633
Zittel, A. (2002). A-Z mobile compartment units [sculpture]. Retrieved from
http://www.zittel.org/works_horizontal.php?a_id=172&tag=shelter
Zittel, A. (2004). A-Z homestead office [sculpture]. Retrieved from
http://www.zittel.org/works_horizontal.php?a_id=128&tag=shelter
Zittel, A. (2004). A-Z homestead unit [sculpture]. Retrieved from
http://www.zittel.org/works_horizontal.php?a_id=102&tag=shelter
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Appendix A
Patrick Martinez Works
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Appendix B
Cindy Sherman Works
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Appendix C
Do-Ho-Suh Works
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Appendix D
Andres Zittel Works
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Appendix E
David Haines Works
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Appendix F