ARTH 124 Materials and Meanings
Spring 2023
Sarah Thompson
StoryMap: Materials on the Move
Project
Summary
Over the course of the term, you will be working on a project combining text,
images, digital media, and mapping to document how the materials of one work of
art bear significance.
Basic
parameters
You’ll be selecting one work of art that combines three or more materials from a list
that your instructor will provide. You’ll identify the materials and analyze their
sources, the techniques used to incorporate them into the art object, and the ways
they enhance the meaning of the object. You will also consider how additional layers
of meaning may be attached to the object over time, as the materials may change
and the object itself may move and be encountered by different audiences. Your
written analysis will be posted in a StoryMap on the ArcGIS platform, including a
map showing the origins and movement of the materials of your object and any
movement of the object itself, as well as supporting images, illustrations, or other
media that help to present your research. Everyone must have a minimum of 1500
words of text (not including captions, notes, and the bibliography), one map, and
three images.
Choosing your
object
Your instructor will provide a list of art objects in museum repositories that are made
of three or more different materials. You will review the list and investigate several
that may be of interest, then write a brief proposal for your project topic. The
proposal should list three possible choices of interest to you, with a couple of
sentences about what you find intriguing about each one. Your instructor will
approve one of those objects. Note that if your object consists of more than four
materials, you can pick the four you will argue are the most significant and add the
most to the object’s meaning—you don’t have to try to track down every last one.
Writing your
analysis
Start by identifying your object and any known or likely factual information about it,
including the materials it has been made from. Use a formal analysis to support a
possible meaning for the object and establish how the materials add to that
meaning. You can research the meanings of the materials within their cultural
context and discuss how each adds to the meaning of the work as a whole. If your
object has three identifiable materials, you should cover each of them. If your object
has more than four identifiable materials, pick the four you will argue are the most
significant and add the most to the object’s meaning, and indicate why you chose
them. Once you have discussed what the materials add to the work, consider how
later changes and movement of the art object further add to its meaning. You can
use headings and illustrations to organize your work and help your reader
understand your points. You will have a draft stage and a chance for peer review to
help you review and improve.
Tracing the
materials and
mapping their
movement
Consider the sources of the artist’s materials. Sometimes you may be able to
determine this with exactitude if the object is well-documented (most likely to see
this in modern examples); other times you may have to consider what you’ve
learned in class as well as do some research into the likely sources of a given
material for your object’s place and time of creation. You can plot these origins on a
map within StoryMaps, choosing icons and inserting images, pathways, etc. to help
your reader understand how your object connects to a wider geographic setting
and what meaning the movement of the materials may add to your artwork. If the
object has moved from its original place of creation—maybe it was purchased by a
collector, stolen, seized, or added to a museum—add that movement to your map
as well, so that your reader has a strong understanding of your object’s connections
with different places and audiences.
Research and
citations
You will need to do some research to help you figure out what your object is made
from and how, how those materials were viewed within its culture of origin, where
the materials may have originated, whether the object moved from its place of
creation, and what it may have meant in successive locations. You may not be able
to answer with precision, but you should be able to figure out possibilities and
support your ideas. Comparing your object with similar objects or researching
materials and techniques within the object’s culture may help you considerably. I
have listed some introductory research resources on MyCourses. The RIT library
has books in the collection that will be useful, and access to databases
(https://library.rit.edu/dbfinder/index.php?query=*%3A*&fq[]=subject:%22Visual+Ar
ts%22) that will help you find journal articles.
Evaluate your sources of research: you want to be using accurate and current
scholarship appropriate for the level of a university class. Readings I assign for class
are good examples of the level of scholarship that will be helpful.
Everyone’s StoryMap should include citations (notes connected to your text that
reference the specific source of any words or ideas that are not your own) in the
form of endnotes, and a bibliography (separate from the endnotes) that includes all
sources that helped to shape your work on the topic, regardless of whether you
specifically quoted/referenced them in your text. The endnotes should appear at the
conclusion of your StoryMap text, followed by your bibliography.
Citations exist to distinguish your original work from the work of others; to provide
support for your argument; and to help interested readers find the source of ideas
so they can read more about the topic. Information that is neither common
knowledge nor your own analysis must be cited using a consistent, appropriate
format and including page numbers or web addresses. This includes information
taken from the course textbooks. Because the StoryMaps app makes footnoting
awkward, you should use Chicago author/date style, with an in-text citation in
parentheses and an alphabetical bibliography of all sources (both those you cited
and those you consulted in the process of research) at the end of your StoryMap.
The Chicago Manual of Style has a webpage with examples of the most common
source types and formats here:
https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html
Failure to cite words, phrases, or ideas that are not your own constitutes plagiarism,
which may result in a failing grade on the assignment and/or the class, as well as
consequences to be determined by RIT’s administration. If you paraphrase
(summarize someone else’s words), the paraphrase must be written in your own
words and cited at the end of the passage. Plugging synonyms into someone else’s
sentence structure does not turn it into your idea. Parentheses enclosing the source
of the cited information should appear immediately after the cited material, not at
the end of a text block.
Students sometimes have a hard time determining what is considered “common
knowledge.” Facts or interpretations that are repeated by multiple sources can be
considered common knowledge and do not need citations. If an author makes a
unique argument, makes an argument that counters accepted knowledge, provides
information that was previously unknown, or provides specific statistics or original
research, you must cite these ideas if you mention them. One of the reasons that
it’s important to read widely about your chosen research topic is to gain a good
sense of what is common knowledge and what is not.
Extensive quotations are no substitute for your own ideas, even when correctly
cited. Make sure you’re quoting for a reason: when you quote someone directly, it
should be because the specific wording of the quote matters, not to avoid wrangling
with the ideas yourself.
Images should be captioned, and should include credits (the source of the image,
and copyright information if the image is not in the public domain).
What’s a
StoryMap, and
how do I make
one?
A StoryMap allows you to arrange your choices geographically and to creatively
illustrate and annotate them to tell a story. There are different ways to design your
content, but everyone should, at minimum, include 1500 words of text (not including
captions, notes, and the bibliography, although these should also be included), one
map, and three images.
I will add you to the RIT ArcGIS platform as a user, and when you have account
access, you can start your StoryMap by going to Content, then Create, and clicking
on StoryMap.
Here’s the RIT ArcGIS homepage. Be sure to use this site to connect so that you’re
going through RIT’s license and can be connected with your classmates.
https://ritarcgis.maps.arcgis.com/home/index.html
Here are some resources for planning and designing your StoryMap:
https://www.esri.com/en-us/arcgis/products/arcgis-storymaps/resources
Here’s a basic tutorial for making a StoryMap:
https://storymaps.arcgis.com/stories/cea22a609a1d4cccb8d54c650b595bc4
Preliminary
assignments
Proposal: choose three possible artworks of interest from the provided list. Write a
project proposal that includes your three choices, with a few sentences about each
one that explain what appeals to you about working on it. Upload to the MyCourses
dropbox before midnight on February 13 th.
Initial setup and identification: establish a StoryMap and begin to enter content. On
the StoryMaps platform, create a text box to brainstorm your ideas in response to
five questions: what are the materials? What techniques are used? What culture(s)
have been associated with the object? Where may the materials have come
from/where has the object moved? What are your initial thoughts about what will be
interesting to explore? Change your StoryMap sharing settings to make your
StoryMap visible, and add the link to the MyCourses dropbox to let your instructor
know your setup assignment is ready This should be done after you receive
approval of one of the works from your proposal, but before February 28 th at
midnight.
Workshop on citations and captions: since Chicago style is new to many students,
we will do a short formatting workshop and talk about the uses of citations in class
on March 2nd.
Draft: Have a draft of your StoryMap ready for review by April 6th. This doesn’t have
to be perfect, but there should be enough material so that a peer can provide you
with helpful feedback. Make sure your draft is saved and that you’ve made it visible
and shared a link to the MyCourses dropbox.
Peer review: I will assign review partners, and each student should provide
feedback to another student on their project using a rubric that I will distribute.
Comments should be constructive in nature—what is your peer doing well? If
something needs work, what’s the nature of the problem and what might be done to
improve it? Focus on substance and presentation more than copyediting. Share
your comments with your peer, and upload a version of the rubric you fill out for
your peer to the MyCourses dropbox for me, before midnight on April 18th.
Deadlines
Proposal: due to MyCourses dropbox before midnight on February 13.
Setup assignment: due on StoryMaps (make your StoryMaps page visible and add
a link to the MyCourses dropbox) before midnight on February 28.
Draft: Have your draft ready for review before midnight on April 6.
Comments for peer: share your comments with your peer, and upload a version of
the rubric you fill out for your peer to the MyCourses dropbox, before midnight on
April 18.
Final version: due before midnight on April 27.
Writing Help
The following books have helpful technical information about writing, including rules
for grammar, punctuation, and citation formats:
Barnet, Sylvan. A Short Guide to Writing About Art. N7476.B37 2010
The Chicago Manual of Style. 15th ed. REF Z253.U69 2010
Use the RIT Writing Commons: http://www.rit.edu/academicaffairs/writing/about-us
Purdue University hosts an online writing lab (OWL) with great reference links:
http://owl.english.purdue.edu/owl/
Don’t be shy about asking for my help! We can set up a time to discuss your writing.
Assessment rubric (final version of project)
Content
Map
Images and
format
Research
Mechanics
A Text establishes the facts of
All sites
correctly
marked;
clear
formatting
choices; can
follow
sources and
directions of
movement.
Creative, clear,
readable, and
navigable.
Includes images
with credits and
sizes them
appropriately.
Color choices,
fonts, and
layout help
communicate
information.
Work builds on research
that supports and
enhances the student’s
ideas. Student shows the
ability to assess the validity
of research sources,
choose sources
appropriate for a university
level, and critically analyze
sources. Source are cited
in endnotes; a bibliography
reflects key works in the
field.
Minimal to no
errors
B Text establishes the facts of
All sites
correctly
marked, but
map may not
reflect the
scope of A
work; clear
formatting
choices; can
follow
sources and
directions of
movement.
Effective use of
images and
formatting
options, but
may not be as
creative,
consistent, or
thorough as A
work
Work builds on research
that supports the student’s
ideas. Student shows the
ability to choose sources
appropriate for a university
level and connect them to
the student’s conclusions.
Source are cited in
endnotes; a bibliography
reflects relevant
publications.
Minor errors
C Text meets the basic
Map is
included and
meets
minimum
standards.
Student uses
headings and
images to
organize and
communicate,
but may be
inconsistent or
may miss
opportunities to
illustrate or
clarify ideas.
Text shows that some
research has been done,
but there may be issues
with the relevance and
value of the scholarship, or
the student may draw
some illogical conclusions.
Citations and a
bibliography are included,
but the student may not
distinguish their functions.
Obvious gaps in
bibliography.
Regular errors
the object, formally and
contextually analyzes the work
to discuss a meaning, and
clearly relates the materials to
that meaning. Materials are
identified and engagingly
discussed in relation to the
work’s creation and
expression. Evaluates possible
layers of meaning as the object
moves in place and time. Ideas
are clear, sophisticated, and
nuanced.
the object, analyzes the work
to discuss a meaning, and
clearly relates the materials to
that meaning. Materials are
identified and discussed in
relation to the work’s creation
and expression.
parameters of the assignment,
but student may provide
minimal background and
analysis or may rely heavily on
description without indicating
connections to meaning or
significance.
D Has the same issues as a C, only more severe, or demonstrates serious misunderstanding.
F
Shows minimal effort, lack of comprehension of the assignment, or plagiarism, or incomprehensible due to major
problems with text and layout.
Object list*
A title, artist (if known), place of creation, and date are followed by a link to the museum site, where
you should be able to find images and more information.
Pre-20th Century, by continent of art object’s production
Africa
Cosmetic vessel in the shape of a cat, Egypt, 1990-1900 BCE
https://www.metmuseum.org/art/collection/search/544039
Scarab of the storehouse overseer Wah, Egypt, 1981-1975 BCE
https://www.metmuseum.org/art/collection/search/544228
Menat necklace from Malqata, Egypt, 1390-1352 BCE
https://www.metmuseum.org/art/collection/search/544509
Floral collar from Tutankhamun’s embalming cache, ca. 1336-1327 BCE, Egypt
https://www.metmuseum.org/art/collection/search/544782
Gold bracelet set with emeralds and pearls, Egypt, 1 st century
https://www.britishmuseum.org/collection/object/G_1904-0706-2
Rock crystal flask, Fatimid Egypt with later mount, mid-10th century
https://asia.si.edu/object/F1949.14/
Pair of minbar doors, Egypt, ca. 1325-30
https://www.metmuseum.org/art/collection/search/444812
Coral crown, Edo, 18th-19th century
https://www.britishmuseum.org/collection/object/E_Af1898-0630-5
Mangaaka Power Figure (Nkisi N’kondi), Kongo artist and nganga (healer), second half of
nineteenth century
https://www.metmuseum.org/art/collection/search/320053
Helmet mask, Bamum kingdom, before 1880
https://www.metmuseum.org/art/collection/search/311021
Composite armchair with bone inlay, Zanzibar, late 19 th century
https://www.britishmuseum.org/collection/object/E_Af1962-03-1
Embroidered velvet cap of Menelik II, Ethiopia, 19 th century
https://www.britishmuseum.org/collection/object/E_Af1912-0410-13
Tunic, Mahdiyya State (Sudan), late 19th century
http://n2t.net/ark:/65665/ys7dcb0b127-eaea-4aa0-a7db-7e387609ac72
Beaded skirt, KwaZulu-Natal Province, late 19th century
http://n2t.net/ark:/65665/ys79e8329d9-8701-43fd-bd33-3395fdec71f1
Asia
Standard of Ur, Mesopotamia (Sumer), 2500 BCE
https://www.britishmuseum.org/collection/object/W_1928-1010-3
Gold and cloisonné earring, Achaemenid Persia, 525-330 BCE
https://collections.mfa.org/objects/155819/earring?ctx=877ac152-7af6-4440-b0ea4fef9e7a400e&idx=1
Ornamental plaque from a hat, China, 4th-5th centuries
https://www.metmuseum.org/art/collection/search/64920
Mirror with phoenixes, birds, butterflies, and floral sprays, China, Tang Dynasty, 700s
https://www.clevelandart.org/art/1973.74
Vajrasarya priest’s crown, Nepal, 13th-14th centuries
https://www.metmuseum.org/art/collection/search/700508
Kundika with lid, China, Ming dynasty, 1426-35
https://www.britishmuseum.org/collection/object/A_1977-0718-1
Dragon-handled jug with inscription, Herat, 16th century
https://www.metmuseum.org/art/collection/search/444607
Screen painting showing amusements in a mansion, Japan, mid-seventeenth century
https://www.metmuseum.org/art/collection/search/712056
Shelf for Cosmetic Boxes (Kurodana) with Wild Grapevine and Family Crest, Japan, first half of 17th
century
https://www.metmuseum.org/art/collection/search/52996
Youth holding a pomegranate, single page illustration, Safavid (Iran), 1600-1650
https://www.clevelandart.org/art/1947.497
Wardrobe, China, late 16th or early 17th century
https://www.metmuseum.org/art/collection/search/56356
Hanging scroll (Bamboo in the Wind), Yi Jeong, Korea, early 17th century
https://www.metmuseum.org/art/collection/search/50486
Pair of mounted vases, China (French mounts), early 17 th century
https://www.metmuseum.org/art/collection/search/236575
Armor (Gusoku), Japan, 18th century
https://www.metmuseum.org/art/collection/search/24975
Armor (Gusoku) of the Maeda family, Japan, 18th century
https://www.metmuseum.org/art/collection/search/25586
Inlaid jade dish, India, 18th century
https://www.britishmuseum.org/collection/object/W_1938-1011-1
Inlaid jade vessels on sculpted marble stands, India (stands made in England), 18 th century
https://www.britishmuseum.org/collection/object/W_1956-0724-1-a-b
Panel with “Hundred Antiques,” China, second half of 18 th century
https://www.metmuseum.org/art/collection/search/40746
Model of a building representing a mandala, China, Qing dynasty, 1772
https://www.britishmuseum.org/collection/object/A_1991-0328-1
Pichhwai for the Festival of Cows, Aurangabad (?), India, late 18th century
https://www.metmuseum.org/art/collection/search/65576
Painted lacquer tea chest with landscape scenes, China, Qing dynasty
https://www.britishmuseum.org/collection/object/A_2016-3064-1
Inrō (case worn on an obi) with the Noh Play Dōjōji (obverse) and Flowering Cherry Tree (reverse),
Japan, mid-19th century
https://www.metmuseum.org/art/collection/search/45587
Parabaik (folding paper manuscript) of royal processions, ceremonies, and entertainments, Burma,
1870s-80s
https://www.metmuseum.org/art/collection/search/744940
Clothing box decorated with dragons, Korea, 19th century
https://www.metmuseum.org/art/collection/search/40528
Central America/South America
Pair of ear ornaments with winged runners, Moche, 400-700
https://www.metmuseum.org/art/collection/search/319459
Mosaic mirror, Wari, 650-1000
http://museum.doaks.org/objects-1/info/23005
Funerary mask, Lambayeque (Sicán), 10 th-12th century
https://www.metmuseum.org/art/collection/search/309959
Pendant of a standing ram, Spanish colonies (?), 16 th century
https://www.britishmuseum.org/collection/object/H_WB-166
Statuette of Calvary, Guatemala, ca. 1790
https://www.metmuseum.org/art/collection/search/814668
Europe
Cameo portraying the Emperor Claudius as Jupiter, Roman, 1 st century with later mount
https://www.artic.edu/artworks/111809/cameo-portraying-emperor-claudius-as-jupiter
Couch and footstool with bone carvings and glass inlay, Roman, 1st-2nd century
https://www.metmuseum.org/art/collection/search/249232
Sutton Hoo purse lid, England, 7 th century
https://www.britishmuseum.org/collection/object/H_1939-1010-2-a-l
Gold disc brooch (the Castellani brooch), Italian, 7 th-9th century
https://www.britishmuseum.org/collection/object/H_1865-0712-1
Casket with Erotes and Animals, Italian or Byzantine, 12 th century
https://www.metmuseum.org/art/collection/search/464236
Saint Eustace head reliquary, made in Switzerland, ca. 1180-1200
https://www.britishmuseum.org/collection/object/H_1850-1127-1
Reliquary pendant, Scotland, ca. 1200
https://www.britishmuseum.org/collection/object/H_1946-0407-1
Portable icon with the Virgin Eleousa, Byzantine, early 1300s
https://www.metmuseum.org/art/collection/search/474336
Reliquary pendant of the Holy Thorn, made in France, ca. 1340
https://www.britishmuseum.org/collection/object/H_1902-0210-1
The Royal Gold Cup, France, 1370-80
https://www.britishmuseum.org/collection/object/H_1892-0501-1
Reliquary of the Holy Thorn, Paris, ca. 1400
https://www.britishmuseum.org/collection/object/H_WB-67
Enameled spoon with leather case, England, 15th century
https://www.britishmuseum.org/collection/object/H_1899-1209-3
Writing box, England, ca. 1525
https://collections.vam.ac.uk/item/O8682/writing-box-unknown/
Bloodstone ewer, Italian, 16 th century with later mounts
https://www.britishmuseum.org/collection/object/H_WB-69
Memento mori ring, France or Flanders, 16 th century
https://www.britishmuseum.org/collection/object/H_WB-199
Lidded cup shaped like an owl, Austria, ca. 1600
https://collections.vam.ac.uk/item/O157613/cup-samuel-kassborer/
Jade cup, Milan, ca. 1600-1630
https://www.britishmuseum.org/collection/object/H_WB-81
Spoon with coral handle, Netherlands or Germany, 1600-1650
https://collections.vam.ac.uk/item/O294981/spoon-unknown/
Manuscript (Carta executorial de Hidalguia), Spain, 1626
https://collections.vam.ac.uk/item/O1478578/carta-executoria-de-hidalguia-granted-manuscriptrodriguez-de-espinosa/
Amber tankard, Prussian, ca. 1640-1660
https://www.britishmuseum.org/collection/object/H_WB-229
Small desk with a folding top, Jean Berain, French, ca. 1685
https://www.metmuseum.org/art/collection/search/207667
Statuette of a prince wearing a turban, German, late 17 th century
https://www.britishmuseum.org/collection/object/H_WB-190
Standing gold cup with lid, Transylvania, 17 th century
https://www.britishmuseum.org/collection/object/H_WB-66
Wax relief of a damned soul, Italy, ca. 1700
https://collections.vam.ac.uk/item/O96692/a-damned-soul-relief-zumbo-gaetano-giulio/
Commode, Andé-Charles Boulle, France, ca. 1710-20
https://www.metmuseum.org/art/collection/search/206990
Moorish king (crèche figure), Italian (Naples), ca. 1750
https://www.metmuseum.org/art/collection/search/204183
Johann Martin Heinrici, Toiletry box of lacquered and inlaid metal, ca. 1760
https://www.metmuseum.org/art/collection/search/825844
Chrysoprase snuff-box, Germany, ca. 1765
https://collections.vam.ac.uk/item/O156516/snuffbox-unknown/
Nautilus cup, Italy, 1770
https://collections.vam.ac.uk/item/O112779/cup-martin-jean/
Drop-front desk, Martin Carlin, France, ca. 1776
https://www.metmuseum.org/art/collection/search/206499
Painted snuff-box with a picture of Napoleon, French, before 1815
https://www.britishmuseum.org/collection/object/H_1828-1111-1
Brooch with micromosaic of the Pantheon, Rome, ca. 1830-1850
https://www.britishmuseum.org/collection/object/H_1978-1002-1195
Dress, Britain, ca. 1868-9
https://collections.vam.ac.uk/item/O1387342/dress/
Pendant jewel with a parrot (partial forgery), France, 19 th century
https://www.britishmuseum.org/collection/object/H_WB-165
Sèvres Teapot (théière chinoise), France, 1832-4
https://www.metmuseum.org/art/collection/search/236065
North America/Caribbean
Skull with mosaic designs, Mixtec or Puebla, 1350-1520
http://museum.doaks.org/objects-1/info/22593
Skull ornamented with turquoise mosaic, Aztec or Mixtec, 1400-1521
https://www.britishmuseum.org/collection/object/E_Am-St-401
Double-headed serpent pectoral, Aztec or Mixtec, 1400-1521
https://www.britishmuseum.org/collection/object/E_Am1894-634
Obsidian mirror or portable altar, Aztec/Colonial, 1524-1600
http://museum.doaks.org/objects-1/info/22514
The Virgin of Carmen and the Souls of Purgatory with St. Joseph and the Prophet Elijah, Juan
Francisco de Aguilera, Mexico, ca. 1720
https://www.metmuseum.org/art/collection/search/747199
Desk and bookcase, Puebla, Mexico, ca. 1750
https://collections.mfa.org/objects/559997/desk-and-bookcase?ctx=7c6f00a9-b848-4a49-bbc33c91fe327027&idx=1
Basket or bowl, Pomo or Miwok, ca. 1770 https://www.britishmuseum.org/collection/object/E_AmVAN-189
Tomahawk pipe, Blackfoot/Plains people, 19th century
https://www.britishmuseum.org/collection/object/E_Am1887-1208-16
Engraved ear ornament, Pomo, 1837 https://www.britishmuseum.org/collection/object/E_Am1972Q-108
Headdress frontlet, Tsimshian people, Canada, ca. 1820-40
https://www.metmuseum.org/art/collection/search/717587
Dress and belt with awl case, Wasco people, Oregon (?), 1870
https://www.metmuseum.org/art/collection/search/717542
Peacock Room, James Abbott McNeill Whistler, 1877
https://asia.si.edu/peacock-room/
Cabinet, Herter Brothers, New York, 1879-82
https://www.metmuseum.org/art/collection/search/20608
The Adams Vase, Tiffany & Co., New York, 1893-5
https://www.metmuseum.org/art/collection/search/35
Oceania
Mahiole hulu manu, Hawaii, before 1780
https://www.britishmuseum.org/collection/object/E_Oc-VAN-236
Turtle-shell mask (Buk, Krar, or Kara), Torres Strait Islands, mid-19th century
https://www.metmuseum.org/art/collection/search/311950
Breastplate (Tema, Tambe, or Tepatu), Santa Cruz Islands, late 19 th-early 20th century
https://www.metmuseum.org/art/collection/search/313708
Woman's Ceremonial Skirt (Lawo Butu or Lawo Ngaza), Ngada people, Flores Island (Indonesia),
late 19th-early 20th century
https://www.metmuseum.org/art/collection/search/319634
20th or 21st century, all regions
Guitar and Wine Glass, Pablo Picasso, 1912
https://collection.mcnayart.org/objects/112/guitar-and-wine-glass
Asmat body mask, New Guinea, mid-20th century
https://www.metmuseum.org/art/collection/search/311741
L’Enigme d’Isadore Ducasse, Man Ray, 1920 (remade 1970)
https://www.tate.org.uk/art/artworks/man-ray-lenigme-disidore-ducasse-t07957
Head, Sophie Taeuber-Arp, 1920
https://www.moma.org/collection/works/88254?sov_referrer=theme&theme_id=5263
Cartier necklace and earring set, 1930s
https://www.britishmuseum.org/collection/object/H_2001-0505-3
Retrospective Bust of a Woman, Salvador Dali, 1933 (some elements 1970)
https://www.moma.org/collection/works/81329?sov_referrer=theme&theme_id=5140
Specter of the Gardenia, Marcel Jean, 1936
https://www.moma.org/collection/works/81176?sov_referrer=theme&theme_id=5140
Taglioni’s Jewel Casket, Joseph Cornell, 1940
https://www.moma.org/collection/works/81493?sov_referrer=theme&theme_id=5140
Basket with walrus head, Marvin Peter, 1952
https://www.britishmuseum.org/collection/object/E_Am1984-03-1-a-b
Flag, Jasper Johns, 1954
https://www.moma.org/collection/works/78805?sov_referrer=theme&theme_id=5257
Canyon, Robert Rauschenberg,1959
https://www.moma.org/collection/works/165011
Package on Wheelbarrow, Christo, 1963
https://www.moma.org/collection/works/81908?sov_referrer=theme&theme_id=5257
Hang Up, Eva Hesse, 1966
https://www.artic.edu/artworks/71396/hang-up
Overflowing Blood Machine, Rebecca Horn, 1970
https://www.tate.org.uk/art/artworks/horn-overflowing-blood-machine-t07843
Woman Eating, Duane Hanson, 1971
https://americanart.si.edu/artwork/woman-eating-75123
Embroidered glengarry cap, Huron artist, 1984
https://www.britishmuseum.org/collection/object/E_Am1984-15-1
What Will Become of Me, Adrian Piper, 1985 –
https://www.moma.org/collection/works/153243?sov_referrer=theme&theme_id=5250
El Chandelier, Pepón Osorio,1988
https://americanart.si.edu/artwork/el-chandelier-34558
Dialogue, Xiao Lu, 1989 (remade 2015)
https://www.tate.org.uk/art/artworks/xiao-dialogue-t15540
The Colonel’s Cabinet, Renée Stout, 1991
https://americanart.si.edu/artwork/colonels-cabinet-33939
Kitchen, Liza Lou, 1991-6
https://whitney.org/collection/works/34855
Electronic Superhighway, Nam Jun Paik, 1995
https://americanart.si.edu/artwork/electronic-superhighway-continental-us-alaska-hawaii-71478
The Ocean Is the Dragon’s World, Hung Liu, 1995
https://americanart.si.edu/artwork/ocean-dragons-world-35193
B.D.O., Glen Seator, 1997
https://whitney.org/collection/works/11356
Tate Thames Dig, Mark Dion, 1999
https://www.tate.org.uk/art/artworks/dion-tate-thames-dig-t07669
The Swing (after Fragonard), Yinka Shonibare CBE, 2001
https://www.tate.org.uk/art/artworks/shonibare-the-swing-after-fragonard-t07952
History Refused to Die, Thornton Dial, 2004
https://www.metmuseum.org/art/collection/search/653727
Dusasa II, El Anatsui, 2007
https://www.metmuseum.org/art/collection/search/495553
Portrait of Mnonja, Mickalene Thomas, 2010
https://americanart.si.edu/artwork/portrait-mnonja-80011
Metropolis II, Chris Burden, 2010
https://www.lacma.org/art/exhibition/metropolis-ii
Untitled: Upturnedhouse2, Phyllida Barlow, 2012
https://www.tate.org.uk/art/artworks/barlow-untitled-upturnedhouse2-2012-ar01228
Armada, Hew Locke, 2017-2019
https://www.tate.org.uk/art/artworks/locke-armada-t15770
*If nothing here pleases you and you have your heart set on choosing your own object, you may!
This list is not exhaustive.
Rules for finding your own object:
- must be a work of art or design, on a scale that is reasonable to analyze for this project (no entire
buildings, for example)
- must incorporate at least three identifiable, distinct materials in ways that you can analyze (i.e.
each one needs to play a meaningful role)
- materials must be in at least two different categories (for example, all three shouldn’t be pigment
types)
- must have high quality images available online
- must have basic documentation (name, culture, dates, materials) published in English
- you must discuss this choice with me before beginning your work. If you go off-list and never get
approval, your project will not receive credit.