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Making Meaning with Identity & Style
Kristy Hilfinger-Tubbs
Making Meaning with Identity & Style
ARE 6450
University of Central Florida
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Making Meaning with Identity & Style
Introduction
Oliva Gude tells us to “teach skills and concepts while creating opportunities to
investigate and represent one’s own experiences- generating personal and shared
meaning”(pg.6). Students enter an art room with the hope to express themselves with openness
to what they feel art is and without limitations. Young people have a voice with issues that
matter to them; however, in today’s society they feel smothered and hushed. My curriculum
approach is geared toward high school age students whose voices, opinions, and views of the
world around them are still forming. Through my experiences, engaging teenagers into artistic
discussion can be a challenge. After a great deal of exploring and learning, I believe now that in
order to successfully draw out the best in students is to exploit art that they can relate and
connect to.
The artists and their images discussed in this paper are examples of those who use their
personal experiences and insights on identity and style. These artists use their imagery so the
viewer can take a glance into his or her life and question the society around him or her. Their
artwork demands that we reflect on society and how it serves our purposes, as well as question
what it says about our values, morals, and institutions. The focus of my curriculum will relate to
Paul Duncum’s article, “Popular Culture in Art K-12 Classrooms: Contributions and Challenges
(Duncum 2008). Duncum tells us that there is an increased motivation for both studio
production and discussion when it is on popular culture. Students will be more motivated and
responsive to art when it becomes about them. Young people are selfish by nature. As educators
we need to adapt to the way they learn and respond. The challenge for the teacher is facilitating
art production while and making the connection between process and meaning.
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Making Meaning with Identity & Style
My secondary focus will be on Sheri Kleins article “Comic Liberation: The Feminist
Face of Humor in Contemporary Art” (Klein 2008). The focus will not be on the feminist
content, but rather the techniques used to create a contemporary art such as appropriation,
exaggeration, juxtaposition, satire, autobiography, and transformation. The challenge in this is
how each individual perceives a piece of art work. Klein tells us, “…humor is not found in
artworks, but rather acknowledged and experienced by the viewers as he/she recognizes and
appreciates the incongruities.” I believe words or images are misunderstood when the artist or
writer does not conceptualize a culture, which then results in an offensive stereotype. With that
addressed, I classes will be led in discussion about the topic as to avoid the wrong path.
The purpose of my curriculum is to provide motivation for my students to find a “voice”
in an issue or issues that are important to them. Through this process students will grow
conceptually and technically as well as develop critical understanding through analysis of
contemporary artists who are new to the art community. Furthermore, students will develop
socially and personally through a creative process.
Body
Barbara Kruger
Barbara Kruger was born in 1945 in Newark, New Jeresy. She has attended Syracuse
University, and studied art and design. She landed several jobs including a head designer for
Mademoiselle Magazine and later worked as a graphic designer, art director, and picture editor
for Home & Garden Magazine (http://www.barbarakruger.com/ ).
Her background in graphic design and imagery is apparent in her contemporary pieces.
She layers existing photographs with aggressive text which challenges her viewers to question
the status quo on feminism, consumerism, identity, and classicism. Her work is trademark with
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Making Meaning with Identity & Style
black and white images, slashes of red and bold text. She disputes exactly what the mainstream
magazines are selling and forces us to question it. As well as appearing in museums and
galleries worldwide, Kruger’s work has appeared on billboards, posters, a public park, a train
station platform in Strasbourg, France, and in other public commissions.
I chose Kruger has my first artist because of her immediate connection with her audience.
You cannot help but stop and look at her imagery and bold text. It is seemingly impossible to
not dig for a deeper meaning. In Who’s the Fairest of Them All (1989) (Appendix A), Kruger
uses commercial advertising techniques appropriated from graphic designers to expose
ideologies underlying advertising and the mass media. Her use of satire is evident in the mocking
of the fair lady looking so self-absorbed in the mirror. The mirror plays an important role in this
piece, as women tend to let such a simple object govern us. While a mirror serves a functional
purpose, it also represents self-reflection, vanity, and the superficial. As viewers we are forced to
question how we see ourselves and how or do we compare ourselves to others. Untitled (Your
Body Is a Battleground) (1989) (Appendix A) truly surpasses all Kruger’s pieces in terms of
identity. She specifically refers to the pro-choice movement and women’s struggles for
reproductive rights (Robertson, pg.35). On the other hand, this piece could mean just as much to
someone who did not know the content of the visual language. Our bodies offer a great struggle
for all - not just women - and not just on a reproductive level. There is a cultural battle over our
bodies in the mass media. There is controversy over preferred size, shape, age, color, and
weight. We are constantly trying to transform and reshape our bodies to a stereotype. I feel
Barbara Kruger is asking us, “Who is really in control of YOUR body?”
Implications (Images in Appendix A)
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Making Meaning with Identity & Style
The main focus of my implementation will be the use of questioning identity in artwork.
Young men and women, especially at the high school level, have a very difficult time coming to
terms with themselves. To me, the best way to introduce Barbara Kruger in a lesson is through
engaging conversation first. Students will be shown several images of Kruger’s work, focusing
mainly on Untitled (Your Body Is a Battleground) (1989) and Power, Pleasure, Desire, Disgust
(1997). Students will examine the work of Barbara Kruger as popular media and a vehicle for
discussing contemporary issues such as violence, teen pregnancy, bullying, single-parent homes,
education, and self-esteem. Together we will discuss what is important to society today and the
roles placed upon on us every day. I will ask them thoughtful questions such as 1.) How often
are we affected by what society deems important? 2.) Name something you saw in the past 24
hours that the media tells us is important? 3.) What is something you wish the media would
headline? In Power Pleasure, Desire, Disgust (1997), Kruger uses direct text from many
situations. I am sure that every student would be able to relate to this piece. “What do you
want?” could be what every young man thinks each time he gets bullied, or “If I wasn’t skinny, I
wouldn’t be cool,” is what most popular cheerleaders believe every morning when they get ready
for school. After students have engaged in significant dialogue, students will come up with
concise slogans that address a current issue. These issues may be political or personal. Using
text and imagery, students will create a dialogue heavy piece on their issue. To check for
understanding, I will follow up with students interpreting and evaluating one of Kruger’s pieces.
Michael Mararian
Michael Mararian is a graduate of the Art and Theater program at the University of
Bridgeport. His work has previously been shown at Corey Helford Gallery and Thinkspace
Gallery in Los Angeles, Galerie D'Art Yves Laroche in Montreal, McCaig-Welles Gallery in
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Making Meaning with Identity & Style
New York City and the Antonia Fraunberg Gallery in Dusseldorf, Germany
(www.michaelmararian.com).
Mararian’s images render traditional cheerful images and concepts into something
frightful and darker. He often focuses on children as the last stronghold of innocence to explore
the dark humor behind social and psychological issues. While at first glance his pieces seem
cruel and sad, they also offer an alternative to something charming and witty. He prefers to let
his viewers decide while he sits back and watches. Mararian gives his figures of children a cutout sense as if they are not really there, but in a bad dream. He achieves this through hand drawn
backgrounds and separate figures. The best example of this is Cleisiophobia (Fear of Being
Locked in a Room) (Appendix B). The child in the room has this sense of not really being in the
room, but rather is experiencing the sensation in a night terror. At first glance, it seems harsh to
use a child as the focus of this phobia, but I must admit I couldn’t help but chuckle just a little as
the initial shock of the image wore off. As far as I am concerned, I feel that in times of darkness
our culture finds a way to seek humor in the situation almost as if to be less afraid. Mararian
presents these “cruel” images just so we have a conflicting reaction to them. One case in point is
Acceptance (Appendix B). A young girl is in the foreground decorated with a prestigious label
and graduation cap, and, in the background, a grown woman who is perhaps the person she
wants to be when she grows up. Upon looking closer, you will notice little red lines on the girls
arm and all of sudden the perception has shifted. It appears now that this young girl has a load of
pressure from her parents to become something they were not, successful by society’s standards.
As to not disappoint them, she struggles with the high demands. Her only control is cutting
herself. She is angry and alone, but can’t let her parents down so that she can become the image
in the background.
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Making Meaning with Identity & Style
More than other artists in the past, I feel I can relate to Mararian’s approach to voicing his
opinion on issues that matter. Where there is his controversial method, there is also truth. Phat
Boy Bling (Appendix B) can be construed as melancholy and cruel; however the alternative side
is to view it as amusing and eye-opening. The boy in the picture seems unhappy and uses food
as his outlet for comfort. Perhaps either he is teased at school for his weight or his parents do not
set a good example by limits. He can continue to eat and be happy for the moment and wear the
forever “bling” of obesity and diabetes, which is the risk of an unhealthy existence, or he can
discover better choices and find control and a real high of being happy in living life. This is an
issue I strongly advocate to help make America healthier.
Implications (Images in Appendix B)
To implement the use of dark humor and juxtaposition of Michael Mararian’s work into
the curriculum, the students will first do a critical analysis of the work and how these terms work
in such art. Students will become familiar with Mararian as a contemporary artist who voices
himself through controversial imagery. In order to further understand Mararian and his work,
students much first become familiar with the terms dark humor and juxtaposition in art. We will
focus on Cleisiophobia and Meat is Murder and discuss the use of dark humor and juxtaposition
in these. What students need to understand is that dark humor “confronts topics such as death,
chaos, violence, disasters, and personal crises” (Klein 2008). I would lead the discussion
through these artworks because of how indifferently violence is perceived in today’s world.
Personally, I feel that dark humor is for more mature students such as in college, especially when
it comes to art making. The art work my students will be creating will not be related to dark
humor, but juxtaposition. Mararian takes his figures and places them in these situations that are
just out of place. Students will create a juxtaposed piece of themselves in a place you would not
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Making Meaning with Identity & Style
normally see them. For example, a student who skateboards on top of the Golden Gate Bridge.
Students can use a variety of mediums to accomplish this including photography, painting,
collage, drawing, or transfer as long as they achieve that cut-out, juxtaposed imagery.
Jaune Quick-To-See-Smith
Jaune Quick-To-See-Smith was born in 1940 in Montana on an Indian Mission
Reservation among the Flat Head Nation. She received her master’s in art from the University of
New Mexico, Albuquerque (Lippard, pg. 112). Smith is known as an activist artist, creating art
for a cause. I truly admire Quick-To-See-Smith for her bravery to stand up and voice her
frustration with the stereotypes of Native Americans. Barbara Kruger and Kiki Smith do this as
well, but somehow Quick-To-See-Smith does this in such a manner that is so endearing that her
visual words last longer. Quick-To-See-Smith’s paintings offer a rooted but kaleidoscopic view
of the world, with a space sometimes reminiscent of the Plains Indian’s ledger drawings
(Lippard, pg. 113).
Trade (Gifts for Trading Land with White People) (1992) (Appendix C) may be QuickTo-See-Smith’s most powerful and memorable pieces. This prominent display was a response to
the 500th anniversary of Columbus’s first voyage to the Americas. Native Americans remember
this time full of violence and tragic outcomes. They lost their rights to lands, had their culture
uprooted, and indigenous people suffered from subjugation (McDaniel/Robertson, pg.122). The
canoe dominates the surface in a simple, abstract picture as to represent Indian cultures prior to
the 20th century. Around the canoe are many collage materials of photos from new events,
animal illustrations, and texts from current media. In the upper right hand corner, Quick-To-SeeSmith juxtaposes an Indian wearing a traditional headdress at the same time as wearing European
clothing. The information presented is done in a tongue-in-cheek kind of way from evidence of
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Making Meaning with Identity & Style
the trinkets of the commercial exploitation of Native Americans. Recognizable icons are strung
above the canoe such as Red Man Tobacco and an Atlanta Braves baseball cap. This piece
clearly encases Quick-To-See-Smith’s view on identity. She wants us to look at how we identify
her culture and the view we have through a distorted lens about the realities of those people and
places. As a whole, Quick-To-See-Smith expresses understanding of a dynamic process in
history. She presents this visual metaphor that while earlier life is lost, the canoe still endures.
The second piece I love of Quick-To-See-Smith’s is Paper Dolls for a Post Columbian
World with Ensembles Contributed by the U.S. Government (1991) (Appendix C). Once again,
she uses underlying wit and satire to get her point across. What look like ordinary paper dolls a
little girl may cut out and play with are a reference to the shameful act of the invading
government giving her people clothes purposely infested with smallpox germs and other
diseases. One of the play clothe sets is covered in red and pink spots, one for a parent and the
other for a child. Other clothing she has in the wardrobe is European suits and Catholic priest
cloaks to represent the forcefulness of the Christian faith on her people.
Implications (Images in Appendix C)
Implementation of Jaune-Quick-To-See-Smith in my curriculum is particularly important
as to encounter differences. Where our artist offers us a great start to multicultural curriculum, I
do not want the focus to be on the Native American culture. I want the focus to be on the
teenage culture in present day. So as to not demean Quick-To-See-Smith’s knowledge, a
discussion into seeing the world through the eyes of others and understanding the meaning of
artwork in terms of social and historical contexts will begin the lesson.
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“Students in a democratic society need to be able to understand and participate in
important cultural conversations generated by the visual arts, films, and other art making
practices” (Gude, 2007).
Using Trade Canoe and Paper Dolls as their focal images to center on, students will
analyze and explore how Jaune Quick-To-See-Smith use objects and symbols to express her
views. I would have students begin in small groups first because ideas and thoughts always play
off of each other. After the given time is up for small group discussions, I will follow up with
the large group discussion of what they came up with. During the road of discussion, I will ask
reflective questions such as 1.) How would Paper Dolls apply to the 21st century students? 2.)
How do these words and images reflect the learner’s role and value as a responsible citizen? 3.)
Based on what you experienced through Quick-To-See-Smith’s eyes, how do they feel about the
Iraq war or social wars? I then will switch gears and steer the conversation toward the society in
which they live and breathe. Together we will talk deliberate about how adults want them to
dress, act, believe, eat, watch, read, or listen to. For themselves, I will have them write down any
experiences they have had with this. I know as a teen my mom told me “what was best”.
Students will then take the information they have gathered and transfer it to their own paper doll
set. Students will use different media (printing, cut paper, and drawing) to create their own doll
set. Since the term “doll” may scare some of the boys away, I will remind them that these will
not be working doll pieces, but a communication piece which will allow them to voice
themselves and how they feel about the pressures and stress of outside influences.
Kiki Smith
Kiki Smith became known as an artist in the 1980s primarily because of her sculptures,
and is best known as such (Barrett, pg. 87). She later became fluent in printmaking and
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Making Meaning with Identity & Style
considers printing as equally vital to her process of making art. As a sculptor she has explored
many media, including clay, glass, bronze, plaster, and shaped paper. As a printmaker, she has
used several forms of printing including lithography and etching and also discovered
nontraditional means of creating such as photocopies, stamp rubbing, temporary tattoos, and
printing on fabric. Smith is essentially a self-taught artist who fondly remembers helping her
father with his artwork. Her father is the well-known minimalist sculptor Tony Smith (Barrett,
pg.87).
After exploring Smith’s work visually, I found it much easier to digest through her own
creative timeline. In the 1980s, she sculpted a series of paper sculptures that examined the
body’s skin and anatomy. In the 1990s, life sized sculptures were depicted of anonymous
women in confrontational poses, but then turned her attention to nature, birds, animals, and the
cosmos. From 1990 to the 2000s, Smith told stories of women based on religious figures and
fairy tales, which she intermixes (Barrett, pg. 87).
Eve (2001) (Appendix D) is a beautiful example of how Smith transforms a traditional
mode of interpretation. Eve is usually portrayed as weak, easily tempted, the cause of pain due
to Original Sin. Smith does not hold Eve to blame, but views her role as the catalyst or the
person who sets things into motion. By committing the first act of losing innocence, she has
gained knowledge of good and evil, causing spiritual growth. Little Red Riding Hood is a
familiar parable that warns children to be dutiful and attentive and not to succumb to temptation.
The story also addresses the transition to adolescence, symbolized by Little Red’s cape. Smith
pushes the boundaries just far enough to transform our views on such a lovable folktale. Smith
shows us that even the gentlest of creations can possess a dark side, which is suggestive of the
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Making Meaning with Identity & Style
wolf hair on the girl’s face in Daughter (1999) (Appendix D). She has imagined a scenario
where Little Red and the wolf marry and give birth to Daughter (1999).
Implications (Images in Appendix D)
In my implementing Kiki Smith into my curriculum, my overall goal is for students to
walk away with tools to critique and analyze artwork. Like artwork, humans tend to judge and
identify a person without peeling back the layers first to get to know them. More often than we
would like, we have third parties influencing our perspective on someone we have never even
spoken. My hope through this experience is that those students can create meaningful artwork in
the future and apply what they learned to life experiences.
“To me the most essential thing is your spiritual life.” –Kiki Smith
I do not want students to confuse “spirituality” and “religion”. Smith is not attempting to
push any views onto her audience, but more or less leave us questioning in a greater power out
there. She attains this in a way that is so factual, you cannot deny her attempt. Tidal (1998) and
Constellation (1996) are pieces that involve the influence of the heavens on humans. In Tidal,
the corresponding 13 full moons each year flow with the rolling ocean waves beneath. The
opposing forces of moon and sea create such a magnificent movement. In Constellation, I feel
that her goal was to create just a spectacular piece to marvel at just as we do the night sky. She
creates this subconscious meaning of greatness behind it all in which we are forced to become
humble before greater workings above us, whether religious, spiritual, or scientific.
It is important for students to gain an understanding of the cognitive thinking of Kiki
Smith, and then gain a further understanding of the limitations of expressionism and cognitivism.
By analyzing her spiritual pieces and reinterpretation pieces I feel that my students will walk
away with advanced critical thinking skills. Even though Kiki Smith will mostly be discussed
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and analyzed in the classroom with no art making, I would maintain the focus of understanding
with each student choosing a classic fairy tale or folklore and reinvent it to apply to their life
experiences.
Kehinde Wiley
Kehinde Wiley is a New York painter, originally from Los Angeles and has found his
firm ground in art history tradition and portraiture. He references the great Masters such as
Titian, Reynolds, Ingres, and more. The subjects and stylistic references for his paintings are
juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his
imagery (www.kehindewiley.com).
What is so appealing about his pieces is that even if his viewer had no prior knowledge of
art history, they could still tell this is an illusion to another piece of art. Without ever reading up
about Wiley, I could tell he had an appreciation for art history by his visual vocabulary. But
what I feel makes his work as admired as it is, is the fact that his canvases are so large and vast.
The average sizes for his paintings are a towering 9-13 feet tall. I do not feel that if they were
average-sized portraits that they would have the same shocking affect on the viewer. His
undoubting display of applying visual vocabulary is superb. Wiley addresses “class struggle” by
using young men he sees on the street. These young men in urban street clothes in a hip-hop
lifestyle are being asked to assume poses from the Renaissance Masters.
Implications (Images in Appendix F)
Students will begin by broadening the definition of portraiture by viewing artworks
created by contemporary artist, Kehinde Wiley. I will provide six slides to view, and focus on
Ice T (2005) and Napoleon Leading the Army Over the Alps (2005). As a class we will discuss
the artwork and the themes of power, style and identity through portraiture. At this point I would
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show the students Ice T and ask them to tell me how they see power. Ice T is a very recognizable
figure in the music world, so ultimately they may answer that he is famous. I would want to
guide them to more what they see and now what they know. I would ask probing questions such
as 1.) Where is he sitting? 2.) What is this man wearing? 3.) What surrounds him on his
throne? 4.) Would a person of less stature hold such a pose? We would then discuss how
Kehinde uses these techniques to communicate to us power, style, and identity. Students will
follow this example by comparing and contrasting his work to Renaissance and Rococo artwork.
I will show both the original Napoleon Crossing the Alps (1801) by Jacques-Louis David and
then Wiley’s version. Students will engage in discussion about stereotypes and how the media
plays a role in encouraging stereotypes. How are Wiley’s portraits stereotypical? The simple
answer is the style of clothing the black men are depicted in. Style tells a lot about our character
as people. I always say “fashion is nonverbal communication”. How do these men
communicate to you? How do you feel you communicate to society through your style? As a
final project, students will create their own artwork through painting, emulating Wiley’s style of
recreating artwork in a modern way by using self-portraiture and personal style. Students will
juxtapose themselves in a historic painting creating an autobiography through styles that are part
of their culture. I believe this will give the students an understanding of the visual arts and their
relation to history and culture.
iPod Media Study
Young people in today’s culture have a great obsession with technology, especially
iPods. Is this a negative thing? Not necessarily, but everywhere I go I seem to witness teens
walking wearing earphones. It is especially strange to me that they are wearing them as they
walk and talk with a friend in the mall or eating dinner with their family at Olive Garden. I do
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not condone this behavior, but I thought it would be a great way to embrace the popular culture
they are experiencing and use that in the classroom. Young adults are sold on these trends
through very clever commercial advertising. The media has created this music culture just
through commercials with which youth can connect.
Implications (Video websites in Appendix E)
First, students will view a series of advertisements about walkmans and iPods from the
1980s to present day. Students will discuss the similarities and differences of the ads. 1.) What
age of audience do you think is being targeted? 2.) What is the brand really trying to sell? 3.)
What kind of visual tactics are being used? 4.) Which commercial did you like best and why?
5.) Why do you think or not think these advertisements work?
We will analyze these commercials from an aesthetic point of view. The closer the
commercials get to present day, the more color and graphic design methods are being used. The
ads become more endearing by making us feel like we want to get up and dance and just be
happy. An experience is being sold, not the product. The newer commercials tell you less about
the quality of the product than what it can do to affect your social life. As a media-creating
project, students will make a still iPod or Walkman advertisement. They should take qualities
and techniques of elements and principles of design from the commercials and apply those to
their own piece. Students will also be required to use a drawing mannequin to create movement
with a figure just as the iPod commercials did. Secretly they are learning about proportions and
the human form! For this project only, I will allow them to use their own iPod or Walkmans as a
tool to express what they are trying to convey. I will also encourage small amounts of dancing
as to get a feeling of movement. Ultimately the students will have created a still shot of an iPod
commercial that visually expresses an experience through color, line, and movement. I feel this
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is a project the students can relate to and become excited about since they are using their own
personal styles and culture to create.
Conclusion
This has been one enjoyable ride to be able to explore such a diversity of contemporary
artists. These artists have taught me the value of artistic influence. I had fun exploring and
digesting the information of each artist, if only the outside layers. Most of all this has been a
remarkable learning experience for me and a reminder as an educator that “Dying cultures do not
make art. Cultures that do not change with the times will die” (Jaune Quick-To-See-Smith). We
make art to make sense of things, to give meaning to our existence. When we express ourselves
through art, we are creating something tangible to look at, hold, reflect on, feel, and try to
understand. If students are to grow and develop socially and mentally through art, we need to
help and encourage them to construct their own meanings instead of accepting authorities (when
acceptable). Isn’t that our goal as educators? To find the curriculum to fit for that student? We
need to allow them to express themselves meaningfully in art and life.
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Appendix A (Barbara Kruger)
Title: You Are Not Yourself
Title: Who’s the fairest of them all
Medium: Photo collage
Medium: Photo collage
Size: 182.9 x 121.9 cm
Size: 182.9 x 121.9 cm
Barbara Kruger
Untitled (I shop therefore I
am)
111" by 113"
photographic silkscreen/vinyl
1987
Power Pleasure Desire
Disgust, 1997,
multimedia installation
Deitch Projects, New York
Untitled (Your Body Is a Battle
Ground), 1989, photographic
silkscreen on vinyl, 112 x 112
inches, The Broad Art
Fouundation, Santa Monica, CA
Untitled (Heard), unknown
information.
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Appendix B (Michael Mararian)
'Carnophobia (Fear
of Meat),' Michael
Mararian, 2008, Ink
on Bristol Board
Acceptance
16 x 20 inches Ink
and Acrylic on Paper
Cleisiophobia (Fear of
Being Locked in a Room)
Ink on Paper
Phat Boy Bling
16 x 20 inches Ink and
Acrylic on Paper
Meat is Murder
16 x 20 inches Ink and Acrylic
on Paper
The Fickle Little Mistress
Ink on Paper
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Appendix C (Jaune-Quick-To-See-Smith)
Trade(Gifts for Trading Land
with White People), 1992
Oil and mixed media, 60x170
inches
Chrysler Museum of Art,
Norfolk, Va
Jaune Quick-to-See Smith
Cree/Flathead/Shoshone, b.
1940 I See Red: Salmon
Recovery, 1992 Acrylic
paints, charcoal, collage on
paper
41.5 x 29.5 inches
Museum Purchase
with Curriculum
Support Funds,
1999.24
War is Heck
2002
Lithograph with Chine
Collé on Paper
57.5”x58”
Paper Dolls for a Post Columbian
World with Ensembles
Contributed by the U.S.
Government, 1991
Watercolor, pencil, and Xerox
paper, 13 pieces, 17x11 inches
each
Jaune Quick-to-see-Smith
Title:Offerengs from the
Heart
Jaune Quick-to-See Smith, War
Shirt, 1992, oil and mixed
media collage on canvas
diptych.
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Appendix D (Kiki Smith)
Eve, 2001. Manzini and
graphite, 20 3/8 x5x 6 ¾
inches. Edition of three.
Trinity/Heaven and Earth, 2000.
Etching, 58 x 44 inches. Edition
of twenty-nine.
“Constellation” 1996
Glass, bronze, and blue
Nepal paper, installation
dimensions variable
Daughter, 1999. Nepal Paper,
bubble wrap, methyl cellulose,
and hair, 48x15x10 inches.
“Wolf Girl"
1999
Etching on paper, 20 x 16
inches
Edition of 20
Published by Thirteen
Moons
Tidal, 1998. Photogravure,
photolithography, and
silkscreen, 10 ¼” x 9 11/16”,
image. Edition of 39.
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Appendix E (Kehinde Wiley)
Ice T
2005
Oil on canvas
8’x6’
Napoleon Crossing the Alps (also
known as Napoleon at the SaintBernard Pass or Bonaparte
Crossing the Alps)(1801) by the
French artist Jacques-Louis David
The Lamentation over the Dead
Christ
2008
Oil on canvas
131’x112’
Title: A Dead Soldier
2008, Oil on Canvas
60’x 144’
Napoleon Leading the Army
Over the Alps
2005
Oil on canvas
9’x9’
Christian Martyr Tarcisus
2008
Oil on canvas
84’x180’
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Appendix F (Media Study)
1. http://www.youtube.com/watch?v=n_SfLG0j14Y&feature=related
2. http://www.youtube.com/watch?v=OtLtOWznOi8&feature=related
3. http://www.youtube.com/watch?v=i3ak7T2ClNg
4. http://www.youtube.com/watch?v=iO8FDPtN_8M
5. http://www.youtube.com/watch?v=BHVxrfZAUXU&feature=related
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Making Meaning with Identity & Style
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