Term Papers Regionlism Art

Conceived for both the interested public and specialist scholars, the Clyfford Still Museum Research Center (CSMRC) encourages and supports humanities-based engagement with the Clyfford Still Museum Collections and its Archives.

Led by Dr. David Anfam, CSM Senior Consulting Curator, the Research Center facilitates research across disciplines, prepares and distributes scholarly publications, conducts symposia and a broad range of other public programs, and offers a competitive fellowship program. Applications are now being accepted for Senior and Junior Fellows.

Collaborations with other institutions, both in and outside of Colorado, are a key part of the Center’s mission. Scholars and fellows have opportunities to access other collections, including the holdings of the adjacent Denver Public Library (DPL) and the Denver Art Museum (DAM). Additionally, CSM has developed other institutional partners, including the Albright-Knox Art Gallery in Buffalo and the San Francisco Museum of Modern Art (both of which have extensive Still holdings and archives), the San Francisco Art Institute (where Still taught during the late 1940s), and the University of Denver.

Lastly, the CSMRC aims to uphold the intellectual breadth—ranging from an interest in music and philosophy to literature and history—that Clyfford Still himself maintained. With scholarly inquiries or for more information about the CSMRC, contact fellowship@clyffordstillmuseum.org.

Senior Fellows:

2015
Allan Antliff, PhD
Department of Art History and Visual Studies, University of Victoria; Victoria, British Columbia
Clyfford Still and the relation of U.S. and U.K. artists to anarchism during the 1940s and 1950s

Junior Fellows:

2017
Kimberly R. Roberts
Affiliate Professor, Art History, Theory & Criticism, Metropolitan State University of Denver
Clyfford Still’s relationship to photography and photographic history

CSMRC Advisory Board:

  • William C. Agee, Evelyn Kranes Kossak Professor Emeritus of Art History, Hunter College, CUNY
  • Edward Dimendberg, Professor, Department of Film & Media Studies, University of California at Irvine
  • Stephen Mansbach, Professor, University of Maryland
  • James O. Naremore, Chancellor’s Professor Emeritus of English & Film Studies, Department of Communication and Culture, University of Indiana at Bloomington
  • Emily Ballew Neff, Executive Director, Memphis Brooks Museum of Art
  • John Yau, Art Historian, Poet, and Critic, regular columnist for Hyperallergic.com

Symposium 2017 | Abstract Expressionism: Works on Paper

at Stony Brook Manhattan

  • David Acton, Milly and Fritz Kaeser curator of the Snite Museum of Art at the University of Notre Dame, The Stamp of Impulse: Abstract Expressionist Prints
  • William C. Agee, Evelyn Kranes Kossak professor of art history emeritus, Hunter College, City University of New York, Proto Abstract Expressionism: Works on Paper by John Marin and Friends
  • Dr. David Anfam, Senior Consulting Curator, Clyfford Still Museum, Opening Remarks
  • Eileen Costello, editor/project director of the catalogue raisonné of the drawings of Jasper Johns at the Menil Foundation/Menil Drawing Institute, Barnett Newman, A New Way of Seeing
  • Charles Duncan, executive director of the Richard Pousette-Dart Foundation, Asymmetrical Balance: Richard Pousette-Dart’s Works on Paper
  • Dr. Jennifer Field, Director of Exhibitions and Head of Research at Di Donna Galleries, Printmaking as a Material Strategy in the Development of Jackson Pollock’s “Drip” Paintings
  • Helen A. Harrison, the Eugene V. and Clare E. Thaw director of the Pollock-Krasner House and Study Center, Pollock’s Paper Trail
  • Robert Hobbs, Professor and Rhoda Thalhimer Chair in American Art, Virginia Commonwealth University, Lee Krasner, Joan Mitchell, and Helen Frankenthaler: Nature as Metonym
  • Ricard ShiffEffie Marie Cainregentschair in art at the University of Texas, De Kooning is Drawing
  • Katy Rogers, director of the Robert Motherwell catalogue raisonné project and programs director, Dedalus Foundation, At the Edge: Robert Motherwell’s Works on Paper

Symposium 2015 | Abstract Expressionism: Time, Intention, Conservation, and Meaning

at the Getty Center, Los Angeles

  • Dr. David Anfam, Senior Consulting Curator, Clyfford Still Museum, Opening Remarks
  • Nicholas Dorman, Chief Conservator, Seattle Art Museum, Conservation of Jackson Pollock’s Sea Change at the Seattle Art Museum
  • Brad Epley, Chief Conservator, the Menil Collection, and Dr. Corina Rogge, Museum of Fine Arts, Houston, and the Menil Collection, Response and Interplay Between Artist and Materials in the Late Paintings of Barnett Newman
  • Mary H. Gridley, Cranmer Art Group, Joan Mitchell: Cropping the Early Paintings
  • Dr. Narayan Khandekar, Director of the Straus Center for Conservation and Technical Studies; Director of the Center for the Technical Study of Modern Art, and Head of the Analytical Laboratory, Harvard Art Museums, Rothko’s Harvard Murals: An Image for a Public Place
  • Susan Lake, Conservator Emeritus, Smithsonian, Willem de Kooning and Colleagues: Technical Investigation and the Challenge of Preserving Modern Art
  • Tom Learner, head of Getty Conservation Institute’s science department, moderator of Roundtable Discussion
  • Patricia Smithen, Smithen Contemporary Conservation, Red Shifts: Managing Change in Rothko’s Seagram Murals at the Tate
  • James Squires, Senior Conservator, Clyfford Still Museum, State of Still: Conservation Efforts at the Clyfford Still Museum
  • Carol Stringari, Deputy Director and Chief Conservator of the Guggenheim Foundation, On Death and Dying: How Conservation Decisions Influence the Life and Trajectory of Artwork
  • Dr. Zahira Véliz-Bomford, Museum of Fine Arts, Houston, and Dr. Corina Rogge, Museum of Fine Arts, Houston, and the Menil Collection, Paint Never Behaves the Same: Franz Kline Case Studies

Watch videos of the 2015 symposium sessions below, or on our Vimeo channel.

Symposium 2013 | Clyfford Still: The View From The 21st Century

The Center’s first program, “Clyfford Still: The View From The 21st Century,” in October 2013 at Sotheby’s in New York City, featured presentations from distinguished scholars with expertise surrounding the artist as well as a roundtable discussion with all participants.

  • Dore Ashton, author, art critic, and Professor of Art History, Cooper Union, Clyfford Still—And So On
  • Dr. Henry Adams, Professor of American Art, Case Western Reserve University, The Land, Still, and Regionalism
  • Dr. Richard Shiff, Professor of Art, Effie Marie Cain Regents Chair in Art, and the director, Center for the Study of Modernism, The University of Texas at Austin, Still’s Marks
  • Dr. Kent Minturn, Director of MA in Modern Art: Critical and Curatorial Studies (MODA), Columbia University, Clyfford Still at the California School of Fine Arts
  • Carter Ratcliff, Contributing Editor at Art in America, author, and art critic, Claustrophobic Sublime
  • James Squires, Senior Conservator, Clyfford Still Museum, The State of Still: Clyfford Still Conservation
  • Dr. David Anfam, Senior Consulting Curator, Clyfford Still Museum, Still Redux

Writing a paper for an art history course is similar to the analytical, research-based papers that you may have written in English literature courses or history courses. Although art historical research and writing does include the analysis of written documents, there are distinctive differences between art history writing and other disciplines because the primary documents are works of art. A key reference guide for researching and analyzing works of art and for writing art history papers is the 10th edition (or later) of Sylvan Barnet’s work, A Short Guide to Writing about Art. Barnet directs students through the steps of thinking about a research topic, collecting information, and then writing and documenting a paper.

A website with helpful tips for writing art history papers is posted by the University of North Carolina,
http://writingcenter.unc.edu/handouts/art-history/

Wesleyan University Writing Center has a useful guide for finding online writing resources,
http://www.wesleyan.edu/writing/workshop/resourcesforstudents.html

The following are basic guidelines that you must use when documenting research papers for any art history class at UALR. Solid, thoughtful research and correct documentation of the sources used in this research (i.e., footnotes/endnotes, bibliography, and illustrations**) are essential. Additionally, these Guidelines remind students about plagiarism, a serious academic offense.

Paper Format

Research papers should be in a 12-point font, double-spaced. Ample margins should be left for the instructor’s comments. All margins should be one inch to allow for comments. Number all pages. The cover sheet for the paper should include the following information: title of paper, your name, course title and number, course instructor, and date paper is submitted. A simple presentation of a paper is sufficient. Staple the pages together at the upper left or put them in a simple three-ring folder or binder. Do not put individual pages in plastic sleeves.

Documentation of Resources

The Chicago Manual of Style (CMS), as described in the most recent edition of Sylvan Barnet’s A Short Guide to Writing about Art is the department standard. Although you may have used MLA style for English papers or other disciplines, the Chicago Style is required for all students taking art history courses at UALR. There are significant differences between MLA style and Chicago Style. A “Quick Guide” for the Chicago Manual of Style footnote and bibliography format is found http://www.chicagomanualofstyle.org/tools_citationguide.html. The footnote examples are numbered and the bibliography example is last. Please note that the place of publication and the publisher are enclosed in parentheses in the footnote, but they are not in parentheses in the bibliography. Examples of CMS for some types of note and bibliography references are given below in this Guideline. Arabic numbers are used for footnotes. Some word processing programs may have Roman numerals as a choice, but the standard is Arabic numbers. The use of super script numbers, as given in examples below, is the standard in UALR art history papers.

A. Print

The chapter “Manuscript Form” in the Barnet book (10th edition or later) provides models for the correct forms for footnotes/endnotes and the bibliography. For example, the note form for the FIRST REFERENCE to a book with a single author is:

1Bruce Cole, Italian Art 1250-1550 (New York: New York University Press, 1971), 134.

But the BIBLIOGRAPHIC FORM for that same book is:

Cole, Bruce. Italian Art 1250-1550. New York: New York University Press. 1971.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in a footnote is:

2 Anne H. Van Buren, “Madame Cézanne’s Fashions and the Dates of Her Portraits,” Art Quarterly 29 (1966): 199.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in the BIBLIOGRAPHY is:

Van Buren, Anne H. “Madame Cézanne’s Fashions and the Dates of Her Portraits.” Art Quarterly 29 (1966): 185-204.

If you reference an article that you found through an electronic database such as JSTOR, you do not include the url for JSTOR or the date accessed in either the footnote or the bibliography. This is because the article is one that was originally printed in a hard-copy journal; what you located through JSTOR is simply a copy of printed pages. Your citation follows the same format for an article in a bound volume that you may have pulled from the library shelves. If, however, you use an article that originally was in an electronic format and is available only on-line, then follow the “non-print” forms listed below.

B. Non-Print

Citations for Internet sources such as online journals or scholarly web sites should follow the form described in Barnet’s chapter, “Writing a Research Paper.” For example, the footnote or endnote reference given by Barnet for a web site is:

3 Nigel Strudwick, Egyptology Resources, with the assistance of The Isaac Newton Institute for Mathematical Sciences, Cambridge University, 1994, revised 16 June 2008, http://www.newton.ac.uk/egypt/, 24 July 2008.

If you use microform or microfilm resources, consult the most recent edition of Kate Turabian, A Manual of Term Paper, Theses and Dissertations. A copy of Turabian is available at the reference desk in the main library.

C. Visual Documentation (Illustrations)

Art history papers require visual documentation such as photographs, photocopies, or scanned images of the art works you discuss. In the chapter “Manuscript Form” in A Short Guide to Writing about Art, Barnet explains how to identify illustrations or “figures” in the text of your paper and how to caption the visual material. Each photograph, photocopy, or scanned image should appear on a single sheet of paper unless two images and their captions will fit on a single sheet of paper with one inch margins on all sides. Note also that the title of a work of art is always italicized. Within the text, the reference to the illustration is enclosed in parentheses and placed at the end of the sentence. A period for the sentence comes after the parenthetical reference to the illustration. For UALR art history papers, illustrations are placed at the end of the paper, not within the text. Illustration are not supplied as a Powerpoint presentation or as separate .jpgs submitted in an electronic format.

Edvard Munch’s painting The Scream, dated 1893, represents a highly personal, expressive response to an experience the artist had while walking one evening (Figure 1).

The caption that accompanies the illustration at the end of the paper would read:

Figure 1. Edvard Munch, The Scream, 1893. Tempera and casein on cardboard, 36 x 29″ (91.3 x 73.7 cm). Nasjonalgalleriet, Oslo, Norway.

Plagiarism

Plagiarism is a form of thievery and is illegal. According to Webster’s New World Dictionary, to plagiarize is to “take and pass off as one’s own the ideas, writings, etc. of another.” Barnet has some useful guidelines for acknowledging sources in his chapter “Manuscript Form;” review them so that you will not be mguilty of theft. Another useful website regarding plagiarism is provided by Cornell University, http://plagiarism.arts.cornell.edu/tutorial/index.cfm

Plagiarism is a serious offense, and students should understand that checking papers for plagiarized content is easy to do with Internet resources. Plagiarism will be reported as academic dishonesty to the Dean of Students; see Section VI of the Student Handbook which cites plagiarism as a specific violation. Take care that you fully and accurately acknowledge the source of another author, whether you are quoting the material verbatim or paraphrasing. Borrowing the idea of another author by merely changing some or even all of your source’s words does not allow you to claim the ideas as your own. You must credit both direct quotes and your paraphrases. Again, Barnet’s chapter “Manuscript Form” sets out clear guidelines for avoiding plagiarism.

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