Writing Art History
 
"The kind of picture I have always endeavored to make has the energy of an abstract painting, but with representational images." - David Salle
 
David Salle, The Miller's Tale, 1984.

 

 

 

 

 

 

 

 

 

 

Chicago Manual of Style Footnote citations (no Bibliography)
 

1 Author’s Last name, First name, Title (Place of publication: Publisher, date), page number.

 
Single Author Book

2 Steven T. Brown, Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture (New York: Palgrave Macmillan, 2010), 124.

 
Magazine or Journal Article

3 Bill Wasik, “#Riot: How Social Media Fuels Social Unrest,” Wired, January 2012: 76-83, URL.

 
Journal Article Accessed through Online Database or Website
4 Erwin Panofsky, “Jan Van Eyck’s Arnolfini Portrait,” The Burlington Magazine for Connoisseurs 64, no. 372 (1934): 117-119, & 122-127, http://www.theslideprojector.com/pdffiles/art261/janvaneycksarnolfiniportrait.pdf
 
Additional Resources:
   
Purdue OWL CMS style guide
Berkeley's guide to evaluating sources

 

 

 

 

 

 

 

 

 

 

To the Unknown Painter

Neo-Expressionism = style of modern painting that emerged in the late 1970s and dominated the art market until the mid-1980s. It developed as a reaction against the conceptual and minimalist art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the body, in a rough and violently emotional way using vivid colours and banal colour harmonies.
Anselm Kiefer, To the Unknown Painter, 1983.
 

 

 

 

 

 

 

 

 

 

 

 

Anselm Keifer, Osiris und Isis, 1985 - 1987.
Oil, acrylic, emulsion, clay, porcelain, lead, and copper wire, and PCB on canvas.

 

 

 

 

 

 

 

 

"It was as though art had been emptied out by formalism and we had to go back to the well and see what could be put back in." - David Salle
 
David Salle, Old Bottles, 1995.

 

 

 

 

 

 

 

 

 

 

"Four decades after Rauschenberg's original experiment, David Salle continues to turn out randomised montages of imagery which have little contextual significance apart from sexual references and homomorphisms (similarities between shapes). From a theoretical point of view what is interesting about such work is that it treats representational imagery like abstract form and colour. It is fundamentally formalist. In terms of deconstruction what is deconstructed is the boundary between abstraction and representation." - Graham Coulter-Smith

David Salle, Colony, 1986.

 

 

 

 

 

 

 

 

 

Eric Fischl, Old Man's Boat and the Old Man's Dog, 1982.
Theodore Gericault, Raft of the Medusa, 1818 - 1819.

 

 

 

 

 

 

 

 

Graffiti Aesthetics

1985 Whitney Biennial was called the "Graffiti Show"

 

Keith Haring drawing in the New York City subway, 1982.

 

 

 

 

 

 

 

 

 

Keith Haring, Untitled, 1985.
Keith Haring, Statue of Liberty, 1986.

 

 

 

 

 

 

 

 

 

 

Raymond Pettibon, Untitled (Before You Die), 1980.

 

 

 

 

 

 

 

 

 

 

Jean-Michel Basquiat & Al Diaz, Samo graffiti, 1978.

 

 

 

 

 

 

 

 

 

 

Jean-Michel Basquiat, Bird on Money, 1981.

 

 

 

 

 

 

 

 

 

 

Jean Michel Basquiat, Fallen Angel, 1982.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Redman
Jean-Michel Basquiat, Red Man, 1981.
Jean Michel Basquiat, Skull, 1981.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Jean-Michel Basquiat, Untitled (Sugar Ray Robinson), 1982.

 

 

 

 

 

 

 

 

 

 

Often cited as the greatest boxer of all time, Sugar Ray Robinson competing in 200 professional bouts that included 108 knockouts in a career spanning 26 years
 
  • In his autobiography, Robinson wrote that he had spent all of his earnings (about $4 million) by his retirement
  • From the 1960s to his death, Robinson lived mostly in poverty
  • Upon his retirement, when awarded a trophy for his impressive career, he did not have a table strong enough to support its weight
Sugar Ray Robinson