Visit one of the following exhibitions:
Visit New Objectivity: Modern German Art in the Weimar Republic 1919-1933 (opening October 4th) OR Islamic Art Now: Contemporary Art of the Middle East at The Los Angeles County Museum of Art. Check for museum hours, address, etc. by going to the website www.lacma.org. The Museum is closed on Wednesdays. Admission is $10 for students with ID and free after 3 p.m. for all Los Angeles County residents. It�s also free on the second Tuesday of each month.
Visit the brand new Broad Museum downtown. It�s free and there is parking validation available BUT you have to reserve timed tickets online well in advance. Here�s the linkhttps://www.thebroad.org/visit/reserve-free-tickets It�s new so it�s very popular so book now if you want to go!!
As confirmation that you visited the museum (NOT the website) you must attach a jpeg of the admission or parking ticket to your paper.
You should plan to go to the museum and spend a significant amount of time �looking’ before you select two works on which to write. This is a project that will require some thought and possibly a second trip to the museum. Therefore, I recommend that you plan your trip to the museum well in advance of the due date.
Begin your critique by giving the title of the show and stating the name of the museum where you saw the exhibition. Your critique should describe the artworks on view and the theme of the exhibition. You must specifically analyze and discuss at least two works, which exemplify the theme of the show. Be sure to includeyour own observations and ideas about each work. Although the museum’s literature and gallery wall labels may help you to understand each work, do not rephrase or quote excessively from their literature. If you must quote or you chose to use key information taken from the gallery wall label be sure to cite it correctly (see below)! Most importantly, relate the artist/s or artworks to other artists or movements that have been studied over the course of the semester. Lastly, give your opinion of the exhibition. How successful is the artist�s work in addressing a theme? How was it installed? How might it have been improved upon?
The paper should be three- pages in length and must be typed and double-spaced. Papers with more than one-inch margins or a font size less or greater than 12 points will not be accepted. Please note that titles of artworks should be italicized or underlined.
Proofreading is also essential as spell check does not catch everything (i.e. their/there, peace/piece). The essay needs a thesis sentence, proper agreement of nouns and verbs, verb tense agreement, correct spelling, correct punctuation, and a conclusion. You also should demonstrate your ability to use specific art history terms when necessary. If you need help expressing your ideas you can go to the Tutoring Center for technical advice on grammar, format, etc. Needless to say, any plagiarism from printed texts or the internet will result hi an “F” on the assignment. Any two essays that are significantly similar also will receive an “F”.
You must use proper Chicago Manual of Style footnote citation format for all of your sources (see the paper citation guidelines) and include a bibliography that lists at least two sources in addition to your textbook.
What to footnote? Historical facts, definitions of terms or anything that can be considered common knowledge does not need to be cited. For example, Columbus landed in the Bahamas in 1492 is a known fact and does not need a footnote. However, an interpretation that is not fact but one person�s opinion must be cited. Since an interpretation is debatable and not a provable fact you must cite the author as the originator of this idea. Give credit where credit is due. Observations, IDEAS, opinions or interpretations that are taken from another source EVEN if you put those ideas into your own words MUST be footnoted in the same way as a direct quote. Footnotes should appear at the end of the sentence (not the paragraph) that includes the cited information. For subsequent footnotes that draw from the same source, the author�s name and page number will suffice. If the subsequent footnote is a reference to the same author and the same page number as the one that came immediately before then the term ibid is used.
If you have any questions, please feel free to e-mail me.
 Henry M. Sayre, Writing about Art (Englewood Cliffs, N.J.: Prentice Hall, 1995), 76-83.
 Sayre, 81.
Paper Format and Citation Guidelines:
The paper assignment should be 3 pages in length, typed and double spaced. Papers with more than one inch margins or a font size greater than 12 points will notbe accepted.
Citation of all of your sources is imperative! Failure to do so is plagiarism. Plagiarism will result in failing grade for the assignment and disciplinary action taken by Santa Monica College. It is essential to cite any source for an idea or a specific quotation in a footnote or endnote. Use the Chicago Manual of Style as your guide. The following is a quick reference. For more detailed information on citation style in art and art history, see:
The Wisconsin Writing Center online: Chicago style
Barnet, Sylvan. A Short Guide to Writing About Art. New York: Addison-Wesley, 1997.
The Chicago Manual of Style. 14th edition. Chicago and London: University of Chicago Press, 1993.
Note number. Author’s first name first, Title of the book italicized or underlined, (City: Publisher, year in parentheses): page number/s of quoted material.
Guilbaut wrote, �Avant-garde artists, now politically �neutral� individualists, articulated in their works values that were subsequently assimilated, utilized andcoopted by politicians, with the result that artistic rebellion was transformed into aggressive ideology.�
If the next footnote is taken from the same source, we use the term ibid followed by the page number.
He argues that art and intellectuals assumed the role of agents, exerting what Dwight D. Eisenhower called �psychological warfare.�
Note number. Author’s first name first, “Title of the article in quotation marks,” Title of the journal italicized or underlined, volume, number (date in parentheses): page number/s of quoted material.
1. Ann Landi, �Who Was the Real Artemisia?� Artnews, 101, no. 2 (February 2002): 110.
For Gallery materials:
The educational materials that are provided in museum galleries, including wall labels, panels, and brochures, should also be cited.
Note number. Museum name, material type (label or brochure), name of artist or exhibition, Name of artwork or label heading italicized, (Date information was taken from the label).
1.Los Angeles County Museum, gallery label, Georges de la Tour�s Magdalen with the Smoking Flame, (18 February, 2002).
The Chicago Manual has not selected a single way to note websites. For our purposes, please use the following.
Note number. If stated author’s first name first, “Title of page in quotation marks,” Name of the primary source/site in italics or underlined. Date of the publication or last date revised, if given.
For Lectures or Tours:
Note number. Name of docent or lecturer (if known), “Title of lecture or exhibition in quotation marks,” type of communication, location where information was heard, date you heard the information.
1. Jane Doe, “The Modern West, American Landscapes, 1890-1950,” docent tour, Los Angeles County Museum of Art, 6 April 2007.
Your paper should also include a short bibliography that lists all of the books, articles, websites, and gallery materials that you referenced in your paper. Again use the Chicago Manual of Style as your guide. The bibliography should be organized alphabetically by the author�s last name.
Author/editor, last name first. Title italicized or underlined. Additional editors if any
Volume or edition if any. City of publication: Name of press, year of publication.
Gardner, Helen. Art Through the Ages. Edited by Fred S. Kleiner, Christin J.
Mamiya and Richard G. Tansey. 11th edition. Fort Worth: Harcourt College
Author’s last name first. “Title in quotation marks.” Name of journal, like books, should be italicized or underlined Volume, number (Date in parentheses): page number/s.
Landi, Ann. �Who Was the Real Artemisia?� Artnews, 101, no. 2 (February 2002):
If stated, author’s last name first. “Title in quotation marks.” Name of the primary source/site italicized or underlined. Date of the publication or last date revised, if given.
Buszek, Maria Elena. �Oh! Dogma (Up Yours!): Surfing the Third Wave.�
Thirdspace 1, no. 1 (July 2001):
Personal Communications (lectures, tours, etc.):
Due to the fact that this type of information is not available to the public it does not need to be listed in the bibliography.
 Serge Guilbaut, How New York Stole the Idea of Modern Art, (Chicago: University of Chicago Press, 1983), 201.
 Ibid, 204.
I’ve already chosen the painting Domino Mea by Rudolf Schlichter (a girl wearing heels stepping on a man’s head) it’s also named Untitled but at the museum it was named Domino Mea. The other painting I chose is Max beckmann, the dream. So far we’ve studied neoclassicism, romanticism, modernism, realism, post-impressionism, pointillism, symbolism, art nouveau, impressionism, expressionism, fauvism, futurism, constructivism, suprematism, dada, metaphysical, new objectivity, degenerate art, surrealism, psychic automatism, regionalism, social realism, pictoralism, synchromism, precisionism, the eight, and the ashcan school.