Category Archives: Student Research on Davison Art Center Objects

Andy Warhol’s Birmingham Race Riot

Andy Warhol’s Birmingham Race Riot (1964) is a black and white screen print made for Sam Wagstarr, curator at the Wadsworth Atheneum in Hartford, Connecticut, as a part of his exhibition Ten Work By Ten Painters[1]. The photograph, taken from … Continue reading

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Looking Past the Good Humor of a Good Humor Bar

With the ending of World War II came a new and renewed sense of patriotism, as well as an overall economic boost, leading to the domestic industrialization of commodity production, an expanding consumer market, and a desire for material goods … Continue reading

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Jasper Johns’ Two Flags

In the 1950’s it took great creativity for an artist to be willing to break free from the dominant abstract expressionism movement of the time and center his work around common objects such as the American flag. Critics agree that … Continue reading

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Warhol’s “Birmingham Race Riot”: Referential or Simulacral?

  Andy Warhol’s Birmingham Race Riot (1964) is a black and white screen print made for Sam Wagstarr, curator at the Wadsworth Atheneum in Hartford, Connecticut, as a part of his exhibition Ten Work By Ten Painters[1]. The photograph, taken … Continue reading

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Jasper Johns “Two Flags Black

As Esther Sparks recalls, “Johns’s encounter with the lithographic stone was one of the great miracles.”[1] Johns was a painter and painted with encaustic because it “’keeps the character of each brushstroke, even in layers’”[2]; however, he then discovered lithography, … Continue reading

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Excerpt from Essay on Albers’ Tenuous

Josef Albers considers, “the discrepancy between physical fact and psychic effect” to be the origin of art.[1] He found that that which is observed in the visual world is often distinctly different than what is perceived by the mind. In … Continue reading

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Response to Helen Frankenthaler’s “A Slice of the Stone Itself”

Fr Francesca Miller The composition of A Slice of the Stone Itself, despite its simplicity, was methodically planned. A collection of four working proofs printed in advance of the final print’s production serves to illuminate Frankenthaler’s process and demonstrate the … Continue reading

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André Kertész – Meudon, 1928

The allure of Kertész’s Meudon emerges not only from its vivifying surrealist aesthetic, but from Kertész’s ability to unify several individual artifactual existences into the momentary world contained within this otherwise unremarkable alleyway. Although compositionally the photograph exudes a spontaneous … Continue reading

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Jenny Holzer and “Life Issues”

Excerpt from my paper on Inflammatory Essays Speaking on her motivation to change mediums from painting to public art, Jenny Holzer once said that “it’s not art issues that are going to compel [people] to stop on their way to … Continue reading

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Oldenburg’s Vision – Catherine

Alphabet in the Form of a Good Humor Bar is a 1970 offset lithograph by Claes Oldenburg. A lithograph is a form of printmaking that uses a stone that has had grease-based paint applied and then has other ink applied … Continue reading

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