Category Archives: Student Research on Davison Art Center Objects

Jasper Johns Interview

In a 1981 interview with Roberta Bernstein, Jasper Johns claimed “There are kinds of images that make a single impact and there are kinds of images that express themselves as a multiplicity. And there are multiple images that can’t be … Continue reading

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Duane Michal’s The Return of the Prodigal Son

  Michals’ work is a modern interpretation of the age-old tale of unconditional love and forgiveness, so popular within the tradition of Western art history. Photography’s ability to illustrate sequence is used to the greatest effect in Michals’ telling of … Continue reading

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Oldenburg Constructions

Oldenburg began to draw out his ideas of massive, area-changing constructions with everyday objects in the mid sixties. He called them “constructions” instead of sculptures so that he and the viewer could both maintain their sense of freedom when looking … Continue reading

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Birmingham Race Riot (1964), Andy Warhol

Warhol’s ability to represent the intensity of the riot lies in the color, content, and mysterious quality of the image. His decision to maintain the black and white nature of the photograph (unlike Red Race Riots)[1] reiterates the contrast between … Continue reading

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Unpacking the Flag – Jasper John’s Two Flags (Black)

Johns’ explained his preoccupation with symbols such as the American flag as a fascination with the “depersonalized” and “factual” elements of everyday life. “Using the design of the American flag took care of a great deal for me because I … Continue reading

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Claes Oldenburg’s Alphabet in the Form of a Good Humor Bar

An excerpt from my essay: The Good Humor truck, driving through postwar American neighborhoods and trailing children in images worthy of Norman Rockwell, was familiar to all and beloved—as noted in an affectionate article in the Chicago Tribune in 2001, … Continue reading

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Ed Ruscha’s Every Building on the Sunset Strip

Here is an excerpt from my paper on Ed Ruscha’s photo book, Every Building on the Sunset Strip. I’ve decided to include my formal analysis of the piece, since its aesthetic is fairly different from what we’ve been studying in … Continue reading

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Formal Reduction in Claus Oldenburg’s Good Humor Bar

Shapes Are No Laughing Matter: Form in Claus Oldenburg’s Good Humor Bar Claes Oldenburg’s 1970 lithograph print Alphabet in the Form of a Good Humor Bar is, in spite of its childish and miniscule subject matter, a seemingly monolithic creation. The … Continue reading

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