Kate: What a story! I find it ironic that he purposely set out to paint depressing and aesthetically unpleasant pieces for the elites who would dine at the Four Seasons, but still agreed to be commissioned. He hated them for their money while he himself was making money. This selection of paintings is very dull and undeserving of appraisal, especially after Rothko himself admitted the attitude he held towards the project. My question is, compared to other pieces by Rothko, how did the Seagram murals detour later collections? Does the popularity of the Seagram murals stem solely from the interesting narrative behind their making or are they outstanding for how they demand genuine contemplation from the observer?
Yiwen: Your presentation was very informative. Like Kevin, you have highlighted forms of art that are not exactly mainstream or commonly addressed in popular Art courses. I noticed that you don’t consider movies and film as video art. My question is: were a film to be produced with a small camcorder would you then classify it video art? Is there a time limit to video art clips? For your paper, I would suggest providing more history about video art, significant contributors, and recent developments in the practice. Great job so far!
Anita: I’m glad you decided to base your research on graffiti art. Personally, I feel this art form merits more recognition and scholastic incorporation than what it currently is given. I noticed that you focus on graffiti’s role in urban redevelopment and how it has altered the aesthetics of inner city neighborhoods. Will you be addressing a particular time period or providing a general history on graffiti art? I suggest, since you’re not addressing specific graffiti artists, to format your discussion on certain cities/communities.
David: Last but certainly not least. LeWitt is a character. I must say that your argument, a comparison between LeWitt’s instruction-production pieces and religious frescoes, is a bold and challenging one. With that said, and since you claim LeWitt had no religious motives when structuring his artwork plans, will your focus be on the architectural designs of the spaces in which his works and frescoes are exhibited? I suggest including in your paper how LeWitt’s work developed throughout his career. Are any of his works displayed outdoors? Has he made any sculptures or are his works all paintings? I applaud you for choosing such a deviant and egocentric artist.
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