The contingent object of Contemporary Art

Order Description

Write two response questions (please title each questions by question #1 and question #2 ). A response question is an open-ended question (or questions) based on Chapter 4. Response questions should provide some context and/or background from the reading. Please don’t address any question that you can find answer in the chapter. You should think critically and professionally. You may want to bring in more interesting view point beyond the reading.

Each discussion question, including context/background information, should be a minimum of 100 words. The discussion question is a formal writing assignment, where you need to cite specific pages in MLA format.

Please consider the following:
-Can your question help us understand the important idea(s) within the reading?
-Can you further discuss an idea that impacted you, whether positively or negatively?
-Can you explore different positions or perspectives on controversial issues?
-Can you challenge the author or their ideas on history, theory, process, materials, concepts, or perception?
-Are there concepts, theories, or histories you can compare?
-Can you develop an idea further? Can you further critique an idea?
-Is there a crux, dilemma, problem, paradox, and/or a contradiction in the reading?
-Do not ask definition-based questions or other easily researched questions (i.e. “What is postmodernism?”).
-The class should not be able to answer the Discussion Questions with a yes or no.

-Example (142 words):?In her article From Concept to Object: The Artistic Practice of Drawing, Lynn Gumpert briefly discusses the major role of drawing within Conceptual Art during the 1960s and 70s (51). Sol LeWitt’s wall drawings are provided as an example where the drawings are created by installers based on instructions by the artist. Gumpert quotes Rebecca Lee’s statement on LeWitt’s intentions, “LeWitt challenges one of society’s most deeply held beliefs about drawing – that it must be a personalized, unique expression of the artist’s own hand”(52). What becomes the relationship of the drawing to the original work, which are the instructions? Is the drawing part of the artwork? Does the drawing need to be present with the instructions? Do the instructions need to present with the drawing? Can one exist without the other? How does this type of art production relate to Jeff Koon’s practice?
Gumpert, Lynn. “From Concept to Object: The Artistic Practice of Drawing.” Drawing/Thinking Confronting an Electronic Age. Ed. Marc Treib. London: Routledge, 2008. 46-58. Print.