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Your coursework and research must show you have found appropriate resources, evaluated them critically, and used them to develop your arguments. When you quote a phrase, copy all or part of something you have read, paraphrase or summarize, you must acknowledge your source. However you do not need to give the source for common knowledge.
The preferred style of referencing for Art History at the University of Auckland is the MLA (Modern Language Association) system.
You can find the essentials of providing referencing at AU Student Learning Centre site
www.cite.auckland.ac.nz
For individual answers to particular queries go to http://www.cite.auckland.ac.nz/quick.php
Below you will find examples of types of citations using MLA style followed by instructions on how to set out your bibliography.
Quotations
References/citations
Books
Articles
Subsequent references
Secondary references
Content footnotes
Compiling a Bibliography
Examples of MLA bibliographic style
MLA Style manuals in The University of Auckland Library
EndNote
Quotations
If you quote from another publication, you should indicate this by enclosing short quotations in double quotation marks “like this”.
A longer quotation (of three lines or more) is presented as an indented paragraph without quotation marks, and a space before and after it in the text like this. Some publications use a different typeface for quotations but this is really overkill, as the indentation already makes it clear …. The fact that it is a quotation is also indicated by a reference, which is numbered like this.1
Any addition to a quotation is indicated with square brackets [thus], and an omission is indicated with three stops …. If there is an obvious error such as a misspelling in a quotation, it is customary to insert (sic) so that the reader knows that it is not your error. Quotes already inside quotation marks are indicated with single quotation marks for clarity. “They would then look ‘like this’ in your text.”
References/citations
References have four main divisions: the author’s name in normal order, followed by a comma; the title; the publication data in parentheses; and a page reference. Notes may be presented as endnotes at the end of chapter or, preferably, as footnotes at the bottom of each page, now made easy by computer software. They should be numbered consecutively throughout the essay, and indicated in the text by a number in superscript, as also in the notes. Note that reference numbers follow punctuation, like this,1 or ‘this’2 not this3. The reference number comes at the end of a quotation or, in the case of a sentence paraphrasing ideas, at the end of the sentence or occasionally directly after the author’s name.
Some examples follow which will provide models.
Books
A book by a single author
M. Jacobs, The Painted Voyage: Art Travel and Exploration 1564-1875 (London: British Museum, 1995), 47.
A book by two or more authors
Hugh Honour and John Fleming, A World History of Art, 5th ed. (London: Laurence King, 1995), 67.
An anthology or compilation
Brian Wallis, ed. Art After Modernism: Rethinking Representation (New York: The New Museum of Contemporary Art, 1984), 86.
An exhibition catalogue
Te Maori: Maori Art from New Zealand Collections (Auckland: Auckland City Art Gallery, 1986), 26.
A paper in a collection or a chapter in a book
James A. Boon, “Why museums make me sad,” in Ivan Karp and Steven D. Lavine (eds.), Exhibiting Cultures: the Poetics and Politics of Museum Display (Washington: Smithsonian Institution Press, 1991), 271.
Unpublished work, such as theses, photocopied conference papers, and other documents. Italics are not used for the title, as they indicate published material. The title is instead placed in quotation marks, and information added thereafter, as in this example
Celeste Petra Sterling, “’To Boldly Go Where No Art Has Gone Before’ New Zealand Art Galleries and the World Wide Web,” MA, University of Auckland, 1997.
Articles
For bound serials, give volume and page numbers only. There is no need to include the volume and issue number if pagination runs through the entire volume. For serials in which each issue has its own separate page numbers give the volume and issue number as well as the pages.
An article in a serial with pagination running through the whole volume
David Mannings, “Reynolds in Venice”, The Burlington Magazine, 148, 2006, 754.
An article in a serial with separate page numbering for each issue
Blake Eskin, “Building the bioluminescent bunny”, ARTnews 100:11, 2001, 119.
An article, cartoon, letter, or advertisement in a newspaper or other periodical without volume numbers follows the pattern of author, title, source and date.
Peter Simpson, “Purangiaho: seeing clearly (2001),” Sunday Star Times, 7 Oct. 2001.
Ellis, Ngarino, ‘Heritage reclaimed,’ University of Auckland News, February 2002.
Subsequent references
In subsequent notes use a shortened reference. The author’s last name and page number or numbers
Bell, 34.
would be sufficient if you have already given the complete reference as in the example above.
If you refer to two or more works by the same author, for example Len Bell’s Colonial Constructs and The Maori in Modern Art, in subsequent references to a book include a shortened form of the title following the author’s last name
Bell, Colonial Constructs, 34.
Secondary references
If you cite a quotation by an author that you found in the work of another author, you must give both the full original reference and the source in which you found it, thus
K. Andrews, The Nazarenes, Oxford, 1964, 25, quoted in [or, cited by] H. Honour, Romanticism, Harmondsworth: Penguin, 1981. 348.
It is very dangerous practice to omit a double reference and pretend that you had consulted the primary text, as you will not have seen the reference in its original context and will not be aware of any misquotations or idiosyncratic interpretations – which will then be assumed to be attributable to yourself! It follows that only works that you actually consulted should appear in your bibliography.
Content footnotes
Footnotes may also be used to supplement the content of your essay, as with additional supportive data, fuller evidence or further examples that you feel would clutter up your argument unnecessarily. They might also be used to acknowledge an alternative point of view, to show that you are aware of other interpretations even if you have not chosen to use them. Footnotes can be a very useful way of inserting relevant information that is not essential to your argument and would interrupt the flow. But do avoid excessive footnotes. If the material in the footnote is really important, ask yourself whether it should not be in the body of the essay. And if it is not important, do you need it at all?
Works of art
Artist’s name, Title of work (materials, size) date, provenance.
Raphael, Madonna Foligno (oil on panel, 320 x 194 cm) c.1511-12, Vatican Pinacoteca.
This information forms the caption for each illustration. It should also be given in your list of illustrations in your bibliography, where you should include the source of your illustration – from a book, from a gallery, taken by a photographer, whatever. (You are not required to have copyright permission, however, as this is not a publication.) If you refer in your text to any work that you do not illustrate (and it’s not a good idea to do this too often), you must give a reference for where the image can be found.
Think carefully about how you are going to number your illustrations and the sequence in which you want to include them. It is customary for them to follow the order in which they are discussed in the text but, if they are discussed in various places, you might prefer a different, internally logical order, such as a chronological arrangement, as long as you are sure always to give the figure number when you discuss the work.
These notes are based on Professor Elizabeth Rankin’s “Guidelines for Theses and Dissertations” for students of Art History, with additional material from Ngarino Ellis, Art History Department.
Compiling a Bibliography
As well as providing footnotes which give the source of information you quote in the text of an essay or thesis, you must include a reading list of the books and articles consulted in writing the essay, and which you feel were significant for your work, even if they are not cited in footnotes. A bibliography for a thesis must list all the materials consulted. It is important for verification of your arguments and for future researchers in the area. It also enables the examiner to assess the range and depth of your reading.
A bibliographic entry has three main divisions: the author’s name, reversed for alphabetizing, the title, and the publication data. For electronic resources include publication medium (eg Online) and date of access.
A single bibliography should be sufficient for an essay, possibly listing illustrations separately. For a thesis the simplest approach, both to construct and to use, is a single bibliography for the bulk of the material, differentiating primary and secondary sources, or published and unpublished material. But if your bibliography is very large you may like to break the bibliography into different sections. You may do this according to the kind of material, for example, into sections such as: Books; Chapters in books; Theses; Exhibition Catalogues; Articles; Electronic Resources; Illustrations; Miscellaneous. Within each section authors will be arranged in alphabetical order. Or you may wish to make up separate sections with different parts or chapter groupings if these are self-contained.
Examples of MLA bibliographic style
Books
- A book by a single author:
Hall, Marcia. After Raphael: Painting in Central Italy in the Sixteenth Century. Cambridge, Cambridge University Press, 1999.
- Two or more books by the same author:
When citing two or more books by the same author, give the name in the first entry only. For subsequent entry or entries replace the name with a long dash and list titles in alphabetical order.
Bell, Leonard. Colonial Constructs: European Images of Maori 1840-1914. Auckland: Auckland University Press, 1992.
--- . Maori in European Art: a Survey of the Representation of the Maori by European Artists from the Time of Captain Cook to the Present Day. Wellington: Reed, 1980.
- An anthology or compilation:
Begin the entry with the name of the editor or compiler, followed by a comma and the abbreviation ed. or comp.
Wallis, Brian, ed. Art After Modernism: Rethinking Representation. New York: New Museum of Contemporary Art, 1984.
- A book by two or more authors:
Give their names in the same order as on the title page, not necessarily in alphabetical order. Reverse the name of the first author, add a comma and give the other name or names in normal form.
Honour, Hugh and John Fleming. A World History of Art. London: Macmillan, 1982.
Te Waka Toi: Contemporary Maori Art from New Zealand. Wellington: Te Waka Toi/Council for Maori and South Pacific Art, 1992.
If there is a catalogue essay give the name of the author:
The Maori in European Art. Auckland City Art Gallery, December 1980 - January 1981. Catalogue essay by Leonard Bell.
- An article in a reference book:
If the article is signed, give the author first; if unsigned, the title. If the encyclopedia or dictionary arranges articles alphabetically, you may omit volume and page numbers.
When citing familiar reference books, especially those that frequently appear in new editions, list only edition and year of publication. When citing less familiar reference books, especially those that have appeared in only one edition, give full publication information.
‘Tempera.’ Dorling Kindersley Ultimate Visual Dictionary. London: Dorling Kindersley Limited, 1994.
Kahr, Madlyn Millner. ‘Delilah.’ Feminism and Art History: Questioning the Litany. Norma Broude and Mary D. Garrard (eds.) New York: Harper & Row, 1982. 199 – 146.
If you refer to chapters in different books by the same author, arrange them in alphabetical order of the titles of the articles.
Theses
- An unpublished thesis or dissertation
Shand, Peter Neil. ‘Adrift on an Ocean of Affinities: Modernist Primitivism and the Pacific: 1891-1984.’ PhD. University of Auckland, 1997.
Articles
Rothkopf, Scott. ‘Banned and Determined: Gene Swenson.’ Artforum 40.10 (2002): 142-145.
Illustrations
Millais, Sir John Everett. Christ in the House of his Parents. Tate Gallery, London. Victorian Painting. By Julian Treuherz. London: Thames and Hudson, 1993. 81.
MLA Style manuals in The University of Auckland Library
For a complete outline of MLA (Modern Language Association) rules, and many more examples, the following are useful. (Gibaldi’s Handbook also has suggestions about preparing and planning for writing.)
Achtert, Walter S. MLA Style Manual. New York: Modern Language Association, 1985.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 6th ed. New York: Modern Language Association of America, 2003.
Trimmer, Joseph F. Essentials of MLA Style: a Guide to the System of Documentation Recommended by the MLA for Writers of Research Papers, with an Appendix on APA Style. Boston, Mass: Houghton Mifflin, 1998.
EndNote
EndNote is a reference database that enables you to store and manage references so that they can be reproduced in the form of footnotes, reference lists or bibliographies. EndNote imports records (bibliographic information about books or articles) into a ‘library’, or personal bibliographic database. The records are transferred electronically from electronic catalogues, such as Voyager, and databases, such as Art Abstracts, or created manually. They are likely to be more accurate than your own compilations, and can be converted into footnotes or varied formats for bibliographies. Training sessions are held at the Student Learning Centre, University of Auckland.
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