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25 Cards in this Set
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N. The Gates D. 1979-2005 P/S. Contemporary A. Christo and Jeanne-Claude OL. New York City P. Artist M/T. Mixed- Media installation F. Remains a complex statement to two controversial topics. How to create meaningful public art and how art responds to and impacts our relationship between each other DT. Rectilinear, rigid, vinyl frame, three sided resting on two steel footings, brilliant color. saffron- colored fabric panels hung loosely from the top, Logistically complex project, 7,503 gates across 23 miles of walkways, each gate was 16 feet high with widths varying according to the path, free to the public C. Remains a complex statement to two controversial topics. How to create meaningful public art and how art responds to and impacts our relationship between each other. On exhibition between February 12 and 27 of 2005. Saffron color was used to create "a golden ceiling creating warm shadows". Was placed on the pathways to avoid drilling thousands of holes into the soil and potentially harming the root systems of adjacent trees and artist were inspired by the way the public navigate its paths. Cost $21 million. Six weeks to install about 30 years in the making (planning, construction and approval together ). Most materials were recycled |
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N. Vietnam Veteran Memorial D. 1982 P/S. Global Contemporary, Abstract Art A. Maya Lin OL. Washington D.C. P. US Government M/T. Wall Panels, black, reflective granite, names etched in stone (optima font),245 ft. Long and 10ft. Tall at highest point. Statues; Bronze F. Commemorate service members who died in Vietnam. Killed in action (KIA) and Missing in action (MIA) DT. Three separate Parks. Memorial wall, three service , Vietnam's women's memorial C. |
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N. Horn Players D. 1983 P/S. Modern A. Jean-Michel Basquiat OL. The Estate of Jean-Michel Basquiat P. N/A M/T. acrylic and oilstick on three canvas panels mounted on wood supports F. DT. stylized, half-length portrait, tryptic. drew and then crossed out large swabs of white paint highlight the black background paint, two famous jazz musicians, Charlie Parker and Dizzy Gillespie Left: Parker, holding his saxophone several hot pink musical notes, distorted waves of sound Right: Dizzy Gillespie, silent instrument alongside his torso. words “DOH SHOO DE OBEE” float to the left of the figure’s head call to mind the scat (wordless improvisational) singing Gillespie often performed onstage. Central: does not show a portrait. distorted head with roughly outlined features, abstract, bulbous shape, fills in with hatch marks that are suggestive of the patterning of Picasso’s C. repeated words like “DIZZY,” “ORNITHOLOGY,” “PREE” and "TEETH” that the artist has scattered across all three panels of this work. ORNITHOLOGY: title of a famous composition by Parker, (1946) in reference to his own nickname “Bird PREE” and “CHAN”: refer to Parker’s infant daughter and common-law wife, respectively. several connections to Picasso’s Three Musicians. |
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N. Summer Trees D. 1979 P/S. Global contemporary, Abstract A. Song Su-Nam OL. Korea P. N/A M/T. ink on Korean paper F. a way to express Korean identity, statement of optimism in the rediscovery of traditional values recast for modern times. DT. broad, vertical parallel brush strokes, ink blend and bleed from one to the other, diluted grays, feathery edges, pale washes applied to very wet paper, overlap and stop short of bottom edge (sense of shallow space) C. title refers to the natural world, clearly addressing issues of contemporary art, deeply rooted in tradition. Leader of the Oriental Ink Movement in the 1980s,, group of pine trees can symbolize a gathering of friends of upright character |
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N. Androgyn III D. 1985 P/S. Modern and Contemporary A. Magdalene Abakanowecz OL. Warsaw, Poland P. N/A M/T. Wood,nails, slung, burlap, resin, and string F. focus on the humanity of the figures rather than their gender DT. expressing dehumanization, each figure has a different texture, molded-torso shell, seated on low stretchers of wooden logs, perhaps filling in for lost legs. Sex characteristics is deemphasizes, wrinkled skin and the implication of backbones, musculature and veins. round as the hollow interior is as much a part of the piece as the molded exterior, body is a husk without arms, legs or a head. It is an expression of suffering, both mournful and disturbing. C. Experience world war II first hand where a drunken soldier shot off her mothers arm. had to hide their aristocratic roots when the nobility became the enemy in postwar Communist. visited laboratories to learn more about dissection and the construction of the human body. reflection of the time she spent helping in the hospital during World War II, memories of the attack on her mother, alludes to the brutality of war and the totalitarian state |
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N. A Book From the Sky D. 1987-1991 P/S. Contemporary A. Xu Bing OL. Beijing, China P. Unknown M/T. Mixed-Media, block printed, ink on paper, F. Considered to be a presentation of the “1985 Fine Arts New Wave" DT. Three ceiling scrolls, wall scrolls, books, wooden printed blocks C. Printed books and the scrolls contained thousands of “false" characters invented by Xu Bing that that took him years to complete. |
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N. Pink Panther D. 1988 CE P/S. Contemporary, Post-modern A. Jeff Koons OL. The Museum of Modern Art P. N/A F. parodying male authority M/T. Glazed porcelain , antiquated colors, DT. Overgrown toys and carton characters, muted pale blue, pink, lavender, green and yellowish gold smiling, bare-breasted, blonde. (Hollywood star Jayne Mansfield) head tilted back and to the left as if addressing a crowd of onlookers. clutches a limp pink panther in her left hand, right hand covers an exposed breast. pink panther's head is thrown over her shoulder, wears an expression of hapless weariness C. highly polished and gleaming. Apart of the Banality exhibition of twenty sculptures in porcelain and polychromed wood, colors are 1950s-esque. glossy textures look garish and factory-made. farmed out the actual production to German and Italian artisans who made each work in triplicate, product of Hollywood fantasy (1963), first artists of this period to achieve a level of success that depended more on the art market than on art criticism, appeared to be nothing serious about any of the works, Hummel figurines and other popular collector’s items are the basis of his exhibition. challenged the distinction between an ironic appropriation of a mass-culture object and the object itself challenging post modernism itself |
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N. Dancing in the Louvre D. 1991 P/S. Modern, folk art and craft in western view A. Faith Rinagold OL. France P. None M/T. Acrylic on canvas, tree dyed fabric border F. Combine modern art and African culture, highlight the biases in accepted forms of art, especially in their treatment of race and gender DT. Quilting techniques, narrative format to literally rewrite the past by weaving together histories of modern art, central image using acrylic paint on canvas, surrounds it with a patchwork cloth border that includes her hand-written text, Comprised of squares of fabric, painted portraits, and text C. breaking the rules, and having lots of fun while doing it, first in Ringgold’s series of twelve “story quilts” called The French Collection, tells the fictional story of Willa Marie Simone, young black woman who moves to Paris in the early 20th century. Told through text written around the margin of each quilt, Willa Marie’s adventures lead her to meet celebrities, practice reflects the shift toward postmodernism, offers an alternative to the European and masculine perspectives that are prevalent in art history, quilting has historically been important to maintaining female relationships. rewrites history to make a place for women like herself in its historical development. |
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N. Trade (Gifts for Trading Land with White People) D. 1992 P/S. Global Contemporary, abstract Expressionist A. Jaune Quick-to-See Smith OL. P. M/T. oil paint and mixed media, collage, objects, canvas, F. To illustrate historical and contemporary inequities between Native Americans and the United States government, raises the issue of contemporary inequities that are rooted in colonial experience. DT. prominent brushstrokes, dripping blocks of paint, part of the series “The Quincentenary Non-Celebration,” allegorical stories, become part of American lore, suggesting that Native Americans had been lured off their lands by inexpensive trade goods, layered images, paint, and objects on the surface of the canvas, Divided into three large panels (tryptic), covered the canvas in collage, with newspaper articles, mixed the collaged text with photos of deer, buffalo, and Native men in historic dress holding pipes with feathers in their hair, applied blocks of white, yellow, green, and especially red paint over the layer of collaged materials, Above the canvas, strung a clothesline, dangled a variety of Native-themed toys and souvenirs C. Artist is from the Confederated Salish and Kootenai Tribes of the Flathead Indian Nation, response to the 500th anniversary of Christopher Columbus’ arrival, layers suggest history and complexity, reminiscent of a medieval altarpiece. articles about Native life cut out from her tribal paper Char-Koosta, photos, comics, tobacco and gum wrappers, fruit carton labels, ads, and pages from comic books, all of which feature stereotypical images of Native Americans. The color red, refers to heritage, blood, warfare, anger, and sacrifice. final layer painted the outline of an almost life-sized canoe. canoe suggests the possibility of trade and cultural connections though its empty. cheap goods in exchange for the lands that were lost, |
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N. Earth’s Creation D. 1994 P/S. Global Contemporary, Abstract Expressionism A.Emily Kame Kngwarreye OL. Utopia, Australia P. None M/T. synthetic polymer paint on linen mounted on canvas, four panels F. purely artistic endeavors. reference the changing atmospheric character of seasonal cycles, documents the lushness of the “green time” that follows periods of heavy rain, and makes use of tropical blues, yellows and greens. DT. Monumental scale, bold yellows, greens, reds and blues bloom like lush vegetation over the large canvas, tural, viscous marks, swath of color traces the movement of the artist’s hands & body over the canvas C. Sold for over $1 million. highest price ever fetched for a work by a female artist in Australia, alongside a period of tremendous change in Australia, moving from the end of a phase of colonial settlement through to a more ethical embrace of Aboriginal culture by the nation’s Western population. “high colorist” phase |
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N. Rebellious Silence, from the Women of Allah series, Shirin Neshat D. 1994 P/S. Global Contemporary A. Cynthia Preston OL. Iran P. Unknown if any F. examines the complexities of women’s identities in the midst of a changing cultural landscape in the Middle East M/T. Photograph DT. Paradox, feminism, ’s portrait is bisected along a vertical seam created by the long barrel of a rifle, cropped so that the gun rises perpendicular to the lower edge of the photo and grazes her face at the lips, nose, and forehead, eyes stare intensely,hard edge of her black chador against the bright white background, sparse, measured and symmetrical, the veil, the gun, the text and the gaze C. lens of Western representations of Muslim women, and through the more intimate subject of personal and religious conviction. weapon implies a more violent rupture or psychic fragmentation, host to internal contradictions alongside binaries such as tradition and modernity, associated with Western representations of the Muslim world, veil functions as both a symbol of freedom and of repression. women return the gaze, breaking free from centuries of subservience to male or European desire. writings by women, which express multiple viewpoints and date both before and after the Revolution, poem “Allegiance with Wakefulness” femanist in nature |
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N. En la Barberia no se Llora (No Crying Allowed in the Barbershop) |
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N. Pisupo Lua Afe (Corned Beef 2000) D. 1994 P/S. Contemporary, Pacific A. Michel Tuffery OL. New Zealand P. None M/T. Flattened Corn Beef Tins F. To bring awareness for the health of one self, as well as the environment, ( specifically aimed for children ) DT. Upcycling material, one of a series of bulls, vibrant, fire breathing bull, overlapped tin cans, C. Comments on the impact of global trade on Pacific Island cultures. Since the introduction of corn beef, diabetes and other health problems increased. Critiques ecological health, food sovereignity, and ever growing waste. Installed fireworks inside their heads to give them the appearance of breathing fire. The firebreathing bulls were first introduced to the public in a ceremony, where there were staged bull fights using his artwork. During the ceremony they were accompanied by drummers and dancers. |
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N. Electronic Superhighway, Nam June Paik |
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N. The Crossing, Bill Viola |
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N. Guggenheim Museum Bilbao, Frank Gehry |
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N. Pure Land, Mariko Mori D. 1996-1998 P/S. Modern. A. OL. Tokyo, Japan P. M/T. Photography F. Captures a moment of the original video experience, allowing the viewer a longer, perhaps more mediative relationship with the work DT. Snapshot of original video, 3D video, embedded in glass, aliens playing instruments C. The original video nirvana was meant to give the audience a surreal experience, through the integration of sensory elements such as 3D imagery, sound, scent, and a gentle breeze |
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N. Lying with the Wolf, Kiki Smith |
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N. Darkytown Rebellion. |
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N. The Swing (After Fragonard) D. P/S. A. OL. P. M/T. F. DT. C. |
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N. Stadia II D. 2004 P/S. Global modernism A. Julie OL. Pittsburgh, USA P. N/A F. To convey and express the energy of chaos of today's globalized world M/T. Paint, ink, and acrylic on canavas DT. Geometric, stratified, C. |
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N. Preying Mantra D. 2006 P/S. Postmodernism A. OL. Brooklyn Museum P. M/T. Mixed-media on myler F. Invite viewers to explore the stereotypes about the African American female body DT. Subjectivity, exotism nature of hybridity C |
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N. Shibboleth D. 2007-2008 P/S. Contemporary A. Doris Salcedo OL. Tate Modern P. Tate Modern M/T. Installation F. Represents the immigrant experience in Europe DT. deep meandering crack in the floor, neat description, exists in a limbo between sculpture and installation, provocative title, measures 548 feet in length, width and depth vary, wire mesh embedded along the sides. C. Title complicates the work, conceptual art ideas that frame the physical crack in the floor are of equal, if not greater importance than the material work itself, title -codeword that distinguishes people who belong from those who do not. illustrates how friends and enemies are separated by fine, linguistic lines. racial segregation that marks people from the third-world as irrevocably “other,” a permanent state apart. After seven months, Doris filled the crack, leaving a scarred floor. symbol of the possibility of healing through figurative and literal closuremark is also an obstacle to any attempts to erase the past. |
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N. MAXXI National Museum of XXI Century Arts D. P/S. A. Zaha Hadid Architects OL. Flaminio quarter of Rome, Italy P. M/T. covered by a glass roof (natural light), concrete walls, F. promote art and architecture through collection, conservation, study and exhibition of contemporary works. DT. Urban complex, three levels of the building, various bridges that link buildings and galleries, large full height space, C. includes an auditorium, library, bookshop, cafeteria, spaces for temporary exhibitions, outdoor spaces, live events, commercial activities, laboratories, and places for study and leisure. series of continuous spaces, rather than the compact volume of an isolated building. |
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N. Kui Hua Zi (Sunflower Seeds) D. 2010-2011 CE P/S. Contemporary A. Ai Weiwei OL. Tate Modern, London, however it was made in China P. Ai Weiwei, Tate Modern M/T. Sculpted and painted porcelain, installation, 100 million tiny handmade porcelain sunflower seeds F. Critique political and economic injustice, designed to subvert popular imagery rooted in the artist childhood, address issues of human rights in China DT. Originally with 150 tons, arranged together in a neat rectangle, hyper-realistic seeds create a sense of vastness. Precise arrangement creates visual order and uniformity porcelain is a symbol of imperial culture in China C.,evokes warm personal memory for the artist , while he was growing up, even the poorest in China would share as a treat among friends. A symbol of camaraderie during difficult times when Communist Mao Zedong ruled and the citizens were depicted as sunflowers. The individual seed is lost among the millions, a critique of the uniformity and censorship inherent in modern China. More than 1,600 worked on the seeds. Ask the viewer to examine how our consumption of foreign-made goods affect the lives of others across the globe. Arrested in China during his Tate exhibition in 2011 for his political activism for democracy and human rights but charged him for Tax evasion. He was held for 81 days |
