Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
27 Cards in this Set
- Front
- Back
224. |
T: The Gates A: Christo and Jeanne-Claude D: 1979 - 2005 CE M/T: mixed media installation P/S: Global Contemporary Period P: Central Park Conservancy F: to create “a golden ceiling creating warm shadows” for the visitor walking along the Central Park path. |
|
225. |
T: Vietnam Veterans Memorial A: Maya Lin D: 1982 CE M/T: Granite P/S: Global Contemporary Period OL: Washington, DC, US P: n.a F: embeds the names who were in the Vietnam war DT: wall, inscribed names of veterans, reflective C: Most successful memorial in the nation and the most visited monument in Washington d.c. starts small and rises up to 10 feet from the ground. Her intention was for the "wall" was to be a divider between the world we're in and the world we cannot enter. |
|
226. |
T: Horn Players A: Jean-Michel Basquiat D: 1983 CE M/T: acrylic and oil paintstick on three canvas panels P/S: Global Contemporary Period OL: unkown P: unknown F: they were shown off at exhibits throughout many places to where he was invited to. DT: jazz musicians, abstract, speaking in code C: The main subjects are the two famous jazz musicians. the saxophonist Charlie Parker and the trumpeter Dizzy Gillespie, who Basquiat has depicted in both linguistic and visual portraits. Musicians were a popular subject for Basquiat. young Basquiat looked to jazz music for inspiration and for instruction. |
|
227. |
T: Summer Trees A: Song Su-nam D: 1983 CE M/T: Ink on paper P/S: Global Contemporary Period OL: unknown P: n/a F: The painting exudes psychological power, despite its relatively modest proportions DT: simplicity, impact, exploration of tone C: The feathery edges of some reveal them to be pale washes applied to very wet paper, while the darkest appear as streaks that show both ink and paper were nearly dry. Only a practiced hand could control ink with such simplicity and impact. |
|
228. |
T: Androgyn III A: Magdalena Abakanowics D: 1985 CE M/T: burlap, resin, wood, nails, string P/S: Global Contemporary period OL: unknown P: n/a F: wants the viewer to focus on the humanity of the figures rather than their gender. DT: hallow, muscular, implication of backbones, veins, mold C: The bodies, or body parts, more accurately, are intended to be seen in the round as the hollow interior is as much a part of the piece as the molded exterior. Space is as significant as mass in these works. It is an expression of suffering, both mournful and disturbing. |
|
229. |
T: A Book from the Sky A: Xu Bing D: 1987 - 1991 CE M/T: mixed media installation P/S: global contemporary period OL: unknown P: n/a F: used as propaganda and the text has no meaning DT: Block printing, propaganda, no meaning C: pages with columns and columns of Chinese text surround the room. The books on the floors are volumes that are hand bound in the form of traditional Chinese book art. Xu Bing invented 1000 new characters. All the characters dont mean anything. |
|
230. |
T: Pink Panther A: Jeff Koons D: 1988 CE M/T: glazed porcelain P/S: global contemporary period OL: New York city P: n/a F: highlights what he considers wrong with contemporary american consumer culture DT: polished and gleaming, 1950s and 60s colors (muted pale blue, pink, lavender, green and yellowish gold) C: the artist had farmed out the actual production to German and Italian artisans who made each work in triplicate. The figure is based on the 1960s B-list Hollywood star Jayne Mansfield—here she clutches a limp pink panther in her left hand, while her right hand covers an exposed breast |
|
231. |
T: untitled (#228), from the History Portraits series A: Cindy Sherman D: 1990 CE M/T: photograph P/S: global contemporary OL: Italy P: n/a F: artificial reality meant to bring attention to artificiality found in historical portraits DT: monumental photograph, feminist art/gender roles C: inspired by feminism and gender roles. imagined a Renaissance interpretation of the Old Testament hero Judith, and photographed herself in the part. part of her series of photographs, "History Portraits". Sherman never recreated specific images, but rather used the original media as inspiration for her own art. |
|
232. |
T: Dancing at the Louvre, from the series The French Collection, Part I; #1 A: Faith Ringgold D: 1991 CE M/T: Acrylic on canvas, tie-dyed, pieced fabric border P/S: global contemporary OL: unknown P: n/a F: rewrite the past by weaving together histories of modern art, African-American culture, and personal biography DT: personal and group identity C: The series tells the fictional story of Willa Marie Simone, a young black woman who moves to Paris in the early 20th century. Willa Marie’s adventures lead her to meet celebrities such as Pablo Picasso and Henri Matisse, Josephine Baker, Zora Neale Hurston, Sojourner Truth, and Rosa Parks on the road to becoming an artist and businesswoman. |
|
233. |
T: Trade (Gifts for trading land with white people) A: Juane Quick-to-See Smith D: 1992 CE M/T: oil and mixed media on canvas P/S: global contemporary OL: flathead indian nation P: n/a F: illustrates historical and contemporary inequities between Native Americans and the United States government. DT: illustration, story C: part of the series “The Quincentenary Non-Celebration. references the role of trade goods in allegorical stories like the acquisition of the island of Manhattan by Dutch colonists. Smith layered images, paint, and objects on the surface of the canvas, suggesting layers of history and complexity. |
|
234. |
T: Earths creation A: Emily Kame Kngwarreye D: 1994 CE M/T: synthetic polymer paint on canvas P/S: global contemporary OL: Anmatyerr, Central Australia P: n/a F: characterized by a loosening of her compositions and the expansion of her color palette DT: different colors, range of tones, C: A self-taught artist who was trained in ceremonial painting, she rose to international prominence only in her eighties, and enjoyed a flourishing career at the end of her life. was created as part of the larger Alhalkere Suite which contains twenty-two panels. |
|
235. |
T: Rebellious Silence, from the Women of Allah series A: Shirin Neshat (artist); photo by Cynthia Preston D: 1994 CE M/T: Ink on photograph P/S: global contemporary OL: Iran P: n/a F: examines the complexities of women identities in the middle east DT: national identity C: Most of the subjects in the series are photographed holding a gun. The gun also represents religious martyrdom. serves to challenge the suppression of female voices in any community. |
|
236. |
T: En la Barberia no se Llora (No crying allowed in the barbershop) A: Pepon Osorio D: 1994 CE M/T: mixed media installation P/S: global contemporary OL: New York City P: n/a F: large-scale installations that address street life, cultural clashes, and the rites of passage experienced by Puerto Ricans in the United States DT: Latino communities C: Inspired from his first haircut in Santurce, Puerto Rico, Osorio recreates the space of the barbershop as one that is intensely packed with “masculine” |
|
237. |
T: Pisupo Lua Africa A: Michael Tuffery D: 1994 CE P/S: global contemporary OL: New Zealand |
|
238. |
T: Electronic Superhighway A: Nam June Paik D: 1995 CE M/T: mixed media P/S: global contemporary OL: Smithsonian museum P: nam june paik F: different colors remind us of individuality DT: creativity, abstract art C: when paik came to the US the interstate was only 9 years old and shows all state attraction 239 |
|
239. |
T: The crossing A: Bill Viola D: 1996 CE M/T: video/ sound installation P/S: global contemporary OL: New york P: Bill Viola F: intended to reignite the long-standing relationship between artistic and spiritual DT: video installation, aesthetic C: room sized video installation. Two sides with an image on both sides. |
|
240. |
T: Guggenheim Museum Bilbao A: Frank Gehry (architect) D: 1997 CE M/T: titanium, glass, and limestone P/S: global contemporary OL: Spain P: Basque government F: To showcase great fine art exhibitions and further the redevelopment of the city Bilbao DT: Majestic, Modern, Musical, Innovative C: Was visited by numerous artists, architects, journalists, politicians, filmmakers, and historians during the four years of its construction which anticipated the success of the museum. |
|
241. |
T: Pure Land A: Mariko Mori D: 1998 CE M/T: color photograph on glass P/S: global contemporary OL: tokyo, japan P: n/a F: creates an immersive, intimate experienceDT: photograph, 3D, tranquility, buddah C: a video piece from nirvana |
|
242. |
T: Lying with the Wolf A: Kiki Smith D: 2001 CE M/T: ink and pencil on paper P/S: global contemporary OL: new york, located in Paris P: n/a F: shows animal and human bonds DT: realism, ambiguity C: a series that depicts a woman's relationship with an animal from visual perspective |
|
243. |
T: Darkytown Rebellion A: Kara Walker D: 2001 CE M/T: cut paper and projection on wall P/S: global contemporary OL: Luxembourg P: n/a F: historical representation of African Americans DT: mysterious, nightmarish C: shows history of African Americans in the south |
|
244. |
T: The Swing (after Fragonard) A: Yinka Shonibare D: 2001 CE M/T: mixed media installation P/S: global contemporary OL: Yate, London P: n/a F: recreation of Fraggonard's painting DT: mixed media, recreation, modern C: head is missing, thought to be alluded to the guillotine |
|
245. |
T: old mans cloth A: EL Anatsui D: 2003 CE M/T: Aluminum and copper wire P/S: global contemporary OL: southern nigeria, located at Harn museum of art P: n/a F: a piece to remember his regions culture and history through using objects related to the most influential and culture shaping events DT: abstract, geometric, rough C: El Anatsui became an influential artist during a period which African independence movements were becoming increasingly popular |
|
246. |
T: Stadia II A: Julie Mehretu D: 2004 CE M/T: ink and acrylic on canvas P/S: global contemporary OL: New York P: n/a F: represents visualization of sport arenas DT: vivid colors, religious symbols C: small circles, dots |
|
247. |
T: preying mantra A: Wangechi Mutu D: 2006 CE M/T: mixed media on Mylar P/S: global contemporary OL: The Brooklyn museum P: n/a F: to show how the female resembles a praying mantis DT: colorful, vivid, exotic, abstract C: main figure is a woman in the center. Seems to be relaxing on a blanket and placing her hand behind her head. |
|
248. |
T: Shibboleth A: Doris Salcedo D: 2007 - 2008 CE M/T: Installation P/S: global contemporary OL: Turbine Hall, London P: Tate modern F: uses this giant crack on the floor of ceremonial hall as a symbol of racism, discrimination, and colonialism that separated one being from each other. DT: Divisive, grand, chaotic, rough C: Salcedo, instead of filling the hall with conventional sculpture or installation, created a large crack on the floor of the Turbine Hall at its installation |
|
249. |
T: MAXXI National Museum of XXI Century Arts A: Zaha Hadid (architect) D: 2009 CE M/T: glass, steel, and cement P/S: global contemporary OL: Rome, Italy P: n/a F: contemporary art museum DT: repetition, contemporary, innovative, movement, international style C: New architecture, modern architecture. Innovative art style and it derived from the international style |
|
250. |
T: Kui Hua Zi (Sunflower Seeds) A: Ai Weiwei D: 2010 - 2011 CE M/T: sculpted and painted porcelain P/S: global contemporary OL: Turbine Hall P: Tate Modern's Turbine Hall F: Each piece is part of a whole, depicting the relationship between one and the masses. DT: Installation, realistic handcrafted sunflowerseeds, crafted using Chinese traditional porcelain C: Work about mass production, and the repeatedly gaining a small effort from individuals can accumulate into one massive work. Chinese conceptual artist who integrated his Chinese traditions. |
