AP Art History Global Contemporary
Minaret
A distinctive feature of mosque architecture, a tower from which the faithful are called to worship.
Installation art
A piece of art that is three dimensional that is not always permanent but is assembled for a specific location
Shibboleth
A word, expression, or custom that distinguishes a particular group of persons from all others
Kui Hua Zi (Sunflower Seeds)
Ai Weiwei, Sunflower Seeds, 2010, Tate Modern Context: Ai Weiwei grew up in Communist China during the Cultural Revolution and spent two and a half years preparing for the exhibit, and he is known for creating "social sculptures" Sunflower seed is a common street snack in China, an everyday object from the artist's childhood The exhibit is portable and has been displayed all over the world, namely in Copenhagen and Beijing Said to be a very costly project; provided work for over 1,600 artisans in Jingdenzhen Form: Filled Turbine Hall with 100,000,000 sunflower seeds, total weight of 150 pounds, depth of 10 cm, 1,000 square meters Produced with "30-step procedure" that includes hand painting and baking each seed Function: Draw attention to mass consumerism in America that draws on labor from China Results in labor-intensive factories, poor working/living conditions, etc.
Literal
Exactly true, rather than figurative or metaphorical
Robert Rauschenberg
Created many hybrid sculpture-paintings
The gaze
Art was created for the viewing of males. Women were objectified by males being in control of the camera. This is more often referred to as the "male gaze".
Untitled (#228)
Cindy Sherman, Untitled #228, from the History portraits series, 1990, Museum of Modern Art Context: Cindy Sherman is known for embodying and enacting images from popular media Part of series known as History of Portraits, taken while Sherman was in Rome Sherman comes from the age of the Feminist Movement and often tackles issues like identity, sexuality, pornography, objectification; she is a huge inspiration to the likes of James Franco and Jimmy Eat World Form: 7 foot high photograph of Judith carrying a slayed Holofernes and a dagger in the other hand Judith is draped in what appear to be cheap but showy fabrics Photograph gives the illusion of being a painting and vice versa, but there are several quirks (ex: the Holofernes character looks like a mask, the fabrics are cheap, etc.) that give away that the work is indeed a photograph Function: Question longstanding traditions of the female character and how she is depicted across various media; this recreation sheds an unorthodox new light upon Judith in particular and is meant to be feminist in nature
Modernist painting
Conventional narrative content and modes of expression, wanted to be new
Conceptual
Describes art in which the idea presented by the artist is considered more important than the finished product, if there is one
Abstract
Does not attempt to represent external reality, but seeks to achieve its effect using shapes, forms, colors, and textures
Shibboleth
Doris Salcedo, Shibboleth, 2007-08, installation, Tate Modern Context: "Shibboleth" - a code word to distinguish those who "belong" from the outcasts or marginalized "other" category Salcedo is Colombian artist who has worked extensively abroad, making her especially attuned to the immigrant experience Staged 2 installations of thousands of hanging chairs -- one in Bogotá and one in Istanbul -- in commemoration of extensive and senseless violence that immigrants have experienced Shibboleth can be considered transgressive because the Tate Modern made an exception for Salcedo to permanently alter the exhibition space The crack was filled 7 months after the exhibition opened, leaving the floor "scarred" Form: 548 feet in length, roughly 2 feet deep, varying width White mesh lining inside of the elongated crevice Can be considered sculpture, architecture, intervention, and an installation Function: To chronicle the immigrant experience; meant to represent the divide and stigma immigrants feel as opposed to natives who conform and feel a sense of belonging Filling the crack after the exhibit could symbolize Salcedo's optimism for immigration reform measures and a destigmatization of foreigners
Old Man's Cloth
El Anatsui, 2003 Context: Artist born in Ghana in 1944, European educated Anatsui's career shaped by utopia of mid-century African independence movements Work always reflects region's history; this particular work reflects history of Afro-European trade Anatsui joined "Sankofa" movement to reclaim and reinstall Africa's indigenous traditions Much of his work is very abstract and geometric, widely regarded as leading international contemporary artist Form: Installation that hangs like a tapestry, composed of tiny metal fragments that catch light at various angles, grids of stripes and colors, rough texture, uneven and jagged edges Made from flattened liquor bottle labels from Southern Nigeria Labels and bottle caps fastened with copper wire and attached corner to corner Debate over whether it is truly 2D or 3D, fine art or folk art or craft, sculpture or painting Function: Refers to Africa's rich history as an integral part of international trade, especially during transatlantic slave trade (through alcohol and textiles) Gold iridescence recalls Ghana's nickname as "The Gold Coast"
Dancing at the Louvre
Faith Ringgold, Dancing at the Louvre, 1991, from the series The French Collection, part 1; #1 (private collection) Context: First in Ringgold's series of 12 paintings that tell the story of Willa Marie Simone, a fictional black woman who moves to Paris and has several encounters with celebrities Ringgold seeks recognition in art world dominated by European white males by referencing her personal biography and African American history Much of artist's work centers around race and gender, draws from folk art and implements quilts and weaving (artist's mother was a seamstress and fashion designer) Ex: Who's Afraid of Aunt Jemima Form: Central image created using acrylic paint on canvas (shows knowledge of western artistic styles) with surrounding patchwork cloth border with handwritten text Traditional quilting methods to stitch decorative front to plain cotton backing Function: Quilting has historically impacted women: It is often a collective activity that allows women time to gather and converse away from the company of men It is a cross-generational activity often times allowing for the dissemination of cultural background, shared knowledge, storytelling, etc. Used to convey hidden messages in Underground Railroad Appropriation of different artistic styles to "rewrite" history
Guggenheim Museum, Bilbao
Frank Gehry, Guggenheim Museum Bilbao, 1993-97 Context: Artist born in Toronto, Canada → LA Won Pritzker Architecture Prize in 1989 Started career in '60s -- deconstructivism Bilbao is regarded as an aging port and industrial center Most 20th century art museums are variants of neo-classical style (ex: Louvre, National Gallery of Art in Washington) Pedimented fronts, long colonnades, lofty rotundas Form: Spiraling concrete ramps Faces a river (most photographed view) 165 foot atrium Twisting glass-and-steel volume has irregularly shaped limestone and plaster walls, angled/curving walls, balconies Outside is covered in steel in brick-like pattern "Boat gallery" is arguably most memorable feature Extends over 400 ft along promenade and beneath adjoining bridge Structure bends, ripples, unfurls -- looks like several drapery folds Function: Stand out in an aging city, boost the economy of Bilbao Diverge from traditional neo-classical 20th century buildings
Trade (Gifts for Trading Land with White People)
Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People), 1992, Chrysler Museum of Art, Norfolk, Virginia Context: From Confederated Salish and Kootenai Tribes of the Flathead Indian Nation Born on Flathead Nation reservation, daughter of rodeo rider/horse trader, one of 11 children Middle name references her ability to grasp things things readily In college, instructors told her that no woman could have a career as an artist Style often compared to Rauschenberg Cits the Abstract Expressionist movement from 1940's to 50's Form: Large mixed-media canvas Layered images, paint, objects on the surface of the canvas Sports memorabilia and souvenirs that stereotype Native Americans hung from clothesline above canvas Red color represents blood, warfare, anger, sacrifice Outline of canoe Triptych Newspaper cutouts, photos, comics, tobacco/gum wrappers, fruit carton labels, ads, pages from comic books, other media that stereotypes Native Americans Function: "Illustrates historical and contemporary inequities between Native Americans and the United States government." References the role of trade goods in colonization and displacement of native lands Depicts how Native Americans were coerced into trading their land in exchange for cheap, silly trinkets that stereotype them Shows commodification of Native life
Horn Players
Jean-Michel Basquiat, Horn Players, 1983, (The Broad Art Foundation) Context: Jean-Michel Basquiat's work is often characterized by wordplay and an abundance of written words on canvas Prior to his success as a painter, Basquiat was famous for writing maxims, jokes, and prophecies on walls of lower Manhattan, SoHo, and Tribeca under the pseudonym "SAMO" (same old s**t) with his high school friend Many writings of his were found close to prominent art galleries, and the "SAMO" persona was often presented as a critic of the art world, possibly conveying Basquiat's own cynical attitude to much of the art world Artist became successful in '80's and had his art displayed at several prestigious galleries By 1983, average sale price of his work increased by 600% Referred to as "the black Picasso," and Basquiat appropriated the art of Leonard, Edouard Manet, and Pablo Picasso frequently Form: Triptych - painting consisting of three joined panels - with half-length portraits on left and right panels; all panels have large swaths of white paint and obscure drawings/words beneath them Main subjects are saxophonist Charlie Parker and trumpeter Dizzy Gillespie, and the words often allude to titles of compositions by Parker and Gillespie Horn Players has several connections to Picasso's Three Musicians Central figure has bulbous protrusion that is filled in with hatch marks -- suggestive of the patterning of Picasso's "collaged" paper Function: To draw from jazz as a source of inspiration; just as jazz composers of the time appropriated harmonic structures, rhythms, etc., Basquiat appropriated various styles and artistic techniques throughout his career Basquiat's interest in jazz could be indicative of a larger investment in African American pop culture
Pink Panther
Jeff Koons, Pink Panther, 1988, glazed porcelain,The Museum of Modern Art Context: Banality - the fact or condition of being banal; unoriginality Riff off of main idea of postmodernism Part of exhibition called "Banality" by postmodern New York artist Jeff Koons This particular work garnered a successful reception for Koons who was labeled an avant-garde, in contrast to Duchamp's critical reception to a piece of artwork depicting an ordinary urinal Often compared to Cindy Sherman, who also parodied and parade clichés of femininity Form: Glossy, garish porcelain sculpture of muted pale blue, pink, lavender, green, and gold -- reminiscent of '50's and '60's art Made to look like tacky, inexpensive commercial figurine Smiling bare-chested blonde lady, suggestive green dress; modeled after Hollywood star Jayne Mansfield Holding pink panther with blank expression in left hand and covers chest with other hand Function: Washed out look of the sculpture might harken back to pre-civil war era as statement of nostalgia Intentionally and paradoxically insulting to feminists even though the message is the opposite/parody of male authority Challenge critical enterprise of postmodernism itself
Stadia II
Julie Mehretu, Stadia II, 2004,Carnegie Museum of Art, Pittsburgh Context: Part of triptych of works that explore nationalism, revolution in the worlds of art, sports, and politics Mehretu has long since used abstraction for revolutionist art Likes to represent the "organized sterility of institutions and the chaos, violence, and disorder" that come with them Born in Addis Ababa, Ethiopia, moved to NYC Form: Many layers: projection of maps/diagrams, traces and marks, more figures and photographs Black outlining bears resemblance to large edifice, like a stadium, political chamber, opera house, amphitheater, sports arena Small circles, dots, and hash marks float through open space like an abstract version of confetti Larger shapes - circles, triangles, blocks, and parallelograms float across the upper register Looks like large vortex with vibrantly colored geometric shapes and symbols being sucked in References to politics, logos, and religion - ex: abstract version of American flag, red crosses symbolizing Bauhaus Russian movement Grey marks that rise from lower edge and center - look like smoke and refer to bombing and acts of terror Function: Metaphor for history, memory legacies of past cultural epochs Conveys themes of nationalism, sports, global politics but through abstraction as to "wipe clean the slate of history"
Lying with Wolf
Kiki Smith, Lying with the Wolf, 2001, ink and pencil on paper 88 x 73 inches (Centre Pompidou, Paris) Context: One in a short series of works that were created between 2000 and 2002 Smith grew up in very artistic family as daughter of sculptor and opera singer Drawn to concept of "home" as "human body" through the ideas of domesticity, fragility, structure, etc. Religious upbringing Smith interested in narratives like folk tales, biblical stories, Victorian literature A lot of her work deals with a female protagonist with a wolf and draws from Sainte Genevíeve and Red Riding Hood as inspirations May Wolf, Geneviéve A lot of her work deals with the naked/intimate human body Often portrays bodies as "messy" and shows them huddled in fetal position Form: Large scale sketch depicting nude female reclining intimately with a wolf Wolf appears to be very docile and is nuzzling the woman affectionately Darkened, textured paper that is rough around the edges with dark, clean pencil Function: Wants to re-write feminist history in a narrative style based on multiple references Blurs lines between predator/prey, wild/tamed, women being submissive/powerful Asserts a critical feminist position that favors articulation of multiple meanings
Androgyne III
Magdalena Abakanowicz, Androgyne III, 1985. Burlap, resin, wood, nails and string Context Fiber artist who works with burlap, string, and cotton gauze Dislocated by WWII- from Germany but grew up in Communist Poland and trained as a social realist artist Works with her hands- no tools → intimacy and personal nature to her work Since mid-70's work mostly consists of fragmented human figures faces without skulls, bodies without heads torsos without legs Sometimes alone/ other times in large groups Form/Content Fragmented body as a hollow shell Made out of burlap, resin, wood, nails and string Hardened fiber casts made from plaster molds Bumps and imperfections created by pressing wet burlap into plaster molds Intended to be seen in the round- the hollow interior is as much a part of the piece as the exterior. Androgyn torso is perched on low stretchers of wooden logs; long poles filling in for lost legs Function Figure is androgynous- meant to be about humans in general and not gender poses questions about the physical and spiritual condition of mankind in the 20th century Fragmented forms could reference her mother (whose arm was shot off by a Nazi soldier) They are "about existence in general"
Vietnam Veterans Memorial
Maya Lin, Vietnam Veterans Memorial, 1982, granite, National Mall, Washington, D.C. Context: Situated between Washington Monument and Lincoln Memorial One of the most visited memorials in D.C. Maya Lin had an "impulse to cut into the Earth" 1400 submissions for the plan of the monument Maya Lin = Yale undergrad, Asian American, submission was anonymous Experienced racism upon her identity being revealed Departure from previous war memorials Not commemorative of a war hero, not an equestrian portrait Form: Reflective black granite that points to both monuments Thin, sunken walls inscribed with names of over 58,000 veteran names Overwhelming in density of names As you walk down the path, the stone is reflective and the substance of the monument itself is the density of the names Mirror effect gives the illusion of the park being larger than it is Granite was domestically harvested, not international (too much emotional baggage during the war with other countries) Function: Help people come to terms with the death of their loved ones, internalize the names and the people behind them Memorial serves as a union of present and past with how it is situated in terms of location
Pisupo Lua Afe
Michael Tuffery, Pisupo Lua Afe, 2000, Museum of New Zealand Te Papa Tongarewa Context: In colonial period, canned pea soup was part of Samoan diet, so "pea soup" with an "a" added became pisupo, a common name for all tin-packaged food One of many steer sculptures made by Tuffery; later sculptures were automated robots that clashed Some are offended by the sculpture; corned beef is a malnutritious food, but it is an integral commodity to Polynesian diet Tuffery is Samoan, Tahitian, English, very culturally informed Form: Sculpture made from recycled tin cans Compacted tin molded into the figure of a steer/bull Life-sized model of bull, bears huge similarities to other works by Tuffery Function: Reflect rich cultural history of Pacific Islands and dependence on packaged commodities like corned beef in these regions
Electronic Superhighway
Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995, Smithsonian American Art Museum Context: Paik is pioneer of using televisual technologies as an artistic medium; known as "the father of video art" Born in Seoul in 1932, studied composition at Tokyo, traveled to Germany to learn more about the intersection of technology and art and became artistically involved with the likes of John Cage and George Maciunas Moved to NY in 1964 and designed unorthodox TV-watching experiences; ex: arranged many televisions in a geometric format to focus on symmetry and arrangement rather than the TV playback itself; put magnet on top of old TV to create on-screen light distortions Form: Towering bank of over 300 TV screens into overall formation of map of the US outlined in colored neon lights 40 feet long and 15 feet high Each state's TV screen shows a quirk, memento, or symbol of that state's defining cultural background (ex: Kansas' plays Wizard of Oz) Function: Neon lights that connect states are symbols of the interstate system that economically and culturally unified the nation in the 1950's; twist is that the illumination itself suggests that we are linked now by technology and electronics rather than brick and mortar, roads, or transportations Icon of the "information age" -- the "business" of the artwork might represent "information overload," and visual tension might outline the similar tension between national and local frames of reference
Representational
Of or pertaining to realistic graphic portrayal in art; lifelike
No Crying in the Barbershop
Pepón Osorio, En la barbaria no se llora (No Crying Allowed in the Barbershop)," 1994, Collection of the Museo de Arte de Puerto Rico Context: Osorio is a Puerto Rican born artist trained as sociologist and social worker in the South Bronx → artist who creates large-scale installations for local audiences and mainstream cultural institutions Involves local community in projects Particularly interested in people of American Latino culture, particularly Nuyorican communities and their rites of passage Nuyoricans politically marginalized (ex: no say in presidential elections and cannot vote for interests in Washington), but have a rich cultural identity Form: Inspired by his own first haircut in Puerto Rico Recreation of barbershop packed with masculine symbols like barber chairs, car seats, paraphernalia, depictions of sperm & boy's circumcision, male action figurines Kitsch -- chucherías -- haphazardly yet strategically placed: flags, religious ornaments, plastic toys, dolls, ribbons, beads, etc. Video installations of Latino men in masculine poses, also videos of men crying Function: Challenge idea of machismo and masculine pride traditionally found in Latino communities and its relation to homophobia, violence, infidelity Raise issues of social class and the distinction between high and low art
Rebellious Silence
Shirin Neshat, Rebellious Silence, Women of Allah series, 1994 Context: Shirin Neshat born in 1957 in Iran, catholic educated and her father was a proponent of women's education; Shah was less restrictive of women's rights at the time Left in 1970's to escape rising hostility, and returned later to a much more restrictive environment; artwork meant to address this cultural shift to a more conservative religious and political view of women In current day Iran, most societies require that women be veiled in public; most Westerners see this as a symbol of objectification and oppression of the female body Form: Portrait of a women that is bisected by the barrel of a rifle, head is veiled in black in stark contrast to the white background Arabic text superimposed on woman's face Woman's gaze is centered and directly facing viewer Function: Subversive, witty message - reinvents the conservative image of the Islamic woman as a strong female with the power of a murderous weapon Meant to represent social/political commentary on the paradoxical state of oppression and empowerment
Summer Trees
Song Su-Nam, Summer Trees, 1979, British Museum Context: Leader of Korea's "Sumukhwa" or Oriental Ink Movement in '80s Means "ink wash painting" which was considered a noble art form Stood among modern literati of Korea In Korea during '80s there was tension between Western tradition of using oil paint vs. Korean style of using calligraphy ink for painting Criticized because some thought the materials and styles of Western art did not express his Korean identity From South Korea during time when ancient monarchy was brought to an end People lived in constant fear of North Korea, American soldiers constantly stationed Form: Dominated by grayscale, yellow/red colored dots in each corner Broad, vertical parallel brush strokes of ink blend and bleed to create disproportionately tall trees with a very small trunk Created on wet paper to allow the paint to run Function: Pine trees can symbolize a gathering of friends of upright character; alluded to world "literati" - "scholar-artist" Statement of Song's optimism in rediscovery of traditional values recast for modern times
Preying Mantra
Wangechi Mutu, Preying Mantra, 2006, mixed media on mylar (Brooklyn Museum) Context: Mutu is Nairobi born and European/United States raised; art is global in nature and draws from non-Western and Western styles Artist's work typically questions gender, sexuality, colonialism, cultural identity, the female body (subject to sexism and racism on global level) and consists of video, installation, sculpture, mixed-media collage Form: Artwork is a collage including fragments of fashion magazines, pornography, medical literature, and even National Geographic Considered "mixed media" because Mutu creates a collage but also used paint Female appears to recline on geometrically patterned blanket -- Kuba cloth (traditional fabric used by Kuba people) Legs tightly contorted, suggestive stare, "camouflaged" skin, green serpent snaking through hand Function: Preying Mantra is a play on 'preying mantis,' a carnivorous insect Female mantises often kill their mates during mating Preying Mantra might paradoxically reference both the vulnerability of women as well as their strength and resolve Refers to "original sin" and story of creation, possible questing Western ideals and longstanding beliefs
Book from the Sky
Xu Bing, Book from the Sky, c. 1987-91, Metropolitan Museum of Art, NYC Context: Draws from movable type printing - invented by Bi Sheng, c. 1040 Bianliang, China Artist grew up under rule of Mao Zedong State, nation prioritized over individuals, intellectuals Produced after Mao Zedong's demise, when Western literature,philosophy, literature, art history inundated China Vocational work - created banners by hand, trained in propaganda Form: Installation: pages containing Chinese texts are on all four walls of the gallery Undulating pattern to pages on floor, elongated scroll on ceiling, texts encased in glass on walls Over 1,000 characters were invented by artist Look familiar to unfamiliar viewer Carved wooden blocks of characters Function: The "sky" could be the upper texts, landscape could be texts on walls, ground could be the texts on the ground Encourage self-expression through spite of Mao's beliefs - Mao believed that movable type printing was for non-elites
MAXXII Museum
Zaha Hadid, MAXXI National Museum of XXI Century Arts, 1998 -- 2009 (opened 2010), Via Guido Reni, Rome Context: Devoted to 21st century art Walk by military barracks to get to the museum; centered in a much older community Has won several international architecture awards Born in Iraq but moved to England Worked at Office for Metropolitan Architecture Unabashed interest in pure geometry Holds faculty posts at several different universities Modeled like a "delta" Many 20th-21st centuries are just repurposed facilities Louvre, Museum of Modern Art, etc. Form: "Unbroken" slab of concrete reminiscent of international style Use of concrete derived from Roman art Huge concrete pillars and horizontal finned beams supporting the structure Warm greys of concretes, silvery greys of flooring Stark geometric figure like Minaret at Samarra Rectilinear shapes, sharp angles, soft bends (stairways) Metal grid flooring, black stairs lit from below with white light Function: Draws inspiration from modernism, constructivism Meant to draw people in and focus on the modernity of Rome instead of just its rich history
