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Unit 10: 1980 CE - Present
Global Contemporary
Images 224-250
Main Ideas:
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In an era of rapid modernization, these artworks touch upon its consequences such as gender & racial disparities, economic neocolonialism, and restrictions on basic freedoms
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These artworks use innovative methods often with mixed media and in-person installations to showcase different aspects of their central message
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In-Person Installations
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With a 3-D installation, the viewers can easily immerse themselves in the artwork to understand the artist's clear unambiguous message through the artwork's features
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The message of these artworks is generally a critique on the consequences of rapid modernization, such as class & gender disparity, economic neocolonialism, and restrictions on freedoms
Image 224: The Gates
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Name
The Gates
Location
New York City, US
Artist
Christo and Jeanne-Claude
Date
1979 - 2005 CE
Material
Mixed-media installation
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The gates are placed along the pedestrian walkways in Central Park → They represent the natural pattern of pedestrian movement throughout the park
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In Feb 2005, there were 7503 gates at this exhibition
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The gates are placed along the pedestrian walkways of New York's Central Park → Allows pedestrians to move through them
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There is no single vantage point to see all the gates, but rather, the gates are all in an oval-shaped loop along the walkway → Represents the idea that people shouldn't view the gates as static and rather focus on the motion/movement they represent
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The bright orange color of the gates seeks to set it apart from the surrounding nature so that its sense of movement can easily be seen
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Image 225: Vietnam Veterans Memorial
Its Underground Location:
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Name
Vietnam Veterans Memorial
Location
Washington, DC, US
Artist
Maya Lin
Date
1982 CE
Material
Granite
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The memorial's architecture allows for a more personal reflection of the soldiers' lives
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This memorializes the victims of the Vietnam War (1955-75) with their full names, not their photos
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By putting a person's photo, we only see them in one particular way (which could be staged or candid); however, with a person's name, we can think about everything that person has done → A person's name is a more holistic all-encompassing identifier
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The memorial is located slightly underground: We have to descend a small ramp to reach it, then we see all the names on the left wall → We are somewhat "swallowed up" by the memorial and more attentive and reflective toward the memories of the victims
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Black granite's color reflects the solemn mood of the memorial
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Some believed this memorial to be controversial as Maya Lin's Asian heritage may conflict with the fact that these soldiers were killed in Asia, yet the memorial was successfully built despite these opponents
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Image 229: A Book from the Sky
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Name
A Book from the Sky
Location
Xu Bing
Date
1987 - 1991 CE
Material
Mixed-media Installation
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Uses artwork made out of Chinese characters to make a political statement against censorship in Communist China
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Xu Bing made up random pseudo-Chinese characters and put them on books, hanging scrolls, etc. all over the floors, walls, and ceiling
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Because no one can read them (since these aren't real Chinese characters), it invites the viewer to instead reflect on the scene as if the ground was the sea and the roof was the sky
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As the viewer reflects on the empty scene, it allows us to think about how the Chinese government censored certain books and prevented people from understanding the true meaning and practice of scholarship through the limitations on freedom of expression
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Also allows to think that Chinese propaganda is sometimes meaningless to the viewer and creates a false image of reality
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Image 236: En La Barberia no se Llora (No Crying Allowed in the Barbershop)
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Name
En La Barberia no se Llora (No Crying Allowed in the Barbershop)
Location
Pepon Osorio
Date
1994 CE
Material
Mixed-media Installation
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The artwork in the room contains many stereotypical masculine aspects that criticizes the idea of masculinity (machismo) in Nuyorican culture
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Nuyorican: Puerto Ricans in New York City
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Machismo: Latin-American ideal of male dominance and masculinity
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Has many traditional masculine aspects as well as satirical aspects that all together criticize the idea of masculinity
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Barber chairs, car seats, sports equipment, depictions of male reproductive figures, etc.
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Main aspect are the images of men crying, which criticize the idea of masculinity in Nuyorican society
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Has many small trinkets (chucherías) that represent aspects of Puerto Rican culture (its flag, portraits of famous Latin American men, etc.)
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The idea that these national symbols are represented through small trinkets mocks the strict cultural ideals of Latin America, which includes machismo
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The room also has video installations with Latino men in stereotypically masculine poses
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Many of these men are among the elderly → Shows that machismo is a deeply-rooted multi-generational issue that should be fixed
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He criticizes the ideal of machismo to advocate for more gender equality
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Image 237: Pisupo Lua Afe (Corned Beef 2000)
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Name
Pisupo Lua Afe (Corned Beef 2000)
Location
Michel Tuffery
Date
1994 CE
Material
Mixed media
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Represents the negative environmental and social impact of colonialism and the introduction of beef on Samoa
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Pisupo initially meant "pea soup" in the Samoan language but now also means "canned food"
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The structure is made of food cans in the shape of a cattle to criticize the effect that canned food and beef had on the Samoan population
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Corned beef replaced the traditional Samoan diet of seafood and local fruits/veggies
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It's also high in cholesterol, fat, and sodium → Is the leading cause of diabetes and heart disease in Samoa
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The cattle and food cans also have a significant environmental impact on Samoa
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Cattle grazing takes up lots of space and water, and it destroys and uses up a lot of plants
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Food cans produce a significant amount of waste, especially since waste disposal is difficult in island nations
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Canned foods are also a Western import → This criticizes Samoan neocolonialism and comments on Samoa's struggle for independence
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Criticizes how Samoa still has to rely on imports from other nations to survive
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Image 238: Electronic Superhighway
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Name
Electronic Superhighway
Location
Nam June Paik
Date
1995 CE
Material
Mixed-media installation (49-channel closed-circuit video installation, neon, steel, and electronic components)
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Emphasizes the economic and cultural unity of the US while showcasing each state's uniqueness
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Has 49 TVs in the shape of a map, displaying key characteristics of each state
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Iowa is where the presidential election cycle begins, so its TV plays old news footage of various elections
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Kansas's TV plays the Wizard of Oz
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The neon lights represent the superhighways
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Represent that what unites all the states is not just highways but also electronic communication (TVs, broadband connection, internet, etc.)
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The variety of information on the map and the tension created by the neon lights shows the idea that it's difficult for us to absorb any details about our nation because of all the "information overload"
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Image 239: The Crossing
Name
The Crossing
Artist
Bill Viola
Date
1996 CE
Material
Video/sound Installation
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Uses an immersive video experience of fire and water to activate our sense of spirituality
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Similar to Shiva Nataraja (Image 202): When we’re surrounded by flames, we feel like we are transcending into heaven & the sublime
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Drew influence from Hinduism, Catholicism, Buddhism, Sufism, etc.
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Original video was recorded in 300 frames per second → Viola can slow it down significantly to create a more immersive and spiritual experience
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This technological experimentation helps drive Viola’s artistic intentions to make this feel like a spiritual experience
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Image 240: Guggenheim Museum Bilbao
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Name
Guggenheim Museum Bilbao
Location
Spain
Artist
Frank Gehry (architect)
Date
1997 CE
Material
Titanium, glass, and limestone
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The smooth, curvy architecture with a large atrium and large windows gives us the illusion that we are floating while in the museum → We can better immerse ourselves with the artworks in the museum
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The walls are very curvy but smooth
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Represents architecture modernism
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When outside, you can feel that the inside would be some sort of illusion
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When inside in the atrium, the large windows allow lots of sunlight to come inside, and the combination of the sunlight plus the interior curviness gives viewers the illusion of floating
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While we feel a sense of floating, we still feel some heaviness (as if we aren't floating upward to the sky) → We're more drawn to what's inside the museum rather than what's above
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This large atrium is for sculptures → The illusion of floating + the heaviness allows us to better immerse ourselves with the sculptures so we can be more attentive and appreciative of them
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Image 243: Darkytown Rebellion
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Name
Darkytown Rebellion
Artist
Kara Walker
Date
2001 CE
Material
Cut paper and projection on wall
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The silhouettes represent the idea that people often negatively viewed African-Americans and objectified them → A critique on racialized violence toward African-Americans
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This represents a slave rebellion in the Antebellum South (pre-Civil War US South), and it showcases how society objectified African-Americans back then
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The silhouettes don't show the identity, gender, or specific injuries of the African-Americans → Shows how people often objectified African-Americans and didn't care to properly identify them
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The injuries on the silhouettes are a comment on how violently slaves were treated and how they were overworked
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The projection of the colors in the background emphasizes the objectification and themes of sadness and violence toward the African-Americans
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Image 244: The Swing (after Fragonard)
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Name
The Swing (after Fragonard)
Artist
Yinka Shonibare
Date
2001 CE
Material
Mixed-media Installation
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Juxtaposes the riches of the European upper classes with a plain modern context to highlight the negative effects of European colonialism and class disparity
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The ornate swing is located in a plain room: The ornate swing appears out-of-place in the plain modern empty room
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Shows how the European upper classes (in the classical period) were very extravagant and lavish and contributed to class disparity today
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The woman is beheaded, which references the human toll of the French Revolution
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The dress is made of African Dutch wax fabrics
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Represents how Europeans exploited Africa through colonialism
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Image 248: Shibboleth
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Name
Shibboleth
Artist
Doris Salcedo
Date
2007 - 2008 CE
Material
Installation
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Represents the immigrant experience in Europe: Some people felt like they belonged, while others didn't
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As viewers walk on the platform, they see the crack differently:
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Some feel like they are part of a larger group or community, while others feel isolated and left out
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The crack separates people into different groups, making some people feel left out
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Represents the idea that as more people are immigrating to Western nations (such as those in Europe), many people feel left out and feel like they don't belong in their new country
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Image 249: MAXXI National Museum of XXI Century Arts
Interior (Staircase):
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Name
MAXXI National Museum of XXI Century Arts
Location
Rome, Italy
Artist
Zaha Hadid (architect)
Date
2009 CE
Material
Glass, steel, and cement
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Creates an illusion of space with its many juxtapositions to draw visitors into the spaces of the museum
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The heavy museum building appears weightless (a juxtaposition)
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The museum building is mostly one large slab of concrete, yet it rests on pillars on the ground and its shadow projects onto the ground → Gives the illusion that it's floating in space
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This is because the main museum building doesn't touch the ground but rather rests on pillars on the ground
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The museum appears to be a modern building on an ancient foundation (juxtaposition)
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The building is a modern building but rests on an ancient piazza
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Parts of the buildings edges land on other historic houses
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On the exterior: Has Roman-style arches but turned on their side, and they open toward the viewer, inviting them into the museum
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The interior has many juxtapositions and illusions that give a feeling of more space inside → Draws more viewers inside
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Ribbon-like staircases (staircase that goes in large spirals along the walls) contrasted with the strict rectilinear geometry of the walls → Gives an illusion of walking through endless space when climbing the stairs
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Image 250: Kui Hua Zi (Sunflower Seeds)
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Name
Kui Hua Zi (Sunflower Seeds)
Artist
Ai Weiwei
Date
2010 - 2011 CE
Material
Sculpted and Painted Porcelain
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Critiques the economic and political injustice of Mao Zedong’s Communist rule of China
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The emperor (Mao Zedong) was forcing people to work, while the people (represented as sunflower seeds) were forced to obey him
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In some sense, the sunflower seeds represent the objectification of the Chinese people by the Communist government
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Shows how while the Chinese people were unified under a Communist government, they were actually forced to unify themselves and work together and thus felt degraded and tired
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Each sunflower seed was made individually (handpainted on porcelain)
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There are 100 million individual small pieces of porcelain that were painted
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Singular Pieces of Artwork
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Rather than providing an immersive experience, singular pieces of artwork (such as paintings) are more ambiguous in their meaning and allow the viewer to make sense of the visual features to understand the artwork's meaning
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While the message of these artworks is generally a critique on the consequences of rapid modernization (such as gender disparity and economic colonialism), these themes are presented very broadly allowing the viewer to interpret these messages in their own way
Image 226: Horn Players
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Name
Horn Players
Artist
Jean-Michel Basquiat
Date
1983 CE
Material
Acrylic and oil paintstick on three canvas panels
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Displays key features of the African-Americans' jazz movement in a very flat and bland way to critique how society often disregards African-Americans due to continued racial segregation
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Jazz was really important to African-American history and culture, especially in the Harlem Renaissance (1920s)
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In this triptych (a work with 3 registers), Basquiat showcases important aspects of the jazz movement
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Features images of African-American jazz musicians and their instruments
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Features words important to the jazz movement
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However, the images appear very flat and geometric and not really realistic, while the words appear somewhat messy → Shows there still existed some racial segregation in 1983 as society still disregarded some cultural achievements of African-Americans
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This was a critique on racial segregation in 1983, even after the civil rights movement of the 1960s
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Image 227: Summer Trees
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Name
Summer Trees
Artist
Song Su-nam
Date
1983 CE
Material
Ink on paper
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Uses ink painting (a historic Chinese technique) to create a modern abstract depiction of trees → A revival of ancient techniques for modern abstract purposes
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Uses ink painting to create the shape for the trees, similar to Color Field (a post-modernist technique, Unit 4)
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The strokes bleed together and are monochromatic
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The patterns of lines and how the lines/colors fit together dictates the meaning of the work
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In this case, Song Su-nam interprets the lines to represent trees during the summer
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Ink wash painting was traditionally used in Chinese scrolls, but Song Su-nam revives it for a more modernist use
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Song Su-nam references the literati tradition, which uses art to show the artist's feelings rather than the artist's skills
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The painting appears somewhat poetic and storylike as people can interpret it however they want
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Different people might have different interpretations or gain different emotional responses to the artwork
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Image 228: Androgyne III
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Name
Androgyne III
Artist
Magdalena Abakanowicz
Date
1985 CE
Material
Burlap, resin, wood, nails and string
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The figure is very ambiguous → Represents how some things are ambiguous or appear to be nothing and how we need to use our own imagination to decipher this ambiguity
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The identity of this figure appears very ambiguous
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We can't discern its gender
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Its posture could indicate sadness or the idea that it's protecting something
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Roundedness of the back creates a perception of a human, but the absence of a head creates ambiguity as to what it might be
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We have to assume the figure is a human and use our own imagination to figure out what its identity and emotions could be
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Image 230: Pink Panther
Front:
Back:
Name
Pink Panther
Artist
Jeff Koons
Date
1988 CE
Material
Glazed porcelain
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Criticizes the way men look at and commercialize women
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Jeff Koons makes a statement against the commercialization and objectification of women by using features stereotypical of women
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Uses bright colors (such as pink, blonde hair, etc.) stereotypical of women → Shows that men only appreciate women like this
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The porcelain makes the sculpture shine more
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The bright pink color of the panther symbolizes this idea
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Modeled off of a Hollywood actres
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One-dimensionality of the male gaze: While men gaze at the woman, the woman is looking away from the viewer → Highlights how men make women feel uncomfortable through their commercialization
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Image 231: Untitled (#228)
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Name
Untitled (#228), from the History Portrait Series
Artist
Cindy Sherman
Date
1990 CE
Material
Photograph
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This depicts a strong brave woman in a way that questions society's presumed negative views toward women
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This is a photo of Cindy Sherman herself in a heroic position
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She is dressed as Judith, a young Jewish woman, and she kills the general Holofernes after he seduces her
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She was then revered for being a hero for saving the Jews from Holofernes's constant oppression
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This is a story in the Book of Judith in the Old Testament
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Cindy Sherman depicts herself as a hero through her art
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Her makeup references artificiality and bravery
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The red, yellow, and blue clothing connects her bravery to that of the Virgin Mary
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The direct studio lighting highlights her presence and bravery
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Despite her brutal murder of Holofernes (and the fact that she's holding his head), she has a clean undisturbed face
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Her somewhat direct stare asks the viewer to reflect on society's views toward women, especially in biblical representations of women
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Image 232: Dancing at the Louvre
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Name
Dancing at the Louvre, from the series The French Collection, Part 1; #1
Location
Faith Ringgold
Date
1991 CE
Material
Acrylic on canvas, tie-dyed, pieced fabric border
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By showing African-American women literally "breaking the rules" at the Louvre, she criticizes Art History for traditionally not accepting African-American female artists
- Part of a larger series called The French Collection
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Talks about a young African-American girl named Willia Marie Simone who moves to Paris and meets celebrities to learn about business and art
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Part of a sub-series of 12 quilts in the book Dancing at the Louvre
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In this series, Ringgold comments on how Willia Marie struggled to receive recognition in the art world for her identity as an African-American woman
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Thus, since Willia Marie is metaphorically "breaking the rules" of art history by breaking traditional norms where African-American female artists aren't usually accepted by society, Ringgold depicts multiple African-American women literally "breaking the rules" at the Louvre
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Ringgold interprets dancing at the museum as an infraction of traditional norms
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She combines a standard Western acrylic with her own quilting technique and a fabric border to combine African-American folk styles with traditional Western art
- Part of a larger series called The French Collection
Image 233: Trade (Gifts for Trading Land with White People)
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Name
Trade (Gifts for Trading Land with White People)
Artist
Jaune Quick-to-See Smith
Date
1992 CE
Material
Oil and mixed media on canvas
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References the destruction and commodification of Native American culture by Western nations
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Has lots of imagery that depicts how Western powers commodify Native American culture as souvenirs and stereotypes
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The toys and objects hanging at the top are some of these commodified objects
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One example is a baseball hat with the logo of the Cleveland Indians
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This sports team commodified the traditional Indian chiefs' headdress for their mascot
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On the bottom image, we see many layered images of Native American culture and a gradient of warm colors
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The images have photos of deer, buffalo, and Native men in traditional dresses → References to Native American culture
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The canoe may symbolize trade relations between Native Americans and the White Americans
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This is how the Americans ultimately acquired Native goods and information about Native American culture
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The faded color gradient (especially the color red) symbolizes the warfare and destruction of Native American culture
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Image 234: Earth's Creation
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Name
Earth's Creation
Artist
Emily Kame Kngwarreye
Date
1994 CE
Material
Synthetic polymer paint on canvas
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Kngwarreye paints her own personal vision of the bare Earth (without any objects) with influence from her Aboriginal traditions
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Kngwarreye painted this in a way to showcase her personal connection to the imagery
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Rather than painting on an easel, she put the canvas on the ground and sat beside it, putting blobs of paint onto the canvas → Allowed her to put her personal thoughts into the artwork
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She showcases her Aboriginal origins in the artwork
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She was influenced by the natural environment in central Australia (deserts, grasslands, etc.) to create a vibrant scene of the bare Earth (without any people, buildings, or other objects)
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Aboriginal ritual called for ceremonial sand paintings as well as paintings on a woman's body → These traditions allow the painters to develop a much closer connection with the artwork, kind of like how Kngwarreye intimately paints this painting
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She expands the color pallete to include blues and greens in addition to her traditional reds and yellows → Showcases temporal change in the natural environment
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After a dry period of time (red & yellow), there will be rain then a very fertile period (blue & green) → Reflects seasonal change in the natural environment of Central Australia
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Image 235: Rebellious Silence
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Name
Rebellious Silence, from the Women of Allah series
Artist
Shirin Neshat (artist), photo by Cynthia Preston
Date
1994 CE
Material
Ink on photograph
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Represents how Iranian women silently cope with being forced to wear veils in public: While it seems oppressive, it can also be viewed as empowering to their identity as Muslim women
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Iran's political climate became more conservative in the 20th Century → Led to the forcing of all women to wear veils in public
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Westerners saw this as oppressive of women
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However, this also empowered women as a symbol of their Muslim identity
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The rifle cuts the image in two halves → Represents how women psychologically struggle facing this dilemma
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The features of the artwork show how Iranian women silently cope with this dilemma → Hence the name "Rebellious Silence"
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Their direct gaze shows their defensiveness and how they're not vulnerable to oppression by men
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The veil "protects" the woman's body from sexual oppression by men
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Image 241: Pure Land
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Name
Pure Land
Artist
Mariko Mori
Date
1998 CE
Material
Color photograph on glass
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Uses tranquil colors, spiritual imagery, and the representation of an elegant ideal woman to bring the viewer into the Buddhist Pure Land
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Mariko Mori is floating on a lotus in a tranquil paradise
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The light warm colors symbolize tranquility, purity, and spirituality
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The lotus bottom below her symbolizes purity and rebirth into paradise
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The spaceship on the right represents an imaginative version of a Tibetan stupa → Spirituality
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The viewer seems immersed into the painting
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The endless horizon and the idea that the island at the bottom continues toward us allows us to feel immersed into the endless painting
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The musicians floating in the air engage our ears into the piece → Acts as if the viewer is an active participant in the work
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Mariko Mori herself represents the Buddhist ideals of spirituality and prosperity
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Like the buddha, she gazes her bright eyes beyond us
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Her right hand is held up to symbolize teaching and worship, and her left hand holds a hojyu (magical wishing jewel)
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Her clothing represents the elegant clothing of a lady in the Tang Dynasty, and it symbolizes happiness and fertility
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A beautiful elegant woman (like her) would embody the ideals of fortune and prosperity and was seen as an object of worship
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This overall creation guides the viewer into the Pure Land
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Image 242: Lying with the Wolf
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Name
Lying with the Wolf
Artist
Kiki Smith
Date
2001 CE
Material
Ink and pencil on paper
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By using an extreme example of social equality (where a wolf and a woman are on the same social level), she challenges the traditional racial and gender hierarchies of society
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Rather than showing a predator-prey relationship between the wolf and the woman, she shows them as equals
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She shows that the woman has an intimate connection with nature through the wolf
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However, she doesn't actually mean to degrade women to the status of wolves; rather, she uses this example to prove that social hierarchies based on gender (as well as race, wealth, etc.) shouldn't exist in society
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If she actually showed a predator-prey relationship between the woman and the wolf, it would imply that the woman is superior to the wolf, which (although true) goes against her philosophy of eliminating social hierarchies
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Image 245: Old Man's Cloth
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Name
Old Man's Cloth
Artist
El Anatsui
Date
2003 CE
Material
Aluminum and copper wire
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Uses abstraction to represent how the Europeans exploited the African people
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The work is made out of liquor bottle caps (held together by copper wire) → Represents the trade in alcohol between Africa and Europe
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Europe distilled rum in the West Indies, sent it to Liverpool, and traded it in Africa in exchange for slaves → Basically exploited Africa's economy for slaves
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The gold colors reflect on how the British exploited Ghana for its gold
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The Europeans exploited Ghana to gain free access to this gold → They called Ghana the "Gold Coast"
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Europeans exploited the entire continent to gain free access to raw materials and precious metals
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All the pieces reflect light at somewhat different angles → The surface looks kind of like an ocean wave → References slavery and how the Europeans exploited Africa's economy for slaves
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Image 246: Stadia II
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Name
Stadia II
Artist
Julie Mehretu
Date
2004 CE
Material
Ink and acrylic on canvas
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Represents how modern life is a complicated mix of chaos, yet we sometimes find some sense of order to follow
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The work could be seen as depicting an amphitheater or sports arena when the crowd is cheering
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At first, we see complete chaos
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The black lines in the middle outline the shape of a whirlwind
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Yet we can make sense of the shapes and find multiple similar shapes to figure out what's going on
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At the top, we see potential loose depictions of national flags
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The bands of yellow in the center left and right can depict people cheering for a sports team whose official color is yellow
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The whirlwind represented by the black lines in the middle could represent the chaos from traffic, bad weather, immigration, etc.
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A lot of the shapes and lines could be abstract symbols represent ideas or historical movements, yet Mehretu wants to use abstraction to limit the presence of these historical ideas and focus on modernity and moving forward
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Image 247: Preying Mantra
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Name
Preying Mantra
Artist
Wangechi Mutu
Date
2006 CE
Material
Mixed media on Mylar
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Criticizes how society negatively views African-origin women in a postcolonial era
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This work explores the idea of hybridity: After Europeans decolonized Africa, African women still struggled for rights comparable to African men
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The African woman reclines on a blanket that resembles a Kuba cloth (made by the African Kuba people)
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Her skin is dappled by the sunlight, and it's color is similar to that of the tree's leaves → Allows her to camouflage
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The redness of the body and its uncomfortable gaze suggests that society has made the woman feel uncomfortable → Criticizes society for disregarding African-origin women
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The color makes it hard to discern her facial features → Makes it feel like society's negative stereotypes toward her have "trapped" her true identity
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She holds a green serpent in her left hand → References the serpent that seduced Eve → References the Biblical creation myth and the original sin
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The tree could reference the tree of knowledge, and the serpent could suggest that the woman committed the original sin → Shows that the woman is viewed as sinful
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The title of the work (Preying Mantra) relates to the praying mantis, and insect with bent legs that camouflages itself but is also viewed as a sexual object → References how the woman could be viewed similarly as a sexual object by men
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