Content Area 10 Global Contemporary - PowerPoint Presentation

Slide1

Content Area 10

Global Contemporary

1980 CE to Present

(27 works)

Chapters 35 and 36Slide2

224.

The Gates. New York City, U.S. Christo and Jeanne-Claude. 1979–2005 C.E. Mixed-media installation. (2 images)

Form

Function

Themes

Content

Context

TermsSlide3

225. Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin. 1982 C.E. Granite.

Form

Function

Themes

Content

Context

TermsSlide4

226.

Horn Players. Jean-Michel Basquiat

.1983 C.E. Acrylic and oil

paintstick

on three canvas panels.

The Broad Art Foundation, LA

Form

Function

Themes

Content

Context

TermsSlide5

227.

Summer Trees. Song Su-nam

. 1983 C.E. Ink on paper.

British Museum, London

Form

Function

Themes

Content

Context

TermsSlide6
Slide7

228.

Androgyn III. Magdalena

Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, string.

Met, NYC

Form

Function

Themes

Content

Context

TermsSlide8

In the 1960s, the Polish artist Magdalena

Abakanowicz received international acclaim for her large and imaginative abstract woven hangings made of various ropes and fibers. She began to make freestanding sculptures in the early 1970s from similar materials, particularly burlap, string, and cotton gauze. Her work since 1974 has featured fragmented human figures-faces without skulls, bodies without heads, and torsos without legs-placed singly or in large groupings. These body parts appear as hollow shells, the result of their being hardened fiber casts made from plaster molds. Yet despite their incompleteness, they are intended to be seen in the round, the hollow interior being as much a part of the piece as the molded exterior. The creases, ridges, and veins of the hardened-fiber surface assume organic characteristics, reminiscent of the earth's rough surface or the cellular composition of human skin.Androgyn

III of 1985 utilizes the same molded-torso shell that Abakanowicz used in her sculpture series Backs, begun in 1976. Unlike the earlier pieces, however, which sat directly on the floor, the Androgyn

torsos are perched on low stretchers of wooden logs, the long poles filling in for lost legs. Through these provocative images, the artist expresses the physical and spiritual condition of mankind. As she says, they are "about existence in general.“ From the Met’s websiteSlide9

229.

A Book from the Sky. Xu Bing.

1987–1991 C.E. Mixed-media installation.

Collection of the artist.

Form

Function

Themes

Content

Context

TermsSlide10

Book from the Sky

, first mounted in China in 1988 and 1989 and subsequently displayed many times in different countries, is one of the most iconic works of contemporary Chinese art. The presentation within Ink Art, overseen by the artist and his studio, reflects the specific characteristics of this space, but remains consistent with the artist's desire to create an environment that immerses the viewer in a sea of imaginary words: open books spread across the floor, long sheets suggestive of handscrolls suspended from the ceiling, and bulletin-board–like arrays of vertical panels along the walls.But while the work is inspired by the form and typography of traditional Chinese woodblock publications, faithfully replicating every stylistic detail of traditional Chinese printing, not a single one of its roughly 1,200 characters—each printed with type hand-carved by the artist—is intelligible. Each of these imaginary characters conveys the appearance of legibility but remains defiantly undecipherable

. From the Met’s website.Slide11

230.

Pink Panther. Jeff Koons

. 1988 C.E. Glazed porcelain.

MOMA, NYC

Form

Function

Themes

Content

Context

TermsSlide12

Pink Panther 

depicts a 1950s pin–up, modeled on the American B–movie actress Jayne Mansfield, with one hand covering a breast bared by a garment that has slipped down—a predicament for which Mansfield was notorious. The stuffed Pink Panther she clutches with her other hand is cheekily extending his tail toward the waistband of her skirt.Pink Panther is part of Koons’s Banality series, a group of twenty sculptures that draws on both popular culture and mass–market knickknacks.

Koons enlarged, combined, and transformed his sources, and had his designs fabricated by European artisans in ceramic and polychromed wood. Sonnabend

financed the production of the Banality series over a two–year period, seeing the sculptures for the first time when they were uncrated for exhibition at her New York gallery in 1988.From MOMA website.Slide13

231.

Untitled (#228), from the History Portraits series. Cindy Sherman. 1990 C.E. Photograph.

FormFunction

ThemesContent

Context

TermsSlide14

232.

Dancing at the Louvre, from the series The French Collection, Part I; #1. Faith Ringgold. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border.

Private Collection

Form

Function

Themes

Content

Context

TermsSlide15

233.

Trade (Gifts for Trading Land with White People). Jaune

Quick-to-See Smith. 1992 C.E. Oil and mixed media on canvas.

Chrysler Museum of Art, Norfolk, Virginia

Form

Function

Themes

Content

Context

TermsSlide16

234.

Earth’s Creation. Emily Kame Kngwarreye. 1994 C.E. Synthetic polymer paint on canvas.

Collection of Mbantua Gallery, Alice Springs.

© Emily Kame Kngwarreye, Licensed Viscopy

08.

Form

Function

Themes

Content

Context

TermsSlide17

235.

Rebellious Silence, from the Women of Allah series. Shirin

Neshat

(artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.

Form

Function

Themes

Content

Context

TermsSlide18

236.

En la Barberia

no se Llora

(

No Crying Allowed in the Barbershop

).

Pepon

Osorio. 1994 C.E. Mixed media installation.

Photo by

Pepón

Osorio. Collection of the Museum de Arte de Puerto Rico

Courtesy 

Ronald Feldman Fine Arts, New York

Form

Function

Themes

Content

Context

TermsSlide19

"In 'No Crying Allowed in the Barber Shop,' it’s not so much about beauty but the contradictions of beauty. It’s an installation that you’re allowed to come into so that you’re surrounded by its seduction. But it’s also about the contradiction of male and female...the balance that it exist within the male and the female in all of us. It’s contradictory because when you come in, you expect to see a joyous celebration, but you also see a lot of men crying in the presence of a general public."

- Pepón Osorio

From Art 21"

En la barbaria no se llora

(No Crying Allowed in the Babershop

)," 1994Installation at Real Art Ways, Hartford, Connecticut. Mixed media installation with barbers' chairs, photographs, objects and videos, dimensions variable. Slide20

237.

Pisupo Lua

Afe

(Corned Beef 2000). Michel

Tuffery

. 1994 C.E. Mixed media.

Museum of New Zealand

Te

Papa

Tongarewa

,

Wellington, NZ

Form

Function

Themes

Content

Context

TermsSlide21

In the Pacific Islands there are many traditional gifts of exchange such as fine mats and tapa cloth.  However, at weddings, funerals, feasts, or other special occasions, tins of

pisupo (corned beef) might be eaten and also given as gifts. Although cattle are raised on many Pacific Islands, pisupo is also imported.  Not only does

pisupo play an important role in the Pacific Island diet, but in the culture as well. Pisupo lua

afe (Corned Beef 2000) is a life-size bullock made from flattened cans of corned beef by artist Michel Tuffery

.  The work combines the art of recycling with a light-hearted and ironic comment on the value of colonial economics.

Tinned pisupo

is an example of the replacement of traditional items by imported ones.  This ‘un-Polynesian looking’ bullock raises the issue of whether foreign intervention encourages independence or actually fosters dependency.

Says Tuffery, ‘My corned beef bullock talks about the impact of global trade and colonial economies on Pacific Island cultures.  Specifically it comments on how an imported commodity has become an integral part of the Polynesian customs of feasting and gift giving.’ (1

)

Pisupo

lua

afe

(Corned Beef 2000)

 featured in 

Bottled Ocean

 - an exhibition of works by artists of Pacific Island descent.  Initiated by Wellington City Art Gallery in conjunction with Creative New Zealand, Bottled Ocean was curated by Jim

Vivieaere

.  The exhibition gave artists the opportunity to create artworks which expressed their views of contemporary Pacific Island culture.

After completing 

Pisupo

lua

afe

Tuffery

wanted to push the ideas that brought it about even further.  He developed a multi-media performance piece 

Povi

Tau

Vaga

(The Challenge)

 involving over 80 performers and two

motorised

cattle in combat. 

The performance piece

symbolised

the tension and friction caused during evolution when familiar customs find new expression.

References

(1) all quotes from interview with Michel

Tuffery

from 

Speaking in

Colour

, edited by Sean Mallon and Pandora

Fulimalo

Pereira (

Te

Papa Press, 1997)

Text originally published in Tai

Awatea

,

Te

Papa's

onfloor

multimedia database (2003)

From the Museum websiteSlide22

238.

Electronic Superhighway. Nam June Paik. 1995 C.E. Mixed-media installation (49-channel closed circuit video installation, neon, steel, and electronic components).

Smithsonian American Art Museum, Washington DC

Form

Function

Themes

Content

Context

TermsSlide23

239.

The Crossing. Bill Viola. 1996 C.E. Video/sound installation.

Form

Function

Themes

Content

Context

TermsSlide24

240. Guggenheim Museum Bilbao. Spain. Frank

Gehry (architect). 1997 C.E. Titanium, glass, and limestone. (3 images)

Form

Function

Themes

Content

Context

TermsSlide25

241.

Pure Land. Mariko Mori. 1998 C.E. Color photograph on glass.

Color Photograph on Glass10ft x 20ft x 0.85 inches

five panels, each 4ft wide

Form

Function

Themes

Content

Context

TermsSlide26
Slide27

242.

Lying with the Wolf. Kiki Smith. 2001 C.E. Ink and pencil on paper.

(Centre Pompidou, Paris) © Kiki Smith

Form

Function

Themes

Content

Context

TermsSlide28

243.

Darkytown Rebellion. Kara Walker. 2001 C.E. Cut paper and projection on wall.

Form

Function

Themes

Content

Context

TermsSlide29

244.

The Swing (after Fragonard). Yinka

Shonibare

. 2001 C.E. Mixed-media installation.

Tate Modern, London

Form

Function

Themes

Content

Context

TermsSlide30

245.

Old Man’s Cloth. El Anatsui

. 2003 C.E. Aluminum and copper wire.

Museum of Art, University of Florida, Gainesville

Form

Function

Themes

Content

Context

TermsSlide31

246.

Stadia II. Julie Mehretu

. 2004 C.E. Ink and acrylic on canvas.

Carnegie Museum of Art, Pittsburgh

Form

Function

Themes

Content

Context

TermsSlide32

247.

Preying Mantra. Wangechi

Mutu

. 2006 C.E. Mixed media on Mylar.

Brooklyn Museum

Form

Function

Themes

Content

Context

TermsSlide33

248.

Shibboleth. Doris Salcedo. 2007–2008 C.E. Installation.

The Unilever Series, Turbine Hall, Tate Modern, London

Form

Function

Themes

Content

Context

TermsSlide34

249. MAXXI National Museum of XXI Century Arts. Rome, Italy.

Zaha Hadid

(architect). 2009 C.E. Glass, steel, and cement. (2 images)

Form

Function

Themes

Content

Context

TermsSlide35

250.

Kui Hua Zi

(Sunflower Seeds). Ai

Weiwei. 2010–2011 C.E. Sculpted and painted porcelain.

The Unilever Series, Turbine Hall, Tate Modern, London

Form

Function

Themes

Content

Context

Terms