10.5 Unit 10 Required Works

Unit 10 Required Works

• Horn Players by Jean-Michel Basquiat

Horn Players

Horn Players:Jean-Michel Basquiat, Horn Players, 1983, acrylic and oilstick on three canvas panels mounted on wood supports, 243.8 x 190.5 cm (The Broad Art Foundation) © The Estate of Jean-Michel Basquiat (zoomable image here

• "Horn Players" is a mixed media painting created by Jean-Michel Basquiat in 1982.
• The painting features two black figures playing horns, with bold lines and colorful brushstrokes.
• The figures are set against a chaotic and layered background of text, images, and symbols.
• The use of black figures and the frenzied mark-making are hallmarks of Basquiat's style, which reflects the political and social issues of the time, including racism, poverty, and the marginalization of African Americans.
• "Horn Players" is considered a powerful example of Basquiat's work, reflecting his use of personal and cultural references to comment on contemporary society.
• The painting is part of Basquiat's significant body of work, which has had a lasting impact on the art world and continues to influence artists today.

Androgyne III:

Magdalena Abakanowicz, Androgyne III, 1985, burlap, resin, wood, nails, and string, 121.9 x 161.3 x 55.9 cm (The Metropolitan Museum of Art)

• Created in the late 20th century, likely in the 1980s
• Made of burlap, resin, wood, nails, and string.
• Androgyne III is part of a larger series of sculptures by the same name, which all feature similar abstract, humanoid figures
• The series is considered one of the most important and recognizable works by the artist
• Androgyne III is an example of Abakanowicz's focus on the human form, which was a departure from the abstract expressionism that dominated the art world in the post-World War II era
• The sculpture's abstract form and lack of specific features speaks to Abakanowicz's interest in the universality of the human experience
• Androgyne III is an example of the artist's use of organic and organic-inspired forms in her work, which was influenced by her early education in agriculture and her experiences during World War II.

Dancing at the Louvre:

Faith Ringgold, Dancing at the Louvre, 1991, acrylic on canvas, tie-dyed, pieced fabric border, 73.5 x 80 inches, from the series, The French Collection, part 1; #1 (private collection)

• "Dancing at the Louvre" is a quilt created by American artist Faith Ringgold in 1988.
• The quilt features a scene of people dancing in front of the Louvre Museum in Paris, France.
• The piece is made from fabric and is part of Ringgold's series of story quilts that explore social and political issues.
• The quilt combines the traditional medium of quilting with references to modern art and pop culture.
• "Dancing at the Louvre" is significant in the art world for its commentary on cultural appropriation and the representation of African Americans in museums and fine art.
• The quilt is also notable for its use of vibrant colors, patterns, and composition, which showcase Ringgold's distinctive style.

Electronic Superhighway

:Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995, fifty-one channel video installation (including one closed-circuit television feed), custom electronics, neon lighting, steel and wood; color, sound, approx. 15 x 40 x 4 feet (Smithsonian American Art Museum) © Nam June Paik Estate

• "Electronic Superhighway" is a work of conceptual art by Nam June Paik
• It was created in 1995
• The work is an installation piece that features multiple monitors and screens
• It is a representation of the artist's vision of a future world dominated by technology and the internet
• The piece highlights the increasing influence of electronic media on society and culture
• The installation is designed to immerse the viewer in a world of rapidly moving images and sounds
• "Electronic Superhighway" reflects Paik's belief in the potential of technology to create a more connected and connected world.

Stadia II:

Julie Mehretu, Stadia II, 2004, ink and acrylic on canvas, 108 x 144 inches (Carnegie Museum of Art, Pittsburgh) © Julie Mehretu

• Stadia II is a large-scale painting created by Ethiopian-American artist Julie Mehretu in 2004
• It is part of Mehretu's Stadia series, which explores the concept of stadia, or sports arenas, as symbols of power and control
• Stadia II measures approximately 10 feet by 20 feet and is made with acrylic, pencil, and ink on canvas
• The composition features overlapping layers of abstract forms, symbols, and marks that suggest a chaotic, fragmented world
• The forms in Stadia II are meant to evoke a sense of motion and energy, as well as the architecture of stadia and other public spaces
• The color palette is predominantly black, white, and gray, with occasional pops of bright colors, such as red and yellow, that emphasize the dynamic energy of the composition

• Stadia II is a powerful expression of Mehretu's interest in the intersection of politics, history, and the built environment, and it continues to be a significant work in her oeuvre.

Vietnam Veterans Memorial

Maya Lin, Vietnam Veterans Memorial, 1982, granite, 2 acres within Constitution Gardens, (National Mall, Washington, D.C.)

• Design by Maya Lin in 1982 and located in Washington D.C.
• A long, black granite wall that serves as a memorial for the fallen soldiers of the Vietnam War
• The names of all the soldiers are inscribed on the wall, creating a powerful and emotional impact
• The simple, yet striking design of the wall has made it one of the most visited memorials in the country
• Significance: The Vietnam Veterans Memorial represents the loss and sacrifice of the soldiers and serves as a symbol of the country's healing process. It also represents the shift in public perception towards the war, and serves as a powerful statement about the impact of conflict.

Summer Trees

Song Su-Nam, Summer Trees, 1979, ink on paper, 2 feet 1-5/8 inches high (British Museum) © Song Su-Nam

• Summer Trees by Song Su-Nam is an abstract painting from the mid-20th century.
• The painting features a blend of organic and geometric shapes, with an emphasis on flowing lines and bold brushstrokes.
• The bright and vivid colors used in the painting evoke feelings of energy, vitality, and summertime.
• This work is representative of Song Su-Nam's distinctive style and his contribution to the abstract expressionist movement in Korea.

A Book from the Sky

Xu Bing, Book from the Sky, c. 1987-91, hand-printed books and ceiling and wall scrolls printed from wood letterpress type; ink on paper, each book, open: 18 1/8 × 20 inches / 46 × 51 cm; each of three ceiling scrolls 38 inches × c. 114 feet 9-7/8 inches / 96.5 × 3500 cm; each wall scroll 9 feet 2-1/4 inches × 39-3/8 inches / 280 × 100 cm (installation at the Metropolitan Museum of Art, 2014), collection of the artist, © Xu Bing

• Created by Xu Bing in 1988
• A collection of Chinese characters that are completely invented by the artist
• The characters look like traditional Chinese characters, but are meaningless and meant to question the role of language in communication and cultural identity
• Significance: The work challenges the traditional notion of writing and questions the cultural and political power of language. It is a powerful commentary on the nature of communication and the role of language in shaping cultural identity.

Untitled #228

Cindy Sherman, Untitled #228, from the History portraits series, 1990, chromogenic color print, 6' 10 1/16" x 48" (208.4 x 122 cm) (The Museum of Modern Art)

• "Untitled #228" is a photograph by American artist Cindy Sherman
• It is part of Sherman's "Untitled Film Stills" series, which features the artist playing various characters in self-portraits
• The photograph depicts Sherman in character as a fashionable woman, with a neutral expression and a distant gaze
• The image explores themes of identity, gender, and representation in popular culture and media
• "Untitled #228" is considered a key piece in Sherman's body of work and is widely recognized for its contribution to postmodern and feminist art.

Earth’s Creation

Emily Kame Kngwarreye, Earth’s Creation, 1994, synthetic polymer paint on linen mounted on canvas, four panels, each 275 x 160 cm (Collection of Mbantua Gallery, Alice Springs; photo: National Museum of Australia) © Emily Kame Kngwarreye

• "Earth's Creation" is a painting by Emily Kame Kngwarreye, an Indigenous Australian artist from the Utopia community in the Northern Territory.
• The artwork depicts the creation story of the Anmatyerre people, an Indigenous group from Central Australia.
• The painting is made up of thousands of dots and lines, which represent the interconnectedness of all things in the natural world.
• The central motif of the painting is the "Ancestor Snake," which represents the creative and transformative power of nature.
• Through "Earth's Creation," Kame Kngwarreye presents a vision of the world as a dynamic and interconnected system, in which all things are constantly in flux and connected to one another.

Guggenheim Museum Bilbao

Frank Gehry, Guggenheim Museum Bilbao (exterior detail), 1993-97, titanium, limestone, glass, steel (photo: josu.orbe, CC BY-NC 2.0)

• Designed by Frank Gehry in 1997
• A modernist building located in Bilbao, Spain
• The building is characterized by its curved, metallic forms and fluid lines
• Significance: The Guggenheim Museum Bilbao is a landmark of modern architecture and represents the importance of innovative design in creating cultural and educational institutions. It is also considered a key work in Gehry's oeuvre and showcases his unique approach to creating organic and dynamic forms.

Pure Land

Mariko Mori, Pure Land, 1996-98, glass with photo interlayer, 305 x 610 x 2.2 cm

• "Pure Land" is a large-scale installation by Japanese artist Mariko Mori.
• The work is designed to evoke a futuristic vision of a peaceful, utopian society.
• The installation features a large, oval-shaped chamber with a glowing, circular platform in the center.
• The platform is surrounded by a series of intricate, abstract forms that create a sense of organic growth and flow.
• "Pure Land" invites the viewer to contemplate the relationship between humans, nature, and technology, and to imagine a harmonious future for humanity.

Darkytown Rebellion

Kara Walker, Darkytown Rebellion, 2001, cut paper and projection on wall, 4.3 x 11.3m, (Musée d’Art Moderne Grand-Duc Jean, Luxembourg) © Kara Walker

• Darkytown Rebellion is a mixed-media work created by American artist Kara Walker. It is an example of contemporary art that addresses the issues of race, gender, and power.
• The work features a large, black, cut-out silhouette of a figure that is partially obscured by an abstract and fragmented background. The silhouette is typical of Walker's signature style and represents the black female body as a symbol of slavery, oppression, and exploitation.
• The fragmented background serves to disrupt the central image, further emphasizing the idea of fragmentation and division in society.
• In Darkytown Rebellion, Walker explores the legacy of slavery in the United States and the ongoing struggle for racial equality. The work is a powerful commentary on the history of slavery and its ongoing impact on American society.

Shibboleth by Doris Salcedo

Doris Salcedo, Shibboleth, 2007-08, installation, Tate Modern © Doris Salcedo (photo: Nuno Nogueira/Nmnogueira, CC BY-SA 2.5-altered)

• is a large-scale installation created by Colombian artist Doris Salcedo. It is an example of contemporary art that explores themes of trauma, loss, and migration.
• The installation features a crack in the floor of the gallery, which runs the length of the space. The crack represents a physical divide that symbolizes the emotional and psychological divisions caused by conflict and displacement.
• The work is a powerful commentary on the impact of conflict and displacement on individuals and communities. It is a powerful reminder of the ongoing struggle for peace and security in many parts of the world.

MAXXI National Museum of XXI Century Arts in Rome, Italy

Zaha Hadid, MAXXI National Museum of XXI Century Arts, 1998 -- 2009 (opened 2010), Via Guido Reni, Rome.

• MAXXI National Museum of XXI Century Arts is a contemporary art museum located in Rome, Italy. It is one of the leading institutions of its kind in Europe and is dedicated to showcasing the best of contemporary art, architecture, and design.
• The museum is notable for its innovative architecture, which was designed by the renowned architect Zaha Hadid. The building is a dynamic and fluid form that blurs the boundaries between interior and exterior spaces.
• MAXXI is a must-see destination for anyone interested in contemporary art, architecture, and design. Its exhibitions and collections are an important resource for students of art and design, and for anyone interested in understanding the developments and trends in these fields.

Kui Hua Zi (Sunflower Seeds) by Ai Weiwei

• Kui Hua Zi (Sunflower Seeds) is a large-scale installation created by Chinese artist Ai Weiwei. It is an example of contemporary art that addresses the themes of politics, power, and individual freedom.
• The work consists of 100 million small, hand-made porcelain sunflower seeds that are spread across the floor of the gallery. The sunflower seeds represent the individual, while the sheer scale of the installation represents the power of the state.
• In Kui Hua Zi (Sunflower Seeds), Ai Weiwei explores the tension between the individual and the state in China, and the impact of this tension on individual freedom. The work is a powerful commentary on the role of the artist in society, and on the importance of freedom of expression.

Trade (Gifts for Trading Land with White People):

Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People), 1992, oil paint and mixed media, collage, objects, canvas, 152.4 x 431.8 cm (Chrysler Museum of Art, Norfolk, Virginia)  

• Description: A mixed media installation by Native American artist Jaune Quick-to-See Smith, consisting of paintings, found objects, and text.
• Historical context and significance: The installation critiques the history of colonization and exploitation of Native American lands and resources by white settlers. It explores themes of cultural identity, environmentalism, and social justice.

Rebellious Silence:

Shirin Neshat, Rebellious Silence, Women of Allah series, 1994, B&W RC print & ink, photo by Cynthia Preston ©Shirin Neshat (courtesy Barbara Gladstone Gallery, New York and Brussel)

• Description: A photograph by Iranian artist Shirin Neshat, depicting a veiled woman holding a gun.
• Historical context and significance: The photograph explores themes of gender, identity, and political resistance in Iran. It critiques the Islamic Revolution of 1979 and the restrictions placed on women's rights and freedoms in the country.

En la Barbería no se Llora (No Crying Allowed in the Barbershop):

Pepón Osorio, En la barbaria no se llora (No Crying Allowed in the Barbershop)," 1994 Installation at Real Art Ways, Hartford, Connecticut, mixed media installation with barbers' chairs, photographs, objects and videos (Collection of the Museum de Arte de Puerto Rico) (photo by Pepón Osorio)

• Description: A painting by Dominican-American artist Freddy Rodriguez, depicting a group of men in a barbershop.
• Historical context and significance: The painting explores themes of cultural identity, community, and masculinity in the Dominican-American experience. It depicts a space where men can gather, socialize, and express themselves freely.

Pisupo Lua Afe (Corned Beef 2000):

Michel Tuffery, Pisupo Lua Afe (Corned Beef 2000), 1994, flattened cans of corned beef (Museum of New Zealand Te Papa Tongarewa Collection) ©Michael Tuffery

• Description: A mixed media installation by Samoan artist Michel Tuffery, consisting of sculptures made from tin cans.
• Historical context and significance: The installation critiques the impact of Western colonialism on Samoa's culture and environment. It uses everyday materials to create art that reflects the resilience and creativity of Samoan people in the face of cultural and environmental challenges.

Lying with the Wolf:

Kiki Smith, Lying with the Wolf, 2001, ink and pencil on paper 88 x 73 inches (Centre Pompidou, Paris) © Kiki Smith

• Description: A painting by Canadian artist Kenojuak Ashevak, depicting a woman lying next to a wolf.
• Historical context and significance: The painting reflects the artist's Inuit cultural heritage and her connection to the natural world. It explores themes of identity, spirituality, and the relationship between humans and animals.

The Swing (after Fragonard):

Yinka Shonibare MBE, The Swing (After Fragonard), 2001 (Tate, London) © Yinka Shonibare

• Description: A sculpture by British-Nigerian artist Yinka Shonibare, depicting a woman on a swing wearing a dress made from African-inspired textiles.
• Historical context and significance: The sculpture critiques the legacy of colonialism and its impact on African cultural identity. It explores themes of race, class, and power, and challenges traditional notions of Western beauty and femininity.

Old Man’s Cloth :

El Anatsui, Old Man’s Cloth, 2003, aluminum and copper wire, 487.7 x 520.7 cm (Harn Museum of Art, Gainesville, FL)

• Description: A mixed media sculpture by Nigerian artist El Anatsui, made from discarded bottle caps and wire.
• Historical context and significance: The sculpture explores themes of cultural heritage, globalization, and environmentalism. It uses everyday materials to create art that reflects the beauty and complexity of African culture and history.

The Crossing by Bill Viola

Bill Viola, The Crossing, 1996, video/sound © Bill Viola (photo: stunned, CC BY-NC-SA 2.0)

The Gates by Christo and Jean-Claude

Christo and Jeanne-Claude, The Gates, 1979-2005 (view across the pond looking southeast) © 2005 Christo and Jeanne-Claude