A.P Art History required artworks Global Contemporary 1980 C.E to present

Kaylee Uribe

A.P Art History P.2B

Dec. 20, 2015

Global Contemporary – 1980 C.E to present – These artworks are from the years 1991- 1994

– Much artistic diversity was happening during this time period by distinctive traditional concepts of art which were supported by technological development and global awareness. Artist experimented with traditional forms such as painting and sculpture. Abstract art grew increasingly, all these artworks established a fix meaning before the end of the 20th century. Modern day artist have been exploring and affecting all aspects of our daily environment to express art in their most original ways possible.

The World since 1945 • World war II ends in

1945

• Second half of 20th century began the widespread of technology

• Major political realignments

BACKGROUND INFORMATION *DON’T NEED TO KNOW

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.

About the artist : Faith Ringgold

– African-American artist – Born 1930 – Stories told on her quilts are all fictional

, but based on her own and her family’s lives

– Stories deal with personal issues such as love, marriage, motherhood etc.

– Larger theme: Women’s struggles ( Mainly of black women)

Dancing at the Louvre – Faith Ringgold – Why was it made ?

Ringgold uses this narrative format to rewrite the past by weaving together histories of modern art, African American culture, and personal biography

– Subject: Blend of made up tales, ancestral sewing techniques, faux naïve folk art and sophisticated language of French Modernism

– Style: quilt artwork – Specific notes: 1) dancing at the lovure is all about breaking the rules

and having fun while doing it

2) highlights of her art: emphasizes the complete discrimination of race and gender in accepted forms of art

Story that’s on the quilt

Marcia & her three little girls (fictional characters) took Willa (fictional character) to dance at the Louvre, forget about Leonardo da Vinci and Mona Lisa, Marcia and her three little girls were the show .

• 3 little girls dancing around the Louvre

• Marcia (fictional character) • Willa (fictional

character) depicted in this quilt

Three artworks depicted in the background.

• All are artworks by Leonardo Da Vinci

• The virgin and child with St. Anne (far left)

• Mona Lisa (middle)• Virgin of the Rocks

(far right)

• Size of quilt: 73.5x80 inches • Text written

around the margin of the quilt

Trade( Gifts for Trading Land with White People)

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

About the artist: Jaune Quick-to-see Smith – Native American artist

– Born January 15, 1940

– Middle name “quick-to-see” is a reference about her ability to grasp things readily

– Most of her paintings and drawings are inspired by how important art and horses were in her household

Trade (Gifts for Trading Land with White People) – Jaune Quick-to-See Smith – Why was it made? To celebrate the 500th anniversary of Christopher Columbus’ arrival in North America in 1492

– Subject: Mixed media canvas, historical and contemporary injustice between Native Americans and the U.S government.

– Style: canvas artwork

– Specific notes: 1) A frequent character seen in Smith’s artworks is Ken Plenty Horses ( An Indian of the Sicangu tribe)

2) smith reproduced the Abstract Expressionist movement from the 1940s and 50s with raw brushstokes describing deep emotions and social chaos

Native American cultural background information

– American folklore suggests that Native Americans had been persuaded off their lands by inexpensive trade goods. – Canoe suggests the possibility of trade and cultural

connections – Smith offers these cheap goods in exchange for the lands that

were lost

*Closer view of the canvas

• Canvas divided into three large panels • Layered

images, paint and objects on the surface of the canvas

• Covered with newspaper articles ( Native life)

• Photos, comics, tobacco & gum wrappers, fruit carton labels, ads and pages from comic books ( stereotypical images of Native Americans)

• Mixed collage text with photos of deer, buffalo and horses

• Image of Ken Plenty Horses is depicted ( a character from one of Smith’s earlier pieces)

• Applied blocks of white, yellow, green and especially red over the layer of collaged materials

• * Red = Native heritage, blood, warfare, anger and sacrifice

• Final layer: Life sized Canoe

*Closer view of items on the cloth line • Variety of Native

– themed toys and souvenirs *especially from sports team with native American Mascots

• Items include: toy tomahawks, a child’s headdress with brightly dyed feathers, a plastic Indian doll, a Washington redskins cap and license plate etc.

• The items on the cloth line serve as a reminder of how Native life has been commodified, turning native cultural objects into cheap items sold without a true understanding of what the original meaning was.

Earth’s Creation

Emily Kame Kngwarreye. 1994 C.E. Synthetic polymer paint on canvas.

About the artist: Emily Kame Kngwarreye

– Born in 1910 – Australian/Utopian artist – Self taught artist- ceremonial

paintings – Her paintings have never really

been figural – Australian Aboriginal artist from

the Utopia community in the Northern Territory

– Died September 1996

Earth’s Creation-Emily Kame Kngwarreye

– Why was it made? A ceremonial painting ( her paintings have never been figural) influenced by the culture in which she grew up as well as the natural environment

– Subject: Range of color tones, use of tropical blues, yellow, and greens

– Style: canvas artwork – Specific notes: 1) Made records at auction, sold for 1,000,000 in 2007

2) In 1992 she received an Australian Artist’s creative Fellowship

3) This artwork in particular gives expression to her statement that she always paints ‘whole lot, whole lot everything’

Background information about Kngwarreye’s homeland

– Aboriginal culture has been connected to the landscape of Australia

– This region is characterized by deserts, grasslands and dramatic arched rock formations

– In this artwork she pays honor to the Altyerr ( spiritual forces which are legacy of the original ancestors who created the land and everything in it)

– This artwork is a celebration of her country, Alhalkere

• 4 canvases make up Earth’s Creation

• 20 ft. wide and 9 ft. high

• Paint thick and juicy

• Patches of bold yellows, greens, reds, & blues seem to bloom like lush vegetation all over the canvas

Rebellious Silence, from the women of Allah series

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

About the artist: Shirin Neshat

– Islamic artist – Born in 1957 in the town of Qazvin – The young artist attended a Catholic

school where she learned about both Western and Iranian intellectual and cultural history

– In the mid-1970s, pursued her studies in California

– Seventeen years before she returned to her homeland

Rebellious Silence, from the Women of Allah series- Shirin Neshat

– Why was it made? For others to examine the complexities of women’s identities in the midst of a changing cultural landscape

– Subject: Personal and religious conviction is depicted through this photo – Style: photography – Specific notes: 1) the weapon implies a more violent disrupt 2) The veil is a symbol to Neshat of freedom and of repression 3) Veil is intended to protect women’s bodies from becoming the sexualized object of the male gaze

Background information: The Islamic Revolution

– Iran had been ruled by Mohammad Reza Pahlavi (reigned from 1941-1971)

– 1979-The Persian monarchy was overthrown by revolutionaries

– His dictatorship was known for the violent repression of political and religious freedom

– Post-war Iran - marked progressively with regards to women’s rights ( allies with U.S and Britan

• The central figure of the photo is bisected by a long rifle in the middle of her face

• Gun rises perpendicular to the lower edge of the photo and grazes her face a the lips

• Woman’s eyes stare intensely towards the viewer

• Her silhouette is defined by her chador

• The 4 symbols that are associated with western representations of the Muslim world: the veil, the gun, the text, and the gaze

• Veil’s purpose- to protect women’s bodies from becoming the sexualized object of the male gaze.

• The script that runs across the artist’s face is from Tahereh Saffarzadeh’s poem, “Allegiance with wakefulness” which honors the conviction and bravery of martyrdom

En la barberia no se llora ( No crying allowed in the barbershop)

Pepon Osorio. 1994 C.E. Mixed-media installation.

About the artist: Pepon Osorio

– Puerto Rican artist

– Trained as a sociologist and became a social worker in the south Bronx

– Artworks inspired by American Latino culture ( Mainly Nuyorican community)

– En La Barberia no Se Llora is inspired from his first haircut in Santurce, Puerto Rico

En la Barberia no se llora – Pepon Osorio

– Why was it made? Challenges definitions of masculinity, brings up the relationship between machismo and homophobia, violence, and infidelity, and the ways in which popular culture, religion and politics help craft these identities

– Subject: Masculinity symbols to challenge the idea of masculinity

– Style: mixed media installation

– Specific notes: 1) his large scale installations are meant for local audience 2) Installations address street life, cultural clashes, and the rights of passage experienced by Puerto Rican in the United States

• Location of mixed media installation: park street in Hartford

• The art itself is visually sumptuous

• His installations often been nicknamed: “Nuyorican Baroque”

• Barbershop is packed with “masculine” symbols like barber chairs, car seats, depictions of sperm and a boy’s circumcision, phallic symbols, and male action figurines

• The chucherias ( trinkets) are included in this installation, they serve to localize the work

• Videos are also installed in this artwork, feature Latino Men from Park Street in stereotypical “masculine” poses

Pisupo lua afe ( Corned beef 2000)

Michael Tuffery. 19994 C.E. Mixed media

About the artist: Michael Tuffery

– Polynesian artist

– Born in New Zealand

– Tuffery works in a number of media including printmaking, posters, woodcuts, lithography, sculpture, set design and performance pieces

– Awarded a MASPAC Queen Elizabeth II study grant in 1987

Pisupo lua afe ( Corned beef 2000) – Michael Tuffery

– Why was it made? The work combines the art of recycling with a light-hearted and ironic comment on the value of colonial economics – Subject: Pisupo Cans – Style: flatten cans of corned beef put together to make a cow – Specific notes: 1) an example of the replacement of traditional

items by imported ones

• Pisupo (corned beef) is given in special occasions

• Pisupo plays an important role in pacific islands diet, but in culture too

• Life sized bullock made from flattened cans of corned beef

• 2170mm (Length) x 650mm (Width) x 1150mm (Height)

Resources

– www.nytimes.com

– www.khanacademy.org

– www.americanart.si.edu

– www.universes-in-universe.org

– www.nga.gov.au

– www.nma.gov.au

– www.mbantua.com.au

– www.unframed.lacma.org

– www.collections.tepapa.gov.nz