Unit 6 Time Line

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Chapter 32

CONTEMPORARY ART WORLDWIDE

Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.

Learning Objectives

Explain with examples how many contemporary artists use art in differing ways to address pressing social and political issues.

List examples of artists for whom gender and sexuality are central themes.

Discuss whether contemporary art must be considered on a worldwide or global basis.

Define brutal realism.

Describe basic distinguishing characteristics of Hi-Tech architecture and Deconstructivist architecture.

Demonstrate, with an example, how site-specific work can blur the distinction between sculpture and other forms of creation.

Discuss an example of contemporary art that represents the expanded definition in our era of how “art” can be defined.

Analyze the use by a contemporary artist of subject matter or styles from a prior era of art.

Figure 32.1

32.1 Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People), 1992. Oil and mixed media on canvas, 5'  14' 2". Chrysler Museum of Art, Norfolk.

Figure 32.2

32.2 Jean-Michel Basquiat, Horn Players, 1983. Acrylic and oil paintstick on three canvas panels, 8'  6' 3". Broad Art Foundation, Santa Monica.

Figure 32.3

32.3 Kerry James Marshall, De Style, 1993. Acrylic on canvas, 8' 8"  10' 2". Los Angeles County Museum of Art, Los Angeles (purchased with funds provided by Ruth and Jacob Bloom).

Figure 32.3A

32.3A Lorna Simpson, Stereo Styles, 1988. Black-and-white Polaroid prints and engraved plastic plaques, 5' 4"  9' 8" overall. Courtesy Sean Kelly Gallery, New York.

Figure 32.4

32.4 Kehinde Wiley, Napoleon Leading the Army over the Alps, 2005. Oil on canvas, 9'  9'. Brooklyn Museum, Brooklyn (Collection of Suzi and Andrew B. Cohen).

Figure 32.4A

32.4A Melvin Edwards, Tambo, 1993. Welded steel, 2' 4 1/8"  2' 1 1/4". Smithsonian American Art Museum, Washington, D.C.

Figure 32.5

32.5 Faith Ringgold, Who’s Afraid of Aunt Jemima? 1983. Acrylic on canvas with fabric borders, quilted, 7' 6"  6' 8". Private collection.

Figure 32.5A

32.5A Faith Ringgold, Subway Graffiti #3, 1987. Acrylic on canvas with pieced fabric border, 5'  7'. Brigham Young University Museum of Art, Provo.

Figure 32.6

32.6 Carrie Mae Weems, Man Smoking/Malcolm X, from the Kitchen Table series, 1990. Gelatin silver print, 2' 4 1/4"  2' 4 1/4". Brooklyn Museum, Brooklyn (Caroline A.L. Pratt Fund).

Figure 32.7

32.7 Barbara Kruger, Your Gaze Hits the Side of My Face, 1981. Photograph, paper letters, red painted frame, 4' 7"  3' 5". Courtesy Mary Boone Gallery, New York.

Figure 32.7A

32.7A Guerrilla Girls, The Advantages of Being a Woman Artist, 1988. Offset print, 1' 5"  1' 10". Collection of the artists.

Figure 32.8

32.8 Robert Mapplethorpe, Self-Portrait, 1980. Gelatin silver print, 7 3/4"  7 3/4". Robert Mapplethorpe Foundation, New York.

Figure 32.9

32.9 David Wojnarowicz, When I Put My Hands on Your Body, 1990. Gelatin silver print and silk-screened text on museum board, 2' 2"  3' 2". Private collection.

Figure 32.10

32.10 Shahzia Sikander, Perilous Order, 1994–1997. Vegetable color, dry pigment, watercolor, and tea on Wasli paper, 10 1/2"  8". Whitney Museum of American Art, New York (purchased with funds from the Drawing Committee).

Figure 32.11

32.11 Sokari Douglas Camp, Big Alagba and Sekibo, 1995. Steel, feathers, wood, and mirrors. Each 7' 5 3/8" high. American Museum of Natural History, New York.

Figure 32.13

32.13 Shirin Neshat, Allegiance and Wakefulness, 1994. Offset print with ink calligraphy, 3' 5 1/4"  2' 9". Israel Museum, Jerusalem (anonymous gift, New York, to American Friends of the Israel Museum).

Figure 32.13A

32.13A Cliff Whiting (Te Whanau-A-Apanui), Tawhiri-Matea (God of the Winds), 1984. Oil on wood and fiberboard, 6' 4 3/8"  11' 10 3/4". Meteorological Service of New Zealand, Wellington.

Figure 32.14

32.14 Edward Burtynsky, Densified Scrap Metal #3A, Toronto, Ontario, 1997. Dye coupler print, 2' 2 3/4"  2' 10 3/8". National Gallery of Canada, Ottawa (gift of the artist, 1998).

Figure 32.15

32.15 Krzysztof Wodiczko, The Homeless Projection, 1986. Outdoor slide projection at the Civil War Soldiers and Sailors Monument, Boston Common, Boston.

Figure 32.16

32.16 Leon Golub, Mercenaries IV, 1980. Acrylic on linen, 10'  19' 2". Courtesy Ronald Feldman Fine Arts, New York. © Leon Golub/Licensed by VAGA, New York.

Figure 32.16A

32.16A Sandow Birk, Death of Manuel, 1992. Oil on canvas, 2' 9"  2' 1". Koplin Del Rio Gallery, Culver City.

Figure 32.17

32.17 Martha Rosler, GLADIATORS, 2004, from House Beautiful: Bring the War Home. Photomontage, 1' 8"  2'.

Figure 32.18

32.18 Fernando Botero, Abu Ghraib 46, 2005. Oil on canvas, 4' 9 1/2"  5' 9 5/8". Berkeley Art Museum, Berkeley (gift of the artist).

Figure 32.19

32.19 Willie Bester, Homage to Steve Biko, 1992. Mixed media, 3' 7 5/6"  3' 7 5/6". Collection of the artist.

Figure 32.19A

32.19A Hans Haacke, MetroMobiltan, 1985. Fiberglass construction, three banners, and photomural, 11' 8"  20'  5'. Musée national d’art moderne, Centre Georges Pompidou, Paris.

Figure 32.20

32.20 Trigo Piula, Ta Tele, 1988. Oil on canvas, 3' 3 3/8"  3' 4 3/8". National Museum of African Art, Washington, D.C.

Figure 32.21

32.21 Zhang Xiaogang, Bloodline: Big Family No. 2, 1995. Oil on canvas, 5' 11"  7' 6 5/8". Private collection.

Figure 32.22

32.22 Jenny Saville, Branded, 1992. Oil on canvas, 7'  6'. Saatchi Gallery, London.

Figure 32.23

32.23 Kiki Smith, Untitled, 1990. Beeswax and microcrystalline wax figures on metal stands, female figure installed height 6' 1 1/2", male figure installed height 6' 4 15/16". Whitney Museum of American Art, New York (purchased with funds from the Painting and Sculpture Committee).

Figure 32.23A

32.23A Keith Haring, Tuttomondo, Sant’Antonio, Pisa, Italy, 1989.

Figure 32.24

32.24 Jeff Koons, Pink Panther, 1988. Porcelain, 3' 5" high. Museum of Contemporary Art, Chicago (Gerald S. Elliot Collection).

Figure 32.25

32.25 Marisol, Self-Portrait Looking at the Last Supper, 1982–1984. Painted wood, stone, plaster, and aluminum, 10' 1 1/2"  29' 10"  5' 1". Metropolitan Museum of Art, New York (gift of Mr. and Mrs. Roberto C. Polo, 1986).

Figure 32.25A

32.25A Mark Tansey, A Short History of Modernist Painting, 1982. Oil on canvas, three panels, each 4' 10"  3' 4". Courtesy Gagosian Gallery, New York.

Figure 32.26

32.26 Damien Hirst, Hydra and Kali, 2015. Bronze, 17' 8 1/4"  20' 7/8"  8' 1/8". Punta del Dogana, Venice.

Figure 32.27

32.27 Anselm Kiefer, Nigredo, 1984. Oil, acrylic, emulsion, shellac, and straw on photograph and woodcut, mounted on canvas, 10' 10"  18' 2 1/2". Philadelphia Museum of Art, Philadelphia (gift of Friends of the Philadelphia Museum of Art).

Figure 32.28

32.28 Andreas Gursky, Chicago Board of Trade II, 1999. C-print, 6' 9 1/2"  11' 5 5/8". Matthew Marks Gallery, New York.

Figure 32.29

32.29 Wu Guanzhong, Wild Vines with Flowers Like Pearls, 1997. Ink on paper, 2' 11 1/2"  5' 11". Singapore Art Museum, Singapore (donation from Wu Guanzhong).

Figure 32.29A

32.29A Song Su-nam, Summer Trees, 1983. Ink on paper, 2' 1 5/8" high. British Museum, London.

Figure 32.30

32.30 Julian Schnabel, The Walk Home, 1984–1985. Oil, plates, copper, bronze, fiberglass, and Bondo on six wood panels, 9' 4"  19' 4". Broad Art Foundation, Santa Monica.

Figure 32.31

32.31 Elizabeth Murray, Can You Hear Me? 1984. Oil on canvas on wood, 8' 10"  13' 3"  1'. Dallas Museum of Art, Dallas (Foundation for the Arts Collection).

Figure 32.32

32.32 Helen Oji, Mount St. Helens, 1980. Acrylic, Rhoplex, and glitter on paper, 5'  6'. Home Insurance Company, New York.

Figure 32.33

32.33 Yayoi Kusama seated in a wheelchair in front of a selection of her acrylic-on-canvas paintings at the Whitney Museum of American Art in New York City, July 9, 2012.

Figure 32.34

32.34 Kimio Tsuchiya, Symptom, 1987. Branches, 13' 1 1/2"  14' 9 1/8"  3' 11 1/4". Displayed at the exhibition Jeune Sculpture ’87, Paris 1987.

Figure 32.35

32.35 El Anatsui, Bleeding Takari II, 2007. Aluminum bottle tops and cans, and copper wire, 12' 11"  18' 11". Museum of Modern Art, New York (gift of Donald L. Bryant Jr. and Jerry Speyer, 2008).

Figure 32.35A

32.35A Adrian Piper, Cornered, 1988. Mixed-media installation of variable size; video monitor, table, and birth certificates. Museum of Contemporary Art, Chicago.

Figure 32.36

32.36 Bill Viola, The Crossing, 1996. Video/sound display with two channels of color video projection onto screens 16' high.

Figure 32.37

32.37 Tony Oursler, Mansheshe, 1997. Ceramic, glass, video player, videocassette, CPJ-200 video projector, sound, 11"  7"  8" each. Courtesy of the artist and Metro Pictures, New York.

Figure 32.38

32.38 Jenny Holzer, Untitled (selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helical tricolor LED electronic display signboard, 16'  162'  6'. Installation at the Solomon R. Guggenheim Museum, New York, December 1989–February 1990 (partial gift of the artist, 1989).

Figure 32.39

32.39 Matthew Barney, Cremaster cycle, installation at the Solomon R. Guggenheim Museum, New York, 2003.

Figure 32.40

32.40 Xu Bing, A Book from the Sky, 1987. Installation of woodblock-printed books at the Elvehjem (now Chazen) Museum of Art, University of Wisconsin, Madison, 1991.

Figure 32.41

32.41 David Hammons, Public Enemy, installation at Museum of Modern Art, New York, 1991. Photographs, balloons, sandbags, guns, and other mixed media.

Figure 32.42

32.42 Tara Donovan, Untitled, 2003. Styrofoam cups and hot glue, variable dimensions. Installation at the Ace Gallery, Los Angeles, 2005.

Figure 32.43

32.43 Doris Salcedo, Shibboleth, 2007. Turbine Hall, Tate Modern, London.

Figure 32.43A

32.43A Andy Goldsworthy, Cracked Rock Spiral, St. Abbs, Scotland, 1985.

Figure 32.44

32.44 Christo and Jeanne-Claude, Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980–83, 1980–1983.

Figure 32.45

32.45 Maya Lin, Vietnam Veterans Memorial (looking north), Washington, D.C., 1981–1983.

Figure 32.46

32.46 Rachel Whiteread, Holocaust Memorial (looking northwest), Judenplatz, Vienna, Austria, 2000.

Figure 32.47

32.47 Richard Serra, Tilted Arc, as installed before its removal from Jacob K. Javits Federal Plaza (looking southwest), New York City, 1981.

Figure 32.48

32.48 Anish Kapoor, Cloud Gate, 2004. Stainless steel, 33'  66'  42'. Millennium Park, Chicago.

Figure 32.49

32.49 Do-Ho Suh, Bridging Home, 2010. Korean house installation in Duke Street, Liverpool, England.

Figure 32.50

32.50 I. M. Pei, Grand Louvre Pyramide (looking southwest), Musée du Louvre, Paris, France, 1988.

Figure 32.51

32.51 James Stirling, Neue Staatsgalerie, Stuttgart, Germany, 1977–1983. Top: facade (looking north); bottom: courtyard (looking northwest).

Figure 32.52

32.52 Günter Behnisch, Hysolar Institute (looking south), University of Stuttgart, Stuttgart, Germany, 1987.

Figure 32.52A

32.52A Daniel Libeskind, Denver Art Museum, Denver, Colorado, 2006.

Figure 32.53

32.53 Frank Gehry, Guggenheim Bilbao Museo (looking southwest), Bilbao, Spain, 1997.

Figure 32.54

32.54 Frank Gehry, atrium of the Guggenheim Bilbao Museo (view looking up), Bilbao, Spain, 1997.

Figure 32.55

32.55 Zaha Hadid, proposal for Signature Towers, Dubai, United Arab Emirates, designed 2006; not yet constructed.

Figure 32.56

32.56 Norman Foster, Hong Kong and Shanghai Bank (left: looking northeast; right: atrium), Hong Kong, China, 1979–1986.

Figure 32.57

32.57 Renzo Piano, Tjibaou Cultural Centre (looking southeast), Noumea, New Caledonia, 1998.

Figure 32.58

32.58 Norman Foster, 30 St Mary Axe (“the Gherkin,” looking southwest), London, England, erected 2001–2003, opened 2004.

Discussion Questions

In what ways have contemporary artists examined social and political issues?

Judging from what you have seen in this chapter, what do you think art will look like in the future?

Unit 6 Time Line

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