 Frank Gehry ( architect), Guggenheim Museum Bilbao, Spain, 1997, titanium, glass, and limestone

 FRANK GEHRY, Guggenheim Museum, Bilbao, Spain, 1997  Appearance of asymmetrical exterior  Irregular masses of titanium walls  Sweeping curved lines  Called Deconstructionist architecture -> seeks to create a seemingly unstable environment with unusual spatial arrangements

 Frank Gehry ( architect), Guggenheim Museum Bilbao, Spain, 1997, titanium, glass, and limestone  Uses a rich, costly titanium exterior  The design was aided by sophisticated computer software and computer assisted manufacturing  The central atrium is a circulation hub and orientation gallery -> gives access to 20 galleries on 3 levels  Dazzling, bold and striking drama -> like the Italian Baroque

 Frank Gehry ( architect), Guggenheim Museum Bilbao, Spain, 1997, titanium, glass, and limestone  The museum was part of an ambitious urban renewal program for an aging port and industrial city in economic decline  Sited on the bank of a river at the center of the city  The museum has been both an architectural and economic triumph

 Zaha Hadid (architect), MAXXI National Museum of XXI Century Arts, Rome, Italy, 2009, glass, steel, and cement  Watch Khan Academy video  An almost unbroken slab of concrete  Influenced by the “International Style” of modernism -> Le Corbusier, Mies van der Rohe  Influenced by ancient Rome -> columns, use of concrete

 Zaha Hadid (architect), MAXXI National Museum of XXI Century Arts, Rome, Italy, 2009, glass, steel, and cement  Curving, almost floating black stairways contrast with the strict rectilinear nature of the walls  What does it mean to design a museum in the 21 st century? -> contrast this with the Louvre in Paris and the Vatican Museum in Rome

 Christo and Jeanne- Claude, The Gates, New York City, , mixed-media installation  Logistically complex project -> displayed for 2 weeks in Central Park Deals with two controversial topics in contemporary art 1. How to create meaningful public art 2. How art responds to and impacts our relationship with the built environment

 Each gate = three sided rectilinear rigid vinyl frame resting on two steel footings -> supported saffron colored fabric panels that hung loose from the top  7,503 gates covering 23 miles in the park  26 years elapsed between the design phase and the exhibition  Art designed to end -> ephemeral non-collectible art  Cost was $21 million dollars

 MAYA YING LIN, Vietnam Veterans Memorial, , black granite, Washington, D.C.  V-shaped monument cut into the earth with 60,000 casualties of the Vietnam War listed in the order they were killed or reported missing  One arm points to the Lincoln Memorial, the other to the Washington Monument  Black granite as a highly reflective surface -> viewers can see themselves in the names of the veterans  Strongly influenced by the minimalist style

 MAYA YING LIN, Vietnam Veterans Memorial, , black granite, Washington, D.C.  Watch the Khan Academy video  The names of the dead are the substance of the monument -> 58,000 names  The memorial is cut into the earth -> face of the memorial rises 10 ft where the two sides of the V-shape meet  It is a very different experience for a war memorial -> traditionally was focused on allegory and heroism  Designed by an Asian-American undergraduate architecture student at Yale  Controversial at the time of its selection

 Jean-Michel Basquiat, Horn Players, 1983, acrylic and oil paintstick on three canvas panels  African American painter who was a teenage graffiti artist who went by the tag “SAMO” = “Same Old Shit”  In the early 1980’s he went from SAMO to commercial success to being called “The Black Picasso”  This painting is a contemporary triptych honoring the famous jazz saxophonist Charlie Parker and the trumpeter Dizzy Gillespie  Jazz music as both an artistic inspiration for improvisation in painting and as inspiration for African American popular culture

 Song Su-nam, Summer Trees, 1983, ink on paper  Broad, vertical parallel brush strokes of ink blend and bleed from one to the other in a palette of velvety blacks and diluted grays  “Sumukhwa” = Oriental Ink Movement of the 1980’s  Rejection of the styles and materials of Western art  Sumkhwa is a way to assert Korean identity  11 th century Chinese ink wash painting meets 20 th century ideas of abstraction