1. Trade Painted 1992 Artist: Jaune Quick-to-see-Smith

2. Content  Part of the “Quincentenary Non- Celebration”  Illustrates Historical and Contemporary inequities between Native Americans and the United States government  Layered images, paint and objects on the surface of the canvas, suggesting layers of historical complexity in Native American history

3. Trade

4. Patron  Jaune Quick-To-See-Smith was her own patron and painted this painting to represent the struggles faced by Native Americans and the effect it has had on them as well as the nation that displaced them

5. Site  This painting is on display at the Chrysler Museum in Virginia in response to the 500 th anniversary of Columbus’ landing in America  Virginia is significant because it was one of the largest colonies in America settled by Europeans

6. Media Material  Layered images  Paint  Objects  Divided into three large panels  Covered in college  Contains newspaper articles, photos, comics, tobacco, etc.

7. Scale  Nothing significant about the scale  The scale is that of an average painting  152.4 X 431.8 cm

8. Purpose  References the role of trade in allegorical stories like the acquisition of Manhattan by the Dutch in 1626  Emphasizes the misunderstanding between the Native and non- native worlds throughout the colonization of the Americas all the way through to the present day  Attempts to shed light and clarify aspects of Native American cultures and alleviate the misunderstandings

9. Style  Emphasis on prominent, raw brushstrokes  Applied blocks of white, yellow, green, and especially red paint over the layer of collaged materials  Use of various symbols and objects such as newspapers, paintings, pictures and other forms of significant imagery to illustrate the variety of cultures in Native American tribes

10. Formal Elements  No unusual use of light  The space is flat and two-dimensional  Meaningful use of the color red  Red= heritage, blood, war, and sacrifice  Texture wise it is interesting because the rough colors portray a sense of longing and disillusionment

11. Other Works: “States” “Made in America”  These other works by Jaune show the themes that are commonplace in most of Jaune’s artwork, including symbols that are sacred to Native American spirituality such as the buffalo  They also show other aspects of Jaune’s art, including a sense of humor with the shirt in the painting to contrast Indian stereotypes with American consumerism

12. Shibboleth By Doris Salcedo Created in 2007

13. Content  Chaos and emptiness are what are portrayed here  Involves a statement on the separation of countries and people with the crack  What is represented here is the grand experience of moving to new places

14. Shibboleth  Salcedo struggled with the violence in Colombia growing up and has an interest in depicting the horrors of war and societal oppression  Unilever was the patron and this was the eigth installment in the “Unilever Series”

15.  The artwork was created for the public and was displayed to emphasize the universal human experience of migration  Was temporarily placed in the Tate Modern in 2007  The Tate Modern is in London, a center of diversity and a major city of the world Media/Material  548 foot (167 metres) long  Meandering crack in the floor of the Trubine Hall  This is the main entrance to the Tate Modern  The crack itself is a few inches wide and about two feet deep

16. Scale  The scale in this artwork is realistic because it uses common objects to demonstrate its message such as a crack in the floor  548 feet long (167 metres)  Meandering crack  Few inches wide  Two inches deep  Very large  The purpose of the piece was to create in the audience a sense of emptiness  It is meant to represent borders and the experience of immigrants  Also represents segregation and racial hatred  The experience of a Third World person coming to the heart of Europe Purpose

17. Formal Elements  No unusual use of light  The space is real and therefore three dimensional  The crack is grey, and meandering  The line is also assymmetrical  The use of real objects represent the reality of the artwork’s themes Style  The proportions of the artwork are normal, they are the same as the proportions of the objects that they incorporate, including the floor  However the symbolic meanings of the crack are also made expressive  The proportions are normal but they are in a sense large, as they resemble the aftermath of an earthquake

18. Istanbul  Other works by Salcedo such as Istanbul and Atrabiliarios demonstrate her passion for making social statements on societal ills  Her background of violence is also a heavy influence in her works  These works aim to spread awareness

19. En la barbario no se llora (No crying in the barbershop) Created by Pepon Osorio Created in 1994

20. Content  The subject matter and significance of this work is in its use of various objects to replicate a period in both the artist’s life and an event common to many males  It is meant to represent the transition from boy to man that occurs when a boy gets his first haircut

21. En la barbaria no se llora

22. Patron  The patrons of this particular piece of art are the members of the Museum de Arte de Puerto Rico  The work was made to demonstrate a transitionary period in all men’s lives  The artist himself experienced this particular event

23. Site  This artwork was made for a public artist because it is something many men can relate to  Osorio recounts a time in his own life when he went to the barbershop and could not stop crying, this piece of art is a reflection of that moment Media / Material  Mixed media installation with barber’s chairs, photographs, objects, and videos, dimensions variable  These particular materials were used to symbolize all of the aspects of the experience  They portray themes of manhood, something the artist could relate to

24. Scale  The scale is realistic, it is meant to evoke nostalgia for a certain place or time and in order to do that effectively it must be lifelike in its portrayal, as it is here  It is the scale of a real life barbershop to better convey its message and bring the audience in Purpose  The purpose of this piece is to relate to the struggles of many males in determining which actions are those of boys and which are those of men  It could have also been used as a criticism against the macho culture of many Latin American men

25. Style  The proportions are the same as they would be in reality  The work is realistic and idealistic, very expressive in its use of symbolism, and in some ways the inclusion of various other objects besides the barber chair makes it abstract  It is a representation of the many themes of maturity and manhood Formal Elements  The lighting is normal, it is lighted however the room it resides in is lighted  The space used is three dimensional because of its use of actual objects  The colors in here are many because of its many objects  The composition is interesting because of the use of many different objects that somehow connect to a main theme

26. Other Works by Pepon Osorio  These other works also demonstrate the common themes in many of Osorio’s works  Many images of Latin American culture are prevalent in his other works as well  The works of Osorio also seem to have a focus on the smaller aspects of life rather than on grand statements about society