1. Content Area 10
Global Contemporary
1980 CE to Present
(27 works)
Chapters 35 and 36

2. 224. The Gates. New York City, U. S. Christo and Jeanne-Claude
224. The Gates. New York City, U.S. Christo and Jeanne-Claude. 1979–2005 C.E. Mixed-media installation. (2 images)
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3. 225. Vietnam Veterans Memorial. Washington, D. C. , U. S. Maya Lin
225. Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin C.E. Granite.
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4. 226. Horn Players. Jean-Michel Basquiat.
1983 C.E. Acrylic and oil paintstick on three canvas panels.
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The Broad Art Foundation, LA

5. 227. Summer Trees. Song Su-nam. 1983 C.E. Ink on paper.
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British Museum, London
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7. 228. Androgyn III. Magdalena Abakanowicz. 1985 C. E
228. Androgyn III. Magdalena Abakanowicz C.E. Burlap, resin, wood, nails, string.
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Met, NYC

8. In the 1960s, the Polish artist Magdalena Abakanowicz received international acclaim for her large and imaginative abstract woven hangings made of various ropes and fibers. She began to make freestanding sculptures in the early 1970s from similar materials, particularly burlap, string, and cotton gauze. Her work since 1974 has featured fragmented human figures-faces without skulls, bodies without heads, and torsos without legs-placed singly or in large groupings. These body parts appear as hollow shells, the result of their being hardened fiber casts made from plaster molds. Yet despite their incompleteness, they are intended to be seen in the round, the hollow interior being as much a part of the piece as the molded exterior. The creases, ridges, and veins of the hardened-fiber surface assume organic characteristics, reminiscent of the earth's rough surface or the cellular composition of human skin. Androgyn III of 1985 utilizes the same molded-torso shell that Abakanowicz used in her sculpture series Backs, begun in Unlike the earlier pieces, however, which sat directly on the floor, the Androgyn torsos are perched on low stretchers of wooden logs, the long poles filling in for lost legs. Through these provocative images, the artist expresses the physical and spiritual condition of mankind. As she says, they are "about existence in general.“ From the Met’s website

9. 229. A Book from the Sky. Xu Bing.
1987–1991 C.E. Mixed-media installation.
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Collection of the artist.

10. Book from the Sky, first mounted in China in 1988 and 1989 and subsequently displayed many times in different countries, is one of the most iconic works of contemporary Chinese art. The presentation within Ink Art, overseen by the artist and his studio, reflects the specific characteristics of this space, but remains consistent with the artist's desire to create an environment that immerses the viewer in a sea of imaginary words: open books spread across the floor, long sheets suggestive of handscrolls suspended from the ceiling, and bulletin-board–like arrays of vertical panels along the walls.
But while the work is inspired by the form and typography of traditional Chinese woodblock publications, faithfully replicating every stylistic detail of traditional Chinese printing, not a single one of its roughly 1,200 characters—each printed with type hand-carved by the artist—is intelligible. Each of these imaginary characters conveys the appearance of legibility but remains defiantly undecipherable. From the Met’s website.

11. 230. Pink Panther. Jeff Koons. 1988 C.E. Glazed porcelain.
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MOMA, NYC

12. Pink Panther depicts a 1950s pin–up, modeled on the American B–movie actress Jayne Mansfield, with one hand covering a breast bared by a garment that has slipped down—a predicament for which Mansfield was notorious. The stuffed Pink Panther she clutches with her other hand is cheekily extending his tail toward the waistband of her skirt.Pink Panther is part of Koons’s Banality series, a group of twenty sculptures that draws on both popular culture and mass–market knickknacks. Koons enlarged, combined, and transformed his sources, and had his designs fabricated by European artisans in ceramic and polychromed wood. Sonnabend financed the production of the Banality series over a two–year period, seeing the sculptures for the first time when they were uncrated for exhibition at her New York gallery in 1988.
From MOMA website.

13. 231. Untitled (#228), from the History Portraits series. Cindy Sherman
231. Untitled (#228), from the History Portraits series. Cindy Sherman C.E. Photograph.
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14. 232. Dancing at the Louvre, from the series The French Collection, Part I; #1. Faith Ringgold C.E. Acrylic on canvas, tie-dyed, pieced fabric border.
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Private Collection

15. 233. Trade (Gifts for Trading Land with White People)
233. Trade (Gifts for Trading Land with White People). Jaune Quick-to-See Smith C.E. Oil and mixed media on canvas.
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Chrysler Museum of Art, Norfolk, Virginia
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16. 234. Earth’s Creation. Emily Kame Kngwarreye. 1994 C. E
234. Earth’s Creation. Emily Kame Kngwarreye C.E. Synthetic polymer paint on canvas.
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Collection of Mbantua Gallery, Alice Springs. © Emily Kame Kngwarreye, Licensed Viscopy 08.
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17. 235. Rebellious Silence, from the Women of Allah series
235. Rebellious Silence, from the Women of Allah series. Shirin Neshat (artist); photo by Cynthia Preston C.E. Ink on photograph.
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18. 236. En la Barberia no se Llora (No Crying Allowed in the Barbershop)
236. En la Barberia no se Llora (No Crying Allowed in the Barbershop). Pepon Osorio C.E. Mixed media installation.
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Photo by Pepón Osorio. Collection of the Museum de Arte de Puerto Rico Courtesy Ronald Feldman Fine Arts, New York

19. "En la barbaria no se llora (No Crying Allowed in the Babershop)," 1994 Installation at Real Art Ways, Hartford, Connecticut. Mixed media installation with barbers' chairs, photographs, objects and videos, dimensions variable. 
"In 'No Crying Allowed in the Barber Shop,' it’s not so much about beauty but the contradictions of beauty. It’s an installation that you’re allowed to come into so that you’re surrounded by its seduction. But it’s also about the contradiction of male and female...the balance that it exist within the male and the female in all of us. It’s contradictory because when you come in, you expect to see a joyous celebration, but you also see a lot of men crying in the presence of a general public." - Pepón Osorio
From Art 21

20. 237. Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994 C. E
237. Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery C.E. Mixed media.
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Museum of New Zealand Te Papa Tongarewa,
Wellington, NZ
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21. From the Museum website
In the Pacific Islands there are many traditional gifts of exchange such as fine mats and tapa cloth.  However, at weddings, funerals, feasts, or other special occasions, tins of pisupo (corned beef) might be eaten and also given as gifts. 
Although cattle are raised on many Pacific Islands, pisupo is also imported.  Not only does pisupo play an important role in the Pacific Island diet, but in the culture as well. 
Pisupo lua afe (Corned Beef 2000) is a life-size bullock made from flattened cans of corned beef by artist Michel Tuffery.  The work combines the art of recycling with a light-hearted and ironic comment on the value of colonial economics.
Tinned pisupo is an example of the replacement of traditional items by imported ones.  This ‘un-Polynesian looking’ bullock raises the issue of whether foreign intervention encourages independence or actually fosters dependency.
Says Tuffery, ‘My corned beef bullock talks about the impact of global trade and colonial economies on Pacific Island cultures.  Specifically it comments on how an imported commodity has become an integral part of the Polynesian customs of feasting and gift giving.’ (1)
Pisupo lua afe (Corned Beef 2000) featured in Bottled Ocean - an exhibition of works by artists of Pacific Island descent.  Initiated by Wellington City Art Gallery in conjunction with Creative New Zealand, Bottled Ocean was curated by Jim Vivieaere.  The exhibition gave artists the opportunity to create artworks which expressed their views of contemporary Pacific Island culture.
After completing Pisupo lua afe Tuffery wanted to push the ideas that brought it about even further.  He developed a multi-media performance piece Povi Tau Vaga (The Challenge) involving over 80 performers and two motorised cattle in combat.  The performance piece symbolised the tension and friction caused during evolution when familiar customs find new expression.
References (1) all quotes from interview with Michel Tuffery from Speaking in Colour, edited by Sean Mallon and Pandora Fulimalo Pereira (Te Papa Press, 1997)
Text originally published in Tai Awatea, Te Papa's onfloor multimedia database (2003)
From the Museum website

22. 238. Electronic Superhighway. Nam June Paik. 1995 C. E
238. Electronic Superhighway. Nam June Paik C.E. Mixed-media installation (49-channel closed circuit video installation, neon, steel, and electronic components).
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Smithsonian American Art Museum, Washington DC

23. 239. The Crossing. Bill Viola. 1996 C.E. Video/sound installation.
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24. 240. Guggenheim Museum Bilbao. Spain. Frank Gehry (architect). 1997 C
240. Guggenheim Museum Bilbao. Spain. Frank Gehry (architect) C.E. Titanium, glass, and limestone. (3 images)
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25. 241. Pure Land. Mariko Mori. 1998 C.E. Color photograph on glass.
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Color Photograph on Glass 10ft x 20ft x 0.85 inches five panels, each 4ft wide
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27. 242. Lying with the Wolf. Kiki Smith. 2001 C. E
242. Lying with the Wolf. Kiki Smith C.E. Ink and pencil on paper.
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(Centre Pompidou, Paris) © Kiki Smith
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28. 243. Darkytown Rebellion. Kara Walker. 2001 C. E
243. Darkytown Rebellion. Kara Walker C.E. Cut paper and projection on wall.
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29. 244. The Swing (after Fragonard). Yinka Shonibare. 2001 C. E
244. The Swing (after Fragonard). Yinka Shonibare C.E. Mixed-media installation.
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Tate Modern, London

30. 245. Old Man’s Cloth. El Anatsui. 2003 C.E. Aluminum and copper wire.
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Museum of Art, University of Florida, Gainesville
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31. 246. Stadia II. Julie Mehretu. 2004 C.E. Ink and acrylic on canvas.
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Carnegie Museum of Art, Pittsburgh
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32. 247. Preying Mantra. Wangechi Mutu. 2006 C.E. Mixed media on Mylar.
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Brooklyn Museum

33. 248. Shibboleth. Doris Salcedo. 2007–2008 C.E. Installation.
The Unilever Series, Turbine Hall, Tate Modern, London
248. Shibboleth. Doris Salcedo. 2007–2008 C.E. Installation.
Form
“It represents borders, the experience of immigrants, the experience of segregation, the experience of racial hatred. It is the experience of a Third World person coming into the heart of Europe. For example, the space which illegal immigrants occupy is a negative space. And so this piece is a negative space”
- Salcedo
Tate Director, Sir Nicholas Serota stated, "There is a crack, there is a line, and eventually there will be a scar. It will remain as a memory of the work and also as a memorial to the issues Doris touches on." 

34. 249. MAXXI National Museum of XXI Century Arts. Rome, Italy
249. MAXXI National Museum of XXI Century Arts. Rome, Italy. Zaha Hadid (architect).
2009 C.E. Glass, steel, and cement. (2 images)
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35. 250. Kui Hua Zi (Sunflower Seeds). Ai Weiwei. 2010–2011 C. E
250. Kui Hua Zi (Sunflower Seeds). Ai Weiwei. 2010–2011 C.E. Sculpted and painted porcelain.
Though each of the 100 million carefully crafted individual seeds can draw the viewer's attention, once arranged together in a neat rectangle, or covering the floor of an entire room, the hyper-realistic seeds create a sense of vastness. In the Tate installation, there was a sense of precision in the arrangement of the seeds, creating visual order and uniformity. The individual seed is lost among the millions, a critique of the conformity and censorship inherent in modern China.
The use of sunflower seeds as the basis of his installation was also designed to subvert popular imagery rooted in the artist’s childhood. Communist propaganda optimistically depicted leader Mao Zedong as the sun and the citizens of the People’s Republic of China as sunflowers, turning toward their chairman. Ai Weiwei reasserts the sunflower seed as a symbol of camaraderie during difficult times.
The Unilever Series, Turbine Hall, Tate Modern, London