1. Contemporary Art
WWII devastation became the backdrop for the rest of the 20th century.
Replaced Fascism with smaller and hotter conflicts. Invention of TV brought
The conflicts into the living room for all to see: racism, the environment, Weapons
Of mass destruction. All of this was and has been picked up by artists and become
Somewhat of a theme. Technology and social media have become part of the
Artist world. Video projections, computer graphics,sound installations,fiberglass and
Lasers all have become tools to use.

2. Modern Architecture
Everything since 1980s has changed b/c of the computer and computer designing.
AutoCad and MicroStations are doing the work of the hand drawn blue print.
They check for errors and make building design completely unique.
Frank Gehry draws on the computer and puts the drawing through the
AutoCad to get a design usable for Architecture.
This makes buildings lighter, greener and cheaper to build. No pediments, no
Columns, no buttresses. However titanium and unusual shapes are trending. No dark interiors- natural lighting and glass have become the norm.

3. Image 240 Frank Gehry- Guggenheim Bilboa Museo- 1997- Bilbao, Spain
The new Guggenheim Museum Bilbao by Frank Gehry was probably the most often mentioned new building of 1998 and 1999 in architecture circles. The composition continues a curvaceous, free-form sculptural style that has become a Gehry signature. The abstract, free-form components of this style were present in the early Gehry House, and a similarly sleek curvaceous cladding was displayed in the sculptural fish of the Fishdance Restaurant.
Canadian and American by training in Los Angeles. Swirling forms with industrial materials. Bilbao is a trading center so this building is a reflection of the fishing trade. Shimmering surfaces change with the weather and the time of day. “Bilbao effect” is a reference to the influence
Of art on a city. Exterior gives no hint to interior space. DECONSTRUCTION architecture- seems unstable, because of unusual arrangements.

4. Image 240 Interior of Bilbao Spain, 1997 Titanium

5. Image 249 Zaha Hadid, MAXXI National Museum of the 21st Century Arts, 2009, Rome, glass, steel and cement
Sits in the middle of Roman Ruins, is reflective of the Geometry of Modrian, the stair way runs throughout the interior as a ribbon, concrete was a Roman material, the columns make the exterior float, dynamic space both interior and exterior.
Watch the Khan Academy video.
From Iran, but is a British Architect. MAXXI art and MAXXI architecture museum with library and cafeteria.

6. Image 249-- MAXXI interior

7. Painting and sculpture in 20-21st Centuries
1950- Acrylic comes into its own– a material from
WWII.
Do not change colors, dry quickly- does crack easier and
Faster than oils.
Computer screens and photoshops and other new
Forms of representation.
Marble carving is non-existant; porcelains and fabrics,
Beeswax and anything moldable. Assemblages with many
Materials, and installations within an entire room.

8. Image 224 Site Specific----The Gates, Christo and Jeanne Claude, , mixed media instatlation, New York City Central Park
Bulgarian and French, own money, idea took many years to get to fruition, 7503 gates freehanging saffron panels, framed all the pathways in the park, 16 feet tall formed continuous bright color river, 23 miles of footpaths, up for 16 days and taken down in a day, recycled materials. Finally oked by Mayor Michael Bloomberg, a millionaire who owned some Christo work.

9. Image 224- making the ordinary- exemplary, the covered Reichstag in Germany, covered coastlines
he total materials used according to the artists were 5,390 tons of steel, 315,491 feet (96 km) of vinyl tubing, 99,155 square metres of fabric, and 15,000 sets of brackets and hardware. The gates were assembled in a 25,000 square foot (2,300 m²) Long Island facility, then trucked to Central Park. The textile was produced and sewn in Germany.
As one of the conditions for use of the park space, the steel bases rested upon, but remained unattached to, the walkways, so that no holes were drilled and no permanent changes were made to the park.
The artists sold pieces of their own artwork, including preparatory drawings for The Gates, to finance the project.
They offered a cost of $21 million and the details are published in the Harvard Business School. Greg Allen and The New York Times attempted to itemize the costs and could account for about $5–10 million, given reasonable estimates for parts, labor, and costs related to the staffing of the installation.[1][2]

10. Image 225 Maya Lin, Vietnam Memorial, Washington DC, 1982, black granite
Ohio born, Chinese American, at Yale in Grad School when she submitted the design. V shaped moves into the earth with 60,000 names of killed or MIA in the order of years, not alpha. One arm points to Lincoln, one arm points to Washington Monument.
Highly reflective so people can see selves and become a part of. Influenced my minimalism. Diamond next to the name of the KIA and a cross next to MIA.

11. Image 225

12. Image 226 Jean-Michel Basquiat, The Horn Players, 1983, acrylic and oil pastel on canvas panels, Broad Art Foundation, Santa Monica, CA
Born in Brooklyn, Puerto Rican and Haitian parents, rebelled against the middle class, used triptych, canvas and oils in stick form, reflection of graffiti art, flattened dark background, glorifies the African American Musicians, Charlie Parker and Dizzy Gillespie, heads float over bodies,
Words are musician attributes ( Charlie, the Bird, Parker) Basquiat was famous for writing on the walls of lower Manhattan as a teenager when he and a high school friend, Al Diaz, left cryptic messages in spray paint under the name "SAMO" (an acronym for “Same Old Shit”) from 1977 until Died of drug overdose in

13. Image 227 Song Su-nam, Summer Trees, 1985, Ink on paper, British Museum, London
Exploration of tone and shadow on paper with wet and dry techniques, various thicknesses, Sumukhwa- and ink-based movement, traditional Korean forms
Did many paintings in this style and of this genre, he considered himself a literati. Most of his work is in Korea.

14. Image 228 Magdalena Abakanowicz, Androgyn III, 1985, burlap, resin, nails, wood and string, Metropolitan Museum, NY
Polish, uses figures without hands, or heads, sometimes in groups; stretcher subs for legs, hollowed shell from plaster molds, placed to be seen from back and front, crinkly human skin in earth tones.  “…we, as family, lost our identity. We were deprived of our social position and…thrown out of society. We were punished for being rich. So I had to hide my background. I had to lie. I had to invent.”[1] German soldiers shot off her mother’s arms. Soviet trained and worked with fibers to avoid. Joined the Polish workers Union when then revolted in the 80s.

15. Image 229 XuBing- A Book from the Sky, , 100 boxed sets of 4-volume woodblock printed books, and scrolls, hanging from the ceiling, and wall panels, installation, Elevehjem Museum of Art in University of Wisconsin, Madison.
Chinese-born American artist, Originally in the Museum of Fine Arts in Bejing, 400 books on the ground, subversive and a reference to traditional Chinese book art, waves made of open books, scrolls, and on the sides of the room, calligraphic arts with new characters. Carved the wooded blocks of the characters. Lived during the Cultural Revolution, sent to countryside to work for the State. Other artists drop ancient vases, or print calligraphy on top of itself until it is unreadable.

16. Image 229

17. Image 230 Jeff Koons, Pink Panther, 1988, ceramic- glazed porcelain, Museum of Modern Art , NY
Part of the Banality Series, Life-sized kitch, uses stereotypes and sentimentality, pop culture, artifical female form, Janyne Mansfield and a cartoon character, Sonnebend Gallery in Posing as high art….modeled after figurines- Italian and German and got into copyright issues

18. Image 231 Cindy Sherman, Untitled # 228 from History Portrait Series 1990, photograph, Broad Art Foundation, Santa Monica CA
(Judith with the head of Holofarnes) From Baroque imagery ( Caravaggio and Artemisia Gentileschi) Photo that is 7 feet tall and looks like a Boticalli oil painting. It is her dressed as Judith and holding a head that is a mask. It is a portrait of her? Or of the event? Is she commenting on the women of the world and their role? NOT Salome and John the Baptist.

19. Image 232 Dancing at the Louvre, Faith Ringgold, 1991 from the French Collection, acrylic on canvas with fabric borders, Private Collection
NY artist, fiber artist,recals the use of quilts as a way to freedom, applied works- useful and beautiful, feminine work by tradition. Traditional painting with fiber, narrative element, Willia Marie Simone who takes her friend and 3 daughters to the Louvre and dances in front of the Mona, the Virgin of the Rocks and the Virgin with Jesus and Anne. Made up this women ( Willia Marie who comes to Paris in the early part of the century and knows everyone)

20. Image 233 Jaune Quick-to-see-Smith, Trade ( Gifts for Trading Land with White People), 1992, oil and mixed media, Chrysler Museum of Art, Norfolk, Va- triptych
Member of two tribes from mother and father ( Salish (NW) and Kootenai ( Flathead); part of the Quincentenary Non-Celebration of the European Occupation of North America; collage elements and brush strokes, red symbol for blood, news paper clippings of conquest over the canoe, Native American social issues- poverty, unemployment, diabetes, disease and alcoholism; knick-knacks like sports teams and various accoutrement.
Response to 500 Anniversary of Columbus.
Smith covered the canvas in collage, with newspaper articles about Native life cut out from her tribal paper Char-Koosta, photos, comics, tobacco and gum wrappers, fruit carton labels, ads, and pages from comic books, all of which feature stereotypical images of Native Americans. She mixed the collaged text with photos of deer, buffalo, and Native men in historic dress holding pipes with feathers in their hair, and an image of Ken Plenty Horses—a character from one of Smith’s earlier pieces, the Paper Dolls for a Post Columbian World with Ensembles Contributed by US Government from  

21. Image 234 Emily Kame Kngwarreye, Earth’s Creations, 1994, synthetic polymer, paint on canvas, Mbantua Gallery in Australia
Aboriginal artist, simulates color and lush green after rain with outback is green, dump dot technique creates layers of color and movement, 4 panels, 11 meters wide ( 20 ft. wide and 9 ft wide) The dots, structured as swirling formations, create a dynamic sense of movement across the entire canvas. 1 million at auction. First work by a woman to do so.

22. Image 235 Shirin Neshat, Rebellious Silence, from the Women of Allah series, 1994, ink on photograph, Barbara Gladstone Gallery, NY
Iranian artist, did a TED talk, works in NY, raised in NY, Chador ( garment to only see the head and hands),Poem on face is in Farsi, the Persian language by an Iranian poet who writes about women’s isssues, gun divides the brighter and darker side, adds tension, Westerners view as expression of women’s oppression; Iranian view it as a right minded woman, black and white; 4 symbols, the veil, the gun, the text and the gaze. 
Her artwork centers around the contrasts between Islam and the West, femininity and masculinity, public life and private life, antiquity and modernity, and bridging the spaces between these subjects.[3] Neshat has been recognized countless times for her work, from winning the International Award of the XLVIII Venice Biennale in 1999,[4] to winning the Silver Lion for best director at the 66th Venice Film Festival in 2009,[5] to being named Artist of the Decade by Huffington Post critic G. Roger Denson.[6]

23. Image 236 Pepon Orsio, No Crying Allowed in the Barbershop, 1994, mixed media installation.
Puerto Rican artist living in NY, large installation about the machismo of the Hispanic masculine culture; challenges the views about identity, masculinity, culture and attitudes. Photos of Latino men on the walls, video screen of men playing, a baby being circumcised, and men crying; tacky and grimy,kitchy part of the culture

24. Image 237 Michel Tuffery, Corned Beef 2000, 1994, mixed media, Collection of the artist.
Born in New Zealand of Samoan and Tahitian decedency, made from flattened corned beef cans, ( canned meet given as gifts on special occasions) in Polynesia. This is a cause of obesity b/c less hunting and fishing and traditional tribal tasks; dietary changes, wheels at feet are concealed, theme of recycling and sometimes 3 of these are motorized in performance art. Did not read or write or speak until 6 years old. Talks about art as his first language. Tuffery has also brought his "tinned beef" bulls to smoky life in various performative installations throughout the world, by installing fireworks inside their heads to give them the appearance of breathing fire. Mounted on castors with their necks articulated so their heads can be turned, he has staged bullfights with his fire breathing monsters, accompanied by drummers and groups of human performers issuing fierce challenges. But these performances have not been restricted to the sanctuary of the white walled gallery—these were performed outdoors, on city streets, to reach a community that might not otherwise come into the gallery to encounter his work.

25. Image 238 Naum June Paik, The Electronic Superhighway, 1995, mixed media ( 49 closed circuit video installations, neon, steel) Smithsonian American Art Museum.
Korean born – lives in NY, Neon outline of 48 states and DC and Alaska and Hawaii on other walls; each state has separate videos; 313 moniters; camera on spectator goes back to NY; spectator as participant; looks like hotel signs while traveling. Father of Video art and part of John Cage’s Fluxus group.

26. Image 239 Bill Viola , The Crossing, 1996, video and sound installation,16x27.5x 57 performer is Phil Esposito.
Born in Queens, promoted video as an art form, video installations as total environments, 2 large screens and sound surround; 2 channels projected onto 12 ft tall double sided screen, one side figure approaches from a distance with flames growing and the figure disappears; the opposite side the figure stops with water pouring turning into a torrent, when the water slows, the figure is gone.
Fire from below, water from above. Figures walk in slo-mo, actions repeated, sense perceptions, implied cycle of purification and destruction, eastern and western traditions: Zen, Islamic, Christian- 300 frames persecond so as to get each detail. “fifty minutes of quiet stillness in a room of solitary individuals”—a description that could, just as easily, reflect a museum-goer’s experience of his installations—“time opens up in an unbelievable way.” [2]  Shiva with flames

27. Image 241 Mariko Mori, Pure Land, 1998, color photography on glass, Los Angeles County Museum, LA.
Japanese, traditional forms with new interpretation, Pure Land captures a moment of this experience, enabling the viewer a longer, perhaps more meditative, relationship with the work. It is part of the Nirvana work that is in 3-D and creates and atmosphere for the viewer/experiencer. Floating pink woman with lotus blossom and alien musicians. The pink figure is the Amida Buddha, the landscape is the Dead Sea; salt is the purifier in Japan. She is the central figure ( like Cindy Sherman’s work); she holds the wish granting jewel, jewel symbolizes universal mind

28. Traditional imagery used for the Pure Land work.

29. Image 242 Kiki Smith, Lying with the Wolf, 2001, ink and pencil on paper. 88x 73
Several works about women’s relationship to animals, human body is another theme, wrinkled paper is reminiscent of the tablecloth or a bed sheet; female strength emphasized in woman lying down with wild beast; wolf tamed by the woman, wolf is an evil symbol- but not here.
Many of Smith’s works from this period feature a female protagonist who is based on Little Red Riding Hood as well Sainte Geneviève, the Patron Saint of Paris. Geneviève is herself often associated with Saint Francis of Assisi because of her close relationships with animals and her ability, in particular, to domesticate wolves.  

30. Image 243 Kara Walker, Darkytown Rebellion, 2001, cut paper and projection, Collection Musee d’Art Moderne Grande-Duc Jean Luxembourg.
Installation.
Traditional forms from Europe; black paper and knife to cut, adhered with wax; LCD projectors throw colors, cast shadow of viewer’s bodies onto the wall as participation; originally drawn from Gone with the Wind, and other tales; tries to show the reality behind the silhouette.  "I’m not making work about reality; I’m making work about images. I'm making work about fictions that have been handed down to me, and I'm interested in those fictions because I'm an artist, and any sort of attempt at getting at the truth of a thing, you kind of have to wade through these levels of fictions, and that's where the work is coming from.”2 

31. Image 243 Kara Walker

32. Image 244 The Swing, Yinka Shonibare, (after Fragonnard), 2001 mixed media installation, Tate Gallery, London.
British born Nigerian; the woman has no head ( reference to the guillotine ); the clothing is from African prints, the shrubbery is like the painting; a reference to the British take over of the world… and the fabrics referencing the countries it took over.

33. Image 245 EL Anatsui, Old Man’s Cloth, 2003, Aluminum liquor bottle caps and copper wire.
Artist born in Ghana, spent much of his life there drink tops ( from a distillery in Nigeria) , joined by wire to form a cloth.
Between painting and sculpture, recycling objects, related to Africa textiles, combines Ghana with Nigeria and new global abstract art.Hung differently each time. Fine art or Craft? 2 or 3 dimensions? Individual works or installations? Bottle caps represent European devastation of Africa.

34. Image 426 Julie Mehretu, Stadia II, ink and acrylic on canvas, Carnegie Museum of Art, Pittsburg, PA. 108x 144 inches
Born in Ethiopia, in NY. Large scale drawings and paintings, titles are helpful, stadium architecture, about natioinalism, games, stadiums. Seems related to Futurism, Kandinksy’s abstractions. Globalizations in the modern world. The dynamism of the work makes reference to traffic patterns, wind and water currents, migrations, border crossings and travel.

35. Image 247 Preying Mantra, Wangechi Mutu, 2006, mixed media on mylar, Brooklyn Museum, NY.
Keyna born, NY based, Her images incorporate the female body, specifically an imagined "African" body, subjected to sexism and racism on a global scale. Preying Mantra centers on female subjectivity, exoticism and the notion of hybridity—both in concept and imagery. Hybridity is a concept often used in postcolonial studies. It describes how the mixing the cultures of colonized and the colonizer—can produce a third space for newer and often disruptive understanding of cultural identity. Collaged person has hidden animal traits: snake interlocked in hand, feathers in back of head, left ear lobe has chicken feet,insect legs and pinchers, blotchy skin, praying mantis twist.

36. Image 248 Doris Salcedo, Sibboleth, 2007-09 Installation,Tate Modern, London.
Columbian Sculptor, crack starts as a hairline and proceeds to 2ft across, stressing the distance b/twn sculpture and space,Shibboleth ( used to distinguish foreigners from natives) ; used to produce a gap in relationships and people to keep them away from each other; referencing racism and colonialism, installation exists as a healed wound to commemorate the life of underclasses.

37. Image 250 Ai Wei Wei, Sunflowers Seeds, , sculpted and painted porcelain, Tate Modern. More than 100 Million of sunflower seeds made individually be people in a village that used to make porcelain for the Emperors of China; “ocean of sunflower seeds”, 1600 artists, 4-5 years, each painted individually; sunflower seeds were eaten to stave off famine due the Mao days; also Mao is seen with sunflowers to indicate the sun.. And this indicates loyalty to the Party; could walk on the installation- but caused too much dust. The individual lost in the sea of the same- Communism; He was taken into custody and his studio and staff ransacked for “dissident activity”.