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Summer Trees. Song Su-nam. 1979 C.E. Ink on paper.
Song's work, as many post-modern works are, is a merging of the "universality" of modernism with an imbued sense of personal identity. Song accomplishes this by combining the traditional Korean art of ink painting with Western Modernist concepts of abstraction. His masterful control of ink painting turns the work into a peaceful exploration of tone and paint texture.
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=810065001&objectId=267937&partId=1 -
Period: to
Global Contemporary I sources pt 2
http://signsjournal.org/shirin-neshat/
http://jsimster.blogspot.com/2011/05/rebellious-silence-shirin-neshat-1994_13.html
https://teachartwiki.wikispaces.com/Shirin Neshat, Women of Allah Series
https://www.khanacademy.org/humanities/global-culture/identity-body/identity-body-united-states/a/ringgold-dancing-at-the-louvre
https://www.questia.com/magazine/1P3-38629032/new-york-artist-takes-us-dancing-at-the-louvre -
Period: to
Global Contemporary I sources pt 1
Kleiner, Fred S. Gardner's Art Through the Ages: A Global History. 15th ed. Boston: Cengage, 2016. 2017. Web
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=267937&partId=1
https://suite.io/megan-summers/50dr2az
http://www.basquiatnow.com/
http://sandcreekmassacrememorial.wikispaces.com/Maya Lin Vietnam War Memorial
http://en101hvetmem.wikispaces.com/Maya Lin -
Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin. 1982 C.E. Granite.
The solemn, monolithic granite that makes up Lin's once-controversial design for the Memorial is now one of the most iconic symbols of American pride in D.C. The polished walls stand alone among the green grass and magnificent monuments of the plaza. With the only decor being the names of US citizens lost in the war, the viewer is forced to engage in solemn remebrance of the individuals who sacrificed their lives.
https://washington.org/find-dc-listings/vietnam-veterans-memorial -
Horn Players. Jean-Michel Basquiat. 1983 C.E. Acrylic and oil paintstick on three canvas panels.
Basquiat's Horn Players exhibits his love and appreciation for jazz virtuosos Charlie Parker and Dizzy Gillespie. Of course, this is done in Basquiat's signature merging of crude abstraction and graffiti-style interjections. The free-form and often-improvisational quality of Basquiat's composition could possibly be inspired by the jazz heroes he celebrates in this work.
https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/basquiat-horn-players -
Dancing at the Louvre, from the series The French Collection, Part I; #1. Faith Ringgold. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border
Ringgold's piece is part of a series rewriting the history of Black women in the art world. This ambitious concept is a response to the huge deficit of both Black folk and women as subjects and artists in throughout the art museums of history. This work inserts Black women into the world of high art both in its subjects engaging in the titular act and its combination of traditional quilting and the Eurocentic staple of "high art": canvas painting.
http://www.faithringgold.com/ringgold/d11.htm -
Rebellious Silence, from the Women of Allah series. Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.
Neshat's images of armed, calligraphy-covered Muslim women stand out as the most powerful images of the Global Contemporary. R.S. speaks to the dichotomy of traditional expectations of women in an Islamic society and the growing presence of the progressive Western ideals of feminism that influenced the Iranian revolution. Women's own roles in this revolution connect to the female-penned poetry inscribed on the subject's face and the inclusion of firearms.
http://signsjournal.org/shirin-neshat/
