|
Hint
|
Artwork
|
|
Influenced by the story of Little Red Ridinghood
|
Lying with the Wolf
|
|
Its main subject is bereft of mode and body of transport
|
Trade (Gifts for Trading Land with White People)
|
|
Features 7,503 16-feet-tall free-hanging saffron-colored fabric panels
|
The Gates
|
|
Surrounded by alien-like Bodhisattva playing musical instruments
|
Pure Land
|
|
Located in Rome, Italy
|
MAXXI National Museum of XXI Century Arts
|
|
Requires the viewer's stillness and concentration; evoking spirtual traditions from Zen Buddhism, Islamic Sufism, and Christian mysticism
|
The Crossing
|
|
Westerners may view the subject's clothes as expression of female oppresion
|
Rebellious Silence
|
|
Composed of over 100 million handcrafted pieces of ceramic
|
Kui Hua Zi (Sunflower Seeds)
|
|
One of the video feeds shows the spectators to themselves, making the audience participate in the work
|
Electronic Superhighway
|
|
Represents an ocean of fathomless depth made of millions of objects
|
Kui Hua Zi (Sunflower Seeds)
|
|
The artist's works often reflects themes of feminism, racism, and her struggle in an art world dominated by men with European training
|
Dancing at the Louvre
|
|
Made by Faith Ringgold
|
Dancing at the Louvre
|
|
Contradictorily suggesting "prey" and "preying" simultaneously
|
Preying Mantra
|
|
Has a hollowed-out figure seen in the round; a staple of the artist's sculptures
|
Androgyne III
|
|
References Chinese art forms: scrolls, screens, books, and paper
|
A Book from the Sky
|
|
Built in 2009 as a staple of Deconstructivism
|
MAXXI National Museum of XXI Century Arts
|
|
References lushness of "green time" (season after it rains)
|
Earth's Creation
|
|
Suggests excitement of competition via chaos of swirling lines in its composition
|
Stadia II
|
|
Reflects stereotypes towards black women in regards to being a "seductress" and "wild"
|
Preying Mantra
|
|
References alcohol, as rum was an important part of the Transatlantic Slave Trade
|
Old Man's Cloth
|
|
Reflects Chairman Mao's ideology with him as the sun and the Chinese people as the sunflowers
|
Kui Hua Zi (Sunflower Seeds)
|
|
Emphasizes female strength via the central figures taming of a wild beast
|
Lying with the Wolf
|
|
Emphasizes the theme of recycling via its medium being a reused material from bottles
|
Old Man's Cloth
|
|
Red colors denote blood and themes of lust
|
Untitled #228
|
|
Covered with glass windows and dons a glass roof
|
MAXXI National Museum of XXI Century Arts
|
|
Made by Christo and Jeanne-Claude
|
The Gates
|
|
The New-Jersey-born artist is the photographer, the subject, consumer, hairdresser, and makeup artist in her works
|
Untitled #228
|
|
Color photograph on glass
|
Pure Land
|
|
Made by Frank Gehry
|
Guggenheim Museum Bilbao
|
|
Comments on xenophobia and colonialism (especially given the artist is Nigerian) via the use of wear and modification of the scene
|
The Swing (after Fragonard)
|
|
Main figure lacks emotional attachment, despite the murder that his been taken place
|
Untitled #228
|
|
Multilayered, sweeping lines create animation and depth
|
Stadia II
|
|
Subject is limbless and headless
|
Androgyne III
|
|
Artist born in Pennsylvania and worked on Wall Street (a "slimeball," according to Ms. Fleet); intended to provoke audience and profit
|
Pink Panther
|
|
Built in a neighboorhood building in Hartford, Connecticut, not in a museum
|
En la Barberia no se Llora
|
|
Large, wrinkled drawing pinned to a wall
|
Lying with the Wolf
|
|
Shows Renaissance and Baroque influence: tenebrism, contrapposto, elaborate fabrics, biblical subject matter
|
Untitled #228
|
|
Influenced by graffiti art and street poetry
|
Horn Players
|
|
Unique interpretation of traditional Japanese art forms by a Japanese artist
|
Pure Land
|
|
Medium reflects semi-historical story of it being used to spread information about the Underground Railroad
|
Dancing at the Louvre
|
|
Glass roof and blinds modulate natural light
|
MAXXI National Museum of XXI Century Arts
|
|
Has fuzzy bordering on each of the lines
|
Summer Trees
|
|
Neon symbolizes motel and restaurant signs
|
Electronic Superhighway
|
|
Lacks symmetry and acts as an overlapping mass of curvelinear forms
|
Guggenheim Museum Bilbao
|
|
After each is seen, the central figure disappears
|
The Crossing
|
|
Made by Mariko Mori
|
Pure Land
|
|
Has four channels of amplified stereo sound from four different speakers
|
The Crossing
|
|
Implies a cycle of purification and destruction given the repetiveness
|
The Crossing
|
|
Name references idea of excluding people from a group: xenophobia, racism, and colonialism
|
Shibboleth
|
|
Addresses the nude female figure lying down; breasts are shown prominently
|
Lying with the Wolf
|
|
Artist's only source of protein during his childhood represented here
|
Kui Hua Zi (Sunflower Seeds)
|
|
Made of "high art" porcelain
|
Pink Panther
|
|
Walls and interior staircases ebb and flow with some symmetry and asymmetry
|
MAXXI National Museum of XXI Century Arts
|
|
Has a green snake interlocking with her fingers, connecting to the snake in the Garden of Eden
|
Preying Mantra
|
|
Built in 1997 as a staple of Deconstructivism
|
Guggenheim Museum Bilbao
|
|
Artist served as a nurse in WWII witnessing the detatchment of limbs and other horrors
|
Androgyne III
|
|
Made by Jeff Koons
|
Pink Panther
|
|
Strongly criticized monument with a secondary more-traditional monument made nearby
|
Vietnam Veterans Memorial
|
|
Explores conditions of African-Americans in the antebellum South
|
Darkytown Rebellion
|
|
Combines collage elements with abstract brushwork
|
Trade (Gifts for Trading Land with White People)
|