Beruflich Dokumente
Kultur Dokumente
Apollo 11 Stones
Nambia. c. 25000-25300 B.C.E. Charcoal on stone
The earliest history of rock painting and engraving arts in Africa. The oldest known of any kind from the African continent.
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Anthropomorphic stele
Arabian Peninsula. Fourth millennium B.C.E. Sandstone.
Very stylized representation of a human figure, carved from stone. Has a make image and carries knives in sheaths across the
chest and a knife tucked into a belt.
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Jade cong
Liangzhu, China. 3300-2200 B.C.E. Carved jade.
Like one of many, this was a jade piece with decorative carvings, unique shape, and symbolic purpose. The stone might have
held spiritual or symbolic meanings to the early cultures of China.
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Stonehenge
Wiltshire, U.K. Neolithic Europe. c. 2500-1600 B.C.E. Sandstone
Stonehenge is a famous site know for its large circles of massive stones in a seemingly random location as well as the mystery
surrounding how and why it was built. The stones are believed to be from local quarries and farther off mountains. There is
also evidence of mud, wood, and ropes assisting in the construction of the site.
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Seated Scribe
Saqqara, Egypt. Old Kingdom, Fourth Dynastic. c. 2620-2500 B.C.E. Painted limestone. the sculpture of the seated scribe is
one of them most important examples of ancient Egyptian art because it was one of the rare examples of Egyptian
naturalism, as most Egyptian art is highly idealized and very rigid.
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Tutankhamun's Tomb, intermost coffin. New Kingdom, 18th Dynasty. c. 1,323 B.C.E. Gold with inlay of enamel and
semiprecious stones.
The kings gold inner coffin, shown above, displays a quality of workmanship and an attention to detail which is
unsurpassed. It is a stunning example of the Ancient goldsmith's art
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Athenian agora
Archiac through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan
It is the most richly adorned and quality of its sculptural decoration it is surpassed only by the Parthenon. the sculptural
decoration and certain sections of the roof were made up of Parian marble.
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Anavysos Kouros
Archaic Greek. c. 530 B.C.E. Marble with remnants of paint
Geometric almost abstract forms predominate, and complex anatomical details, such as the chest muscles and pelvic arch,
are rendered in beautiful analogous patterns. It exemplifies two important aspects of Archaic Greek artan interest in
lifelike vitality and a concern with design.
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Niobides Krater
Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460-450 B.C.E. Clay, red-figure technique
By bringing in elements of wall paintings, the painter has given this vase its exceptional character. Wall painting was a major
art form that developed considerably during the late fifth century BC, and is now only known to us through written
accounts. Complex compositions were perfected, which involved numerous figures placed at different levels. This is the
technique we find here where, for the first time on a vase, the traditional isocephalia of the figures has been abandoned.
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Doryphoros
Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze)
Doryphoros was one of the most famous statues in the ancient world and many known Roman copies exist. The original was
created in around 450 BC in bronze and was presumably even more tremendous than the known copies that have been
unearthed. Doryphoros is also an early example of contrapposto position, a postion which Polykleitos constructed
masterfully (Moon).
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Acropolis
Athens, Greece. Iktinos and Kallikrates. c. 447-410 B.C.E. Marble
The most recognizable building on the Acropolis is the Parthenon, one of the most iconic buildings in the world, it has
influenced architecture in practically every western country.
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House of Vetti. Pompeii, Italy. Imperial Roman. c. second century B.C.E.; rebuilt c. 62-79 C.E. Cut stone and fresco
The House of the Vettii offers key insights into domestic architecture and interior decoration in the last days of the city of
Pompeii. The house itself is architecturally significant not only because of its size but also because of the indications it gives
of important changes that were underway in the design of Roman houses during the third quarter of the first century C.E.
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Seated boxer
Hellenistic Greek. c. 100 B.C.E. Bronze
The sculpure shows both body and visage to convey personality and emotion. It shows transformation of pain into bronze, a
parallel of recent photos of our contemporary Olympic athletes after their strenuous competitions.
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Forum of Trajan
Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete
(architecture); marble (column)
It is an amazing work of art for each detail of each scene to the very top of the Column is carefully carved. It is astounded by
the artistic skill it displays.
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Pantheon
Imperial Roman. 118-125 C.E. Concrete with stone facing
One of the great buildings in western architecture, the Pantheon is remarkable both as a feat of engineering and for its
manipulation of interior space, and for a time, it was also home to the largest pearl in the ancient world.
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Catacomb of Priscilla
Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco
The wall paintings are considered the first Christian artwork.
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Santa Sabina
Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
The emphasis in this architecture is on the spiritual effect and not the physical. Helps to understand the essential
characteristics of the early Christian basilica.
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Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis
Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript
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San Vitale
Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic
Beautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
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Hagia Sophia
Consantinople (Istanbu). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone
and mosaic veneer.
The interior of Hagia Sophia was paneled with costly colored marbles and ornamental stone inlays. Decorative marble
columns were taken from ancient buildings and reused to support the interior arcades. Initially, the upper part of the
building was minimally decorated in gold with a huge cross in a medallion at the summit of the dome
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Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St Luke incipit page
Early medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigment, and gold)
The variety and splendor of the Lindisfarne Gospels are such that even in reproduction, its images astound. Artistic
expression and inspired execution make this codex a high point of early medieval art.
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Great Mosque
Crdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
The Great Mosque of Cordoba is a prime example of the Muslim world's ability to brilliantly develop architectural styles
based on pre-existing regional traditions. It is built with recycled ancient Roman columns from which sprout a striking
combination of two-tiered, symmetrical arches, formed of stone and red brick.
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Pyxis of al-Mughira
Umayyad. c. 968 C.E. Ivory
The Pyxis of al-Mughira, now in the Louvre, is among the best surviving examples of the royal ivory carving tradition in AlAndalus (Islamic Spain). It was probably fashioned in the Madinat al-Zahra workshops and its intricate and exceptional
carving set it apart from many other examples; it also contains an inscription and figurative work which are important for
understanding the traditions of ivory carving and Islamic art in Al-Andalus.
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Church of Sainte-Foy
Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliuary of Saint Foy: ninth century C.E.; with later
additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstone, and enamel over wood (reliquary)
One can see some of the most fabulous golden religious objects in France, including the very famous gold and jewelencrusted reliquary statue of St. Foy. The Church of Saint Foy at Conques provides an excellent example of Romanesque art
and architecture
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Bayeux Tapestry
Romanesque Europe. c. 1066-1080 C.E. Embroidery on linen
The Bayeux Tapestry has been much used as a source for illustrations of daily life in early medieval Europe. It depicts a total
of 1515 different objects, animals and persons . Dress, arms, ships, towers, cities, halls, churches, horse trappings, regal
insignia, ploughs, harrows, tableware, possible armorial changes, banners, hunting horns, axes, adzes, barrels, carts,
wagons, reliquaries, biers, spits and spades are among the many items depicted
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Chartres Cathedral
Chartres, France. Gothic Europe. Orignal construction. c. 1145-1115 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained
glass
The Chartres Cathedral is probably the finest example of French Gothic architecture and said by some to be the most
beautiful cathedral in France. The Chartres Cathedral is a milestone in the development of Western architecture because it
employs all the structural elements of the new Gothic architecture: the pointed arch; the rib-and-panel vault; and, most
significantly, the flying buttress.
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Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralises.
Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript
This 13th century illumination, both dazzling and edifying, represents the cutting edge of lavishness in a society that
embraced conspicuous consumption. As a pedagogical tool, perhaps it played no small part in helping Louis IX achieve the
status of sainthood, awarded by Pope Bonifiace VIII 27 years after the king's death.
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Rttgen Piet
Late medieval Europe (Germany). c. 1300-1325 C.E. Painted wood
The statue's bold emotionalism in Mary and Jesus's face. If we focus on Mary's face, there is a mix of emotions in her gaze. The
artist humanizes Mary by giving her strong emotions. Mary's face looks appalled and anguished because of her son's death,
and there is also a sense of shock, and awe that anyone would kill her son- the Son of God. The artist had exaggerated Mary's
sorrow in attempts to make it seem she was asking the viewer.
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Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)
Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigment and gold leaf on vellum)
The book was for use of a wealthy Jewish family. The holy text is written on vellum - a kind of fine calfskin parchment - in
Hebrew script, reading from right to left. Its stunning miniatures illustrate stories from the biblical books of 'Genesis' and
'Exodus' and scenes of Jewish ritual.
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Alhambra
Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding
The Alhambra's architecture shares many characteristics, but is singular in the way it complicates the relationship between
interior and exterior. Its buildings feature shaded patios and covered walkways that pass from well-lit interior spaces onto
shaded courtyards and sun-filled gardens all enlivened by the reflection of water and intricately carved stucco decoration.
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Annunciation Triptych
Workshop of Robert Campin. 1427-1432 C.E. Oil on wood
It consists of three hinged panels (triptych format): the left panel depicts the donor and his wife; the central and most
important panel shows the Annunciation itself, and its two main characters, Mary and Archangel Gabriel; the right panel
portrays Joseph in his workshop. The triptych is unsigned and undated, and only since the early 20th century has Robert
Campin been identified as its creator, albeit with help from his assistants, one of whom may have been his greatest pupil
Roger van der Weyden (1400-64).
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Pazzi Chapel
Basilicia di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) c. 1429-1461 C.E. Masonry
Pazzi chapel as a perfect space with harmonious proportions. He could achieve this result by including in his project-plan
the knowledge gained during his stay in Rome when he focused primarily on measuring ancient buildings, for instance the
Pantheon. The central dome is decorated with round sculptures and the coat of arms of Pazzi Family
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David
Donatello. c. 1440-1460 C.E. Bronze
Nearly everything about the statue - from the material from which it was sculpted to the subject's "clothing" - was moldbreaking in some way. Scholars and artists have studied David for centuries in an attempt to both learn more about the man
behind it and to more fully discern its meaning.
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Palazzo Rucellai
Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry
It uses architectural features for decorative purposes rather than structural support; like the engaged columns on the
Colosseum, the pilasters on the faade of the Rucellai do nothing to actually hold the building up .Also, on both of these
buildings, the order of the columns changes, going from least to most decorative as they acend from the lowest to highest
tier.
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Birth of Venus
Sandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas
Botticelli broke new ground with his works, including the Birth of Venus. He was the first to create large scale mythology
scenes, some based on historical accounts. In the era that Birth of Venus was painted, minds were open to new ideas and
religion no longer needed to be the main subject of artistic work. If such mythological pieces had been painted 100 years
earlier, they would not have been accepted by the church because they were so different to traditional depictions.
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Last Supper
Leonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
The Last Supper is remarkable because the disciples are all displaying very human, identifiable emotions. The Last Supper
had certainly been painted before. Leonardo's version, though, was the first to depict real people acting like real people.
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School of Athens
Raphael. 1509-1511 C.E. Fresco
Its pictorial concept, formal beauty and thematic unity were universally appreciated, by the Papal authorities and other
artists, as well as patrons and art collectors. It ranks alongside Leonardo's Mona Lisa and The Last Supper, and Michelangelo's
Vatican frescoes, as the embodiment of Renaissance ideals of the early cinquecento.
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Isenheim altarpiece
Matthias Grnewald. c. 1512-1516 C.E. Oil on wood
Emphasizing the suffering and anguish of Christ and his mother's angst. With intense colors and dramatic lighting
throughout, Grunewald included a Lamentation in the predella and Saints Sebastian and Anthony on the fixed wings.
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Entombment of Christ
Jacopo da Pontormo. 1525-1528 C.E. Oil on wood
They inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the
composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our
help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief.
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Venus of Urbino
Titan. c. 1538 C.E. Oil on canvas
Thanks to the wise use of color and its contrasts, as well as the subtle meanings and allusions, Titian achieves the goal of
representing the perfect Renaissance woman who, just like Venus, becomes the symbol of love, beauty and fertility.
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Mosque of Selim II
Edrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stone
It is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is
considered to be the masterwork of the great Ottoman architect Sinan.
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Henri IV Recieves the portrait of Marie de' Medici, from the Marie de' Medici Cycle
Peter Paul Rubens. 1621-1625 C.E. Oil on canvas
The cycle idealizes and allegorizes Marie's life in light of the peace and prosperity she brought to the kingdom, not through
military victories but through wisdom, devotion to her husband and her adopted country, and strategic marriage alliances
her own as well as the ones she brokered for her children. This, at least, is the message she wished to convey and she
worked closely with her advisors and Rubens to ensure her story was told as she saw fit.
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Las Meninas
Diego Velzquez. c. 1656 C.E. Oil on canvas
The painting represents a scene from daily life in the palace of Felipe IV. The points of light illuminate the characters and
establish an order in the composition. The light that illuminates the room from the right hand side of the painting focuses
the viewers look on the main group, and the open door at the back, with the person positioned against the light, is the
vanishing point.
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The Swing
Jean-Honor Fragonard. 1767 C.E. Oil on canvas
The Swing, rich with symbolism, not only manages to capture a moment of complete spontaneity and joie de vivre, but also
alludes to the illicit affair that may have already been going on, or is about to begin.
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Monticello
Virginia, U.S. Thomas Jefferson (architect). 1768-1809 C.E. Brick, glass, stone, and wood
By helping to introduce classical architecture to the United States, Jefferson intended to reinforce the ideals behind the
classical past: democracy, education, rationality, civic responsibility. Jefferson reinforced the symbolic nature of
architecture.
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George Washington
Jean-Antoine Hudson. 1788-1792 C.E. Marble
The statue, with all of its elements, skillfully combines ancient and modern styles to illustrate both military and civilian
virtues. When Houdon completed the statue, he inscribed the base simply with "George Washington" and his own name
and a date.
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Self-Portrait
Louise lisabeth Vige Le Brun. 1790 C.E. Oil on canvas
The painting expresses an alert intelligence, vibrancy, and freedom from care. This, dispite the fact that Vige-LeBrun had
been forced to flee France in disguise and under cover of darkness during the early stages of the Revolution
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La Grande Odalisque
Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas
Ingres' sensual fascination with the Orient was no secret. He displayed his attraction for this foreign eroticism in many of his
works but his most famous paintings on this theme are La Grande Odalisque.
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The Oxbow
Thomas Cole. 1836 C.E. Oil on canvas
The artist juxtaposes untamed wilderness and pastoral settlement to emphasize the possibilities of the national landscape,
pointing to the future prospect of the American nation. Cole's unmistakable construction and composition of the scene,
charged with moral significance, is reinforced by his depiction of himself in the middle distance, perched on a foreland
painting the Oxbow.
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Slave Ship
Joseph Mallord William Turner. 1840 C.E. Oil on canvas
Slave Ship is a perfect example of a romantic landscape painting. His style is expressed more through dramatic emotion,
sometimes taking advantage of the imagination. Instead of carefully observing and portraying nature, William Turner took
a landscape of a stormy sea and turned it into a scene with roaring and tumultuous waves that seem to destroy everything
in its path. Turner's aims were to take unique aspects of nature and find a way to appeal strongly to people's emotions.
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Palace of Westminster
London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840-1870 C.E. Limestone masonry and glass
Its stunning Gothic architecture to the 19th-century architect Sir Charles Barry. The Palace contains a fascinating mixture of
both ancient and modern buildings, and houses an iconic collection of furnishings, archives and works of art.
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Olympia
douard Manet. 1863 C.E. Oil on canvas
Olympia and the controversy surrounding what is perhaps the most famous nude of the nineteenth-century. Olympia had
more to do with the realism of the subject matter than the fact that the model was nude.
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The Coiffure
Mary Cassatt. 1890-1891 C.E, Drypoint and aquatint
The straight lines of the mirror and wall and the chair's vertical stripes contrast with the graceful curves of the woman's
body. The rose and peach color scheme enhances her sinuous beauty by highlighting her delicate skin tone. Cassatt also
emphasizes the nape of the woman's neck, perhaps in reference to a traditional Japanese sign of beauty.
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The Scream
Edvard Munch. 1893 C.E. Tempera and pastels on cardboard
Edvard Munch portrayed pure, raw emotion in this artwork was a radical shift from the art tradition of his own time, and
he is therefore credited with beginning the expressionist movement that spread through Germany and on to other parts of
the world. Most of Edvard Munch's work relates to themes of sickness, isolation, fear and death.
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Mont Sainte-Victorie
Paul Czanne. 1902-1904 C.E. Oil on canvas
Displays less precise brushstrokes allowing the shape of the mountain to emerge from the canvas like an apparition. It's the
painter's intention to show nature as it is, without omitting to convey an emotion.
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The Steerage
Alfred Stieglitz. 1907 C.E. Photogravure
The Steerage is considered Stieglitz's signature work, and was proclaimed by the artist and illustrated in histories of the
medium as his first "modernist" photograph.
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The Kiss
Gustav Klimt. 1907-1908 C.E. Oil and gold leaf on canvas
This one employs intense ornament on the embracing couple's gilded clothing, so thoroughly intertwined that the two
bodies seem to be one
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The Kiss
Constantin Brancusi. 1907-1908 C.E. Limestone
Marked a major departure from the emotive realism of Rodin's famous handling of the same subject. This 1916 version is the
most geometric of Brancusi's series, reflecting the influence of Cubism in its sharply defined corners. Its composition,
texture, and material highlight Brancusi's fascination with both the forms and spirituality of African, Assyrian, and Egyptian
art. That attraction also led Brancusi to craft The Kiss using direct carving, a technique that had become popular in France
at the time due to an interest in "primitive" methods. These sculptures signify his shift toward simplified forms, as well as
his interest in contrasting textures - both key aspects of his later work.
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The Portuguese
Georges Braque. 1911 C.E. Oil on canvas
In this canvas, everything was fractured. The guitar player and the dock was just so many pieces of broken form, almost
broken glass. By breaking these objects into smaller elements, Braque was able to overcome the unified singularity of an
object and instead transform it into an object of vision.
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Goldfish
Henri Mattisse. 1912 C.E. Oil on canvas
This painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest
for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial
space.
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Improvisation 28
Vassily Kandinsky. 1912 C.E. Oil on canvas
His style had become more abstract and nearly schematic in its spontaneity. This painting's sweeping curves and forms,
which dissolve significantly but remain vaguely recognizable, seem to reveal cataclysmic events on the left and symbols of
hope and the paradise of spiritual salvation on the right.
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Self-Portrait as a Soldier
Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas
Documents the artist's fear that the war would destroy his creative powers and in a broader sense symbolizes the reactions
of the artists of his generation who suffered the kind of physical and mental damage Kirchner envisaged in this painting.
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Villa Savoye
Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and reinforced concrete
This was a radically new view of the domestic sphere, one that is evident in his design for the Villa Savoye. The architect has
created a space that is dynamic. This design concept was based on the notion of the car as the ultimate machine and the
idea that the approach up to and through the house carried ceremonial significance.
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Object (Le Djeuner en fourrure). Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, spoon
In doing so, she said she wanted to transform items typically associated with feminine decorum into sensuous tableware. It
also provoked the viewer into imagining what it would be like to drink out of a fur-lined cup.
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Fallingwater
Pennsylvannia, U.S. Frank Lloyd Wright (architect) 1936-1939 C.E. Reinforced concrete, sandstone, steel, and glass
It's a house that doesn't even appear to stand on solid ground, but instead stretches out over a 30' waterfall. It captured
everyone's imagination when it was on the cover of Time magazine in 1938.
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The Jungle
Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas
The work, "intended to communicate a psychic state," Lam said, depicts a group of figures with crescent-shaped faces that
recall African or Pacific Islander masks, against a background of vertical, striated poles suggesting Cuban sugarcane fields.
Together these elements obliquely address the history of slavery in colonial Cuba.
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Fountain
Marcel Duchamp. 1950 C.E. (original 1917). Readymade glazed sanitary china with black paint
It was unexpectedly a rather beautiful object in its own right and a blindingly brilliant logical move, check-mating all
conventional ideas about art. But it was also a highly successful practical joke.
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Woman, I
William de Kooning. 1950-1952 C.E. Oil on canvas
Woman, I reflects the age-old cultural ambivalence between reverence for and fear of the power of the feminine.
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Seagram Building
New York City, U.S. Ludwig Miles van er Rohe and Philip Johnson (architects). 1954-1958 C.E. Steel frame with glass curtain
wall and bronze
This building epitomizes the importation of modernist ideals from Europe to the United States. In its monumental
simplicity, expressed structural frame and rational use of repeated building elements, the building embodies Ludwig Mies
van der Rohe's oft-repeated aphorisms that "structure is spiritual" and "less is more." He believed that the more a building
was pared to its essential structural and functional elements, and the less superfluous imagery is used, the more a building
expresses its structure and form.
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Marilyn Diptych
Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas
Marilyn Diptych he has produced effects of blurring and fading strongly suggestive of the star's demise. The contrast of this
panel, printed in black, with the brilliant colors of the other, also implies a contrast between life and death. The repetition
of the image has the effect both of reinforcing its impact and of negating it, creating the effect of an all-over abstract
pattern.
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Narcissus Garden
Yayoi Kusama. Original Installation and performance 1966. Mirror balls
Her work as emerging from her mental illness: she says has had hallucinations since she was a child. She also says that her
ability to produce artistic works is a therapy for her. has often revisited mirrored forms in her work, exploring notions of
infinity, illusion, and repetition in discrete sculptures and room-size installations.
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The Bay
Helen Frankenthaler. 1963 C.E. Acrylic on canvas
He colors on the canvas don't have to represent something in particular, but can have a more ambiguous, emblematic
quality for the viewer. The basic act of responding to color, the way one would respond to a sunset, or to light from a
stained-glass window, simplicity and pure emotion through clarity of color and form.
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Spiral Jetty
Great Salt Lake, Utah. U.S. Robert Smithson. 1970 C.E. Earthwork: mud, precipitated salt crystals, rocks, and water coil
The wind alters the intensity of the water's changing colors, as does the quality of the light and the density of the overhead
cloud-cover. As you start to walk the spiral, you enter a kaleidoscope of moaning wind, relentless light, and mercurial
water colors.
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Chavn de Huntar
Northern highlands, Peru. Chavn.900-200 B.C.E. Stone (architectural complex); granite (Lanzn and sculpture); hammered
gold alloy (jewelry)
Over the course of 700 years, the site drew many worshipers to its temple who helped in spreading the artistic style of
Chavn throughout highland and coastal Peru by transporting ceramics, textiles, and other portable objects back to their
homes.
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Yaxchiln
Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex)
Yaxchiln is located on the south bank of the Usumacinta River, in Chiapas, Mexico. It was a significant Maya center during
the Classic period (250-900 C.E.) and a number of its buildings stand to this day. Many of the exteriors had elaborate
decorations, but it is the carved stone lintels above their doorways which have made this site famous. These lintels,
commissioned by the rulers of the city, provide a lengthy dynastic record in both text and image.
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City of Cusco, including O0rikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa
Waman (Sacsayhuaman)
Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550-1650 C.E. Andesite
Cuzco, which had a population of up to 150,000 at its peak, was laid out in the form of a puma and was dominated by fine
buildings and palaces, the richest of all being the sacred gold-covered and emerald-studded Coricancha complex which
included a temple to the Inca sun god Inti.
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Maize cobs
Inka. c. 1440-1533 C.E. Sheet metal/repouss, metal alloys
While many ancient Andean art traditions favored abstract and geometric forms, Inka visual expression often incorporated
more naturalistic forms in small-scale metal objects. This silver alloy corncob sculpture is one example of this type of
object.
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All-T'oqapu tunic
Inka. 1450-1540 C.E. Camelid fiber and cotton
The All-T'oqapu Tunic is an example of the height of Andean textile fabrication and its centrality to Inka expressions of
power.
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Bandolier bag
Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on leather
This is an object that invites close looking to fully appreciate the process by which colorful beads animate the bag, making
a dazzling object and showcasing remarkable technical skill.
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Transformation mask
Kwakwaka'wakw, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string
The masks, whether opened or closed, are bilaterally symmetrical. Typical of the formline style is the use of an undulating,
calligraphic line. The ovoid shape, along with s- and u-forms, are common features of the formline style.
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Bundu mask
Sande Society, Mende peoples (West African forests of Sierra Leone and (Liberia). 19th to 20th century C.E. Wood, cloth, and
fiber
The masks are worn by women who have a certain standing within the society, to receive the younger women at the end of
their three month's reclusion in the forest. The different elements that compose the masks of this type, the half-closed and
lengthened eyes, the delicate contours of the lips, the slim nose, the serenity of the forehead, the complexity of the
headdress and the presence of neck and nape refer not only to aesthetic values, but also to philosophical and religious
concepts.
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Buddha
Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint
The cultural landscape and archaeological remains of the Bamiyan Valley represent the artistic and religious developments
which from the 1st to the 13th centuries characterized ancient Bakhtria, integrating various cultural influences into the
Gandhara school of Buddhist art.
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The Kaaba
Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations.
Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread
Cubed building known as the Kaba may not rival skyscrapers in height or mansions in width, but its impact on history and
human beings is unmatched. The Kaba is the building towards which Muslims face five times a day, everyday, in prayer. This
has been the case since the time of Prophet Muhammad (peace and blessings be upon him) over 1400 years ago.
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Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama
Islamic; Persian, Il'Khanid. c. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper
This folio is from a celebrated copy of the text known as the Great Ilkhanid Shahnama, one of the most complex
masterpieces of Persian art. Because of its lavish production, it is assumed to have been commissioned by a high-ranking
member of the Ilkhanid court and produced at the court scriptorium. The fifty-seven surviving illustrations reflect the
intense interest in historical chronicles and the experimental approach to painting of the Ilkhanid period (1256-1335). The
eclectic paintings reveal the cosmopolitanism of the Ilkhanid court in Tabriz, which teemed with merchants, missionaries,
and diplomats from as far away as Europe and China. Here the Iranian king Bahram Gur wears a robe made of European
fabric to slay a fearsome horned wolf in a setting marked by the conventions of Chinese landscape painting.
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Terra cotta warriors from mausoleum of the first Qin emperor of China
Qin Dynasty. c. 221-209 B.C.E. Painted terra cotta
One of the most extraordinary features of the terracotta warriors is that each appears to have distinct featuresan
incredible feat of craftsmanship and production. Despite the custom construction of these figures, studies of their
proportions reveal that their frames were created using an assembly production system that paved the way for advances in
mass production and commerce.
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Longmen caves
Luoyang, China. Tang Dynasty. 493-1127 C.E. Limestone
the aesthetic elements and features of the Chinese cave temples' art, including the layout, material, function, traditional
technique and location, and the intrinsic link between the layout and the various elements have been preserved and passed
on. Great efforts have been made to maintain the historical appearance of the caves and preserve and pass on the original
Buddhist culture and its spiritual and aesthetic functions, while always adhering to the principle of "Retaining the historic
condition".
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Todai-ji
Nara, Japan. Various artist, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze
and wood (sculpture); wood with ceramic-tile roofing (architecture)
Todaiji represented the culmination of imperial Buddhist architecture. Todaiji is famous for housing Japan's largest Buddha
statue. It housed the largest wooden building the world has yet seen. Even the 2/3 scale reconstruction, finished in the 17th
century, it remains the largest wooden building on earth today.
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Borobudur Temple
Central Java, Indonesia. Sailendra Dynasty. c. 750-842 C.E. Volcanic-stone masonry
The temple sits in cosmic proximity to the nearby volcano Mt. Merapi. During certain times of the year the path of the rising
sun in the East seems to emerge out of the mountain to strike the temple's peak in radiant synergy. Light illuminates the
stone in a way that is intended to be more than beautiful. The brilliance of the site can be found in how the Borobudur
mandala blends the metaphysical and physical, the symbolic and the material, the cosmological and the earthly within the
structure of its physical setting and the framework of spiritual paradox.
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Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia
Hindu, Angkor Dynasty. c. 800-1400 C.E. Stone masonry, sandstone
Angkor is one of the most important archaeological sites in South-East Asia. There were many changes in architecture and
artistic style at Angkor, and there was a religious movement from the Hindu cult of the god Shiva to that of Vishnu and then
to a Mahayana Buddhist cult devoted to the bodhisattva Avalokiteshvara.
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Lakshmana Temple
Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 C.E. Sandstone
Though the temple is one of the oldest in the Khajuraho fields, it is also one of the most exquistely decorated, covered
almost completely with images of over 600 gods in the Hindu Pantheon. The main shrine of the temple, which faces east, is
flanked by four freestanding subsidiary shrines at the corners of the temple platform.
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Forbidden City
Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile
It stands for the culmination of the development of classical Chinese and East Asian architecture and influences the
development of Chinese architecture. The largest surviving wooden structure in China is surrounded by 7.9 meters (26 feet)
high walls and 3,800 meters (2.4 miles) long moat.
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Ryoan-ji
Kyoto, Japan. Muromachi Period, Japan. 1480 C.E.; current design most likely dates to the 18th century. Rock garden
Kyoto's most famous Zen garden is Ryoan-ji. Its raked gravel and 15 carefully placed stones make it the world's most
recognisable garden image. I love Ryoan-ji, which, despite the hoards of visitors adding their own snaps to the image load of
the garden, still manages to instil a mood of mystery and quiet reflection. It was made by an unnamed monk in the 15th
century and was the template for a dry stone Zen garden for four centuries - until Mirei Shigemori brought the Zen garden
into the 20th century and introduced it to modernism.
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Taj Mahal
Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad
Ahmad Lahori, architect of the emperor. 1632-1653 C.E. Stone masonry and marble with inlay of precious and semiprecious
stones; gardens
The Taj Mahal is an excellent example of the golden age of Muslim architecture. The design of the complex incorporates
Iranian features such as octagonal shape, Indian features such as the bulbous dome and Asian features such as cylindrical
minarets. Muslim decorative arts include calligraphy, geometry and flower forms. Most important was the ideal of
symmetry as a major element in the design of the Taj Mahal.
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Under the Wave of Kanagawa (Kanagawa oki nami ura), as known as the Great Wave, from the series Thirty-six Views of
Mount Fuji
Katsushika Hokusai. 1830-1833 C.E. Polychrome woodblock print; ink and color on paper
The Great Wave has became one of the most famous works of art in the worldand debatably the most iconic work of
Japanese art. Initially, thousands of copies of this print were quickly produced and sold cheaply. Despite the fact that it was
created at a time when Japanese trade was heavily restricted, Hokusai's print displays the influence of Dutch art, and
proved to be inspirational for many artists working in Europe later in the nineteenth century.
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Nan Madol
Pohnpei, Micronesia. Saudeleur Dynasty. c. 700-1600 C.E. Basalt boulders and prismatic columns
The megalithic architecture that characterizes the site consists of long, naturally prismatic log-like basalt stones which
were often built up over foundations of large basalt boulders to form high-walled rectangular enclosures. This type of
architecture occurs only sporadically on the main island which suggests that the people who used these structures were of
very high status.
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Staff god
Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers
A standing semihuman figure having claws, a feline face with crossed fangs, and a staff in each hand. Above his head,
occupying two-thirds of the stone, is a towering, pillarlike structure
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Female deity
Nukuoro, Micronesia. c. 18th to 19th century C.E. wood
Carving, these figurines were of smaller statrue and most likey required experice to achieve lines on the Deity.
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Buk (mask)
Torres Strait. Mid-to late 19th century C.E. Turtle shell, wood, fiber, feathers, ad shell
Turtle-shell masks in the western Torres Strait reportedly were used during funerary ceremonies and increase rites (rituals
designed to ensure bountiful harvests and an abundance of fish and game).
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Hiapo (tapa)
Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting
Tapa traditions were regionally unique and historically widespread throughout the Polynesian Islands. Eastern Polynesia
did not experience a continuous tradition of tapa production, however, the art form is still produced today, particularly in
the Hawaiian and the Marquesas Islands.
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Navigation chart
Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber
Slopped lines that indicate wave swell show technological advancement in society, intricate weaving
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The Gates
New York City, U.S. Christo and Jeanne-Claude. 1979-2005 C.E. Mixed-media installation
he Gates remains a complex testament to two controversial topics in contemporary art: how to create meaningful public
art and how art responds to and impacts our relationship with the built environment.
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Horn Players
Jean-Michel Basquiat. 1983 C.E. Acrylic and oil paintstick on three canvas panels
Honed his signature painting style of obsessive scribbling, elusive symbols and diagrams, and mask-and-skull imagery by
the time he was 20.
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Summer Trees
Song Su-nam. 1983 C.E. Ink on paper
He wanted to show appreciation for the ancient Asian brush techniques and to redisplay/re-envoke the Asian landscape.
This painting blends traditional subtle brush techniques with modern day style
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Androgyne III
Magdalena Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, and string
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. The artist felt that it was these characteristics and manifestations that
make fiber the base unit of the universe.
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Pink Panther
Jeff Koons. 1988 C.E. Glazed porcelain
This piece is a part of his Banality series. It is a reflection of pop culture, juxtaposing the namesake popular children's'
cartoon character with Jayne Mansfield, a sex symbol. Four essentially identical Pink Panther sculptures exist. They are an
example of kitsch, meant to appeal to the masses. This piece later grew to be considered high art due to its popularity.
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Dancing at the Louvre, from the series The French Collectiom, Part I; #1
Faith Ringgold. France, Europe. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border
To break boundaries and combine a multitude of artistic techniques. Combines Modern art, African-American culture, and
personal experiences
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Trade (Gifts for Trading Land with White People) Jaune Quick-to-See Smith. Virginia. 1992 C.E. Oil and mixed media on
canvas.
Illustrates historical and contemporary inequities between Native Americans and the United States government.
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Earth's Creation
Emily Kame Kngwarreye. Utopia Australia. 1994 C.E. Synthetic polymer paint on canvas.
Dump dot technique - using the brush to pound the paint onto the canvas and create layers of colour and movement.
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Rebellious Silence, from the Women of Allah series Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on
photograph.
Photograph, Farsi decorates the artists face, black and white, image shows a veiled woman with the barrel of a gun pointing
straight up dividing her face. Her gaze looks directly at the viewer with unwavering confidence.
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Electronic Superhighway
Nam June Paik. 1995 C.E. Mixed-media installation (49-channel closedcircuit video installation, neon, steel, and electronic
components).
It is an enormous physical object that occupies a middle ground between the virtual reality of the media and the sprawling
country beyond our doors.
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The Crossing
Bill Viola. 1996 C.E. Video/sound installation
To evoke the viewer's senses and create a feeling of spirituality. His work focuses and sensory perception and tries to take
viewers on a trip to the spiritual realm. The videos are able to accomplish this through slow motion, contrasts in scale,
shifts in focus, mirrored reflections, etc.
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Pure Land
Mariko Mori. Tokyo, Japan. 1998. C.E. Color photograph on glass
To create a meditative environment that provides the audience with a sense of tranquility and transcendence. Allow the
viewer to transport to Nirvana, as well as to represent a personal journey
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Darkytown Rebellion
Kara Walker. 2001 C.E. Cut paper and projection on wall.
Black silhouettes against colorful background, sharp lines, distinct and defined shapes. The actual subject of the work is
meant to reflect the antebellum South during the time of slavery. Many southern African-American stereotypes are still
present today and Walker hoped to make viewers realize how subconsciously they had these premeditated ideas about the
figures and the assumptions about race they automatically made because of popular culture.
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Stadia II
Julie Mehretu. New York. 2004 C.E. Ink and acrylic on canvas
Stadia II is meant to portray a large stadium, A sports arena. Country flags, confetti, and the eruption of the crowd are
prevalent.
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Preying Mantra
Wangechi Mutu. 2006 C.E. Mixed media on Mylar
The function of this piece is to invite viewers to explore the stereotypes about the female African body as explicitly sexual,
dangerous, and aesthetically deformed in relation to those of Western lands.
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Shibboleth
Doris Salcedo. Turbine Hall, London. 2007-2008 C.E. Installation
she uses this giant crack on the floor of ceremonial hall as a symbol of racism, discrimination, and colonialism that
separated one being from each other. Through this art piece she addresses that the modernity is a result of colonial
exploitation of the "stronger" from the "weaker".
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