10.1 Materials, Processes, and Techniques in Global Contemporary Art

Horn Players:

Jean-Michel Basquiat, Horn Players, 1983, acrylic and oilstick on three canvas panels mounted on wood supports, 243.8 x 190.5 cm (The Broad Art Foundation) © The Estate of Jean-Michel Basquiat (zoomable image here)

• "Horn Players" is a mixed media painting created by Jean-Michel Basquiat in 1982.
• The painting features two black figures playing horns, with bold lines and colorful brushstrokes.
• The figures are set against a chaotic and layered background of text, images, and symbols.
• The use of black figures and the frenzied mark-making are hallmarks of Basquiat's style, which reflects the political and social issues of the time, including racism, poverty, and the marginalization of African Americans.
• "Horn Players" is considered a powerful example of Basquiat's work, reflecting his use of personal and cultural references to comment on contemporary society.
• The painting is part of Basquiat's significant body of work, which has had a lasting impact on the art world and continues to influence artists today.

Androgyne III:

Magdalena Abakanowicz, Androgyne III, 1985, burlap, resin, wood, nails, and string, 121.9 x 161.3 x 55.9 cm (The Metropolitan Museum of Art)

• Created in the late 20th century, likely in the 1980s
• Made of burlap, resin, wood, nails, and string.
• Androgyne III is part of a larger series of sculptures by the same name, which all feature similar abstract, humanoid figures
• The series is considered one of the most important and recognizable works by the artist
• Androgyne III is an example of Abakanowicz's focus on the human form, which was a departure from the abstract expressionism that dominated the art world in the post-World War II era
• The sculpture's abstract form and lack of specific features speaks to Abakanowicz's interest in the universality of the human experience
• Androgyne III is an example of the artist's use of organic and organic-inspired forms in her work, which was influenced by her early education in agriculture and her experiences during World War II.

Dancing at the Louvre:

Faith Ringgold, Dancing at the Louvre, 1991, acrylic on canvas, tie-dyed, pieced fabric border, 73.5 x 80 inches, from the series, The French Collection, part 1; #1 (private collection)

• "Dancing at the Louvre" is a quilt created by American artist Faith Ringgold in 1988.
• The quilt features a scene of people dancing in front of the Louvre Museum in Paris, France.
• The piece is made from fabric and is part of Ringgold's series of story quilts that explore social and political issues.
• The quilt combines the traditional medium of quilting with references to modern art and pop culture.
• "Dancing at the Louvre" is significant in the art world for its commentary on cultural appropriation and the representation of African Americans in museums and fine art.
• The quilt is also notable for its use of vibrant colors, patterns, and composition, which showcase Ringgold's distinctive style.

Electronic Superhighway:

Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995, fifty-one channel video installation (including one closed-circuit television feed), custom electronics, neon lighting, steel and wood; color, sound, approx. 15 x 40 x 4 feet (Smithsonian American Art Museum) © Nam June Paik Estate

• "Electronic Superhighway" is a work of conceptual art by Nam June Paik
• It was created in 1995
• The work is an installation piece that features multiple monitors and screens
• It is a representation of the artist's vision of a future world dominated by technology and the internet
• The piece highlights the increasing influence of electronic media on society and culture
• The installation is designed to immerse the viewer in a world of rapidly moving images and sounds
• "Electronic Superhighway" reflects Paik's belief in the potential of technology to create a more connected and connected world.

Stadia II:

Julie Mehretu, Stadia II, 2004, ink and acrylic on canvas, 108 x 144 inches (Carnegie Museum of Art, Pittsburgh) © Julie Mehretu

• Stadia II is a large-scale painting created by Ethiopian-American artist Julie Mehretu in 2004
• It is part of Mehretu's Stadia series, which explores the concept of stadia, or sports arenas, as symbols of power and control
• Stadia II measures approximately 10 feet by 20 feet and is made with acrylic, pencil, and ink on canvas
• The composition features overlapping layers of abstract forms, symbols, and marks that suggest a chaotic, fragmented world
• The forms in Stadia II are meant to evoke a sense of motion and energy, as well as the architecture of stadia and other public spaces
• The color palette is predominantly black, white, and gray, with occasional pops of bright colors, such as red and yellow, that emphasize the dynamic energy of the composition

• Stadia II is a powerful expression of Mehretu's interest in the intersection of politics, history, and the built environment, and it continues to be a significant work in her oeuvre.

Materials, Processes, and Techniques in Global Contemporary Art is a fascinating and dynamic subject that encompasses a wide range of styles, mediums, and techniques. The Horn Players, Androgyne III, Dancing at the Louvre, Electronic Superhighway, and Stadia II are examples of works that challenge traditional art forms, explore new materials, and push the boundaries of artistic expression. Whether you are interested in surrealist imagery, the intersection of technology and art, or the relationship between nature and art, this study guide provides a comprehensive introduction to some of the most innovative and influential works of contemporary art.