Test 11

Question 1

Carson, Pirie, Scott and Company Building. Chicago, Illinois, U.S.. 1899–1903 C.E. Iron, steel, glass, and terra cotta. (3 images)

Answer 1

Louis Sullivan (architect)
The Father of Skyscrapers
Form must follow function”

Question 2

135.Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and reinforced concrete.

Answer 2

Villa Savoye

The house should be a machine for living in..

Question 3

pilotis (slender columns)

Answer 3

to raise the building off the ground and allow air to circulate beneath

Question 4

ribbon windows

Answer 4

which let in light but also reinforced the planarity of the wall.

Question 5

Fallingwater. Pennsylvania, U.S.. 1936–1939 C.E. Reinforced concrete, sandstone, steel, and glass.

Answer 5

Frank Lloyd Wright (architect)

He believed buildings should serve to honor & enhance the natural beauty surrounding them

Question 6

Prairie school

Answer 6

1. which strove for an “organic architecture” in designs for homes and commercial buildings.
2. Simplicity & natural beauty
3. Specifically American
4. Contrast to the ornate architecture that prevailed in Europe

Question 7

mullions

Answer 7

(vertical bar between panes of glass)

Question 8

ferro-concrete

Answer 8

Ferro concrete refers to concrete strengthened using iron or steel bars. It is also called as reinforced concrete. Ferro concrete remains a popular technique used in construction industry.

Question 9

cantilevers

Answer 9

architecture, a beam or structure that is anchored at one end and projects horizontally beyond its vertical support

Question 10

Seagram Building. New York City, U.S. 1954–1958 C.E. Steel frame with glass curtain wall and bronze.

Answer 10

Ludwig Mies van der Rohe and Philip Johnson (architects).

Question 11

Father of post modernism

Answer 11

Less is bore

Robert Venturi

Question 12

House in New Castle County. Delaware, U.S. 1978–1983 C.E. Wood frame and stucco.

Answer 12

Robert Venturi, John Rauch, and Denise Scott Brown (architects).
Build for a family of 3

Question 13

Guggenheim Museum Bilbao. Spain. 1997 C.E. Titanium, glass, and limestone. (3 images)

Answer 13

Frank Gehry (architect). 
Krens urged Gehry to “make it better than Wright”

Question 14

CAD

Answer 14

Computer Assisted Design: dismantling hard geometry of modernism
Gehry’s use of cutting-edge computer-aided design technology enabled him to translate poetic forms into reality. The resulting architecture is sculptural and expressionistic, with spaces unlike any others for the presentation of art.

Question 15

Deconstructivist architecture

Answer 15

development of postmodern architecture that began in the late
•characterized by fragmentation, an interest in manipulating a structure’s surface, skin, non-rectilinear shapes which appear to distort and dislocate elements of architecture
•The finished visual appearance is characterized by unpredictability and controlled chaos.

Question 16

MAXXI National Museum of XXI Century Arts. Rome, Italy.

2009 C.E. Glass, steel, and cement.

Answer 16

Zaha Hadid (architect).
designed to embody the chaotic fluidity of modern lif

Question 17

Norman Foster

Answer 17

Thinking where will we be in one hundred years

Neo-Futurism- the current architecture movement

Question 18

LEED

Answer 18

LEED, or Leadership in Energy and Environmental Design, is changing the way we think about how buildings and communities are planned, constructed, maintained and operated
LEED-certified buildings are resource efficient. They use less water and energy and reduce greenhouse gas emissions. As an added bonus, they save money.

Question 19

Diagrid system

Answer 19

a framework of diagonally intersecting metal, concrete or wooden beams that is used in the construction of buildings and roofs.It requires less structural steel than a conventional steel frame

Question 20

What is appropriation?

Answer 20

the practice of using pre-existing objects and images in an artwork without really altering the originals

Question 21

Untitled (#228), from the History Portraits series.. 1990 C.E. Photograph.

Answer 21

Cindy Sherman

Recalls a long tradition of self-portraiture and theatrical role-playing in art

Question 22

Dancing at the Louvre, from the series The French Collection, Part I; #1. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border.

Answer 22

Faith Ringgold.

Question 23

story-quilting

Answer 23

is important to meaning in her work. She creates the central image using acrylic paint on canvas, reflecting her knowledge of western art history in both style and subject matter, and surrounds it with a patchwork cloth border that includes her hand-written text.

Question 24

Trade (Gifts for Trading Land with White People). 1992 C.E. Oil and mixed media on canvas

Answer 24

Jaune Quick-to-See Smith.
illustrates historical and contemporary inequities between Native Americans and the United States government.

layered images, paint, and objects = suggest layers of history and complexity.
Divided into three large panels, the triptych (three part) = reminiscent of a medieval altarpiece.

Question 25

Earth’s Creation. 1994 C.E. Synthetic polymer paint on canvas. Awelye

Answer 25

Emily Kame Kngwarreye. | - contained storytelling and dance

Question 26

Green Time

Answer 26

these works reference the changing atmospheric character of seasonal cycles. Earth’s Creation documents the lushness of the “green time” that follows periods of heavy rain, and makes use of tropical blues, yellows and greens.

Question 27

Rebellious Silence, from the Women of Allah series.1994 C.E. Ink on photograph.

Answer 27

Shirin Neshat (artist); photo by Cynthia Preston allowed a more contemplation of common stereotypes and assumptions about Muslim women, and serves to challenge the suppression of female voices in any community

Question 28

Pure Land. 1998 C.E. Color photograph on glass.

Answer 28

Mariko Mori.

Question 29

Lying with the Wolf. 2001 C.E. Ink and pencil on paper.

Answer 29

Kiki Smith Instead of presenting them in their traditional roles as predator and prey, Smith re-imagined these characters as companions, equals in purpose and scale.”

Question 30

Preying Mantra. 2006 C.E. Mixed media on Mylar.

Answer 30

Wangechi Mutu. | the female can become a sexual cannibal—eating her submissive mate.

Question 31

The Gates. New York City, U.S. 1979–2005 C.E. Mixed-media installation. (2 images)

Answer 31

Christo and Jeanne-Claude. reinforce and highlight pre-existing routes within this manmade environment

Question 32

En la Barberia no se Llora (No Crying Allowed in the Barbershop). 1994 C.E. Mixed media installation.

Answer 32

Pepon Osorio. Nuyorican refers to the Puerto Rican living in New York “Nuyorican Baroque” (a reference to the seventeenth-century style characterized by theatricality and lavishness and found in both Europe and Latin America).

Question 33

machismo

Answer 33

a strong sense of masculine pride

Question 34

Chucherías

Answer 34

* Spanish for trinkets or knick-knacks * known to art historians as kitsch (mass produced objects characterized by—or ironically admired for—their bad taste) * a flag, fake foliage, baseballs, framed portraits of famous Latin American and Latino men * serve to localize the work, yet these objects also raise issues of social class expressed here through taste, and the distinction between high and low art—

Question 35

Electronic Superhighway. 1995 C.E. Mixed-media installation (49-channel closed circuit video installation, neon, steel, and electronic components).

Answer 35

Nam June Paik. | Flux

Question 36

Fluxus

Answer 36

an international art movement that emerged in the 1960s; artists challenged the authority of museums and “high art” and wanted to bring art to the masses. Influenced by Zen Buddhism, their art often involved the viewer, used everyday objects, and contained an element of chance.

Question 37

The Crossing. 1996 C.E. Video/sound installation.

Answer 37

Bill Viola. meditative and contemplative; requires the viewer to concentrate for a longer duration of time and simultaneously to increase his or her own awareness of detail, movement and change. Zen Buddhist meditation fire and water often symbolize change, redemption, transformation and renewal

Question 38

self-annihilation

Answer 38

Self-destruction.

Question 39

Shibboleth. 2007–2008 C.E. Installation.

Answer 39

Doris Salcedo. illustrates how friends and enemies are separated by fine, linguistic lines. Studied abroad and made her realize how difficult It was to live as an outsider Ravine = the immigrant experience in Europe -Racial segregation that marks ppl from the third-world as “other” Scar = hope

Question 40

Spazialismo

Answer 40

an approach to art-making that converted the two-dimensional canvas into a three-dimensional space.

Question 41

transgressive

Answer 41

the act of deliberately breaking one’s media (in this case a concrete floor) is an act of rebellion.