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Ap Art > Test 11 > Flashcards

Test 11 Flashcards

1
Q

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

A 
Louis Sullivan (architect)
The Father of Skyscrapers
Form must follow function”
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2
Q

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

A

Villa Savoye

The house should be a machine for living in..

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3
Q

pilotis (slender columns)

A

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

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4
Q

ribbon windows

A

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

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5
Q

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

A

Frank Lloyd Wright (architect)

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

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6
Q

Prairie school

A
  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
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7
Q

mullions

A

(vertical bar between panes of glass)

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8
Q

ferro-concrete

A

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.

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9
Q

cantilevers

A

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

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10
Q

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

A

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

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11
Q

Father of post modernism

A

Less is bore

Robert Venturi

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12
Q

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

A

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

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13
Q

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

A 
Frank Gehry (architect). 
Krens urged Gehry to “make it better than Wright”
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14
Q

CAD

A

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.

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15
Q

Deconstructivist architecture

A

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.

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16
Q

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

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

A 
Zaha Hadid (architect).
designed to embody the chaotic fluidity of modern lif
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17
Q

Norman Foster

A

Thinking where will we be in one hundred years

Neo-Futurism- the current architecture movement

18
Q

LEED

A

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.

19
Q

Diagrid system

A

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

20
Q

What is appropriation?

A

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

21
Q

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

A

Cindy Sherman

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

22
Q

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

A

Faith Ringgold.

23
Q

story-quilting

A

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.

24
Q

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

A

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.

25
Q

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

A

Emily Kame Kngwarreye.

- contained storytelling and dance

26
Q

Green Time

A

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.

27
Q

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

A

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

28
Q

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

A

Mariko Mori.

29
Q

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

A

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.”

30
Q

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

A

Wangechi Mutu.

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

31
Q

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

A

Christo and Jeanne-Claude.

reinforce and highlight pre-existing routes within this manmade environment

32
Q

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

A

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).

33
Q

machismo

A

a strong sense of masculine pride

34
Q

Chucherías

A
  • 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—
35
Q

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

A

Nam June Paik.

Flux

36
Q

Fluxus

A

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.

37
Q

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

A

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

38
Q

self-annihilation

A

Self-destruction.

39
Q

Shibboleth. 2007–2008 C.E. Installation.

A

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

40
Q

Spazialismo

A

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

41
Q

transgressive

A

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

Ap Art (3 decks)

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