WEEK 6- Anish Kapoor Sculpture

Week 6- Anish Kapoor Sculpture

Anish Kapoor

Celebrated for his gigantic, stainless steel Cloud Gate sculpture in Chicago’s Millennium Park, Anish Kapoor is changing the cultural environment with his public works. 

1.Research Kapoor's work in order to discuss whether it is conceptual art or not. Explain your answer, using a definition of conceptual art.

Conceptual art is a contemporary art form in which the idea and concept represent by the artist is more important than the finished project. To show more of the idea rather than to create an object based on it. I believe that Anish Kapoor’s work is considered more conceptual art as he shows more consideration of his idea on what he what to show rather than the object, and that they all go outside traditional processes and development of art that is shown.

2. Research 3 quite different works by Kapoor from countries outside New Zealand to discuss the ideas behind the work. Include images of each work on your blog.

Created to be a lasting legacy of London’s hosting of the 2012 Olympic Games, as well as being Britain’s largest public art, the ARcelorMittal Orbit is a clear example of conceptual art, which focuses less of the work and more of the abstract idea behind it. The tower is created to be wild and unexpected, with its ideas focused in terms of space, both in its external structure and its internal area. It is made not easy to understand.

ARcelorMittal Orbit (2012)

Sky Mirror is one of few similar public sculptures that consists of a six-meter wide concave dish made of polished stainless steel and angled up towards the sky. Its surface reflecting every part of the surrounding environment, the idea is focuses on the changes that occurs throughout day and night which he calls ‘non-object’, a sculpture that “despite its monumentality, suggests a window or void and often seems to vanish into its surroundings.” This is related to also what he calls the ‘notion of the void’.

Sky Mirror (2006)

Cloud Gates, considered one of the most recognized in Kapoor’s work, is consisted of 168 stainless steel plates weld together and highly polished so that it doesn’t show any visible seems. Inspired by the liquid mercury, the ideas here focuses on the reflective distortion of the city’s skylines, we "the space doesn't recede - it comes out at you ... a new sublime that's forward of the picture plane." (guardian.co.uk)

Cloud Gate (2004)

3.Discuss the large scale 'site specific' work that has been installed on a private site in New Zealand.

The piece known as “Dismemberment site 1” is one of the few piece of art that was specifically made by Anish Kapoor for  New Zealand-born businessman and art collector, Alan Gibbs, who invite him to New Zealand to create the piece. It was completed in 2009.

Dismemberment, Site 1

4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?
Dismemberment, Site 1 is located on Alan Gibb’s sculpture park known as "The Farm", which 50 km north of Auckland. The sculpture is made out of steel tubes and tension fabric known as PVC membrane that is stretched throughout the metal frame. For Kapoor’s idea, they are mainly focused on the connection between the work and the landscape that it occupies, and making the landscape part of his work. Wanting to “… make body into sky” his work is considered architectural, but his membrane help make it feel fleshy and living, to help add the depth in relation to its area. And its transformation of being a vertical and into a horizontal at each end also help it showing it connection to the land in terms of being unstable, being disjointed or dismembered, hence it’s name.

5. Comment on which work by Kapoor is your favourite, and explain why. Are you personally attracted more by the ideas or the aesthetics of the work?
My most favorite work by Kapoor is the London tower, also known simply as the orbit tower; the reason for this is due to the complex structure and the abstract design that is really innovative and unique. For this work, I believe that I am personally more attract to the aesthetics of the work as I find the look of the design to be just a great as the idea behind it, which is sometimes quite unique even in the art world.

 http://www.caroun.com/art/conceptualart/conceptualart.html

http://www.merriam-webster.com/dictionary/conceptual%20art

http://www.gibbsfarm.org.nz/kapoor.php

http://www.anishkapoor.com/326/Dismemberment,-Site-I.html

http://publicartfund.org/pafweb/projects/06/kapoor/kapoor-06.html

http://explorechicago.org/city/en/things_see_do/attractions/dca_tourism/MP_orinigal.html

http://www.newstatesman.com/blogs/art-and-design/2012/07/arcelormittal-orbit-londons-eiffel-tower

WEEK 5 - Pluralism and the Treat of Waitangi

Week 5 - Pluralism and the Treat of Waitangi

Pluralism and the Treaty of Waitangi

In teaching week 5 you will discuss pluralism and the Treaty of Waitangi in your tutorials.

Use this discussion, the notes in your ALVC book and the internet to respond to the following

questions;

1. Define the term 'pluralism' using APA referencing.

“A theory that there are more than one or more than two kinds of ultimate reality” (merriam-webster n.d.)

“A state of society in which members of diverse ethnic, racial, religious, or social groups maintain and develop their traditional culture or special interest within the confines of a common civilization” (merriam-webster n.d.)
2. How would you describe New Zealand's current dominant culture?

While it is largely being occupied by both Maoris and Europeans, in my opinion, I believe that New Zealand is the only country that is successful in being culturally diverse, while this land was once dominated by its indigenous people the Maori, and later by the European settler who later colonized it, I believe that this country is one of the special few that accepts all forms of religion, and belief, not just European, or Maori, but Asians, pacific, Indonesia etc. Even if we are defined by such icons as the kiwi, black boots, all blacks, etc, these things themselves don’t represent one culture of either the Maoris, or European, they represent all. So in conclusion, I don’t think we have specific dominant culture (than just being New Zealand).
3. Before 1840, what was New Zealand's dominant culture?

The dominant culture that exist before 1840 were the Maoris, the indigenous people of New Zealand who originally settle here from the pacific before the British came and adapted themselves towards the Maori culture. They ultimately lose control when the treaty of Waitangi was signed.

4. How does the Treaty of Waitangi relate to us all as artists and designers working
in New Zealand?

After the Treaty was signed allot of Maoris lost their land due to European influences, causing their people to decrease during the later decade, but after that, the European began to realize their mistakes and gave back their land and help reignite their rich culture which was restricted during that time, this part was famous in New Zealand history as it help the people in accepting other cultures into their society, allowing artist to not just being inspired of Maori cultures, but other culture that exists as well. Without it, Maori would of course never lose their land, but it would also mean that they and their Europeans counterparts would have never learnt to accept others in the first place.

5. How can globalization be seen as having a negative effect on 'regional diversity' that leads to a 'homogenized world culture' in New Zealand in particular? (ALVC2 handbook page 52, http://searchcio.techtarget.com/definition/globalization)

This can be seen as having a negative effect, not just in New Zealand, but in all parts of the world. Known as cultural appropriation, this term refer is a theft of ideas from primitive culture by more dominant and modern culture, sometimes doing it without having a real understanding to it. These actions would stop not just Maoris but any indigenous or primitive culture from practice their customs, due to such theft, becoming more isolated from the world, which they would rather hide them, then let them get stolen by other.
6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Three quarter view ' (2005) to analyze what he is saying about colonialization and the Treaty of Waitangi.

Shane Cotton was an New Zealand artist who is heavily influence by the history of Maori and New Zealand culture, including the Treaty of Waitangi. Shane Cotton’s “Welcome” shows the image of both the head drawings of Jesus (who of course represent the European settlers) and a Maori, they are done in a proportional manner to help show their connection and common relation that they have in terms of cultural diversity. While the second artwork, called “ Three Quarter View” is a depiction of a European man named Barnet Burns, former sailor who was the first white man to have ever gained a full moko (Maori facial tattoo) when he decides to live among the Maori people before returning to Europe years later. The artwork depicts a copy of Burns face, which is strip back to leave only his moko intact, converting him from appearing as a European man with a Maori tattoo into a Maori man, without showing any hints of before. This work, including additional abstract design and color clearly not associated more with Maori culture help to represent more of the idea in cultural diversity and the effects of colonization in New Zealand.

 

'Welcome' (2004) Shane Cotton 

http://www.printsandprintmaking.gov.au/catalogues/work/52293/shane-cotton-welcome.aspx

  

'Three Quarter view'(2005) Shane Cotton

http://artsearch.nga.gov.au/Detail-LRG.cfm?IRN=149998 

http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412

Barnet Burns

7. Tony Albert's installation 'Sorry' (2008) reflect the effects of colonization on the aboriginal people of Australia. Research the work and comment on what Albert is communicating through his work, and what he is referring to. Describe the materials that Albert uses on this installation and say what he hopes his work can achieve.

Tony Albert’s work “Sorry” is based on a apology made from 26^th Australian Prime Minster Kevin Rudd to the Aboriginal people. The idea of the work was trying to capture and reflect the great deal of emotion of the indigenous people, who had suffered of the many years by the British people who colonized the lands. The work is made up of framed pictures and trinkets displaying the people of the aboriginal, along with the apology. And what he hopes to achieve though his work obviously is to make people understand the mistake that they have done to the people, the after math of their actions, and to help the people give
8. Define the term 'kitsch'.

Based on the German word meaning “Rubbish” it is something that appeal to low taste and of poor quality. And in terms of art, it is a form that is considered inferior and tasteless version of an art of recognized value.
9. Explain how the work of both artists relates to pluralism.

They both related due to both their acceptance of respective cultures. Since pluralism is about having two or more things exist in the same space or reality, both work focuses on the ideas of cultural differences and how each of the cultures relates to each other in their respective pieces, relating back to the acceptance and value of everything.

                                       Tony Albert | Australia b.1981 | Girramay people | Sorry 2008 |

                                               Found kitsch objects applied  to vinyl letters | 99 objects :    

                                               200 x 510 x 10cm (installed) | The James C Sourris Collection.

                                               Purchased 2008 with funds from James C Sourris through the 

                                               Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

http://www.merriam-webster.com/dictionary/pluralism

http://www.merriam-webster.com/dictionary/kitsch

http://csmt.uchicago.edu/glossary2004/kitsch.htm

http://www.realartroadshow.co.nz/essays/Cotton%20Shane_Kenesis-Kotahi%20Ki%20Kotahi.pdf

http://cs.nga.gov.au/Detail.cfm?IRN=149998

http://www.theaustralian.com.au/arts/curios-of-the-contemporary/story-e6frg8n6-1111119151528

http://www.slideshare.net/diversityforum2011/living-in-new-zealand-in-your-culture-poverty-and-cultural-privilege

WEEK 4 - Kehinde Wiley and inter-textuality

Week 4 - Kehinde Wiley and inter-textuality

Kehinde Wiley

1. Untitled (2009)

Van Dyck 'Prince Thomas'

2. Untitled(2009)

3. Kehinde Wiley Count Potocki, 2008 oil on canvas, 274.3 x 274.3cm

4. Kehinde Wiley Support Army and Look after People, 2007 oil on canvas, 258.4 x 227.3cm

Kehinde Wiley is a Gay American based painter born in Los Angeles, who has an international reputation. Wiley lives and practices between Beijing and Brooklyn.

This weeks ALVC class focuses on the Postmodern theme "INTERTEXTUALITY", re-read Extract 1 The death of the author on page 44 of your ALVC books and respond to the oil paintings of Kehinde Wiley. 

1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly. 

“The concept of Intertextuality reminds us that each text exists in relation to others.” (Chandler 2003)

“The complex interrelationship between a text and other texts taken as basic to the creation or interpretation of the text” (merriam-webster n.d.)

In my own personal perspective, this term refers to a complex relationship between two or more previews concept or idea which is used as a basis in a creation of a new concept or idea. What this tells us is that nothing that is made is original, and that everything is build on something else, one way or another, throughout every work, even works that are considered to be new and original of their time e.g. Stars Wars, Avatar, Pulp Fiction, etc, are just based on other ideas that are either not as popular as their later ideas, or that their perspective media were so different that no one could make that connection.
2. Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work. 

Kehinde Wiley is famous due to his naturalistic heroic portraits paintings of young African-American men in contemporary culture, mostly of young American street youths of New York wearing clothes and expression that relate to black culture. His work shows clear depiction of intertexuality, due to his adaptation of “heroic poses” that is a clear reference to classical European/ renaissance portrait art of the 16^th to 17^th century. Using famous scenes of other historical portraits such as Napoleon, he used these “structures” to depict the value and pride of the black community, in contradiction to the violence and poverty that are usually common to the life of African American. He also uses the adaptation of renaissance art, ones that are commonly associated with depicting those who have greater power and wealth, and use those to also depict the strength and wealth of the African American people. This influence of classical European art in his own style is what supports the notion of intertextuailty in his work.  

3. Wiley's work relates to next weeks Postmodern theme "PLURALISM" . Read page 51 and discuss how the work relates to this theme.

A term used as the main characteristic of post modern and universally defines as two or more s kinds that exist in once space or reality at the same time, pluralism in a society is an acceptance of different culture and form within the confines of common civilization. His work relates to this theme as it expresses Wiley’s ideas of ethnicity and cultural diversity, including all people regardless of race, sex religion, etc. So having these young African-Americans depicted in these heroic pose typical to upper class white males challenges the viewer, in terms of breaking these social boundaries.

4. Comment on how Wiley's work raises questions around social/cultural hierarchies , colonisation, globalisation, stereotypes and the politics which govern a western worldview. 

Wiley’s artwork is shown to challenge the western society of the dominant white culture. Using his artistic skills to adapt the style of the Classic renaissance period, and reinventing them in the presence of African American, he is breaking the boundaries of classes based on cultural ethnicity, most obviously in terms of white and black American, and just switch their roles, to help show the equality between these cultures, and questioning these ideas on today’s society, contradicting past laws and accepting more of his ideas.
5. Add some reflective comments of your own, which may add more information that
you have read during your research.

Personally I enjoyed watching this artwork, I find them to be very interesting in terms of how he approached his work, in terms of making them very detailed, showing great skill, as well as for the use of bright colours and patterns, in contrast to traditional paintings. What I also admire about his work is how clever his was of mixing these ideas together, combining the subjects to help communicate his ideas.

http://www.aber.ac.uk/media/Documents/S4B/sem09.html
http://www.deitch.com/artists/sub.php?artistId=11

http://www.interviewmagazine.com/art/kehinde-wiley/#_
http://www.kehindewiley.com.html

http://www.merriam-webster.com/dictionary/intertextuality

http://www.merriam-webster.com/dictionary/pluralism

WEEK 3 - Hussein Chalayan and Post-Modern Fashion

Week 3- Hussein Chalayan and Post-Modern Fashion

Hussein Chalayan

Chalayan is an artist and designer, working in film, dress and installation art. Research Chalayan’s work, and then consider these questions in some thoughtful reflective writing.

1. Chalayan’s works in clothing, like Afterwords (2000) and Burka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are Afterwordsand Burka fashion, or are they art? What is the difference?

Not all clothing is fashion, so what makes fashion fashion? (Research some definitions  for these terms.)

For me personally, I believe that Hussein’s work closely resembles more in terms of the genre of post modern design. Similar to the arts previewed from the last blog, one of the artworks (called Burka-1996) shows this idea as it helps gives the viewer a shocking idea in terms of what we normally see, challenging the viewers ideas in the world’s popular perspective of its culture (for that being of Muslim tradition for woman, who would cover their entire body, particularly the face to avoid being seem from strangers) as well as the plural idea that came along with it, not truly making sense in a way and therefore mixing the contrast between the culture and its time difference as well as breaking from its original tradition to from this new hybrid form of high and low class. This is also seen in its other work, called the Afterwords, which also shows the idea of post modern based on texture and time, where the “metal skirt” gives a more ancient and traditional look in contrast to the rest of the contemporary modern look, creating a big contrast related to post modernism.

In terms of separating art from fashion, I found it quite difficult in some way of separating the two works, believing them both to be considered as art and fashion, as the fact that fashion is mostly considered being part of art. But in the end, I choose them to be more of art.  the difference that can be found in both the dictionaries as well as from my personal perspective, Art (being mainly focused in terms of visual arts that focus more on drawing, painting and sculpturing) is any class of subject and/or thing that focus mainly on the anesthetic features, and used to express either an emotion or ideas, while fashion, most commonly known for the style of any clothing worn is either a once conventional usage, or in the current status in society, is also related to a phase “the make or form of anything”. So this is why I consider them difficult to contrast.

I guess that for fashion to be fashion in terms of contemporary society, I believe that they are the ones that can obviously be worn, but worn in a way that is more in terms of style, where it is more related to its use, better than the look and idea behind it.  

Hussein Chalayan, Burka (1996) (99

6

                                                                 Hussein Chalayan, Afterwords, 2000

2. Chalayan has strong links to industry. Pieces like The Level Tunnel (2006) and Repose (2006) are made in collaboration with, and paid for by, commercial business; in these cases, a vodka company and a crystal manufacturer. How does this impact on the nature of Chalayan’s work? Does the meaning of art change when it is used to sell products? Is it still art?

As explained in the first question, while art is mainly consider a visual representation, that are commonly associated with drawing, painting and sculpture, It is accurately if not quite recently considered ‘Anything’ that is used to express or convey a form of idea and/or emotional state. It is limitless and could be anything whether they are symbolic, ritual, behavior, and of the kinds of media they used such as music, poetry, etc. I believe that Chalayan’s work is still art. But how I believe these commercial businesses

 Impact on the nature of his work is how the audience now receives them to be. Due to his strong connection to the industry, instead of the companies using his work, Chalayan is instead using them to show his work. He uses the companies as a form of visual communication used to help gain a mass media attention to his work, making them famous and popular. Even though they would be more associated with the product then the artist, Chalayan would have still achieve his goal of showing his ideas to the world, as he once said during a interview “My work is about ideas. If I had to define my philosophy in just a few words, it would be about an exploration, a journey, and storytelling”. So therefore, it is why I believe they are still considered art.

3. Chalayan’s film Absent Presence screened at the 2005 Venice Biennale. It features the process of caring for worn clothes, and retrieving and analysing the traces of the wearer, in the form of DNA. This work has been influenced by many different art movements; can you think of some, and in what ways they might have inspired Chalayan’s approach?

For the Film Absent Presence, the several different art movements which could have influences and inspired the movie by Chalayan, were the ideas of humanism, shown through the uses of processing the worn clothes by using DNA, as well as the story being based on “identity, geography, genetics, biology and anthropology” (“Hussein Chalayan,” 2011). But the main art movements which could have mainly influence the idea of the film were the Enlightenment, and the industrialization, both due  to the use of science and technology that make up the concept of the story, as well as how it could remind us of how our clothes were being made through the use of machine, as well as its concept that despite what me make would not last very long, we still leave a bit of ourselves in them (in this case, our DNA), which could have been how and why he as so inspired with this approach. 

by m

Hussein Chalayan, still from Absent Presence, 2005 (motion picture)

4. Many of Chalayan’s pieces are physically designed and constructed by someone else; for example, sculptor Lone Sigurdsson made some works from Chalayan’s Echoform (1999) andBefore Minus Now (2000) fashion ranges. In fashion design this is standard practice, but in art it remains unexpected. Work by artists such as Jackson Pollock hold their value in the fact that he personally made the painting. Contrastingly, Andy Warhol’s pop art was largely produced in a New York collective called The Factory, and many of his silk-screened works were produced by assistants. Contemporarily, Damien Hirst doesn’t personally build his vitrines or preserve the sharks himself. So when and why is it important that the artist personally made the piece?

I don’t think that it is very important of whether or not the artist personally made the piece, although having them make it would both have them work being understood more by the artist and that it help audience to sometimes identify the work due to the approach in style, the most important thing I believe show be shown is the idea. Having someone physically design a particular or complete aspect of the work is like using a tool, you are using their ability or what they good at to create your idea so it is instantly their property and that is why they would get all or most of the credit. In fact, most of ideas uses other people to help make it into reality, rather they be thoughts who mass produces them or ones that design them personally as much as the artist. So even if someone makes most of the hard work without their ideas and their direction that shape the work to where it is, most works would have never existed.

http://art100.wikispaces.com/Hussein+Chalayan

http://arttattler.com/designhusseinchalayan.html

http://designmuseum.org/design/hussein-chalayan
http://dictionary.reference.com/browse/fashion?s=t
http://dictionary.reference.com/browse/art

http://dilsahdesigndiary.blogspot.co.nz/2010/10/review-on-hussein-chalayan.html 

http://www.husseinchalayan.com/#/home/
http://www.designboom.com/eng/interview/chalayan.html 

WEEK 2 - Post-Modernism - Ai Weiwei and Banksy.

Week 2 - Post-Modernism - Ai Weiwei and Banksy.

 POST-MODERNISM

This week's ALVC tutorial covers Post-Modernism. Use the ALVC texts and definitions from the internet to define the term and answer the following questions;

1. Define Post-Modernism using 8-10 bullet points that include short quotes.

        

• Pluralism-“Let me first say that I believe postmodernism represents an important virtue. This virtue is pluralism.” 
• · Contingency-“Reality does not determine language, language determines reality.” This position may be called linguistic idealism, a radical and quite bizarre idea that language constructs reality.” 
• · Deconstuctive-“Deconstructive postmodernism seeks to overcome the modern worldwide, and the assumptions that sustain it, through what appears to be an anti-worldwideview.” 
• · Relativism-“Postmodernism is associated with relativism. Relativism is the idea that “anything goes.” 
• · Rejection of modernist thinking-“Postmodernism rejects “reason, the notion of truth, the belief in the perfectibility of man, and the idea that we could create a better, if not perfect, society
• Magical realism-“Arguably magical realism is the introduction of fantastic or impossible elements into a narrative that is otherwise normal. Magical realist novels may include dreams taking place during normal life, the return of previously deceased characters, extremely complicated plots, wild shifts in time, and myths and fairy tales becoming part of the narrative.”
• Intertextuality-“The intertextuality of certain works of postmodern fiction, the dependence on literature that has been created earlier, attempts to comment on the situation in which both literature and society found themselves in the second half of the 20th century”
• · Technoculture and hyperreality-“In his essay of the same name, Frederic Jameson called postmodernism the “cultural logic of late capitalism.” According to his logic, society has moved beyond capitalism into the information age, in which we are constantly bombarded with advertisements, videos, and product placement. Many postmodern authors reflect this in their work by inventing products that mirror actual advertisements, or by placing their characters in situations in which they cannot escape technology.
  ”

2. Use a quote by Witcombe (2000) to define the Post-Modern artist.(page 24)

“The post-modern artist is “reflexive” in that he/she is self-aware and consciously involved in a process of thinking about him/herself and society in a deconstructive manner, “damasking” pretentions, becoming aware of his/her cultural self in history, and accelerating the process of self-consciousness.”

3. Use the table on pages 47 and 48 in your ALVC handbook to summarize the list of the features of Post-Modernity.

From studying the table on page 47-48 on the resources, what I could understand in my own sense about what post modernism is that first off it is considered a rival reaction that challenges that idea of modernity. while the idea of modernism focuses on kind of more of a utopian ideas, where it combines traditional belief and teachings into more contemporary thoughts in one unity, post modern focus on the opposite in terms of disunity as well as the ultimate idea in pluralism (a idea where there is more than one kinds of things/reality that exist at the same time). so this idea allows two or more ideas and purpose to exist without have to be related together, allowing many belief and theories to happen. This allows art to exist in almost anything, and depending on the individual views it can be limitless, allowing many ideas to exist in one space without each having to connect to one another. So as Saugstad, A said, there is “No Grand Narrative” it is open to all.

Use this summary to answer the next two questions.

4. Research Chinese artist Ai Weiwei's 'Han Dynasty Urn with Coca-Cola logo'(1994)
in order to say what features of the work could be considered Post-Modern.

For the work of Contemporary Chinese artist Al Weiwei, I believed that his work," Hans Dynasty Um with Coca-Cola Logo (1994)" does show features of post modern ideas, both in a commons themes of the idea as well as a personal belief to the artist, as most of his work challenges the values of Chinese society in their belief of China's communism structure, as well as his government stands in democracy and human rights. For the physical aspects the urn obviously even in current times represents the rich historical aspects of specific to china, while the coca-cola, an America brand is widely recognized throughout the world as a current popular symbol and culture. their mixture in both time and culture is a obvious relation to post modernism as it symbolize the relation between their tradition and history, ignoring the rules and ideas places on modernism and embracing the post modern idea of pluralism, where it doesn’t need to relate, just exist, as the placing of a coca cola brand in an ancient Chinese relic could have been very offensive to the Chinese, as it is implying the idea of foreign invasion due to the American, if not international standing of the brand, therefore corrupting their cultural and historical aspects of china, which all relates to how they fit in to the post modern belief of values are being both challenge if not subjective.

'Han Dynasty Urn with Coca-Cola logo'(1994), Ai Weiwei

Ai Weiwei dropping a Han Dynast Urn.

1.      Research British artist Banksy's street art, and analyze the following two works by the artist
to discuss how each work can be defined at Post-Modern.(Use your list from question 3.)

For the two works of British graffiti artist Banksy, I believe that each of the work shown can be considered as post modern as each of the work shows the mixture of two different ideas which would be mostly opposite to each other in both the aspects of time and culture, yet they are still present. He disguise each works in a humorous if not ironic style, while still open enough to show his view on society and politics in general. This is first show in his first work, the Flower Riot (2008) which portrays an angry rioter, but instead of throwing what should have been a dangerous home-made range weapon of some sort, like a Molotov, he is holding a bunch of colorful flowers which contradicts what he was supposed to hold. This idea would have helped show the theme of peace, and the display of antiwar, as the flower would have just scatter. this I believe is quite successful in relation to post modern as it uses two opposite style of art and combines them to help communication one idea, where the rioter, a common use of war and revolution, would lead the audience, then the flower would have symbolize the works true nature of peace. But this is only one obvious reason for it, as a post modern work, there is no straight answer, so there is more than one purpose for what it represents. For the second work named Los Angeles (2008) it shows a caveman holding a fast food tray with all the common "McDonald" meal. This work also shows an obvious relation of post modern based on the mixture of culture and era, where he is in way advertising that kind of fast food restaurant, so it has some relation to commercialism. This also helps in contradicting modernism because unlike modernism which is related to the current or present era, post modern is related to all style of era, so that anyone, even caveman could obtain fast food, or in some sense

'Flower Riot', Banksy

Los Angeles (2008), Banksy

http://dailyserving.com/2010/07/ai-weiwei-dropping-the-urn/

http://www.artlyst.com/articles/ai-weiwei-takes-on-coca-cola-in-new-london-exhibition

http://arthistoryresources.net/modernism/modpostmod.html

http://postmodernblog.tumblr.com/post/106532710/a-list-of-postmodern-characteristics

http://www.adelinotorres.com/filosofia/Postmodernism%C2%A0%C2%A0%20What%20is%20it,%20and%20What%20is%20Wrong%20With%20It.htm

http://arthistoryresources.net/modernism/modpostmod.html