Kara Walker, Bani Abidi, Felix Gonzalez-Torres, and Alfredo Jaar

2. Entering
through
the
gi,
shop.

3. Entering
through
the
gi,
shop.

4. Entering
through
the
gi,
shop.

5. Entering
through
the
gi,
shop.

7. The
Museum
of
Modern
Art
(MoMA)
was
founded
in
1929
as
an
educa>onal
ins>tu>on.
The
museum
is
best
known
for
its
collec>on
of
“Modernist”
artwork,
from
the
Modernism
art
movement,
which
roughly
took
place
between
the
1870s-­‐1970s.
This
movement
was
made
up
of
several
other
sub-­‐movements,
such
as
Cubism,
Abstract
Expressionism,
Surrealism,
Impressionism,
Post-­‐
Impressionism,
Fauvism,
Brutalism,
Suprema>sm,
Minimalism,
and
Dada.

8. THURSDAY
JANUARY
14
Leaving
at
the
beginning
of
6th
period

9. Coat
Check
&
the
absence
of
Egyp>an
art…

10. Totzle/Totsell’s
MoMA
adventures

11. Kenny’s
favorite
piece
at
MoMA…
Pavel
Tchelitchew
Hide-­‐and-­‐Seek
Oil
on
canvas
1942

12. These
days,
MoMA
also
collects
contemporary
artwork,
by
living
ar>sts.
“The Museum of Modern Art
seeks to create a dialogue
between the established and
the experimental, the past and
the present…”
The
current
unit
we’ll
be
studying
is
called
Scenes
for
a
New
Heritage,
and
is
made
up
of
about
20
different
interna>onal
ar>sts
whose
work
has
been
recently
acquired
by
MoMA.

13. Art
as
a
way
to
deal
with
Social
Issues
First
wave
of
arBsts
to
discuss
• Kara
Walker
• Felix
Gonzalez-­‐Torres
• Bani
Abidi
• Song
Dong
• Alfredo
Jaar
• Columbia
University,
GSAPP
Remember
that
we’ll
be
viewing
artwork
that
is
both
in
and
out
of
this
exhibiBon.
Take
diligent
notes…
There
may
be
a
quiz
in
the
future.

14. “Human behavior
is so murky and
violent and
messed-up and
inappropriate. And
I think my work
draws on that. It
comes from there.
My artwork comes
from responding
to situations like
that, and it pulls it
out of an
audience."
Kara
Walker
is
an
American
contemporary
ar>st
who
explores
race,
gender,
sexuality,
violence
and
iden>ty
in
her
work.
She
is
best
known
for
her
room-­‐size
tableaux
of
black
cut-­‐paper
silhoueces.
She
was
born
in
1969
in
Stockton,
CA.
She
received
a
BFA
at
the
Atlanta
College
of
Art
and
a
MFA
at
the
Rhode
Island
School
of
Design.
She
currently
lives
in
New
York
City
and
is
a
professor
at
Columbia
University.

15. “Human behavior
is so murky and
violent and
messed-up and
inappropriate. And
I think my work
draws on that. It
comes from there.
My artwork comes
from responding
to situations like
that, and it pulls it
out of an
audience."
Comments:
.Kai:
Disturbing….I
think
she’ll
have
something
that’s
going
to
creep
me
out.
Rasha:
Dull
colors,
dark
colors?
Kenny:
Same
idea
as
Rasha…but
maybe
some
RED
popping
out!
BLOOD
GUSHING!
METAAAAAAALLLL!!
Joie:
Maybe
it’ll
be
the
OPPOSITE
of
what
we
expect?
But
probably
what
we
expect
Taeron:
What do you think art
like this looks like?

16. “Human behavior
is so murky and
violent and
messed-up and
inappropriate. And
I think my work
draws on that. It
comes from there.
My artwork comes
from responding
to situations like
that, and it pulls it
out of an
audience."
Comments:
.Tina:
DARK
roman>cism.
Pessimis>c
sides
of
human
nature,
the
bad
and
EVIL
sides.
Guzzy:
Controversial
images
that
evoke
these
feelings
of
murky/violent,
etc.
Jakara:
The
colors
may
be
dark
rather
than
upbeat.
Sof:
PROVACATIVE
that
we
would
normally
censor.
What do you think art
like this looks like?

17. Kara
Walker’s
work…

18. Kara
Walker’s
work…

19. Crea>ve
Time
Rendering
of
city
scape
Development
of
the
Domino
Sugar
Factory
property
on
the
East
River.

20. Drawing
by
Ricardo
Cortés

21. The
Interna<onal
Labour
Organiza<on
es>mated
that
between
5,000
and
30,000
children
under
age
18
were
working
on
the
planta>ons,
making
up
nearly
one-­‐third
of
all
sugarcane
workers.
Nearly
every
child
interviewed
by
Human
Rights
Watch
had
suffered
machete
gashes
on
their
arms
or
legs
while
cumng
cane.

22. Sweet
History
Sugar
Cane
Cucers,
1891
Photo
by
Valen>ne
and
sons

23. Carlos
T.,
an
eleven-­‐year-­‐old
in
Sonsonate,
described
the
work
he
did
during
the
harvest."I
grab
the
cane,
cut
it;
grab
it,
cut
it.
I
use
a
chumpa,"
a
small
knife.
He
began
cumng
cane
when
he
was
nine."Last
year
was
the
second
year
I
worked,"
he
said."I
would
leave
the
house
at
5
a.m."The
fields
were
spread
out
over
a
large
area."When
it
was
far
away,
we
would
go
by
bus;
when
it
was
close,
we
would
walk.If
we
only
had
one
tarea,
we
would
finish
early.We
could
do
three.”
Literally
"work"
or
"job,"
a
tarea
in
the
sugarcane
harvest
is
an
area
of
land
that
contains
approximately
two
tons
of
sugarcane.

24. A
Subtlety:
The
Marvelous
Sugar
Baby,
an
Homage
to
the
unpaid
and
overworked
ar<sans
who
have
refined
our
sweet
tastes
from
the
cane
fields
to
the
kitchens
of
the
new
world
on
the
occasion
of
the
demoli<on
of
the
Domino
Sugar
Refining
plant.

25. A
Subtlety:
The
Marvelous
Sugar
Baby,
an
Homage
to
the
unpaid
and
overworked
ar<sans
who
have
refined
our
sweet
tastes
from
the
cane
fields
to
the
kitchens
of
the
new
world
on
the
occasion
of
the
demoli<on
of
the
Domino
Sugar
Refining
plant.

27. A
Subtlety:
The
Marvelous
Sugar
Baby,
an
Homage
to
the
unpaid
and
overworked
ar<sans
who
have
refined
our
sweet
tastes
from
the
cane
fields
to
the
kitchens
of
the
new
world
on
the
occasion
of
the
demoli<on
of
the
Domino
Sugar
Refining
plant.

28. The
only
“interpre>ve
aid”
in
the
whole
place.

34. Kara
Walker
“I’m
interested
in
the
con<nuity
of
conflict,
the
crea<on
of
racist
narra<ves,
or
whatever
narra<ves
people
use
to
construct
a
group
iden<ty
and
to
keep
themselves
whole.
Such
ac<vity
has
a
darker
side
to
it,
since
it
allows
people
to
lash
out
at
whoever’s
not
in
the
group.”

35. Do
Now:
(EVERYONE
needs
to
write
this
down)
Have
you
ever
been
stereotyped?
Have
people
ever
assumed
things
about
you?
How
did
you
cope
with
this?

36. Kara
Walker
Gone:
An
Historical
Romance
of
a
Civil
War
as
It
Occurred
b'tween
the
Dusky
Thighs
of
One
Young
Negress
and
Her
Heart
1994
Paper
on
wall,
396
x
1524
cm
(13’
x
50’)

37. This
wall
installa>on,
first
exhibited
in
Walker's
1994
New
York
debut,
inaugurated
the
ar>st's
signature
medium:
black
cut-­‐out
silhoueces
of
caricatures
of
antebellum
(civil
war
era)
figures
arranged
on
a
white
wall
in
uncanny,
sexual,
and
violent
scenarios.
Walker
intends
to
criBque
historical
narraBves
of
slavery
and
the
ongoing
perpetuaBon
of
ethnic
stereotypes.

38. Kara
Walker
Gone:
An
Historical
Romance
of
a
Civil
War
as
It
Occurred
b'tween
the
Dusky
Thighs
of
One
Young
Negress
and
Her
Heart
1994
Paper
on
wall,
396
x
1524
cm
(13’
x
50’)
What’s
becer?
A
sad
truth
or
a
beau>ful
lie?

39. Kara
Walker
Gone:
An
Historical
Romance
of
a
Civil
War
as
It
Occurred
b'tween
the
Dusky
Thighs
of
One
Young
Negress
and
Her
Heart
1994
Paper
on
wall,
396
x
1524
cm
(13’
x
50’)

40. In
the
work's
elaborate
>tle,
"Gone"
refers
to
Margaret
Mitchell's
1936
novel
Gone
with
the
Wind,
set
during
the
American
Civil
War.
While
Walker’s
narra>ve
begins
and
ends
with
coupled
figures,
the
chain
of
tragicomic,
turbulent
imagery
refutes
the
promise
of
romance
and
confounds
conven>onal
acribu>ons
of
power
and
oppression.
"The
history
of
America
is
built
on
.
.
.
inequality,
this
founda<on
of
a
racial
inequality
and
a
social
inequality,"
the
ar>st
has
said.
"And
we
buy
into
it.
I
mean,
whiteness
is
just
as
ar<ficial
a
construct
as
blackness
is."

41. Do
Now:
Na>ons
are
constructed
socially,
not
naturally.
We
decide
that
one
land
belongs
to
one
group
and
other
land
belongs
to
another
group.
But
do
you
think
that
race
is
a
social
construct?
"The
history
of
America
is
built
on
.
.
.
inequality,
this
founda<on
of
a
racial
inequality
and
a
social
inequality,
and
we
buy
into
it.
I
mean,
whiteness
is
just
as
ar0ficial
a
construct
as
blackness
is.”
-­‐Kara
Walker
• Abby:
There
WAS
a
social
construct
as
race,
due
to
America’s
history,
but
these
days…
it’s
less
of
an
influence
today.
Some
people
s>ll
believe
that
some
races
are
superior.
• Guzzy:
I
DO
think
that
it’s
a
social
construct…but
it’s
less
necessary
than
na>onal
borders
or
personal
property.
.some
social
constructs
are
needed
for
people
to
not
slaughter
each
other.
• Raymond:
I
feel
like
racial
constructs
hasn’t
changed
since
the
past….it’s
so
deeply
embedded
in
our
na>on’s
history
that
we
don’t
realize
how
much
influence
it
has
on
our
lives.
• Nawal:
I
don’t
think
that
race
is
a
social
construct….As
civiliza>ons
grow
and
change,
social
constructs
form
as
a
result
of
…discovering
a
DIFFERNECE
between
“us”
and
“them”
• .Arvin:
I
believe
that
race
is
part
of
a
larger
social
construct.
Religion,
Gender,
Stereotypes,
Na>onality

42.
he
history
of
America
is
built
on
.
.
.
inequality,
this
founda<on
of
a
racial
inequality
and
a
social
inequality,
and
we
buy
o
it.
I
mean,
whiteness
is
just
as
ar0ficial
a
construct
as
blackness
is.”
-­‐Kara
Walker
• Taeron:
Yes,
I
do
believe
race
is
a
social
construct….it’s
not
natural
to
label
people
based
on
the
color
of
their
skin.
This
seems
more
like
a
human-­‐made
idea
than
a
natural
thing.
• Tots:
Tigers
don’t
hate
other
>gers
that
are
a
different
color.
They
just
want
to
eat
each
others
meat.
• Kenny:
I
agree
with
Taeron,
when
we’re
born
we’re
given
a
label
that
your
parents
are
of
a
certain
color
from
a
certain
country.
These
are
all
human-­‐made
ideas
to
DIVIDE
us,
make
us
feel
different
from
each
other.
• Joie:
It’s
even
part
of
our
social
dynamics
like
when
we
meet
people
and
ask
“where
are
you
from?”
Jean:
we
assume
stuff
based
on
how
people
look…
• Brian:
I’d
like
to
believe
that
this
was
NEVER
a
construct…but
it
was
created
due
to
corrup>on…if
we’re
born
within
a
certain
ideology
(a
belief
in
an
idea…)
it’s
normalized
around
us.
• Ruhith:
I
agree
with
everyone.
And
this
is
where
racial
stereotypes
come
from….it’s
rooted
in
WHO
has
POWER
over
who…..
• Myar:
We
create
borders
for
who
we
are…and
these
borders
give
us
an
excuse
to
feel
a
certain
type
of
way
about
Others….
• Brianna:
a
social
construct
is
something
that’s
perceived
ONTO
you…but
not
necessarily
something
that
you
must
embody.
My
skin
tone
has
nothing
to
do
with
my
character…
(even
if
YOU
character
it
in
a
certain
way)…it’s
aggrava>ng
to
be
judged
by
stereotypes.
• Ranfery:
Also
agree!
The
only
possible
difference
that
could
be
between
people
is
their
religion.
(though
is
Religion
a
social
construct??)
So
there’s
stereotypes
for
this
too.

43. What
Social
issue(s)
is
this
ar>st
dealing
with?
How
do
they
raise
these
issues?
• Ny:
…Racism
as
a
thing
in
the
past
but
the
present
too.
• Jarrell:
Sexism,
the
idea
of
men
being
superior
or
in
control
of
women.
• JOJO:
She
raises
the
issues
by
inten>onally
being
GRAPHIC,
and
giving
people
a
reac>on,
but
the
viewers
of
her
work
create
MORE
reac>ons…
• Elle:
how
people
are
treated
due
to
their
race/sexual
iden>ty.
• Len:
The
REAL
issue
is
that
people
aren’t
dealing
with
these
issues.
– Totzle:
J
These
people
are
anonymous,
and
s>ll
relevant
to
the
present.

44. What
Social
issue(s)
is
this
ar>st
dealing
with?
How
do
they
raise
these
issues?
• Zenzi:
Sexism
and
slavery.
– RD:
they
overlap
to
a
certain
point…there
is
a
component
of
sexism
within
slavery,
but
they’re
s>ll
separate
some>mes.
– Awais:
Women
some>mes
has
more
“domes>c”
roles
when
men
had
more
“laborious”
roles
• jaKARA:
Infidelity
and
underage
pregnancy.
• Ray:
Racial
superiority,
• Nyle:
The
“use”
of
women
not
just
as
slaves,
but
women
in
general.

45. Video
response…
• Nyle:
Her
work
is
SUPER
me>culous.
Like
the
sugar
children
have
lots
of
facial
details.
• .Arvin:
She
seems
calm,
and
makes
work
that
is
VISIBILE,
despite
that
most
people
want
to
make
it
“invisible.”
• Tina:
She’s
determined,
it’s
such
a
huge
temple-­‐like
artwork…people
didn’t
think
it
was
going
to
happen.
• Zenzi:
Determined
and
regardless
of
what
happens(ed)
she’s
going
to
make
it
work
out.
• RD:
Kinda
like
laid
back.
Despite
that
people
are
pos>ng
all
these
pictures,
she
kept
her
feels
to
herself.
• Raph:
Using
food
to
make
art
like
Marta
Minujín.

46. Video
response…
• Joie:
Is
it
hypocri>cal
of
her
to
use
the
material
that
she’s
pumng
into
ques>on…
• “She
makes
this
visible
that
are
invisible”
• Myar:
if
you’re
going
to
cri>cize
the
sugar
industry…
using
the
material
itself
seems
purposeful…to
bring
up
the
history.
If
it’s
THERE,
it’s
easier
to
talk
about.
• Tae:
I
don’t
mind
being
wrong
if
I
was
misled…because
I
didn’t
know
enough
to
be
right.
But
if
I’m
wrong
because
I
didn’t
think
(like
it
was
my
fault)
then
I
don’t
like
the
feeling.

47. Intercommunica<on
Devices
2008
Inkjet
prints
Bani
Abidi
Using
this
to
let
people
into
your
building.
Use
for
any
delivery
person.
OR
when
we
have
visitors
of
any
kind.
It’s
use
by
college
miscreants
(delinquents
)
When
your
locked
out
of
the
house.
There’s
TWO
sides
of
this…..

48. Intercommunica<on
Devices
2008
Inkjet
prints
Bani
Abidi

49. Intercommunica<on
Devices
2008
Inkjet
prints
Bani
Abidi

50. Intercommunica<on
Devices
2008
Inkjet
prints
Bani
Abidi

51. Bani
Abidi
INTERVIEW
found
at…
hcp://www.aaa.org.hk/Diaaalogue/Details/
796
“The drawing projects,
Intercommunication Devices and
Security Barriers A-L, are series of
ongoing drawings in which I have
set out to document meticulously
exclusionary architecture and
objects which one sees in cities all
around us now. It’s a global
apartheid, generated by heavy
doses of fear that we consume
daily.”
“Ignorance is faster than
knowledge.” -Len ./ BIG L

52. Bani
Abidi
Born
in
Pakistan
in
1971,
Lives
and
works
in
Berlin
and
Karachi.
Early
on,
Abidi
had
worked
with
video,
which
led
her
to
experimen>ng
with
performance
art
and
photographic
methods.
She
studied
at
the
the
Art
Ins>tute
of
Chicago
in
in
the
late
1990s,
and
returned
to
the
USA
in
2003.
At
this
>me,
she
was
anxious
about
the
precarious
posi>on
of
her
homeland.
She
wanted
to
make
art
that
would
address
it,
that
would
somehow
speak
to
both
Pakistanis
and
Americans
about
the
way
the
United
States,
in
her
view,
had
pushed
Pakistan
into
falling
in
line
with
the
war
on
terror,
regardless
of
the
poten>al
fallout.
Her
work
at
MoMA
is
a
series
of
digital
prints
called
Security
Barriers
and
was
made
in
2008.

53. Bani
Abidi
Security
Barriers
2008
digital
prints

54. Security
Barrier
Type
D
-­‐Pakistan
Naval
Base,
Karsaz,
Karachi
• Myar:
The
border
between
two
countries.
• Kenny:
Where
we
don’t
want
people
to
trespass,
so
people
don’t
snoop
around.
• Brian:
Racial
barriers.
(segrega>on)
• Joie:
Jobs!
There’s
an
exis>ng
prejudice
against
certain
names
that
“sound”
different
in
some
way.
• Interpersonal
emo>onal
barriers….like
we
don’t
always
show
what
we’re
feeling.
WHERE
do
we
put
up
barriers?

55. Security
Barrier
Type
D
-­‐Pakistan
Naval
Base,
Karsaz,
Karachi
• jaKARA:
We
put
up
personal
barriers…if
we
dislike
a
person,
we
close
up
and
distance
yourself.
• .Ayyy:
Roads
have
barriers
to
keep
us
from
swerving
off
and
killing
people.
• “People
kill
each
other
with
barriers”
• jaKARA:
Social
constructs
are
types
of
barriers!!
• Sof:
Barriers,
push
people
away
from
each
other,
which
leads
to
miscommunica>on
and
trust
issues.
• Guzzy:
Originally
meant
to
protect…but
like
most
human
concepts…they
get
distorted
and
turn
against
people.
WHERE
do
we
put
up
barriers?

56. Security
Barrier
Type
L
–Varied
Loca>ons,
Karachi
How
do
we
divide
ourselves
from
another?
• Brianna:
By
what
we
wear,
what
we
socially
iden>fy
as.
(I’m
African-­‐American,
you’re
Hispanic,
and
we
may
expect
certain
behaviors
from
one
another
(associa>ve
stereotypes)
• Kevin:
We
choose
to
not
communicate.
• Kenny:
Gender
divisions…
associa>ons
we
have
with
names
and
gender
iden>ty.
• Kai:

57. Security
Barrier
Type
L
–Varied
Loca>ons,
Karachi
How
do
we
divide
ourselves
from
another?
• Cliques,
squad,
crew….these
are
groups
based
on
similar
hobbies
or
interests…but
it
divides
those
who
do
NOT
share
those
same
interests.
• Ray:
By
considering
yourself
a
certain
race,
some
folks
may
make
other
classifica>ons
by
that
race…
• Tina:
We
divide
by
na>onal,
religious,
and
other
barriers.
• .

58. Security
Barrier
Type
G
-­‐Traffic
Police,
Karachi
WHY
do
we
divide
ourselves
from
another?
• Kozak:
People
will
use
anything
they
want
(anecdotes,
religious
texts,
etc)
to
jus>fy
their
horrible
ac>ons.
• .
• .

59. Bani
Abidi
Security
Barrier
Type
F
-­‐Jinnah
Interna>onal
Airport,
Karachi

60. Bani
Abidi
Security
Barriers
2008
digital
prints
Bani
Abidi’s
work
raises
issues
about
how
an
individual
relates
to
the
others
they’re
surrounded
by
as
well
as
the
culture
they’re
in
/
the
world
at
large.
Whether
physical
or
emo>onal,
these
spaces
and
situa>ons
outline
the
way
we
are
able
to
connect
with
one
another.
And
who
we’re
able
to
connect
with.
“Some
people
are
meant
to
have
Expira>on
dates.”
Tina
Gao,
Junior
2015

61. Are
there
limits
to
what
designers
and
ar>sts
should
create?
Prisons?
Weaponry?
Concentra<on
camps?
Where
do
we
draw
the
line?
• Taeron
&
Kai:
This
all
depends
on
the
ar>st
and
their
morals.
Limits
can
only
be
set
by
individuals.
Nobody
has
the
right
to
limit
what
you
can
do…IN
ART.
Everyone
has
natural
rights
and
nobody
can
take
them
away
from
you.
John
Locke:
• Kevin:
As
long
as
it
doesn’t
harm
a
person
or
the
ar>st
(physically
or
mentally)
then
it’s
okay?
• Len:u
I
believe
limits
are
supposed
to
be
broken…if
necessary.
By
tes>ng
these
limits
we
improve
who
we
are.
• Michelle:
Agrees
with
Koie,
limits
should
be
on
things
that
are
dangerous.
• Myar:
we
can’t
limit
what
people
create.
But
we
have
to
limit
HOW
crea>ons
are
used.
Some
ques>onable
inven>ons
could
lead
to
other
innova>ons.
• KenKen:Art
SHOULD
affect
us
emo>onally
and
mentally.
Ar>sts
shouldn’t
have
limits
on
that
stuff.
Ethics
and
Design...

62. Are
there
limits
to
what
designers
and
ar>sts
should
create?
Prisons?
Weaponry?
Concentra<on
camps?
Where
do
we
draw
the
line?
• .Tina:
Nope,
there
should
not
be
limits
for
ar>sts…because
if
one
ar>st
turns
down
an
offer,
another
will
do
it.
• Arvin:
Agrees
with
Tina…Ar>sts
should
not
be
limited…the
people
who
USE
these
designs
are
the
ones
who
are
responsible.
• Nyle:
I
don’t
think
the
ar>st
is
FULLY
responsible…but
they
share
a
responsibility.
The
ar>st
is
making
this
idea
into
a
reality.
• Amina:
J
If
an
ar>st
KNOWS
the
purpose
of
this
device…then
they
are
responsible
for
it.
• Jus>n:
Even
if
the
ar>st
knows
the
full
capabili>es
of
something,
they’re
not
in
control
of
what
they
made
in
the
end…
• RD:
Do
we
ever
see
ar>sts
in
court
cases
for
these
kinds
of
issues???
Ethics
and
Design...

63. Bani
Abidi
VIDEO
Interview
@5:14
@6:40
hcp://www.ngv.vic.gov.au/
crossingborders/interview/
bani_interview.html

64. Responses…
Kenny:
She’s
very
observant
about
rela>onships
with
people
and
how
race/
na>onality
plays
a
role
in
that.
Gissell:
Calm,
and
I
like
her
vibes.
Taeron:
She’s
very
content
with
the
type
of
work
she
makes,
like
photography
and
video.
Brian:
Confident
in
what
she’s
saying
about
her
work,
she
takes
pride
in
what
she
does.
Tots:
Very
objec>ve
about
her
work…doesn’t
say
much
about
her
ar>s>c
inten>ons.
Myar:
Concerned
with
how
young
people
view
history,
and
how
its
perceived
in
the
future…concern
for
the
master
narra>ve…
Joie:
“Humor
is
crucial
to
her
work.”
Ny:
Her
humor
is
closer
related
to
the
culture
she’s
from.

65. Responses…
Ayy:
She’s
interested
in
the
edi>ng
and
censorship
of
history.
Students
may
not
know
PT:
Her
show
mostly
focuses
on
the
US
but
also
Pakistan
and
it’s
history
and
barriers
with
India.

66. See
more
of
her
work…
www.baniabidi.com
ALSO…her
husband,
Sarnath
Banerjee
is
a
graphic
novel
ar>st/writer!

67. What
Social
issue(s)
is
this
ar>st
dealing
with?
How
do
they
raise
these
issues?
• Kai:
She
deals
with
social
barriers
like
race,
religion,
gender,
etc.
• Tots:
she
showcases
every
day
objects
that
we
wouldn’t
think
about
in
a
deep
way…but
they
sculpt
our
world
view.
• Len:
The
key
to
the
social
issues
Abidi
brings
up
is
the
KEY
to
isola>on,
like
how
we
separate
ourselves.
• Ruhith:in
her
video
she
said
how
she
wants
to
talk
more
about
her
home
in
Pakistan…and
how
these
everyday
objects
affect
the
world
altogether.
These
objects
are
a
bigger
deal
than
we
make
them.
• .

68. What
Social
issue(s)
is
this
ar>st
dealing
with?
How
do
they
raise
these
issues?
• ArBe:
In
reference
to
the
mango
video…
despite
what
country
you’re
from
we’re
all
human…and
we
have
the
rights..but
people
always
look
for
differences
and
compe>>on
with
each
other.
Even
with
mangoes.
• Tina:
Even
though
most
people
are
the
same,
but
na>onality
and
religion
can
create
barriers.
• JAK:
reminds
me
of
how
mul>-­‐racial
go
about
their
daily
lives
asking
when
they
should
be
one
‘part’
of
themselves
and
when
to
be
another
‘part.’
• Guzzy:
The
idea
of
the
mango
video
reminds
me
of
the
Puerto
Rican
and
Dominican
debates
over
food.
There’s
no
need
to
argue
over
it…
• Nawal:
àto
>na:
I
think
that
na>onality
and
religion
don’t
create
barriers,
people’s
interpreta>on
makes
the
barriers.
How
we
interpret
mythologies
can
be
used
to
jus>fy
our
ac>ons.
Arabian
and
dominican
Tortas
are
cake,
NOT
sandwiches.

69. How
do
we
cope
with
loss?
(as
different
from
“absence”
• Kenny:
When
something
bad
happens,
I
let
out
the
tears
with
family…but
when
I’m
really
DEALING
with
it,
I
talk
about
it
with
someone.
• Kai:
Choose
to
focus
on
the
good
>mes.
• Tots:
It’s
like
a
cycle,
you
may
get
angry
or
sad,
but
also
remember
the
good
stuff…it’s
not
one
straight
emo>on.
• Rasha:
depending
on
the
severity,
I
may
pray.
But
also
tears….
• Gissell:
MUSIC!
Song
writers
express
these
feelings
through
music…some>mes
we
listen
to
those
songs
to
feel.
To
just
feel.
• Brian:
Let
apathy
take
you
by
the
hand
unBl
you
are
ready
to
feel
what
you
want
to
feel.

70. How
do
we
cope
with
loss?
• Tina:
We
mourn.
We
cry.
Show
emo>ons.
ZenZAAAY:
Some>mes
people
hold
it
in
un>l
things
stack
up
and
then
they
EXPLODEEEEE
Alannis:
Some
fall
into
bad
habits
(drugs,
smoking,
alcohol,
misbehaving,
stress
ea>ng!)
(NECK
PINCHING)
#poppinperiod8
#invadeperiod7
Cherrian:
So…if
Kozak
dies,
maybe
someone
would
go
to
their
basement
and
make
a
pain>ng
every
day.
Sof:
Some
may
avoid
the
topic
of
loss,
so
they’re
not
dragged
down.
Ray:
Some
people
react
by
hur>ng
others….Or
themselves
(self-­‐harm)
There’s
the
5
stages
of
grief:
denial,
anger,
bargaining,
depression…
acceptance?

71. Origins
of
HIV/AIDS
The
HIV/AIDS
virus
is
currently
known
to
have
begun
to
develop
in
the
1920s
in
the
city
of
Kinshasa,
in
what
is
today
the
DemocraBc
Republic
of
Congo.
According
to
a
report
by
an
interna>onal
team
of
scien>sts,
‘a
roaring
sex
trade,
rapid
popula>on
growth
and
unsterilized
needles
used
in
health
clinics
probably
spread
the
virus.’
hp://www.bbc.com/news/health-­‐29442642
We
know
that
the
virus
has
existed
in
the
United
States
since
at
least
the
mid-­‐
to
late
1970s.
From
1979–1981
rare
types
of
pneumonia,
cancer,
and
other
illnesses
were
being
reported
by
doctors
in
Los
Angeles
and
New
York
among
a
number
of
male
pa>ents
who
had
sex
with
other
men.
hp://www.theaidsins<tute.org/educa<on/aids-­‐101/where-­‐did-­‐hiv-­‐come-­‐0

72. Felix
González-­‐Torres
"Un<tled"
(Portrait
of
Ross
in
L.A.)
1991
Candies
individually
wrapped
in
mul>color
cellophane,
endless
supply
Dimensions
vary
with
installa>on;
ideal
weight
175
lbs.

73. Felix
González-­‐Torres
1957-­‐1996
"Un<tled"
(Portrait
of
Ross
in
L.A.)
1991
Candies
individually
wrapped
in
mul>color
cellophane,
endless
supply
Dimensions
vary
with
installa>on;
ideal
weight
175
lbs.

74. Felix
González-­‐Torres
1957-­‐1996
Felix
Gonzalez-­‐Torres
produced
work
of
uncompromising
beauty
and
simplicity,
transforming
everyday
objects
into
profound
meditaBons
on
love
and
loss.
“Un>tled”
(Portrait
of
Ross
in
L.A.)
is
an
allegorical
representa>on
of
the
ar>st’s
partner,
Ross
Laycock,
who
died
of
an
AIDS-­‐related
illness
in
1991.
The
installa>on
is
comprised
of
175
pounds
of
candy,
corresponding
to
Ross’s
ideal
body
weight.
Viewers
are
encouraged
to
take
a
piece
of
candy,
and
the
diminishing
amount
parallels
Ross’s
weight
loss
and
suffering
prior
to
his
death.
Gonzalez-­‐Torres
s>pulated
that
the
pile
should
be
con>nuously
replenished,
thus
metaphorically
gran>ng
perpetual
life.

75. Felix
González-­‐Torres
1957-­‐1996
Jojo:
There
needs
to
be
a
person
there
to
show
WHY
the
candy
is
there…the
viewer
is
a
part
of
this
process.
Taeron:
Nope,
it’s
not
necessary
to
have
a
viewer
here.
Those
that
already
know
what
it’s
about
is
what
makes
it
significant.
The
metaphor
makes
it
stronger.
Sol
Lewie:
“The
Idea
is
the
machine
that
makes
the
art.”
Brian:
Wouldn’t
this
slowly
deteriorate
over
>me
anyway??
The
upkeep
(replenishment)
is
more
important.
Keeping
this
piece
“alive”
is
the
point.
Not
the
taking
of
candy.
Joie:
You
need
people
to
ac>vate
it.
You
take
away
and
put
back.
Gonzalez-­‐Torres
s>pulated
that
the
pile
should
be
con>nuously
replenished,
thus
metaphorically
gran>ng
perpetual
life.

76. Felix
González-­‐Torres
1957-­‐1996
ARTIE:
A
ques>on
of
tangibility….
ARVIN:
some>mes
memories
fade…but
objects
help
us
remember/reconnect
with
that
memory.
NYLE:
The
memory
(intangible)
is
more
real
than
the
object
(tangible).
AYY:
Memory
is
not
stronger
than
objects,
NYYYYLE!
Memories
change
every
so
slightly
as
>me
goes
on.
Tina:
Yep.
Same.
Arvin
(again):
Juxtapose:
When
you
take
two
images
that
DON’T
relate
and
mash
them
up.
Gonzalez-­‐Torres
s>pulated
that
the
pile
should
be
con>nuously
replenished,
thus
metaphorically
gran>ng
perpetual
life.

77. Felix
González-­‐Torres
1957-­‐1996
QuesBons
to
consider….
If
this
type
of
candy
were
to
go
out
of
produc>on…how
would
we
con>nue
to
re-­‐create
the
piece?
Should
the
museum
decide
the
general
“shape”
of
the
pile?
Or
honor
what
has
been
made
before?

78. Felix
González-­‐Torres
"Un>tled"
(It's
Just
a
Macer
of
Time)
1992
Billboards
in
New
York
City

79. Felix
González-­‐Torres
One
of
his
most
recognizable
works,
"Un>tled”
(It's
Just
a
Macer
of
Time),
was
a
billboard
installed
in
twenty-­‐four
loca>ons
throughout
New
York
City
of
a
monochrome
photograph
of
an
unoccupied
bed,
made
a,er
the
death
of
his
long-­‐>me
partner,
Ross
Laycock,
from
AIDS.

80. Felix
González-­‐Torres
"Un<tled"
(It's
Just
a
Maer
of
Time)
1992
Billboards
in
New
York
City
"When
people
ask
me,
'Who
is
your
public?'
I
say
honestly,
without
skipping
a
beat,
'Ross.'
The
public
was
Ross.
The
rest
of
the
people
just
come
to
the
work."

81. Felix
González-­‐Torres
"Un<tled"
(It's
Just
a
Maer
of
Time)
1992
Billboards
in
New
York
City
Ranfery:
Feelings
are
just
as
limitless
as
adver>sements.
Not
only
products
are
adver>sed,
feelings
are
too.
àall
good
adver>sements
are
connected
to
your
FEELINGS
Jarrell:
It’s
just
a
‘macress’
of
>me
before
we
lose
someone
we
love.
Rasha:
González-­‐Torres
makes
it
so
the
audience
isn’t
us.
The
main
audience
is
Ross,
which
is
why
it’s
so
easy
for
us
to
look
at
this
and
see
adver>sement.
Elle:
“IT’s
just
a
macress
of
>me
before
we
say
goodbye.”

82. Felix
González-­‐Torres
"Un<tled"
(It's
Just
a
Maer
of
Time)
1992
Billboards
in
New
York
City
Zeitgeist
Something
current
to
the
>mes,
specific
to
a
moment
(o,en
the
present)
vs
Canon
(Part
of
an
older
idea,
usually
something
that
is
tradi>onally
accepted
as
TRUE
or
VALID.
Something
that
is
expected
to
happen
in
a
person’s
life.-­‐-­‐-­‐1984,
To
Kill
a
Mockingbird,
Any
Jane
Austen
book….o,en
only
one
point
of
view…one
side
of
the
story.

83. Felix
González-­‐Torres

84. Felix
González-­‐Torres
Un<tled
(Toronto)
1992
Light
bulbs,
extension
cord,
and
porcelain
light
sockets
Sizes
vary,
usually
20-­‐40
feet

85. Felix
González-­‐Torres
Un<tled
(Toronto)
1992
Light
bulbs,
extension
cord,
and
porcelain
light
sockets
Sizes
vary,
usually
20-­‐40
feet
Rasha:
A
reoccurring
theme…maybe
this
is
related
to
Ross?
Brianna:
Maybe
the
pile
was
Ross
when
he
was
alive…
showing
their
BOND…and
how
‘light’
it
was.
The
string
is
like
their
chemistry
and
how
strong
it
was/is.
Myar:
It
seemed
so
pure…like
the
idea
that
when
someone
dies
they
‘go
to
the
light’
Len:
The
light
bulbs
are
slowly
dying
one
by
one.
The
whole
meaning
of
life
is
gone
when
the
light
goes
out.
Brianna:
What
if
all
the
light
bulbs
are
people
and
when
one
dies
it
affects
the
others?
The
room
gets
a
licle
bit
more
DIM.
Brian:
Each
light
bulb
is
unique.
It
has
a
>me
limit…it’s
going
to
run
out.
It
has
a
lifespan.

86. Felix
González-­‐Torres
Un<tled
(Toronto)
1992
Light
bulbs,
extension
cord,
and
porcelain
light
sockets
Sizes
vary,
usually
20-­‐40
feet
Arvin:The
light
is
like
LIFE,
eventually
it
runs
out?
Nyle:
The
number
of
light
bulbs
could
represent
how
long
he
lived
for.
à
ZenZAY:
Bulbs
have
a
“lifespan”…each
bulb
has
a
different
lifespan…similar
to
our
lives,
we
live
to
different
ages.
And
AIDS
affects
that.
àKozak:
Lightbulbs
are
fragile.
They
flicker
into
life
for
a
short
period
of
>me,
and
when
they
finally
burn
out…
they’re
ex>nguished
forever.
Ray:
Some
light
bulbs
can’t
be
replaced,
like
family
members.
ANYONE
that
you
love.
If
you
love
someone…
you’ll
never
love
someone
else
again
in
the
same
way.
It’ll
be
a
different
kind
of
love.
Cherrian:
Light
bulbs
are
cheap,
and
replaceable…HUMAN
LIFE
IS
NOT.
àNAWAL:
Yeah,
but
LIGHT
could
be
compared
to
human
life.
Not
the
bulb
itself.

87. González-­‐Torres
imbues
common
u>litarian
objects—lightbulbs
strung
together—with
poe>c
significance.
The
cords,
like
two
lives,
are
intertwined.
The
life-­‐span
of
the
bulbs,
like
that
of
a
person,
is
of
a
par>cular
duraBon
and
will
ul>mately
burn
out.

88. Felix
González-­‐
Torres
The
ar>st
said,
"I
don't
necessarily
know
how
these
pieces
are
best
displayed.
I
don't
have
all
of
the
answers—you
[the
owner]
decide
how
you
want
it
done.
Whatever
you
want
to
do,
try
it.
This
is
not
some
Minimalist
artwork
that
has
to
be
exactly
two
inches
to
the
leh
and
six
inches
down.
Play
with
it,
please.
Have
fun.
Give
yourself
that
freedom.
Put
my
crea0vity
into
ques0on...."
What
quesBons
would
you
pose
about
Felix
Gonzalez-­‐
Torres’
artwork?

89. Felix
González-­‐Torres
1957-­‐1996
Other
QuesBons
to
consider….
Could
the
work
be
re-­‐created
at
different
museum
spaces
at
the
same
>me?
If
someone
were
to
bump
into
the
light
bulbs
and
break
one,
should
it
be
replaced?

90. A
note
on
the
temporary
nature
of
life
and
death.
Dear
P8….
• Life
is
like
a
bubble.
Once
it
pops
you
can’t
re-­‐form
it.
-­‐
0
• LIFEBULB
-­‐
12
• There
was
a
girl
who
was
dying
to
finish
school,
dying
to
get
married,
dying
to
have
kids,
dying
to
explore
the
world,
but
then
when
she
was
dying
she
didn’t
know
how
to
live.
-­‐
3
• You
admire
the
road
but
s>ll
you
turn
around
and
follow
your
own.
-­‐
0
• The
world
is
a
giant
slot
machine
and
we
are
merely
bets
being
made
to
keep
the
machine
running.
-­‐3
• No
macer
how
fast
light
is
darkness
will
always
be
there
first…and
last.
-­‐
3
• We
live
life
for
the
a,erlife.
-­‐
3

91. A
note
on
the
temporary
nature
of
life
and
death.
Dear
P7….
• Life
is
a
beau>ful
lie
and
death
is
the
painful
truth.
-­‐
6
• Everyone
wants
to
go
to
heaven
but
nobody
wants
to
die.
-­‐5
• We
don’t
know
what’s
coming
tomorrow
so
don’t
die
giving
up.
At
least
die
trying.
-­‐5
• Dying
is
not
a
“Goodbye.”
It’s
an
“I’ll
be
wai>ng
for
you?”
-­‐
4
• Enjoy
the
life
you
have
un>l
you
no
longer
have
it.
-­‐
2
• Give
a
life
a
try
but
remember
to
ques>on
it.
-­‐
2
• We
live
to
learn
yet
fail
to
understand
the
meaning
of
>me.
-­‐
3
• We
live
life
and
remember
you
are
not
promised
tomorrow.-­‐
7
• You
die
because
you
have
to….you
live
because
you
want
to.
-­‐10

92. What
Social
issue(s)
is
this
ar>st
dealing
with?
How
do
they
raise
these
issues?
• Rasha:
Life,
Death,
and
the
normaliza>on
of
LOVE.
• Ny:
He’s
dealing
with
the
true
meaning
of
personal
loss.
Uses
simple
materials
to
make
a
larger
message.
• Kevin:
Love
is
fragile.
• Len:
Do
we
usually
ignore
things
that
are
common
such
as
death?
• Ranfery:
He’s
coping
with
loss
through
art
in
a
metaphorical
way.
• Elle
and
YUNGTASH:
To
appreciate
the
person
you
have
while
you’re
with
them.
AWESOME
interview
at…
bombmagazine.org/ar>cle/1847/
felix-­‐gonzalez-­‐torres

93. What
Social
issue(s)
is
this
ar>st
dealing
with?
How
do
they
raise
these
issues?
• PT:
death
and
disease
are
common
themes…but
it’s
also
about
how
people
interpret
things.
He
lets
his
audience
interact
to
create
stronger
meaning.
• ZENZI:
Simplicity…his
work
is
about
his
partner,
but
it’s
also
about
rela>onships
in
general.
• Tina:
his
work
is
very
personal
but
also
common
experiences
that
everyone
will
have
(death
of
loved
ones).
• NAWAL:
It’s
portraying
an
outsider’s
perspec>ve
of
how
people
handle
grief.
• JusBn:
This
is
about
coping
with
LOSS.
(ross
not
being
alive
anymore
but
also
death
in
general.
)
AWESOME
interview
at…
bombmagazine.org/ar>cle/1847/
felix-­‐gonzalez-­‐torres

94. Alfredo
Jaar
One
Million
Finnish
Passports
1995
Finnish
passports

95. Alfredo
Jaar
One
Million
Finnish
Passports
1995
Finnish
passports
Finland
has
a
historically
strict
immigra>on
policy.
As
stubborn
na>onalists
they
accept
only
a
>ny
frac>on
of
the
ci>zenship
applica>ons
they
receive,
far
less
than
other
European
na>ons.
Observing
this,
Jaar
managed
to
get
1
million
Finnish
passports
printed
up
to
represent
the
number
of
people
who
should
have
been
na>onalized
as
Finnish
ci>zens
but
weren’t.

96. Alfredo
Jaar
One
Million
Finnish
Passports
1995
Finnish
passports
Finland
is
a
country
that
only
has
5.4
million
people
(compared
to
the
8.4
that
live
in
NYC).
Only
5.5%
of
the
popula>on
in
Finland
was
born
in
another
country,
compared
to
the
USA,
where
almost
12%
are
born
in
another
country.

97. Alfredo
Jaar
The
work
was
considered
to
be
so
controversial
by
the
Finnish
government
that
it
was
placed
behind
a
bulletproof
glass
wall.

98. Alfredo
Jaar
…and
every
passport
was
incinerated
in
a,er
the
exhibi>on
was
finished.
Tots:
This
piece
of
art
is
holding
the
idea
of
ci>zenship
within
arm’s
reach.
But
it’s
SO
restric>ve.
Kenny:
Jaar
is
going
against
the
Finnish
government
and
proving
how
easy
it
COULD
be
to
become
a
ci>zen….
Gissell:
He’s
mocking
the
people?
The
borders?
Also
mocking
Jo-­‐joe:
the
fact
that
it’s
behind
glass
encourages
more
ques>oning??
Myar:
He’s
showing
the
irony
about
how
tolerant
the
Finnish
are…but
how
restric>ve
they
are
about
ci>zenship.

99. Alfredo
Jaar
…and
every
passport
was
incinerated
in
a,er
the
exhibi>on
was
finished.
Arvin:
The
Finnish
government
wants
to
maintain
a
difficult
path
To
ci>zenship
Tina:
It’s
almost
like
making
the
passport
into
a
joke.
The
passport
is
just
a
symbol,
or
a
step
to
being
a
Finnish
ci>zen.
àPT:
If
you’re
a
ci>zen
of
Finland
you…have
all
those
benefits
of
living
in
such
a
progressive
place!
You
could
totally
have
a
becer
life
than
others
around
the
world.
Ar>e:
If
I
was
Alfredo
Jaar…I’d
say
SCREW
IT…and
print
a
bunch
of
passports
and
give
them
away.
It
takes
away
the
message….
Nawal:
I
THINK
THE
MESSAGE
IS:
the
global
passport
system
takes
away
the
human
rights
to
be
able
to
travel
and
find
becer
opportuni>es.
People
are
trying
to
escape
hardships….

100. Ask
an
Art
Historian:
What
do
Americans
Look
like?
• Ayy:
American
flag,
Old
Navy
stuff.
• Raph:
White
guys
with
blond
hair
and
blue
eyes.
• Guzzy:
Nobody
drew
themselves.
• only
one
person
brought
up
“na>ve”
Americans.

101. Alfredo
Jaar

102. Alfredo
Jaar
A
Logo
For
America
1987
Digital
color
Video
Common
trends
to
his
work?
Countries.
Immigra>on,
borders
“patrio>c”
or
“na>onalism”

103. Alfredo
Jaar
A
Logo
For
America
1987
Digital
color
Video
In
the
late
1980’s
,
Jaar
created
an
anima>on
that
appeared
on
an
electronic
billboard
in
Times
Square.
This
was
during
a
>me
when
Time’s
Square
was
not
so
tourist
friendly…but
s>ll
acracted
a
large
number
of
locals.
His
piece
of
artwork
appeared
alongside
other
scheduled
adver>sements
over
the
course
of
two
weeks.

104. Alfredo
Jaar
A
Logo
For
America
1987
Digital
color
Video
This
work
challenges
the
visual
concept
of
what
“America”
is.
This
work
faces
the
ethnocentrism
that
is
found
throughout
the
culture
of
the
United
States
of
America.
Challenges
Euro-­‐centric
superiority

105. Jaar’s
work
bears
witness
to
military
conflicts,
poli>cal
corrup>on,
and
imbalances
of
power
between
industrialized
and
developing
na>ons.
Subjects
addressed
in
his
work
include
the
holocaust
in
Rwanda,
gold
mining
in
Brazil,
toxic
pollu>on
in
Nigeria,
and
issues
related
to
the
border
between
Mexico
and
the
United
States.
La
Nube
/
The
Cloud
2000
Public
Interven>on
Tijuana,
Mexico-­‐San
Diego,
USA
Border

106. What
do
you
think
are
Jaar’s
ar>s>c
inten>ons?
ArBst
IntenBons
1.Kenny:
To
have
people
think
about
country
borders
and
how
people
are
not
accepted
by
all
governments
2.
Kevin:
How
we
perceive
the
world
and
draw
borders
on
different
land
masses.
3.
Myar:
He
challenges
the
idea
of
how
a
country
presents
itself
through
na>onalism,
patrio>sm….
àJean:
How
countries
depict
themselves….individuals
in
a
na>on
may
see
themselves
as
SUPERIOR…(through
the
use
of
labels
like
“civilized”
or
“1st
world”,
which
implies
judgment)
àImbalances
of
power,
YO.
4.
Brian:
important
design
but
a
simple
message?
The
message
is
very
complex…
(and
important)
and
the
design
or
presentaBon
is
quite
simple
and
vague
someBmes.
Jean:
you
NEED
to
understand
the
arBst
intenBons
to
understand
the
artwork
itself.
Important
to
know
some
background
info…

107. What
do
you
think
are
Jaar’s
ar>s>c
inten>ons?
ArBst
IntenBons
1.
PT:
To
show
the
world
how
messed
up
poli>cs
are.
2.
Zen:
To
draw
acen>on
and
criBcize
issues.
Some>mes
he
uses
saBre
(using
real
world
situa>ons
to
cri>cize
real
world
situa>ons)
3.
Arvin:
Allows
the
audience
to
form
their
own
opinions
about
how
governments
run
things
and
decide
things..
4.
Guzz-­‐styles
WHY
AREN’T
WE
MORE
INCLUSIVE
WITH
PEOPLE,
HUHH!
AND
WHY
DO
SOME
PEOPLE/OBJECTS
HAVE
RIGHTS
AND
OTHERS
DON’T?!
HUHH!
AYYY:
Makes
me
think
about
how
we
iden>fy
na>onally…and
how
that
MAY
make
a
person
more
allegiant
or
obedient
Marie:
Make
people
quesBon
their
rights.
To
what
extent
am
I
allowed
to…do
ANYTHING
freely.

108. Alfredo
Jaar
“As
I
never
studied
art,
it
is
a
fascina>ng
process
to
ascertain
what
communicates
with
a
viewer,
how
it
communicates
and
with
whom
it
communicates.
I
never
forget
that
communica>on
does
not
mean
to
send
out
a
message;
it
means
to
receive
an
answer.
If
there
is
no
answer,
there
is
no
communica>on.”
“Artwork
has
to
create
a
discussion
with
the
viewer.
If
you
don’t
put
anything
out
there,
you’ll
get
no
answer.”
-­‐-­‐kevin!!

109. Alfredo
Jaar
WHAT
ARE
THE
COMMON
TRENDS
IN
WHAT
WE
READ?
KENNY:
lack
of
info
being
withheld
from
the
public
(wealth,
power)
Kevin:
Also
the
government….conceal
informa>on?
Meee-­‐ARRR:
Media
control
over
informa>on.
Story
1:
Nelson
Mandela
in
Cape
Town:
working
condi>ons
blinded
workers.
Story
2:
Afghanistan,
how
the
USA
Government
bought
all
the
satellite
imagery
for
the
country.
Story
3:
Pennsylvania:
Bill
Gates
purchased
all
these
historical
photos
and
buried
them
in
a
>me
capsule
that
nobody
will
get
to
see.
More
than
anything
else,
this
relates
to
the
POWER
of
MEDIA
and
IMAGERY.
“If
we
use
images
to
manipulate
people’s
opinions,
it
gives
us
power.”

110. Alfredo
Jaar
WHAT
ARE
THE
COMMON
TRENDS
IN
WHAT
WE
READ?
Story
1:
Nelson
Mandela:
imprisoned
for
28
years,
forced
to
mine
limestone,
but
the
dust
from
this
has
taken
away
his
ability
to
cry.
Story
2:
Afghanistan:
Prez
Bush
Jr
has
led
America
into
a
war
in
Afghanistan…they
purchased
some
intense
satellite
images
from
a
company
and
did
not
share
them
with
anyone
else.
Story
3:Bill
Gates:
purchased
a
TON
of
photos
from
major
historical
events
and
they’re
being
put
into
a
mine
underground…he
controls
the
access
to
these
images.
$$$/
POWER
and
how
it’s
related
to
IMAGES.

111. Alfredo
Jaar

112. Alfredo
Jaar
Lament
of
the
Images
2002
Plexiglass
text
panels
(texts
by
David
Levi
Strauss),
light
wall,
and
mixed
media

113. Alfredo
Jaar
Lament
of
the
Images
2002
Plexiglass
text
panels
(texts
by
David
Levi
Strauss),
light
wall,
and
mixed
media
Lament:
lament
|ləˈment|
noun
a
passionate
expression
of
grief
or
sorrow

114. Lament
of
the
Images
2002
Plexiglass
text
panels
(texts
by
David
Levi
Strauss),
light
wall,
and
mixed
media
"We
are
going
through
a
very
paradoxical
situaBon.
There
have
never
been
so
many
images.
We
are
bombarded
with
thousands
of
them
daily,
without
mercy
and
without
warning.
And
most
of
them
ask
us
to
consume,
consume,
consume.
So
how
does
an
image
of
pain
survive
in
the
sea
of
consumpBon?
It
doesn’t.”
-­‐
Alfredo
Jaar

115. Alfredo
Jaar’s
work
deals
with
real
world
problems.
As
we
approach
2016,
what
will
you
do
to
be
a
solu>on
for
those
problems?
• Guzzy:
pessimist!
Not
all
problems
get
solu>ons…
and
solu>ons
only
come
about
when
something
goes
EXTREMELY
wrong.
Maybe
if
we
all
were
becer
people…
• Tina:
People
who
are
in
control
have
so
much
wealth.
There’s
problems
rela>ng
to
economics
and
ethics.
• Nawal:
a
lack
of
empathy
causes
so
many
problems.
Just
because
a
leader
of
a
na>on
disagrees
with
another,
civilian
lives
are
lost.
Also
Xenophobia

116. Alfredo
Jaar’s
work
deals
with
real
world
problems.
As
we
approach
2016,
what
will
you
do
to
be
a
solu>on
for
those
problems?
• Kai:
Assassinate
Trump…
THEN
Replace
weapons
with
HUGS.
• Kenny:
Approach
situa>ons
in
a
new
light
(a
fresh
start).
• Ny:
Being
aware
of
inequality
issues.
• JoJo:
Drop
stereotypes…they
cause
mad
problems.
• Brianna:
Nope.
This
isn’t
possible.
People
who
don’t
have
the
power
to
influence
people
aren’t
able
to
make
change…and
even
if
you
could…you
can’t
FORCE
people
to
change,
you’ll
lose
crea>vity
and
individuality.
Racism,Terrorism,
prejudice
will
not
die
out
soon…