DONNA CONLON AND
JONOTHAN HARKER
Do Now: Now that you’ve sampled a bit of their
creative process, do you see their artwork any
differently?

ARCHITECTURE
T H E A R T OR P R ACT I CE OF D E S I GN I NG A N D
CON S T R UCT I NG B U I L D I NGS
Zayed National Museum
By Foster + Partners
Abu Dhabi
Expected completion 2016

ARCHITECTURE
“MODERN” =ART STYLES OF 1920-60’S
What kind you like
1. “contemporary”
structure
2. Old factories
3. Zaha Hadid (so amazing,
like mad swirly and such)
4.
Why you like it:
1. Beautiful aesthetics
2. what it looks like.
“style”
2.
3.
4.
What kind you dislike
1. “Edgy” or “boxy” brick
apartment buildings….they’re
like too basic (for joe)
2. When the façade has no
features. “the face of the
building”
3. Cracky paint falling off
4. No windows just walls.
5. Only windows.
Why you dislike it:
1.
2.
3.
4.

HTTP://WWW.SLIDESHARE.NET/KOZA
KARTCLASS
First presentation has been uploaded!

THE GUGGENHEIM
NEW YORK
Built in 1959
Designed by Frank Lloyd Wright
Signature material: Concrete
Style: Modernism

THE GUGGENHEIM
NEW YORK
Built in 1959
Designed by Frank Lloyd Wright
Signature material: Concrete
Style: Modernism
Wasily Kandinsky: Sketch for Composition VII, 1913

THE GUGGENHEIM
BILBAO, SPAIN
Built in 1997
Designed by Frank Gehry
Signature material: Titanium
Style: Deconstructivist

THE GUGGENHEIM
BILBAO, SPAIN
Built in 1997
Designed by Frank Gehry
Signature material: Titanium
Style: Deconstructivist

THE GUGGENHEIM
ABU DHABI, UNITED ARAB
EMIRATES (UAE)
Finished by 2017
Designed by Frank Gehry
Style: Deconstructivist

THE GUGGENHEIM
ABU DHABI, UNITED ARAB
EMIRATES (UAE)
Finished by 2017
Designed by Frank Gehry
Style: Deconstructivist

THE GUGGENHEIM
HISTORY AND
CONTROVERSY
The Island of Happiness, or
Saadiyat Island, will be the new
cultural center of the United
Arab Emirates and the Middle
East.
The island will feature a
world class opera house
designed by Zaha Hadid, a
branch of the Guggenheim,
and the Louvre, as well as a
satellite campus for New York
University.
This efffort is being made to
transform the UAE’s economy
from one based on petroleum
to one based on tourism and
culture.

THE GUGGENHEIM
HISTORY AND
CONTROVERSY
The question that remains is who do you get to
build these massive structures in what was a
desert only ten years ago?

MIGRANT
WORKERS!
Workers primarily come from Thailand, India,
Bangladesh, Laos, Vietnam, Pakistan, and
the Philippines.
These are workers from very impoverished
backgrounds with little formal education,
and diverse skill levels.

The Changes that Gulf Labor. Org wants to see…
1. An end to recruitment fees and relocation costs paid by
workers.
2. An end to the confiscation of worker passports by
employers. (Though we recognize that this has appreciably
improved in recent years.)
3. Poor and unsafe housing and living conditions, even in the
Saadiyat Construction Village that is meant to embody the
highest standards for worker welfare.
4. Lack of freedom to change jobs or to form trade unions for
collective bargaining.
5. Lack of open platforms for workers to express grievances or
abuses without fear of recriminatioN, dismissal, or
deportation.

JUST AN AVERAGE SATURDAY NIGHT AT THE GUGGENHEIM…
Finished by 2017
Designed by Frank Gehry
Style: Deconstructivist

THE GUGGENHEIM
HISTORY AND
CONTROVERSY
The United Arab Emirates is
transforming their
economy from one based
on petroleum to one
based on tourism and
culture.
Do they have the right to
hire whoever they want to
construct this?
Do they have a right to
pay workers so little?
Does the UAE have to be
responsible for the well
being of these migrant
workers?
Keep in mind, that many western countries
(including the USA) became major world players
through the use of free labor aka SLAVERY….

Never been seen before, different from the norm,
modern, contemporary, luxurious, extravagant,
unique, prominent, important, dynamic, art inside of
art, artistic, artistic,

AND NOW…MARTA MINUJÍN

CONSUMPTION! P8
WHAT DO YOU CONSUME?
Food:
Electricity, energy
Oxygen
Carbon
PROTEIN POWDER!!!! RAWWWWW!
Potassium
Chia seeds
Fries
Calcium
Waterrrrrr
New england clam chowder (the white)
MANHATTAN clam chowdaa (the red)
DATA

CONSUMPTION! P3
WHAT DO YOU CONSUME?
Luuuucky charms
McChiggins
Platanos!
Advertisements projected at my FACE!
Tamáles!
The blood of my enemies (with hot sauce)
Cheeseburgers (with hot sauce)
Basketballs??? Or not.
Fried oreos
Fries
I tend to buy like a lot of headphones. ICECREAAAAM
A LOT OF FOSSIL FUEL….THROUGH ELECTRICITY

HOMEWORK FOR MONDAY
Write down everything you consume from Friday
evening through Monday Morning.
Format:
Thing you consume Time Date
Bowl of rice and chicken 7pm Friday 9/19
A book 4:30pm Saturday 9/20
Breakfast sammich 8am Sunday 9/21

MARTA
MINUJÍN
El obelisco de
pan dulce,
Buenos Aires
Sweet Bread
Obelisk
1979
Iron structure
covered covered
with 30,000
Panettone
Height: 98 ft.
(30 m.)

MARTA MINUJÍN
El obelisco de
pan dulce,
Buenos Aires
Sweet Bread
Obelisk
1979
Iron structure
covered covered
with 30,000
Panettone
Height: 98 ft.
(30 m.)

El obelisco de
pan dulce,
Buenos Aires
Sweet Bread
Obelisk
1979
Iron structure
covered covered
with 30,000
Panettone
Height: 98 ft.
(30 m.)
MARTA MINUJÍN

OBELISKS
FROM THE GREEK OBELISKOS
TEKHENU
WHAT THE PEOPLE WHO
INVENTED THEM CALLED THEM
Washington Monument
Built by Americans in 1848-1884
555’ 5” tall
Luxor Obelisk - Paris
Built by Egyprtians circa 1400 BCE
Given to the French in 1833

WASHINGTON
MONUMENT
Circa 1860

El obelisco de
pan dulce,
Buenos Aires
Sweet Bread
Obelisk
1979
Iron structure
covered covered
with 30,000
Panettone
Height: 98 ft.
(30 m.)
MARTA MINUJÍN

MARTA MINUJÍN
What ideas come to mind when you hear these words?
Psychedelic Art
Uses a lot of colors and I don’t know….it’s really trippy.
ASSumption: hippy swirs, whorls, and colors. LIKE BRIGHT COLORS
IN YA FACE COLORS LIKE RAINBOW VOMIT
Pop Art
Like celebrities, popular language like “SWAG” “YOLO”
Common things that you see often.
Trendy….seems unique at first but it’s really quite common.
Bright colors, defined, hi-def.
Takes popular CULTURE and transforms it into smething else.

MARTA MINUJÍN
Psychedelic Art: music, culture, or visual art based on psychedelic
or hallucinatory experiences. Typically vibrant in color and tone.
Pop Art : Art based on Popular Culture and Mass Media, especially
in critical or ironic ways. This is usually the antithesis of traditional
fine art values. Low brow=high brow.

Parthenon of Books
1983
Iron structure and 30.000 books prohibited
by the military.
50 x 98 x 40 ft. (15 x 30 x 12 m.).
MARTA
MINUJÍN

THE
PARTHENON
Also known as the Acropolis of Athens
438 BCE, marble ivory, gold
Designed by Iktinos, Kallikrates, and
Phidias (the MAN when it comes to Greek art)
The Parthenon was
a structure
dedicated to the
goddess Athena,
who was the patron
deity of the
Athenian people.
Construction began
in 447 BC when the
Athenian Empire
was at the height of
its power.
It was completed in
438 BC although
decoration of the
building continued
until 432 BC. It is one
of the most
important buildings
of Ancient Greece.

Parthenon of Books
1983
Iron structure and 30.000 books prohibited
by the military.
50 x 98 x 40 ft. (15 x 30 x 12 m.).
MARTA
MINUJÍN

MARTA
MINUJIN
Tower of Babel
2011
Iron structure and 30,000 books of
different languages

FROM THE
BOOK OF
GENESIS
4 And they said, Go to, let us build us a city and a
tower, whose top may reach unto heaven; and let
us make us a name, lest we be scattered abroad
upon the face of the whole earth.
5 And the Lord came down to see the city and the
tower, which the children of men built.
6 And the Lord said, Behold, the people is one, and
they have all one language; and this they begin to
do: and now nothing will be restrained from them,
which they have imagined to do.
7 Go to, let us go down, and there confound their
language, that they may not understand one
another's speech.
8 So the Lord scattered them abroad from thence
upon the face of all the earth: and they left off to
build the city.
9 Therefore is the name of it called Babel; because
the Lord did there confound the language of all the
earth: and from thence did the Lord scatter them
abroad upon the face of all the earth.
—Genesis 11:4–9[2]
Example of a “ziggurat”
structure
In Confusion of Tongues
by Gustave Doré, 1865

As a pioneer of happenings, MARTA MINUJÍN
performance art, soft
sculpture, and video, Marta
Minujín pursues a varied
and bizarre practice that
shows a profound distrust of
the collectible art object.
Her work is not meant to be
bought and sold in the
traditional sense.
She often uses ephemeral
materials such as
cardboard, fabric, and food
in work that is both
monumental and fragile.

MARTA
MINUJÍN
Letter from Marta
Minujín to
McDonalds
Corporation
February 29, 1979

La transformación de la Estatua de la Libertad en comestible
Transformation of the Statue of Liberty into something edible
Marta Minujin
1979, Ink on paper

La transformación de la Estatua de la Libertad en comestible
Transformation of the Statue of Liberty into something edible
Marta Minujin
1979, Ink on paper

La transformación de la Estatua de la Libertad en comestible
Transformation of the Statue of Liberty into something edible
Marta Minujin
1979, Ink on paper

La transformación de la Estatua de la Libertad en comestible
Transformation of the Statue of Liberty into something edible
Marta Minujin
1979, Ink on paper

MARTA
MINUJÍN
Letter from Diane
Klecka, Consumer
Affairs
Administratorm
McDonald’s
Corporation to
Marta Minujín
May 7, 1980

What do you think the effects of this project would
be if it were to be realized?

Minujín’s performance-based
installations are
driven by a desire to
transform art from the
static museum display
into something dynamic,
interactive radical and,
ultimately, destructive.
As such, Minujín’s work
undergoes a
pyrotechnic ritual every
few years. Phoenix-like,
out of the ashes new
creations emerge,
unburdened by anything
as status quo as cultural
legacy.
MARTA MINUJÍN
Carlos Gardel of Fire
1981
Iron covered with cotton.
Height: 56 ft. (17 m.).

WHAT ARCHITECTURAL SPACE WOULD YOU ALTER?
HOW WOULD YOU CHANGE IT?
Team up with a few people
and generate some ideas!

GABRIEL SIERRA Born 1975, San Juan
Nepomuceno, Colombia.
Studied Industrial Design
at Universidad Jorge
Tadeo Lozano of Bogotá.
Lives and works in
Bogotá, Colombia
Sierra actively pursues the social ways
we relate to architecture.
While some may walk past his artwork,
not realizing it is in fact artwork at all,
others may gain a greater appreciate
for spatial architectural environments
and how we logically design them.
While much of his work seems rather
minimal, or lacking in material and
form, his creations directly relate to the
textures, materials and shapes that we
associate with ordinariness. Almost as if
the site of his installations are under
construction.

GABRIEL SIERRA
Estructuras para transición 1
Structures for Transition 1
Mixed media 2008 / 2014

LUIS
CAMNITZER
Art History Lesson no. 6
ten slide projectors
2000
This work is
made up of
several slide
projectors…th
ese are
objects that
have been
used in
college
lecture halls
for the past
century,
particularly in
Art History
classes.

Camnitzer’s work points to
the fact that Art History is
written by those who are in
power, which tends to
exclude stories, narratives,
and dialogues from non-
European countries.
This work’s empty
projectors present viewers
with a space within which
to imagine and potentially
write their own narratives.

POR EJEMPLO…
WHAT IS THIS?
HAVE YOU SEEN
IT BEFORE?

Leonardo da Vinci
Mona Lisa
1503
Oil on panel

Leonardo da Vinci
Mona Lisa
1503
Oil on panel

Leonardo da Vinci
Mona Lisa
1503
Oil on panel
The Mona Lisa is one of the
most recognizable images
in the world. While it was
once a relic from the
Renaissance zeitgeist, it has
transcended that era of
time and is an almost
timeless representation of
“Art” with a capital “A”
It is one of the few pieces of
art that becomes…Canon.

Leonardo da Vinci
Mona Lisa
1503
Oil on panel
Canon:
the body of “rules,”
principles, or standards in
artwork. Canon Artwork is
accepted as universally
beautiful and well made.
It is Artwork that is treated
as a fundamental thing
that everyone should
know or experience.

Canon:
the body of “rules,” principles, or
standards in artwork. Canon Artwork is
accepted as universally beautiful and
well made.
It is Artwork that is treated as a
fundamental thing that everyone
should know or experience.
What other subjects have a Canon?
1. European history
2. Civil War history
3. Bohr Atomic Model
4. Shakespeare

Canon:
the body of “rules,” principles, or
standards in artwork. Canon Artwork is
accepted as universally beautiful and
well made.
It is Artwork that is treated as a
fundamental thing that everyone
should know or experience.
What other subjects have a Canon?
1. EINSTEIN: E=MC2 …Theories becoming laws
2. SHAKESPEARE
3. HOW TO KILL A MOCKING BIRD
4. New york YANKESS
5. Elvis presley …marilyn monroe…n
JESUS…CHRISTIANITY

WHAT DOES “GOD” LOOK LIKE?
Write 5 adjectives (descriptive words) in your notebook.
White male
Holy
Old
Female?
Woman of color
Long hair
P8

WHAT DOES “GOD” LOOK LIKE?
Write 5 adjectives (descriptive words) in your notebook.
SPIRITUAL PRESENCE (PRAYER REFERENCES, FOCUS ON
POWER…
DARK SKINNED FEMALE
NON-HUMAN…GHOST
CLOUD WITH MAAASSSSIIIVEEEE HANDS
WHITE LIGHT
ROBES, RAGS, GOWN,
A LARGE WHITE BEARD
CLOUD BODY
DEEP VOICE
OMINOUS FIGURE
SITS ON A BIG CHAIR…ON A CLOUD
MORGAN FREEMAN
ROSE
P3

WHERE DOES THIS IMAGERY COME
FROM?

CANON VS. ZEITGEIST
The History of art has
Our entire world view is sculpted by Art History…the images left behind by
our predecessors.

The History of art has had a profound affect on you
and on everyone else. If “History” is how we relate to
the past, “Art History” is how we SEE the past, and how
we identify with it.
When an image or idea becomes canon, our entire
world view is sculpted by it. While these are only the
the images left behind by our predecessors, they
continue to penetrate our modern culture to this day.

FIGHTING THE “MASTER NARRATIVE”
ONE SHADOW PUPPET AT A TIME…

What CULTURAL or
NATIONAL histories
are erased from the life
you live?
What PERSONAL
or SOCIAL
histories are
erased from the
life you live?

LUIS CAMNITZER
“The point of art should be to treat the public (students and
visitors) as the artists’ colleagues, not as consumers. We should
involve them in the thought process without allowing them to
dismiss something in a couple of seconds just because they
didn’t like or understand what they saw….
…I should confess that I am
increasingly less interested in art
and more interested in
education. The social impact of
a piece of art hanging on a
wall is relatively small, while the
effect of a major change in
sharing knowledge in schools is
relatively big.”