CONTEMPORARY ART
AS AN ACCESS POINT
Katherine Giard
University of Central Florida
INTRODUCTION
Any art program is better than no art program.
 Is that enough?
 Art education challenges minds to be critical,
reflect, process skills and techniques, organize
structure, make meaning of historical and global
connections, be innovative through the use of
technology, and, then, assimilate these big ideas
for application in the future (“Next Generation,”
n.d.).

2
The goal of art education “’is not the art itself, or
the aesthetic product, or the aesthetic experience,
but rather the child who grows up more
creatively and sensitively and applies his
experience in the arts to whatever life situations
may be applicable’ (quoted in Michael, 1982,
p. xix)” (Efland, 1990, p. 235).
 Contemporary artists think currently, not only
locally, but also globally.
 Students who are provided the opportunity to
investigate “issues of real concern to them are
more engaged in the learning process” (Gude,
2007, p. 8).

3
Han Yajuan
INTRODUCTION.
Born in 1980 in Qingdao, China, Han Yajuan
“enjoyed the social and cultural openness that
China has had to offer for its citizens since its
economic reform more than a decade ago” (Ng,
n.d., para. 2).
 paintings are a running commentary on peer
society
 artist of the Cartoon Generation, grew up with
technology, social media, and the internet
 girls exude consumerism, material reality, and
consumption

5
previous generations of artist were oppressed by
a regime that used art to make political
statements and produce propaganda (“Chinese
Art,” n.d.).
 Yajuan’s art is completely contrary to a society
that once discouraged individuality and Western
influences

6
BIOGRAPHY.
earned her B.A. from the China Academy of Art,
well respected institution
 worked in the College of Visual Art at the China
Academy of Art
 earned an M.F.A. from the Oil Painting
Department of the Central Academy of Fine Arts
 currently lives and works in Beijing, China

7
SIGNIFICANCE.
forefront of an expanding and evolving Chinese
art world, Mainland China has overtaken Japan
as the biggest world economy
 figures often seem simplistic until you look past
their superficial exteriors
 closed eyes?
 cow companions
 caricatures embrace capitalism and success, but
at what price?

8
XL BEETLE
2007
OIL ON CANVAS,
240 X 120 CM
9
HOUSE PARTY
2010
OIL ON CANVAS,
300 X 150 CM
10

“Almost all her recent works adopt bird’s eye perspective.
There are multiple focuses and scenes in each of the
paintings, with all the focuses and scenes being
independent and equally important. The perspective with
multiple focuses is consistent with the multi-point
perspective used in traditional Chinese painting, which
enables artists to depict objects from different angles and
allows the audience to have diversified experiences. The
perspective not only empowers Han Yajuan to depict
multiple scenes and plots simultaneously, but also makes
her art language an effective vehicle of her ideas. The
complicated scenes described with the perspective indicate
the complexity of society and reveal that seemingly
unrelated people may be interconnected with each other
(Chunfeng, 2011, para. 2).”
11
SPLASH BASH NO.02
2011
OIL ON CANVAS, 200 X 120 CM
12
EPISODIC MEMORY #1
2011
OIL ON CANVAS, 60 X 60 CM
13


“My recent creations consider the relationship between
people, objectivity, and space, and I attempt to use a kind
of perspective that transcends reality in order to observe
and express the existence of physical ‘materialism.’
Through deconstruction and the overall composition, a
multi-dimensional perspective presents itself, and this
creates an effect that can highlight the interplay between
people, objectivity, and material culture. This type of
thinking originates from our curiosity and suspicion of the
unknown world, and our investigative probe into the
‘unknown’ behind ‘existent reality.’ And this ‘unknown’
factor may well influence and construct the elements
underlying our ‘existent reality’” (“Han Yajuan,” 2011,
Talk, para. 1).
symbolism in Chinese painting
14
DIVA FEVER FEST
2012
OIL ON CANVAS, 200 X 120 CM
15
HYPOTHETICAL PROPOSITION
2012
OIL ON CANVAS, 130 X 85 CM
16
IMPLICATIONS.
engaging, cartoon-like
 excellent opportunity to explore art as it relates
to another culture
 think about the lives of people in another place
 traditions of Chinese painting in her work,
symbols
 commentary, stories
 interrelatedness of individuals, identity,
exploring self
 artist’s process

17
CONCLUSION.
works offer social commentary via ultra feminine
figures who are delightfully engaging and
unexpectedly relatable
 Yajuan’s work represents a culture and a
generation dealing with same themes of
relationships, identity, and place that exist for
others all over the world
 Forces us to see that we aren’t so unalike

18
19
Banksy
INTRODUCTION.
elusive figure in the street art scene, identity is
unknown
 works are a running commentary about
everything from politics to social themes
 works pop up all over the world, on any public
surface
 paintings, assemblages, and films (nominated for
an Oscar in 2011, documentary)

20
BIOGRAPHY.
born in 1974, in Bristol, in West England
 spraying paint at 14
 trained as a butcher
 part of the Bristol underground scene in 1990s,
diverse urban culture, collaborations between
musicians and graffiti artists, influenced by 3D
 stenciling technique
 work parallels that of the Godfather of street art
Blek Le Rat
 King Robbo, engage in ongoing “Graffiti Wars,”
over painting, with artwork and insults

21
SIGNIFICANCE
“satirical pieces of art on topics such as politics,
culture and ethics” (“Biography for Banksy,” n.d.,
para. 2).
 works are amusing and then, thought provoking
 stereotypical graffiti
 clever, planned, and imaginative, simple and
quick
 "Art should have your pulse racing, your palms
clammy with nerves and the excitement of
creating something truly original in a dangerous
environment," Banksy once said (Chaundy, 2006,
Political, para. 5).

22
WHITE-WASHING OF HUMAN HISTORY
N.D.
23
RAT MURAL
N.D.
24

street artist don’t just go away, as tenacious,
invasive, and relentless as rats reveling in their
underworld
25
CIGARETTE BREAK
2009
26
PARKING
N.D.
27
challenge the establishment and the status quo
 placement is brilliant, appearing on the side of a
windowless building, overlooking a parking lot in
California, one of the most congested locations in
the world

28
FOLLOW YOUR DREAMS
N.D.
29
SWEEPING IT UNDER THE CARPET
N.D.
30

“a metaphor for the West's reluctance to tackle
issues like Aids in Africa” (Chaundy, 2006,
Political, para. 1).
31
FLOWER THROWER
2010
32
IMPLICATIONS.
obvious technical aspect, planning, creating
stencils, spray paint, time
 spends time thinking, reflecting
 using a stencil to create artwork constitutes an
art form?
 explore the use of language and symbols, making
a statement simply

33
CONCLUSION.
street art has meaning
 may never run out of images and insights to
impart
 Society reflects the human condition and Banksy
sees it as his job to hold the mirror, so that we
don’t miss the reflection.

34
Carrie Mae Weems
INTRODUCTION.
purposeful photographs that beg you to look,
linger, and contemplate
 as an artist, she is a storyteller, developing plots,
using props, and integrating words with image
 strives to unravel the truth about race, gender,
and class
 explore who we are, as individuals, and our sense
of place in the world

36
BIOGRAPHY.
born in 1953, large Portland, Oregon, family
 interested in dance, shifted to photography when
she was gifted a camera
 The Black Photography Annual, a book of
African-American photographers, more creative
 New York to study photography at the Studio
Museum in Harlem, bicoastal
 B.F.A. at the California Institute of the Arts,
Valencia, black women non-existent in art
 M.F.A. from the University of California, San
Diego

37
studied folklore in the graduate program at the
University of California, Berkeley
 currently lives in Syracuse, New York and
maintains a studio in Brooklyn, New York

38
SIGNIFICANCE.
help us define who we are by showing us the sum
of our parts in one visual representation
 make a change in ourselves or in the world or not
 we are more than the labels and constraints that
society imposes
 works masterfully challenge us to see who we are
 she pushes us to become more than we can hope
to imagine

39
FAMILY PICTURES AND STORIES
1981-1982
40
BLACK WOMAN WITH CHICKEN
AIN’T JOKIN’
1987-1988
41
COLORED PEOPLE
1989-1990
42

“I assume that I can speak from multiple places
and in multiple contexts. And even if I’m wrong,
I assume that I can speak for those who can’t or
are too afraid to speak for themselves” (Art
Participant, 2012, para. 4).
43
THE KITCHEN TABLE SERIES
1990
44
DREAMING IN CUBA
2001
45
ROAMING
2006
46
OBAMA PROJECT
2012
HTTP://CARRIEMAEWEEMS.NET/GALLERIES/OBAMA-PROJECT.HTML
47

“In a Feb. 29 New York Times review, art critic
Roberta Smith wrote of Weems, ‘No American
photographer of the last quarter-century … has
turned out a more probing, varied and moving
body of work. None has made more adventurous
use of the photographic medium, adding
performance, film and installation to the serial
print format’” (“Carrie Mae Weems,” 2008, para.
2).
48
IMPLICATIONS.
world of photography for children to explore,
“Cameras are powerful tools of creative
expressionism” (Linderman, 2009, p. 139).
 provide the ability to tell a story, capture a
moment, and send a message
 Is photography art?
 determine if there is a message being sent
through the work
 explore, research, and share photographers that
are meaningful, sending a message, and explain

49
technical aspects of operating a camera
 appropriate vocabulary relating to the field of
photography
 explore the theme of identity

50
CONCLUSION.
Weems isn’t pigeonholed by her identity or her
situation
 frozen moments offer insight and a unique
perspective akin to walking in another man’s
shoes
 raises our awareness and engages us in the lives
and plights of others

51
Richard Long
INTRODUCTION.
walks … a lot, epic walks, for weeks at a time, in
rural or remote areas
 English sculptor, photographer, and painter, best
known as a land artist
 reinterprets the landscape using discoveries
made upon walks
 walks, and the resulting artwork, can be
predetermined or arbitrary
 trekked all over the world, in every type of
environment and terrain
 snapshot, production is left to time and elements

53
BIOGRAPHY.
born on June 2nd in 1945 in Bristol, England
 studied at the West of England College of Art, a
very conservative school
 act viewed as too precocious, he was dismissed
for snapping photos of the track left after making
a snowball (O’Hagan, 2009, para. 4)
 St. Martin’s School of Art and Design, birth of a
new art form, land art
 received the Turner Prize in 1989 (under 50, UK
highly publicized, usually to conceptual artist)
 currently walks, lives, and works in Bristol,
England

54
SIGNIFICANCE.
respect for nature
 the structure of shape
 master of raw material manipulation
 very simple, although precise
 captures the sublime interactions in nature

55
1967
IRELAND
56
A LINE IN SCOTLAND
1981
57
BRUSHED PATH
1983
58

“What I do in the landscape takes its place with
all the other human and geographic history that
has been before. I've no romantic idea that I'm
going to some virgin untouched part of the
planet. The places I go to are generally empty
because that suits my work which is about space
and distance and time and simplicity” (Wroe,
2003, para. 51).
59

Tom Lubbock of the The Independent observes,
“And why does he go all over the planet, to
desert, to mountain, to river, to arctic? For the
traditional reason, it seems: to get away from it
all. Wherever Long travels, the messy human
world is strangely absent. Whatever might be
going on in that part of world, he manages not to
notice. Apart from his own interventions, the
Earth might be the Moon. His photos show bare
nature, uninterrupted even by animals. The
Animal Droppings dropped into that text are a
surprise. The kangaroo that appears in A
Straight Hundred-mile Walk in Australia is a
real rarity” (Lubbock, 2009, para. 14).
60
SIX STONE CIRCLES
1991
ENGLAND
61
A ROLLING STONE
2001
62
ROAD STONE LINE
2010
CHINA
63
IMPLICATIONS.
offers kids a change of scenery and a chance to
try something different in art
 children can see another way that art can be in
the world
 determine whether or not land art exists if raw
materials are manipulated and introduced into a
gallery setting
 determine if art exists if no one else sees it, photo
taken of the work is also art
 take what occurs in nature and manipulate it,
without destroying it or the surroundings

64
use photography
 determine how time and the elements affect a
piece

65
CONCLUSION.
adheres to the pure definition of land art
 man is one with nature
 work is minimalist, present, and unobtrusive
 “A local could walk by and not notice it, or notice
it and not know anything about me. Or someone
could come upon a circle and know it was a circle
of mine. I really like the notion of the visibility or
invisibility of the work as well as the permanence
and transience” (O’Hagan, 2009, para. 8).

66
Karen Searle
INTRODUCTION.
“The term crafts is often used to describe the
family of artistic practices within the family
decorative arts that traditionally are defined by
their relationship to functional or utilitarian
products (such as sculptural forms in the vessel
tradition) or by their use of such natural media
as wood, clay, ceramics, glass, textiles, and
metal” (“The Arts,” n.d.).
 emphasis on manipulation of the material and
the technique used to achieve the desired product

68
“the whole of the crafts field has uniformly
clamored to be considered as art. Too many
people are asking for the rewards without the
responsibilities; they want to be granted the
status of artists without being subject to the
demanding kind of thinking that is necessary for
art, or to the challenging criticism that it always
faces,” says contributing editor to FiberARTS and
art critic Janet Koplos (Koplos, 1986, para. 9)
 female form to explore self, saying, “I am
interested in form as a container for thoughts,
emotions, desires and archetypal imagery”
(Searle, n.d., WARM, para. 1).

69
BIOGRAPHY.
born in April of 1943, in Illinois
 B.A. from the University of Wisconsin, Madison
 M.F.A. from the Minneapolis College of Art and
Design
 Women's Art Institute, Minneapolis College of
Art & Design in 2001, 2003, and 2009
 Textile Center, a national center for fiber arts,
she works in the Mentor/Protégé Program to
foster emerging artists
 works in the art editorial and publishing field
 currently lives in St. Paul, Minneapolis

70
SIGNIFICANCE.
Knitting wire?
 unique innovation, ability to speak through her
creations has allowed her to walk into the art
world
 considerable skill to weave works that convey a
personal message

71
ESSENCE INSTALLATION (DETAIL)
2005
CROCHETED AND HAND
MANIPULATED STEEL WIRE
72
ESSENCE INSTALLATION (DETAIL)
2005
CROCHETED STEEL WIRE
73
ESSENCE INSTALLATION (DETAIL)
2005
74
CROCHETED STEEL WIRE
WOMAN WITHIN II
N.D.
WIRE KNIT, 28 IN
75
ESSENCE: IMAGE AND REALITY
N.D.
CROCHETED COPPER WIRE, BEADED BARBIE DOLL, 14”
76

“My Torso forms originated from my interest in
the Jungian concept of the body as a container for
aspects of the self” (Searle, n.d., WARM, para. 6).
77
HOW MY MOTHER DRESSED ME
N.D.
COPPER WIRE, HAND KNITTING, 40 X 18 X 20 IN
78
HOW MY MOTHER DRESSED ME (DETAIL)
N.D.
COPPER WIRE, HAND KNITTING, 40 X 18 X 20 IN
79

“I utilize the techniques of "women's work" to
present the feminine view. My imagery is
inspired by womens' lives and womens' bodies,
and by the feminine impulse to nurture. My
sense of humor enters into the creation process
and becomes integral to many of the pieces. I
think of my wire sculptures as 3-dimensional line
drawings in space. The line and movement of the
object and its shadow suggest the energy of a
human presence, says Karen Searle (Searle, n.d.,
Biography).”
80
IMPLICATIONS.
an opportunity to learn a new skill
 children of today’s world often miss out on
acquiring the skills used to knit
 manipulate a material to get a desired effect
 use the skill to explore their sense of self
 difference between art and craft
 identify artists and art forms that transcend the
line between art and craft

81
CONCLUSION.
balances her work between light and flowing
garments and grounded, sturdy human forms
 assembles her pieces with great care and
forethought
 “Entanglements … have preoccupied me during
the past 25 years. … I use the tools and
techniques of domestic textile-making, or
‘women’s work,’ to assert the feminine view. The
ritual of a repetitive handwork process is
meditative and honors my connections to female
ancestors and the divine feminine,” says Searle
(Searle, n.d., WARM, para. 4).

82
Better Results
INTRODUCTION.
social stereotype, as defined by Dictionary.com, is
“a set of inaccurate, simplistic generalizations
about a group that allows others to categorize
them and treat them accordingly” (“Stereotype,”
n.d.).
 the jock, the misfit, the model, represent
individuals as one-dimensional caricatures
 one word, an image has already taken shape and,
likewise, a notion of how to interact with that
label has developed

84
adults, parents and educators, intervene to teach
children that people are more than just a
typecast
 otherwise, the stereotype, becomes their normal
 pass judgment on complex people, who are
comprised of many layers and personas
 people are distinct entities, with character and
qualities that are unique

85
HISTORY.
“Get a Mac” television advertising campaign, that
ran from 2006 – 2009, campaign created for
Apple Inc. by TBWA\Media Arts Lab, the
company's advertising agency (Nudd, 2011, para.
1)
 66 commercials, ran over a 4-year period, all the
major markets of the world
 actor Justin Long, seen as young, hip, and stylish
was Mac
 author and humorist, John Hodgman, a middleaged man, in a brown suit, and glasses was PC

86
entertained “viewers for years with their quips,
barbs, sight gags, and one-liners” (Nudd, 2011,
para. 1).
 “despite iPod's staggering success, Mac remained
a niche player in the computer market. In
January 2006, the new Intel-based Macs were an
opportunity to make Mac as culturally relevant
as iPod, but Mac didn't translate to the PC world.
The idea: compare the easy, fun Mac experience
with PC's frustrating complications. The “Get a
Mac” campaign personified each and the result
was magic. A simple, charming metaphor with
all the reasons to get a Mac. Market share grew
by 42%, Apple had record sales and the campaign
was culturally influential” (“Despite,” n.d.).

87
SIGNIFICANCE.
commercials were well received
 PC = you are a bit of a dinosaur, you are
outdated, not tech savvy, and not in the “in”
crowd
 Mac user = the world is your oyster
 criticisms, regarding the content of the
commercials are slight, Apples are PCs,
smugness of the Mac character

88
unscientific survey, conducted by Hunch in 2011,
found that PC users “tend to prefer fitting in with
others, are less tech savvy, and prefer Hollywood
films over indie films. The same survey suggests
Mac users tend to throw more parties, are
modern art enthusiasts, and would rather drive a
Vespa than a Harley” (Suarez, 2011, para. 1).
 main characters are white males, suggesting you
may not even own a computer otherwise
 big mistake since there are more women than
men in the US alone
 central characters changed depending on the
country (remember, this was a global campaign)
women were never represented as PC or Mac

89
white males are not the dominant ethnicity in US
or world
 didn’t make a difference
 Better Results, the stereotype = a perfect Mac
home movie = a Brazilian super model and a
perfect PC home movie = basically, your dad
wearing a dress and a wig

90
BETTER RESULTS
2006
HTTP://WWW.YOUTUBE.COM/WATCH?V=KNNX6XRQBEC
91
IMPLICATIONS.
stereotypes in the school environment abound
 children may represent, impose stereotypes
 awareness of the media driven social stereotypes
that exist
 define and express observed and existing
stereotypes
 thoughtful reflection of student media stereotype
presentations
 create a short film about stereotypes
 engage in critiques

92
CONCLUSION.
important the children understand that what
they are viewing is the result of serious
consideration and can have negative connotations
 awareness key and at the heart of learning to not
succumb to someone’s preconceived notion
 painful, attaching a stigma, presenting a flat
view of an individual
 a considered education is essential

93
CONCLUSION
use of contemporary artists in the art classroom
makes art relevant
 use artists whose works provide current
“memorable substance to their creative visions”
(Robertson & McDaniel, 2010, p. 3) and who
reflect the world society
 generation of artists who speak to what is going
on in and around the lives of kids, should be
present in the art curriculum
 artists of today possess a wide range of skills, due
to a variety of mediums, often possess a
conspicuous awareness

94
Shouldn’t the art curriculum at the local school
reflect that?
 children function on a higher level, are being
asked to perform at higher levels, Contemporary
productions have the potential to engage children
at these levels
 While the art of generations before should never
be forgotten, the works of today must be
included.

95
REFLECTION
huge undertaking, extended well beyond what I
had anticipated
 on point, usable
 Contemporary artists have a real place in art
education
 thinking about art
 researching via Internet, wasn’t an option
 good/bad, too much/too little
 interesting learning process

96
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