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91 Terms

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Architecture. A two-leveled temple is cut directly into the surrounding cliffs.
The lower level has engaged columns flanking a rectangular opening. Above, three bays with shallow, rectangular niches are flanked by projecting columns, so there are deep gaps between each of the five elements. A rounded, tent-like canopy creates a little roof over the central bay. The bays to each side support the separated left and right halves of a pediment. An expanse of sand stretches in front of the structure, and the cliffs completely enclose the façade. A few people standing in front of the temple show that each level is at least four stories high.

Petra, Jordan: Treasury and Great Temple

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Sculpture. Nestled into a cliff face, a person stands wearing a sweeping robe.
The area around the person is barely larger than the person itself. The head is in tact but much of the face lost, so we only see the person’s closed lips and square jaw. The arms are down by the sides. There are more losses, especially below the elbows, but shallow lines suggest fabric draped across the shoulders and torso.

Buddha (Afghanistan)

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Sculpture. A person with shiny, smooth, gold skin wears an elaborate crown and is surrounded by jewels set in gold.
We see the statue from the chest up. The person has thin, arched eyebrows over lowered eyes. His nose flares over red, closed lips. He has a rounded chin and a wide jaw. His ornate copper-colored crown flares up and out and is encrusted with turquoise, red, blue, and white gems. He sits against dark, burnished-gold serpentine forms, which are also set with stones and pearls.

Jowo Rinpoche

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Architecture. Two stone pillars are woven through with three horizontal bands, all densely carved.
We look up sharply at capitals carved into the form of elephants. Above, three horizontal bands are supported, like stacked bridges, by the pillars. Much of the detail of the carvings cannot be made out in this image but there nested, concentric circles at both ends of the bands.

Torana at the Great Stupa at Sanchi

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Architecture. This brown sandstone temple is made up of mound-like towers clustered around larger, taller towers.
The entire structure appears to be made of horizontal bands that stretch across all the parts, like the striations of rocks. A central tower rises at the center. Two wider, slightly shorter towers are to each side, and several others nestle around this trio. We look at the temple across a green lawn with manicured bushes.

Lakshmana Temple

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Sculpture. Cast in bronze, a person is balanced on one foot, his four arms spread. He is surrounded by an oval ring.
The person’s standing leg is on a prone, miniature person, both on a narrow round base. The other leg is lifted lightly so that foot is even with the other knee. The person’s torso faces us and the four arms unfold to each side. Two spread wide, and two are gathered in front of the person’s body. The outstretched hand to our left holds a scroll-like drum and the other is near the oval ring. The other two hands are near each other, and both are held with palms facing out. The fingers extend up on one hand and down on the other. The person wears a crown and wavy lines connect the head to the ring, six to our left and seven to our right. The ring is fringed with finger-like flames. The surface of the bronze has developed a green patina in some areas and a deeper brown color in others.

Shiva as Lord of Dance

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Painting. Man seated on an hourglass holds one side of a book a bearded man holds the other. Three more men are below.
The scene is painted in watercolor and gold on paper. Four of the five men have medium skin, and the fifth has light skin. The man on the hourglass is the largest, and he wears a white head covering over dark hair. He wears pale pink clothing as he kneels against a red cushion. His head is surrounded by a sun-like halo in front of a larger gold disk lined with a sliver of a crescent moon along the bottom. Sand falls within the hourglass below. Two small winged, child-like people crouch on either side of the lower bulb. The bearded man is to our left, his hands raised to also hold the book. His beard is long and white, and he wears a white turban and a muted pink robe. The three men below are seen from about the chest up, and are stacked along the left edge. The topmost man there has a white turban, a long dark beard, and he wears a frosty green robe. The man in the middle has light skin and has a reddish-brown beard. He wears a lacy collar and a tightly fitting white jacket. The third man wears a red head covering, a harvest-yellow garment, and he holds up a small picture in a red frame. The background behind the scene is pale blue above and below is a densely patterned floor, perhaps a carpet. The scene is framed with patterned floral borders. Arabic writing is in oval cartouches at the top and bottom.

Jahangir Preferring a Sufi Shaikh to Kings

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Sculptures. Hundreds of terracotta statues of men and a few horses fill a vast warehouse-sized building.
Separated by wall-like divisions, the statues are lined up in rows that stretch the length of the building. Closest to us, we can see that a few heads are missing. The people we can see stand squarely on both feet with their arms by their sides, though the exact position of their arms and hands varies.

Terracotta Warriors

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extile. A T-shaped painted cloth shows serpentine forms, scrolling leaves, people, and animals.
The piece across the top is only slightly wider than the long piece below. Tassels hang from the lower corners. The animals and decorations are painted in tones of deep burgundy and vivid red, gold, and pewter gray. A gold sliver of a crescent moon is in the top left, and a red disk with the black silhouette of a bird to the upper right.

The Funeral Banner of Lady Dai

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Architecture and sculpture. Statues and cave-like structures have been carved directly in the face of a sheer cliff.
A wide staircase leads up to a vast niche that encloses one seated person flanked by several others on a smaller scale. A couple of colorful patio umbrellas and miniscule people at the foot of the statues show that the central sculpture is several stories high. That person wears sweeping robes draped over crossed legs, and he appears to look down. Dozens of arched openings have been carved into the rock face around and below the statues.

Longmen Caves

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Painting. In ghostly and slate grays against golden-tan silk, a mountain cliff rises majestically over a walking path.
The sheer cliff takes up the top two-thirds of the tall scroll painting. The tops of the cliffs are dusted with darker vegetation. A break in the stone could be a waterfall to our right. The cliffs fade near their base, so spiky trees lining rocky banks below are outlined in stark silhouette against the golden background. A boulder along and nearly spanning the lower edge is between us and the walking path there. Barely visible in this image, two miniscule people and three donkeys walk along the path to our right.

Travelers Among Mountains and Streams

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Vases. Each of two tall, narrow vases painted with vivid blue dragons, leaves, and other patterns against pearl white.
Each vase has a shallowly flaring foot, a long, thin, rounded body, low shoulders, and tall necks. Each has a pair of rounded handles, which turn out to be elephants’ heads on closer inspection. Blue, serpentine dragons face each other, one on each of the vases’ bodies. The creatures are surrounded by stylized, wispy clouds. In the narrowing neck above, phoenixes fly among leaves. The elephant-head handles emerge from bands of tall leaves, below the straight-sided mouth. The foot of each vase has a ring of peony flowers above symbols in small squares.

The David Vases

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Architecture. Dozens of buildings within a walled complex have dark yellow, flaring roofs.
From a distance, we look slightly down onto the complex, which extends off both sides of this photograph. A central building appears to be at least three times as tall as any of the others we see here. It has two levels of flat-topped roofs that shallowly curl down and out to each side. These rest on a walkway supported by columns and then on a rectangular base that is several stories high on its own. Trees are interspersed among the other buildings of the complex. A vast city scape is visible in the deep distance beyond.

Forbidden City

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Lithograph. A young, cleanshaven man with medium skin and short, black hair stands at the top of a mountain.
He looks off to our left with dark eyes under furrowed, dark brows. His mouth is set in his square face. A breeze ruffles his forelock. His shoulders are thrust down and back, and he holds one arm away from his body, hand tightly clenched into a fist. A closed red umbrella is tucked under the other arm. He wears a high-necked, slate-blue, long gown and black shoes. Low, scrubby growth lines the path on which he stands. Beyond him, we look down onto mountain peaks shrouded mostly in blankets of mist. The horizon comes about a third of the way up the picture, and the sky above has bands of white clouds creating a diagonal from the lower right to the upper left. Closer inspection shows a telephone pole peeking through the mist near the lower left.

Chairman Mao en Route to Anyuan

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Rock garden. Clusters of gray rocks are arranged on three grassy spots amid a field of raked gray gravel.
Lines raked into the gravel encircle the grass and create waves between them. The rocks are different sizes and shapes, with some being low and wide and others tall and narrow, like teeth. The clay wall enclosing this view is charcoal gray in some areas and a warm orange in others.

Ryoan-ji

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Painted scroll. A person on a rearing black horse is followed by a band of soldiers to our right.
The person on horseback is to our left of center, amid a blank expanse of beige-colored paper. The black horse pulls its head back toward its rider, who holds a captive across the saddle. A crowd of soldiers on horseback and on foot approach from behind, to our right. Their armor is made of horizontal plates in shades of white, muted orange, pale olive green, or brick red. The horses there are pale tan or smoke gray. To our left of the horse with the rider and captive, a man stands in front of the horse’s kicking legs. That soldier readies an arrow in a bow nearly twice as tall as he is. Five columns of Japanese characters line the leftmost edge of our view.

Night Attack on the Sanjo Palace

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Painted screens. Two square, side-by-side panels together show trees on shimmering gold banks of a swirling river.
The gold background is reflective and bright. The tree on the left panel has white blossoms on branches that angle and sweep precipitously down and back up. To our right, the tree’s branches mostly rise upward, and have red blossoms. The stylized river creates a swelling, dark form as it comes closer to us. Movement in the dark water is represented by brown curls and spirals.

Red and White Plum Blossoms

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Color woodblock. Close to us, a vivid blue ocean wave rises and crests amid a froth of stylized white water.
The wave fills nearly the left half of the composition. The massive peak nearly breaks, its finger-like surf heavy along the back of the surge. Another peak slightly in front of it almost engulfs a long, narrow fishing boat. Another boat rides the neighboring swell, to our right. A mountain, tiny in the distance, is nestled in the troughs between the waves. The horizon is low, about a third of the way up the image. The sky around the mountain is smudged gray, and the sky above the parchment-white of the paper. A vertical cartouche and another column of Japanese characters are near the upper left corner.

Great Wave off Kanagawa

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Architecture. Large building with a white surface, brown trim, three main stories, and two levels of curved roofs.
The three-story building is situated on a lush, green lawn with trees and bushes. Walls stretch out from either side, creating a barrier such that one could only enter from the main door in the center. Visitors approach the entrance from a path leading to the central door, their size offering perspective on the scale of the building. At its peak, the building is at least thirty times as tall as the average human. At the very top Are two horn-shaped features adorning the curved roof. The brown trim over the building forms a series of rectangular, triangular, and trapezoidal patterns.

Todai-ji

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Jewelry. Crown-shaped piece with geometric lines and antler-like forms made with gold and jade.
This piece has an elaborate base structure in gold metal, with five separate spikes reaching upwards and six separate linked chains dangling gracefully from the main circlet. Dozens of small, carved comma-shaped jade pieces adorn the spikes and the delicate chains.

Gold and Jade Crown

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Painting. A seated man wearing a voluminous, teal robe and a black hat with two flaps on each side, gold background.
The subject of this portrait is seated in a chair that his robe covers. The teal robe has a gold-colored decoration on the chest area, portraying two peacocks and a floral design. His feet are propped on a foot rest and encased in white fabric.

Portrait of Sin Sukju

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Architecture. Aerial of a building surrounded by trees that is roughly square with subtle curves around the perimeter.
The sides of this square-shaped building appear slightly rounded because of the way each story's perimeter is broken up into different planes. There are at least six levels, each ascending into the next level with less square footage. The structure culminates in a roof with three concentric circles surrounding a dome shape. The aerial shot gives a sense of massive scale.

Borobudur Temple

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Architecture. Building complex rises from the shoreline of a moat. Its tall, jutting forms are built, but seem organic.
This view of a vast building complex shows a shoreline where an intricate structure is reflected in a still body of water, surrounded by greenery. Five shapes that suggest architectural spires rise upwards into the sky above several levels of arcades and floors with many rows of individual rooms. The overall sense is of a massive building complex whose silhouette mimics that of a mountain range.

Temple of Angkor Wat

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Architectural Sculpture. Carving of a larger-than-life, half-human, half-animal figure within a narrow corridor. The general shape of this large, carved stone sculpture is of a spear or blade. The humanoid body has snakes on the eyebrows, large fangs, and sharp talons on the hands and feet. One hand is pointing up and the other is pointing down. The large, round eyes look upwards, and the overall composition is one of symmetry. At the top of the sculpture, as well as at the bottom of the creature's tunic, are designs that appear to be two heads that share one mouth.

Lanzon Stela

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Sculpture. Relief sculpture depicting serpentine and human figures intertwined, with a pictorial inscription.
This relief sculpture depicts a woman reclining and holding a bowl in her hands. Above her is a human figure, apparently emerging from the mouth of a serpent that winds around pictorial inscriptions. The figure brandishes a spear-like object, pointed at the woman. The entire composition is full of geometric patterns and organic shapes.

Lintel 24

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Architecture. Virtual reconstruction of a building complex, one building conical shaped, the other pyramidal shaped. This digital reconstruction shows us a rendering of a building complex that has two main, visible structures. In the background there is a pyramid-shaped building. The top several stories of the pyramidal building are divided into two separate spaces with elaborate roofs, of equal size but slightly different design. Two separate sets of stairs lead to each of these topmost structures. The building in the foreground is conical, with each level rising upwards in diminishing, concentric rings. It is capped by a painted, decorated, pointed roof that completes the conical pattern.

Temple Mayor

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Headdress. A fan-shaped headdress is made of gold, with long, bright green and blue feathers spreading outwards.
The long, brilliant, blue and green feathers fan outwards and appear to shimmer in the light. In the center of the headdress, the base of the feathers are attached to three semi-circular rings of gold. Inside this series of rings is a deep red ring, inside of that is a pattern of gold, and small, bright blue feathers.

Ruler’s Feather Headdress

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Architecture. Building atop a series of walled terraces, its masonry is irregular-shaped stones forming smooth surfaces.
The walls, built with this irregular and unusual masonry style, taper upward, with the doors and windows in distinctive trapezoid shapes. The overall building is multi-storied, with split levels and one main entrance. This entrance in the front of the main floor consists of three tall archways, the widest arch in the middle. A smooth, rounded wall encloses most of the fist level of the facade.

Qorikancha

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Sculpture. A life-size piece depicting two maize cobs with husks in silver and gold.
The maize cobs are one-to-one scale, sculpted with precise attention to realistic detail.

Maize Cobs

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Architecture. Building complex sprawls across a mountaintop surface with terraced grass surfaces and many buildings.
This architectural complex appears to have hundreds of individual buildings, situated at the top of an isolated mountain. In the distance behind the built structures, another mountain range juts dramatically upwards towards a cloudy, stormy sky.

Machu Picchu

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Textile. A square-shaped, woven piece made up of rows of smaller squares, in rich reds, oranges, browns, and white.
This fabric contains a total of one hundred and fifty-six squares, in rows of twelve across and thirteen down. There is a split at the top, halfway between two rows of squares, evenly dividing the rows into six squares on each side. The dominant colors in this textile are red, orange, and brown, with white accents. Each square contains geometric patterns, and as the eye travels from square to square, it is noticeable that patterns are occasionally repeated.

All-T’oqapu Tunic

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Architecture. Dwellings large enough for humans to inhabit are carved out of the living rock in cliff enclosures.
The site contains about 150 rooms built of stone and mortar. The cliffside ascends into a plateau area with copious greenery and vegetation. Beneath the dwellings, the valley below is lush and green in this image. The dwellings themselves, carved out into the side of the cliff, comprise multiple layers and stories with rugged stairs leading to each level.

Mesa Verde Cliff Dwellings

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Earthwork. Aerial view of a vast, raised, twisting form sprawling across a large, green hill, surrounded by trees.
The land is altered or modified as if it were a sculpture. This massive shape curls back and forth in a snake-like form, culminating in a coil at one end and an elliptical, egg-like shape at the other end.

Great Serpent Mound

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Beadwork on leather. A decorated pouch with a wide strap, adorned with colorful, geometric forms
This piece is decorated in abstract, geometric hues of various reds and blues, with black, white, and gold accents. The overall design has been painted and stitched together, and beads and red tassels have been added.

Bandolier Bag

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Carved mask. A wooden mask, painted in green, gold, and red, resembling the head of a bird, with thatched fibers on top.
This painted wooden mask is carved and painted to resemble a colorful bird. We see a three quarter view from the front, revealing a sharp, green eye, a golden beak, and a red-outlined beak opening. there is a split down the center of the beak, creating a narrow gap. The fibers decorating the top of the bird head resemble feathers, adding texture.

Transformation Mask

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Painted animal hide. Colorful depictions of human, animal, and decorative images adorn a white background.
This painted hide shows figures of humans and animals all engaged in dynamic activities. Colors include pink, blue, brown, black, green, orange, yellow, and red, on a white background. Each figure is separate and distinct from the others, with very little overlap. In addition to the human and animal figures, there are two geometric stylizations of what appear to be human-made structures. The overall sense is of vigorous movement, speed, and clashing of forces in a narrative that plays out in multiple, simultaneous scenes.

Painted Elk Hide

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Ceramic Vessel. A small black vessel, with an opening at the top, painted black, with slightly off-black decorations.
This black, ceramic vessel has a narrow, round base that widens out into a broader midsection, then tapers back to a more narrow opening at the top. The surface is shiny, painted black, with decorations in off-black V-shapes surrounding the top half in a regular pattern. under the V's are shapes with rounded ends and four finger-like points facing sideways, also in a repeated pattern.

Black on Black Ceramic

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Sculpture. Relief sculpture depicting a large, central figure flanked by two small figures and two medium-sized figures.
This wall plaque contains a total of eight human figures. The largest figure is in the center, with two figures of approximately half its height, immediately to its left and right. There are two slightly larger figures, though not as tall as the central figure, on the far left and right sides of the plaque, and two very small figures that appear to be hovering in the space above them. The final figure is also very small, standing on the ground, partially obscured by the seated, central figure's feet. All of these human figures have similar clothing, features, and exaggerated proportions. They all face directly forwards and wear helmets of varying designs. All are barefoot, with heads of exaggerated size, compared to the rest of their bodies, including shortened legs. They all have very large, wide eyes, staring straight ahead. Several figures hold sword-like weapons, but the two outermost figures appear to hold fan-like objects, as if waving them toward the largest figure. The central figure is the only one wearing a necklace, and a face covering that conceals its mouth and chin.

Wall Plague from Oba’s Palace

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Sculpture. Small statue of human with exaggerated facial features and proportions, cross-legged and holding a drum.
This small statue depicts a kneeling man holding a drum. The bald head is exaggerated in size to the point that it is as large as the torso of the figure. Its eyes and mouth are closed, relaxed. The skin of the bare torso is carved with symbols at the upper arms and bracelets at the wrists. On its head is a tight-fitting, crown-like headdress with a flat, rectangular slab on top. Its left hand is missing, the arm ending abruptly at the wrist. On the drum is a symbol of a severed hand.

Ndop of King

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Sculpture. Frontal view of a small, wooden statue of a human figure, with intricately textured torso and wide eyes.
This small sculpture depicts a human figure whose head and legs are disproportionately large and small, respectively. Its bare feet are showing, its small legs in a strong stance, its hands on its hips. Hundreds of short, spiky objects pierce its torso, which has an empty, circular opening in the center.

Power Figure

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Sculpture. Long, narrow, wooden figure, with a relaxed expression and seated position, with disproportionate features.
This small statue is of a human figure in a relaxed posture. Its proportions are unusual, with an overly large head and an elongated torso. It appears to be seated, with a casual expression on its face and its hands clasped gently.

Reliquary Figure

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Sculpture. Small, narrow figure with three different levels of human/humanoid figures. Two pointed shapes at the top.
This small statue depicts three separate, human figures on top of one another. At the base is a nude, boyish figure. Above this is a seated, more feminine looking figure, also nude. At the top is a truncated figure with a calm, closed-eye expression.

Ikenga

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Sculpture. Heavy, gold sculpture of a stool, but light enough for humans to carry, with bells and other accoutrements.
This gold sculpture is complex and surrounded by people who regard it reverently as it rests on a decorated table.

Golden Stool

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Sculpture. A board with multiple textures, in a bowtie shape, has images sculpted into it that appear to tell stories.
This sculpture contains wood, shells, metal, and beads. The small pieces of shells and beads are formed into several complex shapes, scattered across the main board. There are also low-relief incisions in the piece that describe unique patterns.

Lukasa Memory Board

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Mask. Smooth, carved wood and fibers, with exaggerated, large eyes and feminine features.
The face of the mask has enlarged, round eye sockets with prominent, mostly-closed, almond-shaped lids. The nose is slender and the balanced face narrows downward to a delicate chin. The braided fiber hair is pulled back away from the face, looped over the crown of the head, and the loose ends dangle to what would be approximately shoulder-length. There are large, hoop earrings in the lobes of the ears.

Female (Pwo) Mask

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Mask. Smooth, carved wood and fibers, face appears compressed from top to bottom, geometric shapes suggest fancy hair.
The face of the mask looks slightly squished from the top, giving it a more horizontal orientation than a regular, vertical oval. The expression is relaxed and smiling, both eyes and mouth are closed. Dainty ears accentuate the horizontal aspect. While the facial features are compressed, the forehead is much larger, rising up into carved patterns that indicate an elaborate hairstyle. Under the chin are several wide ring shapes, from which braided fibers dangle downward. The braiding only extends a short way down the fibers, the rest of their length hanging loosely, ending in curls that look like freshly brushed hair.

Bundu Mask

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Mask. Carved wooded face with abstracted, geometric human features, with a long, straight nose and small, closed mouth.
The face of the mask has an overall narrow, elongated look, accentuated by the long nose. The face narrows sharply toward the chin, which has abstracted representation of a beard. The lips are closed and just slightly pursed, the eyes are open but only enough so that they appear gently relaxed, even sleepy. Just in front of the tiny, crescent-shaped ears are a series of markings decorating the sides of the face. The face is topped with abstracted patterns that suggest either hair or a headdress, topped with three protruding objects that give a crown-like impression.

Portrait Mask (Mblo)

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Mask. Wood, woven raffia, shells, beads, and cloth form a colorful mask with large ears and a long panel down the front.
The large, circular ears on either side of the mask give the appearance of an elephant, with the long panel down the front resembling a trunk. The eyes are close-set and wide open. The beads, cloth, shells, and raffia form dramatic patterns over every surface of the mask. The ears resemble the stitching patterns found on baseballs. The long panel down the front has darker and lighter lines zigzagging horizontally across, the face has similar lines, but vertically oriented. The dominant colors are reds, blues, and white, with subtle, gold accents on the face and ears.

Aka Elephant Mask

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Architecture. A tall, cone-shaped structure, with imposing walls stretching out either side, made of stone masonry.
This enclosure has a multitude of individual pieces in its stone masonry. There is a central, cone-shaped structure that rises high above the walls extending outwards from its sides. It appears that additional structures might once have been part of this section of a massive wall, but they are clearly ruins now.

Conical Tower and Circular Wall of Great Zimbabwe

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Architecture. A building with one large, open, walled space, and one enclosed space with four minarets across the front.
An aerial view of this building reveals an earthy, monochromatic, sand-colored view of a structure that is much larger than the buildings that surround it. One half of the structure appears to be a walled courtyard, the other half an enclosed space with a flat roof. The minarets are equally spaced across the front of the building. The only visible entryways into the building are small, unobtrusive doors and windows, none of which are located on the facade. Hundreds of short, wooden beams protrude from the side walls in a grid-like pattern.

Great Mosque of Djenne

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Sculpture. A sculptural group has four figures: one tall woman, one seated man, and two smaller figures at their feet.
This sculpture is a detailed, somewhat stylized and abstracted, depiction of a woman of impressive stature, wearing an elaborate headdress, standing protectively behind a seated man with an even more elaborate headdress, which has a bird-like figure perched on top. On the ground, at their feet, are two small figures with similar dress and headwear. One is kneeling, one is crouching slightly.

Veranda Post of Enthroned King and Senior Wife

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Architecture. Tall walls made of stacked, uncut stones rise amongst the bright green vegetation and foliage.
This image can be divided into three sections: the background contains the rough, yet elegant stone wall, the middle ground is a flat, green section with vegetation that steps down into the foreground. The foreground contains both rough and carved rock, as well as greenery growing throughout and around it.

Nan Madol

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Sculpture. Human figure with a simple, geometric quality.The head is egg-shaped, the body long and narrow.
The egg-shaped head, on this abstracted sculpture of a human figure, comes to a point at the chin, which is slightly raised. A long neck descends into broad shoulders, with torso and arms of exaggerated length, the arms resting at the sides in a neutral position. The legs of the figure are shorter than the arms, giving the overall form a very tapered, stylized look.

Female Deity

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Sculpture. Sticks arranged in a grid, and lines that cross over the grid, create a chart-like structure.
This grid made of sticks as representative lines has a rectangular frame, and eleven horizontal lines going across this frame. We also see one diagonal line crossing from the upper left to the lower right corner of the rectangle. Three slightly-curved lines are in the middle, vertically oriented, and one odd, pentagonal shape juts out of the bottom left corner. The background of this image is blue, the lines/sticks are all light brown.

Navigation Chart

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Garment. This feather cape is semi-circular in shape, with a solid pattern of broad swathes of deep red and gold.
The outermost edge of the cape is a deep gold, followed by a red semi-circle within, and then two more slightly-broken patterns in gold and then the innermost layer in red.

Ahu’ula (Feather Cape)

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Staff God

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Textile. This hand-made cloth depicts a sunburst pattern of darker, concentric circles on a lighter background
There are three main circles to this design: one central, small circle with five spikes reaching outwards; the next a pattern with eight lines flowing from circle to circle, and the outermost circle a solid, dark line with spikes jutting outwards all around its circumference. The entire piece is adorned with similarly-proportioned, geometric decorations. including the cloth that extends outside of the outermost circle.

Bark Cloth/Niue

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Malagan Display and Mask

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Mask. Painted wood, turtle shell, fibers, sea shells. Lower half is a human face, on top is a bird-like creature.
This mask is a combination of human and animal forms, with the standard representation of a human face on the bottom: open, black-and-white eyes; long, straight nose; smiling mouth. Intricately-carved wood creates a beard-like pattern around the sides of the face and extending down under the jaw and chin, all affixed to a smooth surface of carved, polished wood. Behind the face, natural fibers are attached to the base and cascade downwards like long hair. A distinctly bird-like figure appears to perch on top of the head, its wings, outstretched, of carved wood, with plumes of feathers coming out of the top in soft tufts. The head of the bird figure is somewhat naturalistic, with a long, duck-like beak.

Buk (Mask)

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Painting. Oil on canvas, a man whose face is covered in tattoos, holds a carved, wooden weapon adorned with feathers.
This portrait shows the man from the waist up, focusing on the face, clothing, and the weapon gripped in his hand. The tattoos on his face have swirling patterns in black, converging down his nose in a straight line. A straight line also bisects his forehead and chin, with more swirls branching out from those lines. He wears long, solid, emerald green earrings and a very distinctive garment with long, smooth, brown feathers. The carved weapon he holds has both feather adornments and what appears to be an inlaid jewel in the shape of an eye on the staff, just below his hand.

Tamati Waka Nene

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Sculpture. A row of seven massive, stone sculptures, solemn faces and wide eyes. The five on the left kneel, hands behind their backs. The two on right are missing ther top portions.Five of the stone sculptures of human-like figures appear to be kneeling, hands behind their backs. All of their faces wear a calm, solemn expression, and four of the five figures wear a large, circular hat. The figures kneel in an upright, regal manner, staring outwards, with a bright blue sky behind them. To th right, one of the sculptures is missing the head and the other is missing the head and part of the body.

Moai

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Multimedia Performance. Thirteen women in a line ceremoniously carry rolled up textiles through a seated crowd. The women wear richly decorated costumes and elaborate face paint, and those that are visible in this image all wear their hair in similarly short styles. Each carries a large, rolled-up textile horizontally and they walk in a neat line, gazing straight ahead. They are walking past small groups of people, seated cross-legged on the ground.

Presentation of Fijian Mats and Tapa Cloths to Queen Elizabeth II

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Architecture. Shiny metal tiles, glass, and stone shapes follow an asymmetrical, curvy building, several stories tall.
With not one, single, flat surface to be found anywhere on this highly unusual building, its undulating curves create a sense of movement. Large, circular shapes appear to be stacked unevenly upon each other and almost tipping to the side as the stories narrow toward the top of the building. Metal tiles cover Several of the stories, creating a highly reflective surface. This exterior image is from a clear day at dusk, so the surface reflects the deep blue of the sky. Lights illuminate the interior through tall, slightly curved and asymmetrical windows that reach several stories high. Human figures stand, silhouetted, in front of the building, giving a sense of its absolutely grand scale.

Guggenheim Museum

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Architecture. Building exterior with metal, glass, and cement, forming both sharp angles and curved surfaces.
This building has at least three distinct stories, but multiple, additional split levels. This wide angle image of the building reveals one side of the building from the street level. One sharp angle juts outward in the middle of the building, on the second story, creating an overhang above the open space below, supported by twelve narrow struts. A wide, geometric window wraps around this sharp angle. On the right end of this side, the building curves around, presumably into the adjacent wall. On top of this curved wall, another geometric, slightly curved structure juts out and creates another overhang, this one on the third story. The overall effect is asymmetrical, yet elegantly balanced.

MAXXI

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Painting. A large, rectangular composition depicts human figures, words, and musical instruments on a dark background. This work is painted on three separate canvases of equal size, displayed together with no space in between, creating an overall vertically-oriented, rectangular composition. The background of each panel is the same dark color, but each contains a rendering of a different human figure. The figures are flat, consisting of both painted and drawn colors and lines. The leftmost panel contains a half-length figure with a fairly detailed face, lightly sketched torso and arms, and abstracted hands playing a saxophone. The word "Ear" is written next to the figure's head, and the words "ORNITHOLOGY, PREE, SOAP, and FEET," appear in the lower half of the panel, with "ORNITHOLOGY" crossed out. The middle panel contains the name "Dizzy Gillespie" written twice across the top, followed by "Charles Parker," written five times underneath, obscured by swathes of white paint. In the middle is a roughly-drawn, skull-shape with wide eyes, a long nose, and bared rows of teeth. Below that is the word "ORNITHOLOGY" again, this time outlined in a box. At the bottom is the word "LARYNX" in parentheses., crossed out. The third, right-most panel also has writing at the top, with the word "ORNITHOLOGY" written three times, the first underlined, the second outlined in a box, and the third also outlined but crossed out. Below this, the words, "DOH SHOO DE OBEE" float next to the face of a three quarter human figure. This figure is holding a trumpet and contains a similar combination of flat, linear drawing and painting. The word "TEETH" is written twice across the figure's torso, with the second word crossed out. At the bottom of this panel, the word "ALCHEMY" is written five times, with the final word outlined in a box.

Horn Players

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Quilt. A pictorial quilt depicts five female figures, dancing in front of famous paintings, the Mona Lisa in the center.
This large, colorful quilt contains both fabric and painted canvas, sewn together to give the appearance of a continuous textile. The quilt is bordered with intricate, colorful patterns on all four sides. Inside this outer border, at the top and bottom, are two strips of off-white fabric that contain passages of writing, in six segments each. The space inside the border is divided into two horizontal sections, one with a flat red background and one with a floor pattern in browns and golds. The red panel contains a three-part composition, with a representation of Leonardo da Vinci's "Mona Lisa" in the middle, flanked by "The Virgin Child and Saint Anne" on the left, and "Madonna of the Rocks" on the right. All three paintings are framed by thick, gold, fabric borders. In the foreground there are five female figures, two adults and three children. Four of the figures are dancing joyously before the paintings, the two women swinging the smallest girl between them. The other dancing child reaches toward the nearest adult from the left, and the only figure who is not dancing sits off to the right, on a wooden bench. They all wear bright-colored, fancy dresses. The three girls wear bobby socks and dress shoes with straps, and the women wear elegant, white high heels.

Dancing at the Louvre

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Painting. Ink on paper, containing subtle variations of darker and lighter grays in thick, abstracted, vertical lines.
This ink painting on paper is a large, horizontally-oriented rectangle, containing abstract, vertical shapes ranging from light grey to almost black. The thick lines overlap each other, with the lines closest to the foreground representing the darkest shades, and the lines in the background the lightest shades. This gives the appearance of the shapes receding into the distance. The bottoms of the lines begin at various distances in space from the bottom of the frame, all continuing upwards as if they extend well beyond the top of the frame.

Summer Trees

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Mixed Media. Washes of paint layer over a collage of newspaper clippings. Above, everyday objects hang from a line.
The under layer of collage is dominated by newspaper clippings, ranging from ordinary to iconic, recognizable images. Interspersed with these clippings are swatches of patterns on various materials, including a repeating pattern of red and white checkers, sometimes known as "gingham." Oil paint, in reds, greens, blacks, and golds, is layered over this detailed collage in washes of varying opacity, some flat, some running down in drips. The outline of a large canoe is painted over the top of this layer with a rather flat appearance, with some darker shades inside the canoe suggesting a slight three-dimensionality. A clothesline is strung above the painted surface, from which objects dangle on hooks. These objects include: three baseball caps, three bumper stickers, and a keychain, bearing logos from American sports teams that utilize Native American imagery; a cheap, toy imitation of a war bonnet with bright red, yellow, and blue feathers; a pouch of "Red Man" chewing tobacco; a pair of child-sized moccasins in plastic packaging; and a cheap plastic doll. The objects hanging from the clothesline are subtly echoed in the imagery from the newspaper clippings in the painted section.

Trade (Gifts for Trading Land with White People)

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Mixed Media. Various cut-out shapes and textures form the figure of a nude woman, reclining in front of trees.
This work of mixed media is comprised of many different materials, mounted on a large, mylar panel. Though the overall composition is stylistically flattened, there is a clear background and foreground. In the background, on a hill rising into the distance, the trunks and branches of two trees are cut from light blue material, incised with patterns of black lines. Foliage has been cut in various reds and oranges, in delicate leaf shapes. In the foreground, there is a patterned surface in dazzling black, yellow, and white geometric shapes, dominated by diamonds, triangles and circles. A nude female figure reclines on this as if the surface is soft and comfortable. Her flesh is patterned in such a way that makes her somewhat blend in with the rest of the work, even though the rich reds and browns of the flesh distinguish her from the other parts of the work. Her head is bent slightly forward at an unusual angle, her right arm raised with the hand behind her head. She leans back on her left elbow, her hand dangling gracefully next to her torso. A green snake appears to writhe over the left hand and in between her fingers.

Preying Mantra

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Drawing. Ink and pencil on wrinkled paper, a nude woman reclines on her side, embracing a wolf.
The nude, reclining woman lies on her side, facing us. The wolf she is embracing covers half of her body, from her neck to her knees. Her left breast is exposed under the wolf's chin, her face and posture are relaxed. The quality of drawing is light and sketchy.

Lying with the Wolf

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Painting. 3-D, circular grid in grays, with multicolored shapes and swirling lines moving the eye upward into more color.
The swirling lines and circular grid, speckled with colorful dots, create a sense of frenetic movement, as if traveling upwards through a wide funnel. As the eye moves up toward the top of this massive canvas, the colorful shapes become more dense and take on the aspect of multiple different flags. The "flags" suggest various nationalities without actually copying the flags of those countries. For example, there are several, wavy shapes with red and white stripes and a flash of blue, without being American flags. Similarly, A red, white, and green rectangle shape is not exactly the Hungarian flag, due to an extra splotch of red at the end of the green stripe. All the colors include solid planes of oranges, yellows, blues, greens, reds, white, and black, in a bright and festive arrangement.

Stadia II

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Painting. A canvas, over twice as wide as it is tall, with blobs and dots of bright color blending into each other.
This massive canvas is completely covered in bright colors, green being the dominant hue throughout. The shapes bleed into each other and are multi-layered in washes that build up to create a combination of opaque and translucent patches. The translucent parts almost seem to glow. Layered over the largest patches of color are clusters of dots, also in various colors and levels of opacity.

Earth’s Creation

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Sculpture. A roughly-textured, headless, human-sized figure sits, hunched over, on a wooden stretcher.
The materials used in this sculpture are burlap, wood, resin, nails, and string, resulting in a monochromatic brown color all over, though the wooden bench is a slightly deeper brown than the burlap figure. This view from behind the headless figure reveals a long, broad back with a deep crease between the shoulder blades. It appears to be missing most of its legs. The arms are bent as if the figure is leaning on its elbows, tucked tightly against the sides of the torso.

Androgyne III

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nstallation. A long, narrow, dark room, paper with writing is on the ceiling, walls, and in rows of books on the floor.
The dark walls of the room contrast with the lightweight and light-colored paper in three distinct locations. Three long scrolls of paper hang from the ceiling in an arc that recedes towards the far wall, and lights on the ceiling illuminate the paper from behind. The paper contains neat, tiny, lines of shapes that resemble Chinese characters, but are not legible. The two side walls also hold long scrolls of paper, but these are each flatly mounted to the wall. They also contain similar writing, broken up into multiple columns of uniform height and width. On the floor are rows of open, hand-bound books, also with the same characters. The curves of the open books mimic the curve of the scrolls hanging from the ceiling, giving a soft, airy appearance. In the foreground, closest to the viewer, there is a wooden fixture on the ground, which holds three closed books and two open books.

A Book in the Sky

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Sculpture. We see a woman tenderly holding a pink panther, her bare back and a sad panther face over her shoulder.
Our view of this ceramic sculpture is from behind the seated woman. Her torso is bare to just below her tailbone, at this point there is a light, bluish-green garment wrapped around her hips and buttocks. We can see her long, blonde, wavy hair spilling down her back, which shows a small waist and narrow shoulders. The back muscles appear to be slightly clenched, as if engaged in order to remain sitting straight upright while holding the weight of the panther that is clinging to her. One pink paw, and a pink tail, wrap around her body, and a large pink, cartoon panther face snuggles against her shoulder. The panther's expression seems quite sad, with black, staring eyes and a frowning mouth.

Pink Panther

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Sculpture. Mixed media, combining various commercial items, construct the shape of a cow in garish, unrealistic colors.
This multimedia sculpture of a cow is made of repurposed materials, as evidenced by the writing, logos, and labels that are visible in repetitive patterns across its entire body. The colors include a dominant gold, as well as red, white, black, and silver. These materials cover the surface of a representation of a cow, standing in a docile position. Its head is lowered, its gaze very gentle, staring straight at the viewer.

Pisupo Lua Afe

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Sculpture. Multi-colored metal and copper wire are woven to resemble a large, wrinkled textile mounted on a wall.
The metal components of this sculpture are refined, detailed, and intricately-woven to the point that the surface looks like cloth hung on a wall. Golds and browns dominate the overall color palette, with reds, whites, and blacks weaving throughout, lending bright accents.

Old Man’s Cloth

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Sculpture. A life-sized mannequin, suspended from the ceiling on a swing, wears brightly-colored fabrics.
Above and below this figure are splashes of greenery, as if the subject is swinging through a lush garden. It is clear, however, that the scene is set within an interior space with white walls.

The Swing (After Fragonard)

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Photograph. A woman in an archaic, red dress holds scissors in her left hand, a ghoulish halloween mask in her right.
The photograph has been styled in such a way that it resembles a Baroque oil painting. Shiny, silky, patterned fabrics hang behind the full figure of the woman. Her wavy, brown hair is swept back under a shawl that wraps over her head and drapes across her shoulders. She stares out at the viewer calmly, holding the mask as if it is a decapitated man's head. Her abdomen is swollen as if she is in the late stages of pregnancy.

Untitled 228

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Photograph. A woman wears dark cloth over her head and shoulders, leaving her face, covered in Farsi writing, exposed.
This self-portrait is in black and white, the subject stares straight ahead at the viewer. The barrel of a rifle divides her face in half, casting a shadow on the left side. Dark eyes, brows, and eye makeup underscore the powerful contrasts in tone, and the neat rows of writing on her skin.

Rebellious Silence

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Photograph. Goddess-like figure floats amongst creatures resembling cartoons and video games, in bright colors.
This dream-like picture uses digital manipulation to combine ancient imagery with contemporary visuals. The scene is of a surreal, floating world in which the horizon divides the upper third from the lower two thirds of the picture plane. Island-like objects appear to recede from the immediate foreground into the distance. Above these, little pastel-colored video game characters seem to hover on bubbles. In the center of the image is a lotus flower in bright reds and golds. Above this is a weightless woman, drifting toward the viewer, wearing an elaborate gown and bejeweled crown.

Pure Land

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Video Installation. Hundreds of video monitors are outlined in neon shapes representing the United States.
Red, yellow, green, blue, and purple neon tubes form the shapes of the fifty United States of America, like a large map. Within these neon frames are video monitors displaying images, several per state, of material that represents that state. This is all installed in a darkened room, making the colorful neon and video stand out.

Electronic Superhighway

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Video Still. A man appears to be walking toward the viewer, arms outstretched, his body engulfed in flames.
The man wears a blue shirt, has short hair, and appears very calm, though flames surround him. He appears to be on fire, but not bothered by it.

The Crossing

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Installation. Paper cut-outs and projections in a white room, colorful lights illuminate black silhouettes of humans. This view of the installation shows the corner of a white-walled room. The life-sized silhouettes of human figures are illuminated by colorful lights in red, yellow, blue, green, and white. There are over a dozen figures, ranging from infant to adult-sized. All of the figures are flat, black, paper cutouts applied to the white walls in animated positions. From left to right, based on the silhouette:
1. A figure, wearing a full skirt, grasps a pole with a sail.
2. Two toddler-sized figures stride, nude, towards an adult.
3. A figure faces the two toddlers, bent down to their level, wearing shoes with high heels.
4. An adult sized figure is facing directly opposite the previous figure. There appears to be a baseball-style hat.
5. Another adult figure is crouching while reaching upwards.
6. An adult silhouette is holding a triangular-shaped flag, arms thrown back.
7. This adult silhouette appears to be missing one leg below the knee, the severed limb on the ground.
8. This group of figures seems to be a mother and her three children. She is crawling on hands and knees, her exposed breasts drooping.
9. Finally, the figure on the far right seems to represent a woman in a fancy dress, using a weapon to attack a figure on the ground in front of her.

Darkytown Rebellion

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Installation. Hundreds of balls, mirrored surfaces and of uniform size, are in a circle on the surface of still water. 118 The Washington monument is visible in the distance. In the foreground we see hundreds of balls that reflect their surroundings in their mirrored surfaces. They are gathered in neat rows, forming a perfect circle, and appear to float upon the still body of water.
Earthwork. A monumental, spiral-shaped artwork, made of rocks and earth, stretches out into a body of water. 109 This rocky structure stretches out across the water from a bright white shoreline. The scale is very large, a human could easily walk on top of this structure and follow its trajectory for several hundred feet. The structure resembles a rough, rocky pathway, about ten feet across, that extends from the shoreline out into the water in a straight line until it begins to curve, about a hundred feet in. At this point, the rocky path over the water forms a spiral pattern. The path of rocks winds inward in diminishing spirals until it ends at the center.
Installation. View of barren trees and a pathway with bright orange structures and tall buildings in the background. 119 The view of a park shows a walking paths, decorated with bright orange fabric. Each piece of fabric is supported by rectangular structures that allow it to hang and billow in the wind, tall enough for human beings to easily walk through.
Installation. A permanent pathway stretches into the distance, bending sharply to the left, grass on both sides. 112 On the horizon are trees with fall-colored leaves, placing this constructed path in a park-like setting. Down the left side of the path is a simple barrier of posts and chains. Down the right side is a smooth, reflective wall that increases in height as the path slants downward, more deeply into the earth. There is writing on the wall in regular rows.
Installation. Interior view of a kitschy barber shop with red chairs, a pool table, checkered floor, and framed photos. 119 At least twenty-five decorative pieces adorn the mustard-yellow walls in neat rows. Though they resemble ceramic ware, upon closer inspection they are actually hubcaps, interspersed with framed pictures of men's faces. Directly across the room from our vantage point is a large mirror, on top of which sit trophies and a hat. Under the mirror is a surface cluttered with various tools typical of a barbershop. There are three red chairs facing toward us as if waiting to welcome customers. Strapped to the top of each chair is a small video monitor. Reflected in the mirror are dozens of additional framed photographs, giving the sense an immersive experience.
Installation. View of a concrete floor from high above. A crack divides the surface, several people observe the space. 118 There are four individuals visible in this image, one stands between two branches of the large crack, one stands on the crack itself. Another appears to be walking by, as the other figure stands still, off to the side. The human figures give a sense that the scale of this piece is massive.

Narcissus Garden

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Earthwork. A monumental, spiral-shaped artwork, made of rocks and earth, stretches out into a body of water.
This rocky structure stretches out across the water from a bright white shoreline. The scale is very large, a human could easily walk on top of this structure and follow its trajectory for several hundred feet. The structure resembles a rough, rocky pathway, about ten feet across, that extends from the shoreline out into the water in a straight line until it begins to curve, about a hundred feet in. At this point, the rocky path over the water forms a spiral pattern. The path of rocks winds inward in diminishing spirals until it ends at the center.

Spiral Jetty

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Installation. View of barren trees and a pathway with bright orange structures and tall buildings in the background.
The view of a park shows a walking paths, decorated with bright orange fabric. Each piece of fabric is supported by rectangular structures that allow it to hang and billow in the wind, tall enough for human beings to easily walk through.

The Gates

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Installation. A permanent pathway stretches into the distance, bending sharply to the left, grass on both sides.
On the horizon are trees with fall-colored leaves, placing this constructed path in a park-like setting. Down the left side of the path is a simple barrier of posts and chains. Down the right side is a smooth, reflective wall that increases in height as the path slants downward, more deeply into the earth. There is writing on the wall in regular rows.

Vietnam Veterans Memorial

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Installation. Interior view of a kitschy barber shop with red chairs, a pool table, checkered floor, and framed photos.
At least twenty-five decorative pieces adorn the mustard-yellow walls in neat rows. Though they resemble ceramic ware, upon closer inspection they are actually hubcaps, interspersed with framed pictures of men's faces. Directly across the room from our vantage point is a large mirror, on top of which sit trophies and a hat. Under the mirror is a surface cluttered with various tools typical of a barbershop. There are three red chairs facing toward us as if waiting to welcome customers. Strapped to the top of each chair is a small video monitor. Reflected in the mirror are dozens of additional framed photographs, giving the sense an immersive experience.

No Crying Allowed in the Barber Shop

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Installation. View of a concrete floor from high above. A crack divides the surface, several people observe the space.
There are four individuals visible in this image, one stands between two branches of the large crack, one stands on the crack itself. Another appears to be walking by, as the other figure stands still, off to the side. The human figures give a sense that the scale of this piece is massive.

Shibboleth

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Installation. View of a large, industrial room, the floor covered in what looks like millions of sunflower seeds. At the far end of the room, two human figures provide a sense of the monumental scale of this installation. The edge of the covered surface is visible, indicating that the pile of what looks like sunflower seeds is several inches deep.

Kui Hua Zi