American Art

1. What offering did Andre Pierre present in his artwork 'Offerings given to the Spirits of the Sea: Ceremony for Agoue, 1969'?

AndrePierre, Offerings given to the Spirits of the Sea: Ceremony for Agoue, 1969- Animated by colorful forms- Agoue= god of the sea- The whole scene is masked inChristian symbolism

Ceremony for the Wind Spirits: Worship of Agoue

Prayer to the Gods of the Sky: Ritual for Agoue

Sacred Dance honoring the Land Spirits: Celebration for Agoue

In Andre Pierre's artwork 'Offerings given to the Spirits of the Sea: Ceremony for Agoue, 1969', he specifically presents offerings to the Spirits of the Sea in a ceremonial context dedicated to Agoue, the god of the sea.

Explanation

In Andre Pierre's artwork 'Offerings given to the Spirits of the Sea: Ceremony for Agoue, 1969', he specifically presents offerings to the Spirits of the Sea in a ceremonial context dedicated to Agoue, the god of the sea.

2. Who is the artist known for the painting 'Inkarri'?

Georgia O'Keeffe

Vincent van Gogh

Fernando de Szyszlo, Inkarri, 1968A deep red field above an alterlike band identafiable as feline paws joined at the center. Historical contexts-ancient peruvian and brazilian art depend on feline super natural powers.The floating black image is preserved by balance of shape and color. Distinct from the flat colors of U.S. artists.Tones of rose,black, pink, orchard, red and plum reflect that of ancient textiles. These colors reflect the somber mood of conquest and the defeated inca civilization.

Pablo Picasso

Fernando de Szyszlo is the correct artist known for the painting 'Inkarri', which features a deep red field above an altar-like band with feline paws. The painting is inspired by ancient Peruvian and Brazilian art, showcasing supernatural powers associated with felines.

Explanation

Fernando de Szyszlo is the correct artist known for the painting 'Inkarri', which features a deep red field above an altar-like band with feline paws. The painting is inspired by ancient Peruvian and Brazilian art, showcasing supernatural powers associated with felines.

3. What was the main goal of Lucio Costa's Plan of Brasilia, Brazil?

Empowering local communities through participatory planning processes

Costa Rica, known for its eco-friendly initiatives and biodiversity

Lucio Costa, Plan of Brasilia, Brazil,1956-1960- 600 milesfrom coastline- Cleanslate , dry, no vegetation- Shape isan airplane-aro-dynamic/progresso Opens upthe world- Socialistprinciples-The main goal of socialism is to dispel class distinctions by turning over control of industry to the state. This results in a harmonious society, free of oppression and financial instability. - Great intheory, but not in practice- Dehumanized,ppl need an identity - Heldwithin an artificial lake- Urban planallowed for Little organic variation andcontradicted the nature of the avg. Brazilian

Emphasizing individualism and personal freedoms in urban design

Lucio Costa's Plan of Brasilia, Brazil was rooted in socialist principles, aiming to create a harmonious society free of class distinctions through state-controlled industry. This contrasted with empowering local communities or emphasizing personal freedoms in urban design.

Explanation

Lucio Costa's Plan of Brasilia, Brazil was rooted in socialist principles, aiming to create a harmonious society free of class distinctions through state-controlled industry. This contrasted with empowering local communities or emphasizing personal freedoms in urban design.

4. Who is known for the Anahuacalli museum with stone cold floor and snake heads coming out of the building?

Pablo Picasso

Frida Kahlo

Diego Rivera, Anahuacalli, 1944-1964- Firmreference to pre-hispanic architecture- MuseumStone cold floor- Snakeheads coming out of building"Valley of Mexico.encounter an ominous Totonic jaguar or an exquisitely carved armadillo. Some treasures include tiny masculine and feminine figurines, water vessels and animal carvings: more than 2,000 pre-Hispanic pieces are housed here, bathed in the changing hues of natural light.

Vincent van Gogh

Diego Rivera was a Mexican artist who created the Anahuacalli museum in Mexico City, known for its unique architecture and pre-Hispanic influences.

Explanation

Diego Rivera was a Mexican artist who created the Anahuacalli museum in Mexico City, known for its unique architecture and pre-Hispanic influences.

5. Who is the Colombian artist known for his distinctive style of painting, often depicting exaggerated and voluminous human and animal shapes?

Fernando Botero, Guerra, 1973- Compactmass of dead- Parodyingmedieval allegories of greed, piety, and hypocrisy have been caught in disasteras drug-fueled guerrilla warfare raged in Colombia, his work became much darker (though unchanged in style) as he created paintings and drawings of the period's kidnappings, massacres, torture, and death.

Vincent van Gogh

Pablo Picasso

Salvador Dali

Fernando Botero is a renowned Colombian artist known for his unique style characterized by exaggerated and voluminous figures. His work often explores themes of power, corruption, and violence in society.

Explanation

Fernando Botero is a renowned Colombian artist known for his unique style characterized by exaggerated and voluminous figures. His work often explores themes of power, corruption, and violence in society.

6. Who are Guiellermo Gomez-Pena & Coco Fusco?

GuiellermoGomez-Pena & Coco Fusco, Two Undiscovered Amerindians, 1992 -Botha couple and partners -She is a Cuban American -Still photographed -Newlywed couple in an undiscovered island in the Caribbean- cage went to Spain,ambiguous spaces, field museum- center atrium -Culturalmyopia- narrow vision infuses on a potential audience

Musicians who recently released a hit song about indigenous culture in Africa.

Artists from Europe collaborating on a project in the Caribbean.

Explorers who discovered a new species of plant in South America.

7. What was the theme of Mario Torero's mural painted at the Congreso de Artistas Chicanos en Aztlan in 1978?

MarioTorero (Congreso de Artistas Chicanos en Aztlan); We are not a Minority,Estrada Courts Housing Projects, East LA, 1978

Empowerment through Art

Unity in Diversity

Celebrating Culture and Heritage

Mario Torero's mural at the Congreso de Artistas Chicanos en Aztlan in 1978 carried the theme of 'We are not a Minority,' highlighting the strength and solidarity of the Chicano community.

Explanation

Mario Torero's mural at the Congreso de Artistas Chicanos en Aztlan in 1978 carried the theme of 'We are not a Minority,' highlighting the strength and solidarity of the Chicano community.

8. What is the significance of Mario Torero (Congreso de Artistas Chicanos en Aztlan) in East LA in 1978?

Latinos are not a minority

Che Guerrera, from Argentina, a pan Latin American icon - Guerilla Revolutionary

Struggles for rights by a minority group

MarioTorero (Congreso de Artistas Chicanos en Aztlan); We are not a Minority,Estrada Courts Housing Projects, East LA, 1978 -Communalart that forms Marxist principles -Strugglesfor rights by a minority group -Nobodyknew where Aztlan actually was (it is the original homeland of the Aztecs) -Thenew idea is that it was originally Southern California -CheGuerrera, from Argentina, a pan latin American Icon- Guerilla Revolutionary -Latinosare not a minority -Really,a majority of the population

Mario Torero's work in East LA in 1978 focused on creating communal art that reflected Marxist principles, emphasizing unity and collective efforts. This was a way to express solidarity and empowerment within the Chicano community, rather than focusing on struggles for minority rights or individual revolutionary figures like Che Guerrera. Additionally, the idea that Latinos are not a minority in Southern California was a key point addressed through Torero's art.

Explanation

Mario Torero's work in East LA in 1978 focused on creating communal art that reflected Marxist principles, emphasizing unity and collective efforts. This was a way to express solidarity and empowerment within the Chicano community, rather than focusing on struggles for minority rights or individual revolutionary figures like Che Guerrera. Additionally, the idea that Latinos are not a minority in Southern California was a key point addressed through Torero's art.