AP Art History UNIT 10: Global Contemporary, 1980 CE to Present Practice Exam

1. [Skill: 1.C | Topic: 10.1] The work shown, *Old Man's Cloth* by El Anatsui, is constructed primarily from flattened liquor bottle caps and copper wire. The artist's choice of these specific materials is most intended to reference which of the following?

2. [Skill: 2.D | Topic: 10.1] In *Electronic Superhighway*, Nam June Paik arranges neon lighting and video monitors to create a map of the United States. The rapid-fire video imagery within each state outline is primarily intended to convey which of the following concepts?

3. [Skill: 2.B | Topic: 10.1] Which of the following accurately describes how Ai Weiwei's *Kui Hua Zi (Sunflower Seeds)* challenges the traditional hierarchy of materials and artistic production?

4. [Skill: 6.A | Topic: 10.1] In *Darkytown Rebellion*, Kara Walker utilizes the medium of cut-paper silhouettes and overhead projection to achieve which of the following effects on the viewer?

5. [Skill: 2.C | Topic: 10.1] Michel Tuffery's *Pisupo Lua Afe (Corned Beef 2000)* is a sculpture of a bull made from flattened corned beef tins. The artist chose this specific material to critique which of the following?

6. [Skill: 3.B | Topic: 10.1] Bill Viola's *The Crossing* distinguishes itself from traditional religious painting through its use of video technology to:

7. [Skill: 2.A | Topic: 10.1] Doris Salcedo's *Shibboleth* consisted of a deep, jagged crack running the length of the Turbine Hall at the Tate Modern. The physical intervention into the museum's floor was primarily intended to symbolize:

8. The design of the Guggenheim Museum Bilbao by Frank Gehry is distinguished by its complex, curvilinear forms and titanium cladding. These stylistic features were primarily made possible by the architect's use of

9. In 'The Swing (after Fragonard)', Yinka Shonibare modifies a scene from a famous Rococo painting by clothing the central figure in 'Dutch wax' fabrics. This material choice is intended to primarily critique

10. In the photograph 'Rebellious Silence' from the 'Women of Allah' series, Shirin Neshat inscribes Farsi poetry onto the subject's face to

11. El Anatsui’s 'Old Man’s Cloth' is constructed from flattened metal liquor bottle caps and copper wire. The artist’s specific choice of these discarded materials serves to reference

12. Doris Salcedo’s installation 'Shibboleth', which consisted of a deep crack running the length of the Tate Modern’s Turbine Hall, was primarily intended to symbolize

13. Nam June Paik’s 'Electronic Superhighway' utilizes a massive installation of neon lighting and video monitors to visualize

14. [Skill: 2.D | Topic: 10.3] In *Old Man’s Cloth*, El Anatsui creates a large, tapestry-like sculpture using flattened metal liquor bottle caps joined by copper wire. The artist’s choice of these specific materials is primarily intended to...

15. [Skill: 2.B | Topic: 10.3] Nam June Paik’s *Electronic Superhighway* integrates neon lighting outlining the fifty United States with hundreds of television monitors. This work addresses the late 20th-century development of...

16. [Skill: 2.C | Topic: 10.3] In Shirin Neshat’s *Rebellious Silence* from the *Women of Allah* series, the combination of the veil (chador), the weapon, and the Farsi text inscribed on the subject's face serves to...

17. [Skill: 2.D | Topic: 10.3] Michel Tuffery’s *Pisupo Lua Afe (Corned Beef 2000)* creates the form of a bull using flattened corned beef tins. This transformation of materials is used to critique...

18. [Skill: 3.A | Topic: 10.3] Both Doris Salcedo’s *Shibboleth* and Ai Weiwei’s *Kui Hua Zi (Sunflower Seeds)* utilize vast numbers of components or a large-scale intervention in a museum space to address themes of...

19. [Skill: 1.C | Topic: 10.3] In *The Gates*, Christo and Jeanne-Claude installed thousands of saffron-colored fabric panels throughout New York City’s Central Park. A central tenet of their artistic process, which distinguishes their work from traditional public monuments, is that...

20. Christo and Jeanne-Claude's 'The Gates' (1979–2005) was a temporary installation in Central Park, New York City. Which of the following best explains how the work's temporary nature and site-specificity shaped its interpretation?

21. Doris Salcedo's 'Shibboleth' (2007–2008) consists of a long crack in the floor of the Tate Modern's Turbine Hall. Art historians often use post-colonial and sociological theories to interpret this work as a commentary on:

22. In 'The Swing (After Fragonard)' (2001), Yinka Shonibare recreates a famous Rococo painting using a headless mannequin and Dutch wax fabrics. How does the inclusion of Dutch wax fabric apply post-colonial theory to the interpretation of the work?

23. Nam June Paik's 'Electronic Superhighway' (1995) utilizes hundreds of television monitors to map the United States. How does the medium of video installation shape the viewer's interpretation of the work regarding the concept of 'information overload'?

24. Ai Weiwei's 'Kui Hua Zi (Sunflower Seeds)' consists of millions of porcelain seeds. Which of the following best explains how knowledge of the work's production process alters its interpretation from a visual landscape to a sociological critique?

25. In 'Rebellious Silence' from the 'Women of Allah' series (1994), Shirin Neshat overlays Farsi poetry on a photograph of a veiled woman holding a rifle. How does this combination of text and image create ambiguity that challenges Western interpretations?