AP Art History Minorities in the 21st Century

Pepon Osorio created En la Barberia no se Llora (No Crying Allowed in the Barbershop) as

• an interactive installation that resembles a functioning barbershop

• a light projection that incorporated the shadows of the viewers as participants

• an immersive video installation featuring various sounds and smells

• a painting combined with an assembly of personal objects from the artist’s personal life

In creating the work shown, Michel Tuffery used

• flattened metal cans that were joined together with rivets

• cast brass that was molded into shape by using a lost-wax method

• molded porcelain that was painted with different colored glazes

• cloth that was soaked in resin and painted once hardened

In order to heighten the impact of his work, Tuffery

• sold miniature copies of the sculpture at international art exhibits

• featured versions of the sculpture in interactive public street performances

• documented the creation of the sculpture in a series of published photographs

• created an immersive experience by featuring the sculpture in a video installation

Michel Tuffery chose the image of a bull for his work in order to

• symbolize the powerful forces of the modern globalized economy

• pay homage to Pacific Island traditions by referencing a symbol of indigenous culture

• evoke the memory of an infamous historic event that had lasting impact

• draw attention to the environmental impact of cattle farming in the Pacific Islands

El Anatsui's Old Man's Cloth demonstrates the artist’s desire to maintain a connection with traditional art from Nigeria by including visual references to

• Nigerian cloth and its geometric patterns

• European aluminum mining in Nigeria

• a rich tradition of relief sculptures that are hung on walls

• graphic motifs that are linked to specific historical events