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Course: Global cultures 1980–now > Unit 1
Lesson 12: Public memory and the politics of place- Pocho Research Society (Sandra de la Loza), Echoes en el Echo: A Series of Interventions about Memory, Place, and Gentrification
- Hock E Aye Vi Edgar Heap of Birds, Native Hosts
- Kerry James Marshall, Our Town
- Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii
- Preserving Nam June Paik's Electronic Superhighway
- Daniel Libeskind, Imperial War Museum North, Manchester, UK
- The National Memorial for Peace and Justice
- The National Memorial for Peace and Justice
- Adel Abidin, Memorial
- Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People)
- What's in a map? Jaune Quick-To-See Smith's "State Names"
- Contemporary Native American Architecture
- Mark Bradford’s “150 Portrait Tone”
- United States Federal Building and Courthouse, Tuscaloosa
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Mark Bradford’s “150 Portrait Tone”
Mark Bradford’s “150 Portrait Tone” is a mural-sized composition that the artist conceived after the fatal shooting of Philando Castile by a Minnesota police officer in July 2016. The title “150 Portrait Tone” refers to the name and color code of the pink acrylic used throughout the painting. Like the now-obsolete “flesh” crayon in the Crayola 64 box, the color “portrait tone” carries inherent assumptions about who is being depicted and presents a sobering commentary on power and representation. Video by Bank of America. Created by Smarthistory.