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Michel Tuffery's sculpture is made of used cans of corned beef which symbolize

the reliance on packaged meat rather than traditional food gathering activities

Polynesian traditional welcoming of new people and products

an affirmation of a meat-based diet

a rejection of the traditional vegetarian diet

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Regeneration and fertility are often symbols depicted on images found in

American Indian pottery

Islamic manuscripts

tapa bark cloths

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Robert Smithson's Spiral Jetty draws inspiration from works such as

Great Serpent Mound

de Kooning, Woman I

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Song Su-nam's works express an interest in

multi-media presentations of ancient workshops

instructing young people in the arts of today

moving people away from purely aesthetic concerns to contem

adapting traditional formulas onto contemporary works

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Michel Tuffery's objects become animated

in cartoons and used to entertain children

when used in traditional coming-of-age ceremonies

when put on wheels and used as part of a multi-media perf

when lit up from within and resembling an active bull

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Michel Tuffery's reuse of existing materials draws inspiration from repurposed materials

Duchamp's Fountain

the Golden Stool

the Intihuatana Stone

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Sinan, the chief architect for Suleyman the Magnificent, was chiefly influenced by

the Kaaba in Mecca

the Parthenon in Athens

the Dome of the Rock in Jerusalem

the Hagia Sophia in Istanbul

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Prehistoric art can be found in groupings of objects as well as by themselves. Often groupings indicate that

they were done over a vast period of time

they were done by a workshop with a unified artistic vision

artists traveled from place to place to establish a reputation

there was commentary made on previous works by other artists

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Stone altar platforms on which these works sit are

common pre-Columbian art, where this tradtion comes from

uncommon in Pacific Island cultures and unbique tot his groupoing

uncommon in Polynesian art, but common in the rest of the Pacific

common in Polynesian sacred religious sites

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Installations, such as Doris Salcedo's Shibboleth, often are housedInstallations, such as Doris Salcedo's Shibboleth, often are housed

outdoors, where the ordinary people can interact with the works

in universities, where controversial works of art are set in spaces that stimulate discussion

in government buildings, where freedom of expression is permitted by law

in art museums, where large works are housed for a certain period of time before they are removed for the next installation

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