Appropriation involves intentionally borrowing and altering preexisting images and objects. This raises issues around originality, authorship, and copyright. The document discusses the history of appropriation in artistic movements from Cubism to Pop Art. It provides examples such as Warhol appropriating a photo of Prince for a silkscreen series and Lichtenstein appropriating comic book panels. The increasing reproducibility of images through technology challenges traditional notions of an artwork's aura and uniqueness.
Dada was an early 20th century avant-garde art movement characterized by a spirit of revolt against traditional artistic values. It arose from disillusionment after World War I and influenced later styles like Surrealism. Dadaists believed that reason and logic had led to war, and they used nonsensical techniques like chance and absurdity to subvert traditional art forms. Marcel Duchamp was a prominent Dadaist who created readymades by selecting mundane mass produced objects and exhibiting them as art, questioning concepts of art and beauty.
Assemblage involves bonding found objects together to create sculptures. It allows artists to give new meaning to everyday items. Famous assemblage artists include Marcel Duchamp, who created readymades like Bicycle Wheel and Fountain, and Louise Nevelson, who assembled wood scraps into monumental black sculptures. Robert Rauschenberg is also known for his combines, which merged paintings and found objects into mixed media works like Monogram, featuring a stuffed goat.
The document provides an overview of the major art movements in the 20th century. It discusses how modern art reflected the changing times with cameras making realistic art obsolete and mass production making art marketable. Artists valued originality over beauty and would shock audiences if they couldn't please them. Key movements discussed include Fauvism, Cubism, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. Major artists from each movement like Picasso, Kandinsky, Pollock, and Warhol are also mentioned.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
Claes Oldenburg was a Swedish-American artist known for his large-scale public sculptures and "soft sculptures" that often portrayed everyday objects in outsized, abstracted forms. His 1961 exhibition The Store displayed familiar consumer goods recreated out of materials like plaster and papier-mache. Oldenburg sought to question social norms and critique American consumerism by transforming mundane objects and presenting them as art. His soft sculptures from the 1960s gave tactile, abstracted forms to items like a bathtub or pay telephone, challenging notions of what constituted a sculpture.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
Dada was an early 20th century avant-garde art movement formed in reaction to World War I. Dadaists used absurdity, irrationality, and chance to ridicule contemporary culture and traditional art forms. Key figures included Jean Arp, Francis Picabia, and Marcel Duchamp, who created readymades and installations incorporating found objects to subvert established artistic conventions.
This document provides an overview of several post-World War II art movements including Assemblage, Happenings, and Pop Art from the 1950s-1960s. It discusses key artists and concepts for each movement. Assemblage involved gathering everyday objects to create new meanings. Happenings were ephemeral theatrical works meant to integrate art and life. Pop Art emerged from consumer culture and mass media, with American pop artists like Andy Warhol, Roy Lichtenstein, and Claes Oldenburg borrowing images from popular culture and mass production.
Dada was an early 20th century avant-garde art movement characterized by a spirit of revolt against traditional artistic values. It arose from disillusionment after World War I and influenced later styles like Surrealism. Dadaists believed that reason and logic had led to war, and they used nonsensical techniques like chance and absurdity to subvert traditional art forms. Marcel Duchamp was a prominent Dadaist who created readymades by selecting mundane mass produced objects and exhibiting them as art, questioning concepts of art and beauty.
Assemblage involves bonding found objects together to create sculptures. It allows artists to give new meaning to everyday items. Famous assemblage artists include Marcel Duchamp, who created readymades like Bicycle Wheel and Fountain, and Louise Nevelson, who assembled wood scraps into monumental black sculptures. Robert Rauschenberg is also known for his combines, which merged paintings and found objects into mixed media works like Monogram, featuring a stuffed goat.
The document provides an overview of the major art movements in the 20th century. It discusses how modern art reflected the changing times with cameras making realistic art obsolete and mass production making art marketable. Artists valued originality over beauty and would shock audiences if they couldn't please them. Key movements discussed include Fauvism, Cubism, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. Major artists from each movement like Picasso, Kandinsky, Pollock, and Warhol are also mentioned.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
Claes Oldenburg was a Swedish-American artist known for his large-scale public sculptures and "soft sculptures" that often portrayed everyday objects in outsized, abstracted forms. His 1961 exhibition The Store displayed familiar consumer goods recreated out of materials like plaster and papier-mache. Oldenburg sought to question social norms and critique American consumerism by transforming mundane objects and presenting them as art. His soft sculptures from the 1960s gave tactile, abstracted forms to items like a bathtub or pay telephone, challenging notions of what constituted a sculpture.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
Dada was an early 20th century avant-garde art movement formed in reaction to World War I. Dadaists used absurdity, irrationality, and chance to ridicule contemporary culture and traditional art forms. Key figures included Jean Arp, Francis Picabia, and Marcel Duchamp, who created readymades and installations incorporating found objects to subvert established artistic conventions.
This document provides an overview of several post-World War II art movements including Assemblage, Happenings, and Pop Art from the 1950s-1960s. It discusses key artists and concepts for each movement. Assemblage involved gathering everyday objects to create new meanings. Happenings were ephemeral theatrical works meant to integrate art and life. Pop Art emerged from consumer culture and mass media, with American pop artists like Andy Warhol, Roy Lichtenstein, and Claes Oldenburg borrowing images from popular culture and mass production.
Marcel Duchamp was a highly influential French artist born in 1887 who worked in Dadaism and conceptual art. He helped define revolutionary developments in painting and sculpture in the early 20th century. Duchamp rejected "retinal art" meant solely for visual pleasure and sought to put art back in service of the mind. His works like Fountain and L.H.O.O.Q. challenged definitions of art by taking everyday objects and placing them in galleries. Duchamp created miniatures of his works in the Box in a Valise and influenced generations of artists through his experimentation and questioning of art.
The document provides an overview of major art movements and styles from 1945 onward, including Abstract Expressionism, Pop Art, Minimalism, Conceptual Art, Photorealism, Neo-Expressionism, and Postmodernism. It discusses key artists such as Robert Smithson, Chuck Close, Richard Estes, Bruce Nauman, Judy Chicago, Barbara Kruger, Cindy Sherman, and others. It also covers the emergence of Feminist art and themes of appropriation, pluralism, and postmodern criticism of modernism.
Art 1020 Chapter 24 Modernism in Europe and America 1900-1945Amelia Jones
The document provides an overview of modernism in Europe and America between 1900-1945. It discusses the major art movements including Fauvism, German Expressionism, Cubism, Futurism, Dada, Suprematism, Constructivism, and more. Key aspects covered include the experimental approaches artists took with subject matter, techniques, and materials. Major figures and works are referenced to illustrate the styles and philosophies of each movement. The document also touches on related historical events and concepts that influenced modernist art during this period.
This document provides an overview of art in the 20th century. It showcases works from various artistic movements and highlights experimentation with new materials, styles, and a rejection of realism. Key developments include the rise of abstraction, the relationship between art and its social/political contexts, and questioning traditional boundaries between high and low art forms.
Modernism in art flourished in the early 20th century, expressed through many movements including Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Bauhaus, and Surrealism. This period was shaped by world events such as World War I, the Russian Revolution, the rise of totalitarian regimes in Europe, the Great Depression, and World War II. Artists explored new aesthetics and challenged traditional approaches, influenced by interest in non-Western cultures, new technologies, and the chaos of war. Some key developments included abstract painting, collage, photomontage, and questioning the nature of art through readymades. Modernism transformed visual arts and reflected the
The Dada art movement originated in Zurich, Switzerland during World War I as a protest against nationalism and bourgeois values through anti-art works incorporating chance, nonsense, and found objects. Key figures included Hugo Ball, Tristan Tzara, Francis Picabia, Marcel Duchamp, Hans Arp, Max Ernst, Man Ray, and Kurt Schwitters, who created works across mediums like painting, collage, sculpture, photography, and performance that challenged artistic conventions. Dada sought to represent the chaos of the postwar period through absurdist, ironic, and provocative creations.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
Claes Oldenburg was an American pop artist known for his large-scale sculptures of everyday objects. In the 1960s, he began creating soft sculptures out of materials like vinyl and kapok to represent objects in a new form. His sculptures satirized American consumer culture by depicting mundane items like hamburgers and ice cream at an exaggerated scale. Oldenburg challenged notions of what art could be by making sculptures out of unconventional materials and representing banal subjects. His work aimed to reflect contemporary life in all its complexity.
This document discusses various artworks and ideas related to art. It begins with definitions of different types of art including representational, abstract, and nonrepresentational. It then summarizes several paintings and sculptures such as Van Gogh's Starry Night and Frida Kahlo's self-portraits that express human emotion. The document also discusses how art can be used for communication, propaganda, and expressing personal experiences. Overall, the document provides an overview of different ways art has been used and defined.
The document summarizes major developments in art since 1945, including the shift of the art capital from Europe to New York after WWII, the rise of Abstract Expressionism and its focus on emotional intensity and self-expression, Color Field painting, and the emergence of Minimalism and conceptual art in the 1960s which emphasized objects and ideas over illusionism. It also discusses the influence of pop art and artists like Andy Warhol who incorporated popular culture imagery and mass production techniques.
This document provides an overview of developments in art from 1960-1964, including the emergence of Pop Art in both the United States and United Kingdom. It discusses Clement Greenberg's theory of modernist painting and how artists like Roy Lichtenstein and Andy Warhol incorporated pop imagery and appropriation into their work. The document also covers the Fluxus movement, which aimed to blur boundaries between art and life through experimental performances and Happenings led by artists like Allan Kaprow and George Maciunas.
This document discusses art in the 1960s and provides examples of different art movements that emerged during this period. It introduces abstract and representational art and shows works by artists like Jackson Pollock, Frantisek Kupka, and Robert Rauschenberg to illustrate these concepts. The text then summarizes some 1960s art movements like Pop Art, Minimalism, Conceptualism, and Performance Art that questioned notions of reality and engaged audiences in new ways. Examples of works by artists such as Roy Lichtenstein, Andy Warhol, Carl Andre, and Christo demonstrate these diverse 1960s approaches to art making.
Claes Oldenburg was an American artist known for his pop art sculptures that blurred the lines between art and everyday objects. He began his career making sculptures and installations out of common materials found in urban environments. His 1961 exhibit The Store featured plaster sculptures of consumer goods that challenged notions of what art could be. Oldenburg is renowned for his large-scale public sculptures later in his career, like the 45-foot Clothespin in Philadelphia. He transformed familiar items into whimsical and oversized artworks that commented on consumer culture and social norms.
The document provides background information on the Dada artistic movement that emerged during and after World War I in protest of militarism and Western culture. It discusses key Dada figures like Tristan Tzara and Jean Arp and their rejection of reason and aesthetics. It also covers Surrealism and figures associated with it like Max Ernst, Salvador Dali, and Joan Miro who incorporated dreamlike imagery and automatism. Andre Breton is discussed as a pioneer of Surrealism who emphasized tapping into the unconscious mind.
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
The document provides an overview of major artistic movements in Europe and America between 1900-1945. It discusses the evolution of modernism through Fauvism, German Expressionism, Cubism, Futurism, Dada and Surrealism in Europe. In America, it covers the impact of the 1913 Armory Show, various styles in the early 20th century, art of the Depression era depicting social issues, and Regionalism. Key artists and works from the period are also mentioned.
KCC Art 211 Ch 23 Postwar Modern Movements In The WestKelly Parker
The document summarizes several modern art movements that emerged in the West after World War II, including Abstract Expressionism, Pop Art, Minimalism, Earth Art, Installations, and Performance Art. It provides background on influential artists such as Pollock, Rothko, Warhol, Oldenburg, Judd, Smithson, and Chicago and describes characteristics of their works.
The Museum of Modern Art will host an exhibition titled "DISLOCATIONS" from October 1991 to January 1992. The exhibition will feature new installations by seven artists- Louise Bourgeois, Chris Burden, Sophie Calle, David Hammons, Ilya Kabakov, Bruce Nauman, and Adrian Piper. These installations have been created specifically for the exhibition and are intended to challenge viewers' habits of observation and settled attitudes. The installations are spread throughout the museum and range from monumental sculptures to found objects.
Roy Lichtenstein was a prominent American pop artist known for his large-scale paintings that emulated the style of comic strips and advertisements from popular magazines. Some of his most famous works include "Girl with Ball" from 1961, which simplified and enlarged comic imagery to create a monumental style. His 1963 painting "WHAAM" depicted violent imagery from war comics in a mechanical, removed style. Lichtenstein often used techniques like benday dots, solid colors and outlines to mimic the look of mass reproduction. His work commented on themes like violence, love and the intersection of popular and high art.
Chapter 26 - New Perspectives on Art and AudiencePetrutaLipan
This document provides information on several contemporary artists including Jeff Koons, Heim Steinbach, Damien Hirst, Colab, Ilya Kabakov, Christian Boltanski, Bill Viola, Tony Cragg, Richard Deacon, Martin Puryear, Judy Pfaff, Nancy Graves, Donald Lipski, Yasumasa Morimura, Matthew Barney, Raymond Pettibon, and Charles LeDray. For each artist, it discusses their background, artistic style and themes, and provides examples of their work. The document examines these artists in the context of postmodernism and conceptual art from the late 20th century.
This document provides context on decolonization and indigenous identities from a global perspective. It defines indigenous peoples according to the UN as culturally distinct groups who find themselves engulfed by settler societies due to forces of empire and conquest, and who have ancestral roots embedded more deeply in the lands they live in than more powerful settler societies. Notable points made include that indigenous peoples number over 370 million globally, that indigenous identity involves factors like self-identification and connection to territory, and that decolonization aims to recentre indigenous life and ways of knowing by challenging colonial institutions and power relations. The document also examines survivance theory and provides examples of how indigenous artists depict survivance in media arts.
The document discusses issues of subaltern speech and representation in post-colonial contexts. It begins by defining key terms like colonialism, settler colonialism, and post-colonialism. It then examines Gayatri Spivak's influential work "Can the Subaltern Speak?" which argues that subaltern groups are often unable to express themselves within structures of power and domination. The document also provides examples of how subaltern speech and identity are explored through various media artworks, like video games, performance, and installation art, that seek to give voice to marginalized groups.
Marcel Duchamp was a highly influential French artist born in 1887 who worked in Dadaism and conceptual art. He helped define revolutionary developments in painting and sculpture in the early 20th century. Duchamp rejected "retinal art" meant solely for visual pleasure and sought to put art back in service of the mind. His works like Fountain and L.H.O.O.Q. challenged definitions of art by taking everyday objects and placing them in galleries. Duchamp created miniatures of his works in the Box in a Valise and influenced generations of artists through his experimentation and questioning of art.
The document provides an overview of major art movements and styles from 1945 onward, including Abstract Expressionism, Pop Art, Minimalism, Conceptual Art, Photorealism, Neo-Expressionism, and Postmodernism. It discusses key artists such as Robert Smithson, Chuck Close, Richard Estes, Bruce Nauman, Judy Chicago, Barbara Kruger, Cindy Sherman, and others. It also covers the emergence of Feminist art and themes of appropriation, pluralism, and postmodern criticism of modernism.
Art 1020 Chapter 24 Modernism in Europe and America 1900-1945Amelia Jones
The document provides an overview of modernism in Europe and America between 1900-1945. It discusses the major art movements including Fauvism, German Expressionism, Cubism, Futurism, Dada, Suprematism, Constructivism, and more. Key aspects covered include the experimental approaches artists took with subject matter, techniques, and materials. Major figures and works are referenced to illustrate the styles and philosophies of each movement. The document also touches on related historical events and concepts that influenced modernist art during this period.
This document provides an overview of art in the 20th century. It showcases works from various artistic movements and highlights experimentation with new materials, styles, and a rejection of realism. Key developments include the rise of abstraction, the relationship between art and its social/political contexts, and questioning traditional boundaries between high and low art forms.
Modernism in art flourished in the early 20th century, expressed through many movements including Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Bauhaus, and Surrealism. This period was shaped by world events such as World War I, the Russian Revolution, the rise of totalitarian regimes in Europe, the Great Depression, and World War II. Artists explored new aesthetics and challenged traditional approaches, influenced by interest in non-Western cultures, new technologies, and the chaos of war. Some key developments included abstract painting, collage, photomontage, and questioning the nature of art through readymades. Modernism transformed visual arts and reflected the
The Dada art movement originated in Zurich, Switzerland during World War I as a protest against nationalism and bourgeois values through anti-art works incorporating chance, nonsense, and found objects. Key figures included Hugo Ball, Tristan Tzara, Francis Picabia, Marcel Duchamp, Hans Arp, Max Ernst, Man Ray, and Kurt Schwitters, who created works across mediums like painting, collage, sculpture, photography, and performance that challenged artistic conventions. Dada sought to represent the chaos of the postwar period through absurdist, ironic, and provocative creations.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
Claes Oldenburg was an American pop artist known for his large-scale sculptures of everyday objects. In the 1960s, he began creating soft sculptures out of materials like vinyl and kapok to represent objects in a new form. His sculptures satirized American consumer culture by depicting mundane items like hamburgers and ice cream at an exaggerated scale. Oldenburg challenged notions of what art could be by making sculptures out of unconventional materials and representing banal subjects. His work aimed to reflect contemporary life in all its complexity.
This document discusses various artworks and ideas related to art. It begins with definitions of different types of art including representational, abstract, and nonrepresentational. It then summarizes several paintings and sculptures such as Van Gogh's Starry Night and Frida Kahlo's self-portraits that express human emotion. The document also discusses how art can be used for communication, propaganda, and expressing personal experiences. Overall, the document provides an overview of different ways art has been used and defined.
The document summarizes major developments in art since 1945, including the shift of the art capital from Europe to New York after WWII, the rise of Abstract Expressionism and its focus on emotional intensity and self-expression, Color Field painting, and the emergence of Minimalism and conceptual art in the 1960s which emphasized objects and ideas over illusionism. It also discusses the influence of pop art and artists like Andy Warhol who incorporated popular culture imagery and mass production techniques.
This document provides an overview of developments in art from 1960-1964, including the emergence of Pop Art in both the United States and United Kingdom. It discusses Clement Greenberg's theory of modernist painting and how artists like Roy Lichtenstein and Andy Warhol incorporated pop imagery and appropriation into their work. The document also covers the Fluxus movement, which aimed to blur boundaries between art and life through experimental performances and Happenings led by artists like Allan Kaprow and George Maciunas.
This document discusses art in the 1960s and provides examples of different art movements that emerged during this period. It introduces abstract and representational art and shows works by artists like Jackson Pollock, Frantisek Kupka, and Robert Rauschenberg to illustrate these concepts. The text then summarizes some 1960s art movements like Pop Art, Minimalism, Conceptualism, and Performance Art that questioned notions of reality and engaged audiences in new ways. Examples of works by artists such as Roy Lichtenstein, Andy Warhol, Carl Andre, and Christo demonstrate these diverse 1960s approaches to art making.
Claes Oldenburg was an American artist known for his pop art sculptures that blurred the lines between art and everyday objects. He began his career making sculptures and installations out of common materials found in urban environments. His 1961 exhibit The Store featured plaster sculptures of consumer goods that challenged notions of what art could be. Oldenburg is renowned for his large-scale public sculptures later in his career, like the 45-foot Clothespin in Philadelphia. He transformed familiar items into whimsical and oversized artworks that commented on consumer culture and social norms.
The document provides background information on the Dada artistic movement that emerged during and after World War I in protest of militarism and Western culture. It discusses key Dada figures like Tristan Tzara and Jean Arp and their rejection of reason and aesthetics. It also covers Surrealism and figures associated with it like Max Ernst, Salvador Dali, and Joan Miro who incorporated dreamlike imagery and automatism. Andre Breton is discussed as a pioneer of Surrealism who emphasized tapping into the unconscious mind.
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
The document provides an overview of major artistic movements in Europe and America between 1900-1945. It discusses the evolution of modernism through Fauvism, German Expressionism, Cubism, Futurism, Dada and Surrealism in Europe. In America, it covers the impact of the 1913 Armory Show, various styles in the early 20th century, art of the Depression era depicting social issues, and Regionalism. Key artists and works from the period are also mentioned.
KCC Art 211 Ch 23 Postwar Modern Movements In The WestKelly Parker
The document summarizes several modern art movements that emerged in the West after World War II, including Abstract Expressionism, Pop Art, Minimalism, Earth Art, Installations, and Performance Art. It provides background on influential artists such as Pollock, Rothko, Warhol, Oldenburg, Judd, Smithson, and Chicago and describes characteristics of their works.
The Museum of Modern Art will host an exhibition titled "DISLOCATIONS" from October 1991 to January 1992. The exhibition will feature new installations by seven artists- Louise Bourgeois, Chris Burden, Sophie Calle, David Hammons, Ilya Kabakov, Bruce Nauman, and Adrian Piper. These installations have been created specifically for the exhibition and are intended to challenge viewers' habits of observation and settled attitudes. The installations are spread throughout the museum and range from monumental sculptures to found objects.
Roy Lichtenstein was a prominent American pop artist known for his large-scale paintings that emulated the style of comic strips and advertisements from popular magazines. Some of his most famous works include "Girl with Ball" from 1961, which simplified and enlarged comic imagery to create a monumental style. His 1963 painting "WHAAM" depicted violent imagery from war comics in a mechanical, removed style. Lichtenstein often used techniques like benday dots, solid colors and outlines to mimic the look of mass reproduction. His work commented on themes like violence, love and the intersection of popular and high art.
Chapter 26 - New Perspectives on Art and AudiencePetrutaLipan
This document provides information on several contemporary artists including Jeff Koons, Heim Steinbach, Damien Hirst, Colab, Ilya Kabakov, Christian Boltanski, Bill Viola, Tony Cragg, Richard Deacon, Martin Puryear, Judy Pfaff, Nancy Graves, Donald Lipski, Yasumasa Morimura, Matthew Barney, Raymond Pettibon, and Charles LeDray. For each artist, it discusses their background, artistic style and themes, and provides examples of their work. The document examines these artists in the context of postmodernism and conceptual art from the late 20th century.
This document provides context on decolonization and indigenous identities from a global perspective. It defines indigenous peoples according to the UN as culturally distinct groups who find themselves engulfed by settler societies due to forces of empire and conquest, and who have ancestral roots embedded more deeply in the lands they live in than more powerful settler societies. Notable points made include that indigenous peoples number over 370 million globally, that indigenous identity involves factors like self-identification and connection to territory, and that decolonization aims to recentre indigenous life and ways of knowing by challenging colonial institutions and power relations. The document also examines survivance theory and provides examples of how indigenous artists depict survivance in media arts.
The document discusses issues of subaltern speech and representation in post-colonial contexts. It begins by defining key terms like colonialism, settler colonialism, and post-colonialism. It then examines Gayatri Spivak's influential work "Can the Subaltern Speak?" which argues that subaltern groups are often unable to express themselves within structures of power and domination. The document also provides examples of how subaltern speech and identity are explored through various media artworks, like video games, performance, and installation art, that seek to give voice to marginalized groups.
The document discusses the concept of Relational Aesthetics, an artistic movement from the 1990s that focused on human interaction and social contexts. It examines works by artists like Rirkrit Tiravanija who created social situations in galleries through serving food. Other examples include Christine Hill's Volksboutique pop-up shops and Ben Kinmont's Waffles for an Opening project. The document explores how these works used human relationships and social frameworks as their medium rather than traditional art objects. It analyzes how Relational Aesthetics reflected issues of communication systems and consumerism in the late 20th century.
This document discusses the history and concept of institutional critique in art. It begins by defining what institutions are and discussing Michel Foucault's concept of heterotopias and critique. Institutional critique emerged in the early 1970s as artists questioned and confronted institutions of art like museums and galleries. Some key events and works that critiqued institutions from the 1960s are discussed, like Futurist calls to flood museums and Black Emergency Cultural Coalition protests. The document then covers the development of institutional critique and debates around an inside vs. outside. It analyzes Andrea Fraser's view that the institution is inside artists themselves and there is no true outside. Overall, the document provides context around the emergence and goals of institutional critique as a practice
This document discusses the issue of cultural appropriation through examples in music, fashion, sports, politics and popular culture. It provides definitions of cultural appropriation as the taking of intellectual property or cultural elements from marginalized groups without permission. It then examines issues of cultural appropriation and cultural property rights in the art world through case studies of exhibitions at major museums that have led to criticism and debates around cultural sensitivity, artist intention vs audience interpretation, and repatriation of culturally significant artifacts.
This document summarizes Linda Nochlin's seminal 1971 essay "Why Have There Been No Great Women Artists?". Nochlin rejected the assumption behind the question, that women inherently lacked artistic genius. Instead, she argued feminist art historians should analyze how social and institutional structures shaped artistic production and excluded women. The document discusses essentialism in feminism and artists like Judy Chicago who linked women's art to biological experience. It also analyzes issues with Nochlin's approach, like its focus on painting and privileging of the notion of artistic genius. Overall, the document provides context around Nochlin's influential essay and its questioning of gender biases in the art world.
This document discusses different categories of the gaze in visual and media arts. It begins by defining the gaze as the act of looking and discusses how looking is never a neutral act. It then outlines 4 main types of gaze: 1) The spectator's gaze, which is the viewer's gaze assumed by the artwork. 2) The intra-diegetic gaze, where one character looks at another within the image. 3) The extra-diegetic gaze, where the subject looks directly at the viewer. And 4) the screen or monitor as mirror gaze, where the subject gazes upon their own image. The document provides examples for each type of gaze and discusses concepts like directing the spectator's gaze, the male gaze, and
Self-portraiture has a long history dating back to the early Renaissance, but the development of video technology in the 1960s and 70s allowed artists to confront their own image in real-time feedback between the camera and monitor. While some viewed this new form of video self-portraiture as providing an opportunity for aesthetic contemplation of oneself, others criticized it as embodying a narcissistic psychological state through its ability to erase boundaries between subject and object. Contemporary debates continue over whether self-portraiture through new media like smartphones represents narcissism or a performance of different social selves.
This document discusses how spectators and viewers interpret visual forms like images, discussing concepts like the Kantian idea of disinterested viewing, cinema of attractions, and theories of spectatorship and how images negotiate social relationships and power dynamics. It also covers case studies analyzing how context, both historical/social and presentation, shapes interpretation, as well as the viewer's own identity and position. Key themes are how images can be read differently over time as social norms change, and how poor or amateur images reveal conditions of marginalization.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness, happiness and focus.
This portfolio piece documents Margaret Boozer's 2020 residency at the Hambidge Center for Creative Arts and Sciences. During her time there, Boozer explored new creative directions through painting, drawing, and photography while surrounded by the natural beauty of the Georgia landscape. Her work from this residency period reflects on change, memory, and how life paths can diverge from what was once familiar.
This document provides an overview of how to analyze the visual elements in works of art. It discusses analyzing elements such as medium/material, style, formal qualities like line and color, space and setting. It also discusses additional elements to analyze for moving images, such as editing, framing, camera movement, sound, loops, and genre. Examples are provided of works that demonstrate different visual elements, such as a Clyfford Still painting showing formal qualities and a Christo artwork demonstrating scale and setting.
The document discusses the final assignment for the class, which is to rewrite the artist statement and is due on December 4. It then reviews the difference between interpretation and thematic content in art, noting that interpretation refers to what the artist hopes the viewer takes away from the work, such as a deeper understanding, emotion, experience, realization, appreciation, exposure to new ideas, desire to learn more, or aesthetic experience. It provides examples of artworks and their thematic subjects and interpretations. Students are then instructed to post in one sentence the subject matter and intended interpretation of their own artwork on the class blog.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
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2. Appropriation is the intentional borrowing, copying and alteration of
preexisting images and objects.
3. ISSUES AT STAKE
THEORY AND
PRACTICE
Originality and authorship as cornerstones of art and
aesthetics
Appropriation of mass-produced objects
Originality vs reproducibility of the image
(and its subsequent distribution via social media and
Web)
Appropriation of another artist’s work (fine art or
commercial)
Legal issues around copyright
4. A portrait of Prince taken by Lynn
Goldsmith (left) in 1981 and 16
silk-screened images Andy Warhol
later created using the photo as a
reference. A federal district court
judge found that Warhol's series is
"transformative" because it
conveys a different message from
the original, and thus is fair use. A
Second Circuit Court of Appeals
panel disagreed. Now at Supreme
Court.
https://www.npr.org/2022/10/12/1
127508725/prince-andy-warhol-
supreme-court-copyright
5. Andy Warhol (1928- 1987)
Brillo Box (3ȼ Off) (1963-64)
Silkscreen ink and house
paint on plywood. 13⅛ x 16
x 11½ in (33.3 x 40.6 x 29.2
cm)
Not to scale, so not a direct
copy or appropriation, but
the images and advertising
are verbatim
6. Warhol & Appropriation:
In Brillo Boxes, Andy Warhol highlights
the already thin line that separates art
from commercial merchandise in a
market society.
Any issues with this?
7. James Harvey (1929 –
1965)
The River #2, (1956),
oil on canvas, 36 x 48 in.
(91.4 x 121.9 cm.)
8. “It is galling enough for Jim Harvey, an abstract expressionist, to see that a
pop artist is running away with the ball, but when the ball happens to be a
box designed by Jim Harvey, and Andy Warhol gets the credit for it, well,
this makes Jim scream: ‘Andy is running away with my box….What’s one
man’s box, may be another man’s art.”
The Graham Gallery, 1963
10. Appropriation is the intentional borrowing, copying and alteration of preexisting
images and objects.
11. “God is dead” - Nietzsche
“Make it new” – Ezra Pound
“Flood the museums” - Futurist Manifesto
Modernist tradition/value on originality
Avant-garde = “a break with the past” cutting edge, next thing,
different from what came before it
Realism, Impressionism, Futurism, Cubism, Orphism, German
Expressionism, Dada, Bauhaus, Surrealism, Constructivism,
Abstract Expressionism, Situationist International
Appropriation art raises questions of originality, authenticity and
authorship….artistic genius
Appropriation art questions the nature or definition of
modernism/art itself
Modernism
(1860s-1950s)
Focus on the new
12. KRAUSS
“More than a rejection or dissolution of the past,
avant-garde originality is conceived as a literal
original beginning from ground zero, a birth.”
“the avant-garde artist above all claims originality“
13. EVERYTHING IS NEW
THE PASTORAL = THE PAST
Industrial revolution/Mass production
Trains
Photography
Electricity
Telegraph
Phonograph
Motion pictures
Radio
Automobiles
Airplanes
Skyscrapers
Vaccines, X-rays, Medicine
15. MANIFESTO OF
FUTURISM (1909)
• Museums, cemeteries! Truly identical in their sinister
juxtaposition of bodies that do not know each other. Public
dormitories where you sleep side by side for ever with beings you
hate or do not know. Reciprocal ferocity of the painters and
sculptors who murder each other in the same museum with blows
of line and color. To make a visit once a year, as one goes to see
the graves of our dead once a year, that we could allow! We can
even imagine placing flowers once a year at the feet of the
Gioconda! But to take our sadness, our fragile courage and our
anxiety to the museum every day, that we cannot admit! Do you
want to poison yourselves? Do you want to rot?
• What can you find in an old picture except the painful
contortions of the artist trying to break uncrossable barriers
which obstruct the full expression of his dream?
• To admire an old picture is to pour our sensibility into a
funeral urn instead of casting it forward with violent spurts
of creation and action. Do you want to waste the best part of
your strength in a useless admiration of the past, from which
you will emerge exhausted, diminished, trampled on?
• Let the good incendiaries with charred fingers come! Here they
are! Heap up the fire to the shelves of the libraries! Divert the
canals to flood the cellars of the museums! Let the glorious
canvases swim ashore! Take the picks and hammers!
Undermine the foundation of venerable towns!
16. DADA
(1916-124)
French artist Jean (Hans) Arp argued that the goal
of Dada was:
“to destroy the hoaxes of reason and to discover
an unreasoned order”
19. Artists started adding textures
and patterns to their paintings
and experimented with a
collage of painted elements and
pasted elements from popular
visual culture – urban refuse
(theater tickets, newspapers,
labels, posters, etc.)
Pablo Picasso
Bottle of Vieux Marc, Glass,
Guitar and Newspaper (1913)
Printed papers and ink on paper
467 x 625 mm
20. Picasso
Guitar Sheet Music Wine
Glass (1912 )
Cut-and-pasted
wallpaper, newspaper,
sheet music, colored
paper, paper, and hand-
painted faux bois paper,
charcoal, and gouache on
paperboard
22. “In 1913, I had the happy idea to fasten a bicycle wheel to a kitchen stool
and watch it turn.”
23. Bicycle Wheel (third version,
after lost original of 1913)
(1951)
Metal wheel mounted on
painted wood stool, 51 x 25 x
16 1/2" (129.5 x 63.5 x 41.9
cm)
Bicycle Wheel is what
Duchamp called an “assisted
readymade,” made by
combining more than one
utilitarian item to form a work
of art.
24. The Fountain (1917)
Signed R. Mutt, 1917
2′ 0″ x 1′ 2″ x 1′ 7″
(a Standard Bedfordshire model
urinal from the J. L. Mott Iron
Works, company of Philadelphia,
with a signature )
25. “Whether Mr. Mutt with his own hands made the fountain or not has no importance.
He CHOSE it. He took an ordinary article of life and placed it so that its useful
significance disappeared under the new title and point of view – created a new
thought for that object.”
The Blind Man, May 1917
26. 1. The choice of object is itself a
creative act
2. By cancelling the ‘useful’ function of
an object it becomes art – separation
of life and art
3. The presentation and addition of a
title to the object have given it ‘a new
thought’, a new meaning.
4. What constitutes an artwork is
defined by the artist.
Pre-manufactured
object as material
for art/as art
27. ”The artist is not a great creator—Duchamp went shopping at a plumbing
store. The artwork is not a special object—it was mass-produced in a
factory. The experience of art is not exciting and ennobling—at best it is
puzzling and mostly leaves one with a sense of distaste. But over and
above that, Duchamp did not select just any ready-made object to display.
In selecting the urinal, his message was clear: Art is something you piss
on.”
Stephen Hicks, Explaining
Postmodernism: Skepticism and Socialism from Rousseau to
Foucault, p. 196
28. MERZ + COLLAGE
Merz is a nonsense word invented by the
German dada ar tist Kur t Schwitters to describe
his collage and assemblage works based on
scavenged scrap materials
Kurt Schwitters
(Dada)
29. Opened by Customs 1937–8
Collage made of paper, printed paper, oil
paint and graphite
31 x 253 mm
frame: 523 x 421 x 29 mm
pasted-together fragments have been cut and
torn from a variety of sources, including
parcel paper, Nazi administrative labels, a
large section of printed Norwegian text from
a book or a pamphlet, a blue label for Spanish
oranges (stuck face down so that the logo is
seen in reverse) and a printed list of travel-
related words in German, including ‘airline
boarding pass’, ‘baggage insurance’ and
‘sleeper car’ 1937–8
30. The Art Critic (1919–20)
Raoul Hausmann
Photomontage
31.8 x 25.4 cm
Collage as critique
31. The Beautiful Girl (1919–20)
Hannah Hoch
Photomontage
35 x 29 cm
Collage used to explore
gender
33. SURREALIS
M
+
THE
UNCANNY
Concept in art associated with psychologist
Sigmund Freud which describes a strange and
anxious feeling sometimes created by familiar
objects in unfamiliar contexts
(separation of life and art)
39. • Pop artists include Robert Rauschenberg, Claes
Oldenburg, Andy Warhol, Tom Wesselman, and
Roy Lichtenstein (in US)
• Reproduced, juxtaposed, or repeated mundane,
everyday images from popular culture
(sometimes objects)
• Their work both absorbed and acted as a mirror
for the ideas, interactions, needs, desires, and
cultural elements of the time
POP ART
40. Ad firms emerge in the 1950s and 1960s and jingles, logos, slogans become part of our shared cultural
references
41. “Pop artists did images that anyone walking
down the street would recognize in a split
second—comics, picnic tables, men’s pants,
celebrities, refrigerators, Coke bottles.”
Andy Warhol
42. Peter Weibel
Logo Culture/Consumer Culture – intice us to
buy goods/services
Logo = a sign –we all recognize and doesn’t
stand in for something else (not a symbol for
something else)
45. POP ART
VS.
DUCHAMP
• In general: Readymade vs. mechanically reproduced
images or readymade with mechanically reproduced
object
• Blurring of art and life (1950s) vs art separated from life
• Boundaries of art expanded to include popular culture as
well as everyday items of Duchamp and Surrealists
• “Painting relates to both art and life…[and] I try to act in
that gap between the two ” - Robert Rauschenberg,
• "Not only does art become life, but life refuses to be
itself” – Allan Kaprow
• “Even the act of peeling a potato can be an artistic act if it
is consciously done” – Joseph Beuys
46. Bed
Robert Rauschenberg (1955)
Oil and pencil on pillow, quilt,
and sheet on wood 75 1/4 x
31 1/2 x 8"
“Combines” - term for his
technique of attaching found
objects to a traditional canvas
support. In this work, he took
a well-worn pillow, sheet, and
quilt, scribbled on them with
pencil, and splashed them
with paint in a style similar to
that of Abstract Expressionist
“drip” painter Jackson Pollock.
48. Still Life #28 (1963)
Tom Wesselmann
Acrylic and collage on board with live TV
48 x 60 x 11 inches.
(a working television inserted into the painting )
50. “The face was from Kennedy's campaign poster. I was very interested at that time in
people who advertised themselves. Why did they put up an advertisement of
themselves? So that was his face. And his promise was half a Chevrolet and a piece of
stale cake.”
James Rosenquist
51. Drowning Girl (1963)
Roy Lichtenstein
Oil and synthetic polymer
paint on canvas
67 5/8 x 66 3/4" (171.6 x
169.5 cm)
52. Tony Abruzzo panel from
“Run For Love” in Secret
Love #83, DC Comics,
1962.
In the original illustration (shown
here), the drowning girl’s boyfriend
appears in the background,
clinging to a capsized boat.
Lichtenstein cropped the image
dramatically, showing the girl
alone, encircled by a threatening
wave. He shortened the caption
from “I don’t care if I have a
cramp!” to the ambiguous “I don’t
care!” so he appropriated a
component of the work, changing
some of it.
53. artists go to museums to sketch from
works of art all the time… is what
Lichtenstein’s doing in drowning girl –
all that different?
55. THE WORK OF ART IN THE AGE OF MECHANICAL
REPRODUCTION (1935)
WALTER BENJAMIN
• Benjamin proposes that the aura of a work of art is devalued by mechanical reproduction (i.e.,
photography)
• Aura for Benjamin represents the originality and authenticity of a work of art that has not been
reproduced
• A painting has an “aura” while a photograph or print does not; i.e., the photograph is an image of an
object/person/image while the painting remains utterly original
• The copy is “the death of aesthetics”
• So ..photography, film, printmaking and other art forms that can produce multiple copies of an artwork
lead to the death of authorship and destruction of aesthetics
56. “even the most perfect reproduction of a work of art is
lacking in one element: Its presence in time and space,
its unique existence at the place where it happens to
be.”
Walter Benjamin
57. for Benjamin, Brillo Box would signal
the “death of aesthetics” – the silk
screening alone, plus the fact that it is
an image of an object – no longer an
original work
58. CASE STUDY: THE LIMITED EDITION
(BUSKIRK)
• A role in defining prints as a work of authorship
• Way to find a balance between originality, authorship and reproducibility
• Emerges in the 19th century
• Third International Congress of Artists (Vienna, 1960) defined original prints as
those “for which the artists made the original plate, cut the wood block, worked
on the stone or any other materials.
• Still maintaining the artist’s hand
60. WARHOL AND THE
SILKSCREEN - 1962
• Repeated us of a single photo
silkscreen to produce a series of works
(not one work)
• Mechanical transfer of the printing
process via photo silkscreen (more like
photo than print)
• Serial repetition of an image within a
single work work
• Assistants working on silkscreens at
The Factory
63. Campbell's Soup Cans (1962)
Andy Warhol
Synthetic polymer paint on
thirty-two canvases
Each canvas 20 x 16" (50.8 x 40.6
cm).
Overall installation with 3"
between each panel is 97" high
x 163" wide
First set of cans is hand-painted
– is there a difference between a
hand-painted appropriated
work and a silkscreen?
64. KRAUSS
“Are we not involved here in clinging to a culture of originals which has no place
among the reproductive mediums?”
“What would it look like not to repress the concept of the copy? “
65. Buskirk uses the term “original copies” to discuss mechanically reproduced art
68. • Postmodernism rejects the modern idea of
originality as the new, and substitutes it with a
combination of elements and styles from the past
• Artists participate in a critique and deconstruction
of the myth of traditional originality while
simultaneously seeking ways to take their art in
new and unexpected directions.
• Authorship was challenged as artists sought to
break from this idea in the wake of the massive
increase in social image consumption due to
technological reproduction (Benjamin)
Postmodernism
70. AFTER WALKER EVANS (1981)
Probably her most famous work is
this series of photographic
reproduction of Evans – not the
original photographs but
reproductions taken from an
exhibition catalog including this
famous portrait of Allie Mae
Burroughs, the wife of an Alabama
sharecropper.
Became a landmark of
postmodernism, both praised and
attacked as a feminist hijacking of
patriarchal authority, a critique of
the commodification of art, and an
elegy on the death of modernism.
72. • “What does Duchamp’s use of reproductions say about the larger
significance of the reproduction of the original?” (Buskirk)
• Think about this in terms of Levine.
• What does Levine’s use of reproductions say about the larger
significance of the reproduction of the original?
• Walker Evans works are reproducible as photographs
• Benjamin: A painting has an “aura” while a photograph or print does not;
i.e., the photograph is an image of an object/person/image while the
painting remains utterly original
76. Does Andy Warhol Make You
Cry? (1988)
Louise Lawler
Silver dye bleach print with
text on Plexiglass wall
label, image (shown): 27 1/4 ×
39"
Edition of five
Photo of an auction label next
to a round gold Warhol
“Marilyn” estimated the work’s
value at between three
hundred thousand and four
hundred thousand dollars.
77. Arranged by Donald Marron,
Susan Brundage, Cheryl
Bishop at Paine Webber Inc.
(adjusted to fit) (1982)
Louise Lawler
Dimensions variable
Also, part of a series of black-
and-white images of works of
art arranged by curators, art
advisors, and even her own
dealers.
78. ROBERT LONGO MEN IN
THE CITIES: 1976-1982
Robert Longo extracted the figure of a
man from a film still, a document of the
closing scene of Rainer Fassbinder's movie
The American Soldier (1970), in which a
gangster is shot dead. Longo repeated
this decontextualized figure in many
different settings, either in isolation, or
recontextualized in different settings. He
also varied the pose. In each iteration the
enigmatic pose took on different
meanings.
79. ROBERT LONGO
graphite series Men in Cities
Interpreted as yuppies in
ecstasy or as “businessmen
writhing in contorted emotion”
“this is how you dressed if you
were in a band” Robert Longo
80. Men in the Cities, 2 pieces
(1990)
Three Color Lithograph on
Arches paper
40 × 26 in
95. Glass, stainless steel, Perspex,
acrylic paint, cow, calf and
formaldehyde solution
Dimensions2 parts: 2086 x
3225 x 1092 mm, 2086 x 3225
x 1092 mm
Weight installed: approx.
15,750 kg
Weight of each cow half in
transit tank 2940 kg
97. POST-PRODUCTION ART
• PPA a term by Nicolas Bourriaud
• Today, appropriating, remixing, and sampling images and media is common practice, yet such
strategies continue to challenge traditional notions of originality and test the boundaries of
what it means to be an artist
• PP artists reedit commercial, or fine art works, inserting the elements that compose them into
alternative scenarios, or isolate individual components of a media work for contemplation
• The democratization of computers and the appearance of sampling allowed for the
emergence of a new cultural configuration, whose emblematic figures are the programmer ,
DJ and techno music artist
98. "24 Hour Psycho, as I see it, is not simply a
work of appropriation. It is more like an act
of affiliation... it wasn't a straightforward
case of abduction. The original work is a
masterpiece in its own right, and I've
always loved to watch it. ... I wanted to
maintain the authorship of Hitchcock so
that when an audience would see my 24
Hour Psycho they would think much more
about Hitchcock and much less, or not at
all, about me...”
24-Hour Psycho (1993)
Douglas Gordon
Film/Installation
https://www.youtube.com
/watch?v=a31q2ZQcETw
99. 448 IS ENOUGH (2002) (AN EPISODE OF EIGHT IS ENOUGH)
KEVIN & JENNIFER MCCOY
INSTALL ATION WITH SMALL LCD SCREENS
100. EVERY SHOT, EVERY EPISODE (2001) (STARSKY AND HUTCH)
KEVIN & JENNIFER MCCOY
CUSTOM DIGITAL VIDEO PL AYBACK INSTALL ATION WITH 277 VIDEO
COMPACT DISCS
101. Drei Klavierstuke is a recreation of Arnold
Schoenberg’s 1909 op. 11 Drei Klavierstücke (aka
Three Piano Pieces) made by editing together
videos of cats playing pianos downloaded from
Youtube.
Schoenberg’s Op11 is often considered the first
piece of “atonal” music, or music to completely
break from traditional western harmony which
means it’s not written in a “key”) by Schoneberg
11 Drei Klavierstücke (aka
Three Piano Pieces (2009)
Corey Arcangel
3 YouTube videos
Code: Gould Pro, Perl, C++,
Max/Msp, 2007
http://www.coryarcangel.co
m/things-i-made/2009-
003-dreiklavierstucke-op-
11
https://www.youtube.com/
watch?v=VeTFxbsVGrI
102. Composer and DJ, Candice Breitz
individually filmed thirty hardcore Italian
Madonna fans (gathered via
advertisements in newspapers and fan
websites) singing their way through the
greatest hits album Immaculate Collection.
Her intention is to strike out at stereotypes
and visual conventions in popular culture
Queen (2005)
Candice Breitz
30-Channel Installation: 30
CRT TVs, 30 Hard Drives
Duration: 73 minutes, 30
seconds
https://vimeo.com/3039571
9
104. HENRY JENKINS
“SPREADABILITY”
“If it doesn’t spread, it’s dead”
"memes" and "media viruses"
“regrams” and “reposts”
TikTok challenges
Sourdough, green goddess salad,
etc
108. II. LINA IRIS VIKTOR
Constellation I (2016)
Pure 24K Gold, Acrylic, Gouache,
Print on Matte Canvas
60 x 84 in. / 152.4 x 213.4 cm
https://theculturetrip.com/north-
america/usa/articles/kendrick-lamars-
video-black-panther-song-accused-
copying-british-liberian-artist/
109.
110. Left, an image from the video for “All the Stars” by Kendrick Lamar
and SZA; right, the painting “Constellation I” by Lina Iris
Viktor.Credit...Left, Universal Music Group; right, Lina Iris Viktor, via
Mariane Ibrahim Gallery
Robert Longo’s signature ’1980s graphite series Men in Cities has been similarly misinterpreted. Longo was making this work during the height of the rise of Wall Street in NYC in the 1980s- the rise of the yuppie (young upwardly mobile people) and this work has been read through that lens as “businessmen writhing in contorted emotion”