Finding identity and Appropriation Art

791 Words4 Pages
INTRODUCTION

Discuss how appropriation relates to postmodern artists.

– How they find their identity

• Introduce the main artists.

• A statement identifying my chosen practitioners and the postmodern characteristics that are evident in their work.

• A statement outlining why the practitioners’ works are relevant to postmodernism.

• An overview of key authorities, their publications and 3 key arguments (main points of difference and similarity between the artist) that will be elaborated on in the essay.

• Different perspectives between various researchers

‘Copying, reinterpreting, quoting, and translating are all terms that have been utilized as alternative descriptions for the phenomenon known as “appropriation”, the action of taking or making use of something without authority or legal right. This practice often involves borrowing, mimicking, or even stealing, and it is highly contested and criticized in the art' class='brand-secondary'>contemporary art world’ (Gorman, C 2013, p. 215).

From Masami Teraoka and Yasumasa Morimura, these contemporary artists depict the appropriation in their art with various concepts.

B1 – HISTORICAL / CULTURAL INFLUENCE OF APPROPRIATION

How these effect to the art movement and artists.

• The effect of globalisation on appropriation

• Studies of acculturation

i) World War 1 and World War 2

ii) Colonialism

iii) Globalisation - Consumerism

Define what appropriation means when applied to the works. And make a general statement about how or why the two artist uses appropriation.

• Different perspectives research

It was a small genre of art, but now this concept represent the post-modern value. Via history, the post-modern appropriation brings various aspects such as cultural appropriation and gend...

... middle of paper ...

...6-269, retrieved 13 April 2014 from http://mind.oxfordjournals.org.libraryproxy.griffith.edu.au/content/119/473/266

List of Images

Fig. 1 Masami Teraoka 31 Flavors Invading Japan / Today’s Special (1982)

Source: MASAMI TERAOKA, retrieved 13 April 2014 from http://www.masamiteraoka.com/print.html

Fig. 2 Masami Teraoka McDonald’s Hamburgers Invading Japan (1982)

Source: MASAMI TERAOKA, retrieved 13 April 2014 from http://www.masamiteraoka.com/print.html

Fig. 3 Yasumasa Morimura Self-Portrait - After Marilyn Monroe (1996)

Source: London Contemporary Art Gallery, retrieved 14 April 2014 from http://www.saatchi-gallery.co.uk/artists/artpages/yasumasa_morimura_marilyn_monroe1.htm

Fig. 4 Marilyn Monroe Wallpaper 2907 (1925-62)

Source: HDWS, retrieved 14 April 2014 from http://hdwallsource.com/marilyn-monroe-wallpaper-2907.html

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