Since the beginning of the twentieth century, artists reproduce, cut, interpret, and modify works by other authors. This culture of re-use implies a profound change in the status of the artwork. Now, in addition to its traditional role, the piece of art functions as an active agent in a new independent context. In fact, art contradicts the passive culture of goods and merchants. The piece of art exists because setting in relation to those who benefit from it. This idea stems from the belief of Marcel Duchamp's art making: he was aware that the framework is such not only by the intervention of the artist, but because of the spectator. When, in 1917, Duchamp exhibited his famous "Fountain", he introduced a common item in the world of art, carrying the capitalist process of mass-production in the artistic context. He started a new way to expose fine art, which is exchange and appropriation. In the appropriation process, an artist looks and selects what he wants to edit with a precise intention. "A good composer does not imitate, he steals". With this statement, Igor Stravinsky1 express...
The earliest forms of art had made it’s mark in history for being an influential and unique representation of various cultures and religions as well as playing a fundamental role in society. However, with the new era of postmodernism, art slowly deviated away from both the religious context it was originally created in, and apart from serving as a ritual function. Walter Benjamin, a German literary critic and philosopher during the 1900’s, strongly believed that the mass production of pieces has freed art from the boundaries of tradition, “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependance on ritual” (Benjamin 1992). This particular excerpt has a direct correlation with the work of Andy Warhol, specifically “Silver Liz as Cleopatra.” Andy Warhol’s rendition of Elizabeth Taylor are prime examples of the shift in art history that Benjamin refers to as the value of this particular piece is based upon its mass production, and appropriation of iconic images and people.
Appropriation has been practiced for centuries to create a similar image but with a different meaning. When artworks are appropriated with respect, it is called homage, meaning reverence paid or rendered to an artwork. The famous art work Las Meninas painted by Diego Velázquez in 1656, has been appropriated by several artists. Artists which have paid homage to Diego Velázquez’s artwork are Joel-Peter Witkin and Equipo Crónica. This essay will discuss how Witkin and Crónica appropriated Las Meninas by creating individual artworks and how elements from the original work were placed into theirs.
The article “The Life of An Artifact” by Michael Shanks discusses archaeological points of view and how the presence of the artifact relates to the social issues. An artifact may undergo through aging, decay or physical changes, but it should not be forgotten with the past. Similarly, Japanese artist Takashi Murakami created a new life-cycle for the 727 painting by combining different art styles and cultures. The painting follows the “Superflat” movement and applies the techniques learned from both American and Japanese art. The 727 painting became a unique art style that creates a new
where people decided to reproduce art as a picture of what was going on. Instead, this artistic
In the article “Conditions of Trade,” 1 Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” as money, he states, plays an important role in the history of art. In contrast to our current perceptions of the relationship between the artist and art, “in which painters paint what they think best, and then look around for a buyer” the author examines how the content and form of these paintings were, determined by the customers. He states that the artists and clients were interconnected as specified in the legal agreements of subject matter, payment scheme and the quality and quantity of colours, through the conditions of the artist’s painting style. He not only looks at the explanation of the style of painting that reflected a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. Baxandall observes Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fifteenth century art through the concepts used by contemporary critics of th...
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
At the turn of the 20th and further into the 21st century, art began to drop the baggage carried from the masters of the Renaissance and began a trajectory of change. Artists began challenging the schools and galleries of art around the world in an effort to break away from the chains that were wrapped around them in an effort to control the basis of art. Strange patters, shapes, colors and spaces emerged as each one challenged every norm known to the artistic circle. Critics and viewers alike were suddenly required to think less about the topics of paintings and more about their formal aspects. As decades passed, the singularity of art began to intensify and different forms of art demanded the same recognition as others before. Liberation
There are always arguments about the relationship between public sculpture and site specific art. Some people believe there is a very deep relationship between them, while others insist the link seems pointless. They have argued this issue for so many years. However, at this stage, an unshakeable conclusion has been made that the relationship between them is proved and it is very important. The reason for that will be discussed within this essay.
One of the most unique figures in the continuum of the art world, Marcel Duchamp changed the way we look at and produce art today. Marcel Duchamp was by far, one of the most controversial figures in art. Two of the most well known and talked about pieces by him are The Fountain and The Bride Stripped Bare by her Bachelors, Even . Duchamp created many other pieces that caught the attention of critics, other artists, and the population in a negative way; however, these two pieces alone, brought about the greatest amount of controversy.
One of the biggest issues that arises with remix art is the issue of ‘Remix vs. Plagiarism.” When does a remixed work become an original work of art? Is the work considered original as soon as it is tweaked or when it is unrecognizable? Neither, a work is unique when its purpose and meaning transcends that of the original? Works like Montgomery Lee’s “Copyright Symphony” takes a variety of images and uses them to create music out of the imbedded data on the photographs. The work can be considered his own because he had given the images new meaning by placing them together. And by turning the photos into music they are no longer photographs, instead they are musical instruments which together create something completely original.
Horkheimer and Adorno’s The Culture Industry: Enlightenment as Mass Deception and Benjamin’s The Work of Art in the Age of Mechanical Reproduction are two texts that to depict how technology, the modes of production, have allowed the mechanical reproduction of works of art to change our culture society. Horkheimer and Adorno evolve from the works of Benjamin to to create the idea of the business ideology being formed from this mass production and consumption. The mode of production that shaped the art and culture of the twentieth century is mechanical reproduction. Horkheimer, Adorno and Benjamin write about how this mode of production shapes the cultural identity of society.
Appropriation is an art form that can be traced back to 1912 and has been extensively used by artists since the 1980’s. It is the form were artists transform pre-existing objects or images into something new and enticing, only changing slight factors of the original artwork. Many artists have different interpretations of appropriation which leads to many opinions.
One artist in PPP said it best when he said “you just can’t avoid limitations I guess.” This statement summarizes the constant limitations that artists have faced throughout history when trying to get their work noticed in popular culture. One important way that artists have gotten their work noticed is by gathering different “fragments of culture” and recombining them to make quality art. In other words, Plagiarism is the key for artists to overcome constant limitations in the creative industry.
Art is not just brushstrokes, a proposal, a melody and not just the movement of a body, in fact, it is all of those things. Art can be done with a group of people or just by an invidious. Art can range from professionals to moochers from creators to thinkers. One piece of art can be expressed in many different ways. An example of this is Shakespeare; the famous tragedy of Romeo and Juliet turned from a piece of writing into a playwright then to a performance play and even now every educational system is required to know a famous piece of work and learn from it. Likewise, Leonardo Da Vinci was an Italian Renaissance polymath who used art to express his unforeseen creative