Yayoi Kusama is an artist who does many sorts of work, but all of them are similar in one way. They’re all full of repetitive patterns. Recently she was named by TIME magazine as one of the top 100 most influential people. Her art is extremely distinct, but that’s not all there is to her. She has a very strong view on world peace and promotes people to be gentle and caring to each other. All of these beliefs are extremely influenced by her childhood. Being born in a rich household didn’t make her
Born in 1951 in Osaka, the third largest city in Japan, Yasumasa Morimura is a Japanese artist who has become well-known for his captivating and elaborate portraits which emulate iconic art historical images as well as aspects of mass media and popular Western culture. He is able to realistically slide into the roles of art historical icons such as the Mona Lisa as well as prominent actresses such as Marilyn Monroe through extensive preparation. A majority of his portraits deal with issues such as
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 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
Appropriation art, sometimes cause responses varying from astonishment and suspicion to praise and acceptance, depend on the viewers and the performance by the artist. This essay then critically discusses two particular artists, Masami Teraoka and Yasumasa Morimura, who illustrate the appropriation in their art with similar and dissimilar concepts. The focus is on the visual arts, yet the argument of appropriation has significant effects for analyses of particular conceptualisations such as finding identity
his predecessors, Titian and Giorgione to be exact, with the same pose are doing. There the models in the paintings are depicted as goddesses whereas with Olympia the model has become the goddess herself. What’s even more controversial is when Yasumasa Morimura makes his own Olympia and titles it Portrait (Futago), and puts his own body into the painting saying that he is now the goddess. These two paintings have many similarities overall, but the main issue that both are trying to get the viewer to
Martino Gamper - 100 Chairs in 100 Days (2006) Throughout Art and Design history, specifically Postmodernism, artists have recontextualised previous styles and forms in their works in order to ‘modernise’ . The common household chair has been an iconic symbol for both history and artistic rebellion in art and design. From the Dada movement, where the ordinary item was stripped of its practical use in the interest of becoming a ‘found object’, to the Bauhaus movement where the chair became a representative
Olympia, and similarly, Umberto Boccioni’s Unique forms of Continuity and Space reflects different beliefs and conventions merely as a result of societal changes. Pop Art works such a Andy Warhol’s Marilyn x 100 and Post – modern works, such as Yasumasa Morimura’s Monna Lisa in its Origin, are also strong reflections of the society in which they were created. Edouard Manet’s Olympia, an extremely controversial painting of its time, reflects greatly its cultural context. Created during the
of it is questioned on whether is is an original one or just a CARBON COPY of some other work or someone else's work. My Research helped me find out number of artists who are considered "Appropriation Artists" and they include Marcel Duchamp, Yasumasa Morimura, Maria Kozic, Edouard Manet, Pablo Picasso and Leonardo Da Vinci Are there LIMITS to Appropriation?? well yes if you see there are limitations on appropriation to art. The main reason to this is that no one would want anyone copying their work