Appropriation ( Latin appropriātio - assimilation, appropriation; the definition of appropriationism is also used in Russian) is a term in the history of art and criticism that refers to the more or less direct use of real objects or even other already existing works of art in a work of art.
Content
- 1 History of the practice of appropriation in 20th-century art
- 2 Appropriation in the Art of American Artists of the 1980s
- 3 Issues
- 4 Artists using appropriation
- 5 Sources
- 6 References
The history of appropriation practice in 20th-century art
The practice of appropriation can be traced back to the collages of cubists and the works of Picasso and Braque , made in 1912, in which such real objects as newspapers were included in the work and represented themselves.
The practice of appropriation was developed much further in the readymades of the French artist Marcel Duchamp in 1915. The most famous example is the Fountain (urinal signed by Duchamp and presented as a work of art).
Surrealists later used appropriation in collages and objects, such as Salvador Dali 's lobster phone (a phone with a lobster instead of a handset).
In the late 1950s, the appropriated images and objects appeared in the works of Jasper Johns and Robert Rauschenberg , in the works of pop art .
Appropriation in the Art of American Artists of the 1980s
The term appropriation is also used in a narrower sense, in connection with the activities of American artists in the 1980s, especially Sherry Levine and neo-geo artists. Sherry Levine reproduced as her own works of other artists, including paintings by Claude Monet and Kazimir Malevich . Her goal was to create a new situation, a new meaning or set of meanings for a familiar image.
Issues
The art of appropriation raises questions of originality, authenticity and authorship, and belongs to a long modernist tradition of art, asking questions about nature or the definition of art as such. The appropriation artists were influenced by the 1934 essay by German philosopher Walter Benjamin, “A work of art in the era of its technical reproducibility,” and also enjoyed the support of the American critic Rosalind Krauss (The Originality of the Avant-Garde and Other Modernist Myths, 1985).
Appropriation has been actively used by artists since the 1980s.
Appropriation Artists
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Sources
Links
- Definition and a brief history
- The article "Appropriation Art: the struggle of anonymous with stars"
- Article “Appropriation Art and Walker Evans”
- Remix is (not) art! theses of Cornelia Solffrank (Cornelia Sollfrank)