the reasons behind the artists decision to create such a piece of artwork. However‚ this was not the same with Marcel Duchamp’s piece “Descending a Staircase.” The public did not understand what the piece was or why it was created in such a manner. After learning what inspired Duchamp to create such a piece of artwork‚ the public was more appreciative of its creativity. Duchamp read a book on movement by Etienne-Jules Mary and was inspired by the stop-photography and it was his fascination
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Select the best answer. (5 points each) 1. Which of the following statements best describes the cultural impact on the style of artwork? a. Cultures each have their own‚ unique style that is not impacted by any outside culture. b. Cultures exchange ideas that impact the development of artistic styles. c. Artists create work based solely on their imaginations and are not impacted by culture. d. All of the above. 2. Like history‚ art history: a. is an objective‚ or factual‚ academic field
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modernist artists such as Duchamp influenced Richter; you don’t even have to hear the title of “Ema (Nude on a Staircase) 1966” to know the work that inspired this painting. “Nude Descending a Staircase No. 2 1912” painted by Marcel Duchamp was rejected by both the Cubist and Futurist movements‚ but is today known as one of the most important paintings of the Modernist movement. Richter was able to capture the movement in his version of the painting‚ that the Duchamp descending a staircase painting
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Movement When Where Artist Key Characteristics Modernist Topic Pictorialism Julia Margaret Cameron Louis Daguerre The use or creation of pictures or visual images a movement or technique in photography emphasizing artificial often romanticized Pictorial qualities Used as representation of people and historical events Machine aesthetic Impressionism 1870 - 1890 France Alfred Sisley A theory or style of painting originating and developed in France during the 1870s‚ Characterized
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Draft. For definitive version‚ see British Journal of Aesthetics 45 (2005)‚ 123-137. Appropriation and Authorship in Contemporary Art Sherri Irvin Abstract Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery‚ I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are
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thoughts that drove people to want to think of photography as art. Charlotte Cotton begins to discuss the introduction of conceptual art. The father of conceptual art Marcel Duchamp‚ submitted a factory made urinal to the Armory Show in New York. He wanted to prove that anything could be art‚ if the artist decided it to be. Marcel took something that was already created and made it into art. The judges rejected the piece and it was removed days later. When it comes to photography there isn’t one
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9-23-13 Japanese Art of the 1990s Morimura Recreated Rembrandt‚ The Anatomy Lesson of Dr. Tulp‚ 1632 Morimura‚ Portrait (9 Faces) Peter Gertner‚ Crucificion Yen Mountain‚ 1991‚ assemblage Stacks money with his face on them Moneki Neko cat on top Poses as many different famous film actresses Marilyn Monroe Audrey Hepburn Black Marilyn To My Little Sister/For Cindy Sherman Mona Lisa in Its Origins He procreates his work to be like others Photoshop The prep work he does for the
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within the art world”# Chapter 1 Anti-art is a term‚ ‘It is generally agreed to have been coined by Marcel Duchamp around 1913 when he made his first ready-mades‚ which are still regarded in some quarters as Anti-art (for example by the Stuckist group)’.# The term ready-mades was used in America at this point to distinguish between mass produced items and those that were hand made‚ Duchamp used this term because that is exactly what his work was‚ he was using already existing objects‚ but by
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the 17th century Vanitas still life’s objects have been used in art to create and project meaning – the transience of life. The traditionally realistic style held to this genre has been repeatedly challenged throughout history‚ by artists like Marcel Duchamp‚ Kosuth‚ Pablo Picasso‚ Paul Cezanne and Tom Wessleman. By pushing and ultimately destroying the regulations and boundaries set by tradition‚ these artists have transformed the meaning of art and the purpose of objects in art‚ influencing the
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Simon Hantai In U.S. People thought minimalism was the end to painting. That painting is an exhausted medium. In France however‚ minimalism was viewed as something to be dealt with within painting. Is does not represent the end of painting. At the forefront of this movement was Simon Hantai‚ a Hungarian. He is known for inventing Pliage (to fold) in France. From 1960 to 1982‚ he works exclusively on canvas that is off the wooden frame and wadded up‚ crumbled up. He then paints the canvas like
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