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Appropriation (art)

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This article is about an artistic practice. For the cultural practice, seeCultural appropriation.For another cultural practice, seeReappropriation.

Inart,appropriationis the use of pre-existing objects or images with little or no transformation applied to them.[1]The use of appropriation has played a significant role in thehistory of the arts(literary,visual,musicalandperforming arts). In the visual arts, "to appropriate" means to properly adopt, borrow, recycle or sample aspects (or the entire form) of human-madevisual culture.Notable in this respect are thereadymades of Marcel Duchamp.

Inherent in the understanding of appropriation is the concept that the new workrecontextualizeswhatever it borrows to create the new work. In most cases, the original "thing" remains accessible as the original, without change.

Definition[edit]

Appropriation, similar tofound object artis "as an artistic strategy, the intentional borrowing, copying, and alteration of preexisting images, objects, and ideas".[2]It has also been defined as "the taking over, into a work of art, of a real object or even an existing work of art."[3]TheTate Gallerytraces the practice back toCubismandDadaism,and continuing into 1940sSurrealismand 1950sPop art.It returned to prominence in the 1980s with theNeo-Geoartists,[3]and is now common practice amongstcontemporary artistslikeRichard Prince,Sherrie Levine,andJeff Koons.[4]

History[edit]

Marcel DuchampFountain,1917, photograph byAlfred Stieglitzat291 (art gallery)following the 1917Society of Independent Artistsexhibit, with entry tag visible. The backdrop isThe WarriorsbyMarsden Hartley.[5]

19th century[edit]

Many artists made references to works by previous artists or themes.

In 1856Ingrespainted the portrait ofMadame Moitessier.The unusual pose is known to have been inspired by the famous ancient Roman wall paintingHerakles Finding His Son Telephas.In doing so, the artist created a link between his model and an Olympian goddess.[6]

Edouard ManetpaintedOlympiain 1865, inspired byTitian'sVenus of Urbino.His paintingLe Déjeuner sur l'herbewas also inspired by the work of the Old Masters; specifically, its composition is based on a detail ofMarcantonio Raimondi'sThe Judgement of Paris(1515).[7]

Gustave Courbetis believed to have seen the famous color woodcutThe Great Wave off Kanagawaby Japanese artistKatsushika Hokusaibefore painting a series of the Atlantic Ocean during the summer of 1869.[8]

Vincent van Goghcan be named with the examples of the paintings he did inspired byJean Francois Millet,Delacroix,or the Japanese prints he had in his collection.[9]In 1889, Van Gogh created 20 painted copies inspired by Millet black-and-white prints. He enlarged the compositions of the prints and then painted them in colour according to his own imagination. Vincent wrote in his letters that he had set out to "translate them into another language". He said that it was not simply copying: if a performer "plays some Beethoven he'll add his personal interpretation to it… it isn't a hard and fast rule that only the composer plays his own compositions".[10]More examples can be found onCopies by Vincent van Gogh.

Claude Monet,a collector of Japanese prints, created several works inspired by these such asThe Garden at Sainte-Adresse,1867 inspired byFuji from the Platform of Sasayedoby Katsushika Hokusai;The Water Lily PondseriesUnder Mannen Bridge at Fukagawa,1830-1831 by Hokusai orLa Japonaise,1876 likely inspired by KitagawaTsukimaroGeisha, a pair of hanging scroll paintings,1820-1829.[11][12][13]

First half of the 20th century[edit]

In the early twentieth centuryPablo PicassoandGeorges Braqueappropriated objects from a non-art context into their work. In 1912, Picasso pasted a piece of oil cloth onto the canvas.[14]Subsequent compositions, such asGuitar, Newspaper, Glass and Bottle(1913) in which Picasso used newspaper clippings to create forms, is earlycollagethat became categorized as part ofsyntheticcubism.The two artists incorporated aspects of the "real world" into their canvases, opening up discussion of signification andartistic representation.

Marcel Duchampin 1915 introduced the concept of thereadymade,in which "industrially produced utilitarian objects...achieve the status of art merely through the process of selection and presentation."[15]Duchamp explored this notion as early as 1913 when he mounted a stool with a bicycle wheel and again in 1915 when he purchased a snow shovel and inscribed it "in advance of the broken arm, Marcel Duchamp."[16][17]In 1917, Duchamp organized the submission of a readymade into theSociety of Independent Artistsexhibition under the pseudonym, R. Mutt.[18]EntitledFountain,it consisted of a porcelain urinal that was propped atop a pedestal and signed "R. Mutt 1917". The work posed a direct challenge, starkly juxtaposing to traditional perceptions of fine art, ownership, originality and plagiarism, and was subsequently rejected by the exhibition committee.[19]TheNew York DadamagazineThe Blind MandefendedFountain,claiming "whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it.[20]He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view—and created a new thought for that object. "[19]

TheDadamovement continued to play with the appropriation of everyday objects and their combination in collage. Dada works featured deliberate irrationality and the rejection of the prevailing standards of art.Kurt Schwittersshows a similar sensibility in his "merz" works. He constructed parts of these from found objects,[21]and they took the form of largegesamtkunstwerkconstructions that are now calledinstallations.

During his Nice Period (1908–1913),Henri Matissepainted several paintings ofodalisques,inspired byDelacroixWomen of Algiers.[22][23][24]

TheSurrealists,coming after the Dada movement, also incorporated the use of 'found objects', such asMéret Oppenheim'sObject (Luncheon in Fur)(1936) or Salvador Dalí'sLobster Telephone(1936). These found objects took on new meaning when combined with other unlikely and unsettling objects.

1950–1960: Pop art and realism[edit]

In the 1950s,Robert Rauschenbergused what he dubbed "combines", combining readymade objects such as tires or beds, painting,silk-screens,collage, and photography. Similarly,Jasper Johns,working at the same time as Rauschenberg, incorporated found objects into his work.

In 1958 Bruce Conner produced the influentialA Moviein which he recombined existing film clips. In 1958 Raphael Montanez Ortiz producedCowboy and Indian Film,a seminal appropriation film work.[citation needed]

TheFluxusart movement also utilized appropriation:[25]its members blended different artistic disciplines including visual art, music, and literature. Throughout the 1960s and 1970s they staged "action" events and produced sculptural works featuring unconventional materials.

In the early 1960s artists such asClaes OldenburgandAndy Warholappropriated images from commercial art and popular culture as well as the techniques of these industries with for example Warhol painting Coca-Cola bottles.[26]Called "pop artists",they saw mass popular culture as the main vernacular culture, shared by all irrespective of education. These artists fully engaged with the ephemera produced from this mass-produced culture, embracing expendability and distancing themselves from the evidence of an artist's hand.

Among the most famous pop artists,Roy Lichtensteinbecame known for appropriating pictures fromcomics bookswith paintings such asMasterpiece(1962) orDrowning Girl(1963) and from famous artists such asPicassoorMatisse.[27]

Elaine Sturtevant(also known simply asSturtevant), on the other hand, created replicas of famous works by her contemporaries. Artists she 'copycatted' included Warhol, Jasper Johns,Joseph Beuys,Duchamp,James Rosenquist,Roy Lichtenstein, and more. While not exclusively reproducing Pop Art, that was a significant focus of her practice.[28]She replicated Andy Warhol'sFlowersin 1965 at the Bianchini Gallery in New York. She trained to reproduce the artist's own technique—to the extent that when Warhol was repeatedly questioned on his technique, he once answered "I don't know. Ask Elaine."[29]

In Europe, a group of artists called theNew Realistsused objects such as the sculptorCesar[30]who compressed cars to create monumental sculptures or the artistArman[31]who included everyday machine-made objects—ranging from buttons and spoons to automobiles and boxes filled with trash.

The German artistsSigmar Polkeand his friendGerhard Richterwho defined "Capitalist Realism," offered an ironic critique of consumerism in post-war Germany. They used pre existing photographs and transformed them. Polke's best-known works were his collages of imagery from pop culture and advertising, like his "Supermarkets" scene of super heroes shopping at a grocery store.[32]

1970–1980: The Picture Generation and Neo Pop[edit]

Richard Prince,Covering Hannah(1987Buick Grand National)
Three Ball Total Equilibrium Tank(1983) byJeff Koons,Tate Liverpool

Whilst appropriation in bygone eras utilised the likes of 'language', contemporary appropriation has been symbolised by photography as a means of 'semiotic models of representation'.[33]ThePictures Generationwas a group of artists, influenced byConceptualandPop art,who utilized appropriation and montage to reveal the constructed nature of images.[34]An exhibition namedThe Pictures Generation, 1974–1984was held atThe Metropolitan Museum of Art(The Met) in New York City from April 29 – August 2, 2009 that included among other artistsJohn Baldessari,Barbara Kruger,Sherrie Levine,Richard Prince,David Salle,Cindy Sherman.

Sherrie Levine,who addressed the act of appropriating itself as a theme in art.[35]Levine often quotes entire works in her own work, for example photographing photographs ofWalker Evans.Challenging ideas of originality, drawing attention to relations betweenpower,genderandcreativity,consumerismand commodity value, the social sources and uses of art, Levine plays with the theme of "almost same".

During the 1970s and 1980sRichard Princere-photographed advertisements such as forMarlboro cigarettes[36]orphoto-journalismshots. His work takes anonymous and ubiquitous cigarette billboard advertising campaigns, elevates the status and focuses our gaze on the images.

Appropriation artists comment on all aspects of culture and society.Joseph Kosuthappropriated images to engage withepistemologyandmetaphysics.

Other artists working with appropriation during this time with includedGreg Colson,andMalcolm Morley.[citation needed]

In the late 1970sDara Birnbaumwas working with appropriation to producefeminist works of art.[37]In 1978-79 she produced one of the first video appropriations.Technology/Transformation: Wonder Womanutilised video clips from theWonder Womantelevision series.[38]

Richard Pettibone began replicating on a miniature scale works by newly famous artists such as Andy Warhol, and later also modernist masters, signing the original artist's name as well as his own.[39][32]

Jeff Koonsgained recognition in the 1980 by creating conceptual sculpturesThe New series,a series ofvacuum-cleaners,often selected for brand names that appealed to the artist like the iconicHoover,and in the vein of the readymades of Duchamp. Later he created sculptures in stainless steel inspired by inflatable toys such as bunnies or dogs.[40][41]

1990s[edit]

Fountain (Buddha)a bronze remake bySherrie Levine,1996

In the 1990s artists continued to produce appropriation art, using it as a medium to address theories and social issues, rather than focussing on the works themselves. This typically is the case of Peruvian painterHerman Braun-Vega,in whom the appropriation of the works of the old masters is almost systematic[42]and who, after beginning by making painted commentaries of the painting of others in the late 1960s,[43]ends up putting the characters borrowed from Western painting iconography in the presence of the social and political reality of his time.[44]The great triptych from the permanent collection of theRalli Marbella Museum[es]The Informal Family (Velazquez, Goya, Picasso)[45]is an example of multiple appropriations coexisting within the same work with the painter’s contemporaries in scenes describing the social situation in third world countries where the family in the broad sense is a circle of subsistence economy.[46]Braun-Vega recontextualises appropriated works and gives them a new meaning.[47]For his part,Damian Loebused film and cinema to comment on themes ofsimulacrumand reality. Other high-profile artists working at this time includedChristian Marclay,Deborah Kass,andGenco Gulan.[48]

Yasumasa Morimurais a Japaneseappropriation artistwho borrows images from historical artists (such asÉdouard ManetorRembrandt) to modern artists asCindy Sherman,and inserts his own face and body into them.[49]

Saulteaux First NationsartistRobert Houlegained prominence through his appropriation of historical images and documents to criticize historical violence againstIndigenous peoples in Canada.[50]Houle's work Kanata (1992) utilized imagery fromBenjamin West'sThe Death of General Wolfe(1770), forgoing color in most of the frame to instead highlight the imagery of a Delaware warrior inserted by West.[50]

Sherrie Levineappropriated the appropriated when she made polished cast bronze urinals namedFountain.They are considered to be an "homage to Duchamp's renowned readymade. Adding to Duchamp's audacious move, Levine turns his gesture back into an" art object "by elevating its materiality and finish. As a feminist artist, Levine remakes works specifically by male artists who commandeered patriarchal dominance in art history."[51]

21st century[edit]

Appropriation is frequently used by contemporary artists who often reinterpret previous artworks such as French artistZevswho reinterpreted logos of brands like Google or works by David Hockney.[52]Many urban and street artists also use images from the popular culture such asShepard FaireyorBanksy,[53]who appropriated artworks byClaude MonetorVermeerwith his girl with a pierced eardrum.[54]

Canadian Cree artistKent Monkmanappropriates iconic paintings from European and North American art history and populates them with Indigenous visions of resistance.[55]

In 2014Richard Princereleased a series of works titledNew Portraitsappropriating the photos of anonymous and famous persons (such asPamela Anderson) who had posted a selfie on Instagram.The modifications to the images by the artist are the comments Prince added under the photos.[56][57]

Damien Hirstwas accused in 2018 of appropriating the work ofEmily Kngwarreyeand others from the painting community inUtopia, Northern Territorywith the Veil paintings, that according to Hirst were "inspired by Pointillist techniques and Impressionist and Post-Impressionist painters such as Bonnard and Seurat".[58][59][60][61]

Mr. Brainwash[62]is an urban artist who became famous thanks toBanksyand whose style fuses historic pop imagery and contemporary cultural iconography to create his version of a pop–graffiti art hybrid first popularized by other street artists.[63]

Brian Donnelly, known as Kaws,has used appropriation in his series,The Kimpsons,and paintedThe Kaws Albuminspired by theSimpsons Yellow Albumwhich itself was a parody of the cover art for the Beatles albumSgt. Pepper's Lonely Hearts Club Bandreplaced with characters fromthe Simpsons.[64]On April 1, 2019, at Sotheby's in Hong Kong,The Kaws Album(2005), sold for 115.9 million Hong Kong dollars, or about $14.7 million U.S. dollars.[65]In addition, he has reworked other familiar characters such asMickey Mouse,theMichelin Man,theSmurfs,Snoopy,andSpongeBob SquarePants.[66]

In the digital age[edit]

Since the 1990s, the exploitation of historical precursors is as multifarious as the concept of appropriation is unclear. An unparalleled quantity of appropriations pervades not only the field of the visual arts, but of all cultural areas. The new generation of appropriators considers themselves "archeolog[es] of the present time".[67]Some speak of "postproduction", which is based on pre-existing works, to re-edit "the screenplay of culture".[68]The annexation of works made by others or of available cultural products mostly follows the concept of use. So-called "prosumers"[69]—those consuming and producing at the same time—browse through the ubiquitous archive of the digital world (more seldom through the analog one), in order to sample the ever accessible images, words, and sounds via 'copy-paste' or 'drag-drop' to 'bootleg', 'mashup' or 'remix' them just as one likes. French curatorNicolas Bourriaudcoined theneologismSemionaut– aportmanteauofsemioticsandastronaut– to describe this. He writes: "DJs, Web surfers, and postproduction artists imply a similar configuration of knowledge, which is characterized by the invention of paths through culture. All three are" semionauts "who produce original pathways through signs."[70]Appropriations have today become an everyday phenomenon.

The new "generation remix"[71]—who have taken the stages not only of the visual arts, but also of music, literature, dance and film—causes, of course, highly controversial debates. Media scholarsLawrence Lessigcoined in the begin of the 2000s here the term of theremix culture.[72]On the one hand are the celebrators who foresee a new age of innovative, useful, and entertaining ways for art of the digitized and globalized 21st century. The new appropriationists will not only realize Joseph Beuys' dictum that everyone is an artist but also "build free societies".[73]By liberating art finally from traditional concepts such as aura, originality, and genius, they will lead to new terms of understanding and defining art. More critical observers see this as the starting point of a huge problem. If creation is based on nothing more than carefree processes of finding, copying, recombining and manipulating pre-existing media, concepts, forms, names, etc. of any source, the understanding of art will shift in their sight to a trivialized, low-demanding, and regressive activity. In view of the limitation of art to references to pre-existing concepts and forms, they foresee endless recompiled and repurposed products. Skeptics call this a culture of recycling with an addiction to the past[74]

Some say that only lazy people who have nothing to say let themselves be inspired by the past in this way.[75]Others fear, that this new trend of appropriation is caused by nothing more than the wish of embellishing oneself with an attractive genealogy.[76]The termappropriationism[77]reflects the overproduction of reproductions, remakings, reenactments, recreations, revisionings, reconstructings, etc. by copying, imitating, repeating, quoting, plagiarizing, simulating, and adapting pre-existing names, concepts and forms. Appropriationism is discussed—in comparison of appropriation forms and concepts of the 20th century which offer new representations of established knowledge[78]—as a kind of "racing standstill",[79]referring to the acceleration of random, uncontrollable operations in highly mobilised, fluid Western societies that are governed more and more by abstract forms of control. Unlimited access to the digital archive of creations and easily feasible digital technologies, as well as the priority of fresh ideas and creative processes over a perfect masterpiece leads to a hyperactive hustle and bustle around the past instead of launching new expeditions into unexplored territory that could give visibility to the forgotten ghosts and ignored phantoms of our common myths and ideologies.

Appropriation art and copyright[edit]

Appropriation art has resulted in contentiouscopyrightissues regarding its validity under copyright law. The U.S. has been particularly litigious in this respect. A number ofcase lawexamples have emerged that investigate the division betweentransformative worksandderivative works.[80]

What is fair use?[edit]

Main article:Fair use

TheCopyright Act of 1976in the United States, provides a defense against copyright infringement when an artist can prove that their use of the underlying work is "fair".

The Act gives four factors to be considered to determine whether a particular use is a fair use:

  1. the purpose and character of the use (commercial or educational, transformative or reproductive, political);
  2. the nature of the copyrighted work (fictional or factual, the degree of creativity);
  3. theamount and substantialityof the portion of the original work used; and
  4. the effect of the use upon themarket(or potential market) for the original work.

Examples of lawsuits[edit]

Andy Warholfaced a series of lawsuits from photographers whose work he appropriated andsilk-screened.Patricia Caulfield, one such photographer, had taken a picture of flowers for a photography demonstration for a photography magazine. Without her permission, Warhol covered the walls ofLeo Castelli's New York gallery with his silk-screened reproductions of Caulfield's photograph in 1964. After seeing a poster of Warhol's unauthorized reproductions in a bookstore, Caulfield sued Warhol for violating her rights as the copyright owner, and Warhol made a cash settlement out of court.[81]

In 2021, theSecond Circuitheld that Warhol's use of a photograph ofPrinceto create a series of 16 silkscreens and pencil illustrationswas not fair use.The photograph, taken by celebrity photographerLynn Goldsmith,was commissioned in 1981 as an artist reference forNewsweekmagazine. In 1984, Warhol used the photograph as a source to create a work forVanity Fairalong with 15 additional pieces. Goldsmith was not made aware of the series until after the musician's death in 2016, whenCondé Nastpublished a tribute featuring one of Warhol's works. In its opinion, the Court held that each of thefour "fair use" factorsfavored Goldsmith, further finding that the works were substantially similar as a matter of law, given that "any reasonable viewer... would have no difficulty identifying the [Goldsmith photograph] as the source material for Warhol's Prince Series."[82]The Supreme Court affirmed in a 7-2 decision, holding that the licensing of the Orange Prince for use as a magazine cover did not qualify as fair use of a copyrighted photo taken for use in a magazine, leaving for another day whether the painting itself could qualify as fair use.[83]

On the other hand, Warhol's famousCampbell's Soup Cansare generally held to be a non-infringing fair use of the soup maker'strademark,despite being clearly appropriated, because "the public [is] unlikely to see the painting as sponsored by the soup company or representing a competing product. Paintings and soup cans are not in themselves competing products," according to expert trademark lawyerJerome Gilson.[84]

Jeff Koonshas also confronted issues of copyright due to his appropriation work (seeRogers v. Koons). Photographer Art Rogers brought suit against Koons forcopyright infringementin 1989. Koons' work,String of Puppiessculpturally reproduced Rogers' black-and-white photograph that had appeared on an airport greeting card that Koons had bought. Though he claimedfair useandparodyin his defense, Koons lost the case, partially due to the tremendous success he had as an artist and the manner in which he was portrayed in the media.[citation needed]The parody argument also failed, as the appeals court drew a distinction between creating a parody of modern society in general and a parody directed at a specific work, finding parody of a specific work, especially of a very obscure one, too weak to justify the fair use of the original.

In October 2006, Koons successfully defended a different work by claiming "fair use".For a seven-painting commission for the Deutsche Guggenheim Berlin, Koons drew on part of a photograph taken byAndrea BlanchtitledSilk Sandals by Gucciand published in the August 2000 issue ofAlluremagazine to illustrate an article on metallic makeup. Koons took the image of the legs and diamond sandals from that photo (omitting other background details) and used it in his paintingNiagara,which also includes three other pairs of women's legs dangling surreally over a landscape of pies and cakes.

In his decision,Judge Louis L. Stantonof U.S. District Court found thatNiagarawas indeed a "transformative use" of Blanch's photograph. "The painting's use does not 'supersede' or duplicate the objective of the original", the judge wrote, "but uses it as raw material in a novel way to create new information, new aesthetics and new insights. Such use, whether successful or not artistically, is transformative."

The detail of Blanch's photograph used by Koons is only marginally copyrightable. Blanch has no rights to the Gucci sandals, "perhaps the most striking element of the photograph", the judge wrote. And without the sandals, only a representation of a woman's legs remains—and this was seen as "not sufficiently original to deserve much copyright protection."

In 2000,Damien Hirst's sculptureHymn(whichCharles Saatchihad bought for a reported £1m) was exhibited inAnt Noisesin the Saatchi Gallery. Hirst was sued for breach of copyright over this sculpture. The subject was a 'Young Scientist Anatomy Set' belonging to his son Connor, 10,000 of which are sold a year by Hull (Emms) Toy Manufacturer. Hirst created a 20-foot, six-ton enlargement of the Science Set figure, radically changing the perception of the object. Hirst paid an undisclosed sum to two charities,Children Nationwideand theToy Trustin an out-of-court settlement. The charitable donation was less than Emms had hoped for. Hirst sold three more copies of his sculpture for similar amounts to the first.[85]

Appropriating a familiar object to make an artwork can prevent the artist claiming copyright ownership.Jeff Koonsthreatened to sue a gallery under copyright, claiming that the gallery infringed his proprietary rights by selling bookends in the shape of balloon dogs.[86]Koons abandoned that claim after the gallery filed a complaint fordeclaratory reliefstating, "As virtually any clown can attest, no one owns the idea of making a balloon dog, and the shape created by twisting a balloon into a dog-like form is part of the public domain."[87]

In 2008, photojournalist Patrick Cariou sued artistRichard Prince,Gagosian GalleryandRizzoli booksfor copyright infringement. Prince had appropriated 40 of Cariou's photos ofRastafarifrom a book, creating a series of paintings known asCanal Zone.Prince variously altered the photos, painting objects, oversized hands, naked women and male torsos over the photographs, subsequently selling over $10 million worth of the works. In March 2011, a judge ruled in favor of Cariou, but Prince and Gargosian appealed on a number of points. Three judges for the U.S. Court of Appeals upheld the right to an appeal.[88]Prince's attorney argued that "Appropriation art is a well-recognized modern and postmodern art form that has challenged the way people think about art, challenged the way people think about objects, images, sounds, culture."[89]On April 24, 2013, the appeals court largely overturned the original decision, deciding that many of the paintings had sufficiently transformed the original images and were therefore a permitted use.[90]SeeCariou v. Prince.[91]

In November 2010,Chuck Closethreatened legal action against computer artistScott Blakefor creating aphotoshopfilter that built images out of dissected Chuck Close paintings.[92][93]The story was first reported by online arts magazineHyperallergic,it was reprinted on the front page ofSalon.com,and spread rapidly through the web.[94]Kembrew McLeod,author of several books on sampling and appropriation, said inWiredthat Scott Blake's art should fall under the doctrine offair use.[95]

In September 2014, U.S. Court of Appeals for the Seventh Circuit questioned the Second Circuit's interpretation of the fair use doctrine in theCarioucase. Of particular note, the Seventh Circuit noted that "transformative use" is not one of the four enumerated fair use factors but is, rather, simply part of the first fair use factor which looks to the "purpose and character" of the use. The Seventh Circuit's critique lends credence to the argument that there is a split among U.S. courts as to what role "transformativeness" is to play in any fair use inquiry.[91]

In 2013, Andrew Gilden and Timothy Greene published a law review article in TheUniversity of Chicago Law Reviewdissecting the factual similarities and legal differences between theCarioucase and theSalinger v. Coltingcase, articulating concerns that judges may be creating a fair use "privilege largely reserved for the rich and famous."[96]

Artists using appropriation[edit]

The following arenotableartists known for their use of pre-existing objects or images with little or no transformation applied to them:

See also[edit]

References[edit]

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  36. ^Cohen, Alina (2018-03-02)."Who Actually Shot Richard Prince's Iconic Cowboys?".Artsy.Retrieved2020-03-06.
  37. ^Welchman, John (2013).Art After Appropriation: Essays on Art in the 1990s.Routledge. pp. 33, 190.ISBN978-1-136-80136-5.
  38. ^Meigh-Andrews, Chris (2013).A History of Video Art(2nd ed.). London: Bloomsbury Publishing. p. 194.ISBN978-0-85785-188-8.
  39. ^"Richard Pettibone – 88 Artworks, Bio & Shows on Artsy".artsy.net.Retrieved2019-09-06.
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  42. ^Román, Élida (2003-01-05)."Herman Braun-Vega: Arte de apropiación".El Comercio(in Spanish). Lima: 29.'Apropiación' es el primer término que aparece al querer categorizar o clasificar la obra de Herman Braun-Vega. [...] Efectivamente, el autor se 'apropia' de las imágenes que otros crearan. Pero se trata de una utilización que no busca el reemplazo, la reedición o el acoplamiento, sino que ejerce su libertad de darle un contenido nuevo en un contexto creado por él.
  43. ^Ramón Ribeyro, Julio (1981-05-17)."Herman Braun".Marka(in Spanish). Lima: El Caballo Rojo: 14.Que un pintor utilice como temas de sus cuadros obras de otros pintores no es una novedad. Lo novedoso es ahondar este procedimiento y hacer de él, forzando un poco el término, un sistema. Tal es el caso de Herman Braun. [...] Se podría pues hablar [...] de una metapintura, en la medida en que sus cuadros son comentarios pictóricos de otros cuadros. Pero esta definición resulta estrecha, si se tiene en cuenta la evolución de su obra.
  44. ^"Herman Braun: trato de ofrecer un testimonio de la situación social"[Herman Braun: I try to offer a testimony of the social situation].El Comercio(in Spanish). Lima: 16. 1984-11-30.[...] a lo largo de estos quince años, he trabajado con la iconografía de occidente, tratando de ofrecer un testimonio [...] de la situación social.
  45. ^"La familia Informal | Obra destacada Colección Ralli Braun-Vega".Museo Ralli Marbella.
  46. ^"Artista en Familia".Caretas(in Spanish). 1995-09-14. pp. 90–91.la pieza central de la muestra es "La familia informal", un gran tríptico que [Braun-Vega] preparó para las celebraciones españolas del V Centenario del llamado encuentro entre dos Mundos, aludiendo tanto a las economías de subsistencia en que viven los habitantes más pobres del tercer mundo, como al mestizaje cultural que este intercambio posibilita
  47. ^Guerrero Zegarra, María Alexandra (2021-06-01)."El poder se nutre de dogmas. El apropiacionismo en la obra de Herman Braun‑Vega"[The Power is Nourished by Dogmas. The Appropriation in the Work of Herman Braun‑Vega].LETRAS, revista de investigación científica de la Facultad de Letras y Ciencias Humanas de la Universidad Nacional Mayor de San Marcos(in Spanish). Vol. 92, no. 135. Lima. pp. 177–190.doi:10.30920/letras.92.135.13.ISSN0378-4878.the appropriation of the image makes a new meaning in the work, while it is recontextualized and reinterpreted, because the appropriations in the work of this artist has the intention of make a rearticulation of the memory (individual, sociopolitical and historical).
  48. ^Graf, Marcus (October 6, 2013)."Self Portrait? by Genco Gülan".Visual Art Beat.Archived fromthe originalon August 30, 2019.RetrievedNovember 1,2013.
  49. ^Rosenberg, Karen (15 January 2015)."Yasumasa Morimura".The New York Times.
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  53. ^"The Story Behind Banksy".Smithsonian.Retrieved2019-09-06.
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  56. ^Parkinson, Hannah Jane (2015-07-18)."Instagram, an artist and the $100,000 selfies – appropriation in the digital age".The Guardian.ISSN0261-3077.Retrieved2020-03-06.
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  58. ^"Damien Hirst's latest artworks 'done exactly like my people's story', Indigenous artist claims".Australian Broadcasting Corporation. 2018-03-28.Retrieved2020-09-13.
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  69. ^cf. Toffler, Alvin (1980).The third wave. The classic study of tomorrow.New York: Bantam.
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  74. ^cf. Reynolds, Simon (2011).Retro Mania Pop Culture's Addiction To Its Own Past.London: Faber & Faber.ISBN978-0-86547-994-4.
  75. ^Benjamin Franzen; Kembrew McLeod (2009).Copyright Criminals(documentary film).
  76. ^cf. Diedrichsen, Diedrich (September 2008). "Showfreaks und Monster".Texte zur Kunst. Artists' Artists(71): 150.
  77. ^Aden, Maike (April 2016)."Let's dance like we used to.... A critical intervention on a new trend of Appropriationism"(PDF).Kunstchronik(4): 201.
  78. ^Aden, Maike (Summer 2016). "Ulises Carrión Carries On!".Journal of Artists' Books (JAB)(40, in prep).
  79. ^cf. Virilio, Paul (1992).Rasender Stillstand.München: Hanser.
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  84. ^as quoted in Grant, Daniel,The Business of Being an Artist(New York: Allworth Press, 1996), p. 142
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Sources[edit]

  • David Evans,Appropriation: Documents of Contemporary Art,Cambridge: MIT Press 2009

Further reading[edit]

  • Margot Lovejoy,Digital Currents: Art in the Electronic AgeRoutledge 2004.
  • (es) Juan Martín Prada (2001)La Apropiación Posmoderna: Arte, Práctica apropiacionista y Teoría de la Posmodernidad.Fundamentos.ISBN978 84 2450 8814.
  • Brandon Taylor,Collage,Thames & Hudson Ltd, 2006, p. 221.

External links[edit]

Retrieved from "https://en.wikipedia.org/w/index.php?title=Appropriation_(art)&oldid=1220112399"