The later 20th century saw the manifestation of the Post-Modernism‚ in which the use of appropriation and re-contextualisation was developed to test previous conventional depictions of gender in the visual arts. Artists Yasumasa Morimura‚ Julie Rrap‚ Anne Zahalka and Cindy Sherman have each employed the use of appropriation to question the historical ideologies of gender‚ particularly in relation to women‚ and their role in art and society. They all borrowed past paintings and promoted them with
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Texts reflect the context of the time in which they are composed as well as the culture their respective society possess. This is evident in Pygmalion‚ a play by George Bernard Shaw and its appropriation She ’s All that‚ a film directed by Robert Iscove. In these two texts‚ the same Pygmalion myth is approached from two different viewpoints to reflect distinctly the context of the time in which each was written. Shaw‚ through the use of a wide range of dramatic techniques such as language‚ form‚
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Sherman and Yasumasa Morimura are two great photographers whom have challenged the social subjectivity of sexual orientation through their provocative photos of the women’s body and representing it in how they imagined it should be represented. Both photographers come from different background and have different approach to their work‚ but it is evident that they both challenge the themes concerned with gender and the historical representation of women’s bodies. In the case of Tasumasa Morimura‚ it is
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(1863) in order to show the culture of his time. Yasumasa Morimura also appropriated work‚ recreating manet’s in order to challenge cultures and gender roles in society through his work “futago” (1988). Jean Ingres challenged how the nude was portrayed and positioned‚ this is evident through his work “la grande odalisque” (1814). In turn the gurilla girls‚ a well known feminist organization who bring up contemporary issues through the appropriations of Ingre’s work created “what does a girl have to
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longer the makers of their art but have become manages and coordinators” Marcel Duchamp was born on July 28th‚ 1887 in France. He is most famous for his ready-made artwork called “Fountain” 1917‚ a urinal which was not made by Duchamp‚ the only modification made to the urinal was a signature signed by Marcel Duchamp which was not his. This caused controversy over whether this was really an artwork. In saying this‚ Marcel Duchamp‚ his ready-mades (‘Bicycle Wheel”1913 and “Fountain”1917) and the use of
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‘What I like so much about contemporary art now is its ambiguity‚ its uncertainty. It is precisely this quality that engages and unsettles us’ – Benjamin Genocchio‚ art critic. How does this view challenge traditional ideas about art? Discuss particular works such as installations‚ happenings and site-specific works. Audiences make pretentious judgements on artworks due to their ambiguity and uncertainty. However‚ traditionally site-specific art was created to exist in a specific place‚ rather
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which resemble curved shapes protruding outward into space. Marcel Duchamp’s ready-made‚ Hat Rack is fashioned out of day-to-day objects repurposed as works of art‚ Hat Rack (1917)‚ is a wooden hat rack‚ with a mass-produced finish‚ with six distinct racks emerging from the base. Following a lineage that primarily mocked the institutions of art and life through his avant-garde work Fountain‚ Hat Rack and other Readymades created by Duchamp display the material world of modernity
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Explain how artist’s practice is affected by time and place Time and place holds extreme influence over artist’s practice. When referring to how time‚ place and context affects the practice of an artist‚ we must look upon different artists and art movements to acknowledge progression throughout time. The idea of the “ideal female body” and certain individuals portrayals of the idea are represented through highly traditional and strongly represented artworks such as Giorgione’s “Sleeping Venus”
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epitomised in the works of Duchamp‚ Koon’s and Hirst. With reference to the work of these three artists this essay will discuss the white cube theory‚ High art lite and relational aesthetics to argue a disconnect between academic and mass appeal of art rather than an ‘end’. As the father of the ready made Marcel Duchamp provides a thematic basis for this hierarchical dissonance as a precursor to the artistic strategies and practices of Damien Hirst and Jeff Koon’s. While Duchamp made everyday objects
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Source 1 Source 1 Animal skin Animal skin Boxes like living caskets Boxes like living caskets Harsh stitching Harsh stitching "Atrabiliarios‚" 1992-93 Shoes‚ animal fiber‚ and surgical thread‚ dimensions variable Collection of The Pulitzer Foundation‚ St. Louis‚ Missouri Photo by Robert Pettus © Doris Salcedo "Atrabiliarios‚" 1992-93 Shoes‚ animal fiber‚ and surgical thread‚ dimensions variable Collection of The Pulitzer Foundation‚ St. Louis‚ Missouri Photo by Robert Pettus
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