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Home / This Term Means the Act of Creating Art Without the Hand of the Artist

This Term Means the Act of Creating Art Without the Hand of the Artist

Apply of pre-existing objects or images with little or no transformation applied to them

This article is about an artistic practice. For the cultural practise, see Cultural appropriation. For some other cultural practice, see Reappropriation.

Appropriation in art is 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 the history of the arts (literary, visual, musical and performing arts). In the visual arts, to advisable means to properly adopt, borrow, recycle or sample aspects (or the unabridged form) of human-made visual civilisation. Notable in this respect are the Readymades of Marcel Duchamp.

Inherent in our understanding of appropriation is the concept that the new work re-contextualizes whatever it borrows to create the new piece of work. In nearly cases, the original "affair" remains attainable as the original, without modify.

Definition [edit]

Appropriation, similar to found object fine art is "as an artistic strategy, the intentional borrowing, copying, and amending of preexisting images, objects, and ideas".[two] Information technology has also been divers as "the taking over, into a piece of work of art, of a real object or even an existing work of art."[3] The Tate Gallery traces the exercise back to Cubism and Dadaism, and continuing into 1940s Surrealism and 1950s Popular art. It returned to prominence in the 1980s with the Neo-Geo artists,[3] and is now mutual do amongst contemporary artists like Richard Prince, Sherrie Levine, and Jeff Koons.[iv]

History [edit]

19th century [edit]

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

In 1856 Ingres painted the portrait of Madame Moitessier. The unusual pose is known to accept been inspired by the famous ancient Roman wall painting Herakles Finding His Son Telephas. In doing so, the artist created a link between his model and an Olympian goddess.[vi]

Edouard Manet painted the Olympia (1865) inspired by Titian Venus of Urbino. His painting Le Déjeuner sur l'herbe was as well inspired past the work of the Old Masters. Its composition is based on a detail of Marcantonio Raimondi'due south 'The Judgement of Paris' (1515).[7]

Gustave Courbet is believed to have seen the famous colour woodcut The Nifty Moving ridge off Kanagawa by Japanese artist Katsushika Hokusai before painting a serial of the Atlantic Ocean during the summer of 1869.[8]

Vincent van Gogh can be named with the examples of the paintings he did inspired by Jean Francois Millet, Delacroix or the Japanese prints he had in his drove.[ix] In 1889, Van Gogh created xx painted copies inspired by Millet black-and-white prints. He enlarged the compositions of the prints and and then painted them in colour co-ordinate to his own imagination. Vincent wrote in his messages that he had prepare out to "translate them into another language". He said that it was not merely copying: if a performer "plays some Beethoven he'll add together his personal interpretation to it… information technology isn't a hard and fast rule that only the composer plays his ain compositions".[10] More than examples tin be found on Copies by Vincent van Gogh.

Claude Monet, a collector of Japanese prints, created several works inspired past these such as The Garden at Sainte-Adresse, 1867 inspired by Fuji from the Platform of Sasayedo by Katsushika Hokusai ; The Water Lily Swimming series Nether Mannen Bridge at Fukagawa, 1830-1831 past Hokusai or La Japonaise, 1876 likely inspired by Kitagawa Tsukimaro Geisha, a pair of hanging ringlet paintings, 1820-1829 .[11] [12] [13]

First one-half of the 20th century [edit]

In the early twentieth century Pablo Picasso and Georges Braque appropriated objects from a non-art context into their piece of work. In 1912, Picasso pasted a piece of oil cloth onto the sheet.[14] Subsequent compositions, such as Guitar, Paper, Glass and Bottle (1913) in which Picasso used paper clippings to create forms, is early collage that became categorized equally part of synthetic cubism. The two artists incorporated aspects of the "existent earth" into their canvases, opening up discussion of signification and creative representation.

Marcel Duchamp in 1915 introduced the concept of the readymade, in which "industrially produced utilitarian objects...achieve the status of fine art merely through the procedure of selection and presentation."[15] Duchamp explored this notion every bit early as 1913 when he mounted a stool with a bicycle wheel and once more in 1915 when he purchased a snow shovel and inscribed information technology "in advance of the broken arm, Marcel Duchamp."[16] [17] In 1917, Duchamp organized the submission of a readymade into the Society of Independent Artists exhibition nether the pseudonym, R. Mutt.[18] Entitled Fountain, 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] The New York Dada mag The Blind Man defended Fountain, claiming "whether Mr. Mutt with his own easily 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 championship and signal of view—and created a new thought for that object."[19]

The Dada movement 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 fine art. Kurt Schwitters shows a similar sensibility in his "merz" works. He constructed parts of these from found objects,[21] and they took the form of large gesamtkunstwerk constructions that are now chosen installations.

During his Nice Flow (1908–13), Henri Matisse painted several paintings of odalisques, inspired by Delacroix Women of Algiers.[22] [23] [24]

The Surrealists, coming after the Dada move, also incorporated the use of 'found objects', such equally Méret Oppenheim'southward Object (Luncheon in Fur) (1936) or Salvador Dalí's Lobster Phone (1936). These found objects took on new significant when combined with other unlikely and unsettling objects.

1950–1960: Pop fine art and realism [edit]

In the 1950s, Robert Rauschenberg used 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 equally Rauschenberg, incorporated found objects into his work.

In 1958 Bruce Conner produced the influential A Movie in which he recombined existing film clips. In 1958 Raphael Montanez Ortiz produced Cowboy and Indian Moving picture, a seminal appropriation motion picture work.[ citation needed ]

The Fluxus art movement also utilized appropriation:[ citation needed ] its members blended unlike creative disciplines including visual art, music, and literature. Throughout the 1960s and 1970s they staged "action" events and produced sculptural works featuring anarchistic materials.

In the early 1960s artists such equally Claes Oldenburg and Andy Warhol appropriated images from commercial art and popular civilisation also every bit the techniques of these industries with for example Warhol painting Coca-Cola bottles.[25] Called "popular artists", they saw mass pop culture as the principal vernacular civilization, shared by all irrespective of education. These artists fully engaged with the ephemera produced from this mass-produced civilisation, embracing expendability and distancing themselves from the testify of an artist's mitt.

Amongst the well-nigh famous pop artists, Roy Lichtenstein became known for appropriating pictures from comics books with paintings such every bit Masterpiece (1962) or Drowning Girl (1963) and from famous artists such as Picasso or Matisse.[26]

Elaine Sturtevant (as well known simply as Sturtevant), 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 Fine art, that was a significant focus of her practice.[27] She replicated Andy Warhol'southward Flowers in 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 one time answered "I don't know. Ask Elaine."[28]

In Europe, a group of artists called the New Realists used objects such as the sculptor Cesar[29] who compressed cars to create monumental sculptures or the creative person Arman[thirty] who included everyday motorcar-made objects—ranging from buttons and spoons to automobiles and boxes filled with trash.

The German artists Sigmar Polke and his friend Gerhard Richter who defined "Capitalist Realism," offered an ironic critique of consumerism in mail-war Germany. They used pre existing photographs and transformed them. Polke'southward all-time-known works were his collages of imagery from pop civilization and advertizing, similar his "Supermarkets" scene of super heroes shopping at a grocery store.[31]

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

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'.[32] The Pictures Generation was a group of artists, influenced past Conceptual and Pop fine art, who utilized appropriation and montage to reveal the synthetic nature of images.[33] An exhibition named The Pictures Generation, 1974–1984 was held at The Metropolitan Museum of Art (The Met) in New York Metropolis from April 29 – August two, 2009 that included among other artists John Baldessari, Barbara Kruger, Sherrie Levine, Richard Prince, David Salle, Cindy Sherman.

Sherrie Levine, who addressed the human action of appropriating itself as a theme in fine art.[34] Levine often quotes entire works in her own work, for example photographing photographs of Walker Evans. Challenging ideas of originality, drawing attention to relations between ability, gender and creativity, consumerism and commodity value, the social sources and uses of art, Levine plays with the theme of "almost same".

During the 1970s and 1980s Richard Prince re-photographed advertisements such as for Marlboro cigarettes[35] or photo-journalism shots. 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 Kosuth appropriated images to engage with epistemology and metaphysics.

Other artists working with appropriation during this time with included Greg Colson, and Malcolm Morley.[ citation needed ]

In the belatedly 1970s Dara Birnbaum was working with appropriation to produce feminist works of fine art.[36] In 1978-79 she produced one of the offset video appropriations. Technology/Transformation: Wonder Woman utilised video clips from the Wonder Woman television receiver series.[37]

Richard Pettibone began replicating on a miniature scale works by newly famous artists such as Andy Warhol, and later besides modernist masters, signing the original creative person'south name also as his own.[38] [31]

Jeff Koons gained recognition in the 1980 past creating conceptual sculptures The New series, a series of vacuum-cleaners, often selected for brand names that appealed to the creative person like the iconic Hoover, and in the vein of the readymades of Duchamp. Later he created sculptures in stainless steel inspired by inflatable toys such equally bunnies or dogs.[39] [forty]

1990s [edit]

In the 1990s artists continued to produce appropriation art, using it as a medium to address theories and social problems, rather than focussing on the works themselves. Damian Loeb used film and cinema to comment on themes of simulacrum and reality. Other high-profile artists working at this fourth dimension included Christian Marclay, Deborah Kass, and Genco Gulan.[41]

Yasumasa Morimura is a Japanese appropriation artist who borrows images from historical artists (such as Édouard Manet or Rembrandt) to modern artists as Cindy Sherman, and inserts his own face and body into them.[42]

Sherrie Levine appropriated the appropriated when she made polished cast bronze urinals named Fountain. They are considered to be an "homage to Duchamp'due south renowned readymade. Adding to Duchamp'due south audacious move, Levine turns his gesture back into an "art object" past elevating its materiality and finish. Every bit a feminist artist, Levine remakes works specifically past male person artists who commandeered patriarchal dominance in art history."[43]

21st century [edit]

Appropriation is frequently used by contemporary artists who often reinterpret previous artworks such as French artist Zevs who reinterpreted logos of brands like Google or works by David Hockney.[44] Many urban and street artists also use images from the popular culture such equally Shepard Fairey or Banksy,[45] who appropriated artworks by Claude Monet or Vermeer with his girl with a pierced eardrum.[46]

Canadian Cree creative person Kent Monkman appropriates iconic paintings from European and N American art history and populates them with Ethnic visions of resistance.[47]

In 2014 Richard Prince released a serial of works titled New Portraits appropriating the photos of anonymous and famous persons (such as Pamela Anderson) who had posted a selfie on Instagram.The modifications to the images past the artist are the comments Prince added nether the photos.[48] [49]

Damien Hirst was accused in 2018 of appropriating the work of Emily Kngwarreye and others from the painting community in Utopia, Northern Territory with the Veil paintings, that according to Hirst were "inspired by Pointillist techniques and Impressionist and Mail-Impressionist painters such as Bonnard and Seurat".[50] [51] [52] [53]

Mr. Brainwash[54] is an urban artist who became famous thanks to Banksy and whose mode fuses celebrated popular imagery and gimmicky cultural iconography to create his version of a pop–graffiti fine art hybrid first popularized past other street artists.[55]

Brian Donnelly, known every bit Kaws, has used appropriation in his series, The Kimpsons, and painted The Kaws Album inspired by the Simpsons Xanthous Album which itself was a parody of the encompass fine art for the Beatles album Sgt. Pepper's Solitary Hearts Club Band replaced with characters from the Simpsons.[56] On Apr 1, 2019, at Sotheby's in Hong Kong, The Kaws Anthology (2005), sold for 115.9 1000000 Hong Kong dollars, or about $14.7 meg U.South. dollars.[57] In addition, he has reworked other familiar characters such as Mickey Mouse, the Michelin Man, the Smurfs, Snoopy, and SpongeBob SquarePants.[58]

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 non only the field of the visual arts, simply of all cultural areas. The new generation of appropriators considers themselves "archeolog[es] of the present time".[59] Some speak of "postproduction", which is based on pre-existing works, to re-edit "the screenplay of culture".[sixty] The annexation of works made by others or of available cultural products mostly follows the concept of use. So-called "prosumers"[61]—those consuming and producing at the same time—browse through the ubiquitous annal of the digital world (more seldom through the analog i), in order to sample the ever accessible images, words, and sounds via 'copy-paste' or 'drag-drop' to 'homemade', 'mashup' or 'remix' them merely every bit i likes. French curator Nicolas Bourriaud coined the neologism Semionaut – a portmanteau of semiotics and astronaut – 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 3 are "semionauts" who produce original pathways through signs."[62] Appropriations have today become an everyday phenomenon.

The new "generation remix"[63]—who have taken the stages not just of the visual arts, but besides of music, literature, dance and flick—causes, of form, highly controversial debates. Media scholars Lawrence Lessig coined in the begin of the 2000s here the term of the remix culture.[64] On the one hand are the celebrators who foresee a new age of innovative, useful, and entertaining ways for fine art of the digitized and globalized 21st century. The new appropriationists will not but realize Joseph Beuys' dictum that everyone is an creative person but also "build free societies".[65] By liberating art finally from traditional concepts such as aureola, originality, and genius, they will lead to new terms of agreement and defining art. More critical observers see this equally the starting point of a huge problem. If creation is based on nothing more carefree processes of finding, copying, recombining and manipulating pre-existing media, concepts, forms, names, etc. of whatever source, the understanding of art will shift in their sight to a trivialized, low-enervating, 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 phone call this a culture of recycling with an addiction to the past[66]

Some say that only lazy people who have zip to say permit themselves be inspired by the past in this manner.[67] Others fear, that this new tendency of appropriation is acquired past zip more than the wish of embellishing oneself with an attractive genealogy.[68] The term appropriationism [69] 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 cognition[70]—every bit a kind of "racing standstill",[71] referring to the dispatch of random, uncontrollable operations in highly mobilised, fluid Western societies that are governed more and more past abstract forms of control. Unlimited access to the digital archive of creations and hands feasible digital technologies, as well equally the priority of fresh ideas and artistic 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 requite visibility to the forgotten ghosts and ignored phantoms of our mutual myths and ideologies.

Cribbing art and copyright [edit]

Cribbing art has resulted in contentious copyright issues regarding its validity under copyright law. The U.S. has been particularly litigious in this respect. A number of case law examples accept emerged that investigate the division between transformative works and derivative works.[72]

What is fair use? [edit]

The Copyright Act of 1976 in the Us, provides a defense against copyright infringement when an artist tin can prove that their employ of the underlying work is "fair".

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

  1. the purpose and character of the apply (commercial or educational, transformative or reproductive, political);
  2. the nature of the copyrighted piece of work (fictional or factual, the degree of creativity);
  3. the amount and substantiality of the portion of the original work used; and
  4. the effect of the utilise upon the marketplace (or potential marketplace) for the original work.

Examples of lawsuits [edit]

Andy Warhol faced a series of lawsuits from photographers whose work he appropriated and silk-screened. Patricia Caulfield, 1 such lensman, had taken a picture of flowers for a photography sit-in for a photography magazine. Without her permission, Warhol covered the walls of Leo Castelli'southward New York gallery with his silk-screened reproductions of Caulfield's photo in 1964. After seeing a poster of Warhol'southward 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.[73]

In 2021, the Second Circuit held that Warhol's use of a photo of Prince to create a serial of sixteen silkscreens and pencil illustrations was non fair use. The photograph, taken by celebrity photographer Lynn Goldsmith, was deputed in 1981 every bit an artist reference for Newsweek mag. In 1984, Warhol used the photograph every bit a source to create a work for Vanity Fair along with 15 additional pieces. Goldsmith was not made enlightened of the serial until afterward the musician'due south death in 2016, when Condé Nast published a tribute featuring one of Warhol's works. In its opinion, the Court held that each of the 4 "fair use" factors favored Goldsmith, further finding that the works were essentially like 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."[74]

On the other hand, Warhol's famous Campbell's Soup Cans are generally held to exist a non-infringing fair use of the soup maker's trademark, despite being conspicuously appropriated, because "the public [is] unlikely to meet the painting equally sponsored by the soup visitor or representing a competing product. Paintings and soup cans are non in themselves competing products," according to skilful trademark lawyer Jerome Gilson.[75]

Jeff Koons has also confronted issues of copyright due to his appropriation work (see Rogers v. Koons). Photographer Art Rogers brought conform against Koons for copyright infringement in 1989. Koons' work, String of Puppies sculpturally reproduced Rogers' black-and-white photograph that had appeared on an drome greeting menu that Koons had bought. Though he claimed fair use and parody in his defence force, Koons lost the instance, partially due to the tremendous success he had equally an artist and the way 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 gild in general and a parody directed at a specific work, finding parody of a specific work, especially of a very obscure i, too weak to justify the fair use of the original.

In Oct 2006, Koons successfully defended a unlike work by claiming "fair utilise". For a vii-painting commission for the Deutsche Guggenheim Berlin, Koons drew on function of a photo taken by Andrea Blanch titled Silk Sandals by Gucci and published in the August 2000 issue of Allure magazine to illustrate an article on metal makeup. Koons took the prototype of the legs and diamond sandals from that photograph (omitting other background details) and used it in his painting Niagara, which also includes three other pairs of women'south legs dangling surreally over a mural of pies and cakes.

In his decision, Guess Louis L. Stanton of U.South. District Court found that Niagara was indeed a "transformative utilize" of Flinch's photograph. "The painting's utilize 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 particular of Blanch's photograph used by Koons is only marginally copyrightable. Blanch has no rights to the Gucci sandals, "possibly the most striking chemical element of the photograph", the judge wrote. And without the sandals, but 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'due south sculpture Hymn (which Charles Saatchi had bought for a reported £1m) was exhibited in Ant Noises in 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 twelvemonth by Hull (Emms) Toy Manufacturer. Hirst created a 20-foot, half-dozen-ton enlargement of the Scientific discipline Gear up figure, radically changing the perception of the object. Hirst paid an undisclosed sum to two charities, Children Nationwide and the Toy Trust in an out-of-court settlement. The charitable donation was less than Emms had hoped for. Hirst sold 3 more copies of his sculpture for similar amounts to the first.[76]

Appropriating a familiar object to brand an art work can forbid the artist claiming copyright ownership. Jeff Koons threatened to sue a gallery under copyright, claiming that the gallery infringed his proprietary rights by selling bookends in the shape of balloon dogs.[77] Koons abased that claim after the gallery filed a complaint for declaratory relief stating, "Every bit virtually any clown can adjure, no one owns the idea of making a airship domestic dog, and the shape created past twisting a balloon into a dog-similar form is part of the public domain."[78]

In 2008, photojournalist Patrick Cariou sued artist Richard Prince, Gagosian Gallery and Rizzoli books for copyright infringement. Prince had appropriated twoscore of Cariou's photos of Rastafari from a book, creating a serial of paintings known as Canal Zone. Prince variously contradistinct the photos, painting objects, oversized hands, naked women and male torsos over the photographs, subsequently selling over $x 1000000 worth of the works. In March 2011, a approximate ruled in favor of Cariou, but Prince and Gargosian appealed on a number of points. Iii judges for the U.Southward. Court of Appeals upheld the right to an appeal.[79] Prince's attorney argued that "Cribbing fine art is a well-recognized modernistic and postmodern art form that has challenged the way people recollect nigh art, challenged the way people think well-nigh objects, images, sounds, culture"[80] On Apr 24, 2013, the appeals court largely overturned the original conclusion, deciding that many of the paintings had sufficiently transformed the original images and were therefore a permitted utilize.[81] Run across Cariou v. Prince. [82]

In November 2010, Chuck Shut threatened legal action against computer artist Scott Blake for creating a Photoshop filter that built images out of dissected Chuck Close paintings.[83] [84] The story was first reported by online arts mag Hyperallergic, it was reprinted on the front page of Salon.com, and spread rapidly through the web.[85] Kembrew McLeod, author of several books on sampling and appropriation, said in Wired that Scott Blake'due south art should autumn under the doctrine of off-white use.[86]

In September 2014, U.S. Courtroom of Appeals for the Seventh Circuit questioned the Second Circuit'due south interpretation of the fair employ doctrine in the Cariou instance. Of particular note, the Seventh Circuit noted that "transformative apply" is not one of the four enumerated fair use factors but is, rather, only function of the get-go fair apply gene which looks to the "purpose and character" of the use. The Seventh Circuit's critique lends credence to the argument that there is a dissever among U.S. courts as to what role "transformativeness" is to play in whatsoever fair employ inquiry.[82]

In 2013, Andrew Gilden and Timothy Greene published a law review article in The University of Chicago Law Review dissecting the factual similarities and legal differences between the Cariou case and the Salinger five. Colting case, articulating concerns that judges may be creating a fair apply "privilege largely reserved for the rich and famous."[87]

Artists using cribbing [edit]

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

  • ABOVE
  • Ai Kijima
  • Aleksandra Mir
  • Andy Warhol
  • Banksy
  • Barbara Kruger
  • Benjamin Edwards
  • Bern Porter
  • Neb Jones
  • Brian Dettmer
  • Burhan Dogancay
  • Christian Marclay
  • Cindy Sherman
  • Claes Oldenburg
  • Cornelia Sollfrank
  • Cory Arcangel
  • Craig Baldwin
  • Damian Loeb
  • Damien Hirst
  • David Salle
  • Deborah Kass
  • Dominique Mulhem
  • Dorothy Cross
  • Douglas Gordon
  • Elaine Sturtevant
  • Eric Doeringer
  • Fatimah Tuggar
  • Felipe Jesus Consalvos
  • Genco Gulan
  • Full general Idea
  • George Pusenkoff
  • Georges Braque
  • Gerhard Richter
  • Ghada Amer
  • Glenn Brown
  • Gordon Bennett
  • Graham Rawle
  • Graig Kreindler
  • Greg Colson
  • Hank Willis Thomas
  • Hans Haacke
  • Hans-Peter Feldman
  • J. Tobias Anderson
  • Jake and Dinos Chapman
  • James Cauty
  • Jasper Johns
  • Jeff Koons
  • Jim Ricks
  • Joan Miró
  • Jodi
  • John Baldessari
  • John McHale
  • John Stezaker
  • Joseph Cornell
  • Joseph Kosuth
  • Joy Garnett
  • Kaws
  • Karen Kilimnik
  • Kelley Walker
  • Kenneth Goldsmith
  • Kurt Schwitters
  • Lennie Lee
  • Leon Golub
  • Louise Lawler
  • Luc Tuymans
  • Luke Sullivan
  • Malcolm Morley
  • Marcel Duchamp
  • Marcus Harvey
  • Mark Divo
  • Marlene Dumas
  • Martin Arnold
  • Matthieu Laurette
  • Max Ernst
  • Meret Oppenheim
  • Mic Neumann
  • Michael Landy
  • Michel Platnic
  • Mike Bidlo
  • Mike Kelley
  • Miltos Manetas
  • Mohammad Rakibul Hasan
  • Nancy Spero
  • Negativland
  • Nikki S. Lee
  • Norm Magnusson
  • PJ Cheat
  • Pablo Picasso
  • Sigmar Polke
  • People Similar Us
  • Peter Saville
  • Philip Taaffe
  • Pierre Bismuth
  • Pierre Huyghe
  • Reginald Case
  • Richard Prince
  • Rick Prelinger
  • Rob Scholte
  • Robert Longo
  • Robert Rauschenberg
  • Shepard Fairey
  • Sherrie Levine
  • Stephanie Syjuco
  • System D-128
  • Ted Noten
  • Thomas Ruff
  • Tom Phillips
  • Vermibus
  • Vik Muniz
  • Vikky Alexander
  • Vivienne Westwood
  • Yasumasa Morimura

Meet also [edit]

  • Art intervention
  • Aggregation
  • Classificatory disputes about art
  • Collage
  • Conceptual art
  • Copies by Vincent van Gogh
  • Cultural cribbing
  • Decollage
  • Off-white use
  • Found object
  • Postmodern art
  • Scratch video

References [edit]

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  2. ^ "MoMA | Glossary of Art Terms". www.moma.org . Retrieved 2020-08-17 .
  3. ^ a b Wilson, Simon; Lack, Jessica (2008), The Tate Guide to Modern Fine art Terms, London: Tate Publishing Ltd, pp. 20–21, ISBN978-1-85437-750-0
  4. ^ Tate. "Appropriation – Art Term". Tate Etc . Retrieved 2020-08-xviii .
  5. ^ Tomkins, Duchamp: A Biography, p. 186.
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  12. ^ "How Japanese Art Influenced and Inspired European Impressionist Artists". My Modern Met. 2017-12-14. Retrieved 2021-04-04 .
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  16. ^ Evans, D (ed.).(2009). Appropriation: Documents of contemporary fine art. London and Cambridge: Whitechapel Gallery and the MIT Press, pp. 40
  17. ^ Cabanne, P., and Snowdon, P. (1997). Duchamp & Co. Paris: Terrail, pp. 105
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Sources [edit]

  • David Evans, Cribbing: Documents of Contemporary Art, Cambridge: MIT Printing 2009

Further reading [edit]

  • Margot Lovejoy, Digital Currents: Fine art in the Electronic Age Routledge 2004.
  • (es) Juan Martín Prada (2001) La Apropiación Posmoderna: Arte, Práctica apropiacionista y Teoría de la Posmodernidad. Fundamentos. ISBN 978 84 2450 8814.
  • Brandon Taylor, Collage, Thames & Hudson Ltd, 2006, p. 221.

External links [edit]

  • Michalis Pichler: Statements on Cribbing
  • Appropriation Art Coalition-Canada
  • Blanche 5. Koons Determination (August 2005)
  • Koons Wins Landmark Copyright Lawsuit 1/2006
  • Koons wins appeal (2006)
  • Creative Commons
  • Free Culture an international student motion
  • The New York Institute for the Humanities Comedies of Fair U$e conference (Archive.org)
  • Open Source Culture: Intellectual Belongings, Technology, and the Arts, Columbia Digital Media Middle lecture series
  • Public Domain
  • Sherri Levine Interview
  • Duchamp
  • Lichtenstein
  • Warhol
  • transordinator/edition Remixing conceptual artworks
  • Temporary appropriation or in Wikipedia Temporary appropriation.

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Source: https://en.wikipedia.org/wiki/Appropriation_(art)