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Anti-art
Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the Dada movement and is generally accepted as attributable to Marcel Duchamp pre-World War I around 1914, when he began to use found objects as art. It was used to describe revolutionary forms of art. The term was used later by the Conceptual artists of the 1960s to describe the work of those who claimed to have retired altogether from the practice of art, from the production of works which could be sold. An expression of anti-art may or may not take traditional form or meet the criteria for being defined as a work of art according to conventional standards.Paul N. Humble. "Anti-Art and the Concept of Art". In: "A companion to art theory". Editors: Paul Smith and Carolyn Wilde, Wiley-Blackwell, 2002, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dada
Dada () or Dadaism was an anti-establishment art movement that developed in 1915 in the context of the Great War and the earlier anti-art movement. Early centers for dadaism included Zürich and Berlin. Within a few years, the movement had spread to New York City and a variety of artistic centers in Europe and Asia. Within the umbrella of the movement, people used a wide variety of artistic forms to protest the logic, reason, and aestheticism of modern capitalism and modern war. To develop their protest, artists tended to make use of nonsense, irrationality, and an anti-bourgeois sensibility. The art of the movement began primarily as performance art, but eventually spanned visual, literary, and sound media, including collage, sound poetry, cut-up technique, cut-up writing, and sculpture. Dadaist artists expressed their discontent toward violence, war, and nationalism and maintained political affinities with radical politics on the left-wing and far-left politics. The movem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Found Art
A found object (a calque from the French ''objet trouvé''), or found art, is art created from undisguised, but often modified, items or products that are not normally considered materials from which art is made, often because they already have a non-art function. Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled '' Still Life with Chair Caning'' (1912). Marcel Duchamp is thought to have perfected the concept several years later when he made a series of readymades, consisting of completely unaltered everyday objects selected by Duchamp and designated as art. The most famous example is ''Fountain'' (1917), a standard urinal purchased from a hardware store and displayed on a pedestal, resting on its back. In its strictest sense the term "readymade" is applied exclusively to works produced by Marcel Duchamp, who borrowed the term from the clothing industry () while living in New York, and especially to works datin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Silent Musical Compositions
This is a list of musical works which consist mostly or entirely of silence. Theory Some composers have discussed the significance of silence or a silent composition without ever composing such a work. In his 1907 manifesto, ''Sketch of a New Esthetic of Music'', Ferruccio Busoni described its significance: After Paul Hindemith read this, he suggested a work consisting of nothing but pauses and fermatas in 1916. Classical compositions A number of classical compositions consisting primarily of silence have been composed since 1896: *''Il Silenzio: pezzo caratteristico e descrittivo (stile moderno)'' (1896) by "Samuel", a pseudonym, probably ; published in the Year 1. Vol. 1. Nº11. Supplement of the journal La Nuova Musica. *''Funeral March for the Obsequies of a Deaf Man'' (1897) by Alphonse Allais, a French writer and humorist (1854–1905); published in his ''Album primo-avrilesque'' *''Erwin Schulhoff#Musical style, In futurum'' (1919) by Erwin Schulhoff (1894–1942) *''Si ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Found Object
A found object (a calque from the French ''objet trouvé''), or found art, is art created from undisguised, but often modified, items or products that are not normally considered materials from which art is made, often because they already have a non-art function. Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled '' Still Life with Chair Caning'' (1912). Marcel Duchamp is thought to have perfected the concept several years later when he made a series of readymades, consisting of completely unaltered everyday objects selected by Duchamp and designated as art. The most famous example is '' Fountain'' (1917), a standard urinal purchased from a hardware store and displayed on a pedestal, resting on its back. In its strictest sense the term "readymade" is applied exclusively to works produced by Marcel Duchamp, who borrowed the term from the clothing industry () while living in New York, and especially to works d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Readymades Of Marcel Duchamp
The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art".Tomkins: ''Duchamp: A Biography'', page 158. By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the found object became art. Duchamp was not interested in what he called "retinal art"—art that was only visual—and sought other methods of expression. As an antidote to retinal art he began creating readymades in 1914, when the term was commonly used in the United States to describe manufactured items to distinguish them from handmade goods. He selected the pieces on the basis of "visual indifference",Cabanne: ''Dialogs with Marcel Duchamp'', Thames and Hudson (1971), page 48. ''Cabanne: What determined your choice of readymades? Duchamp: That depended on the object. In general, I had to beware, at the end of fifteen days, you begin to like it or hate it. You have to approach somethin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Détournement
A détournement (), meaning "rerouting, hijacking" in French, is a technique developed in the 1950s by the Letterist International, and later adapted by the Situationist International (SI),'' Report on the Construction of Situations'' (1957) that was defined in the SI's inaugural 1958 journal as " e integration of present or past artistic productions into a superior construction of a milieu. In this sense there can be no situationist painting or music, but only a situationist use of those means. In a more elementary sense, ''détournement'' within the old cultural spheres is a method of propaganda, a method which reveals the wearing out and loss of importance of those spheres." The brand marketing specialist Douglas B. Holt defined it as "turning expressions of the capitalist system and its media culture against itself". Détournement was prominently used to set up subversive political pranks, an influential tactic called situationist prank that was reprised by the punk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Readymades Of Marcel Duchamp
The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art".Tomkins: ''Duchamp: A Biography'', page 158. By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the found object became art. Duchamp was not interested in what he called "retinal art"—art that was only visual—and sought other methods of expression. As an antidote to retinal art he began creating readymades in 1914, when the term was commonly used in the United States to describe manufactured items to distinguish them from handmade goods. He selected the pieces on the basis of "visual indifference",Cabanne: ''Dialogs with Marcel Duchamp'', Thames and Hudson (1971), page 48. ''Cabanne: What determined your choice of readymades? Duchamp: That depended on the object. In general, I had to beware, at the end of fifteen days, you begin to like it or hate it. You have to approach somethin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
