Appreciation and Appropriation, Art and Architecture
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The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University
The Total Work of Art in European Modernism Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. The Total Work of Art in European Modernism David Roberts A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writ- ing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Roberts, David, 1937– The total work of art in European modernism / David Roberts. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5023-5 (pbk. : alk. paper) 1. Modernism (Aesthetics) 2. -
Sampling Real Life: Creative Appropriation in Public Spaces
Sampling Real Life: Creative Appropriation in Public Spaces Elsa M. Lankford Electronic Media & Film (EMF) Towson University [email protected] I. Introduction Enter an art museum or a library and you will find numerous examples of appropriation, all or most of which were most likely legal at the time. From the birth of copyright and the idea that an author, encompassed as a writer, artist, composer, or musician, is the creator of a completely original work, our legal and moral perceptions of appropriation have changed. Merriam-Webster defines appropriation in multiple ways, two of which apply to the discussion of art and appropriation. The first, “to take exclusive possession of” and the second “to take or make use of without authority or right.”1 The battle over rights and appropriation is not one that is only fought in the courtroom and gallery, it also concerns our own lives. Many aspects of our lives involve appropriation, from pagan holidays appropriated into the Christian calendar to the music we listen to, even to the words we speak or write appropriated from other countries and cultures. As artists, appropriation in many forms makes its way into works of any media. The topic of appropriation leads to a discussion of where our creative ideas come from. They, in some sense, have been appropriated as well. Whether we overhear a snippet of a conversation that ends up woven into a creative work or we take a picture of somebody, unknowingly, as they walk down a tree-shadowed street, we are appropriating life. For centuries, artists have been inspired by public life, and the stories and images of others have been appropriated into their work. -
Ethics of Appropriation Found Footage T. ELSAESSER
Keynote Recycled Cinema Symposium DOKU.ARTS 2014 The Ethics of Appropriation: Found Footage between Archive and Internet © Thomas Elsaesser, 2014 Appropriation as Spectatorship Appropriation is a varied concept, and it can carry very different meanings. For instance, applied to the engagement of the film-viewer, appropriation can be a more vivid term for spectatorship and reception studies, especially if we think of the active and interactive role we now tend to assign to the spectator—as viewer, as user, as player—given the different screen activities that are involved in the consumption and apperception of moving images. These include going to the cinema, watching television, using the monitor screens of our laptops and tablets, or acquiring the skills needed to play video games. In short, spectatorship as appropriation acknowledges the active participation of the viewer in the process of reception of films and the consumption of visual displays and spectacles. Appropriation and cinephilia However, in the more specific case of the cinema, appropriation can also signify a more intimate gesture of love and an act of devotion. Thus, cinephilia—the particularly intense manner of living the film experience, by wanting to repeat it and to prolong it—should also be seen as a form of appropriation. But cinephilia, as a way of watching films, of speaking about them, of accumulating expertise and then writing about films, is both appropriation (in the sense of holding on to, and not letting go) and its opposite: a desire to share, to diffuse this knowledge and create, through this sharing, a likeminded community. Cinephilia of the Internet age has produced its own form of active and productive appropriation, in the form of the video-essay: a genre that combines the history of compilation films, of found footage films and the essay film: all genres that try to make films reflect about their own conditions of possibility, and that enrich our experience of cinema by creating forms of para-cinema, post- cinema and meta-cinema. -
Geometry and Art LACMA | | April 5, 2011 Evenings for Educators
Geometry and Art LACMA | Evenings for Educators | April 5, 2011 ALEXANDER CALDER (United States, 1898–1976) Hello Girls, 1964 Painted metal, mobile, overall: 275 x 288 in., Art Museum Council Fund (M.65.10) © Alexander Calder Estate/Artists Rights Society (ARS), New York/ADAGP, Paris EOMETRY IS EVERYWHERE. WE CAN TRAIN OURSELVES TO FIND THE GEOMETRY in everyday objects and in works of art. Look carefully at the image above and identify the different, lines, shapes, and forms of both GAlexander Calder’s sculpture and the architecture of LACMA’s built environ- ment. What is the proportion of the artwork to the buildings? What types of balance do you see? Following are images of artworks from LACMA’s collection. As you explore these works, look for the lines, seek the shapes, find the patterns, and exercise your problem-solving skills. Use or adapt the discussion questions to your students’ learning styles and abilities. 1 Language of the Visual Arts and Geometry __________________________________________________________________________________________________ LINE, SHAPE, FORM, PATTERN, SYMMETRY, SCALE, AND PROPORTION ARE THE BUILDING blocks of both art and math. Geometry offers the most obvious connection between the two disciplines. Both art and math involve drawing and the use of shapes and forms, as well as an understanding of spatial concepts, two and three dimensions, measurement, estimation, and pattern. Many of these concepts are evident in an artwork’s composition, how the artist uses the elements of art and applies the principles of design. Problem-solving skills such as visualization and spatial reasoning are also important for artists and professionals in math, science, and technology. -
Geometry and Art, What a Concept! Mayra Muller-Schmidt Sharpstown Middle School WHAT WILL THEY SEE? “Now Class, Visualize a Cu
Geometry and Art, What a Concept! Mayra Muller-Schmidt Sharpstown Middle School WHAT WILL THEY SEE? “Now class, visualize a cube . .” Some pupils will immediately think of a piece of ice; others can see a three-dimensional cubed shape in their mind’s eye; yet other children will still see a flat square. An ordinary cube is made up of six squares; however, so many students fail to establish an articulate difference between a square and a cube. Geometric forms are numerous and perhaps confusing to a young mind that hasn’t yet formulated a real sense of perceiving dimension, vocabulary, or comprehension of forms. Connecting Different Cognitive Skills Can Connect the Dots . My interest in integrating and emphasizing geometry is twofold. Geometric shapes are some of the strongest forms used in modern art. Geometry has a strong history that, throughout the centuries, has been involved, integrated, and eventually indispensable in art and architecture. Artists have studied geometry in order to draw angles, proportion, and perspective, in order to illustrate or emote the illusion of realism. Geometric forms, currently, are explored and seen everyday in our surroundings. Geometry is an important subject, one which plays a strong part as a tool in art and needs to be emphasized at some point in a person’s education. Students can benefit from the awareness that art and math share a significant part together. Surely, a secondary reason for weaving geometry into an art unit is to strengthen and complement both subject matter skills. The practice and repetition of maneuvering shapes and forms and then relating them to math vocabulary will enhance knowledge for those who already have a strong sense for forms, angles, and dimension. -
Fact & Fiction: Amending Right of Publicity Statutes to Include Life
BEACH 2017 FACT & FICTION: AMENDING RIGHT OF PUBLICITY STATUTES TO INCLUDE LIFE STORY AND FICTIONAL CHARACTER RIGHTS Stephanie J. Beach* I. INTRODUCTION .............................................................................. 132 II. THE HISTORY OF THE RIGHT OF PUBLICITY ................................ 134 III. RIGHT OF PUBLICITY IN THE REAL AND MAKE-BELIEVE .......... 137 A. Life Stories are Inseparable from Persona ................... 137 i. Why the Right to Privacy Is Not Applicable ........... 138 ii. Why the Right of Publicity is the Best Equipped Legal and Equitable Remedy for Life Story Appropriations ...................................................... 140 B. An Actor’s Ownership in the Fictional Characters That He or She Brings to Life ............................................. 151 C. Competing Equities: Right of Publicity vs. Right of Freedom of Expression ............................................... 155 IV. EXPANDING THE POST-MORTEM RIGHT OF PUBLICITY THROUGH THE CREATION OF A DESCENDIBLE FUTURE INTEREST ......... 158 V. CONCLUSION ................................................................................ 161 * J.D. Candidate, 2018, Seton Hall University School of Law; M.S., 2015, Columbia University Graduate School of Journalism; B.A., 2014, New York University. I would like to thank the incomparable Professor Paula A. Franzese for her invaluable guidance in crafting this Note, and for being, quite simply, the best. I would also like to thank my fantastic family for listening to me talk about the right of publicity for hours on end, and, most importantly, for providing unconditional love and support in everything that I do. Finally, special thanks to all of the editors and members of the Seton Hall Legislative Journal, vol. 42 for their hard work and dedication in preparing this book. 131 BEACH 2017 132 SETON HALL LEGISLATIVE JOURNAL [Vol. 42:1 “The image is one thing and the human being is another. -
Art Appreciation Art Criticism
Art Criticism Well……..? That’s why Critical Thinking matters…..in its broadest sense it can be described as purposeful reflective judgment concerning what to believe or what to do. I don’t know anything about art, but I know what I like. And I really don’t need a class to help me with this... Taste Taste Taste as an aesthetic, sociological, economic and anthropological concept refers to cultural patterns of choice and preference regarding aesthetic judgments. What determines aesthetic judgments? Is it really just a function of our biases? And why should we even care about things we don’t like ? Well, for one…..because art exists for more than one subgroup or individual…. Art is part of our Public (shared) Experience ART is reflective of the HUMAN EXPERIENCE…good and bad. Edvard Munch, “The Scream” 1893, National Gallery, Oslo Norway. ART is not just for interior design and we are not just “CONSUMERS”! …..and this is why Museums and Galleries are so important. ITS GOOD TO GET OUT OF THE HOUSE and AWAY FROM THE MARKETERS!!! AND REMEMBER What are our VALUES • Personal Values • Political Values • Cultural Values • Sub-Cultural Values • Class Values • National Values • Religious Values • Spiritual Values ART IS POWERFUL The reason art can please, is also because it can displease….. ART IS POWERFUL …. it can alternately challenge or reinforce the value system of any given culture. It is one of many place where a peoples discovers who they wish to be…. ART and BEAUTY Art can be beautiful. But what is Beauty? Who gets to decide? ART and BEAUTY Art should comfort the disturbed and disturb the comfortable! It has MANY purposes. -
Some Copyright Aspects of New Art: Pop Goes the Easel William B
Boston College Law Review Volume 10 Article 10 Issue 4 Labor Law 7-1-1969 Some Copyright Aspects of New Art: Pop Goes the Easel William B. Sneirson Follow this and additional works at: http://lawdigitalcommons.bc.edu/bclr Part of the Intellectual Property Law Commons Recommended Citation William B. Sneirson, Some Copyright Aspects of New Art: Pop Goes the Easel, 10 B.C.L. Rev. 993 (1969), http://lawdigitalcommons.bc.edu/bclr/vol10/iss4/10 This Current Legislation is brought to you for free and open access by the Law Journals at Digital Commons @ Boston College Law School. It has been accepted for inclusion in Boston College Law Review by an authorized editor of Digital Commons @ Boston College Law School. For more information, please contact [email protected]. SOME COPYRIGHT ASPECTS OF NEW ART: POP GOES THE EASEL 1. INTRODUCTION Under the present Copyright Act, protection is afforded to artistic as well as to literary encleavors, 1 Although this coverage was originally limited to fine arts,2 since 1909 it has involved a wider spectrum called "works of art." 3 In this category are included paintings, drawings and sculpture, the works traditionally associated with the fine arts, as well as areas of artistic crafts- manship? In the past fifteen years, the Supreme Court has further expanded the coverage of the Act by the inclusion of utilitarian objects of artistic value.5 Thus, copyright protection is now available for a wide variety of works, provided only that the requirements of the Copyright Act be complied with, and that there he some creative artistry involved. -
Line, Color, Space, Light, and Shape: What Do They Do? What Do They Evoke?
LINE, COLOR, SPACE, LIGHT, AND SHAPE: WHAT DO THEY DO? WHAT DO THEY EVOKE? Good composition is like a suspension bridge; each line adds strength and takes none away… Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer—that is composition. —Robert Henri, American painter and teacher The elements and principals of art and design, and how they are used, contribute mightily to the ultimate composition of a work of art—and that can mean the difference between a masterpiece and a messterpiece. Just like a reader who studies vocabulary and sentence structure to become fluent and present within a compelling story, an art appreciator who examines line, color, space, light, and shape and their roles in a given work of art will be able to “stand with the artist” and think about how they made the artwork “work.” In this activity, students will practice looking for design elements in works of art, and learn to describe and discuss how these elements are used in artistic compositions. Grade Level Grades 4–12 Common Core Academic Standards • CCSS.ELA-Writing.CCRA.W.3 • CCSS.ELA-Speaking and Listening.CCRA.SL.1 • CCSS.ELA-Literacy.CCSL.2 • CCSS.ELA-Speaking and Listening.CCRA.SL.4 National Visual Arts Standards Still Life with a Ham and a Roemer, c. 1631–34 Willem Claesz. Heda, Dutch • Artistic Process: Responding: Understanding Oil on panel and evaluating how the arts convey meaning 23 1/4 x 32 1/2 inches (59 x 82.5 cm) John G. -
5 Steps to Creating a Work of Art
5 Steps to Creating a Work of Art Step 1: The Concept This is the foundation for your work of art. Without a quality concept or idea your work will always fall short. Strategies for building concept include: Brainstorm, Concept Map, List attributes, Find definitions, Research, Compare and Contrast, Look at examples Key – Don’t be quick to judge your ideas as good or bad until you’ve tried to think about your piece from every conceivable angle Step 2: Acquire References Never rely entirely on your imagination to guide you through a work of art. References are beneficial because they help you to visualize what you are creating. The more quality references you have, the easier it will be to render your final piece. Strategies for acquiring references include: Whenever possible, draw from life and actual objects When this is not feasible, consider these in this order: 1. Take your own photographs 2. If you cant – then find images from magazines, books, and the internet Never rely on just one point of view or image, always have multiple images to refer to Never draw directly from an image using its exact composition unless it is your own because this is plagiarism and it’s illegal! Step 3: Composition The single most important part of your artwork in the beginning is the composition because once you begin rendering, the composition is set and determined. Avoid weak compositions by carefully planning your piece out and looking for visual flow. Strategies for composition: Thumbnail sketching, creating full-scale mockups, carefully arranging observational studies with an emphasis on diagonal relationships and variety, summarizing Step 4: Execution This is where the rendering begins. -
The Four Steps to Critiquing Art a Close Reading of “Text”
The Four Steps to Critiquing Art A Close Reading of “Text” Describe ◊ Analyze ◊ Interpret ◊ Evaluate Created by: Courtney Dentel, Newark CSD Art Program Supervisor You will use the following method of critiquing to discover the meaning of a work of art. It is a step-by-step process of logical thinking. The following are the four steps to “reading” a work of art: (1) describing what you see (2) analyzing the relationships between what you saw (3) interpreting the meaning of the work (4) evaluating or making a personal judgment about the quality and worth of the art. Step 1 – DESCRIBE Use complete sentences to describe what you see in the work of art. Pretend that you are the art detective gathering visual clues or evidence to help you with the next steps to solve the mystery! • What is the name of the artist and the title of the work? • What year was the work created in? • What medium did the artist use? • What exactly do you see in the work? I Saw the Figure 5 in Gold, 1928 Charles Demuth (American, 1883–1935) Oil on cardboard 35 1/2 x 30 in. Alfred Stieglitz Collection, 1949 (49.59.1) Step 2 – ANALYZE Use complete sentences to analyze the artist’s use of the Elements of Art and the Principles of Design within the work. (You are the art detective taking your clues from describing and seeing how they work together using the elements and principles of art.) •Describe the Elements of Art: line, shape, form, color, value, texture, and space •Describe the Principles of Design: balance, unity, movement, pattern, emphasis, rhythm, and contrast I Saw the Figure 5 in Gold, 1928 Charles Demuth (American, 1883–1935) Oil on cardboard 35 1/2 x 30 in. -
Cultural Ramifications of the Found Object in Contemporary African Art
International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space.