Henri-Robert-Marcel Duchamp was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. He is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. He has had an immense impact on 20th- and 21st-century art, and a seminal influence on the development of conceptual art. By the time of World War I, he had rejected the work of many of his fellow artists as "retinal", intended only to please the eye. Instead, he wanted to use art to serve the mind.
Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product. Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms. These art forms include intermedia, a term coined by Fluxus artist Dick Higgins; conceptual art, first developed by Henry Flynt, an artist contentiously associated with Fluxus; and video art, first pioneered by Nam June Paik and Wolf Vostell. Dutch gallerist and art critic Harry Ruhé describes Fluxus as "the most radical and experimental art movement of the sixties".
A found object, 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 ready-mades, 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 "ready-made" 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 dating from 1913 to 1921.
Suzanne Duchamp-Crotti was a French Dadaist painter, collagist, sculptor, and draughtsman. Her work was significant to the development of Paris Dada and modernism and her drawings and collages explore fascinating gender dynamics. Due to the fact that she was a woman in the male prominent Dada movement, she was rarely considered an artist in her own right. She constantly lived in the shadows of her famous older brothers, who were also artists, or she was referred to as "the wife of." Her work in painting turns out to be significantly influential to the landscape of Dada in Paris and to the interests of women in Dada. She took a large role as an avant-garde artist, working through a career that spanned five decades, during a turbulent time of great societal change. She used her work to express certain subject matter such as personal concerns about modern society, her role as a modern woman artist, and the effects of the First World War. Her work often weaves painting, collage, and language together in complex ways.
Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.
Joseph Kosuth is an American conceptual artist, who lives in New York and London, after having resided in various cities in Europe, including Ghent and Rome.
Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. It sought to close the gap between art and daily life, and was a combination of playfulness, iconoclasm, and appropriation. In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to work created in that and the preceding decade. There was also an international dimension to the movement, particularly in Japan and in Europe, serving as the foundation of Fluxus, Pop Art and Nouveau réalisme.
One and Three Chairs, 1965, is a work by Joseph Kosuth. An example of conceptual art, the piece consists of a chair, a photograph of the chair, and an enlarged dictionary definition of the word "chair". The photograph depicts the chair as it is actually installed in the room, and thus the work changes each time it is installed in a new venue.
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.
Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for an exhibition of the Society of Independent Artists, the inaugural exhibition by the Society to be staged at the Grand Central Palace in New York. When explaining the purpose of his readymade sculpture, Duchamp stated they are "everyday objects raised to the dignity of a work of art by the artist's act of choice." In Duchamp's presentation, the urinal's orientation was altered from its usual positioning. Fountain was not rejected by the committee, since Society rules stated that all works would be accepted from artists who paid the fee, but the work was never placed in the show area. Following that removal, Fountain was photographed at Alfred Stieglitz's studio, and the photo published in the Dada journal The Blind Man. The original has been lost.
A work of art, artwork, art piece, piece of art or art object is an artistic creation of aesthetic value. Except for "work of art", which may be used of any work regarded as art in its widest sense, including works from literature and music, these terms apply principally to tangible, physical forms of visual art:
Shigeko Kubota was a Japanese video artist, sculptor and avant-garde performance artist, who mostly lived in New York City. She was one of the first artists to adopt the portable video camera Sony Portapak in 1970, likening it to a "new paintbrush." Kubota is known for constructing sculptural installations with a strong DIY aesthetic, which include sculptures with embedded monitors playing her original videos. She was a key member and influence on Fluxus, the international group of avant-garde artists centered on George Maciunas, having been involved with the group since witnessing John Cage perform in Tokyo in 1962 and subsequently moving to New York in 1964. She was closely associated with George Brecht, Jackson Mac Low, John Cage, Joe Jones, Nam June Paik, and Ay-O, among other members of Fluxus. Kubota was deemed "Vice Chairman" of the Fluxus Organization by Maciunas.
Art intervention is an interaction with a previously existing artwork, audience, venue/space or situation. It is in the category of conceptual art and is commonly a form of performance art. It is associated with Letterist International, Situationist International, Viennese Actionists, the Dada movement and Neo-Dadaists. More latterly, intervention art has delivered Guerrilla art, street art plus the Stuckists have made extensive use of it to affect perceptions of artworks they oppose and as a protest against existing interventions.
Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today.
The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art". By simply choosing the object and repositioning or joining, titling and signing it, the found object became art.
William Anastasi was an American visual artist working in a wide range of media including drawing, painting, sculpture, photographic works, and text. He lived and worked in New York City from the early 1960s and was known as "one of the most underrated conceptual artists of his generation".
In the visual arts, late modernism encompasses the overall production of most recent art made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and postmodernism, although there are differences. The predominant term for art produced since the 1950s is contemporary art. Not all art labelled as contemporary art is modernist or post-modern, and the broader term encompasses both artists who continue to work in modern and late modernist traditions, as well as artists who reject modernism for post-modernism or other reasons. Arthur Danto argues explicitly in After the End of Art that contemporaneity was the broader term, and that postmodern objects represent a subsector of the contemporary movement which replaced modernity and modernism, while other notable critics: Hilton Kramer, Robert C. Morgan, Kirk Varnedoe, Jean-François Lyotard and others have argued that postmodern objects are at best relative to modernist works.
In art, appropriation is the use of pre-existing objects or images with little or no transformation applied to them. The use of appropriation has played a significant role in the history of the arts. In the visual arts, "to appropriate" means to properly adopt, borrow, recycle or sample aspects of human-made visual culture. Notable in this respect are the readymades of Marcel Duchamp.
Fluxus 1 is an artists' book edited and produced by the Lithuanian-American artist George Maciunas, containing works by a series of artists associated with Fluxus, the international collective of avant-garde artists primarily active in the 1960s and 1970s. Originally published in New York, 1964, the contents vary from edition to edition, but usually contain work by Ay-O, George Brecht, Alison Knowles, György Ligeti, Yoko Ono, Robert Watts and La Monte Young amongst many others.
Post-conceptual, postconceptual, post-conceptualism or postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work takes some precedence over traditional aesthetic and material concerns. The term first came into art school parlance through the influence of John Baldessari at the California Institute of the Arts in the early 1970s. The writer Eldritch Priest, specifically ties John Baldessari's piece Throwing four balls in the air to get a square from 1973 as an early example of post-conceptual art. It is now often connected to generative art and digital art production.
