Art describes a diverse range of cultural activity centered around works utilizing creative or imaginative talents, which are expected to evoke a worthwhile experience, generally through an expression of emotional power, conceptual ideas, beauty, and/or technical proficiency.
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.
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 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 dating from 1913 to 1921.
Conceptual art, also referred to as conceptualism, is art in which the concept(s) or idea(s) involved in the work are prioritized equally to or more than traditional aesthetic, technical, and material concerns. Some works of conceptual art may be constructed by anyone simply by following a set of written instructions. This method was fundamental to American artist Sol LeWitt's definition of conceptual art, one of the first to appear in print:
In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.
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.
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.
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 the inaugural exhibition of the Society of Independent Artists, 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.
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.
L.H.O.O.Q. is a work of art by Marcel Duchamp. First conceived in 1919, the work is one of what Duchamp referred to as readymades, or more specifically a rectified ready-made. The readymade involves taking mundane, often utilitarian objects not generally considered to be art and transforming them, by adding to them, changing them, or simply renaming and reorienting them and placing them in an appropriate setting. In L.H.O.O.Q. the found object is a cheap postcard reproduction of Leonardo da Vinci's early 16th-century painting Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title.
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.
The Bottle Rack is a proto-Dada artwork created in 1914 by Marcel Duchamp. Duchamp labeled the piece a "readymade", a term he used to describe his collection of ordinary, manufactured objects not commonly associated with art. The readymades did not have the serious tone of European Dada works, which criticized the violence of World War I, and instead focused on a more nonsensical nature, chosen purely on the basis of a "visual indifference".
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.
The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, comics, design, crafts, and architecture. Many artistic disciplines, such as performing arts, conceptual art, and textile arts, also involve aspects of the visual arts, as well as arts of other types. Also included within the visual arts are the applied arts, such as industrial design, graphic design, fashion design, interior design, and decorative art.
A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions, and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity. In fact, the intent behind a theory of art is to treat art as a natural phenomenon that should be investigated like any other. The question of whether one can speak of a theory of art without employing a concept of art is also discussed below.
Les Peintres Cubistes, Méditations Esthétiques, is a book written by Guillaume Apollinaire between 1905 and 1912, published in 1913. This was the third major text on Cubism; following Du "Cubisme" by Albert Gleizes and Jean Metzinger (1912); and André Salmon, Histoire anecdotique du cubisme (1912).
The No Show Museum is an art museum, established in Zurich, Switzerland in 2015, devoted to nothing and its various manifestations throughout the history of art. It claims to be the first of its kind. Founded by Swiss conceptual artist and curator Andreas Heusser, the museum's collection today includes around 500 works and documents from over 150 international artists of the 20th and 21st centuries.
