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    The Art Object: List of Works

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    Sami B
    This document discusses conceptual art objects that transform ordinary objects into art and complicate definitions of art. It provides examples of several key works: Brancusi's "The Newborn" which abstracts form and transcends content, Duchamp's "Fountain" which argued art could be manufactured objects and commented on modernity, and Oppenheim's "Object (Luncheon in Fur)" which juxtaposes disparate objects in strange new contexts. It also discusses Pollock's "Autumn Rhythm" which used unconstrained gestures and paint application to transform painting. Additionally, it outlines feminist art that questions women's roles and representation, providing details on two seminal works: Chicago's "The Dinner Party" which

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    The Art Object: List of Works

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    Sami B
    33 views3 pages
    This document discusses conceptual art objects that transform ordinary objects into art and complicate definitions of art. It provides examples of several key works: Brancusi's "The Newborn" which abstracts form and transcends content, Duchamp's "Fountain" which argued art could be manufactured objects and commented on modernity, and Oppenheim's "Object (Luncheon in Fur)" which juxtaposes disparate objects in strange new contexts. It also discusses Pollock's "Autumn Rhythm" which used unconstrained gestures and paint application to transform painting. Additionally, it outlines feminist art that questions women's roles and representation, providing details on two seminal works: Chicago's "The Dinner Party" which

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    ARTH 102 Penn 2012

    Original Title

    Final Art Themes

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    This document discusses conceptual art objects that transform ordinary objects into art and complicate definitions of art. It provides examples of several key works: Brancusi's "The Newborn" which abstracts form and transcends content, Duchamp's "Fountain" which argued art could be manufactured objects and commented on modernity, and Oppenheim's "Object (Luncheon in Fur)" which juxtaposes disparate objects in strange new contexts. It also discusses Pollock's "Autumn Rhythm" which used unconstrained gestures and paint application to transform painting. Additionally, it outlines feminist art that questions women's roles and representation, providing details on two seminal works: Chicago's "The Dinner Party" which

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    33 views3 pages

    The Art Object: List of Works

    Uploaded by

    Sami B
    This document discusses conceptual art objects that transform ordinary objects into art and complicate definitions of art. It provides examples of several key works: Brancusi's "The Newborn" which abstracts form and transcends content, Duchamp's "Fountain" which argued art could be manufactured objects and commented on modernity, and Oppenheim's "Object (Luncheon in Fur)" which juxtaposes disparate objects in strange new contexts. It also discusses Pollock's "Autumn Rhythm" which used unconstrained gestures and paint application to transform painting. Additionally, it outlines feminist art that questions women's roles and representation, providing details on two seminal works: Chicago's "The Dinner Party" which

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 3

    The Art Object

    Conceptual
    Transforming ordinary objects into art
    o Makes them unusable
    o Complicates viewer
    Accessible
    What you see is what you get
    Intervention in definition of art
    o Choosing = art
    o Constructors, rather than makers
    Projects onto environment
    Transcends content

    List of Works:
    1. Brancusi, The Newborn,
    a. Egg symbolized the potential for birth, growth, and development.
    b. Perfect but organic ovoid that contained life in its essence.
    c. Conflates its shape with the disembodied head of a human infant to
    suggest the essence of humanity at the moment of birth.
    d. Abstracts form into illegibility.
    e. Transcends content.
    f. Projects onto environment, inhabits same space, much more like us
    than painting.
    2. Duchamp, Fountain, 1917
    a. Transformed ordinary, often manufactured objects into works of art
    (readymades).
    b. Argued that art objects might not only be crafted (in part) by others,
    but that the objects of art could actually be manufactured for the
    artist in the mass-produced world.
    c. Simultaneously made a comment on consumption, modernity, and
    the irrationality of the modern age by arguing that the "readymade"
    work of art, as a manufactured object, simply bypasses the craft
    tradition.
    d. Significance in act of choosing.
    3. Oppenheim, Object (Luncheon in Fur), 1936

    a. Juxtaposes several disparate ordinary objects in strange new


    contexts to create an uncanny surreality.
    b. Transposes two objects from their ordinary reality, recontextualizes
    them in an irrational new surreality, and transforms them into an
    uncanny object that is simultaneously desirous and deeply
    disturbing.
    4. Pollock, Autumn Rhythm (No. 30), 1950
    a. Unrestrained gestures transformed the idea of painting by moving
    around and within the canvas, dripping and scoring commercialgrade enamel paint onto it using sticks and trowels.

    Women in Art

    Feminist art
    o Questions the role and representation of women in society, the
    media and the nature of the creation of art.

    List of Works:
    1. Chicago, The Dinner Party, 1974-79
    a. Dedicated to hundreds of women and women artists rescued from
    anonymity by early feminist artists and historians.
    b. Equilateral triangle is symbol of both the feminine and the equalized
    world sought by feminism.
    c. Empty plates represent the fact that they had been swallowed up
    and obscured by history instead of being recognized and honored.
    d. Celebrates traditional women's crafts and argues for their place in
    the pantheon of high art.
    2. Sherman, Untitled Film Still #21, 1978
    a. Exemplifies Postmodern strategies of looking.
    b. Discussed in terms of second-wave feminism, as questioning
    culturally constructed roles played by women in society, and as a
    critique of the male gaze.
    c. She assumes roles of both photographer and photographed,
    subverting the way in which photographs of women communicate
    stereotypes.

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