art - Revision history

Esperanza at 19:35, 30 September 2008

2008-09-30T19:35:02Z

AlterBot: Robot: Automated text replacement (-simple: +d)

2008-09-30T19:31:20Z

Robot: Automated text replacement (-simple: +d)

AlterBot: robot Removing: ar, bs, da, de, el, eo, fi, he, hr, id, ja, lt, nl, nn, no, pl, pt, ro, ru, sh, sr, sv, tr, zh

2008-09-18T17:27:03Z

robot Removing: ar, bs, da, de, el, eo, fi, he, hr, id, ja, lt, nl, nn, no, pl, pt, ro, ru, sh, sr, sv, tr, zh

72.49.37.214: /* Institutional definition */

2007-08-24T08:03:09Z

‎Institutional definition

72.49.37.214: /* Institutional definition */

2007-08-24T07:51:28Z

‎Institutional definition

72.49.37.214: /* Institutional definition */

2007-08-24T07:47:05Z

‎Institutional definition

72.49.37.214: /* Institutional definition */

2007-08-24T07:34:21Z

‎Institutional definition

72.49.37.214: /* Institutional definition */

2007-08-24T07:15:44Z

‎Institutional definition

Beta M: /* External links */ no "sisterlinks"

2007-07-13T09:34:23Z

‎External links: no "sisterlinks"

Rev 22: art on wheels moved to art: undo vandal move

2007-03-13T05:06:24Z

art on wheels moved to art: undo vandal move

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 *[[Visual arts of the United States]]
 *[[List of Latin American artists]]
 == Further reading ==
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 [[Category:Art| ]]

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 [[nds:Kunst]]
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-[[simple:Art]]
+[[dArt]]
 [[sk:Umenie]]
 [[sl:Umetnost]]

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 [[Category:Top 10| Art]]
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 Many people's opinions of what art is would fall inside a relatively small range of accepted standards, or "institutional definition of art" ([[George Dickie]] 1974). This derives from education and other social factors. Most people did not consider the depiction of a [[Brillo|Brillo Box]] or a store-bought [[urinal]] to be art until [[Andy Warhol]] and [[Marcel Duchamp]] (respectively) placed them in the context of art (i.e., the [[art gallery]]), which then provided the association of these objects with the values that define art (Although, strictly speaking, Warhol's artwork was not an actual Brillo box but an ''exact replica'' of one - so it met the traditional criterion of skill at the very least).
-#Note: Warhol's Brillo Box is an imperfect copy, and its meaning different from the original Brillo boxes. Warhol and his "art workers" had wooden boxes fabricated by a carpenter, then they painted the boxes, after which they hand silkscreened the commercial imagery in an assembly line fashion. The original Brillo boxes were made using cardboard and most likely lithographed in a factory using mechanized processes. Warhol's "criterion of skill" was new as it involved mass production and collaboration. Warhol's box is a non-functioning facade, not an "exact replica" of a commercially branded utilitarian container.
+#Note: Warhol's Brillo Box is an imperfect copy, and its meaning different from the original Brillo boxes. A carpenter was hired to fabricate wooden boxes, where the original Brillo boxes were cardboard. Warhol had his "art workers" paint the boxes, after which they hand silkscreen the commercial imagery in an assembly line fashion. The original Brillo boxes were most likely lithographed in a factory using mechanized processes. Warhol's "criterion of skill" was new as it addressed issues such as fabrication, mass production, and collaboration. Warhol's box is a non-functioning facade, not an "exact replica" of a commercially branded utilitarian container.
 Most viewers of these objects initially rejected such associations, because the objects did not, themselves, meet the accepted criteria. The objects needed to be absorbed into the general consensus of what art is before they achieved the near-universal acceptance as art in the contemporary era. Once accepted and viewed with a fresh eye, the smooth, white surfaces of Duchamp's urinal are strikingly similar to classical marble sculptural forms, whether the artist intended it or not. This type of recontextualizing provides the same spark of connection expected from any traditionally created art.  It should be noted, however, that Duchamps act might be as readily interpreted as a demonstration of the (not always beneficial) power of artistic institutions, rather than the universal art potentially inherent in all objects.

@@ Line 66: / Line 66: @@
 Many people's opinions of what art is would fall inside a relatively small range of accepted standards, or "institutional definition of art" ([[George Dickie]] 1974). This derives from education and other social factors. Most people did not consider the depiction of a [[Brillo|Brillo Box]] or a store-bought [[urinal]] to be art until [[Andy Warhol]] and [[Marcel Duchamp]] (respectively) placed them in the context of art (i.e., the [[art gallery]]), which then provided the association of these objects with the values that define art (Although, strictly speaking, Warhol's artwork was not an actual Brillo box but an ''exact replica'' of one - so it met the traditional criterion of skill at the very least).
-#Note: Warhol's Brillo Box is an imperfect copy, and its meaning different from the original Brillo boxes. Warhol and his "art workers" had wooden boxes fabricated by a carpenter, then they painted the boxes, after which they silkscreened the commercial imagery. The originals were made using cardboard and most likely lithographed in a factory using mechanized processes. The "criterion of skill" was new as it involved mass production and collaboration. Warhol's box is a non-functioning facade, not an "exact replica" of a commercially branded utilitarian container.
+#Note: Warhol's Brillo Box is an imperfect copy, and its meaning different from the original Brillo boxes. Warhol and his "art workers" had wooden boxes fabricated by a carpenter, then they painted the boxes, after which they hand silkscreened the commercial imagery in an assembly line fashion. The original Brillo boxes were made using cardboard and most likely lithographed in a factory using mechanized processes. Warhol's "criterion of skill" was new as it involved mass production and collaboration. Warhol's box is a non-functioning facade, not an "exact replica" of a commercially branded utilitarian container.
 Most viewers of these objects initially rejected such associations, because the objects did not, themselves, meet the accepted criteria. The objects needed to be absorbed into the general consensus of what art is before they achieved the near-universal acceptance as art in the contemporary era. Once accepted and viewed with a fresh eye, the smooth, white surfaces of Duchamp's urinal are strikingly similar to classical marble sculptural forms, whether the artist intended it or not. This type of recontextualizing provides the same spark of connection expected from any traditionally created art.  It should be noted, however, that Duchamps act might be as readily interpreted as a demonstration of the (not always beneficial) power of artistic institutions, rather than the universal art potentially inherent in all objects.

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 ==External links==
-{{sisterlinks|Arts}}
 ===Resources===
 * [http://www.art.net/ Art.Net] - [[Art.Net|Art on the Net]] online [[artist collective]]

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