Appropriation (art)
His painting Le Déjeuner sur l'herbe was also inspired by the work of the Old Masters; specifically, its composition is based on a detail of Marcantonio Raimondi's The Judgement of Paris (1515).
[7] Gustave Courbet is believed to have seen the famous color woodcut The Great Wave off Kanagawa by Japanese artist Katsushika Hokusai before painting a series of the Atlantic Ocean during the summer of 1869.
[8] Vincent van Gogh can be named with the examples of the paintings he did inspired by Jean Francois Millet, Delacroix, or the Japanese prints he had in his collection.
Marcel Duchamp in 1915 introduced the concept of the readymade, in which "industrially produced utilitarian objects...achieve the status of art merely through the process of selection and presentation.
The work posed a direct challenge, starkly juxtaposing to traditional perceptions of fine art, ownership, originality and plagiarism, and was subsequently rejected by the exhibition committee.
Roy Lichtenstein became known for appropriating pictures from comics books with paintings such as Masterpiece (1962) or Drowning Girl (1963) and from famous artists such as Picasso or Matisse.
The German artists Sigmar Polke and his friend Gerhard Richter, who defined the term Capitalist Realism, offered an ironic critique of consumerism in post-war Germany.
Polke's best-known works were his collages of imagery from pop culture and advertising, like his "Supermarkets" scenes of super heros shopping at a grocery store.
[33] The Pictures Generation was a group of artists, influenced by Conceptual and Pop art, who utilized appropriation and montage to reveal the constructed nature of images.
[34] An exhibition named The Pictures Generation, 1974–1984 was held at The Metropolitan Museum of Art (The Met) in New York City from April 29 – August 2, 2009 that included among other artists John Baldessari, Barbara Kruger, Sherrie Levine, Richard Prince, David Salle, Cindy Sherman.
Challenging ideas of originality, drawing attention to relations between power, gender and creativity, consumerism and commodity value, the social sources and uses of art, Levine plays with the theme of "almost same".
His work takes anonymous and ubiquitous cigarette billboard advertising campaigns, elevates the status and focuses our gaze on the images.
Adding to Duchamp's audacious move, Levine turns his gesture back into an "art object" by elevating its materiality and finish.
[52] Many urban and street artists also use images from the popular culture such as Shepard Fairey or Banksy,[53] who appropriated artworks by Claude Monet or Vermeer with his girl with a pierced eardrum.
[54] Canadian Cree artist Kent Monkman appropriates iconic paintings from European and North American art history and populates them with Indigenous visions of resistance.
[55] In 2014 Richard Prince released a series of works titled New Portraits appropriating the photos of anonymous and famous persons (such as Pamela Anderson) who had posted a selfie on Instagram.
So-called "prosumers"[69]—those consuming and producing at the same time—browse through the ubiquitous archive of the digital world (more seldom through the analog one), in order to sample the ever accessible images, words, and sounds via 'copy-paste' or 'drag-drop' to 'bootleg', 'mashup' or 'remix' them just as one likes.
He writes: "DJs, Web surfers, and postproduction artists imply a similar configuration of knowledge, which is characterized by the invention of paths through culture.
If creation is based on nothing more than carefree processes of finding, copying, recombining and manipulating pre-existing media, concepts, forms, names, etc.
Unlimited access to the digital archive of creations and easily feasible digital technologies, as well as the priority of fresh ideas and creative processes over a perfect masterpiece leads to a hyperactive hustle and bustle around the past instead of launching new expeditions into unexplored territory that could give visibility to the forgotten ghosts and ignored phantoms of our common myths and ideologies.
The Act gives four factors to be considered to determine whether a particular use is a fair use: Andy Warhol faced a series of lawsuits from photographers whose work he appropriated and silk-screened.
Goldsmith was not made aware of the series until after the musician's death in 2016, when Condé Nast published a tribute featuring one of Warhol's works.
In its opinion, the Court held that each of the four "fair use" factors favored Goldsmith, further finding that the works were substantially similar as a matter of law, given that "any reasonable viewer .
Though he claimed fair use and parody in his defense, Koons lost the case, partially due to the tremendous success he had as an artist and the manner in which he was portrayed in the media.
For a seven-painting commission for the Deutsche Guggenheim Berlin, Koons drew on part of a photograph taken by Andrea Blanch titled Silk Sandals by Gucci and published in the August 2000 issue of Allure magazine to illustrate an article on metallic makeup.
The subject was a 'Young Scientist Anatomy Set' belonging to his son Connor, 10,000 of which are sold a year by Hull (Emms) Toy Manufacturer.
Prince variously altered the photos, painting objects, oversized hands, naked women and male torsos over the photographs, subsequently selling over $10 million worth of the works.
[94] Kembrew McLeod, author of several books on sampling and appropriation, said in Wired that Scott Blake's art should fall under the doctrine of fair use.
The Seventh Circuit's critique lends credence to the argument that there is a split among U.S. courts as to what role "transformativeness" is to play in any fair use inquiry.
[91] In 2013, Andrew Gilden and Timothy Greene published a law review article in The University of Chicago Law Review dissecting the factual similarities and legal differences between the Cariou case and the Salinger v. Colting case, articulating concerns that judges may be creating a fair use "privilege largely reserved for the rich and famous.
