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The work has a tactile, spread out effect ("Tom friedman," 2010). It is like a scratch and sniff, one view and that is it.
Erwin Wurm
In the case of Erwin Wurm, the artist has developed a series of what he calls "One Minute Sculptures." In them, he poses himself or one or more of his models in unexpected relationships in close combination with everyday objects close by. This prompts the viewer to question their very definition of what sculpture consists of. Wurm sought to use what he termed the "shortest path" in the creation of a sculpture. He wanted a clear and fast (at times humorous) variant of artistic expression. The sculptures that he created are fleeting and they are meant to be temporary and spontaneous. The images the he captured were only on film or in photography. A good of such a wok is Wurm's is Fat Convertible which is a plastic covering over a care (Syed, 2009). It is a commentary on our obese society.
Conclusion
In this presentation, the author reviewed information about Marcel Duchamp's Ready Made...
In the short essay, the author chose one specific artwork example by each of the artists and the briefly described and interpreted each artwork. Then, they made main points from the set of criteria for art from and used it to evaluate these three works of art. The author then focused upon how each may/may not satisfy the definition of art. We examined how conventional art criteria needs to be reconsidered and rearticulated to accommodate these artworks. All of these works of art were pointing to realities in the outside world and showing that art was where one found it.
References
Rougeau, K. (2008). Marcel duchamp: Fountain. Retrieved from http://*****/art-and-artists/marcel-duchamp-fountain/.
Syed, A. (2009, June 09). Erwin wurm, one minute sculptures. Retrieved from http://thewondrous.com/erwin-wurm-one-minute-sculptures/.
Tom friedman. (2010). Retrieved from http://www.designboom.com/portrait/friedman.html.
The term is said to have been coined by Marcel Duchamp in about 1914, and his ready-mades can be cited as early examples of the genre. Dada was the first anti-art movement, and subsequently the denunciation of art became commonplace -- almost de rigueur -- among the avant-garde (Chilvers 22) Duchamp also questions the boundaries of the visual arts. In fact, in The Green Box he poses the question whether the
Age of Extremes The Rise of the Revolutionary Arts The chapter under review is set in the context of the troubled times that Eric Hobsbawm describes in his book "The Age of Extremities" -- a time which saw two world wars, the greatest economic depressions in world history and the communist revolution in Russia and elsewhere. There was an environment of revolution in Europe and elsewhere -- in India for example where
Marcel Duchamp took a urinal, called it "Fountain," put it in an art show and then defended his action on the grounds that as he was an artist and he said the urinal was art, then it was. This is just the sort of thing that has given modern art a bad name. But why should it have? Why should that urinal not be art? Understanding the answer to that question
History Of Dada Art Movement There is a long list of movements that were begun for the sake of art, for instance cubism and surrealism. These two movements experienced grave criticism as they touched nihillism. On the other hand, movements like Dada have been admired and honored by the majorities (MobileReference). If truth be told, the early 20th century brought a turbulent and disorderly change in the world. The First World War
This is not simply unique to "Readymade," although this facet of art is brought to the forefront in this particular work. But Duchamp stresses that since "the tubes of paint used by an artist are manufactured and readymade products we must conclude that all the paintings in the world are Readymades aided' and also works of assemblage." (Duchamp, 83) How can art be so unique, asks Duchamp, within any
On the contrary, if I had been able to be a clergyman or an art dealer, then perhaps I should not have been fit for drawing and painting, and I should neither have resigned nor accepted my dismissal as such. I cannot stop drawing because I really have a draughtsman's fist, and I ask you, have I ever doubted or hesitated or wavered since the day I began to