Misplaced Pages

#631368

20-584: The Teshima Art Museum ( 豊島美術館 , Teshima Bijitsukan ) hosts a single piece of artwork and is located on the island of Teshima , Kagawa Prefecture , Japan , in the Seto Inland Sea . It is operated by the Benesse Foundation. The architect is Ryue Nishizawa (co-founder of SANAA ). The museum building is made of a freestanding concrete shell which is 25 cm-thick, 40 by 60 meters, and 4 meters at its highest point. The artwork

40-697: A constant meaning, but their meanings are fashioned by humans in the context of their culture, as they have the ability to make things mean or signify something. A prime example of this theory are the Readymades of Marcel Duchamp . Marcel Duchamp criticized the idea that the work of art must be a unique product of an artist's labour or skill through his "readymades": "mass-produced, commercially available, often utilitarian objects" to which he gave titles, designating them as artwork only through these processes of choosing and naming. Artist Michael Craig-Martin , creator of An Oak Tree , said of his work – "It's not

60-466: A physical existence as an " oil painting on canvas" that is separate from its identity as a masterpiece "work of art" or the artist's magnum opus . Many works of art are initially denied "museum quality" or artistic merit, and later become accepted and valued in museum and private collections. Works by the Impressionists and non-representational abstract artists are examples. Some, such as

80-409: A symbol. I have changed the physical substance of the glass of water into that of an oak tree. I didn't change its appearance. The actual oak tree is physically present, but in the form of a glass of water." Some art theorists and writers have long made a distinction between the physical qualities of an art object and its identity-status as an artwork. For example, a painting by Rembrandt has

100-1070: Is commonly used by museum and cultural heritage curators , the interested public, the art patron -private art collector community, and art galleries . Physical objects that document immaterial or conceptual art works, but do not conform to artistic conventions, can be redefined and reclassified as art objects. Some Dada and Neo-Dada conceptual and readymade works have received later inclusion. Also, some architectural renderings and models of unbuilt projects, such as by Vitruvius , Leonardo da Vinci , Frank Lloyd Wright , and Frank Gehry , are other examples. The products of environmental design , depending on intention and execution, can be "works of art" and include: land art , site-specific art , architecture , gardens , landscape architecture , installation art , rock art , and megalithic monuments . Legal definitions of "work of art" are used in copyright law; see Visual arts § United States of America copyright definition of visual art . Theorists have argued that objects and people do not have

120-454: Is concerned with the terms and concepts as used in and applied to the visual arts, although other fields such as aural -music and written word-literature have similar issues and philosophies. The term objet d'art is reserved to describe works of art that are not paintings, prints, drawings or large or medium-sized sculptures, or architecture (e.g. household goods, figurines, etc., some purely aesthetic, some also practical). The term oeuvre

140-523: Is not, art. Some were rejected by art juries and others went unnoticed at art shows. Most of his early readymades have been lost or discarded, but years later he commissioned reproductions of many of them. (Note: Some art historians consider only the un-altered manufactured objects to be readymades. This list includes the pieces he altered or constructed.) In 1964, Duchamp authorized a limited edition release of replicas of fourteen of his readymades to be issued by his art dealer, Arturo Schwarz , through

160-463: Is titled Matrix and was created by sculptor Rei Naito . 34°29′23″N 134°05′29″E  /  34.48972°N 134.09139°E  / 34.48972; 134.09139 This article related to an art display, art museum or gallery in Japan is a stub . You can help Misplaced Pages by expanding it . Work of art Used more broadly, the term is less commonly applied to: This article

180-567: Is used to describe the complete body of work completed by an artist throughout a career. A work of art in the visual arts is a physical two- or three- dimensional object that is professionally determined or otherwise considered to fulfill a primarily independent aesthetic function. A singular art object is often seen in the context of a larger art movement or artistic era , such as: a genre , aesthetic convention , culture , or regional-national distinction. It can also be seen as an item within an artist's "body of work" or oeuvre . The term

200-1020: The National Museum of Modern Art in Japan in 1987. Duchamp's proof set was sold by his widow to the Musée National d'Art Moderne in Paris in 1986. Schwarz sold his proof set at auction in 2002. The two museum sets were donated to the Israel Museum in Jerusalem in 1972 and the National Gallery of Modern Art in Rome in 1997. Research published in 1997 by Rhonda Roland Shearer questions whether Duchamp's "found objects" may actually have been created by Duchamp. Her research of items like snow shovels and bottle racks in use at

220-904: The readymades of Marcel Duchamp including his infamous urinal Fountain , are later reproduced as museum quality replicas. Research suggests that presenting an artwork in a museum context can affect the perception of it. There is an indefinite distinction, for current or historical aesthetic items: between " fine art " objects made by " artists "; and folk art , craft-work , or " applied art " objects made by "first, second, or third-world" designers , artisans and craftspeople. Contemporary and archeological indigenous art , industrial design items in limited or mass production , and places created by environmental designers and cultural landscapes , are some examples. The term has been consistently available for debate, reconsideration, and redefinition. Readymades of Marcel Duchamp The readymades of Marcel Duchamp are ordinary manufactured objects that

SECTION 10

#1732772558632

240-520: The Galleria Schwarz in Milan . The edition included eight sets for sale, two sets of artist's proofs (one for Duchamp and one for Schwarz), and two hors de commerce sets to be given to museums. Schwarz replicated the works with oversight from Duchamp, taking "almost fanatical care" in reproducing them accurately, according to Duchamp. Critical reaction to Duchamp's decision to reproduce

260-409: The artist selected and modified, as an antidote to what he called "retinal art". By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the found object became art. Duchamp was not interested in what he called "retinal art"—art that was only visual—and sought other methods of expression. As an antidote to retinal art he began creating readymades in 1914, when

280-409: The dignity of a work of art by the mere choice of an artist". While published under the name of Marcel Duchamp (or his initials, "MD", to be precise), André Gervais nevertheless asserts that Breton wrote this particular dictionary entry. Duchamp only made a total of 13 readymades over a period of time of 30 years. He felt that he could only avoid the trap of his own taste by limiting output, though he

300-488: The readymade is that I've never been able to arrive at a definition or explanation that fully satisfies me." Much later in life Duchamp said, "I'm not at all sure that the concept of the readymade isn't the most important single idea to come out of my work." Robert Fulford described Duchamp's readymades as expressing "an angry nihilism". By submitting some of them as art to art juries, the public, and his patrons, Duchamp challenged conventional notions of what is, and what

320-402: The readymades was generally negative. Artist Daniel Buren , for example, said that Duchamp had "sold out to commercialism". As decades passed, however, the Galleria Schwarz replicas "gradually became mainstreamed and eventually became stand-ins for the lost originals, sharing their status and value", according to scholar Adina Kamien-Kazhdan. Today, Schwarz's replicas are found in museums around

340-664: The term was commonly used in the United States to describe manufactured items to distinguish them from handmade goods. He selected the pieces on the basis of "visual indifference", and the selections reflect his sense of irony, humor and ambiguity: he said "it was always the idea that came first, not the visual example ... a form of denying the possibility of defining art." The first definition of "readymade" appeared in André Breton and Paul Éluard 's Dictionnaire abrégé du Surréalisme : "an ordinary object elevated to

360-454: The time failed to turn up any identical matches to photographs of the originals. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original Fountain at J. L. Mott Iron Works. Such investigations are hampered by the fact that few of the original "readymades" survive, having been lost or destroyed. Those that still exist are predominantly reproductions authorized or designed by Duchamp in

380-550: The world. Initial demand for the replicas was slow. One set was sold in 1969 to New York art dealer Arne Ekstrom, who then sold it to Indiana University Art Museum in 1971 for $ 35,000. Another set was sold in 1971 to the National Gallery of Canada . By 1974, much of the edition was still unsold, though Schwarz had raised the prices considerably; a complete set was listed for $ 450,000, and individual works started at $ 15,000. Schwarz sold his remaining inventory at auction in 1985, except for one remaining complete set, which he sold to

400-462: Was aware of the contradiction of avoiding taste, yet also selecting an object. Taste, he felt, whether "good" or "bad", was the "enemy of art". His conception of the readymade changed and developed over time. "My intention was to get away from myself", he said, "though I knew perfectly well that I was using myself. Call it a little game between 'I' and 'me ' ". Duchamp was unable to define or explain his opinion of readymades: "The curious thing about

#631368