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Art appropriation and identity since...

Atkins, Sharon Matt.

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Art appropriation and identity since 1980 (Robert Colescott, Yasumasa Morimura, Cindy Sherman, Japan).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Art appropriation and identity since 1980 (Robert Colescott, Yasumasa Morimura, Cindy Sherman, Japan)./
作者:	Atkins, Sharon Matt.
面頁冊數:	368 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2000.
Contained By:	Dissertation Abstracts International65-06A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3134806
ISBN:	0496820311

Art appropriation and identity since 1980 (Robert Colescott, Yasumasa Morimura, Cindy Sherman, Japan).
Atkins, Sharon Matt.

Art appropriation and identity since 1980 (Robert Colescott, Yasumasa Morimura, Cindy Sherman, Japan). - 368 p.

Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2000.

Thesis (Ph.D.)--Rutgers The State University of New Jersey - New Brunswick, 2004.

This dissertation investigates the intersection between two dominant practices in art of the 1980s and 1990s---the appropriation of works of art and the representation of identity within the constructs of race, gender and culture. While "appropriation" became a postmodern buzzword in the early 1980s, distinctions amongst those usually labeled under this heading are now more clearly recognizable with increasing historical distance. Since the different strains evident within this complex practice reveal valuable information about the relationship between contemporary art, its context, and its history, each deserves separate treatment. While artists in the early 1980s reproduced existing art objects to undermine the tenets of modernism and question notions of originality, others quickly began to quote artistic sources to explore how racial and gender stereotypes have been visually codified in art from the past and how those works have subsequently shaped perceptions of personal and cultural identity. This dissertation is the first study to examine the critical juncture between appropriation and identity explorations and to analyze artists' implementation of art appropriation as an attempt to dismantle cultural and ideological systems.

ISBN: 0496820311Subjects--Topical Terms:

635474
Art History.

Art appropriation and identity since 1980 (Robert Colescott, Yasumasa Morimura, Cindy Sherman, Japan).
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520 $a This dissertation investigates the intersection between two dominant practices in art of the 1980s and 1990s---the appropriation of works of art and the representation of identity within the constructs of race, gender and culture. While "appropriation" became a postmodern buzzword in the early 1980s, distinctions amongst those usually labeled under this heading are now more clearly recognizable with increasing historical distance. Since the different strains evident within this complex practice reveal valuable information about the relationship between contemporary art, its context, and its history, each deserves separate treatment. While artists in the early 1980s reproduced existing art objects to undermine the tenets of modernism and question notions of originality, others quickly began to quote artistic sources to explore how racial and gender stereotypes have been visually codified in art from the past and how those works have subsequently shaped perceptions of personal and cultural identity. This dissertation is the first study to examine the critical juncture between appropriation and identity explorations and to analyze artists' implementation of art appropriation as an attempt to dismantle cultural and ideological systems.
520 $a This project focuses on three cases studies---Robert Colescott, Yasumasa Morimura, and Cindy Sherman---all of whom investigated the past by critically examining and revising representational systems embedded within the long tradition of figurative painting. Building upon their earlier work and responding from their own distinct perspectives, namely that of an African-American male, a Japanese male, and a white American female respectively, Colescott, Morimura, and Sherman each mounted a visual critique of the history of Western art by revising recognizable images according to their individual backgrounds. Since works of art form the foundation of historical visual culture, these artists targeted figurative paintings by their revered predecessors from the Renaissance and Baroque eras to highlight the role that art history played in constructing visual stereotypes and making them palpably acceptable through institutional support. Moreover, by frequently injecting their own self-portraits into their appropriated sources, Colescott, Morimura, and Sherman explored not only broad issues of identity, but also their own cultural, racial, gendered, and professional identities.
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