Is Reframing Greeting Cards to Sell as Art Be Legal

Utilize of pre-existing objects or images with little or no transformation applied to them

This article is almost an artistic practice. For the cultural do, see Cultural cribbing. For another cultural practice, see Reappropriation.

Appropriation in art is the apply of pre-existing objects or images with niggling or no transformation practical to them.^[1] The use of appropriation has played a significant role in the history of the arts (literary, visual, musical and performing arts). In the visual arts, to appropriate means to properly prefer, borrow, recycle or sample aspects (or the unabridged form) of homo-made visual culture. Notable in this respect are the Readymades of Marcel Duchamp.

Inherent in our agreement of cribbing is the concept that the new work re-contextualizes whatever it borrows to create the new work. In almost cases, the original "thing" remains accessible every bit the original, without alter.

Definition [edit]

Cribbing, similar to institute object fine art is "as an artistic strategy, the intentional borrowing, copying, and alteration of preexisting images, objects, and ideas".^[2] Information technology has also been divers as "the taking over, into a piece of work of art, of a real object or even an existing piece of work of art."^[3] The Tate Gallery traces the practice dorsum to Cubism and Dadaism, and continuing into 1940s Surrealism and 1950s Pop art. It returned to prominence in the 1980s with the Neo-Geo artists,^[three] and is now mutual exercise amongst contemporary artists like Richard Prince, Sherrie Levine, and Jeff Koons.^[four]

History [edit]

19th century [edit]

Many artists fabricated references to works by previous artists or themes.

In 1856 Ingres painted the portrait of Madame Moitessier. The unusual pose is known to take been inspired by the famous ancient Roman wall painting Herakles Finding His Son Telephas. In doing so, the creative person created a link between his model and an Olympian goddess.^[6]

Edouard Manet painted the Olympia (1865) inspired past Titian Venus of Urbino. His painting Le Déjeuner sur l'herbe was also inspired past the piece of work of the Old Masters. Its composition is based on a item of Marcantonio Raimondi's 'The Judgement of Paris' (1515).^[seven]

Gustave Courbet is believed to have seen the famous color woodcut The Slap-up Moving ridge off Kanagawa by Japanese artist Katsushika Hokusai before painting a series of the Atlantic Ocean during the summertime of 1869.^[eight]

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.^[9] In 1889, Van Gogh created twenty painted copies inspired past Millet black-and-white prints. He enlarged the compositions of the prints and so painted them in colour according to his ain imagination. Vincent wrote in his letters that he had gear up out to "interpret them into another language". He said that information technology was non simply copying: if a performer "plays some Beethoven he'll add his personal interpretation to it… it isn't a difficult and fast dominion that only the composer plays his own compositions".^[10] More examples can be establish on Copies by Vincent van Gogh.

Claude Monet, a collector of Japanese prints, created several works inspired by these such as The Garden at Sainte-Adresse, 1867 inspired by Fuji from the Platform of Sasayedo by Katsushika Hokusai ; The H2o Lily Pond serial Nether Mannen Bridge at Fukagawa, 1830-1831 by Hokusai or La Japonaise, 1876 likely inspired by Kitagawa Tsukimaro Geisha, a pair of hanging scroll paintings, 1820-1829 .^{[xi] [12] [13]}

Start half of the 20th century [edit]

In the early twentieth century Pablo Picasso and Georges Braque appropriated objects from a non-fine art context into their work. In 1912, Picasso pasted a piece of oil cloth onto the canvas.^[fourteen] Subsequent compositions, such as Guitar, Newspaper, Drinking glass and Canteen (1913) in which Picasso used paper clippings to create forms, is early collage that became categorized equally part of synthetic cubism. The two artists incorporated aspects of the "real world" into their canvases, opening up discussion of signification and artistic representation.

Marcel Duchamp in 1915 introduced the concept of the readymade, in which "industrially produced commonsensical objects...achieve the condition of art merely through the process of pick and presentation."^[fifteen] Duchamp explored this notion as early every bit 1913 when he mounted a stool with a bicycle wheel and once more in 1915 when he purchased a snow shovel and inscribed information technology "in advance of the broken arm, Marcel Duchamp."^{[xvi] [17]} In 1917, Duchamp organized the submission of a readymade into the Society of Independent Artists exhibition under the pseudonym, R. Mutt.^[xviii] Entitled Fountain, it consisted of a porcelain urinal that was propped atop a pedestal and signed "R. Mutt 1917". The work posed a direct claiming, starkly juxtaposing to traditional perceptions of fine fine art, buying, originality and plagiarism, and was after rejected by the exhibition commission.^[19] The New York Dada magazine The Blind Man defended Fountain, claiming "whether Mr. Mutt with his own hands fabricated the fountain or not has no importance. He CHOSE it.^[20] He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and bespeak of view—and created a new thought for that object."^[19]

The Dada movement continued to play with the appropriation of everyday objects and their combination in collage. Dada works featured deliberate irrationality and the rejection of the prevailing standards of fine art. Kurt Schwitters shows a similar sensibility in his "merz" works. He constructed parts of these from found objects,^[21] and they took the form of big gesamtkunstwerk constructions that are now called installations.

During his Dainty Period (1908–thirteen), Henri Matisse painted several paintings of odalisques, inspired by Delacroix Women of Algiers.^{[22] [23] [24]}

The Surrealists, coming afterward the Dada movement, too incorporated the use of 'plant objects', such as Méret Oppenheim'southward Object (Tiffin in Fur) (1936) or Salvador Dalí's Lobster Telephone (1936). These plant objects took on new significant when combined with other unlikely and unsettling objects.

1950–1960: Pop fine art and realism [edit]

In the 1950s, Robert Rauschenberg used what he dubbed "combines", combining readymade objects such as tires or beds, painting, silk-screens, collage, and photography. Similarly, Jasper Johns, working at the same fourth dimension every bit Rauschenberg, incorporated found objects into his work.

In 1958 Bruce Conner produced the influential A Movie in which he recombined existing motion-picture show clips. In 1958 Raphael Montanez Ortiz produced Cowboy and Indian Film, a seminal appropriation film work.^{[ citation needed ]}

The Fluxus fine art motion likewise utilized appropriation:^{[ commendation needed ]} its members blended unlike artistic disciplines including visual fine art, music, and literature. Throughout the 1960s and 1970s they staged "action" events and produced sculptural works featuring anarchistic materials.

In the early on 1960s artists such as Claes Oldenburg and Andy Warhol appropriated images from commercial art and popular culture every bit well every bit the techniques of these industries with for example Warhol painting Coca-Cola bottles.^[25] Called "pop artists", they saw mass popular culture equally the chief vernacular culture, shared by all irrespective of instruction. These artists fully engaged with the ephemera produced from this mass-produced civilization, embracing expendability and distancing themselves from the evidence of an creative person's paw.

Among the most famous pop artists, Roy Lichtenstein became known for appropriating pictures from comics books with paintings such equally Masterpiece (1962) or Drowning Girl (1963) and from famous artists such as Picasso or Matisse.^[26]

Elaine Sturtevant (as well known only equally Sturtevant), on the other mitt, created replicas of famous works by her contemporaries. Artists she 'copycatted' included Warhol, Jasper Johns, Joseph Beuys, Duchamp, James Rosenquist, Roy Lichtenstein, and more. While not exclusively reproducing Pop Art, that was a significant focus of her do.^[27] She replicated Andy Warhol'south Flowers in 1965 at the Bianchini Gallery in New York. She trained to reproduce the artist'south own technique—to the extent that when Warhol was repeatedly questioned on his technique, he in one case answered "I don't know. Ask Elaine."^[28]

In Europe, a grouping of artists called the New Realists used objects such as the sculptor Cesar^[29] who compressed cars to create monumental sculptures or the artist Arman^[30] who included everyday machine-made objects—ranging from buttons and spoons to automobiles and boxes filled with trash.

The German artists Sigmar Polke and his friend Gerhard Richter who divers "Capitalist Realism," offered an ironic critique of consumerism in postal service-war Germany. They used pre existing photographs and transformed them. Polke's best-known works were his collages of imagery from popular culture and advert, like his "Supermarkets" scene of super heroes shopping at a grocery store.^[31]

1970–1980: The Picture Generation and Neo Popular [edit]

Whilst cribbing in bygone eras utilised the likes of 'language', contemporary cribbing has been symbolised by photography as a ways of 'semiotic models of representation'.^[32] The Pictures Generation was a group of artists, influenced by Conceptual and Pop art, who utilized cribbing and montage to reveal the constructed nature of images.^[33] 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.

Sherrie Levine, who addressed the human activity of appropriating itself as a theme in fine art.^[34] Levine often quotes unabridged works in her own piece of work, for instance photographing photographs of Walker Evans. Challenging ideas of originality, drawing attention to relations between power, gender and inventiveness, consumerism and commodity value, the social sources and uses of art, Levine plays with the theme of "well-nigh same".

During the 1970s and 1980s Richard Prince re-photographed advertisements such as for Marlboro cigarettes^[35] or photo-journalism shots. His work takes anonymous and ubiquitous cigarette billboard advertising campaigns, elevates the status and focuses our gaze on the images.

Cribbing artists comment on all aspects of culture and society. Joseph Kosuth appropriated images to engage with epistemology and metaphysics.

Other artists working with appropriation during this time with included Greg Colson, and Malcolm Morley.^{[ citation needed ]}

In the late 1970s Dara Birnbaum was working with cribbing to produce feminist works of art.^[36] In 1978-79 she produced one of the first video appropriations. Engineering/Transformation: Wonder Adult female utilised video clips from the Wonder Woman goggle box series.^[37]

Richard Pettibone began replicating on a miniature calibration works by newly famous artists such as Andy Warhol, and later besides modernist masters, signing the original creative person's proper noun every bit well as his own.^{[38] [31]}

Jeff Koons gained recognition in the 1980 by creating conceptual sculptures The New series, a series of vacuum-cleaners, often selected for brand names that appealed to the artist similar the iconic Hoover, and in the vein of the readymades of Duchamp. Later he created sculptures in stainless steel inspired by inflatable toys such every bit bunnies or dogs.^{[39] [40]}

1990s [edit]

In the 1990s artists continued to produce appropriation art, using it as a medium to accost theories and social bug, rather than focussing on the works themselves. Damian Loeb used film and picture palace to comment on themes of simulacrum and reality. Other high-profile artists working at this time included Christian Marclay, Deborah Kass, and Genco Gulan.^[41]

Yasumasa Morimura is a Japanese appropriation creative person who borrows images from historical artists (such as Édouard Manet or Rembrandt) to mod artists as Cindy Sherman, and inserts his own face up and body into them.^[42]

Sherrie Levine appropriated the appropriated when she made polished cast bronze urinals named Fountain. They are considered to be an "homage to Duchamp'south renowned readymade. Calculation to Duchamp's audacious move, Levine turns his gesture back into an "fine art object" by elevating its materiality and stop. Every bit a feminist artist, Levine remakes works specifically by male artists who commandeered patriarchal dominance in art history."^[43]

21st century [edit]

Appropriation is oft used by gimmicky artists who often reinterpret previous artworks such as French artist Zevs who reinterpreted logos of brands like Google or works by David Hockney.^[44] Many urban and street artists besides use images from the popular civilization such as Shepard Fairey or Banksy,^[45] who appropriated artworks by Claude Monet or Vermeer with his girl with a pierced eardrum.^[46]

Canadian Cree artist Kent Monkman appropriates iconic paintings from European and North American fine art history and populates them with Ethnic visions of resistance.^[47]

In 2014 Richard Prince released a series of works titled New Portraits appropriating the photos of anonymous and famous persons (such equally Pamela Anderson) who had posted a selfie on Instagram.The modifications to the images by the artist are the comments Prince added under the photos.^{[48] [49]}

Damien Hirst was accused in 2018 of appropriating the work of Emily Kngwarreye and others from the painting customs in Utopia, Northern Territory with the Veil paintings, that co-ordinate to Hirst were "inspired by Pointillist techniques and Impressionist and Post-Impressionist painters such equally Bonnard and Seurat".^{[50] [51] [52] [53]}

Mr. Educate^[54] is an urban artist who became famous thanks to Banksy and whose style fuses historic pop imagery and contemporary cultural iconography to create his version of a popular–graffiti fine art hybrid first popularized by other street artists.^[55]

Brian Donnelly, known as Kaws, has used appropriation in his serial, The Kimpsons, and painted The Kaws Album inspired by the Simpsons Yellowish Album which itself was a parody of the cover art for the Beatles anthology Sgt. Pepper'due south Lonely Hearts Club Band replaced with characters from the Simpsons.^[56] On April 1, 2019, at Sotheby's in Hong Kong, The Kaws Album (2005), sold for 115.ix million Hong Kong dollars, or nearly $xiv.7 meg U.S. dollars.^[57] In add-on, he has reworked other familiar characters such equally Mickey Mouse, the Michelin Man, the Smurfs, Snoopy, and SpongeBob SquarePants.^[58]

In the digital age [edit]

Since the 1990s, the exploitation of historical precursors is as multifarious as the concept of appropriation is unclear. An unparalleled quantity of appropriations pervades non only the field of the visual arts, simply of all cultural areas. The new generation of appropriators considers themselves "archeolog[es] of the present time".^[59] Some speak of "postproduction", which is based on pre-existing works, to re-edit "the screenplay of culture".^[sixty] The annexation of works made past others or of available cultural products mostly follows the concept of employ. And so-called "prosumers"^[61]—those consuming and producing at the aforementioned time—scan through the ubiquitous archive of the digital earth (more than seldom through the analog i), in club to sample the ever accessible images, words, and sounds via 'copy-paste' or 'drag-drop' to 'bootleg', 'mashup' or 'remix' them simply every bit ane likes. French curator Nicolas Bourriaud coined the neologism Semionaut – a portmanteau of semiotics and astronaut – to describe this. He writes: "DJs, Web surfers, and postproduction artists imply a similar configuration of knowledge, which is characterized past the invention of paths through culture. All three are "semionauts" who produce original pathways through signs."^[62] Appropriations have today become an everyday phenomenon.

The new "generation remix"^[63]—who have taken the stages not simply of the visual arts, just also of music, literature, dance and picture—causes, of course, highly controversial debates. Media scholars Lawrence Lessig coined in the begin of the 2000s here the term of the remix culture.^[64] On the 1 paw are the celebrators who foresee a new historic period of innovative, useful, and entertaining ways for art of the digitized and globalized 21st century. The new appropriationists will not only realize Joseph Beuys' dictum that everyone is an artist but likewise "build free societies".^[65] Past liberating art finally from traditional concepts such every bit aureola, originality, and genius, they volition atomic number 82 to new terms of understanding and defining fine art. More critical observers encounter this as the starting indicate of a huge problem. If creation is based on zero more than than carefree processes of finding, copying, recombining and manipulating pre-existing media, concepts, forms, names, etc. of any source, the understanding of fine art will shift in their sight to a trivialized, low-demanding, and regressive activeness. In view of the limitation of fine art to references to pre-existing concepts and forms, they foresee endless recompiled and repurposed products. Skeptics call this a culture of recycling with an addiction to the past^[66]

Some say that merely lazy people who have zero to say let themselves be inspired by the past in this way.^[67] Others fear, that this new trend of cribbing is caused by zip more than the wish of embellishing oneself with an attractive genealogy.^[68] The term appropriationism ^[69] reflects the overproduction of reproductions, remakings, reenactments, recreations, revisionings, reconstructings, etc. by copying, imitating, repeating, quoting, plagiarizing, simulating, and adapting pre-existing names, concepts and forms. Appropriationism is discussed—in comparison of appropriation forms and concepts of the 20th century which offering new representations of established cognition^[70]—every bit a kind of "racing standstill",^[71] referring to the acceleration of random, uncontrollable operations in highly mobilised, fluid Western societies that are governed more and more by abstruse forms of control. Unlimited access to the digital archive of creations and hands viable digital technologies, as well equally the priority of fresh ideas and creative processes over a perfect masterpiece leads to a hyperactive hustle and hurry around the past instead of launching new expeditions into unexplored territory that could requite visibility to the forgotten ghosts and ignored phantoms of our common myths and ideologies.

Appropriation art and copyright [edit]

Cribbing art has resulted in contentious copyright issues regarding its validity nether copyright law. The U.South. has been specially litigious in this respect. A number of case police examples have emerged that investigate the sectionalisation betwixt transformative works and derivative works.^[72]

What is off-white use? [edit]

The Copyright Human action of 1976 in the U.s., provides a defense confronting copyright infringement when an artist tin can testify that their use of the underlying work is "off-white".

The Human action gives four factors to be considered to decide whether a particular utilise is a off-white utilise:

1. the purpose and character of the use (commercial or educational, transformative or reproductive, political);
2. the nature of the copyrighted work (fictional or factual, the degree of creativity);
3. the amount and substantiality of the portion of the original piece of work used; and
4. the effect of the utilize upon the market (or potential market) for the original work.

Examples of lawsuits [edit]

Andy Warhol faced a series of lawsuits from photographers whose work he appropriated and silk-screened. Patricia Caulfield, one such photographer, had taken a picture show of flowers for a photography demonstration for a photography magazine. Without her permission, Warhol covered the walls of Leo Castelli'southward New York gallery with his silk-screened reproductions of Caulfield'southward photograph in 1964. Afterward seeing a poster of Warhol's unauthorized reproductions in a bookstore, Caulfield sued Warhol for violating her rights as the copyright owner, and Warhol fabricated a cash settlement out of court.^[73]

In 2021, the Second Circuit held that Warhol's use of a photograph of Prince to create a serial of xvi silkscreens and pencil illustrations was non fair use. The photograph, taken by celebrity photographer Lynn Goldsmith, was deputed in 1981 equally an artist reference for Newsweek magazine. In 1984, Warhol used the photograph as a source to create a piece of work for Vanity Fair along with 15 additional pieces. Goldsmith was not made enlightened of the series until subsequently the musician's death in 2016, when Condé Nast published a tribute featuring one of Warhol'southward works. In its opinion, the Court held that each of the four "off-white apply" factors favored Goldsmith, further finding that the works were essentially like equally a thing of law, given that "any reasonable viewer . . . would have no difficulty identifying the [Goldsmith photograph] equally the source cloth for Warhol'southward Prince Series."^[74]

On the other hand, Warhol'due south famous Campbell's Soup Cans are generally held to be a not-infringing fair employ of the soup maker's trademark, despite existence clearly appropriated, because "the public [is] unlikely to run into the painting every bit sponsored past the soup company or representing a competing product. Paintings and soup cans are non in themselves competing products," according to expert trademark lawyer Jerome Gilson.^[75]

Jeff Koons has also confronted problems of copyright due to his appropriation work (see Rogers v. Koons). Photographer Art Rogers brought suit against Koons for copyright infringement in 1989. Koons' work, String of Puppies sculpturally reproduced Rogers' black-and-white photograph that had appeared on an airdrome greeting bill of fare that Koons had bought. Though he claimed fair use and parody in his defense force, Koons lost the example, partially due to the tremendous success he had every bit an artist and the fashion in which he was portrayed in the media.^{[ citation needed ]} The parody argument also failed, as the appeals court drew a distinction between creating a parody of modernistic society in full general and a parody directed at a specific piece of work, finding parody of a specific work, particularly of a very obscure i, too weak to justify the fair use of the original.

In October 2006, Koons successfully defended a different piece of work by claiming "fair use". For a seven-painting commission for the Deutsche Guggenheim Berlin, Koons drew on part of a photograph taken by Andrea Flinch titled Silk Sandals past Gucci and published in the Baronial 2000 issue of Attraction mag to illustrate an commodity on metallic makeup. Koons took the epitome of the legs and diamond sandals from that photo (omitting other background details) and used it in his painting Niagara, which also includes three other pairs of women's legs dangling surreally over a landscape of pies and cakes.

In his determination, Judge Louis L. Stanton of U.S. District Courtroom found that Niagara was indeed a "transformative employ" of Blanch'south photograph. "The painting's use does not 'supersede' or indistinguishable the objective of the original", the judge wrote, "only uses it as raw material in a novel way to create new information, new aesthetics and new insights. Such utilise, whether successful or non artistically, is transformative."

The detail of Flinch'southward photo used by Koons is only marginally copyrightable. Blanch has no rights to the Gucci sandals, "perhaps the most striking chemical element of the photograph", the estimate wrote. And without the sandals, just a representation of a woman'south legs remains—and this was seen as "not sufficiently original to deserve much copyright protection."

In 2000, Damien Hirst's sculpture Hymn (which Charles Saatchi had bought for a reported £1m) was exhibited in Pismire Noises in the Saatchi Gallery. Hirst was sued for alienation of copyright over this sculpture. The subject was a 'Young Scientist Anatomy Ready' belonging to his son Connor, 10,000 of which are sold a yr by Hull (Emms) Toy Manufacturer. Hirst created a 20-human foot, vi-ton enlargement of the Science Gear up figure, radically changing the perception of the object. Hirst paid an undisclosed sum to 2 charities, Children Nationwide and the Toy Trust in an out-of-court settlement. The charitable donation was less than Emms had hoped for. Hirst sold three more copies of his sculpture for similar amounts to the offset.^[76]

Appropriating a familiar object to make an art work can prevent the creative person challenge copyright ownership. Jeff Koons threatened to sue a gallery under copyright, challenge that the gallery infringed his proprietary rights by selling bookends in the shape of balloon dogs.^[77] Koons abandoned that claim after the gallery filed a complaint for declaratory relief stating, "Equally almost whatever clown can adjure, no one owns the thought of making a balloon canis familiaris, and the shape created by twisting a airship into a domestic dog-like form is office of the public domain."^[78]

In 2008, photojournalist Patrick Cariou sued artist Richard Prince, Gagosian Gallery and Rizzoli books for copyright infringement. Prince had appropriated xl of Cariou'due south photos of Rastafari from a volume, creating a series of paintings known as Canal Zone. Prince variously altered the photos, painting objects, oversized hands, naked women and male torsos over the photographs, subsequently selling over $10 1000000 worth of the works. In March 2011, a estimate ruled in favor of Cariou, but Prince and Gargosian appealed on a number of points. Iii judges for the U.Due south. Courtroom of Appeals upheld the correct to an appeal.^[79] Prince's attorney argued that "Cribbing art is a well-recognized modern and postmodern fine art form that has challenged the manner people remember about art, challenged the way people call back virtually objects, images, sounds, culture"^[lxxx] On Apr 24, 2013, the appeals court largely overturned the original conclusion, deciding that many of the paintings had sufficiently transformed the original images and were therefore a permitted utilize.^[81] See Cariou v. Prince. ^[82]

In Nov 2010, Chuck Shut threatened legal action against computer artist Scott Blake for creating a Photoshop filter that congenital images out of dissected Chuck Shut paintings.^{[83] [84]} The story was first reported by online arts magazine Hyperallergic, it was reprinted on the front end page of Salon.com, and spread rapidly through the web.^[85] Kembrew McLeod, author of several books on sampling and appropriation, said in Wired that Scott Blake's fine art should fall under the doctrine of fair use.^[86]

In September 2014, U.S. Courtroom of Appeals for the 7th Excursion questioned the 2nd Circuit's interpretation of the fair use doctrine in the Cariou case. Of item note, the Seventh Circuit noted that "transformative employ" is non one of the four enumerated fair use factors but is, rather, but function of the outset fair employ factor which looks to the "purpose and character" of the use. The 7th Circuit's critique lends acceptance to the argument that in that location is a split among U.Southward. courts as to what part "transformativeness" is to play in whatsoever fair use research.^[82]

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 betwixt the Cariou case and the Salinger v. Colting instance, articulating concerns that judges may exist creating a fair use "privilege largely reserved for the rich and famous."^[87]

Artists using appropriation [edit]

The following are notable artists known for their use of pre-existing objects or images with petty or no transformation applied to them:

• Higher up
• Ai Kijima
• Aleksandra Mir
• Andy Warhol
• Banksy
• Barbara Kruger
• Benjamin Edwards
• Bern Porter
• Bill Jones
• Brian Dettmer
• Burhan Dogancay
• Christian Marclay
• Cindy Sherman
• Claes Oldenburg
• Cornelia Sollfrank
• Cory Arcangel
• Craig Baldwin
• Damian Loeb
• Damien Hirst
• David Salle
• Deborah Kass
• Dominique Mulhem
• Dorothy Cross
• Douglas Gordon
• Elaine Sturtevant
• Eric Doeringer
• Fatimah Tuggar
• Felipe Jesus Consalvos
• Genco Gulan
• General Idea
• George Pusenkoff
• Georges Braque
• Gerhard Richter
• Ghada Amer
• Glenn Brown
• Gordon Bennett
• Graham Rawle
• Graig Kreindler
• Greg Colson
• Hank Willis Thomas
• Hans Haacke
• Hans-Peter Feldman
• J. Tobias Anderson
• Jake and Dinos Chapman
• James Cauty
• Jasper Johns
• Jeff Koons
• Jim Ricks
• Joan Miró
• Jodi
• John Baldessari
• John McHale
• John Stezaker
• Joseph Cornell
• Joseph Kosuth
• Joy Garnett
• Kaws
• Karen Kilimnik
• Kelley Walker
• Kenneth Goldsmith
• Kurt Schwitters
• Lennie Lee
• Leon Golub
• Louise Lawler
• Luc Tuymans
• Luke Sullivan
• Malcolm Morley
• Marcel Duchamp
• Marcus Harvey
• Marking Divo
• Marlene Dumas
• Martin Arnold
• Matthieu Laurette
• Max Ernst
• Meret Oppenheim
• Mic Neumann
• Michael Landy
• Michel Platnic
• Mike Bidlo
• Mike Kelley
• Miltos Manetas
• Mohammad Rakibul Hasan
• Nancy Spero
• Negativland
• Nikki South. Lee
• Norm Magnusson
• PJ Crook
• Pablo Picasso
• Sigmar Polke
• People Like United states
• Peter Saville
• Philip Taaffe
• Pierre Bismuth
• Pierre Huyghe
• Reginald Case
• Richard Prince
• Rick Prelinger
• Rob Scholte
• Robert Longo
• Robert Rauschenberg
• Shepard Fairey
• Sherrie Levine
• Stephanie Syjuco
• System D-128
• Ted Noten
• Thomas Ruff
• Tom Phillips
• Vermibus
• Vik Muniz
• Vikky Alexander
• Vivienne Westwood
• Yasumasa Morimura

See also [edit]

• Art intervention
• Aggregation
• Classificatory disputes about art
• Collage
• Conceptual fine art
• Copies by Vincent van Gogh
• Cultural appropriation
• Decollage
• Fair employ
• Constitute object
• Postmodern fine art
• Scratch video

References [edit]

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Sources [edit]

• David Evans, Appropriation: Documents of Contemporary Art, Cambridge: MIT Press 2009

Further reading [edit]

• Margot Lovejoy, Digital Currents: Art in the Electronic Historic period Routledge 2004.
• (es) Juan Martín Prada (2001) La Apropiación Posmoderna: Arte, Práctica apropiacionista y Teoría de la Posmodernidad. Fundamentos. ISBN 978 84 2450 8814.
• Brandon Taylor, Collage, Thames & Hudson Ltd, 2006, p. 221.

External links [edit]

• Michalis Pichler: Statements on Cribbing
• Appropriation Art Coalition-Canada
• Blanche v. Koons Decision (August 2005)
• Koons Wins Landmark Copyright Lawsuit 1/2006
• Koons wins appeal (2006)
• Creative Commons
• Free Culture an international pupil movement
• The New York Institute for the Humanities Comedies of Fair U$e conference (Archive.org)
• Open up Source Culture: Intellectual Holding, Technology, and the Arts, Columbia Digital Media Middle lecture serial
• Public Domain
• Sherri Levine Interview
• Duchamp
• Lichtenstein
• Warhol
• transordinator/edition Remixing conceptual artworks
• Temporary appropriation or in Wikipedia Temporary appropriation.

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Source: https://en.wikipedia.org/wiki/Appropriation_(art)

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