The utilization of ready-made content is a powerful current in contemporary art, taking the form of such practices as parody, rephotography, photomontage, simulation, and quotation. Whether used in part or in whole, appropriated imagery is often intended to question meaning and originality in contemporary culture. Yet, despite its ubiquity, the incorporation of pre-existing imagery is not without risk. Since the 1960s, copyright cases have escalated among notable artists, such as Andy Warhol and Jeff Koons. In many such cases, the unlicensed reusage of imagery plays a strong role in the creation of message, particularly with works intended to be a commentary on consumerism or popular culture. Yet, some artists, such as American photographer Richard Prince, seem to create artworks in order to invite legal reprisal, as if ensuing copyright lawsuits are the true subject matter, not the appropriated content itself. The purpose of this article is to explore and introduce a new artistic category, which the author classifies as legal performance art. Participants range from legal counsel and the judiciary to members of the press and the consuming public. Pleadings, exhibits, and press coverage become part of conceptual framework of the performance. This radical shift in venue and scope challenges the traditional definition of the artwork, fragmenting it amongst countless sites, thereby revolutionizing the concepts of production, participation, and viewership.
A visit to an art institution is expected to require visitors displaying certain etiquette and adopting certain social conventions. For example, the architecture of the building and the physical context of the galleries as well as the spatial arrangement and the gilded framing of the exhibits seem to raise certain expectations while informing and shaping visitors' decorum. Nevertheless, visiting a museum is also a social event with the majority of visitors arriving as part of a group. Following Goffman's dramaturgy and frame analysis theory, this article draws upon videotaped fragments of visitors at least in dyads at the Courtauld Gallery, London, UK, in order to explore their embodied visiting and viewing practices. By focusing on the ways visitors connect with the collection as well as socially share parts of their experience with each other, this article aims at challenging the notion of the visitor being static and the museum experience being ocular centric.
The perception of three-dimensional sculptural forms is quite different from two-dimensional art works such as painting and drawing. Though both are considered forms of artistic production, the distinction is the tactual and kinesthetic sensations of the three-dimensional sculptural forms. The understanding of the perception of sculptural forms adds another dimension to cognitive and emotive qualities embedded in art. The emotions evoked while observing, knowing, touching, and feeling a sculpture, as well as the experiences of working, creating, and producing one, affect an individual’s perception. People with dementia who develop visual and perceptual difficulties may gradually have a different experience of sculpture. The materiality of a sculpture and its tactile engagement have the capacity to influence their perception. With spatial errors, changes in color, and misperceptions, there is a possibility that they see, appreciate, and experience, in a different way, both physical sculptural forms and those that are mediated through digital technology.