美国论文代写价格
Throughout history, it has been clear that the “art object” is referred to the piece produced by the artist. Since the renaissance, paintings and sculptures were a perfect example of the art object, a piece that would require visual contemplation and would be available whenever wished by the spectator. However, different artists challenged this aspect at the beginning of the 20th century. (Bronzino A, 1999) Artists such as Ana Mendieta began to experiment with the way in which the art object was depicted, and as a result turned art into ephemeral and broke the limitations set to the art object. Mendieta mainly presents such challenge on her “Silueta” series, in which she uses her own naked body to mark her silhouette on the ground, which then is destroyed by nature itself. Mendieta’s works such as “First Silueta” or “Glass on Body”, illustrate how Mendieta uses her own naked body as the art object, such objectification of her body changes the way in which art objects have been depicted on the past by giving the artist (subject), the title of the object. Moreover, the fact that Mendieta organized these happenings only once, and that the silhouettes created by the artists were then destroyed by nature or in one way dematerialized, gave these works a time-based duration. Although Mendieta created ephemeral works, which can only be appreciated while they last, one could give these works a label of uniqueness which helps to understand that Medieta’s works don’t fall under the category of durable artwork that cannot be maintained in a museum, completely changing the depiction of art as a static object. (Aldershot, 1998)
美国论文代写价格
纵观历史，它已明确表示，“艺术品”是指由艺术家制作的一块。文艺复兴以来，绘画和雕塑艺术的一个对象的完美的例子，一个需要视觉沉思，可每当希望的观众。然而，不同的艺术家质疑这一方面在开始的第二十个世纪。（Bronzino一，1999）的艺术家如门迭塔开始尝试在艺术对象被描绘的方式，作为一个结果，打破了艺术进入短暂的艺术对象的局限性。门迭塔主要呈现这样的挑战她的“silueta”系列中，她用她自己的赤裸的身体在地面上她的轮廓标记，然后通过自然的破坏。门迭塔的作品如“第一silueta”或“玻璃”，说明门迭塔用她自己的赤裸的身体作为艺术的对象，这种对象化自己的身体变化，艺术品被描绘在过去给艺术家的方式（主体），该对象的名称。此外，事实上，门迭塔组织了这些事情只有一次，并由艺术家创造的身影，然后由自然或这样消失的破坏，给这些作品基于时间的持续时间。虽然门迭塔创造了短暂的工作，才能欣赏而上，可以给这些作品标签的唯一性，有助于理解梅迪埃特的作品不属于耐用的艺术品的范畴，不能维持在一个博物馆，彻底改变了艺术描写为一个静态的物体。（奥尔德肖特，1998）
