n. art that is usually exhibited and delivered in a conventional context but that make fun of serious art or the artistic establishment or challenges the nature of art.
Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the Dada movement and is generally accepted as attributable to Marcel Duchamp pre- World War I around 1914, when he began to use found objects as art. It was used to describe revolutionary forms of art. The term was used later by the Conceptual artists of the 1960s to describe the work of those who claimed to have retired altogether from the practice of art, from the production of works which could be sold.
An expression of anti-art may or may not take traditional form or meet the criteria for being defined as a work of art according to conventional standards. Indeed, works of anti-art may express an outright rejection of having conventionally defined criteria as a means of defining what art is, and what it is not. Anti-artworks may reject conventional artistic standards altogether, or focus criticism only on certain aspects of art, such as the art market and high art. Some anti-artworks may reject individualism in art., whereas some may reject "universality" as an accepted factor in art. Additionally, some forms of anti-art reject art entirely, or reject the idea that art is a separate realm or specialization. Anti-artworks may also reject art based upon a consideration of art as being oppressive of a segment of the population.
Anti-art artworks may articulate a disagreement with the generally supposed notion of there being a separation between art and life. Indeed, anti-art artworks may voice a question as to whether "art" really exists or not. "Anti-art" has been referred to as a "paradoxical neologism," in that its ostensible opposition to art has been observed concurring with staples of twentieth-century art or "modern art," in particular art movements that have self-consciously sought to transgress traditions or institutions. Anti-art itself is not a distinct art movement, however. This would tend to be indicated by the time it spans—longer than that usually spanned by art movements. Some art movements though, are labeled "anti-art". The Dada movement is generally considered the first anti-art movement; the term anti-art itself is said to have been coined by Dadaist Marcel Duchamp around 1914, and his readymades have been cited as early examples of anti-art objects. Theodor W. Adorno in Aesthetic Theory (1970) stated that "...even the abolition of art is respectful of art because it takes the truth claim of art seriously."
Anti-art has become generally accepted by the artworld to be art, although some people still reject Duchamp's readymades as art, for instance the Stuckist group of artists, who are " anti-anti-art".
Usage examples of "anti-art".
There he unerringly sought out, and slyly, lazily pandered to, whatever was the most "anti-serious, anti-art.