1. “Mona Lisa with a Mustache” by Marcel Duchamp (1919)
- How it Works: Duchamp added a mustache and goatee to a postcard of Leonardo da Vinci’s “Mona Lisa.”
- Target: The original “Mona Lisa” and the reverence for classical art.
- Implied Criticism: Challenges the sanctity and untouchable status of famous artworks, questioning what constitutes art.
2. “Fountain” by Marcel Duchamp (1917)
- How it Works: A porcelain urinal signed “R. Mutt.”
- Target: Traditional sculpture and art institutions.
- Implied Criticism: Questions the art establishment’s conventions and definitions of art, particularly what constitutes a sculpture.
3. “BLT” by Banksy (2001)
- How it Works: A spray-painted artwork depicting a sandwich with the letters “BLT” in graffiti style.
- Target: Traditional still life paintings of food.
- Implied Criticism: Contrasts high art with everyday subjects, poking fun at the seriousness of classical still life.
4. Banksy’s “Napalm”
- How It Works: Banksy’s “Napalm” reimagines the famous Vietnam War photograph of a girl fleeing a napalm attack.
- Target: The original photograph and consumerism.
- Criticism: It criticizes the way society becomes desensitized to the horrors of war and juxtaposes innocent childhood with the grim reality of conflict.
5. “The Physical Impossibility of Death in the Mind of Someone Living” by Damien Hirst (1991)
- How it Works: A tiger shark preserved in formaldehyde in a vitrine.
- Target: Traditional display methods in museums and galleries.
- Implied Criticism: Questions the nature of art exhibitions and the commodification of contemporary art.
6. “Drowning Girl” by Roy Lichtenstein (1963)
- How it Works: A comic-strip style painting of a girl drowning, with a melodramatic caption.
- Target: Pop culture, particularly comic strips and melodramatic storytelling.
- Implied Criticism: Highlights the superficiality and formulaic nature of mass-produced entertainment.
7. “Hopeless” by Roy Lichtenstein (1963)
- How it Works: Another comic-strip style painting depicting a crying woman.
- Target: Pop art and comic book style.
- Implied Criticism: Satirizes the portrayal of women in media and the oversimplification of complex emotions.
8. “Self Portrait as a Fountain” by Bruce Nauman (1966-67)
- How it Works: A photograph of the artist spouting water from his mouth.
- Target: Traditional self-portraits and classical sculptures of fountains.
- Implied Criticism: Mocks the grandiosity and self-importance often found in artistic self-portraits.
9. “Campbell’s Soup Cans” by Andy Warhol (1962)
- How it Works: A series of paintings depicting Campbell’s soup cans.
- Target: Consumer culture and commercial art.
- Implied Criticism: Reflects on the mass production and mundanity of consumer goods, challenging what is considered art.
10. “Erased de Kooning Drawing” by Robert Rauschenberg (1953)
- How it Works: Rauschenberg erased a drawing by Willem de Kooning.
- Target: The concept of originality and creation in art.
- Implied Criticism: Suggests that the act of erasing or destroying can also be a creative act, challenging traditional notions of art.
11. “My Bed” by Tracey Emin (1998)
- How it Works: An installation of the artist’s own unmade, messy bed.
- Target: Traditional sculpture and installation art.
- Implied Criticism: Confronts ideas of intimacy and private vs. public spaces in art, challenging what can be considered an art object.
12. Shepard Fairey’s “Obey”
- How It Works: A series of artworks and posters featuring the word “Obey” and an image of wrestler André the Giant.
- Target: Advertising, propaganda, and authoritarian imagery.
- Criticism: Highlights the mindless obedience expected in society and the manipulative nature of imagery in media.
13. “Space Invaders” Mosaic Street Art
- How It Works: Small, colored tiles arranged to form images resembling characters from the 1978 arcade game Space Invaders.
- Target: Video game culture and street art.
- Criticism: Reflects on the invasion of digital culture in our lives and the playful yet subversive nature of street art.
14. Adbusters Magazine Covers
- How It Works: Magazine covers that mimic popular advertisements or magazines, altering them to convey a different message.
- Target: Consumer culture and specific brands.
- Criticism: Critiques the manipulative nature of advertising and consumerism.
15. Eduardo Paolozzi’s “I was a Rich Man’s Plaything”
- How It Works: Collage featuring comic book imagery, consumer goods, and a phrase “Pop!”
- Target: Pop culture and consumerism.
- Criticism: Questions the cultural obsession with consumer goods and the superficial nature of pop culture.
16. Guerrilla Girls’ Artwork
- How It Works: Anonymous artist group producing posters that critique the art world, often using humor and statistics.
- Target: Sexism and racism in the art world.
- Criticism: Calls out the underrepresentation of women and non-white artists in museums and galleries.
17. Maurizio Cattelan’s “The Ninth Hour”
- How It Works: Sculpture of Pope John Paul II being struck by a meteorite.
- Target: The Catholic Church and its leadership.
- Criticism: Comments on the vulnerability of religious institutions and possibly the questioning of faith in modern times.
18. Yoko Ono’s “Cut Piece”
- How It Works: Performance art where Ono invited the audience to cut pieces from her clothing.
- Target: Traditional gender roles and passive portrayal of women in art.
- Criticism: Demonstrates the objectification and vulnerability of women, challenging the viewer’s participation in these societal norms.
19. “The Banality Series” by Jeff Koons (1988)
How it Works:
In “The Banality Series,” Jeff Koons produced a series of sculptures that replicate kitsch objects, such as Michael Jackson with his pet chimpanzee, Bubbles, made in porcelain. These sculptures are exaggerated and polished to the point of absurdity.
Target of the Parody:
This series targets both the art world’s snobbery and the mass culture’s obsession with celebrity and kitsch. It also mocks the commercialization of art.
Implied Criticism:
Koons is critiquing the elitism of the art world, which often dismisses popular culture, and the shallowness of consumer culture. By elevating kitschy objects to the status of high art, he blurs the line between high and low culture, challenging the audience’s perceptions of value and taste in art.
20. “Freedom of Expression National Monument” by Laurie Hawkinson, John Malpede, and Erika Rothenberg (1984)
How it Works:
This artwork is a large-scale outdoor sculpture resembling a giant megaphone. It was originally installed in Foley Square, New York City, and later moved to other locations. It invited passersby to speak freely into the megaphone.
Target of the Parody:
The sculpture targets the concept of “freedom of speech” in America, particularly in public spaces.
Implied Criticism:
By creating a literal platform for free speech, the artists are critiquing the limitations and contradictions inherent in the idea of free speech in society. The oversized, almost comical nature of the megaphone highlights the often superficial nature of public discourse on freedom of speech, suggesting that while the concept is loudly proclaimed, it may not always be effectively practiced or heard.
