Appropriation

 

 
"I am really proud to be a part in whatever way of women becoming active in the political scene. I think it was the first time that people came to terms with the reality of what it meant to have a Senate made up of 98 men and two women." - Anita Hill
Anita Hill testifying during Senate confirmation hearing of
Justice Clarence Thomas in 1991
http://cache.daylife.com/imageserve/0g8c4HA4Us78J/610x.jpg

Book Pages 26 - 30 Due!

 

 

 

 

 

 

 

 

 

 

Litta Madonna

Leonardo da Vinci . Madonna and Child. 1482.
http://www.hermitagemuseum.org/html_En/03/hm3_3_1b.html
Cindy Sherman. Untitled #216. 1990.
http://courses.washington.edu/englhtml/cgi-bin/parody/trees2.html
 
Appropriation = the use of found or borrowed elements in the creation of a new artwork
 
 
Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction
In an age when images can be reproduced endlessly, there is no original
"Aura" is the feeling of awe created by unique object from the past
Capitalism destroys the aura because of proliferation, mass production and endless reproduction
 
The Story of Stuff

 

 

 

 

 

 

 

 

 

 

Virgin and Child with Saints

255
Jean Fouqot. Virgin and Child with Angels. c. 1432 - 55.
Cindy Sherman.  Untitled #225.  1990.

 

 

 

 

 

 

 

 

 

 

Giovanna Tournabini

211
Domenico Ghirlandaio. Giovanna Tornabuoni. 1488.
Fred S. Kleiner and Christin J. Mamiya, Gardner's Art Through the Ages. Twelfth ed. Vol. 1. Fort Worth: Harcourt Brace College Publishers, 2005. 2 vols.
Cindy Sherman. Untitled #211. 1989.
Museum of Contemporary Art Los Angeles. Cindy Sherman: Retrospective. Los Angeles: Thames and Hudson, 1997.

 

 

 

 

 

 

 

 

 

 

96

Cindy Sherman.  Untitled #96.  1981.

 

 

 

 

 

 

 

 

 

 

93

Cindy Sherman.  Untitled #93.  1981.

 

 

 

 

 

 

 

 

 

 

I Shop Therefore I am

Barbara Kruger. Untitled (I Shop Therefore I Am). 1987.
Preble, Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice Hall, Upper Saddle River, NJ, 2002.

 

 

 

 

 

 

 

 

 

 

We Don't Need Another Hero

Barbara Kruger. We don't need another hero. 1987.
Grosenick, Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln. 2005.

 

 

 

 

 

 

 

 

 

 

Your Body Is A Battleground

Your Body Is A Battleground
Kruger. Untitled (Your body is a battleground). 1989.
Lazzari, Margaret and Dona Schlesier.  Exploring Art: A Global, Thematic Approach. Second ed.  Australia:  Thomson  Wadsworth, 2005.
Kruger. Untitled (Your body is a battleground). 1989.
Weintraub, Linda.  Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society.  Litchfield, CT: Art Insights, Inc..1996.

 

 

 

 

 

 

 

 

 

 

Sherrie Levine
1947 -

 

Sherrie Levine. After Walker Evans #4 . 1981.
Joselit, David.  American Art Since 1945.  London: Thames & Hudson, 2003.

 

 

 

 

 

 

 

 

 

 

Witkin Gallery. Six Nudes of Neil, 1925 by Edward Weston. Poster announcing publicationof a limited edition portfolio printed by George A. Tice. 1977.

Edward Weston. Neil Nude.  1925.

Weintraub, Linda.  Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society.  Litchfield, CT: Art Insights, Inc..  1996.

 

 

 

 

 

 

 

 

 

 

 

Donatello David

Polykleitos. Doryphoros. 450 - 440 BCE.
Janson, H.W. and Anthony F. Janson. History of Art. Sixth edition. University of North Carolina, Wilmington: Prentice Hall, Inc., 2001
Donatello. David. c. 1440s
Edward Weston. Neil Nude.  1925.

 

 

 

 

 

 

 

 

 

 

Sherrie Levine.  After Edward Weston.  1981.

 

 

 

 

 

 

 

 

 

 

“Confronts the contradiction between photography (an infinitely reproducible medium) and fine art (commonly considered a unique object).  Many art photographers artificially curtail the size of their editions to give their work the aura of a unique object.  This exclusivity is compromised when their work is then reproduced in books and magazines [and on the internet].  Levine rescues them from this process.  The images she photographs originate in the media; but in framing and presenting them as singular works of art, she returns them to the privileged arena of fine art where such mid-twentieth-century photographers as Edward Weston and Walker Evans intended them to be seen.” – Linda Weintraub

Sherrie Levine. After Walker Evans #19 . 1981.
Grosenick, Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln. 2005.

 

 

 

 

 

 

 

 

 

Fountain
other versions of Fountain
aftersherrielevine.com
more on Sherrie Levine
 
Marcel Duchamp. Fountain. 1917.
Stokstad, Marilyn. Art History. Revised Second ed. Vol. 2. New York:
Prentice Hall Inc., and Harry N. Abrams Inc., 2005.
Sherrie Levine. After Duchamp. 1991.
Grosenick, Uta ed. Women Artists in the 20th and 21st Century.
Taschen, Koln. 2005.
  

 

 

 

 

 

 

 

 

 

 

Modernism vs. Postmodernism
 
Modernism
Postmodernism
 

Red Canna

Georgia O'Keefe. Red Canna. c. 1924.

Cindy Sherman. Untitled #96. 1981.
Main goal To overthrow the conventions of the past To overthrow modernism
Based on a linear concept of history, where art builds upon itself and becomes progressively better  
Emphasis on Innovation (being the first) Pluralism (there are many perspectives coexisting simultaneously)
The universal and the essential Diversity and contradiction
Structure of art High vs. Low art (painting is the highest form of art, and male artists are geniuses, all other media and classes are inferior) All art forms are equally valid (art can be made by anyone and made out of anything)
Core concepts Art is an intellectual pursuit Art is playful, ironic, experimental, expressive and intellectual
Art is for the elite, not for everyone Art is for everyone and can change lives
Distinctions in the arts should be clear and definitive
Regard for future Optimism Uncertainty