Notes on the Presentations and readings for Week 2 of Module 3
With the amount of images on the Internet these days how do we make ours stand out and what makes ours more relevant than hundreds of others
Remediation – “The refashioning of one medium into another.” In this digital age can we assume a finished representation will remains static. Gone are the days of the finished painting…everything can be altered copied, and morphed into something completely new
Sherry Levine’s re-photographing of examples such as Walker Evans in order to question the concept of authorship. Consider also Richard Prince’s lifting of Instagram images & placing them large-scale within the gallery walls without crediting the original creators. Think about appropriation as an artistic strategy…re-appropriation of found images or license-free or archive material.
Marilee Sancari created a photobook representing portraits of men of a similar age to her father who had just died – she then created a photocopy of the book which therefore undermined the value of the original…or did it?
Thomas Ruff took screen-grabs which when scaled up to gallery size prints accentuated the jpeg artifacting creating an image more akin to impressionism than modern pixel-perfect representations – yet from which we can still recognise the subject matter
Penelope Umbrico’s selection of the sun from in-numerous Flikr images highlights the theme of copyright by questioning what is allowable when it comes to appropriation.
Joachim Schmid “we all seem to take the same pictures” he references the fact that we have image tropes that we are expected to perform when taking a certain style of image…the arms-length selfie
Where does appropriation stop and curatorship begin?
Victor Burgin “There is no point in making any new images.”
Willem De Kooning erased Rauchenberg; questions authorship, the aura of an art piece, conceptual performance, collaboration,
John Stezaker “I didn’t want to add any new (images)” – yet his montages are surely new?