La Salle University La Salle University Digital Commons

Special Events War Is Not What You Think

Winter 2012 The Art of Appropriation Jane Irish

John S. Baky La Salle University, Connelly Library

Klare Scarborough La Salle University, Art Museum

Carmen Vendelin La Salle University, Art Museum

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Recommended Citation Irish, Jane; Baky, John S.; Scarborough, Klare; and Vendelin, Carmen, "The Art of Appropriation" (2012). Special Events. 3. https://digitalcommons.lasalle.edu/winwyt_events/3

This Presentation is brought to you for free and open access by the War Is Not What You Think ta La Salle University Digital Commons. It has been accepted for inclusion in Special Events by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. The Art of Appropriation

An Interactive Event Featuring

Jane Irish, Artist

John Baky, Director, La Salle University Connelly Library

Klare Scarborough, Director and Chief Curator, La Salle University Art Museum

Carmen Vendelin, Curator of Art, La Salle University Art Museum L ‐ Vietnam Veterans Against the War rally, Valley Forge PA . Photograph by Sheldon Ramsdell. R, T ‐ Jane Irish, Operation Rapid American Withdrawal, 2005, Painting. R, B –Jane Irish La Conversation (detail), 2010, Ink Wash on Paper. Questions

• WHAT are the different methods, forms, and techniques of artistic appropriation?

• WHY do artists use appropriation? What is the motivation and rationale?

• HOW does artistic appropriation work with viewers? How is it effective? How does it impact meaning? DEFINITIONS

APPROPRIATE (transitive verb) 1. use money for purpose: to set aside an amount of money for a particular use 2. take something for own use: to take something that belongs to or is associated with somebody else for yourself, especially without permission. [ 15th century. < Latin appropriatus, past participle of appropriare "make your own" < propius "own" ] Source: Encarta® World English Dictionary[North American Edition] © & (P) 2009 Microsoft Corp. DEFINITIONS

APPROPRIATE (transitive verb) 1. use money for purpose: to set aside an amount of money for a particular use 2. take something for own use: to take something that belongs to or is associated with somebody else for yourself, especially without permission. [ 15th century. < Latin appropriatus, past participle of appropriare "make your own" < propius "own" ] Source: Encarta® World English Dictionary[North American Edition] © & (P) 2009 Microsoft Corp.

ICONOGRAPHY (noun) 1. set of recognized images: the set of symbols or images used in a particular field of activity such as music or the movies and recognized by people as having a particular meaning. 2. symbols in painting: the symbols and images used conventionally in a genre of painting, or the study and interpretation of these symbols and images 3. images of somebody or something specific: the collection, description, or study of images of somebody or something specific Source: Encarta® World English Dictionary[North American Edition] © & (P) 2009 Microsoft Corp. R, T ‐ Marina Abramović, Re‐Performance of Joseph Beuys’ How to Explain Pictures to Dead Hare (1965), in Seven Easy Pieces, Guggenheim Museum, 2005. R, B ‐ Joseph Beuys, How to Explain Pictures to a Dead Hare, Galerie Schmela, Düsseldorf, 1965. C ‐ Christ Pantocrator, Apse of Cathedral of Cefalù, Sicily, Italy, 12th century. L, T ‐ Virgin and Child Enthroned, Hagia Sophia, Istanbul, 867. L, B ‐ Roettgen Pietà, Germany, Painted Wood, Early 14th century. R, T ‐ Publicity Still of Marilyn Monroe, Marked by Andy Warhol for Cropping. R, B ‐ Andy Warhol, Marilyn Monroe, 1962. C ‐ Warhol, Gold Marilyn Monroe, 1962. L ‐ Virgin and Child Enthroned, Hagia Sophia, Istanbul, 867. Questions

• WHAT are the different methods, forms, and techniques of artistic appropriation?

• WHY do artists use appropriation? What is the motivation and rationale?

• HOW does artistic appropriation work with viewers? How is it effective? How does it impact meaning? From Image to Icon: Two Examples from the Vietnam War

L‐ Eddie Adams, Photograph of Col. Nguyen Ngoc Loan executing Vietcong Combatant – Saigon, February 1, 1968. Pulitzer Prize winning photo. R ‐ Nick Ut, Photograph of 9‐ year old Kim Phuc fleeing Trang Bang on June 8, 1972. She has been burned with napalm dropped by ARVN trying to kill the VC in her village. Her brother is to her right. Both survived the war and live in Toronto, Canada. Eddie Adams, Photograph of Col. Nguyen Ngoc Loan executing Vietcong Combatant –Saigon, February 1, 1968. Pulitzer Prize winning photo. Top Left ‐ James R. Cannata, They Killed Many of My Men #3, 1983, color photograph. Top Right ‐ Tin Ly, Gunshot Heard Around the World, 1985, acrylic on canvas. Bottom Left ‐ Tristan Eastburn, Viet Cong Execution, 2008. Acrylic on canvas 34” X 30”. Bottom Center ‐ Liu Jin ‐ News – Wangfujing – 2001 – China. Bottom Right ‐ Xiang Jing ‐ Bang – sculpture ‐ 2002 – China. Acrylic composite – life size, free‐standing gallery piece . L ‐ Paul Gessner, Vietnam: Time of the Locust, 1986, Video Box Cover, 1986. C ‐ Hans Pool and Maaik Kriggsman, Looking for an Icon, DVD Cover, 2007. R ‐ Susan Morgan Cooper, An Unlikely Weapon: The Eddie Adams Story, DVD Cover, 2009. L ‐ Long‐running comic series, Nov. 1988 Issue with Drawing by Andy Kubert. C ‐ H. Bruce Franklin’s Vietnam & other American Fantasies (2001) explored the dramatic reversal of iconic images for purposes of revising public notions of the Vietnam War. The reversal of roles begin as early as 1978 in the Deer hunter (top) and the 1986 POW: the Escape (bottom). Contemporary Multiplication of Appropriations and Meanings

L ‐ Michael Ramirez L.A. Times cartoon, 2003, that prompted an official visit by the U.S. Secret Service. Note that it is now set in Iraq. R ‐ Edited photo appearing July 20, 2008. Accompanied an article entitled “Iraqi PM backs Obama’s withdrawal plan” by Eideard. (from Eideard.wordpress.com) Going Viral…. Nick Ut, Photograph of 9‐ year old Kim Phuc fleeing Trang Bang on June 8, 1972. She has been burned with napalm dropped by ARVN trying to kill the VC in her village. Her brother is to her right. Both survived the war and live in Toronto, Canada. Christian Eisenberger, Vietnam War Scene, 2004. Public Installation in George Square, Glasgow, Scotland. L ‐ Punk Rock Band called Kim Phuc, 2009. Based in Pittsburgh, PA. R – Alice in Chains, Single Record Cover for Single, “Rooster,” 1993. L ‐ Banksy, Napalm, 2004, Screen Print. R ‐ Van Thanh Rudd, Special Forces, 2007, Oil and Acrylic on Canvas. The painting referred to the self‐immolation of Buddhist monk Thich Quang Duc in 1963 in Saigon. L ‐ Political ad against a Senator Conroy in an Australia campaign. R ‐ Front cover of Gauntlet, issue #11, 1996. Illustration by Mark Bode. Featured Article about Howard Stern and the FCC. Denise Chong, The Girl in the Picture: The Story of Kim Phuc, the Photograph, and the Vietnam War, Viking Press, 1999. Kim Phuc is a UNESCO Goodwill Ambassador and represents her own charitable foundation for children’s causes, giving hundreds of public lectures about her life.

Questions

• WHAT are the different methods, forms, and techniques of artistic appropriation?

• WHY do artists use appropriation? What is the motivation and rationale?

• HOW does artistic appropriation work with viewers? How is it effective? How does it impact meaning? L ‐ Vietnam Veterans Against the War rally, Valley Forge PA . Photograph by Sheldon Ramsdell. R, T ‐ Jane Irish, Operation Rapid American Withdrawal, 2005, Painting. R, B –Jane Irish La Conversation (detail), 2010, Ink Wash on Paper. EXTRA IMAGES Images in Advertising that exploit the emotional content of the Vietnam Veterans Memorial.

1. A Smithsonia poster of 1986 by Jeffrey Ploskonka, design Jim Wallace. 2. Fall 1991‐92, Robert Morris Agency products & programs 3. Wall Street Journal – Full page ad 6/23/04 Tyco International. 4. Wall Street Journal ‐ Full page ad 7/15/2004 Tyco International. Product catalogue of the Robert Morris Agency Employing the absolute classic shot of the Vietnam Veterans Memorial aspect they superimpose the reflected faces of two classic Caucasian young people. The commercial entrepreneur obliterates the dead sacrificial GI. Wall Street Journal 6/23/2004 full‐page ad. Tyco International has placed all their products where the names on the Vietnam Veterans Memorial would be except they add their motto: You May Not Know All We Make. But Everything We Make is Vital. July 15, 2004 Tyco International. Products and services with the motto: You May Not Know All We Make. But All We Make is Vital.