Sampling Real Life: Creative Appropriation in Public Spaces
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Articulos/Articles Arte De Apropiación
Páginas de Filosofía, Año XVI, Nº 19 (enero-julio 2015), 80-95 Departamento de Filosofía, Universidad Nacional del Comahue ISSN: 0327-5108; e-ISSN: 1853-7960 http://revele.uncoma.edu.ar/htdoc/revele/index.php/filosofia/index ARTICULOS/ARTICLES ARTE DE APROPIACIÓN. RECONSIDERACIONES ALREDEDOR DEL PROBLEMA DE LOS INDISCERNIBLES EN DANTO APPROPRIATION ART: A REASSESSMENT OF DANTO'SAPPROACH TO THE PROBLEM OF INDISCERNIBLE COUNTERPARTS Gemma Argüello Manresa Universidad Autónoma Metropolitana-Lerma Resumen: En este trabajo se desarrollan los argumentos que Arthur Danto elaboró en torno al significado metafórico y el estilo con el objetivo de mostrar si es posible que su modelo permita comprender nuevas formas de Arte de Apropiación. Éstas engloban las prácticas recientes en las que los artistas hacen réplicas más o menos exactas de otras obras que han sido importantes en la historia del arte. Palabras clave: Arte de Apropiación, metáfora, estilo. Abstract: In this paper Arthur Danto’s arguments about metaphorical meaning and style are analyzed in order to show whether it is possible that his model works for understanding new ways of Appropriation Art. These are recent artistic practices in which artists make more or less accurate copies of other artworks that have been important in Art History. Keywords: Appropriation art, Metaphor, Style. Sobre el Arte de Apropiación y sus distintas formas En este trabajo me voy a concentrar en la forma en que Arthur Danto podría enfrentar ciertas prácticas contemporáneas de Arte de Apropiación, las cuales han pasado muchas veces desapercibidas por sus críticos, y que, de hecho, también serían ejemplos idóneos para abordar el problema de los indiscernibles en el arte, más que las obras de Warhol 81 ARTE DE APROPIACIÓN a las que Danto les tuvo tanta estima. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Appreciation and Appropriation, Art and Architecture
84TH ACSA ANNUAL MEETING THEORY AND CRITICISM 1996 263 Appreciation and Appropriation, Art and Architecture ALEX T. ANDERSON University of Pennsylvania INTRODUCTION journey in this enlightened way must satisfy themselves with 'nutrition' and 'digesting,' the rationalized and limited Architecture differentiates itself from other forms of art by forms of tasting, savoring and incorporation of food. It is demanding a different sort of attention. Rapt concentration difficult for tourists to fully experience the places they visit does not reveal it. Appreciation is not enough. Architecture because they cannot live with them. demands appropriation. This becomes particularly evident when we consider the In this essay I demonstrate that art and architecture difference between tourist's experience of a building and a distinguish thernselves not in their physical constitutions, lived experience of it. "Buildings," according to Benjamin, but according to the relationships they form with those who "are appropriated in a twofold manner: by use and percep- observe them. In making a work of architecture, it is crucial tio~rrather by touch and by sight."' The tourist's expe- first to understand these relationships, and then to create a rience of a building is limited because the inevitable brevity field that is capable of sustaining them. of 'touring' precludes tactile appropriation, which, Ben- jamin asserts, "is accomplished not so much by attention as VISUAL EXPERIENCE by habit."4 The true experience of a building involves a In his well-known essay, "Art in the Age of Mechanical gradual incorporatio~notthe "introjection of an 'out- Reproduction" Walter Benjamin disparages "the attentive side"' that Calvino's sophisticated tourist experiences, but concentration of the tourist before a famous building."' He an extended temporal involvement. -
PIER 34 Something Possible Everywhere Something Possible
NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street. -
The Autonomous Artwork’
Towards a Justifiable Conception of ‘the Autonomous Artwork’ in Today’s Artworld Filosofisk institutt, Universitet i Bergen Hovedfagsoppgave Arlyne Moi Våren 2005 i ACKNOWLEDGEMENTS I would like to thank Lars Fr. H. Svendsen, Deirdre C. P. Smith, Kjetil Skjerve, Thomas E. Payne, Vibeke Tellmann, Anders Reiersgaard and Christer Swartz for reading portions of earlier drafts of this paper, and for commenting on aspects of them. Also thanks to Hanne Beate Ueland of Astrup Fearnley Museum of Modern Art, Oslo, for making available to me many of the artworks discussed here. In the time of writing, the work of writing can never be concluded: the work remains unfinished and unfinishable, as if beginning and beginning again in an eternal return of a present that endures without a future and from which there is no exit. (Maurice Blanchot, The Step Not Beyond) Stamp out, and eradicate, superfluous redundancy. (Thomas E. Payne) ii CONTENTS ACKNOWLEDGEMENTS ii CONTENTS iii PROLOGUE v 1. INTRODUCTION 1 The autonomous artwork is a controversial issue 1; The autonomous artwork is a confused issue 4; Problemstilling and thesis statement 6; overview of chapters 6 2. BACKGROUND AND ROOTS OF ‘THE AUTONOMOUS ARTWORK’ 8 Nomos 8; Auto: The self 9; Autonomous combined with artwork-self 10 3. KANT AND THE BUILDING BLOCKS OF AUTONOMY 11 The four moments, the artist genius and the aesthetic idea 12; What are the building-blocks of autonomy? 16 4. TOWARDS A CONCEPTUAL CLARIFICATION OF ‘THE AUTONOMOUS ARTWORK’ 18 SECTION I: CONCEPTIONS OF THE ‘AUTONOMOUS ARTWORK’ WITH WEAK ONTOLOGICAL COMMITMENTS 19 A. The work’s autonomous status as being related to the artist 19 B. -
Ethics of Appropriation Found Footage T. ELSAESSER
Keynote Recycled Cinema Symposium DOKU.ARTS 2014 The Ethics of Appropriation: Found Footage between Archive and Internet © Thomas Elsaesser, 2014 Appropriation as Spectatorship Appropriation is a varied concept, and it can carry very different meanings. For instance, applied to the engagement of the film-viewer, appropriation can be a more vivid term for spectatorship and reception studies, especially if we think of the active and interactive role we now tend to assign to the spectator—as viewer, as user, as player—given the different screen activities that are involved in the consumption and apperception of moving images. These include going to the cinema, watching television, using the monitor screens of our laptops and tablets, or acquiring the skills needed to play video games. In short, spectatorship as appropriation acknowledges the active participation of the viewer in the process of reception of films and the consumption of visual displays and spectacles. Appropriation and cinephilia However, in the more specific case of the cinema, appropriation can also signify a more intimate gesture of love and an act of devotion. Thus, cinephilia—the particularly intense manner of living the film experience, by wanting to repeat it and to prolong it—should also be seen as a form of appropriation. But cinephilia, as a way of watching films, of speaking about them, of accumulating expertise and then writing about films, is both appropriation (in the sense of holding on to, and not letting go) and its opposite: a desire to share, to diffuse this knowledge and create, through this sharing, a likeminded community. Cinephilia of the Internet age has produced its own form of active and productive appropriation, in the form of the video-essay: a genre that combines the history of compilation films, of found footage films and the essay film: all genres that try to make films reflect about their own conditions of possibility, and that enrich our experience of cinema by creating forms of para-cinema, post- cinema and meta-cinema. -
Double-Edged Imitation
Double-Edged Imitation Theories and Practices of Pastiche in Literature Sanna Nyqvist University of Helsinki 2010 © Sanna Nyqvist 2010 ISBN 978-952-92-6970-9 Nord Print Oy Helsinki 2010 Acknowledgements Among the great pleasures of bringing a project like this to com- pletion is the opportunity to declare my gratitude to the many people who have made it possible and, moreover, enjoyable and instructive. My supervisor, Professor H.K. Riikonen has accorded me generous academic freedom, as well as unfailing support when- ever I have needed it. His belief in the merits of this book has been a source of inspiration and motivation. Professor Steven Connor and Professor Suzanne Keen were as thorough and care- ful pre-examiners as I could wish for and I am very grateful for their suggestions and advice. I have been privileged to conduct my work for four years in the Finnish Graduate School of Literary Studies under the direc- torship of Professor Bo Pettersson. He and the Graduate School’s Post-Doctoral Researcher Harri Veivo not only offered insightful and careful comments on my papers, but equally importantly cre- ated a friendly and encouraging atmosphere in the Graduate School seminars. I thank my fellow post-graduate students – Dr. Juuso Aarnio, Dr. Ulrika Gustafsson, Dr. Mari Hatavara, Dr. Saija Isomaa, Mikko Kallionsivu, Toni Lahtinen, Hanna Meretoja, Dr. Outi Oja, Dr. Merja Polvinen, Dr. Riikka Rossi, Dr. Hanna Ruutu, Juho-Antti Tuhkanen and Jussi Willman – for their feed- back and collegial support. The rush to meet the seminar deadline was always amply compensated by the discussions in the seminar itself, and afterwards over a glass of wine. -
Fact & Fiction: Amending Right of Publicity Statutes to Include Life
BEACH 2017 FACT & FICTION: AMENDING RIGHT OF PUBLICITY STATUTES TO INCLUDE LIFE STORY AND FICTIONAL CHARACTER RIGHTS Stephanie J. Beach* I. INTRODUCTION .............................................................................. 132 II. THE HISTORY OF THE RIGHT OF PUBLICITY ................................ 134 III. RIGHT OF PUBLICITY IN THE REAL AND MAKE-BELIEVE .......... 137 A. Life Stories are Inseparable from Persona ................... 137 i. Why the Right to Privacy Is Not Applicable ........... 138 ii. Why the Right of Publicity is the Best Equipped Legal and Equitable Remedy for Life Story Appropriations ...................................................... 140 B. An Actor’s Ownership in the Fictional Characters That He or She Brings to Life ............................................. 151 C. Competing Equities: Right of Publicity vs. Right of Freedom of Expression ............................................... 155 IV. EXPANDING THE POST-MORTEM RIGHT OF PUBLICITY THROUGH THE CREATION OF A DESCENDIBLE FUTURE INTEREST ......... 158 V. CONCLUSION ................................................................................ 161 * J.D. Candidate, 2018, Seton Hall University School of Law; M.S., 2015, Columbia University Graduate School of Journalism; B.A., 2014, New York University. I would like to thank the incomparable Professor Paula A. Franzese for her invaluable guidance in crafting this Note, and for being, quite simply, the best. I would also like to thank my fantastic family for listening to me talk about the right of publicity for hours on end, and, most importantly, for providing unconditional love and support in everything that I do. Finally, special thanks to all of the editors and members of the Seton Hall Legislative Journal, vol. 42 for their hard work and dedication in preparing this book. 131 BEACH 2017 132 SETON HALL LEGISLATIVE JOURNAL [Vol. 42:1 “The image is one thing and the human being is another. -
The Persistence of Pollock
THE PERSISTENCE OF POLLOCK 3 May – 28 July 2012 Bobbi Coller and Helen A. Harrison Co-Curators The Persistence of Pollock From our vantage point at the beginning of the twenty-first century, it’s hard to imagine the pictorial landscape before Pollock. There was, of course, Picasso, whose dazzling and protean presence Pollock admired and envied, but from whom he tried to differentiate himself. But when Pollock first started to exhibit his singular and revolutionary poured paintings, he caused an earthquake that shattered the syntax of visual language, destabilized fundamental expectations of how a painting should be made, and liberated future generations of artists. Something about Pollock transcends the confines of painting. His art and persona have inspired numerous creative responses in many forms: musical compositions, poems, novels, choreography, performance art, a superb film with Ed Harris, and a one-act play by his friend B.H. Friedman. His immediately identifiable poured-paint look has been easily adapted for everyday products, including textiles, wallpaper, and pottery. Pollock has become part of culture, a symbol, and a point of reference. After his death, Pollock’s widow, the artist Lee Krasner, tried to correct many inaccurate myths that grew up around him, but sometimes truth is less powerful than mythology. For artists, the idea of Pollock has become as open and multilayered as an abstract painting. This exhibition, “The Persistence of Pollock,” assembles thirteen works in a variety of media that reflect Pollock’s powerful impact and attest to his continuing relevance for contemporary artists. They represent each of the decades of the sixty years since Pollock’s death in 1956. -
Some Copyright Aspects of New Art: Pop Goes the Easel William B
Boston College Law Review Volume 10 Article 10 Issue 4 Labor Law 7-1-1969 Some Copyright Aspects of New Art: Pop Goes the Easel William B. Sneirson Follow this and additional works at: http://lawdigitalcommons.bc.edu/bclr Part of the Intellectual Property Law Commons Recommended Citation William B. Sneirson, Some Copyright Aspects of New Art: Pop Goes the Easel, 10 B.C.L. Rev. 993 (1969), http://lawdigitalcommons.bc.edu/bclr/vol10/iss4/10 This Current Legislation is brought to you for free and open access by the Law Journals at Digital Commons @ Boston College Law School. It has been accepted for inclusion in Boston College Law Review by an authorized editor of Digital Commons @ Boston College Law School. For more information, please contact [email protected]. SOME COPYRIGHT ASPECTS OF NEW ART: POP GOES THE EASEL 1. INTRODUCTION Under the present Copyright Act, protection is afforded to artistic as well as to literary encleavors, 1 Although this coverage was originally limited to fine arts,2 since 1909 it has involved a wider spectrum called "works of art." 3 In this category are included paintings, drawings and sculpture, the works traditionally associated with the fine arts, as well as areas of artistic crafts- manship? In the past fifteen years, the Supreme Court has further expanded the coverage of the Act by the inclusion of utilitarian objects of artistic value.5 Thus, copyright protection is now available for a wide variety of works, provided only that the requirements of the Copyright Act be complied with, and that there he some creative artistry involved. -
Cultural Ramifications of the Found Object in Contemporary African Art
International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space. -
Understanding and Avoiding Plagiarism
UNDERSTANDING AND AVOIDING UIW Writing and Learning PLAGIARISM Center What is Plagiarism? Plagiarism simply means that you have used someone else’s work (exact words, ideas, images, and so on) in your writing without giving proper credit. According to UIW’s Policy on Academic Integrity, plagiarism is the “appropriation of another’s work in one’s own written work offered for credit.” UIW also constitutes the unauthorized reuse of one’s own work, or the “turning in of the same work to more than one class without consent of the instructor involved,” as academic dishonesty. Any time you use someone else’s work without giving him or her credit, you are plagiarizing. This may include copying word-for-word, changing certain words, or using another person’s ideas without properly citing him or her. It is also possible to plagiarize scientific information, art, music, and many other forms of media. Even if you do not plagiarize on purpose, using someone else’s work without giving due credit is still plagiarism. Why is Understanding Plagiarism Important? Plagiarism is considered unethical in school and in the professional world: if you do not give the original author credit, you are telling the reader that you came up with the idea on your own. Most professors will outline their policy regarding plagiarism in their syllabi. These policies range from receiving an “F” on the plagiarized assignment to failing the course and being reported to the university. It is not unheard of for students to get dismissed from an institution due to plagiarism-related offenses.