Appropriation Art

Appropriation Art (English appropriation appropriation = ), also German spoken appropriation, is an expression of contemporary artistic creation. It is usually attributed to the concept art.

In a narrower sense we speak of appropriation art, when artists consciously and with consideration of strategic copy the work of other artists, the act of copying and the result itself should be understood as an art (otherwise it is called plagiarism or forgery ). Strategies involve " borrowing, claws, appropriation, heirs, Assimilate ... Influenced, Inspired, dependence, Hunted, Obsessive- Being, quoting, rewriting, revising, reshaping ... revision, re-evaluation, variation, version, interpretation, Imitation, proximity, improvisation, Supplement, growth, prequel ... pastiche, paraphrase, parody, piracy, forgery, homage, mimicry, travesty, Shan Zhai, echo, allusion, intertextuality and karaoke. "

In a broader sense Appropriation Art can be any art that deals with found aesthetic material, eg with advertising photography, press photography, archival images, movies, videos, etc. It can be either to exact, detailed copies; but there are also often in the copy manipulation of size, color, material and medium of the original made.

This appropriation in the Appropriation Art can be critical intent or as a tribute. Appropriation has been presented by the exhibition curated by Douglas Crimp Pictures in the New York Artists Space in the fall of 1977. The selected artists of the first hour were Sherrie Levine, Jack Goldstein, Phillip Smith, Troy Brown cloth and Robert Longo. Cindy Sherman had previously had a solo exhibition at Artists Space in the year, it was mentioned in Douglas Crimp revised version of the catalog text, which appeared in the Marxist art magazine October 1979.

The Whitney Museum of American Art in New York and the Museum of Contemporary Art in Los Angeles held in 1989 major retrospectives of the Pictures Generation, showed in 2009, the Museum of Modern Art in New York the early work of thirty artists from the New York art scene of the 1970s in the exhibition curated by Douglas Eklund exhibition The Pictures Generation, 1974-1984.

At the Pictures Generation include Louise Lawler, Barbara Kruger, Richard Prince, Sarah Charlesworth, from the art scene in Buffalo (New York State ) came Robert Longo, Cindy Sherman, Nancy Dwyer, Charles Clough and Michael Zwack. The most important " hotbed " of the movement was John Baldessari's seminar at the California Institute of the Arts in Los Angeles, where David Salle, Jack Goldstein, James Welling, Matt Mullican, Barbra Bloom, Ross Bleckner and Eric Fischl had studied.

Characteristics of Art Appropriation

Work of appropriation art dealing mostly with abstract properties of works of art and the art market yourself problematize through the act of appropriation fundamental categories of the art world such as authorship, originality, creativity, intellectual property, signature, market value, museum space (so-called White Cube ), History, and gender, identity and difference. It focuses on paradoxes and self- contradictions and makes them visible and aesthetic experience.

The individual strategies of individual artists vary widely, so that a uniform overall program is not easy to spot. Many artists who are attributed to Appropriation Art, deny being part of a "movement". " Appropriation Art " is therefore only a label that is used in art criticism since the early 80s and is quite controversial.

The techniques used are varied. Appropriation is operated, inter alia, with painting, photography, film, art, sculpture, collage, Décollage, Environment, Happenings, Fluxus and performance.

Examples

Elaine Sturtevant copied in the early 1970s Works by Robert Rauschenberg, Andy Warhol, Jasper Johns and Frank Stella with screen printing or color, so in the original techniques. It was narrated that her gave some artists who copied them advice to technology. Andy Warhol is said to have her even donated his original screens. Sturtevant says themselves that they want to escape the compulsion to originality, resting on each artist, by researching this category with the means of art.

Richard Pettibone has often Warhol copied and seen to him in the following proportions: "I am a careful craftsman, he's a slob. " Pettibone's imitations were already auctioned by Sotheby's.

Mike Bidlo led by a performance by a biographical anecdote, in which he dressed as Jackson Pollock urinating in an open fireplace. For his exhibitions he allowed artworks by Andy Warhol and Constantin Brancusi finished in series. Currently, he produced thousands of drawings and models of the ready -made Fountain by Marcel Duchamp. Duchamp's ready -made is considered one of the most important contemporary works of art. One can therefore understand both as an homage to Duchamp as a symbolic execution of the generation gap Bidlos project.

Louise Lawler photographed works of art in the living rooms of art collectors and museums in situ, ie with their respective environments. Thus, it shows the context in which art is received and how it will be staged in rooms.

A series of photographs of Cindy Sherman, the History Portraits, where they dressed in the manner of the Old Masters and staged. She goes so temporarily in historical roles of women and men. Here, Sherman often used deliberately shoddy costumes and coarse make-up so that the Inszeniertheit the image remains visible. The History Portraits can be understood as a commentary on art history in which women usually only as models, so were objects for the view of male painters; at the same time they also ask questions about the historical constructedness of identity, femininity and masculinity (see gender, self-portrait ).

Sherrie Levine became famous with her appropriation of photographs by Walker Evans, who photographed them from picture books and exhibited under the title After Walker Evans under their name. In 2001, Michael Mandiberg turned this action on the artist: He photographed Sherrie Levine's copies from and presented his photos under the title After Sherrie Levine. Mandiberg was not the only member of the "second generation" of Appropriationisten who appropriated the first generation: Yasumasa Morimura staged themselves after photographs by Cindy Sherman, in which she portrayed herself in various guises and roles ( film stills ). Since Sherman in her paintings often slips as a woman in male roles, Morimura but occurs as a transvestite, the confusion of gender identity is enhanced.

Philosophy

Philosophically are close to the conceptual strategies of appropriation art of deconstruction, media theory and intertextuality. Artistic techniques such as quotation, allusion, travesty, parody and pastiche, which generally are considered to be features of the art of postmodernism, kind can be found in works of appropriation. Since many strategies of reference are aligned kind to the art system itself, one can also speak of meta-art or from Selbstreflexivwerden the art system (see System theory). Making it one of the art movements that actively explore the conditions and limits of art and art can force the system to redefine itself.

Right

A work of appropriation art may also be protected under copyright law even if it is like a pre-existing work of another artist to the last detail. The protectable creative power is then to develop the concept and the strategy of separate copy artist. Fraud or deception are not intended by the artists. Just like the sampling or the cover version in the music but moves the Appropriation Art in areas where the copyright attacks. However, since it can be argued that it is in this case is also in the process of copying an original, artistic process, it is rare to conflicts legal nature In addition, the value of the model in the visual arts, in contrast to media products, mostly bound to its material existence, which is not affected by an appropriation.

Under Austrian law creations of appropriation art usually qualify as free subsequent uses in accordance with § 5 paragraph 2 of the Austrian copyright law or at least it is a justification of the arts and freedom of expression possible.

Appropriation Cinema

Appropriation Cinema

In the cinema, the term appropriation Cinema is sometimes used ( often: found footage film). It involves cinematic works that already accept and manipulate existing footage. American director Gus Van Sant turned, for example, with Psycho ( 1998) a remake of Alfred Hitchcock's masterpiece Psycho ( 1960), which mimics consistently Scene after scene of the original. The facilities and the staging were slightly modified only in some scenes. The film saw exposed to many attacks; from the cinema audience he was not understood as an independent power and therefore superfluous. As in the film industry, the remake of movies is a popular genre, the situation is different here than in art - you can understand van Sant's movie as a parody of remakes or as a pastiche.

Also with psychoanalysis was concerned, the British video artist Douglas Gordon, 24 Hour Psycho expanded its installation in the movie in a video projection to 24 hours. Gordon sees his work as a game between the artistic aura of the masterpiece and the individual interventions and manipulations that can make any owner of a VCR to a movie when he wants to sink meditative or analytically in individual sequences.

Buffalo, New York Art auction Subject (philosophy) Difference (philosophy) Labeling theory Cornelia Sollfrank Intergenerationality#Conflict Psycho (1998 film)
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