Assignment Two- The displaced image

 In this assignment you’ll explore the ways in which artists and designers use the work of others in their own work and try to come to some understanding of the effects that this has on the understanding of meaning. Artists and designers throughout history have used some or all of the work of others within their own work. This is particularly true since the latter part of the 19th century when mechanical reproduction of images became possible. The term ‘appropriation art’ is often used to describe works of this sort and is a good keyword to use in a preliminary internet search. Probably the most well-know examples of this in the visual world are in advertising and publicity.

Find three examples of work in which the work of others is incorporated.

Find three examples of work that appropriates, copies or references everyday objects and reuses them as works of fine art.

You should use a copy of the work (photocopy or scan for example) and annotate it as well as adding other comments of your own to show how you understand the intentions of the original artist or designer and the ways in which the final image conveys a meaning to the contemporary viewer as well as what that meaning might be. For information on how to annotate an image, see looking at other artists downloadable at http://www.oca-student.com/node/51516. Use the Harvard system for your citations. (See the guide on the OCA website…………………….

Untitled

Fig 1  Laura Keeble

 

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Fig 2 Banksy

 

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Fig. 3 Pablo Picasso

 

Untitled-8

Fig 4 Cindy Sherman

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Fig. 5 Andy Warhol.

 

Levine-10

Fig. 6 Sherrie Levine

References

Banksy (2006). ‘Wall and Piece’. London. Century publications.

Barthes, R (1999 a).  ‘Rhetoric of the Image’ in visual culture: a reader. Evans, J and Hall, S (eds.). London. SAGE Publications.   P33-41

Barthes, R (1993 b).  ‘Myth Today’ in visual culture: a reader. Evans, J and Hall, S (eds.). London. SAGE Publications.   P33-41

Benjamin, W.(1999) ‘The work of art in the age of mechanical reproduction’ in In visual culture: a reader. Evans, J and Hall, S (eds.). London. SAGE Publications.      p. 72-78

Berger, J (1972) ‘Chapter 1’ in Ways of Seeing. Great Britain, Penguin.   p.  7-34

Bourdieu, P (1999) ‘The social definition of photography’ in  visual culture: a reader. Evans, J and Hall, S (eds.). London. SAGE Publications.      p.162-180

Burton, J (2011-12) Sherrie Levine MAYHEM online at http://whitney.org/file_columns/0002/8650/brochure_booklet_forweb.pdf [accessed 20 th April 2017]

Brittanica online (2017) Walker Evans online at https://www.britannica.com/biography/Walker-Evans [accessed 20 th April 2017]

Debord, G (1993). ‘Separation perfected’. In visual culture: A reader. Evans, J and Hall, S (eds), London. SAGE Publications.   P. 95-98

Fenichel, O, (1999). ‘The scoptophilic instinct and identification’. In visual culture: A reader. Evans,J and Hall,S (eds), London. SAGE Publications. p327-40

Gombryk, E (1995) The Story of Art (16th edition). London. Phaidon Press ltd.

Hebidge, D (1999) ‘The bottom line on planet one: squaring up to the face’ in  visual culture: a reader. Evans, J and Hall, S (eds.). London. SAGE Publications.      p. 99-124

Holschbach, S (n.d) Sherrie Levine «After Walker Evans» online at www.medienkunstnetz.de/works/after-walker-evans/ [accessed 20 th April 2017]

Keeble, L (2012) ‘I d like to teach the world to sing’ in John Moores Painting Prize 2012, Liverpool. National Museums Liverpool.

Krauss, R (1999) ‘The Originality of the Avant-Garde’ In Harrison,C. and Wood,P. (eds.). Art in Theory 1900-2000. Oxford. Blackwell Publications. p. 1032-1037

Levine, S (1999) ‘Statement’ In Harrison,C. and Wood,P. (eds.). Art in Theory 1900-2000. Oxford. Blackwell Publications. p. 1038-1039

Mercer, K. (1993). ‘Reading racial fetishism: the photographs of Robert Mapplethorpe’. In visual culture: a reader. Evans, J and Hall, S (eds.). London. SAGE Publications.    P. 435-448

Picasso, P.(1999) ‘Picasso Speaks’ 1923 In Harrison,C. and Wood,P. (eds). Art in Theory 1900-2000. Oxford. Blackwell Publications. p. 215-217

Schama, S (2012) Cindy Sherman talks to Simon Schama online at https://www.ft.com/content/1cec0df6-4d4f-11e1-8741-00144feabdc0 [accessed 20 th April 2017]

 

Illustrations

Fig. 1 Keeble, L (2012) ‘I’d like to teach the world to sing, 2012’ [enamel paint on soft drink can] In John Moores Painting Prize 2012, Liverpool. National Museums Liverpool: p. 94

Fig. 2 Banksy (2006) ‘Rock with Marker Pen, n.d’ [rock with marker pen] in Banksy ‘Wall and Piece’. London. Century publications. p. 185

Fig. 3 Picasso, P Still Life with Chair and Caning’ (1912)  [Collage]  Online at: http://www.pablopicasso.org/still-life-with-chair-caning.jsp [accessed 20 th April 2017]

Fig. 4 Sherman, C ‘Untitled #93’, (1981) [photograph]  Online at: https://www.moma.org/interactives/exhibitions/2012/cindysherman/gallery/4/#/4/untitled-89-1981/ [accessed 20 th April 2017]

 Fig. 5 Warhol, A ‘Marilyn Diptych (1962)  [screenprint]  Online at: http://www.tate.org.uk/art/artworks/warhol-marilyn-diptych-t03093 [accessed 20 th April 2017]

 Fig. 6 Levine, S ‘After Walker Evans’ (1981)  [Gelatin Silver print].  Online at: www.medienkunstnetz.de/works/after-walker-evans/ [accessed 20 th Apri

 

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Author: PhilHepArt

This site contains my BLOG for my Open College of the Art's module 'Understanding Visual Culture'. I am currently on Level 1 of the degree pathway BA Painting.

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