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Appropriation and Authorship in Contemporary Art Sherri Irvin, 2005 Chloe Rice-Greer

Appropriation and Authorship in Contemporary Art Sherri Irvin, 2005 Chloe Rice-Greer. KEY WORDS: Authorship - O rigin , author, creator, or producer of a work . Forgery – The act of reproducing something for a dishonest purpose.

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Appropriation and Authorship in Contemporary Art Sherri Irvin, 2005 Chloe Rice-Greer

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  1. Appropriation and Authorship in Contemporary ArtSherri Irvin, 2005Chloe Rice-Greer

  2. KEY WORDS: • Authorship - Origin, author, creator, or producer of a work. • Forgery – The act of reproducing something for a dishonest purpose. • Authenticity - The quality or condition of being authentic, trustworthy, or genuine. • Replicas - A copy or reproduction of a work of art. • Innovation – A creation resulting from study and experimentation. • Influence - A determining factor affecting individual tendencies and characteristics • Appropriation - The use of pre-existing objects or images with little or no transformation applied to them ( indirect and direct appropriation). • Justification - Reasonable explanation for appropriation. • Intentions - A purpose or goal, aim that signifies a course of action to follow. • Acknowledgement - Recognition of author's existence. • Creation - The process of bringing something into existence.

  3. Forgery of the Original Author Han van Meegeren ‘A famous artist's signature gives us the romantic notion that their paintings are sacred artefacts that were touched by the hand of a genius.“ Van Meegeren The supper at Emmaus, (1889-1947). http://www.youtube.com/watch?v=SOGQp9VQSvI The man who made Vermeer

  4. Ken Perenyi : Master Art Forger Late 1980’s A unique ability to match with precise detail the greatest pieces of artwork ever created. “It's taken 30 years of my life to perfect these skills.” “Imitation is the sincerest form of flattery” ‘’The thrill of planning something out like a great painting and can sell it off as an original there's just something intoxicating about that.” “I'm proud of my achievements in the art world and my only regret is I was discovered.” http://www.youtube.com/watch?v=Tt8A4EdtLO0 http://www.youtube.com/watch?v=SBCADQL7Nio

  5. John Myatt, 1983. “It takes a lot of practice to be a great forger” “. In terms of aesthetics, is there a difference between an original and a good fake? Not really.” “I had to find a way of getting money while being at home. It was as simple as that.” “I climb into their minds and lives, and search for the inspiration behind their work.” “+I used to copy things out of comics - war comics, the Dandy or the Beano - and turn them into my own paintings.” http://www.newstatesman.com/art/2011/08/interview-paintings-30m

  6. Protecting the original author, the legacy of the Art Genius . Michelangelo, David 1504 Bronze replica from 1896, Copenhagen

  7. Jackson Pollock – Innovative Triumph 1943 . “I happen to find ways that are different from the usual techniques, which seems a little strange at the moment, but I don’t think there’s anything very different about it. I paint on the floor and this isn’t unusual – the Orientals did that.” Mural, Completion Date: 1943 http://www.youtube.com/watch?v=-EvqaHos7Oo Pollock DVD – Watch it !!

  8. Glenn Brown, 1966 Turner Prize, 2000 "To make something up from scratch is nonsensical, It’s impossible to make a painting that is not borrowed” “Instant recognition draws you in.” The Great Masturbator, 2006 Brown, G. (2002) The Aesthetic Poor after John Martin. “What degree does a painting of piece of work need to be changed to call one's own?” http://www.youtube.com/watch?v=1POuMECG_tw

  9. Creative responses to the Original Author Remembering Art History Marcel Duchamp, Ready made 1917 1960’s Traditional aesthetics collapsed. Contemporary developments pushed boundaries and objectives. Works of art became signs that conveyed ideas. Symbols representative of things. An object became art once it had been altered slightly or completely. Artists have been making art in a way that celebrated and contradict the turning points in art history. “Claiming’ the urinal and remaking it in a luxurious ‘high art’ material.” Sherrie Levine, Fountain , 1996

  10. Andy Warhol, Mona Lisa, 1979. Acrylic and silkscreen on canvas Ready Made, Duchamp, 1919. “She has a hot ass.”

  11. Process of borrowed authorship. Elaine Sturtevant “Just a different version, Nothing comes from nothing.” “To understand my art you need to know Warhol or my work wouldn’t function.” Warhol Flowers, 1965, Elaine Sturtevant “If Sturtevant hadn't done what she did, someone else would have. The cycle is endless.” Andy Warhol, Flowers ,1964 http://www.youtube.com/watch?v=1D7cENXu5O0

  12. 1913. Readymade: Duchamp Bicycle Wheel Sturtevant 'Duchamp Bicycle Wheel' 1969-1973 “May not follow the tradition of creation but their motives and ideas justify their appropriated artworks”

  13. Mike Bildo “The work doesn’t say that it’s something that it’s not.” “Not Warhol (Brillo Boxes. 1964) 2005,” “I wouldn’t want to misrepresent. It’s not my intention. But I think that the visual could serve as a net to make them want to explore Warhol a little more, so it could prove to be helpful.

  14. “EVERYONE WHO CREATES IS AN ARTIST’’ Joseph Beuys 1967 http://www.youtube.com/watch?v=IokboM4wqIw

  15. Roland Barthes, “The Death of the Author,” The birth of the reader is at the death of the author. “A text is not a line of words releasing a single ‘theological’ meaning , but a multi-dimensional space in which a variety of writings, none of them original, blend and clash.” . “An artist must openly acknowledge the process of appropriation that occurs within the production of all art.” “Every produced thing is a recycled regurgitation of that which preceded it.” ’”Artists use pre-existing imagery and signs to produce “new” works with multiple layers and multiple meanings.’’

  16. A selection of influences

  17. Main text Sherri Irvin: Appropriation and Authorship in Contemporary Art: http://www.ou.edu/ouphil/faculty/irvin/Appropriation.pdf Contributing sources not including YouTube links slides.Critical studies lectureshttp://estudio.leeds-art.ac.uk/course/view.php?id=33John Dewey: First chapter Art as Experiencehttp://www.umass.edu/stpec/pdfs/wilsonreadings/DeweyArtasExperience.pdfJohn Berger: Ways of Seeing http://ramsites.net/~whitemm2/304/pages/waysofseeing1.pdfSusan Sontag: Against Interpretation:http://www.uiowa.edu/~c08g001d/Sontag_AgainstInterp.pdfHarold Rosenberg: http://www.pooter.net/intermedia/readings/06.htmlLucy Lippard: The dematerialization of art (p. 47)’http://uncopy.net/wp-content/uploads/2012/09/alberro-stimson-conceptualart.pdfWalter Benjamin: The Work of art in an age of mechanical reproductionhttp://design.wishiewashie.com/HT5/WalterBenjaminTheWorkofArt.pdfBarthes: Death of the Authorhttp://www.tbook.constantvzw.org/wp-content/death_authorbarthes.pdfJaquesLacan: The Mirror Stagehttp://www.arthistoryunstuffed.com/jacques-lacan-mirror-stageShock of the new 1 http://www.youtube.com/watch?v=c_8y0sQ0HMEWays of Seeing: http://www.youtube.com/watch?v=utEoRdSL1joHow Art made the world: http://www.youtube.com/watch?v=efS9qOYNOjcThe History of art in three colours Gold: http://www.youtube.com/watch?v=q6dlZ324KyoState of the art: (Episode on Joseph Beuys) http://www.youtube.com/watch?v=IokboM4wqIwTracey Emin Strange land and documentarieshttp://en.wikipedia.org/wiki/Art_forgeryJackson Pollock DVDAesthetic, Charles Taliaferro , 2011

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