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  • Dedication Replacing Appropriation: Fascination, Subversion and Dispossession in Appropriation Art

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    wagnercostalima
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    Graw, Isabelle (2004) 'Dedication Replacing Appropriation: Fascination, Subversion and Dispossession in Appropriation Art'. In George Baker, Jack Bankowsky et al., (Eds.) Louise Lawler and Others. Ostfildern-Ruit, pp. 45-67.

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    Graw, Isabelle (2004) 'Dedication Replacing Appropriation: Fascination, Subversion and Dispossession in Appropriation Art'. In George Baker, Jack Bankowsky et al., (Eds.) Louise Lawler and Others. Ostfildern-Ruit, pp. 45-67.

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    555 visualizações14 páginas

    Dedication Replacing Appropriation: Fascination, Subversion and Dispossession in Appropriation Art

    Enviado por

    wagnercostalima
    Graw, Isabelle (2004) 'Dedication Replacing Appropriation: Fascination, Subversion and Dispossession in Appropriation Art'. In George Baker, Jack Bankowsky et al., (Eds.) Louise Lawler and Others. Ostfildern-Ruit, pp. 45-67.

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    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
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    DEDICATION REPLA FASCINATION, Isabelle Graw ING APPROPRIATION SUBVERSION, AND DISPOSSESSION IN APPROPRIATION A 4 Active Formation or Parasite Behavior? ‘Appropriation isa preconiton of artistic work, Appropriation, in the it eral sense, is the process of making something one's own propedty. The Renaissance ats, whore legends were colected by Ging Vasari spent a great deal of tne appropriating technical sls and artic standard, wath the aim of surpassing these standards and skis while asiating them. The majority of them received instruction from teachers: appropriation became organized inthe cru insttion ofthe teacher pupil relationship. The clascal academic study of art can kobe interpreted asa lesson n practices of appropriation, considering how much time is spent copying pictures. Copying a picture means no more than to appro priate by reproducing it, and to tus internalize the knowledge contained inthe image. However, this form of appropriated reconstruction remained—siln mod! erism—orinted toward the production of “rgialiy.” Wheo, 36a young man, Passo, for example, coped the Old Masters, ths was considered tobe a kind of preparatary study, whch although already showing sigs of his own handwrting ‘would at some point be replaced by an “orignal” visual expression, A wor of at that feeds only on appropriation, and even makes this expt, would have no chance of acknowledgement in the sonaro, Somathing must tobe added, come. thing more thn simply appropriation that could be described as the artist's own fe, was shaken up radically in the 1980: inthe course of postmodemism with ts questioning ofthe significance of author ship and originality, Postmodernism was a quotation culture (redtic Jameson). The definition of art began to change as the notlon of genuine creation was lst favor of *pasiche'—the method that reassembled what was already tobe found that Fede Jameson declared to be one of the main charctenstes of postmodern practices’ The mage ofthe artist also underwent radial changes: arts were no longer outstanding incviduls but instead fell back onan exiting stock of images, “making their net” there. A madel of appropriating, pase Behavior replaced achiverent. This system of values, ho the model of the strong subject that creates something new using its own resources. The ats fed on cltual symbols and was toa large extent dependent fn these, while at the same time possessing enormous subversive potential Boogie and vial imagery enjoyed considerable popularity both in postmodern theory and in at citicl theory and attic statements n the case of Peter Haley ‘this went ofa that he wanted his abstract hal-tone images to be understood as als and conduits.” which were meant to visualize the vial dpetsion and ne working loge of society, and he drew on theorists suchas Jean Bauder! ond Michel Foucault as evidencing ther exstence’ According to Halley, these painted cells were intended to be a reference to rel clls suchas resident buiknge ot hospital beds, connected to power lines juste thes ines through which vital sare able to lave and enter’ This analogy between panting and a socety based on molecular structures made it posible for painting to ly claim toa ose reference to socety—a kind of history panting. Subversion metaphors alo fol lowed tis vial scheme—in the 1980s, the image of the Tojan horse was wide Soread. The artist duo Clegg & Guttmann stated in an interview that good at should function like @ Trojan horse: entcng enough tobe itn. and subvesie enough later? Thus art disguises itself n arder tobe able to inflate enemy ter rai. When reaches its goal, it unfold its power to degenerate ke avs that has infected its host organism, It shouldbe noted that Clegg, & Cultmann rae no mention ofthe nature ofthis subversion and how i i achieved in an conte 2. Extending the Zone of Appropriation The fst break with the prevaling modernist system of belies that sti continued into the 1980s, and in which appropriation to a certain extent ranked 4 a piliinary stage before the development of an individual signature, was ésteemed to be Duchamp'sreadymades, and the diverse Ouchampian eects of the twentieth century (Pop art, Minimal art. Conceptual a, Appropriation ar). Readymade, industraly manufactured objects that have been taken for th functional context and declared a work of ar by arts, presenta form of at, ‘ic appropritin—a particulr type of artistic appropriation tobe roe exact. which has a special ole. Artistic appropriation inthis ase meant select ad tae possession orto declare the object tobe one's own work. However a readyrade ‘st the result of arbitrary selection, asi often alleged. It results mich mare rom the choice of particular object, and ths chosen objets appropriated and taken Possession of all at ence. Selection and appropriation go hand in hand and each readymade i the embodiment of this apprepriting selection. The readymade ‘owes a deb fo the appropriating gesture ofthe att, and it bears witness tots {aesture—to aspect artic senility. The att ha not chosen a andom object, but @ specie one—in the case of Ouchamp the famous pissow The object ‘manipulated in such a manner that itis able to reflect arte “sensi,” Inthe as of endymades, something s thus added, for example the tile that Duchamp {2ve to his work of art, which the art historian Thier de Duve, with good reason Compared tothe efet ofa color*Readymades are colored with the help of ies, and artistic expression survives inthe fies. Thus, on the one hand we that Duchamp's readymades historically mark the extension of the zone of ‘ppropition in that they extended the poasble area from wich objets can be appropriated, while on the other hand, it must be nated that their lam to an individual signatue i inno vay revoked. The indication fr ths signature have merely been pushed to the edges ofthe artiste work, Singularity ean no longer be located “immanent.” asi the brshstroke. It becomes manifest on the level of the appropriating selection, fr example a signature that has been added tothe readymade,o in the case of Duchamp, title that suggests particular meaning, he aswmpion made by postmodern at cites well Into the 1990s, that Duchamp’sreadymades signaled the “death of the author” cannot rely hold is {ground whe wewed from ths perspective. There are too many indications ofan active creative author. However, Duchams readymades have once and fo all broken withthe clasc expressive ideal that postulates the idea of artists who express themselves in ther atic wok. The appropriating—in the sense of elec. ing and taking possesson—artss do not express themselves cect should they ever have doe tis tal. On the contrary they have decided on partir sys tem of experiments have set out ona (probably casual) search fran abject ot & situation tht they find worthy of appropriation. Such situations as appear inthe works of the att Louse Lawler—which have been appropriated in a paticular ‘manner—are a good example of ths. ts appropriate to describe ther, in analogy to the Surealst “objets roués,” as “tuations touvées" Uohannes Melahard. This because the stvatons photographed by Lawler are the result ofa choice to the extent thatthe artst came across or found them. They quasi fel into her hands. The idea that, an artistic practice which is prmarly based on appropri, tion, we are dealing exlavely with goal-oriented ation by an active artistic sub Ject with intents and purposes, mut be qualified inthe ight uf tis perspective Honever the problem is that the majonty of arttheoretcal appropriation ds ‘course f based on this premise of voluntary action This does not take ito account the fact thatthe appropating ats at als pulled along by ther abject 3. Appropriation as an Antimodernst Antidote tn one of the primary texts on this subject, the art historian Benjamin Buchio described appropation as an “ac.” The choice o hs term signa, only because evry action obviously requires a subject. More than that, an action assumes a subject that has decided to cary outa particular action and who knows what he or she i ding. Consequently, a whe heap of cognitive and ‘theoreti intentions and performance is nposed upon this "at". “Bach act of ‘altura appropriation ti fore constructs a simularum of 2 double neg

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