Marcel Duchamp
L.H.O.O.Q. (French pronunciation: [el aʃ o
o ky]) is a work of art by Marcel Duchamp first conceived in 1919. The work is
one of what Duchamp referred to as readymades, or more specifically an assisted
ready-made. The readymade involves taking mundane, often utilitarian objects
not generally considered to be art and transforming them, by adding to them,
changing them, or (as in the case of his most famous work Fountain) simply
renaming them and placing them in a gallery setting. In L.H.O.O.Q. the objet trouvé
("found object") is a cheap postcard reproduction of Leonardo da
Vinci's Mona Lisa onto which Duchamp drew a moustache and beard in pencil and
appended the title. Although many say it was pioneered by him, in 1883 Eugene
Bataille created a Mona Lisa smoking a pipe, titled Le rire.
Marcel Duchamp most famous work 'Fountain'
Fanzines
This is a high-impact visual presentation
of the most interesting fanzines ever produced. Ephemeral and irreplaceable, many
have been lost to all but a few passionate collectors.
Fanzines have been one of the liveliest
forms of self-expression for over 70 years. Now a new generation of graphic
designers, illustrators, artists and writers combines self-expression with a
rediscovery of the handmade, crafted object.
Sniffin Glue
Sniffin' Glue is the name of a monthly punk
zine started by Mark Perry in July 1976 and released for about a year. The name
is derived from a Ramones song "Now I Wanna Sniff Some Glue." Others that
wrote for the magazine that later became well known journalists include Danny
Baker.
Although initial issues only sold 50
copies, circulation soon increased to 15,000. The innovative appeal of Sniffin'
Glue was its immediacy.
Sniffin' Glue was not so much badly written
as barely written; grammar was non-existent, layout was haphazard, headlines
were usually just written in felt tip, swearwords were often used in lieu of a
reasoned argument. . .all of which gave Sniffin' Glue its urgency and relevance.
The early days of the punk movement largely
failed to attract the attention of television or the mainstream press, and
Sniffin' Glue remains a key source of photographs of, and information about,
contributors to the scene.
Walker Evans and Sherrie Levine
In the late 1970s and early 1980s, a group
of artists including Cindy Sherman, Richard Prince, and Sherrie Levine—at the
time dubbed the "Pictures" generation—began using photography to
examine the strategies and codes of representation. In reshooting Marlboro
advertisements, B-movie stills, and even classics of Modernist photography,
these artists adopted dual roles as director and spectator. In their
manipulated appropriations, these artists were not only exposing and
dissembling mass-media fictions, but enacting more complicated scenarios of desire,
identification, and loss.
In 1981, Levine photographed reproductions
of Depression-era photographs by Walker Evans, such as this famous portrait of
Allie Mae Burroughs, the wife of an Alabama sharecropper. The series, entitled
After Walker Evans, became a landmark of postmodernism, both praised and
attacked as a feminist hijacking of patriarchal authority, a critique of the
commodification of art, and an elegy on the death of modernism. Far from a
high-concept cheap shot, Levine’s works from this series tell the story of our
perpetually dashed hopes to create meaning, the inability to recapture the
past, and our own lost illusions.
Sherrie Levine took a picture of Walkers Evans photo, I don't get how she can pass this off as her own work. It's not creative at all, a lot of people have done this with Andy Warhols work too claiming his designs as their own. Some of Warhols stuff such as Marlyin Monroe is just a colourful screen print of a photo of Marylin Monroe took by someone else.
Women within magazines
Todays seminar was all about artists that make someone else's work their own so we then had a task to create something from someone else's work. Me and molly made this collage on women within magazines, I thought this would be fitting as for my research project I am thinking of doing fashion and fur. The title is 'Has it been that long since we've has someone to follow?' the collage is all about how women look up to women in magazines.
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