= Appropriation in Art Homage or Insult? Andy Warhol, Campbell’s Soup Silkscreen

To appropriate something involves taking possession of it! E.g. Mass culture such as Comic style and famous ‘Mickey Mouse icon, adopted in pop art!

and criticism on: what really is a work of art? The practice of “appropriation” has become quite familiar in the art world over the past century. The practice can be tracked back to the CUBIST Collages and constructions of Picasso and Georges Barque made from 1912 on, in which real objects such as newspapers were included to represent themselves. It was often used in the 80’s, where artists cut-and-paste, some take images from other artists and alter or use fractions of them in their own work, and some just borrow ideas from other artists. In the late 1950s, appropriated images and objects appear extensively in the works of Jasper Johns and Robert Rauschenberg, and in Pop Art, where artists like Andy Warhol and Roy Lichenstein practises it for both social commentary on culture… Left to right: Brillo Box Warhol, 1964 Silkscreen ink on painted wood 17 1/8 x 17 1/8 x 14 in Flag Jasper Johns 1954–55. Encaustic, oil, and collage on fabric mounted on plywood (three panels) Fountain Marcel Duchamp, 1917. and criticism on: what really is a work of art?

1.0 Julie Rrap JULIE RRAP Appropriation! Julie Rrap has been a major figure in Australian contemporary art for over twenty years. Since the mid-1970s, she has worked with photography, painting, sculpture, performance and video in an on-going project concerned with representations of the body.

1.0 Julie Rrap Appropriation! The viewer was to interact with the appropriated artwork by involving their bodies- lying in the negative bronze casts, they will be in a similar position as the main subject, thus becoming ‘one’ with the artwork. Untitled (after Manet’s Olympia), 2002 Julie Rrap

1.0 Julie Rrap Appropriation! Exhibited along-side these sculptures are life-sized, digitally-manipulated prints on canvas of the original paintings from which the same figures have been removed. With these works, Rrap invites the viewer to enter the scene, to place themselves into these famous compositions… using 3 different mediums- digital, sculptural and performance. ‘Fleshed Out’- Untitled (after Manet’s Le Dejeuner sur l’herbe’ ), 2002 Julie Rrap

1.0 Picasso Appropriation! Picasso’s distinctive style of cubism, re-interpreting the masterpiece "When I see le Déjeuner sur l'herbe, I tell myself pain for later. " Indeed, it should really start to suffer that twenty years later. Picasso begins with the work before drawing to interpret in its own way to play different players. While in most versions, painted with broad flat, the "talker" remains in profile, the Bather, it is presented so as to leave nothing to guess its charms. And when it completes its series, all participants of this "party square" are completely naked. However, the realization of sub-wood, painted a very virtuoso by Manet, poses many more problems to Picasso, who in his long career, has hardly painted nature. Le Dejeuner sur l’herbe’ Manet ,1863. Oil on canvas, 208 x 264.5 cm Le Dejeuner sur l’herbe’ Picasso, 1962, Oil on Canvas

Las Meninas 1957 Picasso Oil on canvas 194 x 260 cm Las Meninas 1656 Diego Velazquez oil on canvas, 276 x 320 cm

2.0 Cindy Sherman CINDY SHERMAN Appropriation! By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Sherman uses herself as a vehicle for commentary on a variety of issues of the modern world: the role and representation of women in society and the media. Questions the role of the artist as well as the nature of the creation of art.

2.0 Cindy Sherman Appropriation! Using prosthetic body parts to augment her own body, Sherman recreates great pieces of art and thus manipulates her role as a contemporary artist working in the twentieth-century. Untitled #195 Cindy Sherman

2.0 Cindy Sherman Untitled #228 Cindy Sherman Untitled #216

2.0 Cindy Sherman “The idea that images can be reproduced and seen anytime, anywhere, by anyone” Young Sick Bacchus, 1593-1594, early self- portrait by Michelangelo Merisi da Caravaggio Untitled #224 Cindy Sherman

Questions to Ponder : Who owns the image? How much of an original idea does the artist really own? Does one artist have the right to say to another, “You may not use my work as inspiration for your own work?” With the trend of appropriation catching on, many artists, their practices, and the ideals of art have come into question.

Homework for Section A: Sherrie Levine Banksy Andy Warhol

Homework for Section B: Case Study 1 LA Based Artist Shepherd Fairey Founder of Street Label- ‘Obey’ Artistic style often involves creating graffiti art and imagery composition of guerilla warfare + political/ propaganda posters, merged with popular culture, celebrity icons and current global events.

Who do you think is right? Fairey vs. AP AP Countersues Over Use Of Obama Image By Artist Shepard Fairey Wednesday, March 11, 2009 Who do you think is right? - Please Read attached article 1- Fairey vs AP now

Who do you think is right? Case Study 2 Art Rogers vs. Jeff Koons (in essay entitled Subjective Reasoning by James Traub)1992 Left: Art Rogers, Puppies, 1985 © Art Rogers. Right: Jeff Koons, String of Puppies, 1988 Who do you think is right? - Please Read attached article 2- Koons vs Roger now

Questions to Ponder : How Original are Imitators? What would make an appropriation work successful, instead of just imitation?