Project: Mapping (exercise 2.4)

Project: Mapping and Other Technologies.


 This part of the course opens with citing a body of work by Liz Nichol. The definition of mapping is stretched (excuse the pun) with the collection of rubber bands picked up from the school walk. The bands were discarded by postmen, collected and then placed on cyanotypes.

 This link is given to show the process:

 (Link unobtainable and further Google searches resulted in ‘not trace’ for an of her work).

 The next photographer introduced is Ian Brown. His layering of many images of the same location gives an abstract result. The detail of the woodland can’t be discerned but the atmosphere of the place is capture. The image looks like an impressionist painting.

 I LOVE the aesthetic and ethereal feel to the image. Last accessed 16/03/2016

 The invasive nature of Google Street view is discussed. It has to be the most prolific photography-mapping project ever to be conceived. Artists who have appropriated images from Street View have explored this facility within realms of ‘appropriation art’.

 We are pointed to Marcel Duchamp, Andy Warhol, Sherrie Levine and Richard Prince to support the history of ‘appropriation’. Last accessed 16/03/2016

 The link above takes us to a body of work that critics have accused of being exploitative of women who are looking to sell their sexual services. I am also normally quite reflective about taking advantage of peoples vulnerability or exposing identity.

However, this isn’t what the artist has done. The photographs were taken incidentally to the purpose of the photography. The faces of the women have been masked (arguably not enough) and all that Henner has done is to expose how our identity and personal day-to-day life is now so available for everybody to see.

 Exercise 2.4

 Is appropriation appropriate?

 Read the following: Last accessed 16/03/2016 Last accessed 16/03/2016 Last accessed 16/03/2016

 This is a subject that is far from simple and I dare say that 300 words can’t even begin to touch the sides with a subject that keeps lawyers fully employed across the globe.

I would imagine that as I explore the genre that there would be plenty of cases that can be cited as valid use of appropriation. The question will always be about where the line in the sand is. That line will depend on the interpretation of the law, the moral integrity (regardless of the legal) and issues of authorship.

Coincidently, I have just listened to Radio 2. Jonathan Ross was in conversation with the curator of London Print Fair*. The subject of appropriation came up and in particular the case of Roy Lichtenstein – Jonathan Ross made the observation about the original cartoonist not receiving any acknowledgement. The curator responded by saying that artists have always been appropriated one-way or another in art. She didn’t really make any moral observation beyond the necessity of the artists need to be seen to re contextualise any appropriation of art. She did state that is was more difficult for artists to work within copyright law.

I found an essay that reminded me of the issues of Barthes issues of authorship that challenges the whole notion of ownership. Last accessed 23/03/2016

So, we all appropriate and re – contextualise on some level, even if we have been unaware of that fact. Understanding postmodern concepts will help us to judge the limits of reasonable appropriation and make a judgment against copyright law.

In the same essay Sherrie Levine is spoken about. It transpires that Levine seems to push the boundaries to the limit by photographing other photographers’ work and presenting it as her own. It will take me some time to digest her justification.

*Unfortunately, I only caught the guests name as being called Jenny. I have tried to find details of the program online but there isn’t anything to be found at this time. Last accessed 23/03/2016 Last accessed 16/03/2016 Last accessed 16/03/2016 Last accessed 16/03/2016

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