Sherrie levine biography template
•
Sherrie Levine
DaVincis work are called masterpieces, Levine are out right copies period. You really got this one wrong here.
We go out and find the scene and capture it. A scene that would have never been seen by another. Levinne goes to a store, buys a poster of someone else's works and make a photo of it. A direct copy.We photograph the natural landscape of this earth that God created. Are we just appropriating and stealing what he has done?
Click to expand
You cannot co
•
Appropriation
Appropriation can be tracked back to the cubistcollages and constructions of Pablo Picasso and Georges Braque made from on, in which real objects such as newspapers were included to represent themselves. The practice was developed much further in the readymades created bygd the French artist Marcel Duchamp from Most notorious of these was Fountain, a men’s urinal signed, titled, and presented on a pedestal. Later, surrealism also made extensive use of appropriation in collages and objects such as Salvador Dalí’s Lobster Telephone. In the late s appropriated images and objects appear extensively in the work of Jasper Johns and Robert Rauschenberg, and in pop art.
However, the begrepp seems to have come into use specifically in relation to certain American artists in the s, notably Sherrie Levine and the artists of the Neo-Geo group particularly Jeff Koons. Sherrie Levine reproduced as her own work other works of art, including paintings by Claude konstnär (claude monet) and Kasimi
•
Auto-photo-biographies
Here it is, at last:
secret meeting in Karl-Marx-Stadt cafeteria, Widzew -
she puts a finger in his mouth, he keeps her finger in his mouth,
with blurred background behind someone still counts
on memory, someone backs the stage,
any minute now a shot of light will vända bones into paper1.Jerzy Jarniewicz
The Stream of Life
In the era of social media and virtual communities such as Instagram, creating one’s auto-photo-biography seems as evident and indispensable as cleaning one’s teeth. This activity is almost thoughtless, undisputed and automatic; necessary not only for becoming a certain some-body, but even for being as such. Equally evident (if not essential) is the creative dimension of these kinds of visual narratives. The emergent image, and personal story that follows, become filtered by desires, dreams and concepts of oneself and of the ways others see us: self-portrait and autobiogra