User:Lbattich/Essay on method - (final version) - Revision history

Lbattich: /* How does authorship fit into my practice: */

2015-09-02T13:41:51Z

How does authorship fit into my practice:

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	===How does authorship fit into my practice:===		===How does authorship fit into my practice:===

	Although I am highly interested in the concept of authorship, most of my works do not attempt to address this directly, or at least it is not my intention to subvert of challenge traditional notions of authorship – in the footsteps of the Picture Generation artists. Regarding authorship, in my work I want to draw attention to the fact that that authorship is nevertheless present even in acts of appropriation. In signing my works I do not aim to reclaim the appropriated texts and images as my own, or to question the (authorial) authority of the original material, but rather, in the manner of contemporary conceptual writing, and paraphrasing Joseph Kosuth, the source material is rearranged or transformed – however slightly – into a new text or paragraph, as Kosuth puts it, and it’s that paragraph I claim authorship of.		Although I am highly interested in the concept of authorship, most of my works do not attempt to address this directly, or at least it is not my intention to subvert or challenge traditional notions of authorship – in the footsteps of the Picture Generation artists. Regarding authorship, in my work I want to draw attention to the fact that that authorship is nevertheless present even in acts of appropriation. In signing my works I do not aim to reclaim the appropriated texts and images as my own, or to question the (authorial) authority of the original material, but rather, in the manner of contemporary conceptual writing, and paraphrasing Joseph Kosuth, the source material is rearranged or transformed – however slightly – into a new text or paragraph, as Kosuth puts it, and it’s that paragraph I claim authorship of.

	These issues may show that it is not entirely correct for me to easily situate my work within the discourse of appropriation art – especially if we consider appropriation art in the wake of the Picture Generation artists. Although much of my practice concentrates on this, it would be best to say that my work utilizes appropriative tropes for its own ends. And these ends vary from work to work and project to project.		These issues may show that it is not entirely correct for me to easily situate my work within the discourse of appropriation art – especially if we consider appropriation art in the wake of the Picture Generation artists. Although much of my practice concentrates on this, it would be best to say that my work utilizes appropriative tropes for its own ends. And these ends vary from work to work and project to project.

	My works, in their attempt to use citation and quotation – terms which I prefer to ‘appropriation’ – serve as well as homages to the source texts, images and cultural objects. In this sense, they are tinged with nostalgia. Most of my works that utilize appropriative means are not primarily designed to subvert the source objects, but to present them in a different context, or utilize their aura as content for different aims, which includes treating the material in a metaphorical sense. This use of appropriation remains in stark contrast to other historical uses associated with appropriation, especially to the notion of ''détournement'' employed by the Situationist International, which refers to the practice of reusing ‘preexisting artistic elements in a new ensemble.’ For the Situationists ''détournement'' implies a devaluation of the appropriated material.(Debord et al, 1959)		My works, in their attempt to use citation and quotation – terms which I prefer to ‘appropriation’ – serve as well as homages to the source texts, images and cultural objects. In this sense, they are tinged with nostalgia. Most of my works that utilize appropriative means are not primarily designed to subvert the source objects, but to present them in a different context, or utilize their aura as content for different aims, which includes treating the material in a metaphorical sense. This use of appropriation remains in stark contrast to other historical uses associated with appropriation, especially to the notion of ''détournement'' employed by the Situationist International, which refers to the practice of reusing ‘preexisting artistic elements in a new ensemble.’ For the Situationists ''détournement'' implies a devaluation of the appropriated material. (Debord et al, 1959)

	On the contemporary practices of image-making, from high art to commercial products to social media expressions, appropriation of other works is so pervasive, as facilitated (and prescribed) by digital media, that ~~it's~~ use cannot have the same impact nor meaning it had for the Situationists and even for artists like Barbara Kruger.		On the contemporary practices of image-making, from high art to commercial products to social media expressions, appropriation of other works is so pervasive, as facilitated (and prescribed) by digital media, that its use cannot have the same impact nor meaning it had for the Situationists and even for artists like Barbara Kruger.

	Rather than devaluation or subversion, my works attempt a recontextualisation, perhaps more in the manner of homages.		Rather than devaluation or subversion, my works attempt a recontextualisation, perhaps more in the manner of homages.

	''Retrograde Chapbooks'', for instance, proposes a literal “going-back” movement to the power of early avant-garde manifestoes. The intention here is neither to criticise the original texts, nor to question their authorship, but rather to present a concept or desire by means of a metaphor. The resulting altered manifestoes are presented as metaphors for a nostalgic desire.		''Retrograde Chapbooks'', for instance, proposes a literal “going-back” movement to the power of early avant-garde manifestoes. The intention here is neither to criticise the original texts, nor to question their authorship, but rather to present a concept or desire by means of a metaphor. The resulting altered manifestoes are presented as metaphors for a nostalgic desire.


	== Conclusion ==		== Conclusion ==

Lbattich at 19:30, 10 July 2015

2015-07-10T19:30:35Z

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	{{quotation\|		<div style='width:42em;font-size:0.9em;font-family:Courier,Sans;display:inline;float:right;padding:5px'>{{quotation\|
	''"We have an immeasurable longing to become whole." -Nietzsche''		''"We have an immeasurable longing to become whole." -Nietzsche''

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	The movement, the series, the oeuvre, are in constant}}		The movement, the series, the oeuvre, are in constant}}
			</div>

Lbattich at 19:29, 10 July 2015

2015-07-10T19:29:32Z

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	~~<div style='width:42em;font-size:0.9em;font-family:Courier,Sans;display:inline;float:right;padding:5px'>~~{{quotation\|		{{quotation\|
	''"We have an immeasurable longing to become whole." -Nietzsche''		''"We have an immeasurable longing to become whole." -Nietzsche''

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	The movement, the series, the oeuvre, are in constant}}		The movement, the series, the oeuvre, are in constant}}

	~~</div>~~

	== Introduction ==		== Introduction ==

Lbattich: /* Bibliography */

2015-06-17T09:00:14Z

Bibliography

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	Foster, H. (2002) ‘Archives of Modern Art’. ''October'', Vol. 99, Winter. Cambridge MA: MIT Press.		Foster, H. (2002) ‘Archives of Modern Art’. ''October'', Vol. 99, Winter. Cambridge MA: MIT Press.

	Riley, C. A. (1995) Color Codes. Lebanon, New Hampshire: UPNE.		Riley, C. A. (1995) ''Color Codes''. Lebanon, New Hampshire: UPNE.

Lbattich: /* Bibliography */

2015-06-17T08:59:59Z

Bibliography

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	Lippard, L. R. (1973) ''Six Years: The Dematerialization of The Art Object From 1966 to 1972''. New York: Praeger. 1973.		Lippard, L. R. (1973) ''Six Years: The Dematerialization of The Art Object From 1966 to 1972''. New York: Praeger. 1973.

	Foster, H. (1996) The Return of the Real. Cambridge MA: MIT Press.		Foster, H. (1996) ''The Return of the Real''. Cambridge MA: MIT Press.

	Foster, H. (2002) ‘Archives of Modern Art’. ''October'', Vol. 99, Winter. Cambridge MA: MIT Press.		Foster, H. (2002) ‘Archives of Modern Art’. ''October'', Vol. 99, Winter. Cambridge MA: MIT Press.

	Riley, C. A. (1995) Color Codes. Lebanon, New Hampshire: UPNE.		Riley, C. A. (1995) Color Codes. Lebanon, New Hampshire: UPNE.

Lbattich: /* Conceptual writing & appropriation */

2015-06-17T08:58:45Z

Conceptual writing & appropriation

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	The practices of what is now called conceptual writing have influenced my artistic development since 2011, although I arrived to these issues not from practitioners such as Kenneth Goldsmith, but rather from considering the history of conceptual art, and particularly the instruction-based works of Yoko Ono, and the language works of Joseph Kosuth, John Baldessari and others, as well as the Oulipo literary movement.		The practices of what is now called conceptual writing have influenced my artistic development since 2011, although I arrived to these issues not from practitioners such as Kenneth Goldsmith, but rather from considering the history of conceptual art, and particularly the instruction-based works of Yoko Ono, and the language works of Joseph Kosuth, John Baldessari and others, as well as the Oulipo literary movement.

	The artist book μῆνιν (~~Menin~~, Ancient Greek for anger, wrath) was produced in 2012 with this artistic and cultural background in mind. μῆνιν is a book where the first word of Homer’s ''Iliad'' is repeated throughout the whole length of the poem, which is originally composed of 15,693 lines. The use of the Ancient Greek word for anger/wrath is not meant to be explicitly negative or judgmental toward Homer and the canon. The work does not express this wrath, merely appropriates the word. The point for me is to linger in this word, the very first word of the whole of Western literature, by creating a systematic exposition. At the same time, I find it interesting that we know next to nothing on the author or authors of the first work in the literary tradition in Western culture, and that subsequently this culture would develop an almost obsessive cult on the individual creative originator.		The artist book μῆνιν (''menin'', Ancient Greek for anger, wrath) was produced in 2012 with this artistic and cultural background in mind. μῆνιν is a book where the first word of Homer’s ''Iliad'' is repeated throughout the whole length of the poem, which is originally composed of 15,693 lines. The use of the Ancient Greek word for anger/wrath is not meant to be explicitly negative or judgmental toward Homer and the canon. The work does not express this wrath, merely appropriates the word. The point for me is to linger in this word, the very first word of the whole of Western literature, by creating a systematic exposition. At the same time, I find it interesting that we know next to nothing on the author or authors of the first work in the literary tradition in Western culture, and that subsequently this culture would develop an almost obsessive cult on the individual creative originator.

	[[File:Menin.png\|thumb\|center\|600px\|''μῆνιν'']]		[[File:Menin.png\|thumb\|center\|600px\|''μῆνιν'']]

Lbattich: /* Conceptual writing & appropriation */

2015-06-17T08:57:52Z

Conceptual writing & appropriation

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	This emphasis on the impact and effect of media technologies in our experience of the world is related to my interest on strategies of appropriation in art, which has been central in both previous and recent work.		This emphasis on the impact and effect of media technologies in our experience of the world is related to my interest on strategies of appropriation in art, which has been central in both previous and recent work.

	The practices of what is now called conceptual writing ~~has~~ influenced my artistic development since 2011, although I arrived to these issues not from practitioners such as Kenneth Goldsmith, but rather from considering the history of conceptual art, and particularly the instruction-based works of Yoko Ono, and the language works of Joseph Kosuth, John Baldessari and others, as well as the Oulipo literary movement.		The practices of what is now called conceptual writing have influenced my artistic development since 2011, although I arrived to these issues not from practitioners such as Kenneth Goldsmith, but rather from considering the history of conceptual art, and particularly the instruction-based works of Yoko Ono, and the language works of Joseph Kosuth, John Baldessari and others, as well as the Oulipo literary movement.

	The artist book μῆνιν (Menin, Ancient Greek for anger, wrath) was produced in 2012 with this artistic and cultural background in mind. μῆνιν is a book where the first word of Homer’s ''Iliad'' is repeated throughout the whole length of the poem, which is originally composed of 15,693 lines. The use of the Ancient Greek word for anger/wrath is not meant to be explicitly negative or judgmental toward Homer and the canon. The work does not express this wrath, merely appropriates the word. The point for me is to linger in this word, the very first word of the whole of Western literature, by creating a systematic exposition. At the same time, I find it interesting that we know next to nothing on the author or authors of the first work in the literary tradition in Western culture, and that subsequently this culture would develop an almost obsessive cult on the individual creative originator.		The artist book μῆνιν (Menin, Ancient Greek for anger, wrath) was produced in 2012 with this artistic and cultural background in mind. μῆνιν is a book where the first word of Homer’s ''Iliad'' is repeated throughout the whole length of the poem, which is originally composed of 15,693 lines. The use of the Ancient Greek word for anger/wrath is not meant to be explicitly negative or judgmental toward Homer and the canon. The work does not express this wrath, merely appropriates the word. The point for me is to linger in this word, the very first word of the whole of Western literature, by creating a systematic exposition. At the same time, I find it interesting that we know next to nothing on the author or authors of the first work in the literary tradition in Western culture, and that subsequently this culture would develop an almost obsessive cult on the individual creative originator.

Lbattich: /* Conceptual writing & appropriation */

2015-06-17T08:57:34Z

Conceptual writing & appropriation

← Older revision		Revision as of 10:57, 17 June 2015
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	This emphasis on the impact and effect of media technologies in our experience of the world is related to my interest on strategies of appropriation in art, which has been central in both previous and recent work.		This emphasis on the impact and effect of media technologies in our experience of the world is related to my interest on strategies of appropriation in art, which has been central in both previous and recent work.

	The practices of what is now called conceptual writing ~~have been central to~~ my artistic development since 2011, although I arrived to these issues not from practitioners such as Kenneth Goldsmith, but rather from considering the history of conceptual art, and particularly the instruction-based works of Yoko Ono, and the language works of Joseph Kosuth, John Baldessari and others, as well as the Oulipo literary movement.		The practices of what is now called conceptual writing has influenced my artistic development since 2011, although I arrived to these issues not from practitioners such as Kenneth Goldsmith, but rather from considering the history of conceptual art, and particularly the instruction-based works of Yoko Ono, and the language works of Joseph Kosuth, John Baldessari and others, as well as the Oulipo literary movement.

	The artist book μῆνιν (Menin, Ancient Greek for anger, wrath) was produced in 2012 with this artistic and cultural background in mind. μῆνιν is a book where the first word of Homer’s ''Iliad'' is repeated throughout the whole length of the poem, which is originally composed of 15,693 lines. The use of the Ancient Greek word for anger/wrath is not meant to be explicitly negative or judgmental toward Homer and the canon. The work does not express this wrath, merely appropriates the word. The point for me is to linger in this word, the very first word of the whole of Western literature, by creating a systematic exposition. At the same time, I find it interesting that we know next to nothing on the author or authors of the first work in the literary tradition in Western culture, and that subsequently this culture would develop an almost obsessive cult on the individual creative originator.		The artist book μῆνιν (Menin, Ancient Greek for anger, wrath) was produced in 2012 with this artistic and cultural background in mind. μῆνιν is a book where the first word of Homer’s ''Iliad'' is repeated throughout the whole length of the poem, which is originally composed of 15,693 lines. The use of the Ancient Greek word for anger/wrath is not meant to be explicitly negative or judgmental toward Homer and the canon. The work does not express this wrath, merely appropriates the word. The point for me is to linger in this word, the very first word of the whole of Western literature, by creating a systematic exposition. At the same time, I find it interesting that we know next to nothing on the author or authors of the first work in the literary tradition in Western culture, and that subsequently this culture would develop an almost obsessive cult on the individual creative originator.

Lbattich at 20:36, 12 June 2015

2015-06-12T20:36:18Z

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	{{quotation\|		<div style='width:42em;font-size:0.9em;font-family:Courier,Sans;display:inline;float:right;padding:5px'>{{quotation\|
	''"We have an immeasurable longing to become whole." -Nietzsche''		''"We have an immeasurable longing to become whole." -Nietzsche''

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	The movement, the series, the oeuvre, are in constant}}		The movement, the series, the oeuvre, are in constant}}

			</div>

	== Introduction ==		== Introduction ==

Lbattich: /* Bibliography */

2015-06-12T18:48:07Z

Bibliography

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	Harrison, N. (2010) 'The Pictures Generation, the Copyright Act of 1976, and the Reassertion of Authorship in Postmodernity', ''Art & Education''. Available: http://www.artandeducation.net/paper/the-pictures-generation-the-copyright-act-of-1976-and-the-reassertion-of-authorship-in-postmodernity/. Accessed 3 June 2015.		Harrison, N. (2010) 'The Pictures Generation, the Copyright Act of 1976, and the Reassertion of Authorship in Postmodernity', ''Art & Education''. Available: http://www.artandeducation.net/paper/the-pictures-generation-the-copyright-act-of-1976-and-the-reassertion-of-authorship-in-postmodernity/. Accessed 3 June 2015.

	Kosuth, J. (1991) '''Art After Philosophy And After: Collected Writings, 1966-1990'''. Edited by Gabriele Guercio and Jean-François Lyotard. Cambridge: MIT Press.		Kosuth, J. (1991) ''Art After Philosophy And After: Collected Writings, 1966-1990''. Edited by Gabriele Guercio and Jean-François Lyotard. Cambridge: MIT Press.

	Lippard, L. R. (1973) ''Six Years: The Dematerialization of The Art Object From 1966 to 1972''. New York: Praeger. 1973.		Lippard, L. R. (1973) ''Six Years: The Dematerialization of The Art Object From 1966 to 1972''. New York: Praeger. 1973.