The Case for Copying | The Art Assignment | PBS Digital Studios

Summary

This video script delves into the concept of copying in art, questioning the value of originality and the role of the artist in a world saturated with images. It explores the historical context of artistic imitation, from classical mimesis to modern appropriation art, highlighting works by Manet, Picasso, and Warhol. The script challenges viewers to consider the societal structures that confer authenticity and originality, suggesting that the context of an image is as crucial as its content.

Takeaways

• 📸 Walker Evans' photographs from 1936 are iconic documents of the Great Depression, capturing the essence of the era.
• 🎭 Sherry Levine's 1981 work 'After Walker Evans' raises questions about the nature of originality and the act of copying in art.
• 🤔 The script challenges the viewer to consider what Levine's photographs reveal, beyond mere replication of Evans' work.
• 🎨 Art history is replete with examples of copying, from the earliest Western traditions of mimesis to modern practices of artistic influence and allusion.
• 🖼️ Artists like Raphael, Velasquez, and Picasso have historically copied and reworked existing images to create new meanings and navigate history.
• 👩‍🎨 Appropriation art, emerging in the late 1970s, uses existing images to explore representation and challenge the structures of signification.
• 🎭 The 'Pictures' generation, including artists like Cindy Sherman and Richard Prince, manipulates images to expose the subtexts and cultural associations embedded within them.
• 🏺 Pop Art, with figures like Andy Warhol and Roy Lichtenstein, reflects the pervasive influence of mass media and consumer culture on artistic production.
• 🔍 Appropriation artists like Martha Rosler and Sherrie Levine question the value attributed to originality and the authority of the artist's signature.
• 🌐 The script suggests that the context of an image is integral to its meaning, and that copies are never identical to the original due to the shifting historical perspectives.

Q & A

What is the main theme of the discussion in the transcript?

The main theme of the discussion is the concept and implications of copying in art, specifically through the lens of appropriation art and its challenge to traditional notions of originality and authorship in the art world.

Who are Walker Evans and Sherry Levine, and how are they connected in the context of the transcript?

Walker Evans was a photographer hired by the Farm Security Administration in 1936 to document the American South during the Great Depression, while Sherry Levine is an artist known for her series 'After Walker Evans,' where she rephotographed Evans' images in 1981. They are connected as the original artist and the appropriator, respectively.

What is the significance of the term 'Appropriation art' as discussed in the transcript?

Appropriation art refers to a movement where artists use existing images or cultural artifacts in their work to challenge the notions of originality and authorship, as well as to comment on the role of images in shaping our perceptions and cultural narratives.

How does the transcript relate the concept of copying in art to the broader history of artistic practices?

The transcript suggests that copying has been a part of artistic practices since antiquity, with artists imitating the world and each other for various reasons such as training, stylistic innovation, or to signal influence. It also connects modern appropriation art to historical practices like allusions, influences, and visual sampling.

What role does the context play in the meaning of copied artworks according to the transcript?

The context is integral to the meaning of copied artworks, as it shifts the interpretation and significance of the piece. A copy is never the same as the original due to its different context, which influences how viewers perceive and understand the artwork.

What is the connection between appropriation art and the concept of the 'Death of the Author' as mentioned in the transcript?

The connection lies in the idea that the author or original creator does not have ultimate authority over the meaning of a work. In appropriation art, the artist's act of copying highlights the multiplicity of interpretations and the web of connotations that exist beyond the creator's intent.

How does the transcript discuss the role of mass media in the development of Pop Art and Appropriation art?

The transcript discusses mass media as a significant influence on Pop Art, where artists like Andy Warhol used images from popular culture and mass-produced objects in their work. In Appropriation art, artists used mass media images to critique and understand how these images inform our psyche and collective life.

What is the significance of the 'Pictures generation' in the context of the transcript?

The 'Pictures generation' refers to a group of artists who, in the 1970s, focused on understanding the structure of signification in pictures. They used existing images to explore how our associations with other similar images influence our perception of art.

How does the transcript address the issue of originality in art?

The transcript challenges the notion of originality in art by discussing how artists throughout history have copied and reworked existing images. It suggests that the idea of an 'original genius' is a myth linked to societal structures of power rather than inherent creativity.

What is the role of the audience in interpreting appropriation art according to the transcript?

The audience plays a crucial role in interpreting appropriation art by engaging with the web of connotations and cultural significance that the copied images carry. Their interpretation is part of the ongoing process of meaning-making in the context of art.

How does the transcript connect the act of copying in art to broader societal structures of power?

The transcript connects copying in art to societal structures of power by suggesting that the valorization of originality and the authority granted to certain artists are linked to historical and cultural biases. It implies that who is considered an 'original genius' is often a result of power dynamics rather than objective measures of creativity.