Malek Alloula//Louis Aragon//Jean Baudrillard// Walter Benjamin//Nicolas Bourriaud//André Breton// Katrina M.Brown//Bonjamin HD. Buchloh/ Johanna Burton//Deborah Cherry//Douglas Crimp//Thomas Crow//Guy Debore//Georges DidkHuberman//Mercel | Duchamp//Paul fivard//Okwat Enwezor//RobertFisk// | Gustave Flaubert//Jean-Lue Godard//Jean Pierro Gorin Isabelle Graw//Johan Grimonprez//Boris Groys// Raoul Hausmenn//Barbara Kruger//Shertie Levine// Lucy R, Lippard//Sven Litticken//Cildo Melzeles// David A. Mollor//Kobona Mercer//Slobodan Mijuskovic// Laura Mulvey//Michael Newman//Miguel Orodea// Richard Princo//Jorma Puranen//Retort//Lucy Soutter// Jo Spence//John Stezaker//Susan Stoops//Elisabeth ‘Sussmamn//Gone R. Swenson//Lisa Tickner//Reiko ‘Tomit//Jett Wall//Andy Wathol//John C. Welchman// nA Appropriation,‘Whitechapel Gallery London Cambridge, Massachusetts g Edited by David Evans }ocuments of Contemporary ArtRepel center ren sh amc 0 uty AGe Aer 2004 HE aritechapet caters SNS6oHy tl Documents of Contemporary Art In recent decades artists have progressively expanded the boundaries of te they have sought to engage with an increasingly pluaiie environment ‘Teaching. cating and understanding o art and visual culture ate kewise no longer grounded in atonal zstescs but cented on sgn ideas, topce and themes ranging from te everyday othe unceny, he peyeaanalyial the poiical The Document of Contemporary Art series emerges fom ths context. Each sume focuses an 2 specif subject or Dody of writing tat hasbeen of ey Inflvene in conterporay at interatonly lite ad introduced by ashlar, st etc or curate each ofthese souee books provides acest paality of ‘ices and perspectives defninga significant theme or tendency. For over aentuy the Whiechapl Gallery has ofareda pale patlorm for set and ideas. Inthe same spn. each guest editor rerceets a tine yet ‘verse approach athe han oneiststional poston or school of shout {and bas conceived each volume o address not only a protesional audience but inert esr Sets Kor ons Ba: Caen re rn aga an Os kin, ee Todorie WOs plagio O plain piece fo) plumbing INTRODUCTION//012 PRECURSORS//024 AGITPROP//048 THE SITUATIONIST LEGACY//064 SIMULATION//074 FEMINIST CRITIQUE//104 POSTCOLONIALISM//126 POSTCOMMUNISM//140 POSTPRODUCTION//156 ‘APPRAISALS//176 BIOGRAPHICAL NOTES//226 BIBLIOGRAPHY//231 INDEX//233 ACKNOWLEDGEMENTS//239PRECURSORS Gustave Flaubert Dictionary of Received Ideas, 1850-80//026 Anon. The Richard Mutt Case, 1917//026 Louis Aragon The Challenge to Painting, 1930//027 Raoul Hausmann Photomontage, 1931//029 André Breton and Paul Eluard The Object, 1938//031 Georges Didi-Huberman Modest Masterpiece: Bertolt Brecht's War Primer (1955), 2007//032 Guy Debord and Gil J. Wolman Directions for the Use of Détoumnement, 1956//035 Marcel Duchamp Apropos of ‘Readymades', 1961//040 Andy Warhol Interview with Geno R. Swenson, 1963//041 Jeff Wall On Dan Graham's Homes for America (1966-67), 1988//043 Reiko Tomil’ Rebel with a Cause: Akasegawa Genpei's Greater Japan Zero-Yen Note (1967), 2000//045 AGITPROP Lucy R.Lippard On the Art Workers’ Coaition: (@ And babies? A. And babies, 1970//050 Cildo Meireles Insertions in ideological Cixutts, 1970/05) Jean-Luc Godard and Jean-Pierre Gorin Inquest on aan Image, 1972/0852 Miguel Orodea Alvarez and Vertov,1980//056 Susu Stoops Martha Rosler Bringing the War Home (1967-2004), 2007//058 THE SITUATIONIST LEGACY Guy Debord The Use of Stolen Films, 1989//066 Johan Grimonprez On Dial H-FS-T-0-R-¥ Interviow with Plene Bal-Blanc and Mathiou Marguerin, 1998//067 ee Retort The Now 1914 That Confronts Us: Interview with David Evans, 2007//069 SIMULATION Douglas Crimp Pictures, 1979//076 Jean Baudrillard The Procession of Simulacra, 1981//080 shertie Levine Statement, 1982//081 Michael Newman Simulacra, 1983//082 Richard Prince Interview with Peter Halley, 1984//83 ‘Thomas Crow The Return of Hank Herron, 1986//087 Elisabeth Sussman The Last Picture Show, 1986//092 John Stezaker Intorviow with John Roberts, 1997//095 David A. Mellor Media-Haunted Humans: Cindy ‘Sherman, Richard Prince, John Stezaker, 1998//099 FEMINIST CRITIQUE Barbara Kruger ‘Taking’ Pictures, 1982//106 Jo Spence What is a Political Photograph?, 1983//107 Lisa Tickner Sexuality and/in Representation, 1984//108 Barbara Kruger Interview with Anders Stephanson, 1987//111 Laura Mulvey A Phantasmagoria of the Female Body: ‘The Work of Cindy Sherman, 1991//118 Deborah Cherry Maud Sulter: Zabat (1989), 2003//124 POSTCOLONIALISM. Malek Alloula The Colonial Harem, 1981//128 Kobena Mercer Maroonage of the Wandering Eye: Keith Piper, 1996//131 Jorma Puranen Imaginary Homecoming, 1999//135 Okwui Enwozor Créolité and Creolization, 2002//137 Robert Fisk Retaiking Iwo Jima (Tehran 1979), 2005/7139POSTCOMMUNISM ‘Slobodan Mijuskovic Discourse in the Indefinite Person, 1987//142 Walter Benjamin Interview with Beti Zerovc, 2006//149 Boris Groys Interview with John-Paul Stonard, 2007//153, POSTPRODUCTION Nicolas Bourriaud Deejaying and Contemporary Art, 2002//158 Katrina M. Brown Douglas Gordon: 24 Hour Psycho (1993), 2004//163 Lucy Soutter The Collapsed Archive: Idris Khan, 2006//166 David Evans War Artist: Stove McQueen and Postproduction Art, 2007//169 APPRAISALS Benjamin HD, Buchloh Parody and Appropriation, in Francis Picabia, Pop and Sigmar Polke, 1982//178 Douglas Crimp Appropriating Appropriation, 1982//189 John C, Welchman Global Nets: Appropriation and Postmodernity, 2001//194 Johanna Burton Subject to Revision, 2004//205 Isabelle Graw Fascination, Subversion and Dispossession in Appropriation Art, 2004//214 Sven Litticken The Feathers of the Eagle, 2005//219 HESE PICTURES HAVE THE CH NCES OF LOOKING REAL WITH iUT ANY SPECIFIC CHANCES S ‘BEING REAL |David Evans Introduction//Seven Types of Appropriation Steve lative You werent in Douglas imps ctr exibition, bat at of pple seem to thnk you were, maybe becaue your er sscaton wit lene ‘Winer who was carts Space belo Satine MtroPetes, id ou fea Bosh? tara Pince te neve ths ee, ba Dn Crimp actually asked me to bein that hn res his ety an fol him ea for site ts sone He Roland tes We haves spoken sae: ‘othe tor "hae oslo abou being able ono how the Pare show rzaied at ‘Arts Space in 1977 wi be urd histrealy, Bt forthe record i nt car rice claims in Richard Prince als to Steve Lele’ Mach 20032 hte ate exibin Fsbo him the say fo ne eta a Douglas imp New York" i when sd ws ite by Dau rip tobe in the ‘lee show. as fooling around made up My jueren ated. The eat ofthe mates dt app tat get say wth and ai ite, addon to he ory You cud say Iwas woting under 2 pseudonym, Iwas neve there o bela with ad ever mech, wnt ee of he som ad did Kw ary the ats in the show. This exchange suggestive: provides ample evidence of Richard Pines skis a5 4 hase, happy to treat the ast tulf ae malleable avr mater. eal demonstrates an ongingsvaly been artists and cr-curatrs conering who makes ar history. Mas imporanty, further enkances the reputation of Pictures (Artists Space New Yor. 1977) 2s the epochal exibition hunched 4 now pervasive ar sed onthe possesion ~ ually unauthorized ~ ofthe Images and artes foes Petures showcased fie atts (Toy Brauntuch, Jack Goksten, Shere Levine, sober tong9 2nd Philp Smith) who caught the anton of Crp because ofa shared itesest in the photographialy-bsed mass media 35 2 resourte to be aided and re-used “Pictures” was the forerunner of 3m Yr appropriations curent that became strongly asad with etal comercial {leis in New Yor Metro Ptures, for nstanc, which presented ey ies, $c 3s Richard Pine and indy Sherman who allengage with media nagery in diferent ways Or the Somabend Cally, which fregrounded punters and sculpts such as Ashley Bickerton, Peter Hai elf Kons and Neyer Visa, who referenced images ad objets asalted wih both modernist at ad ‘neia consumer elute. Ar he est tempt to provide an overview ofthe ‘whole phenomenon was the exibition Endgame: Reference and Smalation in Recent Pating and Selpeure’(1CA Boson, 196), Curated by abet Sussman, ‘eine 25 tists anda malt-authored algae that as symptomatic ofthe ‘mpl. sophistiated ral wring that shadowed apropition at. Ces afeed various storia pedigrees, most fequenty referencing dais innoutions ike the readymade and photontag othe engagement of op arts with the mass mela Theoretically, Walter Benjamin wat prvi tis formulation of 1920s manage as made llegry seemed perinedt to cansiderations of appropriation 2s new type of duble-wied at There was ‘ten move interest nhs writings rom the 1950 about photography destroying he ara of tational at, as well as being an accessible, rerodulle median that had emancipatory poten: all argument tat were used t characterize phxographic appropriation as an laheenty subversive activity, Roland Barthes tase pensive to. Appropriation at ota 4 praca form ofthe dese txique of consumer culure that Earthes developed In Mythologies (1957, securing t Benjamin Buchlo, i contrat Craig Owens thought tha Bares Inert, sch a¢TheDeathofthe thor (168), was nore evant oa ype of artbat seemed to question the ton originality al to cur an active ole Fare viewer Guy Deda also copped xp fequenty wih rie ke to tea precedent for 19805 appropriation In his ideas tom the 1950s about Géeournement: the jacking of dominant words and images to create Insuoranae counter messes, Abo al. appropriation at was jsifed athe ideas of ean Bauder, ote presented as an update of Debord In the 18605, Debord argued tat The Society ofthe Specacte the tle of hs moe famous wo fst pulsed in Pars in 19657) could be oth perceived and challenge. By {he 1980s, dra commiserate, uch views were merely of ister interes foray notion of radical ecique ad become an mpoesbiltywith the merging of ely and is medi representation Savrlaré amounced a grim Wor OF Simulation and simular and expesed surprise when these ees were euicky Picked up by artists and critics in NewYork tbecome aather way of discussing ‘ie aro appropeiaion. Far more was at stake here than the ienifcation of the Astor and ‘hear rots of new a sve: Rather. te asumpion was that aporortion ranw/sovn Tp ol Appeeitn//3at was 2 hey component of gothing fess than The Anaesthetic Are Aer ‘Moderna, Postrndernen - lls of hiahy venta anthologies from the ‘nid 19606 tht fad as tat tating pint the view tata once transpressive ‘modernism hd become thorough insttuionalied by the 1705 2nd that an ‘ternative ha tobe formulated urgently. Probably the one ea that an trough Si ofthese anthologies was 2 dda fr azchites, atts and thers who {sumed that the impase of modernism potide acne blanche for a pick and mix approach to al past styles. Such eclectic was ctly dsmissed as reectonaty appropriation asacsted with reactionary postmodernism that had tobe ery diferentes fom a tadal, evenrevolaonry, postmodernism in which appropriation was expected to cary ou very fret dts. These duties Cleary emerge inthe Creal Lecco’ compiled by Michel Newman for the ntology Postmodernism, pablihed by the ICA, London, 1985. The Death of the autor leone of ee longest entries which begins with a aicssion of the appropriate a and writing of Sherrie Levine aod then goes ont consider how the ides of Barthes, Foca and others were taken up by postmadenis to ‘onstruct th cteal pce for works using appropri imagery ad erodes. largely thoagh phtosaphy. Allegoy is another ong entry, malty devoted to exploration of Craig Owen ideas about mode of reading the already ‘nd the atts wo ‘enaat inages though the reproduction of other images presented ae decisive breaks wid a moderast emphasis en the formal of expressive ants. The seton Fascination andthe Uncanny’ ices reflections fon Richard Prince, especially the later’ ephororaphed advisement that ‘ave the quality of i of repetison, which enders ther Svange ke the ‘adver brought back to fe ina hero story The enryBeclage vestiges 2 ‘erm aencated withthe ructalstanchvopologist Len Scaus that ‘as been sed wo describe the combination of fapments of quotation fom other works in 4 singe woek af at oF moe special the use of fund objets and apes ff material in rece expt, Simulate: "Te lustate it application to a recall te dscusson ofthe work of Richard Prince.” And finaly Parody form tf double ong that eso wldespread in contemporary a that ki tempting regard if together with appropriation allegory and bricolage, a5 one of the Characteristic strategies by rbich we might define + postmodernist art ‘Seificaniy the ‘ital Leon’ hs entvies onthe haraceriti strategies of parody, allegory and briolage, bat nothing, devoted to appropriation AR ‘vesgh? O confirmation tat for Newman and eters, ppropiton was not just oe strategy smonast man. bt eather eh very language in which the posnderne debate was conducted?” "These opeingrerarts lint whats commonly assodatd wth the term appropriation ar certain time (ate 1708 and 1980s) certain place (New Ye ‘ork cera inuenial galleries (Metro Pictures, Sonnabend); and certain atts who were citialy located wethin ambitious debates around the pstmodern, Relted source materi sic (nee sections ‘Simulation’ tnd Appraisals or example However the New York spompriatonsts donot dominate this anthology. Rather they rub shouldets with many other antemporary artists who have also Been practising without a cence owe ‘ne of lear Princes paces, "he fit section, Precursors, Ices eater from the lite nineteenth etary othe mi twentieth. The key ditncton that enderpns thi ston Tetwean traditional and modem nations ofthe coy, Fora pattie Ingres, coping Ws a Wal component of an apprenticeship tht was successtlly ‘completed when originality became scene n cots maderit copying ‘ot means otis end [isthe end Or rater tr the mes ociferet ens, “The readymade, colage and montage are presented ae the thee innovation of the historic anges tat cumulatiey rege ths fundamental transition, ‘without which any nein of contemporary appropriation ats unimaginable Mary beaks and eontnies ae tobe cecvered within this section Ar he evenday clichés found in Custave Fauberts Dicionary of Reed Ideas (1850-80) 2 teary anticption of artists work with beth writen and visa lcs or stereotypes? How does the cay dtece of the reaymade in The ‘Rha Mutt Case’ (1917) measure up against Marcel Duchamp’ rena onthe same theme over fry years ate? Haw des Laue Aragn's assessment ofthe ery hisiny of collage relat to Raoul Hausmann’ rears onthe paral sory of phowmontge both complementing retrospective exhibins la Pais (190) cd Belin (1831 respectively? Is Bechts War Primer (855) ~ a series of four line epgrams that he ded tw press photographs mainly clletedin the Second ‘World War - the last great achievement of modernist montage? Should Debord and Wolman’sesay on détumemen 156) be ppcesied as an atempe to se the weapons of ary Sureaism against a movement hat was they belived =a Shadow oft former self by the rid 950? In what ways are op at (here presented by an ntervewe with Andy War fen 1963) or Concept at ett Wills assessment of mid 19605 Dan Graham) lymehpins connecting the appropriations ofthe hse avant-gardes and more recent manifestations? And sAlasegawe Genpel merely theta the erbere, confirmation that ising of appropeation neds ast net beyond Europe and Neth Americ? This section aso invites reecions on breaks an continee between sections, although itis assumed that the relations between historic and Contemporary paces are far from straightforward. Tae, for instance, the ‘bition Montage and Neder Li’ (CA, Boston, 1991) wa intended san iervention in posemodernist debates in the United States, and the organi rose Type of Appiavere advised by Benjamin Buco whose wings in he 19805 had Wentied ‘Benjamin's nation of allegory asthe fundamental cance thar bridged interwar, modernist phoxomontage and eantempray postmodern experiments with the phorgrapicfagment. la pact, the exon dé ot atept exp 1 fevlop Buhl’ seach for wsble past. No recent work was included and writing in the accompanying xalogue early ester disagreement amongst the ongnizers about links between the respective are ofthe tear and onemporary pends, Matthew Telelbaum’ pretace most explicitly sees entities in the Shared ates to represent ‘the eles ofa made, urban testy’ and the fantasy and deseo consume age’ In contrast, Chesopher Philips is more guarded about contemporary relevance. He cts with approval ‘Adorno lain that fanlanty uth montage had ated newaled is shack ‘lub the 1980s, and ad that ‘montage may in fact no Tongro the ost Satsing r audacious way to represent oar a “ett of apments* Contemporary practice Is divided into seven categories: Apiprop: The Sirutonist Legacy. Simulation; Feminist Ctuque: Postcolonalism Pastommuninr Psprucion These categories re intended tobe uel bt ‘ot watertight, and readers ae Inlet enti overaps between them. The Timescale i from the 1870s to date: the perspective international; mest documents relate to ates, tough references to oer ike Aznakers and ‘eters ae iced, Overall te im so coney the divest of appropeaion strates nthe ast four decades, Omission are netableAcse could be made, for example forthe ieclision of The Bate af Orgreave (200), enemy Debers importane reenactment of a famous clash between striking miners and policemen tha took place in Northern England in 188, or heats of the Intemational Peormance Croup, founded by Marna Abramovich 2003, and invoed In re-enacting Historie performances by vaous att, inciding ‘Asamovi here! Re-enacment, though diferent fm appopition with itedstnctveemphass on unauthorized possession Asitprop the fist ofthese ypoloieal sections, refers tthe term fr agitaton and propaanda hilly associated with the esseminaton of communist ‘eeas Communist agtpop albeit ofan unorthodox natures represented in eis ‘scton by ech fl rectors jan-La Godard and Jea-Perre Garin known 2s the Drea Very sro) ad th Cuan antago Alvarez Letter tofne (1972) a fs by Card and Gorin in hich they ofl a sustaned Maoist xitigue of an appropiate pss photograph of Jane Fonda in Vitam, The image an Si ‘zgeere also plished bythe Journal Tel Que with te tite Tnquest onan Image’ (172) and a0 extract i eprodiced hee, Akater began making Tie Woeist documentaries inthe 1960s tat often involve an inveotive use of ppropriated material rom diese Amerikan sources a tactic he claimed was ? recesitteé by the blockade of Cuba Migel Ores text reflects on the noses ansucniuaramsano essai ‘nections betwen Aare and Vero, the Soviet documentary mater ho fad lo iluenced Godard and Grin a che easly 1970. “Th vection ust the erm pop expansivelyo also embrace work that has to evplicty communist agenda. Two texts relate tothe mass movement tha ‘Greredinthe United States nthe lat 1960 in opposition the warn Vietnam {he ters by cic Ly Lippe peblshed in 1970, comment on te problems encountered by the Art Wort’ Colton, whase poster about the SoDg-MYy fmasslre of 1958, Incorporating 2 press photograph rom le, bane fom ‘The Museum of Modern Ar Neve Yr. Life wa ao one ofthe sources usd by Marta Rosie or ber famous series of photomontages Bringing the War Home begun ia 1967 a inal used inthe pes and publi of reaps campaigning agit he Vietnam war. Curator Susan Stops offers subtle assessment ef the eres, writen fr 22007 exibtion dewted to the work atthe Worester Art usu, Masachisers. Her exis paralarlyusefl for naiysing how Roser ‘ae rocked and etended 2 project begun inthe lt 1960s in response tthe Gulf War of 199, and the angong ‘War on Teco The nation of agro aso tines the text by Brean Cio Mele (1970) who drt inserted Inessigeson buninctes ané Cca-Colabotes and then placed them bal n Creation. The connecting thead in this section is the deployment of Seproprsted imagery to make expt political ork tht isintended to operte ‘main outsie of he usual art instctions The siuationks neratonal (1957-1972) was a neo-Marist organization, comune oa eotutinary pols hat assumed to be absent nthe postwar French Communist arty. Te Slangonis Legacy hus overlays with Agron, bu ‘he decison was made tohave a separate section because ofthe pervasiveness of Susie ise in contemporary at The ientifation of 2 dec nage between the Stuntinists and the appopsation art asaciated with Metro Pures othe cut-and-paste aesthetics of punk, hasbeen extent ehersed Ssenhore! most recently in the exibiian Panic act" (BaPkan, London, 2007) Therefore, he focus ere som eileen mensions of the acy. Te fist document is The Use of Stolen Fins’ (1589), 2 ite known awe note by Cuy Debord on his own fms that relates crcl to the c-aurhared ate on ‘rournement (1956) fod n Prearsors, Debord asa ane important topic in {mints with Relgan ast john Grmonprez about i fl Dil #7. [ey st shown at Documenta X (Kase, 958), organized by Catherine Davi rimongez eas wih hacking in wo senses sty is theme isthe history of, aeroplane hijacking (détourement un avin) scandy, is enethod isthe Iaeling or detouremenr of television news Fotage Hacking n both ersesis aoa theme acded in my recent e-al interview wih se Caiomian colecive sony/Seven Type ot Appopitin//17‘Retort about he Situationist dimensions the polemical book Acted Powers: Capital and Spectace na New Ag of War (2008) "Te lite Simaain acknowledge the nflueneof ean Baird in 19808, New Yr and thi seton corresponds the lose to the popular understanding of appropriation ar sketched n the opening paragraphs. Some well established ‘tarps are included: an eattat fom Crimp’ atlogve esay for ‘tres (4977: avira on the desert ofthe ea (1981; here Levine’ Statement (1982) that reworks Barthes famous dedratin about the death of te autbor andthe ith ofthe reader: conversation Detwen Prince and Halley that signals the shied concerns of arise atzciated with Mero Pictures and Sonnabend ‘alle especively (1984); and catalogue essays trom Endgame( 1986) Buthere ae also materials that permit reconstruction of pall activites in London, such 25 Michael Newnan’ catalogue esay fr ‘Simulacr (1983), 2 show he ‘curated forthe Rerside Studs. He icded the cellgst Jon Stezaket, who ‘emerpsin tis section asa dlscrete but sigan go-between, London-based, ‘medi-haunted uma (@ ws David Mellor pase, who developed clos contacts with sympathel ales a New York The Feminist Critique section foes nS ha Fie emerged ring ‘he 19705 thar visual etre is one ofthe pra ites where gender eatins are produced and reproduced: and that mainstream accounts ofthe modem throats inevitably foreground men of genus Bo ideas have formed 2 ‘ange ofepproprations strategist unk the ied. requenty hs work has Invived dealing with media stereotypes, and tbe 1982 staement by Barbar Kruger draws tention tothe danger of parodicntent bela overwhelmed by the wer af the cc One seemingly lnaocent repository of clichés the aly atbun, which Jo Spence began to examine tically in the mi 18705, leading 0 the project Beyond he Family Album fist shown atthe Hayward Calley, Londc, ln 197 Repel hte ia text fom 1983 in which she calls fora radiaiaed ‘amateurism that would begin co replae ‘cons of ritualized harmony” with Image of domestic warare Usa Teles catalogue esay was orginally writen for the international ‘exhibition ‘Diference: On Representation and Sexuality” (New York: New scum of Contemprary At, 1884). She wes about ve Bish contributors (itor Ben, Mary Kelly Ye Lomax, Ray Barre and Mari ats) whose ‘tet and deployment of representational codes sims to foreground asexual ndfo, repcesenator. This woken combines poops and tx and isa by contemporary theoretical detates, particulary dase associated wit the British fim journal Screen that drew on Asse and Lacan amongst thers to develop sn updated theory of ideology that could account for. and challenge, the frenchment of gender postions. There ae some rich overlaps between uscoenentoreuntntnesteeon nee ; Tine’ ess and the next document - Barbara Kruersintersew with Anders ‘lephanson, published in Pash Arin 1087, Kager ents the constuction of the female subject asthe main theme of ber imagetext montages and she Eeknowledges an interest the Joumal Secen, However, se ints tat ber ‘sdnctve appelltive tacics daw more on ten eats of experience in the ‘dverisng nd than an Akdsserin theory of econ, In conta to many ofthe arts inthis eton, Cindy Sherman has steered lar of theonleé juxapesions of word and image, and her reputation Is wimatily based onthe Unued film Sil lack and wine photgzap fom the fate 1978 n which she dipizes here 3 range of B-movie ernes. Ia het {0t essy Laura Mulvey notes thatthe artis aparent indeence to theory oes not precde erat having great theoretical sgicance. Muley suggests that Shermans ongoing interest in a ‘phantasmagora ofthe fale bods wot, aly sbour unraveling clichés offer. Kather the cumulatne work das tention a2 homology beeen the feshint figure of oly sity ad the Fes ofthe comedy, a homology that fst began 9 ake shape ia 1950s ‘America and is now global established “Antic ind of sage appropriations assessed in the conluing esc ‘which ar histrian Deborah Cherry writes about Zabat 2 projet fom the ate 1060s by Alo-rsh artist Maud Sule, This eibacrome seis depicts black ‘women, including Suter herself, posing a5 dhe seven muses, tadonlly ported in western art as white women. Inthe context Zab epesents& beige berwee thi sction ad the nex. ‘Appropriation wa ineraltoclonialsm, Not surprising, therfore «jo theme the teats represented inthe Pstolnlatisn section s the re-aking of ‘at which was psesed witout authority. An emblematic example fe Male ‘Als bok The Colonial Harem (181) It contains reproductions of postcards from colonial Alger inthe eal decades ofthe cwentith centr, depicting ‘Aleian women in arous alrng poses vee and uve, which were mas produced tobe snt ro metopoian Fane pt Alou fous commentary fs itended as an extended posted rmesage, to be returned to sender. The Imporance of return also informs the book Imapnary Homecoming (1888) by ‘nish photographer Joma Pranen tht tums ineteenh-century pois the Sdn found in Pain msc t their Scandinavian homeland, noth of ‘he Acti Cirle (The Sin were never colonize, t must be sessed, et wece gully Included in the pins dscorsesasselated with colonialism) ‘Another ype of postcolonial appropriation emerges in wetigs by Kabena ‘Mercer and Oka Enwezor Mercer’ txt from 1895 das wth Keith Piper a ac Bish att whose ealgetased work & marked by the ‘rca namics of 2 Creole aesthetic of migration and wanton. Similar concerns eanSevn per ot Appopiion/9«merge in Ener Croleand Crelzaton (2002 rom hscuratorsessay for the Documenta 1 catalogue. jn hich the Coe experience ls pesated = 3 radi fra global culture based on complex mining a ybidzaton Weare Silaporopritonit nw, e proposes “he final text inthis section comes from the book The Great War CCvization: The Conquest of the Middle East (2005) by Beirtased Correspondent Robert Fin the selected extract, Fisk ese the occpation of the American Embecy in eban in 197, and reals an atmosphere thot was bah theatcal and carnlesque, The cccupaton took ths tun, he sugses, wien the Muslim revolutionaries erected a lage panting based on Joe osenhas famous phoworaph of US marines taking Iwo Jima. The orginal versions associated withthe defeat of Fasc bythe United States in 1945; the ew version depicts te defeat ofthe United Stats by radical Islam in 1979, and Isa vid reminder thatthe art of appropriation has 0 fone. In 1891, East German poet and playwright Heiner Mller inoduced a onfernce on jos Heartland photomontage that was one of he ast evens ganized bythe East Geeman Academy ofthe Arts efor it was frebly merged with its Westen coute:part® Malle’ remarks ad valeditory quality that forms 2 badground to the Pastcammunis section, Since the mid 1950s, Heartfield i ben a par he ela exablshent of Est Germs many fochisan- Fascist photomonrages ofthe 1980s 8 as German standards, Miler as being scandalous when he expresseé scepicm about the Impact of Hearfie's potomontageson te working clases and svete that twas tine to appreciate tem a at ler esis vew anges # major moti in recone posttommunise art 2 subjective appropriation of the ofl culture Impose bythe former Soviet Union at ome and aco, 2 apc escussed ere by Russian etic Hrs Groys in an extract rom 2 2007 intervie, ‘Anutherdimensio of pstcommunist appropriation fund in the eeceat ibn ‘Whats Modern Art (Croup Show (Kunstler Betanien, Bertin, 2006) tat brougt together varius projects by atts fom former Yugoslavia, Incading 2 mysterious "Walter Benim’ who frerounds anonymity and copying in oder scrutinize cially earmon sense acount of moder art fits histories, ‘The term Postproduction within the medi, describes the varios forms of sting that converae footage into finished roduc. Witla contemporary a. {he tex signals te eas of exte-uratr Nicolas Bourn. His Fesprodveton: cute screenplay how ar eprograms the werld (2002s an acrunt of ft In the 1900 that sees to foreground new fypes of sppropiation. The book scsnowedges important precedents rom the bstorie avant gades an iberaty references the Situationist, but argues that pastroduction ati samething jonstengoe ee Uiteren, closer to the various techniques ofthe Contemporary deny. the Subject ofthe selected extrac. Ths llowed by Katrina Brown's 2004 ext on {an eit championed by Boutaud, Douglas Gorden, on his influent film Installation 24 Hour Pycba “wo documents ae 2dded 2 ounterpins Ly Souter eens the werk of tris Ran, those phaxogzaphs involve an elaborate layering of every page in & rok or every image ina photographic sere, Such processes cold easly be elated tothe pls ané cutting of delays that interes Bouraud but Sout: [5 more drawn tains withthe composite photographs of nineteenth tentury eugenics Francie Cao, The concluding text considers Queen and outry (2006) by Steve McQueen He was commissioned by the peril Wat eseum in London to respond tote kag war, and made sheets of uno, postage stamps bearing photographic paras of Bris solders killed i the ont My 2007 esa views tis Wock within the context of Barats ideas “Appraisals ce concudg section, presents impatant writings that reper ‘the aitious, politically charged fameworks within which appropriation art ‘as stated in the 1980s In aon, there are mare recent texts that engage ‘tically with cat eae. chert fe eins histories, oto Heniy pase. ‘ppropiation at fora diferentes Benjarin chlo’ 1962 esa is informed bythe aw fans Expressionist. abate trom the 18305 in which ast ofthe partpans assumed that German Fxpesianst ar and iteraure promoted a iationaiem that facitated the sabishment ofthe utimate atonal, che id Reich, Buhl til shares ths assumption in the 1980s and sees sinister politcal imglicons in the International populanty of sovaled neo-xpressonst pacers ike Georg ose The referencing of Expresinismby Basel and others iscondemned as mere pastiche, a reactionary oem of pstmeserism In cons. punters Sigmar lke and Gerhard Richter are promoted as radeal_ postmodern, pproprationstsiaventvely extending tho padi tactic of Fran bl, ‘Douglas Crimp, tc, enti eres ae progress postmederisms ae cocrespoding forms of appropriation in ‘Appropatig Appropriation’ (1282) Contemporary punter like Davi alle are condemned forthe atiches of past sts, bu Sherrie Levine prado her copying of eprodctions of paintings. otozapher Rober Mapplethorpe 1s consiered reactionary for ececly inating the ses Edvard eson an thes, wheres Levies tral copying ‘ot Weston is progressive for éawing attention eo the very at of appropri, imp conus with some acute predictions that radical appropriation st ke ine’ ephotouaphs of aersements or Sherman’ stil, wl lose much ofits use value nee it becomes safely accomodated inthe art museum, "At ae Appropriation (201 John Welchman 3 old step to revivedebates aouné appropriation and postmodernism that wee becoming ade by the 1990s inthe selected exact Mike Kelly Is presented 283 maior post ‘sppropritonn in ilogue wih cia postmocecnss ofthe 1970 an 18605, but attempting something new with an art that often vobes ehabiltated craft objects, For Weehman,Kalle’s work can be useful rated to the ideas of Gissident Survealse Georges Bata whose expansive understanding of appropriation embraced all forms of possesion. Weldman,contnuousiy Challenges pareciasm, whether temporal or tpogsephic and ists Cat the broader contet for his theme isthe “Wester clture of appropriation’ that gan nearest withthe Roman Empire, "obanna Burton's te, “Subject to Revision’ (2008), alludes to three dimensions of her essay. First, she seeks to revise the subject of recent sppropriton at, most obioul taking este with Bichohs a hat War and Pop art had ile feleance, Secandy, she wants to draw attention to "subject asa theme that sa stint etre ofthe tesed appropiaion undertaken by cute aris ike Amy Adlet,Gleaa Lign, lecandra Mi Francesco Veolia Kelley Wale. aly, she hows how enti ke Crimp and Owens revised ther views o acknowledge subjectivity, imp proves her Inost vivid example, admitting in 1993 that his earlier dismissal of applethorge hd ile t deal with he crucial gy dimension Isabelle Graw’s extay ‘Deeiation Replacing Appropriation’ (2004) is a sceptical account of many of te adealelaims made for appropriation at inthe 1980s, including Crimp's confident distinction between regressive and progressive fom, Doubts bout these ada claims also emerge in Seen Ltcens rite The Fathers othe fag’ (2005) Hes particulary interested in the argument tht radical appropsatinists were laterday‘mythologss. inspire by the Holand Barthes ofthe 1950s, and develops his ovn positon rough 2 comparison with an ear ‘nytheeast who read Barthes closely Mare! Brood ‘One ofthe mos fendamentlditacons besween appropriation atin the gene and postappropristion art tdsy revokes around tory ise. A recurrent theme in posumaderis: debates ofthe 19805 waste supposed death of historical meaning but rie events ike the implosion of the Soviet Union ‘ele Ince 're-emergence of mpc of stories inthe momencof che 199052 The challenge forthe appropetinit artist now i wo discover new ‘way of deling with these"unesaied histore 2ayerzopucrion na i eter a Ar X18 Se 205) 18 on tc Po Aa Amer hy 22083. in Pdi (CA Docent se Use Apipane anon teen Setter il notin, Noted Madan 95-19. Sa pc seo Catenion enter Deb 2a) Sexe Beh Susan he age ew Fe hog er Be sere ee eat: Wy ela spo iit ine a Seven Type ot Apropo /28WHENEVER PICABIA MENTIONED THE INKBLOT HE SIGNED. HE NEVER ay aN ©] TO POINT OUT THE INIMITABILITY OF SUCH SPLATTERS PRECURSORS Gustave Flaubert Dictionary of Received Ideas, 1850-80//026 Anon. The Richard Mutt Case, 1917//026 Louis Aragon The Challenge to Painting, 1980//027 Raoul Hausmann Photomontage, 1931//029 ‘André Breton and Paul Eluard The Object, 1938//031 Georges Didi-Huberman Modest Masterpiece: Bertolt Brecht’s War Primer (1955), 2007//032 Guy Debord and Gil J. Wolman Directions for the Use of Détournement, 1956//035 Marcel Duchamp Apropos of ‘Readymades’, 1961//040 ‘Andy Warhol Interview with Gene R. Swenson, 1963//041 Jott Wall On Dan Graham's Homes for America (2966-67), 1988//043, Relko Torii Rebel with a Cause: Akasegawa Genpel’s Greater Japan Zero-Yen Note (1967), 2000//045Gustave Flaubert Dictionary of Received Ideas//1850-80 ANTIQUES Ave always modern kes. [.] RT leads tothe workhouse. What ses isince machines ‘an make things better and quicker? ARTISTS Allchaltane. Praise tel dsiterestedness ‘hat sts do cant be called Wor [MITHORS —Oneshouldknow afew authonr' no need oko ther ames, ae ae. ionnti die et(10- pmo i ‘Hea tam A elton i Brad nde mando Pa 296 Anon, The Richard Mutt Case//1917 ‘They say ay artist paylag sb dallas may exhibit Mr Richard Matt sent in a fountain, Without discussion this article