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"Lo-Fi" Replication As A Form Of App...

Fashion Institute of Technology, State University of New York.

"Lo-Fi" Replication As A Form Of Appropriation.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	"Lo-Fi" Replication As A Form Of Appropriation./
作者:	Danilchyk, Katsiaryna.
面頁冊數:	1 online resource (66 pages)
附註:	Source: Masters Abstracts International, Volume: 57-02.
標題:	Art history. -
電子資源:	click for full text (PQDT)
ISBN:	9780355325638

"Lo-Fi" Replication As A Form Of Appropriation.
Danilchyk, Katsiaryna.

"Lo-Fi" Replication As A Form Of Appropriation. - 1 online resource (66 pages)

Source: Masters Abstracts International, Volume: 57-02.

Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2017.

Includes bibliographical references

In this paper I investigate low fidelity (Lo-Fi) replication as an artistic strategy. That strategy is historically grounded in appropriation techniques but has been taken into new critical directions by artists like Liz Glynn, Justin Matherly, Ryan Trecartin. My thesis is that these artists, although working in very different media, adopt a similar artistic strategy which is an evolution of the method of appropriation. They go beyond the recontextualization of readymade objects, and beyond the straightforward appropriation of found objects or pop culture imagery as Robert Rauschenberg, Jasper Johns, Andy Warhol and others did.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355325638Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

"Lo-Fi" Replication As A Form Of Appropriation.
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100 1 $a Danilchyk, Katsiaryna. $3 1185189
245 1 0 $a "Lo-Fi" Replication As A Form Of Appropriation.
264 0 $c 2017
300 $a 1 online resource (66 pages)
336 $a text $b txt $2 rdacontent
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500 $a Source: Masters Abstracts International, Volume: 57-02.
500 $a Adviser: Andrew Weinstein.
502 $a Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2017.
504 $a Includes bibliographical references
520 $a In this paper I investigate low fidelity (Lo-Fi) replication as an artistic strategy. That strategy is historically grounded in appropriation techniques but has been taken into new critical directions by artists like Liz Glynn, Justin Matherly, Ryan Trecartin. My thesis is that these artists, although working in very different media, adopt a similar artistic strategy which is an evolution of the method of appropriation. They go beyond the recontextualization of readymade objects, and beyond the straightforward appropriation of found objects or pop culture imagery as Robert Rauschenberg, Jasper Johns, Andy Warhol and others did.
520 $a Their quickly executed, often flawed replicas of pre-existing cultural "forms" share some of the trappings of earlier appropriation art, however their very approximation and lack of pretense make them more accessible and often richer in exploring the interplay between capturing forms (mimesis) and producing meaning (semiosis). Ultimately, as I will try to demonstrate, they are successful in "diverting power" from mass media and cultural institutions to their work and elevating their own value in the art market.
520 $a This shift from image to message is at the core of contemporary art practices and is critical to understand the contemporary art market, beyond just appropriation artists.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Fashion Institute of Technology, State University of New York. $b Art Market. $3 1185190
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10621609 $z click for full text (PQDT)

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