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Essay / Research Paper Abstract
This 5 page paper discusses the art techniques of appropriation and simulation, and argues that David Carson's work is too original to be considered as conforming to the postmodern theory that defines them. Bibliography lists 4 sources
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5 pages (~225 words per page)
File: D0_HVCarson.rtf
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Unformatted sample text from the term paper:
This paper examines the two techniques with regard to the work of David Carson, and argues that Carsons unique vision removes his work completely from consideration with regard to either
of these methods. Discussion "Appropriation art" refers to a movement that emerged in New York in the 1980s, in which artists incorporated images of other works into their own projects
(Appropriation art). The idea appears to be that by placing familiar works in a new context, the "original meaning is altered and the ... images underlying principles and intentions are
made clear" (Appropriation art). This type of art is characterized by "an analystic and critical commitment to the contemporary culture and society" (Appropriation art). Not surprisingly, artists who use this
method, such as Andy Warhol and Jeff Koons have wound up as defendants in lawsuits for copyright infringement; the argument is that the original artist has not given permission for
the reuse of his work (Landes, 1999). It would seem that these cases are clear-cut, but that hasnt proven to be true. However, thats not within the scope of this
paper. "Simulational art" is somewhat different. It appears to be art created using familiar work as a base, and then "tweaked" to create an image that is both familiar and
new. One artist who does this is Yasumasa Morimura; his work is "often understood as part of that international tendency of the late 1980s known as Simulation Art. Influenced by
the writing of Jean Baudrillard, Simulation Art generally offered a critical take on consumer society" (Art as rotten flesh). The easiest way to understand this is an example: Morimura took
a Cezanne still life, copied it, and then added faces to the pieces of fruit. Its familiar and unfamiliar at the same time, and that creates a tension in the
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