Chapter 17 - Solomon-Godeau Article

1)How was the physical printing and manifestation of the image on paper become problematic int he search for the real thing, according to Solomon-Godeau's statement on page 153?

2)the idea of appropriation becomes the central topic in this chapter, when talking about Levine's copy photographs and how the are "made to seem" to be able to capture the idea of something as broad at 'Nature', it would be a worth while experiment to appropriate some image by continuously recopying the image through various modes of copying and displaying these images.

3)Why has photography become the ideal scapegoat from things like copyright infringement and what does that say about its presence within an artistic realm? does the social and governmental recognition of the notion that the image, namely a photograph, needs to be protected by and for the photographer?

4)With the technological advances of photography being anything less than exponential in the past two centuries, in what ways might you think societal views of appropriation will change due to the introduction of post-modernism and photography?

5)In terms of actually appropriating an image, do you think that the photographing on an already existing image is where post-modernism lies or would it be fair to say that in a post-modernist point of view, the appropriation of the already existing image could be valid through ANY mode of means of transference or reproduction

http://www9.georgetown.edu/faculty/irvinem/theory/pomo.html

Art Photography and Postmodernism-stuff

1) I like the idea of making the viewer aware of what is being observed by photographing and appropriating something.

2) I had never really thought of what Sherrie Levin does as something that goes beyond the exploration of what an 'original' is. By appropriating, she refuses authorship and rejects notions of originality and subjectivity.

3)Why is the notion of the author linked with patriarchy? It seems like he simply declares this and does not explain why.

4)Solomon-Godeau concludes that Levine is a type of feminist, which seems to be an inescapable label for most female artists.

5)I find it interesting that the present state of photography is not that much different from the state of photography in the 1880's, when they faced the threats posed by increased ubiquity and ease in the photographic process. We see this same trend presently but on a much larger scale and in even larger quantities. With the inception of digital photography and the invention of the internet, issues relating to the ubiquity of images and the question of photography as a legitimate art form are amplified.

chapter 17 questions

1. Can you declare Weston's study of Neil as "the real thing," as well as Sherrie Levine's study of Neil?

2. Do you think the number of prints made of a certain image detract from the "realness" of the photo?

3. If Levine rejects authorship of her photos, does that still place copyright regulations on it? Or no because the image itself is illegal?

4. Is Levine's purpose of duplicating images to contest her power with the authors of the original images?

5. I disagreed when they stated, pg. 156 "...what we might consider as its methods or ideology, have remained substantially unchanged throughout all its carious permutations - stylistic, technological, and cultureal - that is has undergone during its hundred and fort year history." Then I went back and read this was written in 1983, so a lot of things have changed since then, including Flicker accounts, Photoshop, the accessibility of digital cameras etc.

:) Steph

Richard Prince article

https://elearning2.courses.ufl.edu/access/content/attachment/4753a109-a862-4b69-9852-2dc0f8ea60ee/Assignments/ba2214e0-23a0-4ecf-a4f6-2527194845dc/Richard%20Prince%20Spiritual%20America.pdf

Instant Photography

http://www.npr.org/blogs/pictureshow/2011/02/08/133111598/boxcameras

Sally Mann

http://www.npr.org/2011/02/17/133595585/from-lens-to-photo-sally-mann-captures-her-love