"Appropriation has become so common that it is almost taken for granted. New media technologies such as the Web and file-sharing networks gave artists easy access to found images, sounds, texts, and other media. This hyperabundance of source material, combined with the ubiquitous "copy" and "paste" features of computer software, further eroded the notion that creating something from scratch is better than borrowing it."
- MARK TRIBE
Duchamp
1917, Marcel Duchamp introduced the idea of the readymade. That year he entered Fountain into the American Society of Independent Artists exhibition. The work consisted of a urinal, lying on its side atop a pedestal with the signature "R. Mutt". The urinal appeared neither original nor rare, Duchamp's "creativity" as an artist lies in the gesture of selecting the urinal as an art piece and displaying it in an artistic context. Duchamp also went so far as to use existing art in his work, appropriating an apparent copy of the Mona Lisa into his piece, L.H.O.O.Q.
Rauschenberg In the 1950s Robert Rauschenberg used what he dubbed "combines", literally combining readymade objects such as tires or beds, painting, silk-screens, collage, and photography
Lichtenstein / Oldenburg / Warhol
Along with artists such as Roy Lichtenstein and Claes Oldenburg, Andy Warhol appropriated images from commercial art and popular culture as well as the techniques of these industries. Often called "pop artists", they saw mass popular culture as the main vernacular culture, shared by all irrespective of education. These artists fully engaged with the ephemera produced from this mass-produced culture, embracing expendability and distancing themselves from the evidence of an artist's hand.
Richard Prince
Richard Prince re-photographed advertisements such as for Marlboro cigarettes or photo-journalism shots. Prince's work spoke to issues of materialism and the idea of spectacle over lived experience. His work takes anonymous and ubiquitous cigarette billboard advertising campaigns, elevates the status and focusses our gaze on the images. The viewer questions the concept of masculinity portrayed in these heroic billboards and their relationship to the advertising campaign.
history of sound sampling
Richard Serra's TV Delivers People, 1973
Dara Birbaum
Technology/Transformation: Wonder Woman (1978)
Paul Pfeiffer Paul Pfeiffer's groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness. The Long Count (Rumble in the Jungle), 2001
Matt Suib r e c e n t . p r o j e c t s .
APPROPRIATION to OPEN SOURCE
As appropriation became an increasingly important artistic strategy, the intellectual property laws and policies that govern access to found material grew ever more restrictive. In the 1990s and 2000s, movie studios, the recording industry, and other corporate content owners became more and more concerned about the unauthorized copying and distribution of their assets. They lobbied successfully to extend copyright terms and to make it illegal to circumvent copyright protection measures (e.g., the encryption schemes that accompany DVDs). These corporations also moved aggressively to police copyright violations, for example by pursuing legal action against individuals who illegally shared music online. The resulting tension between artistic practices and the intellectual property regime led New Media artists, musicians, and other cultural practitioners to look for alternative models for authoring and sharing their work. They found a model in open source software, an approach to developing computer applications in which a program's source code is made freely available to a distributed network of programmers who develop features and fix problems. Like New Media art, open source software involves collaboration, relies on the Internet, and depends on a gift economy in which altruism and "ego boo," or the peer-recognition that motivates programmers and artists alike, are the primary motivators. New Media artists who adopt open source principles tend to appropriate found material, to collaborate with other artists, and to make their own work available to others on a share-and-share-alike basis. Examples of this approach include Cory Arcangel's Super Mario Clouds
, Radical Software Groups (RSG)'s Carnivore, Raqs Media Collective's OPUS, 0100101110101101.ORG's Life Sharing, and r a d i o q u a l i a's Free Radio Linux.SEE ALSO:
Students for Free Culture is an international chapter-based student organization that promotes the public interest in intellectual property and information & communications technology policy.
http://freeculture.org/
Creative Commons provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry.
Creative Commons
The Fair Use Network was created because of the many questions that artists, writers, and others have about "IP" issues. Whether you are trying to understand your own copyright or trademark rights, or are a "user" of materials created by others, the information here will help you understand the system — and especially its free-expression safeguards.
http://fairusenetwork.org/
DJ Spooky:Rebirth of a Nation
" This is an essay I wrote to accompany my remix of D.W. Griffith's 1915 "Birth of a Nation." Griffith's film has been a historical object of fascination for me for a long while - it's been one of the defining images of America in the 20th century. As we enter the 21st Century it sometimes helps to know like the philosopher Santayana said so long ago, that "those who do not understand the past are doomed to repeat it." "Birth of a Nation" focuses on how America needed to create a fiction of African American culture in tune with the fabrication of "whiteness" that undergirded American thought throughout most of the last several centuries: it floats out in the world of cinema as an enduring albeit totally racist - epic tale of an America that, in essence, never existed. The Ku Klux Klan still uses this film as a recruiting device and it's considered to be an American "cinema classic" despite the racist content. By remixing the film along the lines of dj culture, I hoped to create a counter-narrative, one where the story implodes on itself, one where new stories arise out the ashes of that explosion. These are some of the images that are taken from the film and well... you can see, it's a bit hectic. "Rebirth of A Nation" has been shown in work-in-progress form at San Francisco's "Other Minds Music Festival" in the fall of 2002, and at the Massachusetts Museum of Contemporary Art and the Museum of the Moving Image in New York in the spring of 2003. There will be one more of these events, at the Hirshhorn Museum in Washington, DC on September 6th. The full live performance will be commissioned by the Lincoln Center Festival, The Spoleto Festival USA and The Festival D'Automne in Paris to tour as a live/film performance during the '04-'05 season. It will travel as a museum show and will be released as a limited edition DVD as well."
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