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The Reinvention of the Work of Art

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Anne Collins Goodyear's talk from Ignite MCN at MCN2012.

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The Reinvention of the Work of Art

  1. 1. The Reinvention of the Work of Art Anne Collins Goodyear National Portrait Gallery Smithsonian Institution GoodyearA@si.edu
  2. 2. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” 1936 (first English translation, 1968) Walter Benjamin, Passport Photo
  3. 3. Marcel Duchamp, Fountain, 1917 Photograph by Alfred Stieglitz
  4. 4. The Blind Man, no. 2 (1917)
  5. 5. Marcel Duchamp, Marcel Duchamp, Fountain, 1917/1964Fountain, 1917/1963 (Edition of 8, from StieglitzSelected by Ulf Linde photograph) Moderna Museet, Stockholm Marcel Duchamp, Fountain, 1917 Photograph by Alfred Stieglitz
  6. 6. “[W]ith his little suitcase, his own MISE EN BOITE ET EN VALISE, he will slip very freely into the twenty-first century and all the rest.” Denis de Rougement, 1945 Marcel Duchamp, Box in a Valise (From or by Marcel Duchamp or Rrose Sélavy). 1935-41. Museum of Modern Art, New York
  7. 7. Sol LeWitt, Wall Drawing #65 / Lines not short, not straight, crossing and touching, drawn at random using four colors, uniformly dispersed with maximum density, covering the entire surface of the wall., l971 red, yellow, blue, and black colored pencil Dorothy and Herbert Vogel Collection, National Gallery of Art (detail)
  8. 8. Sol LeWitt, Wall Drawing #65 / Lines not short, not straight, crossing and touching, drawn at random using four colors, uniformly dispersed with maximum density, covering the entire surface of the wall., l971 red, yellow, blue, and black colored pencil Dorothy and Herbert Vogel Collection, National Gallery of Art “The Machine is the Idea that Makes the Work” —Sol Le Witt, 1967
  9. 9. Sol LeWitt, Wall Drawing #65 / Lines not short, not straight, crossing and touching, drawn at random using four colors, uniformly dispersed with maximum density, covering the entire surface of the wall., l971 red, yellow, blue, and black colored pencil Dorothy and Herbert Vogel Collection, National Gallery of Art
  10. 10. Chuck Close, Maquette for Big Self-Portrait, 1968. Chuck Close, Four gelatin- Big Self- silver prints Portrait, 1968 scored Acrylic on with ink, canvas, 107- masking tape, 1/2 x 83-1/2. and airbrush Walker Art Paint mounted Center on foamcore, 30 x 24” Private Collection Chuck Close, Chuck Close, Self-Portrait, Maquette for Self- 1968. Portrait, 1968. Pencil on Ink and felt-tip pen Paper, 29 x on collaged 23 in.photograph, 20 x16 “ Collection of Private Collection MFA Boston.
  11. 11. Chuck Close, Keith/1,280, 1973Ink and graphite on paper, 21½ x 17¼ in. (54.6 x 43.7 cm.)
  12. 12. Tom Friedman, Untitled, 1998 Chromogenic print24-1/4 x 46 in. (61.6 x 116.8 cm) Metropolitan Museum of Art Purchase, Jennifer and Joseph Jason Salavon, Flayed Duke Gift, 1999 Figure, Male, 3277 ½ square inches (1998/2001) Laminated digital C-print, 69 x 47½ inches
  13. 13. Jason Salavon, Flayed Figure, Male, 3277 ½ square inches (1998/2001)Laminated digital C-print, 69 x 47½ inches Detail of image at left
  14. 14. Tom Friedman, Untitled, 1998Chromogenic print 24 1/4 x 46 in. (61.6 x 116.8 cm) Metropolitan Museum of Art Purchase, Jennifer and Joseph Duke Gift, 1999
  15. 15. Jason Salavon The Late Night Triad, 2003 Three synced single-channel digital projections Running time: 3 min 35 sec looped. Dimensions variable. Ed. 3 + 1 APs. National Portrait Gallery, Smithsonian InstitutionLincoln Schatz, Selections from Esquire’s Portrait of the Twenty-First Century, 2008(Jeff Bezos, Le Bron James, and J. Craig Venter)Generative video, dimensions variable, National Portrait Gallery, Smithsonian Institution
  16. 16. Jason Salavon The Late Night Triad, 2003Three synced single-channel digital projections Running time: 3 min 35 sec looped. Dimensions variable. Ed. 3 + 1 APs.National Portrait Gallery, Smithsonian Institution
  17. 17. Lincoln Schatz, Selections from Esquire’s Portrait of the Twenty-First Century, 2008(Jeff Bezos, Le Bron James,Samatha Power and J. Craig Venter)Generative video, dimensions variable, National Portrait Gallery, Smithsonian Institution Jeff Bezos Samantha Power Schatz’s filming “Cube” LeBron James J. Craig Venter
  18. 18. Hasan ElahiTracking Transience: The Orwell Project, 2003-Present Screen Shot Screen Shot December 22, 2011 October 29, 2012
  19. 19. Hasan Elahi,Tracking Transience: Security and Comfort, 2007 C-Print, in 7 sections, 60 x 120 inches
  20. 20. Thanks!Anne Collins Goodyear National Portrait Gallery Smithsonian Institution GoodyearA@si.edu

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