Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Do you really want to delete this prezi?
Neither you, nor the coeditors you shared it with will be able to recover it again.
Make your likes visible on Facebook?
Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.
Studio, Museum, Screen: Print & the Virtual, Authentic Image
Transcript of Studio, Museum, Screen: Print & the Virtual, Authentic Image
Print & the Virtual, Authentic Image ARTIST IMAGE ART
OBJECT PLACE SCREEN STUDIO MUSEUM That which withers in the age of digital reproduction is the authenticity of the work of art. PICASSO'S "FRUGAL MEAL" ETCHING (1904/1913) Museo Thyssen-Bornemisza, Madrid (1904)
Etching on vergé Arches paper. 31.3 x 44 cm
INV. Nr. 704 (1973.32)
756 x 1000 pixels The Art Institute of Chicago (September 1904)
Etching on zinc in black on ivory laid paper
462 x 378 mm (image/plate); 600 x 440 mm (sheet)
Printed by Eugène Delâtre.
568 x 768 pixels The Art Institute of Chicago (September 1904, printed and published 1913)
Etching on zinc in black on cream wove paper
480 x 380 mm (image/plate); 655 x 508 mm (sheet)
Printed by Louis Fort.
Published by Ambroise Vollard.
568 x 768 pixels The Museum of Modern Art, New York (1904, printed 1913)
The Frugal Repast (Le Repas frugal), second state
Etching, plate: 18 1/4 x 14 13/16" (46.3 x 37.7 cm).
343 x 420 pixels The Museum of Modern Art, New York (1904)
The Frugal Repast (Le repas frugal )
Etching, plate: 18 3/16 x 14 7/8" (46.2 x 37.8 cm);
sheet: 24 3/16 x 17 5/16" (61 x 44 cm).
Printer: Auguste Delâtre, Paris. approx. 30 proofs.
343 x 420 pixels Museu Picasso of Barcelona (1904)
Etching and scraping on zinc
61.4 x 44.3 cm
332 x 450 pixels Brooklyn Museum, New York (1904)
Etching on zinc on wove paper
18 1/4 x 14 13/16 in. (46.3 x 37.7 cm)
Image: overall, 36.913_acetate_bw.jpg
198 x 249 pixels National Gallery of Canada, Ottawa (1904)
etching on heavy wove paper
63.4 x 49.4 cm; plate: 46.3 x 38 cm
418 x 515 pixels Henri Matisse, Femme au chapeau (Woman with a Hat), 1905
Oil on canvas, 31 3/4 in. x 23 1/2 in. (80.65 cm x 59.69 cm)
Collection San Francisco Museum of Modern Art Roe Ethridge, Untitled, 2009-2011
C-print, 48.54 x 34.84 in (123.3 x 88.5 cm) framed
Edition of 5 + 2 APs
Anton Kern Gallery, New York This paper investigates the concept of authenticity
as a cultural phenomenon related to physicality,
specifically in relation to aspects of print displayed virtually—
the image, the artist, and the object—
and examines the influence of place—
screen, studio, and museum—
on the construction of an authentic image. What does the digital image, through the interface of the screen, signify today? a collection of mathematical data a signifier for the physical object a signifier for the artist DIGITAL
IMAGE ARTIST ART
OBJECT SUBJECTIVE USER ARTIST I think that's
authentic. IMAGE OBJECT applied to (with some form of authority) AUTHENTICITY:
ENTITLED TO ACCEPTANCE Aligned with a broader fashion for coldly rustic surfaces, the texture of this work functions simply as a respite from information. Eyes tired from constant backlighting gravitate toward images of foxed textiles and Belgian linen, weathered wood and stone. This compensatory effect is not only produced through an encounter with the work in the gallery, but also through the [image on the] screen itself. "SCREEN POVERA" —Michael Sanchez, “Contemporary Art, Daily,” 2011 AUTOMOBILE ADS
2011 Dodge Ram Campaign (print, TV, online) CLOTHING ADS ALCOHOL PRODUCT DESIGN Mike McQuade illustration in "I Like Ike (and His Memorial)" by Witold Rybczynski, March 22, 2012. NEW YORK TIMES ONLINE
'BEST OF 2012'
OP-ED ILLUSTRATIONS Chloé Poizat illustration in "Joan of Arc - Enduring Power" by Kathryn Harrison, January 5, 2012. Tatsuro Kiuchi FOOD/GROCERY WEBSITES JULIA V. HENDRICKSON “It is never easy to get back from the object (product or work) to the activity that produced and/or created it. It is the only way, however, to illuminate the object’s nature.”
“Social Space ” ARTIST OBJECT STUDIO Printmaker Jay Ryan in his Illinois studio, The Bird Machine. Photograph by Michael Ruggirello. CONSTRUCTION OF AUTHENTICITY SCREEN ARTIST IMAGE CONSTRUCTION OF AUTHENTICITY SIGNIFIERS OF PRINT Adriaen van Ostade, "The Painter,"circa 1663, etching on paper (state IV), 23.8 x 18.1 cm. FROM THE COLLECTION OF THE BRITISH MUSEUM Johann Anton Williard, "Emperor Maximilian I visiting Albrecht Dürer in his studio," 1829, lithograph on paper, 24.5 x 18.4 cm. Print made by Clément Bellenger, after Léon Lhermitte, "L'Imprimeur Liénard et son fils,"
1882, wood-engraving on paper, 27 x 21.1 cm. Print made by Ferdinand Schmutzer, "Kupferdrucker Ernst Röhm," 1914, hand-colored etching on paper, 36 .7 x 28.3 cm. That which withers in the age of mechanical reproduction is the aura of the work of art.
—Walter Benjamin, 1936 Chicago artist B. Ingrid Olson,
documented in the online & print journal Balliwick. Website for Sonnenzimmer
(Chicago-based design and print studio) Website of Roman Klonek,
printmaker based in Düsseldorf, Germany The website for the print studio
Tandem Press in Madison, WI,
showing artists Suzanne Caporael & Jose Lerma IMAGE OBJECT CONSTRUCTION OF AUTHENTICITY MUSEUM IMAGE OBJECT owns authentic offers authentic MUSEUM WEBSITE A 3-D photography room in the Imaging Department at the Art Institute of Chicago A stationary imaging stand. A roving imaging stand. Except where cited, all intellectual content copyright the author, 2013. Images credited in-line.