5 - Yaprak Baran : Blog Redesign Challenge

Isabel Lopez Polanco - Translation, Imitation Emulation

I chose to do the painting Odalisque by Jules Joseph Lefebvre because I really like the way he painted the silhouette of a woman. An Odalisque was a female slave in the Ottoman Empire who worked as an assistant to the Sultan's concubines. Here I see it as a real woman with curves that makes a beautiful painting.

Edy-Translation, Imitation, Emulation

The painting I chose to imitate was Picasso's Girl Before a Mirror at MOMA.

Susana Ortega

I chose to do a piece by Sir Henry Raeburn's work of art called Miss Eleanor Urquhart. During my search of finding a painting I would like to copy, I thought I would try and find an artist I'm not familiar with. I chose this painting because of the beauty of the woman. I particularly liked how her skin was painted fairly pale and her dress was white. It made her glow amongst the dark background and made her beauty pop out.
I tried to copy this painting from its orginal piece and thought this process would be helpful to increase my drawing skills. I tried to keep it in its original form because I thought it was fine just the way it was. I think it depends on a person if they want to change it or stick with the original but it's always the original that people go back to and I think that's why many people copy the original pieces.

4- Amy Liu: Translation, Imitation, and Emulation

The work I chose was "Jack and Jill" by Walter Sickert. The original is actually based on a movie called Bullets or Ballots and features real actors. It reminded me of fanart--the concept itself is not entirely original. I agree with Benjamin's article in that reproductions can never replace the original. I am usually disappointed to hear that a work is only a reproduction, but I like fanart because it doesn't exactly replicate a piece, but emphasizes other aspects or creates new situations that are at least just as satisfying as any in the original. I also chose this because I liked the play of light and the textures that result from it and thought that it would look really nice in charcoal. I also liked the composition, particularly the contrasting expressions of the two characters depicted in this piece.

I had a really difficult time finding an image of the original painting online. Searching "Jack" and "Sickert" led to a plethora of links on speculations that Sickert had been "Jack the Ripper," so I was reduced to uploading my own scan of the work, taken from the book Painting the Century.

4 - Bryant A. Estrada - Translation, Imitation, Emulation

For this assignment, I chose to reproduce two pieces of art. The first that was reproduced is "The Rape of the Sabine Women," a statue, by Giambologna (bottom right picture). The original is a 3D sculpture, where my reproduction is a 2D drawing. The second that was reproduced is "The Idiot" by Francisco de Goya (upper left picture). Personally, I agree with W. Benjamin when it comes to the whole idea of the "aura" and how this is marked by its originality and authenticity, however I do not feel that if a piece is duplicated it loses its worth. Technically, it loses its worth, but many more people can appreciate the art if it is duplicated. Let's take for example the Marcus Aurelius statue right on Lincoln Field, we all know what it is a replica, but does that stop us from liking it, and admiring it? That's a question to ask yourself.

4-Chloe Cohn Translation, Immitation and Emulation

I choose to copy an image by Andy Warhol of a skull. Warhol's works are some of the most widely produced and copied images today. By choosing a piece of Warhol's to recreate, I am following many who have recreated his work or emulated his style. Because Warhol's works are so widely copied and reproduced do they lose any value? An original Warhol will sell for millions of dollars, and yet, any one can go buy a cheap poster that is a reproduction of his work. While the original piece has, what Benjamin would call, the "aura," reproductions help art become accessible to the greater masses. A copy of a work of art, then, does not diminish from the original, but adds to it. By making art a thing of the masses rather than the elite the intended message or meaning of a piece of art can reach a wider audience, but the original still holds greater value and meaning. Art is meant to be seen, not meant to be hidden away in homes or museums, and modern technology allows art to be everywhere, and to enter into new realms.

4 - Rachel Watson: Translation, Imitation, Emulation

Although I do not agree with everything in Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction, I believe that Benjamin's point that a work of art has a unique history, which contributes to the work's 'aura,' is valid. Art is as much about the process of creation as it is about the final product. I think that when art is reproduced the new piece has a different quality to it because it underwent a different process, though not necessarily better or worse.

For my emulation project, I copied this drawing by Degas, which was a study for one of his paintings of dancers. I chose to focus on Degas' dancers because of my interest in dance and the expression of movement that Degas seems to accomplish in this drawing through his varying strokes. I decided to copy this study instead of a Degas painting to explore the creative process because the sketch shows all of the marks and adjustments that were made in an effort to examine and express the figures. I thought that this would be a challenge that would help me to work on my own process of seeing and drawing. This exercise reminded me that art is never done, even though the artist can decide to cease working on a piece when it seems as though a stage of art's continuous process may be complete.

4. Fritzi Strauss: Translation, Imitation and Emulation

Nowadays pop art is mass-produced. My attempt to reproduce Roy Lichtenstein’s In The Car, 1963, is just another copy. When I looked up Roy Lichtenstein on Google images not only did 165 000 images come up, but amongst those were t-shirts, mugs, lunchboxes and even a pair of Nike sneakers all baring Roy Lichtenstein prints. Anyone can produce a picture in the style Roy Lichtenstein using Photoshop or a similar program. There are websites with simple instructions on how to convert a picture into pop art in a matter of seconds.

Reading Walter Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction’, I have to agree with him that reproducing art does diminish the quality somewhat and its sense of uniqueness. I definitely feel that something is more special if only one exists. However, I do believe that those who set a trend: Picasso, Andy Warhol just to name a couple, still receive credit and are still recognized as the original author of that type of design no matter how many copies are manufactured.

Nowadays pop art is mass-produced. My attempt to reproduce Roy Lichtenstein’s In The Car, 1963, is just another copy. When I looked up Roy Lichtenstein on Google images not only did 165 000 images come up, but amongst those were t-shirts, mugs, lunchboxes and even a pair of Nike sneakers all baring Roy Lichtenstein prints. Anyone can produce a picture in the style Roy Lichtenstein using Photoshop or a similar program. There are websites with simple instructions on how to convert a picture into pop art in a matter of seconds.

Reading Walter Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction’, I have to agree with him that reproducing art does diminish the quality somewhat and its sense of uniqueness. I definitely feel that something is more special if only one exists. However, I do believe that those who set a trend: Picasso, Andy Warhol just to name a couple, still receive credit and are still recognized as the original author of that type of design no matter how many copies are manufactured.

5 - Justine: Imitation, Emulation...

I don’t really agree with the philosophy behind Walter Benjamin’s article. Benjamin is horrified at the effect that the evolution of technology has on the “aura” of art. While he is very right in noting the ways that modernity has affected the production, dispersal and appreciation of art, I don’t think that these transformations necessarily are bad, or that they need disintegrate the value of art. Mass produced art, such as photographs and films, are certainly a change from the ritualistic tradition of toiling for months over marble statues, but in my mind the accessibility and freshness of these new media present their own contributions to the art world and provide interesting subjects of study as well. I feel that Benjamin almost conveys a sense of elitism of old, traditional art forms over the new (that he displayed when dissing Dadaism, for example). I don’t agree with his logic that art used to be better when it was held at a distance and less accessible, and that “to pry an object from its shell” is to “destroy its aura.” Granted, originals were more special back in the day before the age of mechanical reproduction, but I’m not sure why he looks so negatively upon art and artistic expression becoming closer to the masses. I think that the new, liberated twists that younger generations bring to traditional concepts have their own value.

For my imitation project I decided to work with this illustration by Rafal Olbinski that appeared in the New York Times. I was drawn to it because I wanted to use this project as an opportunity to practice drawing things that have been hard for me to draw: namely, hands. I’m hoping that paying such close attention to so many hands will help me become more familiar with the curves and forms of fingers and joints.

4- Joe Milner: Translation, Imitation, Emulation

I chose to re-create Arrangement in Grey and Black: The Artist's Mother (commonly known as Whistler's Mother) by James McNeill Whistler. McNeill painted on the principle of "l'art pour l'art" mentioned by Benjamin, and I wanted to reproduce it because I thought it expressed the lack of depth of that understanding of an essentially mimetic genre.

Our class's responses so far seem to be interpreting "The Work of Art in the Age of Mechanical Reproduction" as valuing the elitist "aura" and opposing the democratization of the art form through mechanical reproduction. I disagree with this interpretation, as Benjamin writes that "mechanical reproduction emancipates the work of art from its parasitical dependence on ritual" (301; emphasis added). As a Marxist, Benjamin would most likely view emancipation from a hierarchical and quasi-religious structure as a good thing. By basing art on politics in place of ritual, the proletariat could use art to supplant the bourgeoisie, rather than allowing the bourgeoisie to continue to confine art's power for its own uses.

In the evidence of the seventy years since Benjamin published his essay, I have to agree with the heart of his analysis. While I may not be able to see every brushstroke or understand the entire ownership tradition of a individual painting digitally reproduced on Wikipedia, I much more easily gain an understanding of its place in artistic tradition overall because of its wide availability. Art is no longer confined to a class of patrons, and this is a good thing.

4-Jaclyn Ponish: Translation, Imitation, Emulation

My Reproduction:

Original: Tea Ceremony by Ned Bannier from Ceramics Technical Magazine

For this assignment I chose to make a reproduction of a sculpture and a drawing of a reproduction of that sculpture. The sculpture I chose was Tea Ceremony by Ned Bannier. As for Walter Benjamin's essay, I agree with him on some points such as the fact that original productions of works have a certain "aura" about them and also the fact that some replicas of works do not do justice to the originals. For example, seeing the ceiling of the Sistine Chapel in real life, I feel, would be more magical than just seeing the reproduction of God touching the hand of man that is made and available in stores around the world. However, I do not agree that reproductions lessen the value of the original and I think that it is great that people can bring reproductions of art work that they like into their personal spaces such as their home or office.

4 - Yaprak Baran : Translation, Imitation, Emulation

For this assignment, I decided to copy Pablo Picasso's Luncheon on the Grass, inspired by Edouard Manet's famous work. I thought it would be interesting to work with an already-reinterpreted masterpiece.
In his article, Walter Benjamin argues that reproduction depreciates the quality, lacks the unique presence and existence, and extracts the aura of an original work. He suggests that the act of reproduction only has negative repercussions by making art available to the masses. I disagree. As long as they give credit to the genius of their original masters, reproductions simply provide the masses with easily-accesible beauty. They inspire people to create their own works of art and continually challenge the past. Of course, nothing can replace the experience of seeing an original painting; however, Benjamin seems to assume that reproductions always attempt to do so.

4- Mary Kate LoPiccolo: Translation, Imitation, and Emulation

For this assignment, I copied Botticelli's The Birth of Venus. I chose to reproduce only a portion of the painting--her face--which I found absolutely stunning. While reading Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction, I could not help but to agree with his disdain towards artistic reproductions due to the fact that they lose the "aura" of their initial emotional, historical, and artistic context. Works of art tend to have much more effect when observed from life--the textures of each stroke, the curves of marble, the etchings on wood. However, after reflecting on his essay's contents, I realized that most of the artwork that I have seen has in fact been reproduced. Although I am aware that I may be missing out on their entire worth, I do appreciate the fact that I have been able to experience part of their beauty. Reproductions have been able to give those who cannot fly around the world the opportunity to embrace art--and while this may not be the best situation, it is a good alternative!

4- Becca Coleman: Translation, Imitation, Emulation

For my reproduction I chose Picasso’s “Sleeping Woman” from the RISD image library. This work jumped out at me because of the bold gesture of the lines and the deep shading. I am very intrigued by Benjamin’s concept of aura—the sense of awe based in the art’s uniqueness and exclusivity that the viewer feels upon viewing it. Knowing that the image I chose was created by Picasso gave it a bit of the aura of which Benjamin writes as Picasso’s name in my mind is synonymous with great (and famous) works of art. This aura will be lost in my reproduction as I am just starting out as an artist and so my name does not carry the renown that Picasso’s does. Also, because my image will be posted online and thus readily available to anyone with access to the internet, it will lack the aura that works of art which are displayed in exclusive galleries (only available to a limited audience) hold.

4: Sophie Soloway: Translation, Imitation, Emulation

The piece I am copying is "Self Portrait, the Desperate Man" by Gustave Courbet.

The real difference between my final reproduction of this piece and the piece itself is not the obvious visual differences (striking example of Realist painting vs. amateur student exercise). Instead, what is lost in my reproduction is the aura of emotion surrounding the work. I hold no claim to the authenticity of the artist's despair. None of the wild-eyed desperation that Courbet painstakingly immortalized on his canvas with each brushtroke transmits to my own drawing pad. I am not communicating anguish, nor am I expressing my own style. My reproduction will have but a shadow of the original's raw honesty.

That doesn't make mine any less interesting or fun to look at, however. It just means that mine, as Walter Benjamin would agree, has been ripped rudely from its author and plunked down awkwardly outside of tradition.

4 - Justine Palefsky: if you ever need some inspiration...

This is unrelated to the homework, but I thought I'd share.

Here is a link to an art blog called "booooooom" (7 zeroes!). It posts samplings of works by many different artists from all over the place, including anything from paintings to photography to mini-films. I have it bookmarked and check it out from time to time--it's cool, it feels like glimpsing into the sketchbooks of strangers. Here's a piece that's up right now:

They also have a "projects" section where they offer an artistic prompt for the blog readers to take on, and people send in pictures of their creations. For example, the most recent project was to make a "where the wild things are" fort. Check it out if you're interested.

4 Natalie Jones: Translation, Imitation, Emulation

My first was with a grid and second I tried it without.


Walter Benjamin’s article “The Work of Art in the Age of Mechanical Reproduction” he clearly states his hatred for the reproduction of art. Though I do agree with him that an original piece of art does have an aura about it that makes seeing it first hand a very special experience, however I don’t believe that “the simultaneous contemplation of a painting by a large public . . . is an early symptom of the crisis of painting” (302). Through reproductions of art, people around the world can learn about and experience art that, if not made public, would never be seen by most people during their life time.

4- Danielle Sheridan: Translation, Imitation, Emulation

-My rendition of James Rosenquist's 'Waves' (1962)
Having spent a summer working in the Contemporary and Old Master Drawings and Prints Department of Sotheby's London, I came across many of Rosenquist's prints. I was (and still am!) amazed by how much people are willing to spend on a print or photograph issued in series.

-The Original

Reproductions: 'Signifiers of Originals'

For those who do not visit museums on regular basis, reproductions are what constitute their exposure to 'high art' and culture. In our visually and aurally saturated age, the uniqueness of an an original work of art often lies in it being "the orignial of a reproduction" - to coin the phrase from John Berger. Its safe to assume for example that the frenzied swarm of tourists vying for a glance of the Mona Lisa, have encountered her before. Postcards, magazines, television and the internet have democratized high art, allowing it to be less fearsomely academic and readily accessible to all. The impediments have been removed. Culture is a free for all.

3. Edy Y

The Berlin Wall on a Communist stage


Che T's patchwork

Resource: World Press Freedom Map from the "Newseum" in D.C. and revolutionary pins from China and Russia.

3.5 - Justine: Design 3

Umbrella

3. Isabel Lopez Polanco - T-Shirt Designs

3: Sophie Soloway - Shirt Designs

The theme behind these t-shirts is the ever-shifting balance between order and chaos.

3 - Bryant A. Estrada - T-shirt & Poster

3 - Justine: Designs 1 & 2

1: I saw the King Tut exhibit recently and it inspired me to make a sort of modernized version of the containers the Egyptians used to hold the organs of the mummy.2: Marriage Equality t-shirt

T-shirt design 1: This is gagged Caster Semeneya. I struggled with photoshopping other ways that illustrated a similar concept.

T-shirt design 2: This is a baby's head blowing common materials out of its mouth

(unlit)

T-shirt design 3: I was running out of ideas that I could actually do in photoshop, and I remember the idea of "manipulating" the boundaries of the assignment. The design is supposed to be a transparent plastic t-shirt with two stars as sort of pastiches that light up. -- Erin