A most excellent Web site on DuChamp's Large Glass presents some animation to illustrate information that previously existed only in literature, along with the author's additional insight is here: understandingduchamp.com/
A most excellent Web site on DuChamp's Large Glass presents some animation to illustrate information that previously existed only in literature, along with the author's additional insight is here: understandingduchamp.com/
Paul R hit the one I was going to point out - Sherrie Levine's series where she rephotographed old Walker Evans prints. Someone else scanned Levine's prints a few years ago to bring the project 'up to date.'
Hi Paul, I thought you'd jump at that!
I've always thought her work is a kind of satirical ironic neo romanticism, especially the holga anti modernist, 'return of the pictoralist but not really' vibe. The fish pic, the head in the water pic. the placing of the self etc
However, one of the reasons I enjoy pomo discussions is that essentially there is no meaning to it, only what we (de)construct...
Julian
It's interesting to see such an unexpected reaction to Anne's work. Her intention (a concept that would, of course, be immediately dismissed by any well-armed po-mo critic) is never satiric. She's a true Romantic. It's all very clear symbolism and narrative to her.
Milo, I'm glad someone finally brought Levine's work up to date! Reminds me a bit of Klett's Rephotographic Survey being Re-rephotographed.
By the way, Julian, I think the differences between Anne's and Cindy Sherman's work are intersting primarily because of their outward similarities. They both do (or did) staged self-portraiture. Sherman rejects this description, but I tend to reject her oppinions about most things photographic, so we're even.
The real difference is that Anne's work taps into a mix of traditional and personal symbols to create its meaning, while Sherman's taps into pop culture iconography. You could say this makes Sherman's work more layered, or you could say it makes it more trite. Depends on your point of view.
There's also much more of a senes of "oooh, I get to play dress-up" with Sherman's work. Anne seems to just be dressing the way she always dresses ... or in some cases the way she wishes she could dress.
I date myself as an unhip modernist when I agree with Szarkoski, who didn't believe that the themes Sherman so cleverly played with were acutally important.
Andres Serrano. Cindy Sherman. Richard Prince. Joel-Peter Witkin.
Didn't the Sokal Hoax kill pomo nonsense for good? Apparently not.
Ok. Here's my question (after spending the day re-reading Derrida, flipping through Anne Arden McDonald's web site, and drinking a half bottle of good wine while contemplating the 3rd phase of capitalism): can someone be a "modern" photographer and still have strong post-modern political leanings? The cognitive dissonance is killing me. Better finish deconstructing that bottle of wine.
All these questions, and more, can be put to rest by the faithful transcription of a recent Jenny Jones episode, generously posted here:
http://www.ebbflux.com/postmodern/jones.php
We should pay postmodernist faculty with the idea of money.
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