Andrew Russet, Sturtevant, Uncompromising Progenitor of Appropriation Art, Has Died, for Gallerist, May 2014.
Throbbing Gristle, Discipline, 1981, recorded live at the S036 Club in Berlin. Via.
Huffington Post: You first began replicating works in the 60s, years before the internet’s image onslaught. Did you have any idea the extent to which repetition of images would take over in the future? How has your work evolved as a result of this phenomenon?
Elaine Sturtevant: Dumb question.
HP: Do you see authenticity as something that used to exist but does not anymore, a fiction that never was, or something else entirely?
ES: Authenticity currently is nonexistent due to the imposition of cybernetics.
See also, Gelitin, The B-Thing, 2000.
Left, uncredited image [maybe by photographer Hanns Sohm?], from a performance by Nam June Paik with Charlotte Moorman, TV Cello, 1971. Via. More. Right, cropped photograph by Yoshihiro Tatsuki, Emi Aoki, 1970. Via. More.
Left, Louise Bourgeois, Untitled, no. 31 of 34, from the illustrated book, Ode à l’oubli, 2002, Fabric collage, page: 29.8 x 33 cm, unique. Via. More. Right, photograph by Zachary Norman, Cloaking Device, from Deliberate Operation, 2013. Via.
Top, photograph by Marcel Duchamp, Autour d’une table, 1917. Bottom, screen capture from the upcoming Prometheus 2 (or-whatever-this-will-be-titled), directed by Ridley Scott, 2016. Via.
Top, screen capture from L’Avventura, directed by Michelangelo Antonioni, 1960. Bottom, Mulholland Drive, directed by David Lynch, 2001. Via.
Top, magazine scan / photograph by Karl Lagerfeld, from the editorial Metropolis, for Vogue Germany, February 2010. Bottom, Angela Fette, Robot’s Hand on Fur, 2012, cardboard, adhesive, fur.
Left, Carsten Nicolaï, Anti, 2004, pp lightweight structure, sound module, theramin module, transducer, amplifier, light-absorbent black paint, 255 x 255 x 300 cm. Right, Albrecht Dürer, Melencolia I, 1514, 24 x 18.5 cm.
Oh et puis merde t’es trop con tu me fatigues.
Recut Jim Jarmusch, found on arte.tv
I don’t think irony’s meant to synergize with anything as heartfelt as sadness. I think the main function of contemporary irony is to protect the speaker from being interpreted as naive or sentimental.