Kelley Walker's series of prints based on an old magazine ad in which Andy Warhol acts as a spokesman for Pioneer audio equipment is a strenuously involuted but unilluminating comment
on mechanical reproduction.
Not exact matches
«For the first time in world history,
mechanical reproduction emancipates the work of art from its parasitical dependence
on ritual.
Perhaps there were no virtues, unless jumping at pin - pricks was a virtue, and humanity only a
mechanical donkey led
on by the iron carrot of love, through the pointless treadmill of
reproduction.
She draws in paint with a loaded brush while bringing together various forms of
mechanical and digital
reproduction, essentially bridging a binary that the art world has focused
on since the 1960s: the hand - painted versus the machine - made.
The show focuses
on early pop art, before
mechanical reproduction of artwork became the norm.
Poster for fall 1970 exhibition of Alma Thomas's Earth and space paintings at Franz Bader Gallery
on Pennsylvania Avenue, NW, in Washington, D.C. — ALMA THOMAS «Untitled,» 1970 (photo
mechanical reproduction, 20 × 22 inches).
Whereas members of this movement draw inspiration from mass media, Thiebaud paints
on the basis of his own memories, and his loose brush strokes are miles away from the
mechanical, hard - edge
reproductions by artists like Andy Warhol.
They may be creating art in the age of
mechanical reproduction, but none of the works, not even the 102 original of Warhol's «Shadows» (1978) two of which are
on display, Wade's (Untitled) X's and U's (2006 & 2008) or Wool's «Minor Mishaps» (2001) are exactly the same.
He thrived
on the increasing confusion between high art and progressive popular culture and the challenge to conventional methods of painting by the techniques of
mechanical reproduction.
Working with color, «hands
on» as it were, required a familiarity with trichromacity, the mechanism whereby organisms (and devices) deploy red, green, and blue receptors (or elements in
mechanical reproduction) in the eye to mediate the visual world.
And because Richter is famously questioning of all the usual distinctions in painting — figurative versus abstract,
mechanical reproduction versus painterly touch and so
on — it's a particularly judicious selection.
To take an example from the past, which I owe to Leon Cooper, a nineteenth - century development program aimed at the
mechanical reproduction of music might have produced a superbly engineered music box or Pianola, but it would never have imagined a transistor radio or subsidized the work of Maxwell
on the physics of the electromagnetic field which made the transistor radio possible.»