CONSEPTUALISM AND THE GENERATION OF IMAGES: BETWEEN DOCUMENT AND FICTION

Lecture

16.05.2016, 19:30 Monday

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Program: [History and theory of contemporary art]

The second wave of interest in the photographic image from the point of view of art arises in the 1960s. In particular, the crisis of the old means of representation and the search for alternative visual tools (text, found objects, photographs) as a form of artistic radicalism. The photographic image is often not a photo-product, but a photographic reproduction. In conceptual art the photographic image is associated not with the object, but (as an object) with the text, the signifier is transformed into a phenomenon of nature. At the same time there is a revaluation of photos place in cultural history, it has gained the status of a full-fledged art form, there appears to be a market demand for it, and its history begins to be studied as a subject in educational institutions, etc. Since the second half of 1970s photography has gradually been replacing painting taking a leading position in visual art. A new form has been born, the so-called "generation of images," using a medium to work with socio-cultural, mass-media images (Cindy Sherman, Barbara Kruger, Sherrie Levine). Such photographs combine an externally-critical stance with an intense involvement, providing an example of the paradoxical hybridization of the document and the mockumentary.

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