Differences

This shows you the differences between two versions of the page.

--- appropriation_in_art_and_culture [2018/04/17 17:14] – [Apr 17, 2018 Digital Condition] fstalder
+++ appropriation_in_art_and_culture [2018/05/22 07:38] (current) – [May 22, 2018 Limits Appropriation] fstalder
@@ Line 95: / Line 95: @@
 Sonvilla-Weiss, Stefan. 2015. „Good Artists Copy, Great Artists Steal. Reflections on Cut-Copy-Paste Culture“, in: Navas, Eduardo, Owen Gallagher und Xtine Burrough (Hrsg.): The Routledge companion to remix studies, New York: Routledge, Taylor & Francis Group, S. 54–67.
-Stalder, Felix (2009) [https://irights.info/artikel/neun-thesen-zur-remix-kultur/5767 | Neun Thesen zur Remix-Kultur].
+Stalder, Felix (2009) [[https://irights.info/artikel/neun-thesen-zur-remix-kultur/5767 | Neun Thesen zur Remix-Kultur]].
-Fondazione Prada.[[http://www.fondazioneprada.org/project/when-attitudes-become-form/?lang=en| WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013]]
@@ Line 104: / Line 102: @@
 ====== Apr 24, 2018 From Net.art to Meme Culture ======
-[[http://art.teleportacia.org | Olia Liania]], Ausstellung, [[http://www.roehrsboetsch.com/exhibitions/detail/olia-lialina-lossless/about/ | Lossless]] ROEHRS & BOETSCH GALLERY, ZH, 26.4 — 23.6 2018
+[[http://art.teleportacia.org | Olia Liania]], Ausstellung, [[http://www.roehrsboetsch.com/exhibitions/detail/olia-lialina-lossless/about/ | Lossless]] ROEHRS & BOETSCH GALLERY, ZH, 26.4 — 23.6 2018 N
+[[http://www.hek.ch/projekte/net-based-award-2018.html | net-based art award, 2018]]
 [[https://www.britannica.com/topic/meme|Meme (cultural concept]]). Britannica
-Patrick Davison, 2012 [[http://veryinteractive.net/content/4-library/40-the-language-of-internet-memes/davison-thelanguageofinternetmemes.pdf|The Language of Internet Memes]]. from The Social Media Reader edited by Michael Mandiberg, 2012
+Patrick Davison, 2012 [[http://veryinteractive.net/library/the-language-of-internet-memes|The Language of Internet Memes]]. from The Social Media Reader edited by Michael Mandiberg, 2012
+Jackson, Laur M., 2016 [[https://modelviewculture.com/pieces/the-blackness-of-meme-movement | The Blackness of Meme Movement]] modelviewculture.com
 «[[http://www.kunsthallesanktgallen.ch/en/exhibition/the-darknet-in-zusammenarbeit-mit-mediengruppe-bitnik-c280fb8c.html|The Darknet – From Memes to Onionland. An Exploration]]» In cooperation with !Mediengruppe Bitnik and :digital brainstorming18th Kunsthall St. Gallen. October 2014 – 11th January 2015
+[[http://knowyourmeme.com/memes nowyourmeme.com]]
+[[https://vimeo.com/140265561 | The Story of Technoviking]], Matthias Fritsch, 2016, [[https://www.youtube.com/watch?v=-8H4GKg-mYQ | Kneecam No.1]]  Matthias Fritsch, 2000
+[[http://nkhstudio.com/ | Nate Harrison]] Can I Get An Amen?, 2004
@@ Line 120: / Line 126: @@
 ====== May 8, 2018 Reinactment as artistic strategy ======
-Arns, Inke, and Horn Gabriele. 2007. History Will Repeat Itself. Frankfurt a.M.: Revolver, Archiv für aktuelle Kunst.
+Arns, Inke, and Horn Gabriele. 2007. History Will Repeat Itself. Frankfurt a.M.: Revolver, Archiv für aktuelle Kunst
+  * [[http://en.inkearns.de/files/2011/05/HWRI-Arns-Kat-2007-engl.pdf | Curatorial Text]]
+  * [[https://www.hmkv.de/programm/programmpunkte/2007/Ausstellungen/History2007.php | exhibition website]]
 Mike Figgins. The Battle of Ogreave, GB, 2001, 63 Min
+Fondazione Prada.[[http://www.fondazioneprada.org/project/when-attitudes-become-form/?lang=en| WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013]]
 **Student presentation:** Claudia
@@ Line 128: / Line 140: @@
 ====== May 22, 2018 Limits Appropriation ======
-Lionel Shriver.  [[https://www.theguardian.com/commentisfree/2016/sep/13/lionel-shrivers-full-speech-i-hope-the-concept-of-cultural-appropriation-is-a-passing-fad|'I hope the concept of cultural appropriation is a passing fad']]. The Guardian, 13.09.2016
+Young, James O. 2008. Cultural Appropriation and the Arts. Malden, MA: Blackwell Publishing.
+Reading: Introduction (p.1-9, 18-31), Chapter 4:  Cultural Appropriation as Assault (p. 106-120), Conclusion (p.152-153)
+**Controversy: Dana Schutz “Open Casket”, 2016**
+  * [[https://www.youtube.com/watch?v=4V6ffUUEvaM | The Body Of Emmett Till | 100 Photos | TIME]]
+  * [[https://news.artnet.com/art-world/dana-schutz-painting-emmett-till-whitney-biennial-protest-897929 | Dana Schutz’s Painting of Emmett Till at Whitney Biennial Sparks Protest]] Artnet News, March 21, 2017
+  * [[https://news.artnet.com/art-world/dana-schutz-responds-to-the-uproar-over-her-emmett-till-painting-900674 | Dana Schutz Responds to the Uproar Over Her Emmett Till Painting at the Whitney Biennial]] Artnet News, March 23, 2017
+  * Speidel, Klaus. 2017. “[[https://www.spikeartmagazine.com/en/articles/dana-schutzs-open-casket-controversy-around-painting-symptom-art-world-malady | Dana Schutz’s ‘Open Casket’: A Controversy around a Painting as a Symptom of an Art World Malady.]]” Spike Art Magazine. March 24, 2017.
+  * Michaels, Walter Benn. 2018. “Who Gets Ownership of Pain and Victimhood?” Le Monde Diplomatique, May 2018. https://mondediplo.com/2018/05/14race-class.
-Yassmin Abdel-Magied. [[https://www.theguardian.com/commentisfree/2016/sep/10/as-lionel-shriver-made-light-of-identity-i-had-no-choice-but-to-walk-out-on-her|As Lionel Shriver made light of identity, I had no choice but to walk out on her]]. The Guardian, 10.09.2016
-**Student presentation:** Demian
+**Student presentation:** Demian & Desiree