Appropriation / edited by David Evans.

Enhanced descriptions from Syndetics:

Important documents and appraisals of appropriation art from Duchamp's readymades to feminist and postcolonial critique. Scavenging, replicating, or remixing, many influential artists today reinvent a legacy of "stealing" images and forms from other makers. Among the diverse, often contestatory strategies included under the heading "appropriation" are the readymade, detournement, pastiche, rephotography, recombination, simulation and parody. Although appropropriation is often associated with the 1980s practice of such artists as Peter Halley, Sherrie Levine, Richard Prince, and Cindy Sherman, as well as the critical discourse of postmodernism and the simulacral theory of Jean Baudrillard, appropriation's significance for art is not limited by that cultural and political moment. In an expanded art-historical frame, this book recontextualizes avant-garde photomontage, the Duchampian readymade, and the Pop image among such alternative precursors as Francis Picabia, Bertolt Brecht, Guy Debord, Akasegawa Genpei, Dan Graham, Cildo Meireles, and Martha Rosler. In the recent work of many artists, including Mike Kelley, Glenn Ligon, Pierre Huyghe, and Aleksandra Mir, among others, appropriation is central to their critique of the contemporary world and vision for alternative futures
Artists surveyed include
Akasegawa Genpei, Santiago lvarez, Art Workers Coalition, Ross Bleckner, Marcel Broodthaers, Victor Burgin, Maurizio Cattelan, Hans-Peter Feldmann, Douglas Gordon, Johan Grimonprez, Peter Halley, Hank Herron, Pierre Huyghe, Mike Kelley, Idris Khan, Barbara Kruger, Sherrie Levine, Glenn Ligon, Steve McQueen, Alexandra Mir, Keith Piper, Richard Prince, Jorma Puranen, Cindy Sherman, John Stezaker, Retort, Martha Rosler, Philip Taaffe.
Writers include
Malek Alloula, Jean Baudrillard, Walter Benjamin, Nicolas Bourriaud, Benjamin H. D. Buchloh, Johanna Burton, Douglas Crimp, Thomas Crow, Guy Debord, Georges Didi-Huberman, Marcel Duchamp, Okwui Enwezor, Jean-Luc Godard, Isabelle Graw, Boris Groys, Raoul Hausmann, Sven L tticken, Cildo Meireles, Kobena Mercer, Slobodan Mijuskovic, Laura Mulvey, Jo Spence, Elisabeth Sussman, Lisa Tickner, Reiko Tomii, Andy Warhol.

Author notes provided by Syndetics

David Evans is the author of the catalogue raisonne John Heartfield- AIZ/VI 1930-38 and a Research Fellow in Photography at the Arts Institute, Bournemouth, England. He has published numerous articles in such journals as Afterimage, Eye, and Source.

Georges Didi-Huberman, a philosopher and art historian based in Paris, teaches at the cole des Hautes tudes en Sciences Sociales. Recipient of the 2015 Adorno Prize, he is the author of more than fifty books on the history and theory of images, including Invention of Hysteria- Charcot and the Photographic Iconography of the Salpatri re (MIT Press), Bark (MIT Press), Images in Spite of All- Four Photographs from Auschwitz , and The Surviving Image - Phantoms of Time and Time of Phantoms- Aby Warburg''s History of Art .

Writer, filmmaker, and cultural revolutionary, Guy Debord (1931-1994) was a founding member of the Lettrist International and Situationist International groups. His films and books, including Society of the Spectacle (1967), were major catalysts for philosophical and political changes in the twentieth century, and helped trigger the May 1968 rebellion in France.

Andy Warhol (1928-1987) was one of the twentieth century''s most important artists and cultural icons.

Reiko Tomii is a New York-based scholar and curator who investigates post-1945 Japanese art in local and global contexts.

Writer, filmmaker, and cultural revolutionary, Guy Debord (1931-1994) was a founding member of the Lettrist International and Situationist International groups. His films and books, including Society of the Spectacle (1967), were major catalysts for philosophical and political changes in the twentieth century, and helped trigger the May 1968 rebellion in France.

Douglas Crimp is Fanny Knapp Allen Professor of Art History at the University of Rochester. He is the author of On the Museum''s Ruins and Melancholia and Moralism- Essays on AIDS and Queer Politics , both published by the MIT Press.

Jean Baudrillard (1929-2007) was a philosopher, sociologist, cultural critic, and theorist of postmodernity who challenged all existing theories of contemporary society with humor and precision. An outsider in the French intellectual establishment, he was internationally renowned as a twenty-first century visionary, reporter, and provocateur.

Michael Newman is Associate Professor of Art History, Theory, and Criticism in the School of the Art Institute of Chicago. He has published in ArtForum , Art in America , Parachute , and other journals and is coeditor of the book Rewriting Conceptual Art .

Barbara Kruger is an artist whose pictures and words engage issues of power, sex, money, difference, and death. Her work has appeared throughout America, Europe, and Japan in galleries, newspapers, magazines, and museums and on billboards, matchbooks, TV programs, t-shirts, postcards, and shopping bags. She has written about television, film, and cultures for Artforum , Esquire , the New York Times , and the Village Voice .

Barbara Kruger is an artist whose pictures and words engage issues of power, sex, money, difference, and death. Her work has appeared throughout America, Europe, and Japan in galleries, newspapers, magazines, and museums and on billboards, matchbooks, TV programs, t-shirts, postcards, and shopping bags. She has written about television, film, and cultures for Artforum , Esquire , the New York Times , and the Village Voice .

Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She was Director of Birkbeck Institute for the Moving Image (BIMI) from 2012 to 2015. She is the author of Visual and Other Pleasures (1989 and 2nd ed., 2009), Fetishism and Curiosity (1996), Citizen Kane (1992),