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Art appropriationism, the legitimacy of the stolen image

Publicado en:Libro De Actas ? Iv Congreso Internacional De Investigación En Artes Visuales. Aniav 2019. Imagen [N] Visible. 226-231 - 2019-01-01 (), DOI: 10.4995/ANIAV.2019.9094

Autores: López, VE; López, NN

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Resumen

This project proposes the art appropriationism as a strategy used throughout the entire history of art, and now it could be a resource that acts almost as a response to the saturation of images that overwhelms the global societies. Firstly, we wonder whether the artworks based on other creations are less original. We resort to something already made to create: what is the point of it? Is there a completely original creation in which the author has not drawn his work from other references? Appropriationism implies a critique to the traditional concept of authorship, even though once we overcome these initial uncertainties, we take this practice as a fully validated resource. With this in mind we analyze how the fact of appropriating visible and recognizable images is an excellent incentive to develop a new concept. Appropriationism, as a way of communication and enrichment in the artistic discourses, allows us to reflect on the concept of image. Artists, in a process that is based on: perceive, identify, interpret and mean, take over images belonging to our collective worldview and they generate new readings. In that sense they extrapolate the original meaning to the present day, providing it with another narrative that responds to current issues. Finally, we undertake a review of the appropriationism throughout the history of art to put in value its ability to multiply ideas and enrich the artistic work. Besides that, we discuss the work of artists like Benjamin Dominguez, Eisen Bernard Bernardo and the Equipo Cronica who see an opportunity to expand their own technique: a study tool that explores the possibilities of the same idea/image, allowing the known work to be used as a medium for creative development.

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