Academic Sessions: London 2003
Transformations: the aesthetics of the replica 1800 to the present
Convenors:
Martina Droth, Henry Moore Institute, 74 The Headrow, Leeds LS1 3AH. Tel: 0113 2467467; Fax: 0113 2461481: martina@henry-moore.ac.uk
Patricia Mainardi, Professor of 19th Century Art, City University of New York, 602 Carlton Avenue, Brooklyn, NY 11238, USA: pmmainardi@aol.com
Abstract:
The issue of replicas and copies of works of art has been the subject of much critical debate over the last three decades. Discussions have focused on the moral and ethical implications of replicas; the problematic status of mechanical reproduction within parameters that define the art work as unique; the technical and practical issues of reproduction, such as the development of new techniques and changes in studio practice. This session aims to shift the focus of discussion into a new direction, by looking at the question of how works of art are affected visually and aesthetically when they are replicated and re-contextualised. The session will explore ways of understanding and interpreting the visual impact on works of art when they are ‘transformed’ into other media, dimensions and contexts. It asks not only how perceptions and meanings change when a work is transformed, but examines what the work becomes in its transformed state – what relationships remain between the ‘new’ and ‘original’ state, and what is the role of the ‘original’ in these outcomes? Ultimately, the session asks where we perceive the essence of a work of art to reside, and how this is retained, lost, or re–negotiated once the object is reframed as something else.
Heather MacLennan (University of Gloucester) Prints of prints: The facsimile and the “discovery” of the early Renaissance print in Britain,1810–1828.
Satish Padiyar (University College London) Sculpture. Engraving. Photography. Restitution of the Truth in Replication.
Pierre–Lin Renié (Musée Goupil) The Reproductive Print and Photograph in the Second Half of the 19th Century.
Kate Nearpass Ogden (The Richard Stockton College of New Jersey) Close Cousins: Landscape Photography and The Plein Air Oil Sketch.
Susan Siegfried (University of Michigan, Ann Arbor) Repetition as Artistic Process.
Monica Kjellman Chapin (Clark University) A Dialogic Replication: Ingres in Whistler’s “Little Blue Girl”.
Amy Herman (Frick Collection) Constable’s Salisbury Cathedral Paintings: The Role of Patronage and Shifting Aesthetics.
Martina Droth, Henry Moore Institute, 74 The Headrow, Leeds LS1 3AH. Tel: 0113 2467467; Fax: 0113 2461481: martina@henry-moore.ac.uk
Patricia Mainardi, Professor of 19th Century Art, City University of New York, 602 Carlton Avenue, Brooklyn, NY 11238, USA: pmmainardi@aol.com
Abstract:
The issue of replicas and copies of works of art has been the subject of much critical debate over the last three decades. Discussions have focused on the moral and ethical implications of replicas; the problematic status of mechanical reproduction within parameters that define the art work as unique; the technical and practical issues of reproduction, such as the development of new techniques and changes in studio practice. This session aims to shift the focus of discussion into a new direction, by looking at the question of how works of art are affected visually and aesthetically when they are replicated and re-contextualised. The session will explore ways of understanding and interpreting the visual impact on works of art when they are ‘transformed’ into other media, dimensions and contexts. It asks not only how perceptions and meanings change when a work is transformed, but examines what the work becomes in its transformed state – what relationships remain between the ‘new’ and ‘original’ state, and what is the role of the ‘original’ in these outcomes? Ultimately, the session asks where we perceive the essence of a work of art to reside, and how this is retained, lost, or re–negotiated once the object is reframed as something else.
Heather MacLennan (University of Gloucester) Prints of prints: The facsimile and the “discovery” of the early Renaissance print in Britain,1810–1828.
Satish Padiyar (University College London) Sculpture. Engraving. Photography. Restitution of the Truth in Replication.
Pierre–Lin Renié (Musée Goupil) The Reproductive Print and Photograph in the Second Half of the 19th Century.
Kate Nearpass Ogden (The Richard Stockton College of New Jersey) Close Cousins: Landscape Photography and The Plein Air Oil Sketch.
Susan Siegfried (University of Michigan, Ann Arbor) Repetition as Artistic Process.
Monica Kjellman Chapin (Clark University) A Dialogic Replication: Ingres in Whistler’s “Little Blue Girl”.
Amy Herman (Frick Collection) Constable’s Salisbury Cathedral Paintings: The Role of Patronage and Shifting Aesthetics.