Course: Postmodern Originality and Appropriation Art with Special Focus on the Art of Central European Region

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Course title Postmodern Originality and Appropriation Art with Special Focus on the Art of Central European Region
Course code KDT/854
Organizational form of instruction no contact
Level of course Doctoral
Year of study not specified
Semester Winter and summer
Number of ECTS credits 0
Language of instruction English
Status of course Compulsory
Form of instruction Face-to-face
Work placements This is not an internship
Recommended optional programme components None
  • Szoboszlai János, doc. PhD.
Course content
These informations are in the annotation of the course.

Learning activities and teaching methods
unspecified, unspecified, unspecified
Learning outcomes
The lecture briefly introduces the historical context of the terms of pre-modern and modern original and originality in the arts, as well as provides definitions and explanations for the terms as copy, perfect copy, remake, fake, reminiscence, allusion, reference, parody, borrowing, imitation, plagium, epigon, repetition, remix and multiplication, copyright, and the problematic of mechanical and digital multiplications and applications. The lecture describes and analyzes study cases selected from the art of the seventies and eighties in US as Sherrie Levine, Cindy Sherman, Richard Prince or Ed Ruscha; and introduces the post-structuralist and post-modernist theories related to the artistic practice and term of appropriation art by R. Barthes, B. Buchloh, A. C. Danto, H. Foster, R. Krauss, C. Owens, P. Schjeldahl, S. Zizek. Lecture also introduces a semiotic model for the process of appropriation as artistic concept and practice. The model contains a system of sings and signifiers that builds a multi-level construction which also functions as artistic method. And finaly the lecture attempts to apply the previously introduced model in cases of art in Central European region in the eighties and nineties as Neue Slowenische Kunst, Mladen Stilinovic, Gabor Bachman, Sanja Ivekovic, Ion Grigorescu, Jozef Robakowski, Janos Kosa, etc. The aim of the lecture is to demonstrate how artistic concepts, methods and practices are innovated within the rapidly changing political, economic and technological environment.
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the given field of study, they result from a concrete annotation of the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
Successful completion of the previous study

Assessment methods and criteria
Exam Colloquium
Recommended literature
  • Barents, Els. Cindy Sherman. Cindy Sherman, Amsterdam, 1982.
  • Barthes, Roland. Camera Lucida: Reflections on Photography. Hill and Wang, New York, 1983.
  • Barthes, Roland. Le Degre zero de l´ecruite. Paris, 1957.
  • Barthes, Roland. Mithologies. Hill and Wang, New York, 1972.
  • Barthes, Roland. "The Death of the Author" in. Image, Music, Text. Fontana Press, 1977.
  • Baudrillard, Jean. Le Systéme des objects. Gallimard, Paris, 1968.
  • Baudrillard, Jean. Simulations. New York, 1989.
  • Benjamin, Walter. The Author as Producer. Reflections, Harcourt Brace Jovanovich, 1978.
  • Beyond Traditional Aesthetics. Beyond Traditional Aesthetics. ICA - London, 1991.
  • Bourdieu, Pierre, Haacke, Hans. Free Exchange. Stanford University Press, 1995.
  • Buchloch, Benjamin. Allegorical Procedures: Appropriation and Montage in Contemporary Art. In Artforum, 1982.
  • Buchloch, Benjamin. Figures of Authority, Ciphers of Regression - Notes on the Return of Representation in Europe Painting. October, No. 16, 1981.
  • Buchloch, Benjamin. The Museum and the Monument: Daniels Buren´s Les Couleurs.
  • Buren, Daniel. The Function od an Exhibiton. Studio International, 1973.
  • Buren, Daniel. The Function of the Museum. Artforum, 1973.
  • Buren, Daniel. The Function of the Studio. October: The First Decade 1976-1986, 1987.
  • Burgin, Victor. The End of Art Theory - Criticism and Postmodernity. Macmillan, London, 1986.
  • Buskirk, Martha. The Contingent Object of Contemporary Art. MIT Press, 2003.
  • Crimp, Douglas. The Photographic Activity of Postmodernism. October, 1980.
  • Danto, Arthur C. Beyond the Brillo Box - The Visual Arts in Post-historical Perspective. Farrar, Strauss, Giroux, New York, 1992.
  • Danto, Arthur C. Hans Haacke and the Industry of Art. The Noonday Press, Farrar Straus Giroux, 1986.
  • Danto, Arthur C. Introduction: Artphilohistocritisophory Today. Farrar Straus, New York, 1986.
  • Danto, Arthur C. The Transfiguration of the Commonplace - A Philosophy of Art. Harward university Press, Cambridge, Massachusetts, 1981.
  • Charbonnier, Georges. A Conversation with Claude Levi-Strauss. Marcel Duchamp in Perspective, Artists in Perspective Series, 1975.
  • Klinger, Linda S. Where is the Artist?. Art Journal, Summer, 1991.
  • Marzorati, Gerald. Art in the (Re)MAKING. Art News, 1986.
  • Nelson, Robert S. Appropriation" edited by Robert S. Nelson and Richard Shiff. Critical Terms for Art History, University of Chicago Press, 1996.
  • Owens, Craig. Sherrie Levine at A M Artworks. Art in America, 1982.
  • Shiff, Richard. Originality. Sidney press, 1996.
  • Schjeldahl, Peter. Shermanettes. Art in America, 1982.
  • Singerman, Howard. Seeing Sherrie Levine. October 67, 1994.
  • Zizek, Slavoj. Why are Laibach and NSK not Fascist?. M´ARS V 3,4 Ljubljana, 1993.

Study plans that include the course
Faculty Study plan (Version) Branch of study Category Recommended year of study Recommended semester
Faculty of Art and Design Visual Communication (A) Art and applied art - -
Faculty of Art and Design Visual Communication (A) Art and applied art - -