What is the generation of pictures?

Although Crimp’s show sounds like the starting point for image generation, it’s not decisive. His choices are bound to be limited, excluding the two artists – Cindy Sherman and Richard Prince, who will become well-known figures in the group. But the exhibition illustrates a new concept that defines the entire class: postmodernism, which in the case of art, undermines modernism’s belief in the development of style. This may be reflected in the various avenues explored by the image generation.

Image generation and performance

Some members of the image generation brought various genres of millimeter post-millionism, most notably the performing arts. For example Ed Sullivan performs. Robert Longo sits on the near-static tableaux at the Stagecraft Theater. A person forms a projection of a movie freezing frame between a live action of a movie singer and a pair of men fighting in slow motion on a rotating pedestal.

These artists also understand the way performing arts documents separate the genre from dynamics. Photo conceptualists like William Wegman have taken advantage of this division, with his photos and videos portraying the stupid pet tricks of his trusty Weimaraner Man Ray. Following, Laurie Simmons bridges the gap between photo conceptualism and picture aesthetics, with the toy housewife pushing the sight around Dollhouse Ranch Homes to comment on the makeup of the suburbs.

Meanwhile, Longo also associates static artwork with his “Man in the City,” a series of monumental charcoal based on photographs of the subject of throwing balls at them: twists and turns, where they are captured poses in response to violence against them from outside the frame.

But the artist who most effectively performed a great performance was Cindy Sherman, her breakthrough photography suite, “Untitled Film Stills.” In these photos, she wears costumes and makeup to live in the film’s prototype female characters (outstanding, upper, bombshell, innocent), citing not only Hollywood, but also French New Wave and Italian Neo-Realism. The images also hint at the decorative fantasy of Girls’ Generation and originated from a method agency project where Sherman worked at the front desk of the artist’s space while working as secretary in the 1950s.

Image generation and funding

Dialing images from the media is an important tool for image generation, although unlike the way popular artists borrow from pop culture. Where are Andy Warhol and others? The ideological luggage produced by the pictures sees a serious antidote to abstract expressionism.

As the picture artists practice, grants often adopt re-photography, which is doubled down to the photographic image of the logo, and that’s it. Whether or not this specific approach is pursued, the use of image generation is often divided into two interrelated categories: one image stands out from the original context; it is the other of its authorship.

Examples of the former can be found in the works of Jack Goldstein, Troy Brauntuch and Sarah Charlesworth. Born in 1945, Goldstein is the oldest participant in the “Picture” performance. He is an old politician whose practice has greatly influenced the rest of the pictures’ generation. In the mid-1970s, he made a series of movie loops of various performance scenes (fencing, barking of dogs, glittering outlines of divers formed in the light when leaping in the air), unlike Sherman or Longmo’s works, completely immune to the reading. Later, he made paintings, many of which evoked the power of anger, whether in nature (lightning storms, volcanic eruptions) or history (air bombings during World War II). These compositions are largely airbrushed by assistants, which not only separates them from Goldstein’s own subjectivity, but also gives a sublime sublime.

Brauntuch explores the differences between images and memory, creating ghostly white-to-black renderings on paper and on canvas that seem meaningful but totally opaque. Usually relying on archival photos of the Third Reich, these scenes once the source becomes obvious, detonate like an approved time bomb.

Charlesworth, in her smooth photography world, also designed to keep her subjects away from the audience by isolating magazines on bright monochromatic fields mounted on color matching frames. She often pairs the images, like juxtaposing a 1940s evening gown with a happening woman in an S&M bondage gear, a spicy garment for Hollywood glamour and fetish. Her work deconstructs the emergencies of desire, whether it involves sexuality, spirituality, or mass consumption.

Meanwhile, some image generation members, especially Richard Prince and Sherrie Levine, assigned it to the next level, turning it into a genre and theme. These artists avoid artistic embellishments and display the iteration of unchanging, recognizable and even copyrighted images.

The basis of their efforts was Roland Barthes, his 1967 thesis The author’s death It is assumed that the interpretation of the text should not be based on the author’s intention, but on the interpretation of the work by an individual reader. But Butters’ attractive title was soon taken away literally, especially in the art world, and the idea of ​​Douglas Crimp liberating his representative from the representative quickly meant usurping his ownership. Both Prince and Levine pushed the envelope with this score.

In the 1970s, Prince worked for Times, where he submitted ads to tears. Although he has been working in a pattern similar to abstract expressionism, his work has inspired his huge leap, repurposing such images without going beyond its appearance as a frame of reference for artifacts. Unlike Warhol and his halftones for screen printing, Prince has no obvious connection between his original material and new iterations. Instead, he introduces the original work, except that it is now a photo, rather than a page torn from a magazine. Starting with a series of watch ads featuring male models, he eventually created his signature loan for his iconic denim to sell Marlboro cigarettes. Like Andy Warhol’s Campbell’s soup can, this image is as closely related to the prince as it is to the product.

Levine digs out the history of the 20th century art, exploiting its milestones in a way similar to the treatment of a prince for Marlboro men. But unlike the Prince’s work, which pretends to undermine masculinity, Levin’s work can be seen as a modernist male self-stimulating feminist. Her most notorious series, Walker Evans, usurped images of the famous photographer’s era of depression, revealing the exploitative subtext of his sociological intent.

Image generation and text

Using text as a focal point for objects, if not a completely substitute object, is a sign of conceptualism, which is brought into the practice of image-generating artists, most notably Jenny Holzer and Barbara Kruger. However, neither share the anger of naturalized art, however, the choice to explore the role of text in promoting mass consumption. Of course, this means advertising to a large extent, but Holzer and Kruger themselves are not interested in advertising, but rather are strategies for persuasiveness behind it. Both artists imitate the mechanisms of messaging by adopting fictional sounds, thus allowing authoritative semiotics (again) to imitate from representatives that could have been represented.

True to Colab’s practice, for example, Holzer has a flyer with an inflammatory character motto (such as “protect me from what I want”) in the lower part of Manhattan, which she calls “truisms.” These will be further improved as animated LED signs and other objects.

Meanwhile, Kruger merged stock photos, words and powerful graphics to provide metatextual reviews about Zeitgeist. For such a signed work Untitled (I shop, so I am)Her hand holds a card with the same name slogan, and she has been serving as art director for the term Miss Magazine. But instead of stimulating consumers’ appetites, Kruger used her skills to reveal the corrupt effects of late capitalism (although the latter would laugh out loud when her style was elevated to sell things).

Abstract as an image

Two artists, Allan McCollum and James Welling, violated the destruction of representation in some way, abstracting the properties of the painting, turning it into another form of image, which is indeed its existence in reproduction. For example, Weilin created black and white photos containing close-ups of wrinkled aluminum foil, or draped dark fabric draped in white flakes, whose folds are collected. McCollum casts seemingly infinite arrangements for the same small plaster relief sculpture: a black rectangle surrounded by a band with mats and frames of pictures; essentially, McCollum compresses the concept of the art object similar to its components.

Image generation and painting

Although the works of the graphic power generation are often based on photography, some of its members pursue painting, most prominently David Salle. Saar initially worked in a photo conceptual model (for example, creating a series of women staring at the kitchen window from the kitchen window while holding a cup of instant coffee with its jar label pasted underneath). But then he turned to a faint escape work, where an overview of random images surfaced on other images that present a more complete tone – a lineage of pedigree returned to the later paintings of Francis Picabia through Sigmar Polke. Thrall will combine materials taken from snapshots, comics and art history into well-known painted objects, with gatherings of materials filled with stripes of average misogynistic. Salle quickly became one of the names synonymous with the Neo-Expressionist, which followed the picture generation.

Perhaps more consistent with the picture strategy, it is another COLAB colleague Walter Robinson. Basically a self-taught painter (who studied philosophy at university), Robinson is known for using the covers of paperbacks from mid-century pulp novels, who painted them like they did before adding texts initially.