Reproduction Technology. From Replica to Brand

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
O. Averyanova
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Abstract

The article is devoted to the analysis of the works by the French artist of American origin Man Ray. The objects of the first New York period were studied, later they repeatedly have been reproduced by the author. We consider prints of non-preserved objects as the author’s version of a photographic readymade. Reproductions and replications have become an important part of the artist’s strategy in Paris and especially in America. These practices represent an example of the branding technology traditionally associated with Andy Warhol. Man Ray invented it long before the commercialization of pop art. The idea as the main artistic value, regardless of the method of its implementation and originality, becomes not only the basis of conceptual art, but also the quintessence of the phenomenon that we call an art brand. We define it as an ideology that includes the characteristics of the artist’s personality, his work and general strategies, including the marketing ones. Ray’s experiments as a modernist, artist and photographer significantly expanded the spectrum of theoretical and practical issues related to the relationship between art and commerce in an era when the aesthetic value of a work depended not only on the conditions and on circumstances of the order, but on the novelty and radicality — the time when the experiments have being absolutized. In the avant-garde, this criterion has become an indicator of the artist’s talent and success. If we define a brand as a mental cover of a product, then the application of this term to a work of art is quite justified, especially since the 20th century approved the priority of design methods of creativity, the cognitive value of an artwork became more important than the retinal one. The artist required a certain amount of ingenuity to remain a radical and be part of the market system, transforming the symbolic value of his work into an economic one. Seeming independence from the artistic conjuncture turned into a skillful balancing act between creativity and commerce.
繁殖技术。从复制品到品牌
本文对美籍法国艺术家曼·雷的作品进行了分析。第一个纽约时期的对象被研究,后来他们被作者反复复制。我们把未保存的印刷品看作是作者的现成摄影作品。在巴黎,尤其是在美国,复制和复制已经成为艺术家策略的重要组成部分。这些做法代表了传统上与安迪·沃霍尔有关的品牌技术的一个例子。早在波普艺术商业化之前,曼·雷就发明了它。作为主要艺术价值的理念,无论其实施方式和创意如何,都成为观念艺术的基础,也是我们称之为艺术品牌的现象的精髓。我们把它定义为一种意识形态,它包含了艺术家的个性特征、他的作品和一般策略,包括营销策略。雷作为现代主义者、艺术家和摄影师的实验,在一个作品的美学价值不仅取决于条件和秩序的环境,而且取决于新颖性和激进性的时代,极大地扩展了与艺术与商业关系相关的理论和实践问题的范围——实验已经被绝对化的时代。在前卫艺术中,这一标准已成为艺术家才华和成功的标志。如果我们将品牌定义为产品的精神覆盖,那么将这个术语应用于艺术作品是很有道理的,特别是自从20世纪认可了创意设计方法的优先性以来,艺术作品的认知价值变得比视觉价值更重要。这位艺术家需要一定的聪明才智来保持激进,成为市场体系的一部分,将他的作品的象征价值转化为经济价值。表面上独立于艺术的结合点,却变成了创造性和商业之间的巧妙平衡。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.20
自引率
50.00%
发文量
9
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