Analysis Of Let Us Now Praise Famous Men

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Register to read the introduction… The works consist of famous Walker Evans photographs, rephotographed by Levine out of an Evans exhibition catalog, and then presented as Levine's artwork with no further manipulation of the images. The Evans photographs—made famous by his book project Let Us Now Praise Famous Men, with writings by James Agee—are widely considered to be the quintessential photographic record of the rural American poor during the great depression. By appropriating these images, Levine can be said to be raising questions about class, identity, the political uses of imagery, the nature of creativity, and the ways in which context affects the viewing of …show more content…
Durante treinta años su objetivo fue documentar todo lo que de pintoresco o artístico tenían París y sus alrededores, llegando a crear un cuerpo de trabajo de casi diez mil fotografías. La elección de este artista no es gratuita ya que él fue uno de los primeros en reconocer que la fotografía tenía su propio lenguaje, y que era un medio independiente y autónomo, alejándose de los presupuestos pictoralistas de las corrientes finiseculares. Atget murió sin el reconocimiento público que mereció en vida, excepto por el que le tributaron las primeras vanguardias que le revistieron de un aura heroica. Fotografió algunas de las obras de artistas como Derain, Braque o Utrillo, adelantando sin intención una de las estrategias reproductivas de la propia Levine, y su obra fue admirada por Man Ray, Berenice Abbot y Ansel Adams. Atget está también íntimamente relacionado con otro concepto que importa mucho a Levine: el de memoria. Uno de los principales intereses de Atget fue fotografiar monumentos, edificios y situaciones que estaban a punto de extinguirse. Tenía una conciencia histórica de su trabajo. Levine, eligiendo este tipo de obras y de artistas, evidencia, resignificándolos a través de su mirada, el carácter de construcción cultural de la historia del arte contemporáneo, que ha primado un concepto de vanguardia patriarcal del que las mujeres fueron …show more content…
En un primer momento, esto te hace sonreír, y según la disposición de tu carácter recurrir a palabras como "caradura" (así, suave, que esto también lo leen los niños), aunque al fin y al cabo ¿quién no ha tomado prestado alguna vez algo? Pero el caso es que Sherrie Levine hace exposiciones de sus trabajos y continúa evolucionando en su estilo. De las fotografías miméticas pasó a la pintura y ahora incluso utiliza un ordenador para reproducir obras en tres dimensiones. ¿Qué opinará la SGAE de ésto? ¿Será la muerte definitiva del autor?
Yo creo que Sherrie Levine no cuestiona al autor sino al propio concepto de autoría, o si lo quieres de otro modo al concepto de original (y copia). Si un pintor reproduce en el lienzo un paisaje que ha visto en la naturaleza, ¿por qué no puede ella reproducir ese cuadro sobre otro soporte? Si un fotógrafo imita en una composición obras del arte griego y romano ¿es más autor que

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