LEADER 03191oam  2200625I  450 
001 9910463183803321
005 20200520144314.0
010   $a1-136-80137-5
010   $a1-283-96526-7
010   $a0-203-82744-9
024 7 $a10.4324/9780203827444 
035   $a(CKB)2670000000328539
035   $a(EBL)672510
035   $a(OCoLC)826487017
035   $a(SSID)ssj0000852666
035   $a(PQKBManifestationID)11446106
035   $a(PQKBTitleCode)TC0000852666
035   $a(PQKBWorkID)10864478
035   $a(PQKB)11152640
035   $a(MiAaPQ)EBC672510
035   $a(Au-PeEL)EBL672510
035   $a(CaPaEBR)ebr10648686
035   $a(CaONFJC)MIL427776
035   $a(OCoLC)900420242
035   $a(EXLCZ)992670000000328539
100   $a20180331d2003      uy             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aArt after appropriation $eessays on art in the 1990s /$fJohn C. Welchman
210  1$aLondon :$cG+B Arts International,$d2003.
215   $a1 online resource (305 p.)
300   $aDescription based upon print version of record.
311   $a1-138-13923-8 
311   $a90-5701-043-7 
320   $aIncludes bibliographical references and index.
327   $aCover; Art After Appropriation; Title Page; Copyright Page; Table of Contents; IntroductionGlobal Nets: Appropriation and Postmodernity; Chapter 1 Photographies, Counter-revolution and Second Worlds: Allegories by Design, 1989; Chapter 2 Photographies, Counter-revolution and Second Worlds: Releases and Counter-appropriations, 1989; Chapter 3 New Bodies: The Medical Venus and the Techno-grotesque, 1993-1994; Chapter 4 Faces, Boxes and The Moves: On Travelling Video Cultures, 1993; Chapter 5 Public Art and the Spectacle of Money: On Art Rebate/ Arte Reembolso, 1993
327   $aChapter 6 'Peeping Over the Wall': Narcissism in the 1990s, 1995Chapter 7 Parametrology: From the White Cube to the Rainbow Net, 1996; Chapter 8 Culture/Cuts: Post-appropriation in the Work of Cody Hyun Choi, 1998; Chapter 9 Some Horizons of Medialisation: The Rainbow Net, 1999; Index
330   $aBeginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fic
606   $aArt, Modern$y20th century
606   $aAppropriation (Art)
608   $aElectronic books.
615  0$aArt, Modern
615  0$aAppropriation (Art)
676   $a709/.049
700   $aWelchman$b John C.$0442362
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910463183803321
996   $aArt after appropriation$998742
997   $aUNINA