Appropriation, In The Flesh
This is Anne Collier’s “Veterans Day (Nudes, 1972 Appointment Calendar, The Museum of Modern Art, New York, Edward Weston)”, from the “New Photography 2012” show now at MoMA. The image gives a new take on Sherrie Levine-ish appropriation, getting at it through full-blown still life. All appropriation has its roots in still life – on the copy-stand, at least – but normally the context is cropped out. Here, the original use-context, narrowed to a particular day in MoMA’s 1972 “Nudes” calendar, is kept in view. You can imagine some museum member flipping the page on that Veterans Day and seeing Weston’s torso. To what effect, back then? And will there someday be a MoMA calendar with Collier's calendar image in it, waiting to be borrowed yet again by some future artist?
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