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ElevenAppropriation
RobertS. Ne/son
Two routes lead to a cemetery in a Middle American city in Texas,
where my family has lived for many years. One meanders past
rows of older bungalows, now being gentrified; another, busier
and faster, leads down a commercial avenue of newer shops and
offices.The cemetery itself is a large, spaciouslawn, an ordinary
place, never to be celebratedor mocked like Forest Lawn in Los
Angeles, but to be denied or forgotten by the automobile traffic
that hurries by, or to be rememberedby those bearing memories
of loved ones buried within. This cemetery,like most in America,
eschewsthe extravagant displays of memorials that jostle each
other and the visitor walking down the monument corridors of
European cemeteries.It is a quieter, more bucolic place of death.
But it is also a place of business,a part of a corporation that sells
funerals, flowers, tombstones, and cemetery plots. What is spatial, social,and always commercial is also an apparatusfor sym-
exhit
scho
are fr
to tht
enou
chur<
wher
Vene
sharp
repla
aura
si on s
made
ance/
l esst r
and a
an ac
what
rrl
acfoss
Et
simpl
A p p r o p rait io n
to l
xas/
past
sier
and
rary
Los
affic
rries
- i ^^
:ach
's of
:ath.
sells
S PA-
ymand
;ine,
imeeis
with
Re, ab: the
u8h,
rtely
lway
four
bove
Plate
f-y
,d or
:o be
rdard
subject of
exhibition catalog.More recently they have been the
bronze statues
scholarlymonographs (e.g.,Jacoffa9%)' Thus the
I shall return
history'
art
of
a.e fully .nrhrln"J within the canon
present' it is
to their intricate histories at the end of my essay'At
from the
enoughto report that in r983 the horseswere removed
church,
the
inside
.hrr.."ht fu.ud" for preservation and installed
light of the
where they are presently seen not in the former soft
by that
Venetian iugoort, bttt ,potlighted, as illustrated here'
Their
,hurp, guriri lighting common to museums and boutiques'
*. d.tll, uninspired copies, wholly devoid of the
..plu.J-".,,,
the Texas veratua of the historic original. But in comparison'
large dogs and
sionsare much less satisfactory,being the size of
in appearmadeof some strange material, suspiciouslysynthetic
PowerMarco'
di
San
ance,and being erected far from thePiazza
entrance
iessto alter this symbolic manipulation of the cemetery's
as
recourse
only
my
grave,
and all within, including my father's
is
art'
Byzantine
an academic,an art historian, and a student of
interventions
what passesfor the pen today, my keyboard, and my
the term
consider
will
I
in u pru."r, krln*n as "appropriation'"
acrossseveralissuesof contemporary art and art history'
hardly be
Etymologically, the word "appropriation" could
meaning
ad'
Latin
the
simoler or more innocent, deriving from
Pl aterr.t
The FourH orsesof S an
Marco,Veni ce.R ornan'
A.r).
possrblzd
y l d centur'r'
Edl z Ardo'
Aftera posl card,
V eneza.
162
RobertS. Nelson
" to," withthe notion of "rendering to," and proprius, "own or personal,"yielding in combination, appropriare, "to make one's own." Setting aside the governmental sense,as in appropriating or legislatingfunds for an organization,"to
appropriate" today means to take something for one'sown use and the adjective
"appropriate" means annexed or attached,belonging to oneself, private, and
suitableor proper. 'Appropriate" also has more sinister connotations,implying
an improper taking of something and even abduction or theft. Taken positively
secc
pea
ph1
ofa
scri
ack
wor
ano
illur
shif
pha
wor
tor
pro
ato
pal
sio
orl
CEI
ten.
gui
l.l
l l Ke
turi
stlt
the
i th
arn
rial
ser
the
the
Lik
fad
are
by
ind
prir
_.....|-_
ApproprLal ron
I
:o
re
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g
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v
:-
secondsystem and made to stand for a new notion. Such a processcan be repeatedindefinitely. Barthes illustrates his theory with an analysis of the cover
of a French magazine, which, like the horses at my father's cemetery, is described,not illustrated. Therefore before he even begins,Barthes makes an unacknowledgedsemiotic shift, the always complex translation of images into
words (seechapter 4 on "word and image"). The same strategy is employed in
another book, Cnmero Lucidq, about a much discussedbut never illustrated
photograph of his mother.
What Barthes calls "myth" I should like to rename "appropriation," thereby
illustrating and enacting the theory by appropriating his myth. In so doing, I
shift the meaning of his semiotic construction towards the personalso as to emphasizepersonal agency,not merely the play of signification. I also employ a
word already used in English for similar proceduresand one that is thus easier
to reposition than "myth" with its firmer grounding in ordinary language.Appropriation is the processat work in the placementof the horses of San Marco
atop a cemetery gate.
Once the four horses,standing before the city's major church and the doge's
palacechapel,had been the signifier of Venice'sSreatness.In their shrunken version, the horses serve new masters/or rather the horses as sign of Venice,Art,
n
)I
;t
Y.
)r
i-
v
tc
1.1
ir
I,
d
)t
or the Old World have become the signifier of a new signified. An ordinary
cemetery is thereby redefinedfor reasonsthat I can only surmise. Was the intention to aggrandizethe entrance through the application of art, even in the
guise of poor copies,or merely to add more generalizedsigns of higher status,
like the lions that provided a certain cachetto the entrancesof newly built cultural institutions in America, e.g., the New York Public Library or the Art Institute of Chicago? C)r was the basicnotion of the horse itself the key value for
the local culture? In Texas,the horse is still a vital sign of personal prestige,as
it had been from antiquity and the Middle Ages (equestrianstatues,knights in
armor) until the Industrial Revolution and its replacementby the horselesscarriage. The later application of equine names (e.g., Mustang) to automobiles
servesto perpetuatethe past and to disguisetechnologicalinnovation.
In introducing appropriation, I have deliberately grounded the discussion in
the details of my life, becausethe word, "properly" or etymologically, concerns
the personal,giving the processconceptualpower, but also semiotic instability.
Like a radioactiveisotope,appropriation or myth breaksdown over time, either
fading away or mutating into a new myth. Becauseappropriations,like jokes,
are contextualand historical, they do not travel well, being suppressedor altered
by new contexts and histories. Thus Ford, the company, not the car or the dead
industrialist, spendsmillions to sustain the freshnessand potency of its appropriations and to make them a part of collectivediscourse.
Appropriation, like myth, as Barthes explains,is a distortion, not a negation
IOJ
o4
Robert
S. Nelson
of the prior semiotic assemblage.When successful,it maintains but shifts the
former connotations to create the new sign and accornplishesall this covertly,
making the processappear ordinary or natural. The potency of the cemetery's
horses, deriving from their previous associations,is now used to reposition,
mln
market, and advertisethe cemetery,but all this is done rather quietly through
the addition of reproductions at the entrance. Myth or appropriation is funda-
con
mal
mental to modern advertising and to the abstractingand expropriating strategies of capitalism itsell which Marx attempted to describein Capital. For Hal
Foster(tg89, the relation is concrete,not metaphorical,appropriationbeing the
equivalent in the cultural sphere of capitalistexpropriation of labor in the economic sphere.However, today these transformations are played out not in the
has
tion
tern
l
tice
tiall
stru
of c
meI
Crir
be,
Art
dad
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tual
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497
vie,
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and
An,
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I
mind's reconstitution of the past. Taken this far, however, the act of appropriation becomes a theoretical Pac-Man about to gobble up all other theoretical
terms and methods and thus to be renderedanalytically useless.
For our purposes,"appropriation" is better confined to the visual arts and to
contemporary modes of bringing the external into the work of art or simply
making art art. Lately, "appropriation," together with another term, "allegory,"
has been appliedto certain trends in contemporary art, especiallythat art practice,concentratedin New York as usual, by which modernism is taken over, partially drained of its semiotic plenitude, and manipulated into postmodern constructions.The first to chart this developmentand its origins in earlier practices
of collageand montage was Benjamin H. D. Buchloh; other critics of this movement, as it subsequently emerged in the r98os, include Hal Foster, Douglas
Crimp, and Craig Owens.
In contrast to the critics, many of the prime movers of what has come to
be called "appropriation art" are female, and gender critiques are frequent.
Artists, such as BarbaraKruger or Sherrie Levine, work, not as Duchamp or the
dadaistswith found objectsof modern industrial life, but with appropriatedimages. Sherrie Levine appropriates various icons of modernism-the photographsof Walker Evans or Edward Weston-and thereby comments upon and
countersmodernist strategies,but she doesnot always escapethe danger of any
appropriation-the appropriated overwhelming the appropriator. Previously
employedas a magazinelayout editor, BarbaraKruger works in photomontage,
the dominant mode of modern advertising and propaganda.Instead of joining
imagesand captionsinto a seamless,natural, and powerful combination of mutual appropriations,Kruger's words and pictures repel not only each other, Iike
oppositepoles of a magnet, but also the viewer, for whom contemplating the
word-image constructionscan be like listening to two out-of-tune instruments.
Kruger herself has used other metaphors, saying in an interview with Anders
Stephanson(tSBl) that she was "trying to interrupt the stunned silencesof the
imagewith the uncouth impertinence and uncool embarrassmentsof language
[and] dishevelingthe garment or at least splitting its seamsin the hopes of exposingthe underpinnings of what is seenand spoken."
A typical example of Kruger's work might be the profile image of a marble
headof a woman to which Kruger has appendedthe caption, "Your gazehits the
sideof my face," as if the representedobject could answer back to the objectifying viewer (see also chapter 22 on "gaze"). Like Duchamp, certain art of the
t97os, or most advertising, Kruger's visual/verbal constructions addressthe
viewer. To facilitate that confrontation, she captions her creations with the first
and secondpersonsthat are common to advertising, rather than the abstracting
and distancing third person that is standard for an informational illustration.
And she works with photographic,not painted,images,becausethe photograph
r65
t66
RobertS. Nelson
is still assumed,in spite of decadesof manipulation, to have a direct, unmediated
connection with the thing represented.The resulting montages of reconstruction and reappropriationquestion multiple categories:representation,especially
the act of portraying the female, the objectifying propertiesof the gaze,and the
viewer and the context of viewing. The work is a novel, original, and therefore
marketable form of media reconstruction,but many aspectshave been seenbefore. The hortative, rhetorical effectsremind one of early advertising or propaganda,e.g.,that army recruiting poster where Uncle Sam points and commands
"l want you." The relevant semiotic tradition stretchesback at least to antiquity
and includes similarly inscribed vesselsfor ordinary use, epitaphs on gravestones,or icons and medieval manuscripts (Nelson a98q. These verbal/visual
constructssucceedbecauseviewers make themselvespart of the communicative
structures and appropriate,if only for a moment, one of the dialogic positions
so skillfully constructedfor them.
Although it is always unwise for historians to predict the future, the appro-
mor
mal
in tl
the
but
whi
frar
i ns
Fre
Fre
olo
tua
497
ttqL
eml
i nt
and
aca
ofi
hib
cap
clur
stored in a computer. Becauseeach pixel can be changed electronically, the image can, in theory, be manipulated indefinitely, and the technique is becoming
increasingly common, especiallyin journalism. Traditional photomontage was
a type of collage,but with digital technology,the marks of suture disappear.The
artistic consequencesof appropriate strategiesof postmodern photography are
not yet clear,but "computer collage" has already arrived technically.Now the
rate of semiotic slippagefor the photograph can potentially accelerateand blur
yet further the traditional distinction between painting and photography and
also that between text and image. In the computer, both words and images become digital, and word processingprograms are directedby visual "icons."
art
but
l nl
con
crlt
by
rop
boc
odi
pro
Photography and photomontagehavecome to play crucial rolesin another series of contemporary critiques of museums, exhibition installations,and the inevitable appropriation involved in collectingof any sort. Installation art has become an important category of contemporary art, and some artists, like Hans
atel
Haacke,haveusedit to disrupt the elisionsbetweenthe two series,art-museumaudienceand commodity-corporation-consumer, which can take place when
corporations support the arts. Less strident and polemical and thus probably
cot
on
ilar
su
hib
Mc
_....-Z_
Aooroori ati on
rted
'ucrlly
the
ore
benA-
more effective are the quiet, lyrical photographs that Louise Lawler has been
making of art in many contexts.Her images and extendedcaptionsare included
in the recent volume of Douglas Crimp's essays,many of which are relevant to
the present concerns.In the book, Lawler's photographs stand by themselves,
but also indirectly support Crimp's criticism and draw attention to the ways in
which art functions in the lived context of the office, gallery, and home. Thus
framed print and photocopy machine, or painting and TV set, are shown shar-
nds
Lity
veual
ive
)ns
rorry
rld
tique ot' the Judgement of Taste,it is clear that Kant is a major concern,but the
empiricaldata assembledabout the role that objectsfrom kitsch to high art play
in the homes of various social classesanticipate many concernsof present art
and art history. A socialbasisin class,income, and educationis shown for taste,
al-
Jt -
he
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l>-
lr,
nn8
'as
he
re
ne
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rd
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ologistPierre Bourdieu, for example,contributesto the understandingof the actual practice of collecting and identity formation in his book, first published in
ry79 and later translatedas Distinction j984). From its subtitle, A Sociql Cri-
capital" and therefore gaining stature in a social group, a not unexpectedconclusion.But wielding "symbolic power" can also achievethe sameends.Artists,
art historians, and critics may lack the means to purchase actual works of art,
but some have the power to transform ordinary objects into art and vice versa.
In both cases,the quality or significanceof the object transfers to the person,
completing the appropriative loop.
A clear and obvious consequenceof such social sciencemethods has been a
critique of the proceduresby which the artifacts of other societiesare acquired
by " our" culture, variously defined, but usually referring to contemporary Europe or America (seealso "primitive," chapter 15 of this volume). Sally Price's
book,ironically titled Primitioe Art in Ciailized Places,nicely critiques and parodies the cultural asymmetries involved in the discovery, redefinition, and appropriation of tribal artifacts by the modern art world. Like Lawler, Price createscollages,in this caseprimarily verbal, not visual, in order to concentratenot
on the objectsor their makers, but upon their remakers or appropriators.Similar analysesof artifact, discourse,and colonialism now constitute an important
subsectionof contemporary anthropology. In terms of art history, that discoursehas been most evident in reactionsto the Museum of Modern Art's exhibition "Primitiaism" in Twentieth-Century Art: At'finity ot' the Tribql and
Modern (tg\+). JamesClifford considersit and other general issuesof cultural
to/
r 68
Robert
S. Nelson
representationin his collected essays(r98S). Contemporary investigations of
cultural representation are also productively theorized in the emerging discourse of multiculturalism and postcolonialism.From that perspective,Homi
Bhabha (tssd strikes to the core of the matter when he argues that what is
neededis "the rearticulation of the 'sign' in which cultural identities may be inscribed"-in other words, a work of creative reappropriationof cultural repre-
uo r
A f,
are
ere
sen
the
Yet
that
ruri
cen
al sc
E ur
con
tha
wh,
sions and their representation.Here the obvious targets might be seventeenthcentury Holland and what Simon Schamacalledits "embarrasstnentof riches"
in a book of that title or the consumer culture of our world. Norman Bryson and
others have written perceptivelyon the earlier periods.What is the significance,
for example, of the possessionof flowers, either depicted in those gorgeous
tior
pai
Dutch paintings or displayedat the entranceof a museum ? For our world, what
does it mean to bring into the home the myriad objects of consumer culture?
And how does
How are consumers' lives reordered through their possessions?
the design of such objects,the subject of designhistory, facilitate that appropriation? Or how does pop art, the representationof mass consumption for eiite
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169
Robert
S. Nelson
bled, embellished, and enhanced the structures that supported them and the
communities which interacted with them. Their early history is by no means
clear,but they are thought to have been made during the secondor third century A.D. Brought ro Constantinople in the fifth century from the island of
Chios and installed in the hippodrome or the city's main public arena,they stood
above the starting gates from which the teams of horses and charioteerswould
spring forth. This Byzantine appropriation doubtlessshifted their meaning. Although their prior context is totally unknown, horse groups, often in the form
of a quadriga (i.e.,chariot, driver, and four horses),were erectedin similar positions on Roman buildings and archesto commemorate specifichistorical triumphs. Whatever their connotation on Chios, the races and imperial ceremonies that took place at the hippodrome would have given the horses a more
generalizedsenseof victory or triumph.
Capableof holding as many as one hundred thousand people and directly
connectedwith the palace,the hippodrome was the principal placein which the
Byzantine emperor was presented to the people. Consequently it was well
outfitted with symbols of governmental authority, and the horseswere not the
only statuesthat had been collectedthere, as Sarah Bassetthas recounted.Better documentedbut no longer surviving is the colossalbronze figure of HerakIes, made by the famous fourth-century B.c. Greek sculptor Lysippus and
erectedon the acropolisof Tarentum. After the Romans conqueredTarentum in
2ogB.c., the statue was installed at the symbolic center of Rome, the Capitol,
and when the capital itself was moved to the newly founded Constantinople,
Herakles went along. Later joined by the four horses,this and other statuesbecame one of the legitimating possessionsof the New Rome'shippodrome, modeled after Old Rome'scircus maximus.
The statuesremained in the hippodrome until rzo4, when the Fourth Crusade,with active Venetian support, was diverted and attackednot Muslims of
the Holy Land but fellow Christians in Consrantinople.Dazzled by the cityt
riches, the crusaderslooted churches and palacesand melted down the hippodrome'sbronze statues,turning them into coins and exchanging "what is great
for what is small," in the words of a Byzantine historian. The four horseswere
savedfor a different appropriation.Loadedonto a Venetian ship, they were dispatchedto Venice and later installed at the entranceto the city's most important
church. At San Marco, the horsesonce more becamepart of a major public space
next to a palace,that of the doge; now they pranced atop another Satewayand
combined with other tokens of victory to celebrateVenice's triumph. Thus
Venice appropriated Constantinople's appropriation. At each stage, partial
knowledge of the previous sign survived the appropriation, exemplifying the
semiotic distortion, not total negation, that characterizesBarthes's"myth" and
my "appropriation."
sign
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Chr
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and
171
RobertS. Nelson
art, in which the semiotic plenitude they might have once enjoyed as a political
symbol is never possibleand in which meanings fragment and mutate in ways
that might seem arbitrary and capriciousbut are willed and motivated like all
appropriations. This museum without walls owns nothing and everything.
Ownership passesto all, and accessincreaseswith every technologicalinnovation, digital imaging and computer networks being only the latest manifestations of a phenomenon that beganwith the invention of printing. And the techniques of mass reproduction placethe horses anywhere, even in obscureTexas
cemeteries, and give historians, who are committed to understanding past
meanings and their transformations, a bit of semiotic vertigo.
However, appropriation is yet more complicated.As Edward Said has long
understood,in every cultural appropriation there are those who act and those
who are acted upon, and for those whose memories and cultural identities are
manipulated by aesthetic,academic,economic, or political appropriations,the
consequencescan be disquieting or painful, like the personal example with
which I began.To study appropriation is to question these semiotic shifts and to
take responsibility for the ones that art history itself creates.Compared to traexample, "influence//-ssneidgling approditional terms of art history-for
priation shifts the inquiry toward the active agents of signification in society
and illumines historical context. It cuts away the privileged autonomy of the art
object or at leastpermits the construction of that autonomy to be studied.At the
sametime, the notion of appropriation allows the art object'ssocialutility in the
past or the presentto be reaffirmed openly, not covertly.Art was important, and
it still is. The term "appropriation" encouragesus to ask why and how'
READINGS
R E F E R E N CAENSD SUGGEST ED
, n d M a r cia Po in to n ,e d s. r 9 9 3 . T h e B odytmaged:The H uman Form and V i sualC ul ture
Adler, Kathleena
Ca
. m b r id g e :Ca m b r id g eUni versi tyP ress.
s i n c et h e Re n a issa n ce
Barrell,John. t98o. The Dark Sideofthe Landscape:The Rural Poor in EnglishPainting,tTjo-t84o. Cam'
b r i d g e :C a m b r id g eUn ive r sityPr e ss.
T r a n sla te db y An n ette Lavers.N ew York: H i l l and w ang.
B a r t h e s ,R o l a n d .r g 7 z. M yth o lo g ie s.
on Photography.New York: Hill and Wang
tg8t. CameraLucida:Reftections
B a s s e t t ,S a r a h Cu b e r ti. t9 9 r . "T h e An tiq u itie sin th e H i ppodrome of C onstanti nopl e."In D umbarton
Oaks Papers45.
B a u d r i l l a r d ), e a n . l9 7 zl t9 8 t. F o r a Cr itiq u eo f th e Po l i ti calEconomyof the S rgn.Transl atedby C harl es
L e v i n .S a in t L o u is:T e lo s.
Baxandall,Michael. ig85. Patternsof lntention:On the HistoricalExplanationof Pictures.New Haven: Yale
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B e r m i n g h a m ,A n n . t9 8 6 . L a n d sca p ae n d ld e o lo g y:T h e E ngl i shR usti cTrodi ti on,t74o-t86o. Berkel eyand
L o s A n g ele s:Un ive r sityo f Ca lifo r n iaPr e ss.
B h a b h a ,H o m i K . r 9 9 4 . "T h e Po stco lo n iaal n d th e Po stmodern:The Questi onofA gency."l nBhabha,The
LocationofCulture. New York: Routledge.
B o u r d i e u ,P i e r r e .r 9 8 4 . Distin ctio nA: So cia lCr itiq u eo ft heJudgmentofTaste.Transl atedby R i chardN i ce.
C a m b r i d g e ,M a ss.:Ha r va r dUn ive r sityPr e ss.
Bry
B uc
cl i ff
C or
C ri n
Fos
Fou
H ar
Hel
Jacc
Me
Mi t
Mi t
Nel
Ow
Pri
Sai
JCn
Ste
_....-r
A ooroori at on
:al
\/q
all
to
'b '
'a.a-
h: AS
lst
ng
rse
he
th
to
'a-
t\ /
Ir;.
ne
ne
nd
lon
les
are
nd
,ne
ce
)73
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