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Abstract


ISN’T THERE ANY OTHER REFERENCE TO THE ARTWORK APART FROM ITSELF?
Reproduction, retransformation of someone’s artwork or arrogating any artwork of others to themselves as a way of production for the artists became a common issue. This article intended to investigate the authenticity of an artwork by giving examples of this production method. Essentially, it has been formed on the question “Is there no self-reference of the artwork?” Is a fresh start at ground zero is possible during creation of an artwork? Does any artwork or any opinion refer to or evoke a preceding one? This article progressed by focusing on originality concept in modernist age, the transformation of this understanding subsequent to ready artworks of Marcel Duchamp in line with these questions and by focusing on contemporary samples in 1980s when originality understanding has changed. Within this concept the terms of appropriation, postproduction and détournement were addressed. In order to support these concepts with visual examples, some artist's works are included. Among these examples, the artworks which are seen as stealing the idea of others, plagiarism are excluded. Manet’s painting “Olympia”, Tiziano Vecellio’s painting “Urbino Venus”, Duchamp’s “Fountain”, Sherrie Levine's “After Marcel Duchamp”, “The Old in Out” by Sarah Lucas, “Sotheby’s” by Nelson Leirner, Glenn Brown’s “Reproduction”, Govert Flinck’s “Bearded Man with a Velvet Cap”, “String of Puppies” by Jeff Koons, “Puppies” by Art Rogers” and Sherrie Levine’s “After Walker Evans” are examined. It is observed that the originality is not indispensable and it is not possible to start from the zero level in the production of artwork.

Keywords
Artwork, Originality, Reproduction, Appropriation, Reference


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