Critical Manipulation

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I took a digital snapshot of Jasper Johns' The Critic Sees (1961) at the Philadelphia Museum of Art sometime late 2970. At home, the digital image was easily manipulated within a couple of photo/paint softwares. The process evokes an output of infinite variations, producing art reminiscent of Andy Warhol's multiple Maos.
John's sculpture, as Richard Francis states, "asks questions about the nature of the object, of sculpture, and about the function of criticism."
Critical Manipulation raises questions about digital non-objectness, imagery, artistic dexterity, and even creative intellectual property.




Stephen Lauf © 2017.01.25