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ECHO: Sampling Visual Culture June 25–October 10, 2010

Artist Marcel Duchamp believed that "the viewer was a co-partner in the creative process" and utilized irony and humor in his work to give the viewer an access point. ECHO: Sampling Visual Culture will explore a selection of contemporary artists from the Gallery's Collection who incorporate humor and appropriation into their artmaking. "Appropriation" refers to the artistic tradition of "adopting, borrowing, recycling, or sampling aspects of visual culture" such as ideas, advertising symbols, media, forms, or styles taken from other cultures, time-periods, or artists.

This exhibition challenges viewers by presenting accessible, often humorous, work that also provides a relevant commentary on how we collectively process the imagery that surrounds us on a daily basis.

In addition to works by artists such as Louis Cameron, Sherrie Levine, Tom Sachs, Robert Therrien, Vik Muniz, and Kara Walker, the exhibition will include more historical works by artists such as Roy Lichtenstein and Andy Warhol, who were among one of the first generations of artists to draw upon mass culture and popular media such as advertising, comic books, and newspapers.

Support for the Albright-Knox Art Gallery's annual operations is generously provided, in part, by The Seymour H. Knox Foundation, Inc.; The John R. Oishei Foundation; and The Margaret L. Wendt Foundation. The Gallery is also supported, in part, by public funds from the New York State Council on the Arts and by a grant-in-aid from the County of Erie.


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Sampling

In music a common practice today is called sampling – when a recording artist or songwriter

uses part of another artist’s song as part of his or her own composition or recording.

Can you think of a song you know that uses sampling?

Visual artists borrow, copy, and repeat in their compositions too. They look back to artists they admire.

They look back into the history of art. They look to advertising and borrow its ideas –

and sometimes it’s a two way street with advertisers looking to artists and using their ideas too.

When you come to this exhibition at the Gallery, you’ll see examples of visual artists borrowing and

repeating – sampling – from many different sources. In this preview, you’ll see four examples:

An Artist Who Some Say Started it AllAn Artist Who Borrowed from Advertising

An Artist Who Borrowed from Another Artist An Artist Who Borrowed From News Media


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Marcel Duchamp: An Artist Who Some Say Started It All

Marcel Duchamp (1887-1968)was an artist who outraged the public by borrowing a

urinal from a mens’ room, turning it upside down, making up a title, signing it with a

made-up name, and exhibiting it as his sculpture in 1917. He said that the things he

borrowed from the world and exhibited as his artwork were “readymades” – already existing

things the artist made into art by the act of choosing and displaying them as art.

Can you find the made-up name on his sculpture?

What was the title he gave it ? Why do you think he gave it

that title?

Do you think Marcel Duchamp was right? Can an artist

just decide to call something art?

Note: This artwork is very famous but is not in this exhibition. Where can you find out more about this artwork and where you might see it in person?

Fountain, 1917


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Here is Marcel Duchamp’s sculpture in our exhibition. Can you identify any of

the things in the photograph?

In the mirror under the cage you can read the title he gave this sculpture and the date it

was made. The name Rose Sélavy is another one of the fictitious names Duchamp used

for himself.


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Marcel Duchamp you identify any of Why Not Sneeze Rose Sélavy?(reconstruction of 1921 original), 1964Marble cubes, thermometer, metal cage, perches, and cuttlebones

Marcel Duchamp was an artist who loved to make people think and also enjoyed making jokes.

If you thought the cubes were made of sugar, you might be surprised how heavy the cage is if you tried to pick

it up. The cubes are actually cut from marble (a kind of stone).

You can probably easily find the perches, but you’ll have to come to the Gallery to find the thermometer or

the cuttlebones, which are hard to see in this photo.

Can you make up a story to explain why Duchamp put these “readymades” together in this

sculpture? Can you include the title in your story?


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Louis Cameron: An Artist Who Borrowed from Advertising you identify any of

Louis CameronG.E Standard Lightbulbs, 2004-2005Spray enamel on puzzle on wood panel26 1/2 x 19 1/2" (67.31 x 49.53 cm.)

Some artists borrow from advertising as inspiration for their art. Can you tell which product Louis Cameron used as a starting point for this artwork?he was looking at from the title of this artwork?


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He looked at a package for General Electric Standard lightbulbs and asked himself: What percentage was blue? Yellow? White?

Then he got a jigsaw puzzle, painted its pieces blue,

yellow and white to correspond to those percentages, and put the puzzle together to see what it would look like.

He has three more works in the exhibition that are based on the colors used in advertising packaging. Come see them!

Louis CameronG.E Standard Lightbulbs, 2004-2005Spray enamel on puzzle on wood panel

26 1/2 x 19 1/2" (67.31 x 49.53 cm.)


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Andy Warhol: An Artist Who lightbulbs and asked himself: What percentage was blue? Yellow? White?Borrowed From News Media

Andy Warhol (1928-1987) was an artist who used many techniques of art making: film, printmaking,

painting, photography, and more. He has inspired many artists since his death in 1987 and is one

of the most famous artists of the twentieth century. One of the methods he used was to borrow

images from print media –newspapers and magazines.

Warhol often used violent or shocking subject matter such as automobile accidents, plane crashes , atomic

Bomb explosions, and electric chairs to comment on how the public and the media treat tragic events

as public spectacles.


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Andy Warhol: An Artist Who Borrowed From News Media lightbulbs and asked himself: What percentage was blue? Yellow? White?

Andy Warhol.Birmingham Race Riot from the Portfolio Ten Works X Ten Painters, 1964Screen print 20 x 24”

In 1963 Andy Warhol was one of the first

to take photographs from media sources

and present them as his own artwork,

often printed in different colors.

He frequently used a technique called

screen printing to do this. After a stencil is

cut on a fine screen, ink is forced through it

onto paper or canvas.

The original photograph was taken by

Charles Moore and published in Life

Magazine in 1963. It depicts police

clashing with supporters of Martin Luther

King, Jr. in Birmingham, Alabama who were

protesting segregated lunch counters in

restaurants. The police attacked with dogs

and water hoses. King himself was arrested.

These photographs, published across the

nation with news about the riots, triggered

rioting in other cities. Eventually, the Civil

Rights Act of 1964 was enacted, outlawing

unequal voter registration requirements and

racial segregation in schools, workplaces

and public facilities.

Pictured is Andy Warhol’s screen print of the

photograph.

Come to the Gallery to contemporary artist Kelley Walker’s painting Black Star Press (rotated 90 degrees

counterclockwise), 2006. He borrowed images just like Andy Warhol’s to make his painting – with chocolate!


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Matts Leiderstam: An Artist Who Borrowed from Another Artist lightbulbs and asked himself: What percentage was blue? Yellow? White?

Anonymous (formerly attributed to Alvan Fisher)

View of Niagara Falls, ca. 1807-1850

Oil on canvas

25 x 34" (63.5 x 86.36 cm.)

Matts Leiderstam (Swedish, born 1956) is interested in the history of landscape painting. He finds

historic paintings, copies them, and reconnects them to the places that inspired them.

One day during a project he was doing in Buffalo he came to the Albright-Knox Art Gallery

and saw this painting. Looking very carefully, he obtained permission from the Albright-Knox to

paint a copy of it in the museum…


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…and then went to Niagara Falls and tried to find the exact spot where it was painted.

He photographed his copy of the painting in the landscape, on an easel as if the painter just finished it.

Matts LeiderstamThe Artist is at Niagara Falls, 2001Unique chromogenic color print24 x 30" (60.96 x 76.2 cm.)



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