Introduction: ‘If You Need an Actual Statue…’

Trimble, Jennifer; Elsner, Jaś

doi:10.1111/j.1467-8365.2006.00498.x

Cited by 27 publications

(3 citation statements)

References 2 publications

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“…century Kopienkritik debates is the premise that replication is 'an act empty of any subjectivity', focusing almost exclusively on the 'originals to which copies were meant to give access', with Roman artisans considered equivalent to 'replicators'. 42 Faithful reproductions directly replicating cultural referents have not only been popular for centuries, such remade work also transforms a recognisable point of cultural reference into the 'original'. Multiples referencing a unique referent transform the singular, in this way reaching the status of symbolic icon.…”

Section: A Unique Copymentioning

confidence: 99%

‘Contemporary Classicism’ Copy of a Copy: Appropriating Classical Statues as Conceptual Readymades

Meredith

Barnett

2021

Classical Art and Archaeology

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Conceptual readymades – a contemporary artist’s use of a classical work selected as a key point of reference taken out of time – have developed in recent years as part of contemporary art’s appropriation of Greco-Roman statuary. This investigation argues that a contemporary artist’s use of the classical does not represent ‘copies’ but cultural readymades. Contemporary digital and sculptural work foregrounding the classical sheds light on the parallel phenomenon whereby Roman re-interpretations of Greek sculpture may have been equivalent to contemporary classicism. Contemporary case studies featuring digital media, generative art, and sculpture are approached both from the perspective of what they can reveal about contemporary art’s use of the classical and what contemporary art’s use of classical sculpture can suggest about Roman reinterpretations as cultural readymades. Remade as part of contemporary art, classical sculpture is uniquely positioned as an accessible point of reference with which to comment on our own time by concurrently reframing the past.

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Section: A Unique Copymentioning

confidence: 99%

‘Contemporary Classicism’ Copy of a Copy: Appropriating Classical Statues as Conceptual Readymades

Meredith

Barnett

2021

Classical Art and Archaeology

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“…For religious experiences see e.g. Patzelt, 2018 for praying; studies of the variations of image-objects and their perception see Stewart, 2003;lorenz, 2005 andtrimble and elsner, 2006;brain, 2018. 22. See in general on agency in archaeology dobres and Robb, 2000;Gosden, 2005;Joyce and lopiparo, 2005.…”

Section: Materials Religion and The Concepts Of Religious Communicatiomentioning

confidence: 99%

The Spectrum of Religiousness, or What Makes an Object Religious. Habits, Patterned Evidence and Religious Meanings of Image-Objects in Pompeii

Rieger

2020

Arys

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¿Cómo adquieren los objetos-imagen un significado religioso? ¿Cuándo podemos interpretar las fuentes materiales como restos de un ritual religioso? Estas cuestiones son fundamentales para la arqueología de la religión, pero a menudo se responden en favor de lo religioso sin criterios sólidos. Utilizando ejemplos de Pompeya, exploro en este estudio la “religión material” a través del prisma de los hábitos de visión y de las prácticas habitualizadas que están imbricadas en, y que a su vez moldean el habitus social y cultural de una ciudad romana del siglo I d.C. Este enfoque de la religión y de la cultura material centrado en la práctica permite una interpretación más precisa de cuándo y cómo las personas en la Antigüedad grecorromana concebían un objeto-imagen como religioso y le adscribían un significado religioso. Basado en la idea de religión como comunicación con agentes suprahumanos, la noción de “espectro de religiosidad” suaviza la visión en blanco y negro de los motivos y de los objetos como religiosos o profanos. La distinción de una percepción gradualmente variante de los objetos-imagen esta fundamentada arqueológicamente, tanto en los materiales que aparecen reunidos de manera indirecta o casual (ej. los vestigios iconográficos y materiales de una casa), como en aquellos que fueron deliberadamente organizados (ej. nichos con altares en frente de ellos). En la repetición de estos reflejos materiales de las prácticas se aprecia el carácter religioso de los objetos-imagen.

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“…The article 12 In this capacity, my analysis builds upon several more promising studies of the Myron's cow epigrams that have appeared over the last thirty-five years : Speyer 1975;Laurens 1989, 83-85;Lausberg 1982, 223-37;Gutzwiller 1998, 245-50;Goldhill 2007, 15-19;Männlein-Robert 2007a, 265-69;2007b, 83-103. Compare also the discussion in Gross 1992, 139-46, noting how Myron's sculptural "object wins life from the poetic text, even as the text seeks to win a different life in turn from the object, as well as from the broader play of each text against the others" (141). 13 For an excellent introduction to ideologies of replication in Graeco-Roman antiquity, as explored through visual culture, see the essays in Trimble and Elsner 2006. 14 I have attempted a review of bibliography on ecphrasis (in both classical and broader comparative literary perspective) in Squire 2009, 139-46. My own thinking very much aligns with Elsner 2002, 2-3 (discussing epigram specifically on 12-13), namely, that "Graeco-Roman writers and readers would have recognised the description of art as a paradigmatic example of ekphrasis with a significance relatively close to modern usage."…”

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confidence: 99%