ADAPTATION & PARODY

Robert Colescott,I Gets a Thrill Too When I Sees De Koo, 1978

“Art forms have increasingly appeared to distrust external criticism to the extent that they have sought to incorporate critical commentary within their own structures in a kind of self-legitimising short-circuit of the normal critical dialogue.”

- Linda Hutcheon, A Theory of Parody, p.1.

Manet, The Balcony, 1868 Magritte, Perspective II: Manet’s Balcony, 1950

Marcel Duchamp, LHOOQ, 1919 Subodh Gupta, Et Tu Duchamp?, 2010

Yasumasa Morimura, c.1988

Manet, Olympia, 1863

Richard Prince, Untitled, 1977

Cindy Sherman, Untitled 87, 1981

Sherrie Levine, Untitled, President 4, 1979

Sherrie Levine, After Walker Evans 2, 1981

Louise Lawler, Pollock and Tureen, Arranged by Mr and Mrs Burton, Tremaine, Conneticut, 1984

Jasper Johns, Flag, 1954

Robert Rauschenberg, Monogram. 1959

Frank Stella, Zambesi, 1967

Robert Colescott, I Gets a Thrill Too

When I Sees De Koo, 1978

Art & Language, Portrait of V.I. LeninWith Cap, in the style of Jackson Pollock, 1980

Goya

Goya, Philip III of Spain on Horseback (after Velasquez) c.1780

Picasso, Woman of Algiers, after Delacroix, 1955

Roy Lichtenstein, Woman with Flowered

Hat, 1963

Andy Warhol, The Disquieting Muses (after De Chirico), 1982

Malcolm Morley, The School of Athens, 1972 (after Raphael)

Jake and Dinos Chapman, Great Deeds Against

the Dead, (after Goya), 1994

Mike Bidlo, Not Pollock, 1982

Adaptation (and parody) is defined by the Canadian literary theorist Linda Hutcheon as “an extended, deliberate, announced revisitation of a particular work of art.” - Linda Hutcheon, A Theory of Adaptation, p.170.

“Parody has become one of the major avenues for deconstructing art, in that a parodied work ‘talks back’ not only to the original but also to other parodies.”

- Sherri Klein, Art and Laughter, p.14.

Tracey Moffat, Lip, 1999

George Barber, Taxi Driver 2, 1986

Susan Hiller, Psi Girls, 1999

Anita di Bianco, Betty Talks, 2001

Salla Tykka, Zoo, 2006

THE END