ABSTRACT

Contemporary South African artist Wayne Barker is well known for mixing referents taken from high art and popular culture in his art practice that spaces more than 30 years. Barker’s infamous appropriation of J. H. Pierneef’s works has been interpreted as iconoclastic acts that critique the ideals Pierneef represents. Barker’s seemingly irreverent pilfering is a strategy that he has brought into his recent Beadworks Series. Through focusing on selected works by Wayne Barker, this paper explores the complexities of appropriation as a contemporary strategy for art making. It begins by distinguishing between different types of appropriation. Then the genealogy of strategies of appropriation within western modernist art is outlined in order to locate Barker’s art making practice within the trajectory of the historical and neo avant-gardes. The subsequent analyses of selected artworks critically consider the extent to which Barker’s appropriation challenges or reinforces the cultural associations and symbolic meaning of that which he appropriates.

摘要

当代南非艺术家韦恩·巴克 (Wayne Barker) 以在他 30 多年的艺术实践中融合来自高雅艺术和流行文化的参照物而闻名。巴克对 JH Pierneef 作品的臭名昭著的挪用被解释为对 Pierneef 所代表的理想的批判行为。巴克看似无礼的盗窃是他在最近的珠饰系列中引入的一种策略。通过关注韦恩·巴克（Wayne Barker）的精选作品，本文探讨了挪用作为当代艺术创作策略的复杂性。它首先区分不同类型的拨款。然后概述了西方现代主义艺术中的挪用策略谱系，以便将巴克的艺术创作实践定位在历史和新前卫的轨迹中。