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Video transcript

[Music] we're talking about a Sherrie living photograph which is entitled untitled after Edward Weston is this really a photograph pensionary living well it is she has done something quite astonishing here she has rephotographed someone else's work and word West and the great modernist if it's a copy of what someone else did and there's no original thought involved or thinking through things on her part then what makes this art exactly that's part of the question that I think that that's really what she wants to raise to some degree and she's following in the footsteps you have to say or someone like you know Marcel Duchamp who's already introduced the ready-made in the 19-teens right the idea that it's it's you know what makes a work of art is it necessarily about skill isn't necessarily about making or as a rep creativity or they can it also be just about choice except that Duchamp sort of said well it's not about skill but he did kind of shift it over to the conceptual but it was still about choices and ideas what's the idea here well I think she really is in many ways a conceptual artist so she's thinking okay well but this is a photograph of Weston's son Neal and he is doing something they're really flexing his creative muscles here first of all he's created the boy this is his boy and his sister and so then he's going to use his son as a raw material for his photograph he's also great sand twice exactly so you know to hit for Weston this is really an image that's in part about possession you know he is the master of all things in this image on the other hand he's also borrowing a good degree from the whole history of the new to the classical nude from the series some of these look very very similar to Donatello's young David so he's also inserting himself in you know ensconcing and so very much in a tradition this is a kind of modernist thing going on for Western I can now artist about inserting himself into tradition it's sort of in this kind of heroic moment of originality and contribution and creativity and then sherry levine comes along as a woman and copies it and she well she feels also I think very much outside of that tradition as a woman yeah a lot of artists male or female feel like something everything's already been done before I'm sure they do so it's a natural feeling so she takes that also no answer wrestles it to the ground and I love doing something that no one had ever done before a her re photographing as someone else's photograph was something that they remember for you know important writers had written that photographers have always failed to reproduce exactly another person's photograph and here she does it and she does it in a way that seems very simple to us but in a way it was also something that was does she do it in a particular way I mean is she particularly faithful to the original well she she does not crop the image and unless you you know you really are a connoisseur of prints it would be very hard for you to tell the difference between but you know a lot of times she might have photographed out of a catalog rather than really actually thanks and she and she also photographed works of other artists not just photographers exactly and recreates things from paintings into sculpture so she it's very much about being influenced and being this sono and actually we live in a world where so little is original anyway maybe that's the whole point too I mean everything is math created you know everything is it's an essential articles but where is the original anymore you