Art422 - Failure and Appropriation.

23/01/2024

Today's lesson was an introduction to the topic “Creative Reading”, discussing the importance of creative reading and critical texts. The themes “Failure and Appropriation”, were introduced through text and selected images. Artists may use these topics within their practices, simple topics such as these can have a major impact on the overall outcome of a piece. 

This piece titled “Wrong”, by John Baldessari, is an example of both Appropriation and Failure. Baldessari’s use of text changes the context of the image, providing more meaning and adding comedic appeal to those with basic photography or compositional knowledge. The lighting and positioning of the figure would typically be considered “Wrong,” and a basic photography “Failure”. By adding text and displaying the result, he is arguably claiming rightful authorship. 

In the reframed, recontextualised version, Baldessari appropriates a ‘failed’ photograph in an attempt to “transform the outrageous into the conical '' and modernise the “Once-sovereign concept of beauty” 1). Attaching Baldessari’s name to this image allowed it to have a much larger audience reach. The re-contextualisation and display in various museums assisted with acceptance and tolerance of different, non-classical aesthetic choices within art. 

1. Abigail Solomon-Godeau. The Rightness of Wrong 1997.

Engpass at Aussendienst 2000, an installation by Roman Signer is another artist using the idea of failure within his art practice. The structure creates a false sense of security. The spacious entrance narrows until it’s impassable. The failure here, if this were a real life scenario, would be both the driver's lack of judgement or awareness alongside the impractical building structure. 

Seeing both sides of this installation makes this failure powerful. The severity of the situation is intense and dangerous, creating an emotion-provoking display. The back of the car appears unharmed, but is in an unnatural-trapped position. This pushes the audience to walk around to view the front of the car, clearly pushed into that gap by force (shown by the deformation to the panels.) 

Over-exaggeration can add interest and draw attention to something specific, like the narrowing walls almost directing the audience to the damaged car. Both are key, highly stylised details that add interest value. Without the dramatic failure here, this installation would be less interesting, resembling an average scene.