By Blanche Cirker
Royalty-free illustrations from 1909 French typography foundry catalog: greater than a hundred plates, over 3,200 images and motifs, together with culmination, vegetation, vegetation, and bushes; animals; stray eyes and ears; cards; angels, saints, and spiritual motifs; musical tools; carriages and crusing vessels; sporting activities; plus decorative borders, mortised cuts, banners, wreaths, and different line paintings.
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Additional info for 3200 Old-Time Cuts and Ornaments (Dover Pictorial Archive)
In the art world: Since the 1960s, artists have pursued strategies of image saturation appropriate to populations of images rather than inventing single works. Andy Warhol was the pioneer: he overproduced paintings in his “Factory” using photo silkscreen printing processes; he mastered media circuits previously external to the art world such as film, music, advertising, and performance; and he carefully cultivated his own personal celebrity. 21 The emergent image is a dynamic form that arises out of circulation.
The value of the work is in its inner structure; the project of the critic is to bring this inner structure to light. • Meaning lies before the object: Here is where the avant-garde tradition of utopia should be located. The work of art foretells an ideal future to come—a model that has recently twentieth- century regained the currency it had in early- avant-gardes such as Russian Constructivism or Dutch De Stijl through Molly Nesbit and Hans-Ulrich Obrist’s Utopia Station project at the 2003 Venice Biennale, which the curators naïvely asserted could trigger significant social change.
Wang Guangyi, Coca Cola, 2004, from Great Criticism Series. 1 in. (200 × 300 cm). 20 velocity as a cultural product. Take for example the first Chinese artists to gain prominence in the West—those associated with so-called Cynical Reason and Political Pop, such as Wang Guangyi (figure 5). His works, which often take twentieth- century Chinese political icons as their motifs, have the perfect formula for success in a global art world: they carry a quantum of native “Chineseness,” but their mobilization of familiar Western art styles makes it possible for them to communicate this unfamiliar and even “exotic” content to a broad range of audiences with little knowledge of China.