Appropriate to re-appropriate. Repeat.

I know, I know.

I should be writing about an artist I don’t really care for or agree with because that would make for an interesting piece of art writing but this is an art diary (of sorts) and, well, I can write what I want (for now)! I’m sure my writing will go into varying directions in the next month or so with a studio class on the horizon. I digress (per usual). For those that know me well, I preface (quite a bit) but I did that (yet again) because I constantly write about artists that inspire and move me.

Ellen Gallagher being one of those artists. Being a fan of Art 21, I found myself engaged by her work. The ability to take imagery and appropriate it in a repetitious fashion but making all iterations worthy of a look amazes and excites me. A great example of her collaborative work is the ‘DeLuxe’ Prints series. She adds to an image of Isaac Hayes in such a way that the viewer is forced to re-imagine a narrative. Her re-telling of a history through painting over what is there, magically, uncovers what has long been concealed. Think of that contradiction? Covering up to uncover. Re-appropriating to make appropriate, inevitably be re-appropriated and re-configured in the viewers mind. Gallagher works wonders. I guess I wrote about her because I’m hoping to do some of my own magic in this upcoming studio art class. We shall see!

Learn more about Ellen Gallagher here

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Author: Dorothy R. Santos

Dorothy R. Santos is a writer, editor, curator, and educator whose research areas and interests include new media and digital art, activism, artificial intelligence, networked culture, and biotechnology. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco, and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She is currently the managing editor for Hyphen magazine. Her work appears in art21, Art Practical, Daily Serving, Rhizome, Hyperallergic, and Public Art Dialogue. She has lectured and spoken at the De Young museum, Yerba Buena Center for the Arts, Stanford University, School of Visual Arts, and more. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” has been published to The Routledge Companion to Biology in Art and Architecture in 2016. She serves as executive staff for the Bay Area Society for Art & Activism, board member for the SOMArts Cultural Center, and teaches at the University of California, Santa Cruz in the Digital Art and New Media department.

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