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Angie Morris | University of Sussex - Academia.edu

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id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Angie Morris</h3></div><div class="js-work-strip profile--work_container" data-work-id="30976224"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30976224/The_economy_of_images_of_poverty_through_a_Duchampian_lens_Alfredo_Jaar_The_Sound_of_Silence_and_Renzo_Martens_Enjoy_Poverty_Episode_111_"><img alt="Research paper thumbnail of The economy of images of poverty, through a ‘Duchampian lens’. Alfredo Jaar, The Sound of Silence and Renzo Martens, Enjoy Poverty, Episode 111 " class="work-thumbnail" src="https://attachments.academia-assets.com/51409179/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30976224/The_economy_of_images_of_poverty_through_a_Duchampian_lens_Alfredo_Jaar_The_Sound_of_Silence_and_Renzo_Martens_Enjoy_Poverty_Episode_111_">The economy of images of poverty, through a ‘Duchampian lens’. Alfredo Jaar, The Sound of Silence and Renzo Martens, Enjoy Poverty, Episode 111 </a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper is a reading of The Sound of Silence by Alfredo Jaar and Enjoy Poverty, Episode 111 by...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper is a reading of The Sound of Silence by Alfredo Jaar and Enjoy Poverty, Episode 111 by Renzo Martens; viewed as a Duchampian gesture.&nbsp; It proposes that the photographers within both works might be viewed as commodities and that the art of Jaar and Martens might consequently be regarded as a readymade. In doing so it seeks to position The Sound of Silence and Enjoy Poverty in an art historical context.<br /><br />Jaar and Martens have been coupled, as they both seemingly present a critique of globalisation. This is accentuated when exploring an economy of images of suffering; how the art is produced, consumed and then distributed, it is mirrored within this paper with the developing themes of self-referentiality, geo-political dislocation or globalisation and dissemination. Jaar and Martens both focus on economic disparity, but suffering, rather than being the subject, is something in which the photographers within the works and ultimately the viewers are implicated. In turn it is the photographers who become commodities, who travel and accrue value.<br /><br />This paper has taken, as a pivotal strand to its argument, the fact that everyday news coverage of suffering is representative of a Duchampian readymade; it is a mass-produced object. <br /><br />Existing scholarship of contemporary image culture to date has tended to focus on the theoretical framework of T. J. Demos who posits contemporary art in a documentary context or Julian Stallabrass who highlights the works as making a political statement.&nbsp; Current research has tended to ignore any direct art historical reference. A critical analysis which couples The Sound of Silence and Enjoy Poverty and brings into play a Duchampian methodology is thus far absent and one this dissertation intends to address. <br /><br />It is hoped that by considering the specifics from abstractions the bigger truth can perhaps be understood, by studying the micro the macro may be brought into focus.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="57759f559ce1feb2897be2764ef4232d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{&quot;attachment_id&quot;:51409179,&quot;asset_id&quot;:30976224,&quot;asset_type&quot;:&quot;Work&quot;,&quot;button_location&quot;:&quot;profile&quot;}" href="https://www.academia.edu/attachments/51409179/download_file?st=MTczMjc3MTg5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30976224"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30976224"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30976224; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30976224]").text(description); $(".js-view-count[data-work-id=30976224]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30976224; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30976224']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30976224, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "57759f559ce1feb2897be2764ef4232d" } } $('.js-work-strip[data-work-id=30976224]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30976224,"title":"The economy of images of poverty, through a ‘Duchampian lens’. Alfredo Jaar, The Sound of Silence and Renzo Martens, Enjoy Poverty, Episode 111 ","translated_title":"","metadata":{"abstract":"This paper is a reading of The Sound of Silence by Alfredo Jaar and Enjoy Poverty, Episode 111 by Renzo Martens; viewed as a Duchampian gesture. It proposes that the photographers within both works might be viewed as commodities and that the art of Jaar and Martens might consequently be regarded as a readymade. In doing so it seeks to position The Sound of Silence and Enjoy Poverty in an art historical context.\n\nJaar and Martens have been coupled, as they both seemingly present a critique of globalisation. This is accentuated when exploring an economy of images of suffering; how the art is produced, consumed and then distributed, it is mirrored within this paper with the developing themes of self-referentiality, geo-political dislocation or globalisation and dissemination. Jaar and Martens both focus on economic disparity, but suffering, rather than being the subject, is something in which the photographers within the works and ultimately the viewers are implicated. In turn it is the photographers who become commodities, who travel and accrue value.\n\nThis paper has taken, as a pivotal strand to its argument, the fact that everyday news coverage of suffering is representative of a Duchampian readymade; it is a mass-produced object. \n\nExisting scholarship of contemporary image culture to date has tended to focus on the theoretical framework of T. J. Demos who posits contemporary art in a documentary context or Julian Stallabrass who highlights the works as making a political statement. Current research has tended to ignore any direct art historical reference. 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This is accentuated when exploring an economy of images of suffering; how the art is produced, consumed and then distributed, it is mirrored within this paper with the developing themes of self-referentiality, geo-political dislocation or globalisation and dissemination. Jaar and Martens both focus on economic disparity, but suffering, rather than being the subject, is something in which the photographers within the works and ultimately the viewers are implicated. In turn it is the photographers who become commodities, who travel and accrue value.\n\nThis paper has taken, as a pivotal strand to its argument, the fact that everyday news coverage of suffering is representative of a Duchampian readymade; it is a mass-produced object. \n\nExisting scholarship of contemporary image culture to date has tended to focus on the theoretical framework of T. J. Demos who posits contemporary art in a documentary context or Julian Stallabrass who highlights the works as making a political statement. Current research has tended to ignore any direct art historical reference. 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Alfredo Jaar, The Sound of Silence and Renzo Martens, Enjoy Poverty, Episode 111 " class="work-thumbnail" src="https://attachments.academia-assets.com/51409179/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30976224/The_economy_of_images_of_poverty_through_a_Duchampian_lens_Alfredo_Jaar_The_Sound_of_Silence_and_Renzo_Martens_Enjoy_Poverty_Episode_111_">The economy of images of poverty, through a ‘Duchampian lens’. Alfredo Jaar, The Sound of Silence and Renzo Martens, Enjoy Poverty, Episode 111 </a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper is a reading of The Sound of Silence by Alfredo Jaar and Enjoy Poverty, Episode 111 by...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper is a reading of The Sound of Silence by Alfredo Jaar and Enjoy Poverty, Episode 111 by Renzo Martens; viewed as a Duchampian gesture.&nbsp; It proposes that the photographers within both works might be viewed as commodities and that the art of Jaar and Martens might consequently be regarded as a readymade. In doing so it seeks to position The Sound of Silence and Enjoy Poverty in an art historical context.<br /><br />Jaar and Martens have been coupled, as they both seemingly present a critique of globalisation. This is accentuated when exploring an economy of images of suffering; how the art is produced, consumed and then distributed, it is mirrored within this paper with the developing themes of self-referentiality, geo-political dislocation or globalisation and dissemination. Jaar and Martens both focus on economic disparity, but suffering, rather than being the subject, is something in which the photographers within the works and ultimately the viewers are implicated. In turn it is the photographers who become commodities, who travel and accrue value.<br /><br />This paper has taken, as a pivotal strand to its argument, the fact that everyday news coverage of suffering is representative of a Duchampian readymade; it is a mass-produced object. <br /><br />Existing scholarship of contemporary image culture to date has tended to focus on the theoretical framework of T. J. Demos who posits contemporary art in a documentary context or Julian Stallabrass who highlights the works as making a political statement.&nbsp; Current research has tended to ignore any direct art historical reference. A critical analysis which couples The Sound of Silence and Enjoy Poverty and brings into play a Duchampian methodology is thus far absent and one this dissertation intends to address. <br /><br />It is hoped that by considering the specifics from abstractions the bigger truth can perhaps be understood, by studying the micro the macro may be brought into focus.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="57759f559ce1feb2897be2764ef4232d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{&quot;attachment_id&quot;:51409179,&quot;asset_id&quot;:30976224,&quot;asset_type&quot;:&quot;Work&quot;,&quot;button_location&quot;:&quot;profile&quot;}" href="https://www.academia.edu/attachments/51409179/download_file?st=MTczMjc3MTg5Niw4LjIyMi4yMDguMTQ2&st=MTczMjc3MTg5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30976224"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30976224"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30976224; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30976224]").text(description); $(".js-view-count[data-work-id=30976224]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30976224; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30976224']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30976224, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "57759f559ce1feb2897be2764ef4232d" } } $('.js-work-strip[data-work-id=30976224]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30976224,"title":"The economy of images of poverty, through a ‘Duchampian lens’. 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Jaar and Martens both focus on economic disparity, but suffering, rather than being the subject, is something in which the photographers within the works and ultimately the viewers are implicated. In turn it is the photographers who become commodities, who travel and accrue value.\n\nThis paper has taken, as a pivotal strand to its argument, the fact that everyday news coverage of suffering is representative of a Duchampian readymade; it is a mass-produced object. \n\nExisting scholarship of contemporary image culture to date has tended to focus on the theoretical framework of T. J. Demos who posits contemporary art in a documentary context or Julian Stallabrass who highlights the works as making a political statement. Current research has tended to ignore any direct art historical reference. A critical analysis which couples The Sound of Silence and Enjoy Poverty and brings into play a Duchampian methodology is thus far absent and one this dissertation intends to address. \n\nIt is hoped that by considering the specifics from abstractions the bigger truth can perhaps be understood, by studying the micro the macro may be brought into focus."},"translated_abstract":"This paper is a reading of The Sound of Silence by Alfredo Jaar and Enjoy Poverty, Episode 111 by Renzo Martens; viewed as a Duchampian gesture. It proposes that the photographers within both works might be viewed as commodities and that the art of Jaar and Martens might consequently be regarded as a readymade. In doing so it seeks to position The Sound of Silence and Enjoy Poverty in an art historical context.\n\nJaar and Martens have been coupled, as they both seemingly present a critique of globalisation. This is accentuated when exploring an economy of images of suffering; how the art is produced, consumed and then distributed, it is mirrored within this paper with the developing themes of self-referentiality, geo-political dislocation or globalisation and dissemination. Jaar and Martens both focus on economic disparity, but suffering, rather than being the subject, is something in which the photographers within the works and ultimately the viewers are implicated. In turn it is the photographers who become commodities, who travel and accrue value.\n\nThis paper has taken, as a pivotal strand to its argument, the fact that everyday news coverage of suffering is representative of a Duchampian readymade; it is a mass-produced object. \n\nExisting scholarship of contemporary image culture to date has tended to focus on the theoretical framework of T. J. Demos who posits contemporary art in a documentary context or Julian Stallabrass who highlights the works as making a political statement. Current research has tended to ignore any direct art historical reference. 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