Word: pon
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Dates: during 1990-1999
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Within five minutes of speaking to the curator of the exhibition, Lisa Pon (a Ph.D. candidate in the History of Art and Architecture department), I realized that my ignorance at Prints and Privileges was largely self-induced. If only I had read the short descriptions which accompany each piece attentively, I would have learned so much. If you survey the exhibit as it was intended to be seen, patiently looking at each piece in order and reading all of the corresponding text. If you devote to it the period of approximately 45 minutes which is necessary to grant...
Marcantonio was Lisa Pon's personal point of departure as well: "The idea actually started when I was studying last year for my exams. I was pulling out all of the Marcantonio prints and Marjorie Cohn [Carl A. Weyerhauser Curator of Prints] asked me if I wanted to do a show." Marcantonio was a rather infamous counterfeiter in his time. He is considered the preeminent reproductive engraver, "the first and the best." For Pon the show began as a meditation on Marcantonio's copies of Durer, but evolved because she wanted to put those prints (the ones in the hallway...
...these prints, the printing press had already been around for a long time. The Renaissance itself was a movement founded on looking at predecessors." Marcantonio was in good company. The exhibit showcases a wide variety of types of art copied including religious pictures, maps, texts and chiaroscuoro woodcuts. Pon, in her manner of hanging and through textual supplements, subtly illustrates that, "copying isn't necessarily a bad thing, it was integral to the [Renaissance] visual culture." Here copies exist as veritable pieces of art, not mere imitations...
...idea of copying as it both contributes to and defies art was explored further in the junior tutorial in the History of Art and Architecture department which Pon taught last year. The class was developed in conjunction with this show. Both the lectures which various students from that tutorial will be giving in the upcoming months and the symposium on "The Materiality of Print in Early Modern Europe" will refer to the apparent parallels between these issues of copying during the Renaissance and contemporary artistic concerns...