|Keywords:||post-photography; post-Internet Art; online images; photography; appropriation; iconology; Internet; digital photography|
|Full text PDF:||http://hdl.handle.net/1887/32766|
This thesis considers the manners photographic images act and function online, and the processes that govern them through analyses of the artworks of four Post-Internet appropriation artists. Chapter 1 describes the online functions of the photographic images that were appropriated in the work of the discussed artists. Through exploration of the characteristics of the digital photographic image, as well as the online functions of the images appropriated in the discussed works, the state of the photographic image in the post-photographic era is described. Chapter 2 goes into the practice of the four discussed artists, in order to consider the manners they have altered and formed the photographic content after the appropriation of these images. This postproduction practice has been inherently informed by online paradigms, which can then also be seen in the ways content is shaped in the artworks. Chapter 3 will discuss these artworks from the point of the post-Internet condition the artists are referring to. By connecting the findings of the first two chapters, it will be possible to consider how these images are positioned and what these artists are aiming to convey in doing so.