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  1. Counter-revolutionary art: OBEY and the manufacturing of dissent.Francesco Screti - 2017 - Critical Discourse Studies 14 (4):362-384.
    ABSTRACTIn this paper I critically analyze the work of Shepard Fairey, the street artist better known as OBEY, as a multimodal discourse. After introducing the notion of street art, I analyze Fairey’s aesthetics, inspired in Pop Art and Soviet Constructivism, as well as his accounts on his own art, in order to unveil his ideology. I then discuss a particular case, concerning the pastiche of the Che Guevara’s image. I will show that the seemingly subversive nature of OBEY’s work, is (...)
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  • Pastiche.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed. Oxford University Press. pp. 76-78.
    The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.
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  • Parody.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd Ed. Oxford University Press. pp. 69-72.
    The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a (...)
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