Abstract
This article aims to re-read the artworks of three New York artists (Jeff Koons, Richard Prince and Alan Belcher) who worked during the eighties through techniques of appropriations from magazine ads. The common thread of the investigation will be the presence of brightness both in its appropriations and the advertising images that served as original source. The first part of the article is dedicated to the importance of materiality and desire in comercial photography, as well as its associations with the semiotics of luxury. The second part is concerned with the shine as a concept in relation to other ideas related to cultural and social factors such as higiene and purity, taking both its negative (pathologized) and positive (fetishized) aspects. The final part focuses on approaching the main attributes that caracterize the postmodern superficiality of commodities and works of art, which in this case are reduced to three: the reflection, the uncanny and the flatness. El presente artículo tiene como objetivo realizar una relectura de la obra de tres artistas neoyorquinos (Jeff Koons, Richard Prince y Alan Belcher) que trabajaron durante los ochenta a través de apropiaciones de anuncios en revistas. El hilo conductor de la investigación será la presencia del brillo tanto en sus imágenes apropiadas como en las publicitarias que sirvieron de fuente originaria. Una primera parte del artículo está dedicada a la importancia de la materialidad y el deseo en la fotografía comercial, así como sus asociaciones con la semiótica del lujo. Una segunda parte se ocupa de poner el brillo en relación con otras ideas atravesadas por factores culturales y sociales como la higiene y la pureza, tomando sus aspectos tanto negativos (patologizados) como positivos (fetichizados). Una última parte se centra en aproximarse a los principales atributos que caracterizan la superficialidad postmoderna de los bienes de consumo y las obras de arte, que en este caso se reducen a tres: el reflejo, lo siniestro y la planitud.
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