How amazing it is to see artists getting the same ideas and inspiring each other.
Plagiarism is spoken of sometimes in the art world if one and other makes similar things. Most of the times this is not plagiarism; Different artists can even carry out the same idea without knowing about each other’s ideas. Consciously or unconsciously artists take over ideas which they store in their memory. Whoever gets along with it, it is not a contest in which one was the first who got the idea. Artists learn from each other, they look at each other. The next idea always has a source, an earlier idea.
On the left: Giuseppe Licari, Sky in a room, 2007, Gallery Hommes, Rotterdam
The tree has been cut in pieces, archived, burned and rebuilt inside the exhibition space.
Thanks to Jannie Hommes.
On the right: Ai Weiwei, Tree, 2010. Reconstructed with bolts and nuts. Fondation Louis Vuitton Paris 2016.
On the left: Herbert Nouwens (1954) Spiegel at Van Voordenpark Zaltbommel since 1999.
On the right: Bernar Venet (1941) Trois Lignes Indeterminees, 1995 at Frieder Burda Museum Baden-Baden, Germany 2019.
On the left: Martial Raysse (1936) High Voltage Painting, 1965, Mixed media and neon light at Stedelijk Museum Amsterdam 2016.
In the middle: Liliane Vertessen (1952), MM Lola, Mixed media with neon gas tube 1983, at MHK Antwerp 2016.
On the right: Billy Apple (1935), Relation of Aesthetic Choice to Life Activity of the Subject, Lithograph with neon gas tube 1961, at Tate Liverpool 2018.
Above: Robert Zandvliet, Moon Night, 2009, Tempera on linen. Museum Voorlinden, Wassenaar
Below: George Hendrik Breitner, Moonlight, ±1888, Oil on canvas, Musée d’Orsay, Paris
Copied by Zandvliet in a way that is familiar to him, with a paint roller.
He is allowed to do this, the copyright has expired.
In 1964 Jan Cremer wrote his book I Jan Cremer. With on the cover the black and white print of the man and his motorcycle. His exhibition was in 2015 at Museum de Fundatie Zwolle.
In 2018 there was an exhibition Men and Masculinity at the Louisiana Museum in Denmark featuring Andy Warhol silk screen prints picturing Four Marlons (Brando) from 1966.
Copying is from all times, top left: Mona Lisa by Leonardo da Vinci from the early 16th century in the Louvre in Paris. The Mona Lisa often is copied.
Top right: the Mona Lisa of the Prado is a copy from the same period.
Bottom left: L.H.O.O.Q. by Marcel Duchamp. Conceived in 1919 and designated as a rectified ready-made.
Bottom right: George and Mona in the Baths of Cologne (detail) is a ceramic work by Robert Arneson from 1976. It was shown at Ceramix at Bonnefanten Museum Maastricht in 2015.
On the left: The famous artist from New York Roni Horn showed at Caixa forum in Madrid in 2015 water photos, actually lithographs, of the River Thames in 1999.
On the right: In 2017 there was an exhibition of another famous American, the legend Peter Hujar in the The Hague Museum of Photography. Displaying, amongst other photos, the Hudson River in 1976.
On the left: Donald Judd, Untitled, 1980, Tate Modern London 2015:
“(…) from his series of so-called ‘stacks’ mostly consists of ten single units hung one above the other on a wall in a strict geometric order. The intervening space is identical to the size of the units, thus creating alternating but equal volumes of mass and space (…)”
In the middle: Jose Dávila, No title, 2010, Museum Voorlinden, Wassenaar 2016.
“Jose Dávila was six years old when Judd made the series he now responds to. Dávila would (…) question the value and the process of making Judd’s artwork (…)” by using cardboard boxes. On the right: Dávila repeated himself, now with open boxes and gold leaf at Art Basel 2019.
At the right: Jeff Koons, Fait d’hiver, 1989
We know that Jeff Koons has been accused of plagiarism several times. Even though this is three dimensional and in color, this sculpture was removed from his retrospective at Centre Pompidou, Paris 2015.
At the left: Franck Davidovici, Fait d’hiver, 1985 Naf Naf advertising in 100 Idees magazine.
I made the same image to question Koons plagiarism (http://www.jorisbeton.nl/Home/Page/302). 2015 The pig became older.
On the left: Robert Dixon, True Daisy, 1991
A complex design of spiralling spots within a circle.
On the right: Damien Hirst, Valium, 2000 print (250 ex.) Saatchi Gallery London 2015.
Hirst often is accused of plagiarism. Click here to see: http://www.stuckism.com/Hirst/StoleArt.html. And here: https://www.dailymail.co.uk/news/article-461130/So-Mr-Hirst.html.
And here; in May 2018 in The Times Magazine Hirst has finally confessed. After years of plagiarism claims from contemporaries, the multimillionaire artist has admitted that all his ideas are stolen (https://www.thetimes.co.uk/article/damien-hirst-on-plagiarism-i-spot-good-ideas-and-steal-them-dk26fnwch).
On the left: Charlotte Posenenske, Diagonal Folding, 1966/1989, Collection Ludwig Museum Coulogne.
On the right: Marthe Wéry, Triptique, 1977/1985 at BPS22 Charleroi in 2017.
Her works show the same effect of folding and she experimented with this the same period as Posenenske.
On the left: A rhombus slowly turning around its center by Anselm Reyle. He showed this huge metal mobile in 2017 at König Galerie in Berlin. Much earlier, in 1973 Tomitaro Nachi made this aluminium mobile (on the right). A similar rhombus that repeats itself from the middle, slowly turning around its center. it is being shown in the Hamburger Kunsthalle in 2018.
On the left: This wall painting by Ian Davenport was spotted in 2015 in London behind Tate Modern under a bridge. His work, in which he makes vertical stripes by means of gravity, can also be seen in Museum Voorlinden Wassenaar.
On the right: Gerhard Richter, one of his many striped paintings at his retrospective at S.M.A.K Ghent in 2017.
On the left: A hall in K21 in Düsseldorf full of thickly painted panels, high gloss. To see the format it must be interior doors, but without handles. The installation from 1980 is called the key work of Imi Knoebel because with this abstract minimalism he ignored conventional painting.
The work of Imi is reminiscent of the lacquered panels by Esther Tielemans. We could see her works in various Dutch museums; as in Stedelijk Schiedam and here in 2016 at museum Voorlinden, Wassenaar (on the right). Tielemans was 4 years old when Knoebel made his work.
Top: Also located at K21 in 2018 in Düsseldorf, Hans-Peter Feldmann showed a number of landscape paintings opposite each other at different heights, but in such a way that the horizons form a straight line.
Second: This is a well-known idea by Ger van Elk in 1999.
Third: In 2016 Daan Roosengaarde was discredited because he also implemented the idea. But Daan put a spot on it and only used seascapes.
Bottom left side: A more similar idea is from Leo Fitzmaurice, he won the Northern Art Prize with a similar work as if from Van Elk in 2011.
Bottom right side: Jan Dibbets went a step further and placed photos, his own photographs, with the horizons in line, earlier.
The glass sculpture left by Tony Cragg was shown in the museum Mudam Luxembourg in 2017. In the same year Bernard Heesen made these glass ‘Fat cells‘ (R) and put this photo on his Facebook page (https://www.facebook.com/profile.php?id=100008342404313). Bernhard and Tony probably know each other, they are both connected to the National Glass Museum in Leerdam but this similarity is not intentional. There probably is an unconscious reason or the same source of inspiration for them to make these forms.
Top: In Museum De Fundatie Zwolle in 2015 monumental works were shown by Dutch painter Tjalf Sparnaay. He is known from his blown up hyper realistic paintings and he enlarged a burger in 2004 and a fried egg in 2008.
Bottom: the Italian Marcello Barenghi uploaded a video in 2015 where he is drawing a burger (https://www.youtube.com/watch?v=lY2Q3hLxKxs). He also drew a fried egg in 2016.
Comparisons are made not only between celebrated artists whose work is frequently seen in museums but also with relatively lesser known artists. The question is: Why are museums now and then showing weak pieces of their darling celebrities instead of masterpieces by equal but lesser known artists? So, this statement is not about plagiarism or about a contest but more about art policy in common.
After seeing Christopher Wool in Berlin (left without hat), in Zaltbommel at Kees van de Wal’s studio hung a similar work (right). The statement became visible; about the millions of artists of which there are a lot of fantastic work and the relatively few names in the museums. Nobody can tell you that a lesser piece by Christopher Wool is still better than a well done piece by Kees van de Wal. Nevertheless, the works are disproportionately received and appreciated.
On the left: Christopher Wool, No title, 2007, enamel on linen, 243.8 x 198.1 cm., Collection Ludwig Museum, Cologne.
On the right: Kees van de Wal, No title, 2017, acrylic on paper, 162 x 122 cm.
On the left: Ellsworth Kelly, Blue Ripe, 1969, oilpaint on canvas, 152,5 x 152,5 cm.
At Opening exhibition museum Voorlinden 2016.
On the right: Kees van de Wal, No Title #385, 2017, acrylic on canvas 30 x 24 cm.
Top: many museums, especially in the Netherlands, but also abroad, have portraits of Marlene Dumas. Three of about one hundred portaits here at Van Abbemuseum in 2015.
Bottom: Three of the 96 drawings that Jop Horst (1961-2014) made in early 2005, published in a booklet in 2010 by gallery Lans Uylen Hengelo. Painted like Dumas almost indifferent.
On the right: a year after Jop died, there was this opening of an exhibition by Bertrand Lamarche at the back of the Centre Pompidou in Paris: Installations, phonograms, light effects and more art with a plug (photo at Art Brussels). This could be installations of Jop Horst. Here, on the left, at Rijksmuseum Twente 2013.
On the left: when Jop Horst and I visited the ShadowDance exhibition in KadE art hall in Amersfoort 2010, we saw an installation with moving objects, the Carrousel of the French Serge Onnen. It was almost the same installation as Jop made in 1982. Jop used stringed instruments, drums and all kinds of different stuff that lay scattered around a turntable whith a stick with a pencil hovered around on a string and touched everything.
On the right: Hans-Peter Feldman in 2018 at K21 Düsseldorf.
Left: Brussels Museum of Fine Arts, Belgium, 2017: The Spaniard Angel Vergara showed five light boxes. Large LED screens that show moving images. Layered, abstract and colorful. It is paint on a glass plate that is blurred and you can see the blurred background through. There brightly lit skin of moving people.
Right: Super-8 movie by Jop Horst, 1983. Jop himself is the vague person in the background who applies transparent paint on a glass plate and wipes it away again.
Top: a good example of Jop Horst as predecessor is his film from 1983 in which he keeps switching the light on and off. The film then becomes dark and a little later the light comes on again.
Bottom: in 2001, almost twenty years later, in Tate Britain the British Martin Creed won the prestigious Turner Prize with the idea of turning the lights on and off.
Left: Gerhard Richter, one of his many stripes paintings at his retrospective at S.M.A.K Ghent in 2017. Right: Ad Arma’s latest series Travel Mirrors are excellent paintings. In many nights Ad Arma has set up these paintings line by line, with the support of his favorite (jazz) music. In horizontal strokes of pure oil paint on canvas.
Difference is that the paint Ad Arma uses is oil paint, very thick, build up with brushes and palette knives (left).
Right: the pure paint is also used by Volker Hildebrandt, as dots. Here in the Rob Scholte Museum in 2017, Den Helder.
On the left: Ad Arma is multi talented. In this exhibition in Ingen 2017 he combined his paintings with very special glass sculptures.
Middle: glass sculpture at Contemporary Art Centre Wiels in 2017, Brussels.
On the right: Jan Fisar, Glass, exhibition in 2018 at Kunstpalast Düsseldorf.
On the left: Ad Arma, Vehicle, 2004
The signature of Ad Arma has similarities with The Welded (on the right, 2015) from one of the most influential dutch artists Joep van Lieshout. You can find Van Lieshout’s works in a lot of museums in the Netherlands and abroad.
For the monument in Vlissingen, Men Between Steel, that I was allowed to make, The Welded was the other nomination (http://www.jorisbeton.nl/Home/Page/422).
Everywhere in the world where André Smits shows up to photograph artists in their studios he paints his home-tattoos. More on his Artist in the World website: Klick here (https://www.artistintheworld.com/).
Top: Keith Haring painted a container in his familiar way, here it is moved from Verbeke Foundation Belgium.
Bottom: May 2017: André Smits from Artist in the World came over and we painted the Museum Container in his familiar way. Not with artist names but with the names of the European museums.On the left: In the Dutch village Hoek André painted a whole house with the artist names.
The Hoek house is demolished and the fragments are brought to the Verbeke Foundation in Belgium. André Smits is not the only one who is doodling whole interiors. On the right: the Belgian Joke Neyrinck. Her stop-motion video in which she is doodling her bathroom in 2017 went viral (https://jook.be/).
Direct from the Monika Dahlberg Facebook page (https://www.facebook.com/Absolutely.Monika.Dahlberg): Keith Haring Grace Jones (Left) & André Smits Monika Dahlberg (Right).
Robert Mapplethorpes picture of Grace Jones painted by Keith Haring was commissioned by Andy Warhol for Interview magazine 1984.
Monika Dahlberg is painted by André Smits in 2017.
More drawings. Left: In 2018 there was this perspective drawing from 1976 by Thomas Bayrle at MMK Frankfurt am Main. A city as a typewriter.
Right: In 2015 at Extrapool Nijmegen Marissa Evers drew this complicated perspective of a city.
On the left: paintings by Annemarie Busschers in Museum MORE Gorssel in 2015: hyper-realistic, monumental portraits.
On the right: Harm Rutten from his Facebook profile photo. He also has the patience and knows how to draw realistically.
Also very realistic.
Left: Dimitris Tzamouranis (1967), 36º 45’N-021º56’E, 2015, documenta XIV Kassel at the Fridericiaunum in 2017. Oil on canvas.
Right: Ramsay Gibb (1965) Upcoming tide, 2016, oil on canvas. Instagram: Ramsay Gibb.
If it comes to water; left: in Amsterdam at the Kunstrai in 2016 there were nice big pictures of water surfaces by Lenny Oosterwijk. This photo (with Shirin in the foreground) has a metallic glow.
Right: Someone who has also made his specialty of water photographs is Gerrit van Meurs. His Waterworks are pure. No photo shop, no distracting topics. You may compare his photos with the Horn or Hujar museum pieces.
On the left: Ab van Hanegem at Galerie Gilla Lörcher Berlin in 2017. The powerful work reminds at the spatual strokes of Karl Otto Götz. Here on the right in 2018 at Kunstpalast Düsseldorf his work from 1975.
The colourful works of Van Hanegem also have similarities with the paintings of Katharina Grosse, here at König Galerie (L) and the Swiss Christine Streuli (R) who won the Fred Thieler prize for painting at the Berlinische Galerie both in 2017 in Berlin.
An artist looks at his example. During a Mondrian Fund network meeting at Expoplu, Nijmegen, Marloes Meijburg presents her plans for her grant request (on the left). As artist in resident she will stay in Chile and Finland and make studies of the natural pigments you can find there. Herman de vries is her great example. Located in the Netherlands (on the right) his work at Museum Van Bommel Van Dam in 2015.
On the left: César Baldaccini, Compressed car bodies, 1989 at Musée d’Art Moderne de la Ville de Paris in 2015.
On the right: John Chamberlain, N.t., 1963. Merged and welded car body parts at MMK Museum für Moderne Kunst, Frankfurt am Main in 2018.
Left: Arman, White Orchid, 1963 Blasted sports car at MMK Museum für Moderne Kunst Frankfurt am Main in 2018.
Right: Frank Borst, Christine, from Mostar, 1996, a Fiat 600 from Bosnia war zone, at Rob Scholte Museum, 2017.
On the left: Anselm Kiefer, Jason, 1989, lead, glass, tooth bone, wood, plastic and snakeskin. Refers to the Greek myth of the king’s son Jason. Louisiana Museum Denmark, 2018.
On the right: Frank Borst, Paradise Bird, 2001. The interior of the plane consist of electric elements as pinball-machine parts and colored lights at Rob Scholte Museum, 2017.
On the left: Leon Adriaans (1944-2004), N.t. Oil on plywood at Museum Belvédère Heerenveen in 2015.
On the right: Rob Scholte, Cars, 1980, at Rob Scholtemuseum, 2017.
Suggestive three dimensional objects of metal wire.
On the left: Haris Epaminonda, Untitled, 2014 (two dimensional). Museum Voorlinden Wassenaar, 2016.
On the right: Coen Vernooij, a wall in his studio, Nijmegen 2015, the objects change when you change your viewpoint.
This is far from the same, although the effect is similar to arrange a group of the same elements in one form. On the left: Well known is Richard Long, here with Flint Line from 2012 at C.A.B in Brussels in 2017.
On the Right: Kcho’s Regatta, 1974 at Ludwig museum Cologne in 2018.
On the left: Marlow Moss, White and Yellow, 1935, at Tate, St. Ives, 2018
On the right: Piet Mondriaan, Composition with Yellow, Blue and Red, ca.1937-39 at Tate, St. Ives, 2018.
At the left; Hundreds of Christians protested outside the Haifa Museum of Art in Israel in January 2019 against Jani Leinonen’s Mc Jesus, 2015.
At the right; Jake & Dinos Chapman, The Sum of All Evil, 2013 (detail) at Aros Museum, Aarhus, Denmark in 2018.
On the left: Marcel Duchamp, Roue de Bicyclette, 1913. Replica at Museum Ludwig Cologne, 2018
In the middle: Gabriel Orozco, Four Bicycles, 1994 at Tate Modern, London.
On the right: Al Weiwei, Forever, 2003 at De Pont, Tilburg.
On the left: Giuseppe Penone (1942) Bifurcation, bronze casted tree 1987-1992 at Fondation Cartier Paris 2015.
On the right: Fernando Sánchez Castillo (1970), bronze casted tree; Walraven van Hall Monument at Frederiks Square Amsterdam. Made and unveiled in 2010.
Photo by Michael Ricketts, 2018.
On the left: Ellen Gallagher (1965), DeLuxe, 2005, one of 60 works on paper based on magazines at Tate Liverpool 2018.
On the right: Monika Dahlberg (1975), one of her works on paper based on magazines and catalogues 2018, private collection.
See also One minute collages: https://www.instagram.com/explore/tags/oneminutecollage/.
On the left: Jean Michel Basquiat, Irony of Negro Policeman, 1981, printed on skateboards at Fondation Beyeler, Riehen, Switzerland, 2019.
On the right: Agus Suroso Niart, The End of the Year Trumpet Doreamon trickery, acrylic on canvas, 3 x 2 meters on Facebook, 2018. Both artists use texts and graffiti referring to social political issues.
On the left: Joseph Semah (1948) Measurement in Time, 1983, at Facebook 2019.
On the right: Mark Manders (1968) made Fox, Mouse, Belt, nine years later in 1992. Published in ‘Freedom; Fifty Key Dutch Artworks since 1968‘ by Hans den Hartog Jager 2019.
On the left: Asger Carlsen, Alex Prager, 2012 detail.
In the middle: Alex Garant on Instagram 2014 (http://nymag.com/health/self-help/2013/schulz-self-searching/index.html).
On the right: Victor Man, Lermontov dansant comme Saint-Sébastien, 2014, oil on canvas, S.M.A.K. Museum Gent, 2017.
Sometimes it’s just bad copying:
On the left the original Heidi von Faber 2017.
On the right: Jacqueline van de Aast-Woudstra shameless plagiarism on Facebook January 2019.
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