ABSTRACT
José Luis Brea, one of the most prestigious art critics in Spain, was Professor of Aesthetics and Theory of Contemporary Art at the Universidad Carlos III de Madrid and at the Faculty of Fine Arts of Cuenca of the University of Castilla la Mancha. Influenced by Krauss, Owens and the “Octoberists,” Brea offers a panoramic view of the contemporary—essentially American—art world. The classical example—and perhaps its most ambitious realization, taken to the extreme—is Sherrie Levine and her appropriations of artworks, be it photographs or paintings. Hans Haacke is probably the artist who carries this line of work to the extreme, his works ferociously laying bare the mechanisms of art as an institution and their hidden impact on the whole of society. Sherrie Levine’s experiments with inhabiting difference in repetition—in the line of Deleuze in Difference and Repetition —question the notion of authorship and reinforce the awareness that the artistic experience in modern society mostly takes place in the media.
