//   Digital Art:
      Introductory production of photo-montage/collage, video montage, and sound art.
//   Experimental Film/Video
      Production of experimental film/video with emphasis on appropriation.
//   Art Theory Seminar
      Upper division reading of seminal theoretical texts with emphasis on psychoanalysis and post-structuralism.
//   Art Criticism
      Study of 20th + 21st century art criticism and the craft of writing art criticism about contemporary art.
//   The Art + Politics of Détournement
      Study and production of appropriation art in the context of Situationist practices.

D I G I T A L   A R T   G A L L E R Y     


Ranging from photomontage to digital coding art, this showcase of student work from Saint Mary's College of California presents 2d artwork created in the spirit of détournement : Based in research and experimentation, the artists aim to interrogate and re-route the meaning of existing cultural materials in critical and utopic directions.  



Monet After Banksy
2945 x 4500 px
Sierra Nguyen

The vandalized and subsequently restored €10-million painting, Argenteuil Basin with a Single Sailboat, by Claude Monet is here reimagined by transplanting an element from Banksy’s Israeli West Bank Barrier series. Monet After Banksy pointedly extracts the massive hole depicting a view onto paradise from the street artist's original mural adorning the Palestine side of the wall.


1178 x 1800 px
Owen Bedford

An homage to Richard Prince's Untitled (Cowboy) (1991-92), this work "data-bends" Prince's appropriated image in order to underscore the linkage between transmission, repetition, and invention.


4567 x 3000  px
Parisa Broomand

Shirin Neshat’s celebrated artwork, Rebellious Silence, is reconsidered with the superimposition of an image of the 1979 revolution.


The Untouched
3450 x 3000 px
Mengyu Guo

This digitally altered photograph of the 1969 Apollo 11 moon landing points to the manipulability of the digital image while minimizing the recontextualization of its contents.


Blessed Art Thou Among Women
10398 x 7620  px
Mia Maramba

René Magritte’s A Friend of Order (1964) undergirds this feminist-inspired re-envisioning of the maternal dyad depicted in Raphael’s Small Cowper Madonna (1505) .


Trope of Topology
1140  x 1754  px
Griffin Shaw

The memory of Tiananmen Square is framed with a collision between three-dimensional depth and two-dimensional flatness in the image.


1199 x 863 px
Raven Romska

Defilement reimagines the historical status of feminine power in Judith with the Head of Holofernes (1530) by Lucas Cranach the Elder by meticulously substituting a snake in the place of the sword in the original painting.



2400 × 1500 px
Alan Urbina

A group of migrant laborers is erased from a field in a photograph of the U.S./Mexican border taken during the 2016 U.S. presidential election.


2185 × 1000 px
Alexis Heyman

A détournement of a Caribbean cruise liner advertisement published during the aftermath of the 2010 Haitian earthquake.


Do Not Fetishize These Images
720 × 864 px
720 × 864 px
Kaitlin Hester

Two abstractions based on press photographs of tragedy.

Son of Man
3338 × 3000 px
Jessica Boynton

The 1893 Chicago Ferris wheel is placed atop a photograph of Dr. H. H. Holmes (c. 1861–1896) – a.k.a. “Jack the Ripper” or "Beast of Chicago" – in a combined allusion to Rene Magritte’s Son of Man and the aesthetic of John Stezaker.


Golden Calf
1630 × 2400 px
Nikolas Barth, OFM Cap.

Using Warhol’s Gold Marilyn Monroe (1962) as a jumping off point, Golden Calf relates the work of art and the fundamental inaccessibility of death. The image of Marilyn Monroe in Warhol's artwork is here replaced with a detail from Kevin Carter’s chilling 1993 photograph depicting a vulture awaiting the death of a starving child. 



Grey Lines with Black Blue and Yellow
7129 × 8800 px
Olivia Rooney

The iconic hand gesture of a U.S. political figure is positioned in front of Georgia O'Keeffe's Grey Lines with Black Blue and Yellow (1923). 


7129 × 8800 px
Anna Sarpa

The elegant figure of Audrey Hepburn is presented smoking a stogie made from an amputated male finger.


2000 × 1458 px
Rebecca Harris

The U.S. currency seal, which takes its authority from an ancient reference, is here given the eye of Magritte’s non-recriprocal False Mirror.

Outside the Box
1000 × 666 px
Chanel Farago

A “homeless” man turns his attention to an unseen object (hors champ).


1280 × 960 px
Koby Aliphios

A troubling portrait of social justice in the USA.


2000 × 1266 px
Caroline Fogel

The figure of protester Ieshia Evans is erased from her poised confrontation with police at a demonstration after the killing of Alton Sterling by Baton Rouge police. 


The Shot That Echoes Still
2400 × 2400 px
Briana Swain

Dyslexia and blackness converge in the encoding of a language. An image is partially re-encoded using texts on dyslexia, on dyslexia in prison, and on women's bodily choices. 


The Object of Presence

2400 × 3129 px
Filippo Zattarin

With a sympathetic irony, The Object of Presence reinterprets Magritte’s original sentiment:  “Interest in what is hidden and what the visual does not show can take the form of a quite intense feeling, a sort of conflict.”



2976  × 1969 px
Megan Wikholm

John Trumbull's 1817 depiction of the signing of the first draft of the Declaration of Independence suddenly begins to reflect the political division in the room when the digital file of the painting is hacked with the text of the Declaration itself. 


One Yellow Pole
1100 × 711 px
Christina Blessent

An iconic image of the Auschwitz gate is détourned by an intervention into its raw data. 


The Image of the Environment
3591 × 2400 px
Meaghan Yeakley

Amazon’s $3.7 billion new headquarters in Seattle houses 40,000 plants made up of 400 species collected from the rainforests of the world. The Image of the Environment delicately positions a photograph of the new Amazon facility within an image of the deforested landscape of the Amazon rainforest.