In Andrea Fraser’s Untitled (de Kooning/Raphael) #2, The Seated Madonna and De Kooning’s expressionistic figure synthesise to become almost indistinguishable; the brutal modern abstraction making the cherubic icon appear charred and battle worn. Presented as a second generation photographic image, Fraser’s Untitled loses the painterly detail of the original masterpieces, transforming the aura of artistic integrity to the mechanised and fetishistic language of media. Through her act of appropriation, Fraser explores the exclusive nature artistic lineage, writing herself into the legacy whilst simultaneously critiquing its historical bias.

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