Jochen Plogsties, Sample with painting marks [After: Van Eyck-Factory (Master of Ince Hall-Madonna), Madonna with child (Ince Hall-Madonna), after 1433, oil on wood, 26,3 x 19,4 cm, Melbourne, National Gallery of Victoria. From: Till-Holger Borchert,
Whether copies were produced due to admiration for an artist or in competition with an older master, whether they were created on behalf of people themselves or others or in the context of a workshop, for educational purposes or out of commercial interests, whether they served as copyright protection or on the contrary: to spread the idea of picture thus involving a change of media or whether they are located on a meta-level of imagery – we will perceive blurred frames over and over again, different categories will interfere with each other or interfuse in a piece of work leading us to the possible observation that works of art are hard to categorise. Thus, it is important here, too, to emphasize right and logic of those works that are not absorbed in one or several categories, the ones that remain resistive whenever we address them with regards to classification and interpretation. Nonetheless, (...) the added value often consists in such a categorical, i.e. conceptual determination of the work in relation to its antecedent work, in its “strategic picture-to-picture relation.” Text: Jochen Plogsties quotes Pia Müller-Tamm in the exhibition catalogue Staatliche Kunsthalle Karlsruhe: Déjà-Vu? Die Kunst der Wiederholung von Dürer bis YouTube, Bielefeld 2012, p.22.