Name: SABRINA VIEIRA LITTIG
Publication date: 28/05/2015
Examining board:
Name |
Role |
|---|---|
| RICARDO MAURICIO GONZAGA | Internal Examiner * |
Summary: In this dissertation we discussed the movements around the appropriation issue evidencing the displacement of the ordinary object into the art field in three paradigmatic movements: Dadaism, Surrealism and the New Realism and its developments in contemporary art in the sense of cultural legacy. Allowed ourselves move in by other aspects of the processes of appropriation in New York and European art following the proposals of art with objects. We investigate the processes involved in of the dispute ready-made, executed by Marcel Duchamp since 1913, in order to start the historical course of events WHERE the objet trouvé, the collage, the assembly occurs. Our objective is to answer the question with which the philosopher Arthur C. Danto starts his philosophical investigations about appropriations and conditions which make an ordinary object a work of art. To this end we seek the theories of Abraham Moles and Jean Baudrillard about the industrialized object and Roland Barthes with the metalinguistic questions of its function sign. To discuss relations art with objects we used the texts of Peter Bürger, André Breton, Pierre Restany, Gregory Battcock, Walter Benjamin, Hal Foster and others. We emphasize some works, showing the box object, treated as a utility shaped and defined purpose, reaffirming itself as an object of consumption, on the discourse of Gaston Bachelard. The research aims to analyze the radical changes of the traditional structures of art and speculate about the gesture of appropriation of objects, with some reflections directed on the object and the transgressive discourse of the appropriation experience as tense and power.
