Appropriation Art. On what we might call fordamnative appropriations

Detalhes bibliográficos
Autor(a) principal: Matos Trindade, Carlos Alberto
Data de Publicação: 2023
Tipo de documento: Artigo
Idioma: por
eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
DOI: 10.37334/eras.v14i2.291
Texto Completo: https://doi.org/10.37334/eras.v14i2.291
Resumo: In a 1992 essay, Benjamin Buchloh considered Robert Rauschenberg's famous Erased De Kooning Drawing (1953) to be the first inaugurating gesture and emblem of the postmodern appropriationist act. For our part, we believe that his gesture should be distinguished from current appropriationist practices, and in this article we propose the concept of fordamnative appropriation to classify it, as well as other subsequent gestures by other artists who can invoke his example, and which we analyse below. Before this analysis, we will introduce the emergence and development of Appropriation Art, which arose in the context of what is known as postmodernism, as well as mentioning some of the historical antecedents of this artistic practice; in addition, in order to contextualise the concept we have introduced and the analysis that follows, we address the origins and use of the Latin phrase damnatio memoriae, from ancient Roman civilisation to modern and contemporary politics.  
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spelling Appropriation Art. On what we might call fordamnative appropriationsAPPROPRIATION ART. A PROPÓSITO DO QUE PODEREMOS DESIGNAR COMO APROPRIAÇÕES PARADAMNATIVASApropriação; Appropriation Art; Apropriação paradamnativa; Damnatio memoriae.In a 1992 essay, Benjamin Buchloh considered Robert Rauschenberg's famous Erased De Kooning Drawing (1953) to be the first inaugurating gesture and emblem of the postmodern appropriationist act. For our part, we believe that his gesture should be distinguished from current appropriationist practices, and in this article we propose the concept of fordamnative appropriation to classify it, as well as other subsequent gestures by other artists who can invoke his example, and which we analyse below. Before this analysis, we will introduce the emergence and development of Appropriation Art, which arose in the context of what is known as postmodernism, as well as mentioning some of the historical antecedents of this artistic practice; in addition, in order to contextualise the concept we have introduced and the analysis that follows, we address the origins and use of the Latin phrase damnatio memoriae, from ancient Roman civilisation to modern and contemporary politics.  Num ensaio de 1992 Benjamin Buchloh considerou o famoso Erased De Kooning Drawing (1953) de Robert Rauschenberg como o primeiro gesto inaugurador, e emblema, do acto apropriacionista pós-moderno. Pela nossa parte, entendemos que o seu gesto deve ser distinguido das práticas apropriacionistas correntes, e propomos neste artigo o conceito de apropriação paradamnativa para classificá-lo, assim como a outros gestos posteriores, de outros artistas, que podem invocar o seu exemplo, e que analisamos no seguimento. Antes dessa análise, fazemos uma introdução ao aparecimento e desenvolvimento da Appropriation Art, surgida no con­texto do denominado pós-modernismo, além de invocarmos alguns antecedentes históricos desta prática artística; ainda, por necessidade de contextualizar o conceito que introduzimos, e a análise sequente, abordamos as origens e o emprego da locução latina damnatio memoriae, desde a antiga civilização romana até às políticas modernas e contemporâneas.MUNDIS2023-06-30info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfapplication/pdfhttps://doi.org/10.37334/eras.v14i2.291https://doi.org/10.37334/eras.v14i2.291ERAS | European Review of Artistic Studies; Vol. 14 N.º 2 (2023): 53.ª Edição | ERAS; 105-137ERAS | European Review of Artistic Studies; Vol. 14 No. 2 (2023): 53.ª Edição | ERAS; 105-1371647-35582184-2116reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporenghttps://eras.mundis.pt/index.php/eras/article/view/291https://eras.mundis.pt/index.php/eras/article/view/291/265https://eras.mundis.pt/index.php/eras/article/view/291/266Direitos de Autor (c) 2023 ERAS | European Review of Artistic Studiesinfo:eu-repo/semantics/openAccessMatos Trindade, Carlos Alberto2023-10-13T12:45:21Zoai:ojs2.eras.mundis.pt:article/291Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T20:33:30.202946Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Appropriation Art. On what we might call fordamnative appropriations
APPROPRIATION ART. A PROPÓSITO DO QUE PODEREMOS DESIGNAR COMO APROPRIAÇÕES PARADAMNATIVAS
title Appropriation Art. On what we might call fordamnative appropriations
spellingShingle Appropriation Art. On what we might call fordamnative appropriations
Appropriation Art. On what we might call fordamnative appropriations
Matos Trindade, Carlos Alberto
Apropriação; Appropriation Art; Apropriação paradamnativa; Damnatio memoriae.
Matos Trindade, Carlos Alberto
Apropriação; Appropriation Art; Apropriação paradamnativa; Damnatio memoriae.
title_short Appropriation Art. On what we might call fordamnative appropriations
title_full Appropriation Art. On what we might call fordamnative appropriations
title_fullStr Appropriation Art. On what we might call fordamnative appropriations
Appropriation Art. On what we might call fordamnative appropriations
title_full_unstemmed Appropriation Art. On what we might call fordamnative appropriations
Appropriation Art. On what we might call fordamnative appropriations
title_sort Appropriation Art. On what we might call fordamnative appropriations
author Matos Trindade, Carlos Alberto
author_facet Matos Trindade, Carlos Alberto
Matos Trindade, Carlos Alberto
author_role author
dc.contributor.author.fl_str_mv Matos Trindade, Carlos Alberto
dc.subject.por.fl_str_mv Apropriação; Appropriation Art; Apropriação paradamnativa; Damnatio memoriae.
topic Apropriação; Appropriation Art; Apropriação paradamnativa; Damnatio memoriae.
description In a 1992 essay, Benjamin Buchloh considered Robert Rauschenberg's famous Erased De Kooning Drawing (1953) to be the first inaugurating gesture and emblem of the postmodern appropriationist act. For our part, we believe that his gesture should be distinguished from current appropriationist practices, and in this article we propose the concept of fordamnative appropriation to classify it, as well as other subsequent gestures by other artists who can invoke his example, and which we analyse below. Before this analysis, we will introduce the emergence and development of Appropriation Art, which arose in the context of what is known as postmodernism, as well as mentioning some of the historical antecedents of this artistic practice; in addition, in order to contextualise the concept we have introduced and the analysis that follows, we address the origins and use of the Latin phrase damnatio memoriae, from ancient Roman civilisation to modern and contemporary politics.  
publishDate 2023
dc.date.none.fl_str_mv 2023-06-30
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dc.identifier.uri.fl_str_mv https://doi.org/10.37334/eras.v14i2.291
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dc.relation.none.fl_str_mv https://eras.mundis.pt/index.php/eras/article/view/291
https://eras.mundis.pt/index.php/eras/article/view/291/265
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dc.rights.driver.fl_str_mv Direitos de Autor (c) 2023 ERAS | European Review of Artistic Studies
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rights_invalid_str_mv Direitos de Autor (c) 2023 ERAS | European Review of Artistic Studies
eu_rights_str_mv openAccess
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dc.source.none.fl_str_mv ERAS | European Review of Artistic Studies; Vol. 14 N.º 2 (2023): 53.ª Edição | ERAS; 105-137
ERAS | European Review of Artistic Studies; Vol. 14 No. 2 (2023): 53.ª Edição | ERAS; 105-137
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