Susana de Castro

O fim da estética: dadaísmo e arte pop

Introduction

O fim da estética: dadaísmo e arte pop. Explore o fim da estética com Dadaísmo e Arte Pop. Descubra como esses movimentos revolucionaram a arte, aproximando-a do gosto popular e objetos comuns. Análise de Andy Warhol.

Abstract

Resumo:Qual a relação entre arte e gosto popular? A obra de Danto nos mostra como a arte pop revolucionou a arte ao aproximar o objeto de arte dos objetos comuns. Neste trabalho são feitas as relações entre o dadaísmo e a arte pop mostrando-se as principais características dos dois movimentos.Palavras-chave: arte pop. Andy Warhol. readymades.Abstract:What is the relationship between art and popular taste? Danto's work shows us how pop art revolutionized the art when approached the art objects to the common objects. This work make relations between Dadaism and pop art, making clear the main features of the two movements.Keywords: pop art. Andy Warhol. readymades.

Review

This paper, titled "O fim da estética: dadaísmo e arte pop," proposes to explore the intricate relationship between art and popular taste, a central concern in contemporary art theory. Drawing upon Danto's influential framework, the abstract indicates an intention to demonstrate how Pop Art significantly revolutionized the art world by dissolving the traditional boundaries between art objects and common objects. The study further aims to establish connections and highlight shared characteristics between Dadaism and Pop Art, suggesting a lineage of artistic innovation that challenges conventional aesthetic norms. This topic is highly relevant, engaging with fundamental questions about art's definition, its audience, and its cultural impact. The proposed investigation holds considerable promise in elucidating the revolutionary aspects of both Dadaism and Pop Art. By specifically referencing Danto's perspective, the paper is well-positioned to offer a theoretical lens through which to analyze how these movements deconstructed established notions of artistic value and uniqueness. The stated intention to connect Dadaist readymades with Pop Art's appropriation of everyday items, exemplified by Andy Warhol, is a compelling line of inquiry. This comparative approach could effectively illustrate a continuous questioning of aesthetic paradigms, showcasing how both movements, in their respective eras, pushed the boundaries of what could be considered art, thereby contributing to a broader understanding of modern and postmodern art history. While the abstract outlines a strong premise, the full paper would benefit from a rigorous and detailed exploration of its central arguments. Specifically, to fully address the bold claim of "the end of aesthetics" in the title, the analysis should articulate precisely *how* Dadaism and Pop Art contribute to this alleged aesthetic dissolution, rather than just a redefinition. Furthermore, while commonalities are highlighted, a nuanced discussion of the distinct theoretical underpinnings, socio-political contexts, and artistic methodologies of Dadaism and Pop Art would enrich the comparison, preventing oversimplification. A robust engagement with Danto’s nuances, alongside specific examples beyond Andy Warhol, will be crucial to substantiate the paper's claims and deliver a truly insightful contribution to the discourse on art history and theory.

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