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A Cópia Fiel – reflexões sobre a experiência estética da arte através de reproduções
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O objetivo deste trabalho é investigar o longo relacionamento que as obras de arte mantêm com as imagens que as representam. Imagens representando obras de arte podem ser vistas em livros, revistas, propagandas, programas de TV, filmes e, principalmente, na internet. O que distingue a experiência estética de uma reprodução e de uma obra original? Quais os objetivos, os limites e as especificidades da reprodução de uma obra de arte? Como essas imagens têm sido feitas ao longo da história e como são feitas na contemporaneidade? Existem critérios na produção de imagens que representam obras de arte? Se sim, quais? A partir da investigação sobre escritos de pensadores da imagem em bibliografia selecionada, e da análise de resultados de estudos no campo da estética experimental, vimos que, através de reproduções, somos capazes de perceber muitas das realizações do artista. Entretanto, ao aprofundarmos o estudo com a contextualização histórica de como imagens se tornaram multiplicáveis e como essas imagens são feitas atualmente, concluímos que a reprodução fotográfica é uma tomada de posição do fotógrafo a respeito de uma obra de arte. Isso pode não ficar claro em reproduções de obras bidimensionais, mas , quando percebemos que obras que não são planas precisam passar por um processo interpretativo por parte do fotógrafo, somos capazes de experimentar as imagens, enquanto produto desse procedimento, de forma menos ingênua. Dito isso, o nosso objetivo é investigar os limites e as possibilidades de uma experiência estética, intrinsecamente mediada.
Most of our encounters with works of art happen through reproductions. The objective of this dissertation is to investigate the long relationship that works of art have kept with the images that represent them. Images representing works of art can be seen in books, magazines, advertisements, TV shows, movies and especially on the internet. What distinguishes the aesthetic experience of a reproduction from an original work? What are the goals, limits and specificities of the artwork reproductions? How have these images been made throughout history and how are they made in contemporary times? Are there any criteria in the production of images that represent works of art? If so, which ones? From investigating the writings of experts from selected bibliography and analyzing the results of studies in the field of experimental aesthetics, we realized that through reproductions we are able to perceive many of the artist's accomplishments. However, as we deepen our understanding with the historical contextualization of how images have become multipliable and how these images are made today, we conclude that photographic reproduction is a photographer's take on a work of art. This may not be clear in photographic reproductions of two-dimensional works, but, when we realize that works that are not flat need to undergo an interpretive process to become a representation, we are able to experience the images resulting from this procedure less naively. That said, our goal is to investigate the limits and possibilities of an intrinsically mediated aesthetic experience.
Most of our encounters with works of art happen through reproductions. The objective of this dissertation is to investigate the long relationship that works of art have kept with the images that represent them. Images representing works of art can be seen in books, magazines, advertisements, TV shows, movies and especially on the internet. What distinguishes the aesthetic experience of a reproduction from an original work? What are the goals, limits and specificities of the artwork reproductions? How have these images been made throughout history and how are they made in contemporary times? Are there any criteria in the production of images that represent works of art? If so, which ones? From investigating the writings of experts from selected bibliography and analyzing the results of studies in the field of experimental aesthetics, we realized that through reproductions we are able to perceive many of the artist's accomplishments. However, as we deepen our understanding with the historical contextualization of how images have become multipliable and how these images are made today, we conclude that photographic reproduction is a photographer's take on a work of art. This may not be clear in photographic reproductions of two-dimensional works, but, when we realize that works that are not flat need to undergo an interpretive process to become a representation, we are able to experience the images resulting from this procedure less naively. That said, our goal is to investigate the limits and possibilities of an intrinsically mediated aesthetic experience.
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Palavras-chave
Arte Estética Reprodução Fotografia Aura Gravura Experiência estética Reprodutibilidade técnica Reproduction Photgraphy Printings Aesthetic experience Mechanical reproduction