The double uno: a problem of the place of art
Abstract
In present paper, we seek to understand the impact of making a facsimile on the painting The Wedding at Cana by Paolo Veronese, work on relationship between art and its institutional space of visibility. The facsimile 2007 gave us the chance to raise reflections on the question of the very materiality the work, enabling us to question the conceptual apparatuses of running a conventional art history, which are grounded in intentionality, authorship, preservation, design exposure, visibility and institutional social distinctions, finally, a myriad notional designed to preserve our understanding of the “big” art of the past.Downloads
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Published
2014-09-30
How to Cite
Oliveira, E. D. G. de. (2014). The double uno: a problem of the place of art. Museologia E Patrimônio, 7(1), 95–108. Retrieved from https://revistamuseologiaepatrimonio.mast.br/index.php/ppgpmus/article/view/274
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