This thesis document serves as a support paper for my exhibition titled, Selected Work. The goal of this document is to present and discuss a set of ideas and interests as they pertain to my studio practice and thesis project in particular, and to contemporary (ie. current) art practices in general. In this document I examine selected works from Marcel Duchamp, Andy Warhol, Andy Kaufman, Maurizio Cattelan and Richard Prince. Through the exploration of these artists and their works, I begin by examining the object and the conditions that give it approval as an art object. Using these conditions, I examine the effect that experience has on the object. This support paper will serve as a glossary of terms and theoretical concerns relevant to my thesis exhibition / vi, 64 leaves : col. ill. ; 29 cm

Ceramics has always existed on the fringes of craft and high art. The purpose of this thesis project is to elevate clay beyond the traditions of craft by examining the historical use of clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced object and reflecting upon it’s validity as high status art object. In this project I am also interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts vents-- with a specific focus on systems lurking inside walls and how these function to influence architectural space. With the advent of modern plumbing, concealing these elements was adopted as the new standard and still exists today. Through the presentation of defamiliarized handmade objects, my exhibition presents the appearance of manufactured material through the serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the material unrecognizable providing the viewer with a new view on the object's tradition. / v, 47 leaves : ill. ; 29 cm

Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável. / This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.

Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável. / This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.