{"id":129671,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/proceso-y-documentacion-en-el-arte-contemporaneo-las-pintadas-urbanas\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"proceso-y-documentacion-en-el-arte-contemporaneo-las-pintadas-urbanas","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/proceso-y-documentacion-en-el-arte-contemporaneo-las-pintadas-urbanas\/","title":{"rendered":"Proceso y documentacion en el arte contemporaneo. las pintadas urbanas."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Francisco Suarez Garcia <\/strong><\/h2>\n<p>Tomando como punto de partida las aportaciones del arte de nuestro siglo, este trabajo trata de determinar y argumentar las posibilidades de establecer vinculos entre el arte contemporaneo y las pintadas urbanas.Se proponen dos caminos principales: el primero de ellos indaga en las razones que sustentan las similitudes visuales existentes entre las pintadas y las obras de arte contemporaneas, y se\u00f1ala ciertas analogias en los procesos formativos de ambas.El segundo camino se refiere a la posibilidad de una conversion de las pintadas en obras de arte, mediante alguna de las estrategias de apropiacion acu\u00f1adas por el arte contemporaneo: la descontextualizacion y la documentacion.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Proceso y documentacion en el arte contemporaneo. las pintadas urbanas.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Proceso y documentacion en el arte contemporaneo. las pintadas urbanas. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Francisco Suarez Garcia <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li> Sanchez Carralero Lopez Rafael<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Prada Vega Jos\u00e9 Manuel <\/li>\n<li>Domingo Oliver Rubio (vocal)<\/li>\n<li>Francisco Ba\u00f1os Martos (vocal)<\/li>\n<li>Constancia Collado Jare\u00f1o (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Francisco Suarez Garcia Tomando como punto de partida las aportaciones del arte de nuestro siglo, este trabajo [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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