https://ogma.newcastle.edu.au/vital/access/ /manager/Index en-au 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:21741 found object as a strategy to dismantle the homogenising forces of modernist architecture. Within this is a re-discovery of the historical trace and its power as a polemical tool in the construction of images and their dissemination. This paper investigates the role of the objet trouvé within the activities of the avant-garde, with an emphasis on the theoretical discourse that was attached to surrealism in the 1970s. The objet trouvé—literally “found object”—became a fascination for both Dada and surrealism in the 1920s. Both movements used the discovery of objects (and the associated psychological displacement) to challenge bourgeois conventions of the art object and contemporary expectations of lived experience. In the 1970s there was, for the first time, a dedicated discourse on avant-garde practice which set out to diagnose the specific practices of the historical avant-garde and the philosophical motivations underpinning them. If modernism was characterised by the autonomy of the artistic object in this discourse, avant-garde practices in this period were defined by the conflation of art and life in artistic production and the rejection of aesthetic categories more generally. In this sense, the avant-garde can be seen as a distinct trajectory from modernism: a fact that has been made explicit in the theoretical positions of both Hilde Heynen (1999) and Andreas Huyssen (1986), amongst others.]]> Wed 11 Apr 2018 14:54:20 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:3572 Sat 24 Mar 2018 07:19:51 AEDT ]]>