N. V. Scshetinina
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This study examines the origin of appropriation in contemporary art in the framework of the theory of the 20th century art, which involves reproduction and serial production. The author’s innovative approach is in arguing that artistic experience and pursuit of universal values in mass culture are the basic goals of the art objects, which are created through appropriation. The body of research on this subject focuses mostly on installations and their critical impulse derived from the avant-garde practices. The author follows the core message of the manifesto essay on artwork by W. Benjamin, where the concept of «aura» is expanded to cover the number of issues related to understanding the function of experience in culture, impacted by technology media. The author argues that this core message by W. Benjamin is a basis for the understanding of
not only the artwork of the early and mid 20th century, but also the appropriation practices that were prevalent in the American art in the 1980s.
Keywords: appropriation, Walter Benjamin, mass culture, montage, experience,
American art, contemporary art.
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