This thesis aims to serve as a useful study for young artists seeking a valid and novel tool to consider for their art. It intends to investigate the potential of virtual reality (VR) as a medium for the creation of artworks, through a comparative analysis with traditional artistic techniques. The goal is to demonstrate the validity of virtual reality as an expressive tool, highlighting its capacity to produce innovative and disruptive visual effects, offering artists the opportunity to achieve an unusual impact that conventional art, in this day and age, finds more difficult to create.
The paper utilizes an art-historical analysis that traces the main currents and movements from the late 19th century to today, supported by a critical analysis of bibliographic and online sources. This investigation has allowed for the selection of key moments in art history, which are fundamental for validating the thesis. The paper's four-chapter structure allows for an organized and distinct discussion of the topics addressed.
The initial chapter aims to identify the possible ancestor of virtual reality in photography, thanks to the first introduction of images capable of reproducing a reality different from the surrounding one, and the possibility of doing so through technology. Secondly, it addresses the definition of art through an analysis of Duchamp's provocative Fountain and the Brancusi v. United States legal case.
Moving on, the expansion of art's boundaries is investigated through the admission of the body as an artistic medium, with references to performance artists such as Marina Abramović. Furthermore, the development of the body as a medium in relation to technology is shown, tracing some works by Orlan, Stelarc, and Nauman.
The third chapter addresses the inevitable movement of Net.art: a fundamental current in the development of art in relation to the field of technology. It investigates the theme of the technical reproducibility of a digital artwork in contexts of shareability, market, and privatization of art, focusing on the concepts of blockchain, NFTs, and the authenticity of online works.
Finally, the last section tackles the central theme of virtual reality as a valid artistic medium. Identifying its definitions and functioning, it presents reflections of a philosophical and technical nature. Recent forms of artworks where virtual reality is the central medium are investigated, providing concrete examples in line with the project theme, such as Abramović's Rising.
Although it is not possible to formulate a conclusion that is an absolute truth, the analysis of the historical evolution of art allows for the identification of virtual reality as a significant artistic medium, capable of producing estranging effects and arousing wonder. However, the invasiveness of information, stemming from digital globalization, has led to a progressive desensitization of the public, compromising the effectiveness of traditional media in achieving what represent the central elements of twentieth-century aesthetics. Therefore, this paper argues for the legitimacy of virtual reality as a medium for the creation of artworks with a strong emotional and intellectual impact.