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L'influence d'Auguste Herbin après 1945 / The influence of Auguste Herbin after 1945Berchiche, Celine 30 November 2012 (has links)
Après 1945, Auguste Herbin (Quiévy 1882 - Paris 1960) devient le maître en France de l’abstraction géométrique, une référence pour la seconde génération d’artistes abstraits, à la fois en Europe et dans le reste du monde. Les peintures d’Herbin réalisées à partir de son alphabet plastique, c’est-à-dire de 1942 à 1960 posèrent les jalons d’expérimentations nouvelles dans le domaine de l’art optique, de l’art cinétique, de l’art concret et de l’hard edge. La plupart des travaux réalisés par les artistes présents dans le Paris de l’après seconde guerre mondiale, tels Baertling, Agam, Dewasne, Vasarely, Soto, Fruhtrunk etc., n’auraient pu se concevoir sans la connaissance et l’assimilation du vocabulaire herbinien. Avait-on véritablement pris la mesure du rôle d’Auguste Herbin dans l’histoire et l’évolution de l’art abstrait ? / After 1945, Auguste Herbin (1882-1960) became the leading French abstract, geometric artist and an inspirational figure to abstract artists in both Europe and the Americas. Herbin’s Plastic Alphabet paintings are the forerunners of the wider experimentation in op’art, concrete art and hard edge painting. Much of the work by artists dominant in Paris in the 50’s and 60’s, such as Baertling, Agam, Dewasne, Vasarely, Soto, Fruhtrunk, is unimaginable without the advance wich Herbin represents.
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[en] AN EXPLORATORY STUDY OF INFORMATION PROCESSING OF THE INTERFACES IN LANGUAGE ACQUISITION: VERBAL ASPECT IN PORTUGUESE / [pt] UM ESTUDO EXPLORATÓRIO DO PROCESSAMENTO DE INFORMAÇÃO DAS INTERFACES NA AQUISIÇÃO DA LINGUAGEM: O ASPECTO VERBAL NO PORTUGUÊSCARLOS EDUARDO SERRINA DE LIMA RODRIGUES 19 October 2007 (has links)
[pt] Este estudo focaliza a aquisição do aspecto verbal no
português, no
contexto de uma teoria da aquisição da linguagem que visa
a caracterizar o modo
como a criança percebe informação gramaticalmente
relevante, visível nas
interfaces fônica e semântica da língua com os sistemas
perceptual/articulatório e
conceputual/intencional, respectivamente, a partir do
início do segundo ano de
vida. A dissertação baseia-se nos pressupostos do Programa
Minimalista
(Chomsky, 1995; 1999) e numa proposta teórica que visa a
uma articulação entre
teoria lingüística e psicolingüística no estudo da
aquisição da linguagem (Corrêa,
2005a; 2006). A hipótese de trabalho é a de que a criança
reconhece aspecto
como um traço formal da língua inicialmente a partir de
variações
morfofonológicas na classe fechada dos afixos verbais, em
termos de formas
marcadas e não marcadas, ainda de maneira indissociada da
informação
pertinente a tempo, e que distinções relativas a
perfectividade são posteriormente
estabelecidas com base no processamento na interface
semântica. Investiga-se
em que medida informação referente a traços semânticos da
raiz verbal
concernentes a aspecto lexical (como telicidade, por
exemplo) interage com a
informação relativa a perfectividade proveniente de
variações na forma dos afixos
verbais. Com este fim, uma metodologia experimental é
desenvolvida, com vistas
a dissociar a percepção de informação proveniente das
interfaces fônica e
semântica relativa a tempo/aspecto. Explora-se o paradigma
da detecção de
novidade, tradicionalmente utilizado no estudo do
desenvolvimento conceptual
não-lingüístico, na percepção de informação fônica (formas
marcadas de
tempo/aspecto como novidade) e conceptual (evento
concluído como novidade).
Um experimento-piloto, conduzido com crianças de 18-28
meses, é relatado. Um
segundo experimento, com crianças de 3 e 5 anos, conduzido
com a técnica da
manipulação de brinquedos, é reportado, no qual telicidade
e perfectividade são
variáveis manipuladas. Os resultados são discutidos com
relação à metodologia
para o estudo do processamento na interface semântica, e
em relação a dados da produção de distinções aspectuais na
fala espontânea de crianças e hipóteses
correntes na literatura em aquisição da linguagem quanto
ao papel de informação
semântica no estabelecimento de distinções gramaticais. / [en] This study focuses on the acquisition of verbal aspect in
Portuguese, in the
context of theory of language acquisition that aims at
characterizing the way
children perceive grammatically relevant information at
the interface levels
between language and articulatory/phonetic and
conceptual/intentional systems -
phonetic and semantic interfaces, respectively. It is
based on the assumptions of
the Minimalist Program (Chomsky, 1995; 1999) and on a
theoretical approach to
language acquisition requiring articulation between a
linguistic model of language
and psycholinguistic models of language processing
(Corrêa, 2005a; 2006). The
working hypothesis is that the child initially recognizes
aspect as a formal feature
on the basis of morphophonological variations in the
closed class of verbal affixes
(marked vs. unmarked forms), when tense and aspect are
undissociated.
Distinctions concerning perfectivity would be established
later on, on the basis of
processing at the semantic interface. The extent to which
information pertaining to
semantic features of the verbal root (such as telicity)
interacts with information
concerning perfectivity provided by variation in the form
of verbal affixes is
considered. An experimental methodology is developed,
which is intended to
enable the perception of information concerning
tense/aspect from the phonetic
and the semantic interfaces to be dissociated. The novelty
detection paradigm,
traditionally used in the study of conceptual development,
was explored here so
that novelty could be detected both in the perception of
the form of affixes and in
the perception of a visually presented event. A pilot-
experiment conducted with 18-
28 month old children is reported. An acting-out
experiment, conducted with 3-5
year olds, is also presented, in which telecity and
perfectivity were the independent
variables. Questions concerning methodology for the study
of processing at the
semantic interface are considered, and the results are
discussed in relation to
children´s spontaneous production data regarding aspectual
contrasts and current hypotheses on the role of semantic
information in the establishment of grammatical
distinctions.
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[en] HOW TO EXPLAIN ART TO DEAD HARES? STRATEGIES OF ART OF THE SECOND POSTWAR: TONY SMITH, FRANK STELLA, DONALD JUDD, FLUXUS GROUP, JOSEPH BEUYS AND ANDY WARHOL / [pt] COMO EXPLICAR ARTE A LEBRES MORTAS? ESTRATÉGIAS DA ARTE NO SEGUNDO PÓS-GUERRA: TONY SMITH, FRANK STELLA, DONALD JUDD, GRUPO FLUXUS, JOSEPH BEUYS E ANDY WARHOLCHRISTINA ELIZA BACH 10 May 2006 (has links)
[pt] O trabalho examina a especificidade das relações
culturais
e das
intermediações sociais instauradas pelas obras de Tony
Smith, Frank Stella e
Donald Judd, pelos eventos performáticos do Grupo
Fluxus,
pelas Aktionen de
Joseph Beuys, e pela Pop Art de Andy Warhol. O texto é
conduzido pela hipótese
de que tais poéticas foram fundamentais para uma
renovação
estatutária da arte,
obtida, principalmente, via sucessivas inaugurações de
modos inéditos de trocas
públicas. Os anos seguintes ao fim da Segunda Guerra
Mundial exigiram sérias
reavaliações e respondem até hoje pelos mais díspares
comportamentos. A seleção
pressupõe, em segundo plano, a incidência de um
significativo ápice poético
estimulado pelas urgências morais. As obras de arte
resultantes desse aperto
existencial distinguem-se, dentre outras tantas
inovações
estéticas, por uma
extravagante apresentação e uma controvertida índole:
fermentaram a
contracultura do final da década de 1960, encaminharam
os
movimentos da
seguinte e alimentaram os debates pós-modernistas dos
últimos vinte anos. / [en] The present work examines the specificity of the cultural
relations and
social intermediations established by Tony Smith's, Frank
Stella and Donald Judd
works, by Fluxus's Grup performatic events, by Joseph
Beuys's Aktionen, and by
Andy Warhol's Pop Art. The text is driven by the
hypothesis that such poetics
were fundamental for a statutory renewal of the art,
obtained, mainly through
successive inaugurations of completely new ways of public
exchanges. The
following years after the end of the World War II demanded
serious revaluations
which answers until today to the most disparate behaviors.
This present selection
of works and authors presupposes, in a second plan, the
incidence of a significant
poetic apex stimulated by moral urgencies. The resulting
works of art of this
existential configuration stand out, among other so many
aesthetic innovations, by
an extravagant presentation and a controverted
disposition: they fermented the
counterculture of the end of the decade of 1960, guided
the movements of the
following years and fed the post-modernists debates of the
last twenty years.
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Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /Muirhead, Anna, January 2008 (has links)
Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references. / Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
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The French New Novel : réception du Nouveau Roman par le milieu artistique américain : 1963-1981 / Reception of the New Novel by the American artistic milieu : 1963-1981Noël, Lison 08 December 2014 (has links)
Au moment décisif de l'histoire culturelle franco-américaine où s'inverse la hiérarchie des capitales artistiques entre Paris et New York, le Nouveau Roman français connaissait une certaine fortune aux États-Unis, en particulier dans la communauté artistique regroupée autour de l'Art Minimal. À la faveur d'un double transfert - du champ littéraire vers le champ artistique et de la France vers les États-Unis -, le Nouveau Roman retenait l'attention d'une partie de l'art américain, qui tentait de se construire contre l'art européen du XIXe siècle mais avec la littérature française de la deuxième moitié du XXe siècle. Fondé sur une somme d'indices fournis par ces artistes et complétée par des enquêtes historiques et sociologiques, une collecte d'articles, une recherche théorique et des études d’œuvres significatives, ce travail tente d'expliquer les raisons de cette fortune et d'analyser les aboutissements théoriques et esthétiques de la réception du Nouveau Roman par le milieu artistique américain. / In an key Franco-American cultural and historical moment when New York takes Paris's place as the world artistic capital, the French New Novel achieved certain successs in the United States, especially in the Minimal Art community. Owing to a double transfer – from the literary field to the artistic field and from France to America -, some American artists drew attention to the French New Novel. While they were developing their art against 19th century european art, they created it with 20th century French literature. This work is based on an amount of clues given by these artists, supplented by historical and sociological investigations, a collection of articles, a theorethical research, and studies of significant works of art, in an attempt to understand the reasons of this success and the theorethical and aesthetic realizations of the reception of the New Novel by the American artistic milieu.
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Elegaic materialism : the poetry and art of Susan HoweBarbour, Susan Jean January 2014 (has links)
The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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Catalogue raisonné de l’oeuvre de Franz Erhard Walther de ses premiers travaux en 1954 à ce jour / A study and catalogue raisonné of the works of Franz Erhard Walther from 1954 to presentHuguet, Charlotte 30 September 2015 (has links)
L'objectif de cette thèse est de proposer une étude exhaustive de l’œuvre de l'artiste allemand contemporain Franz Erhard Walther (1939, Fulda - ), accompagnant l'élaboration du catalogue raisonné de l'ensemble de son travail. En effet, pour cet artiste à l’œuvre colossale, la nécessité de la réalisation d'un catalogue raisonné se pose depuis plusieurs années. Bien que son œuvre ait une place fondamentale dans l'histoire de l'art de la deuxième moitié du XXème siècle, le travail de Walther reste encore très mal connu et souvent sujet à confusion. Cette œuvre, caractérisée en grande partie par l'utilisation de la couture comme technique et du tissu comme matériau, et dont la monumentalité n'a été rendue possible que grâce à la collaboration de l'artiste avec sa première femme, Johanna Frieß, trouve sa spécificité à travers l'évolution du concept de Handlung, propre à l'artiste. Cette étude propose donc le premier véritable catalogue raisonné de Franz Erhard Walther, de ses premières œuvres en 1954 à ce jour, accompagné d'une étude précise de chaque groupe d’œuvres, replaçant ainsi l'ensemble dans le contexte de l'histoire de l'art. / The objective of this thesis is to propose an exhaustive study of the work of the german contemporary artist Franz Erhard Walther (1939, Fulda - ), as well as the catalogue raisonné of his work. There is indeed since many years an imperative need for such a comprehensive catalogue, given the colossal production of Walther. Although his work plays a prominent role in the Art History of the second half of the XXth century, it remains little-known and is still subject of some confusion. This body of work, mainly characterized by the use of sewing as technique and tissue as material, and whose enormity wouldn't have been possible without the collaboration of the artist's first wife, Johanna Frieß, finds its specificity in the concept of Handlung that Walther developed. This study includes thus the first actual catalogue raisonné of Franz Erhard Walter, from his first-ever works of 1954 until now, as well as a specific study of every group of works, putting it in the context of Art History.
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Victor Burgin: Prostředí fotografie / Victor Burgin: The Environment of PhotographyHrabina, Martin January 2015 (has links)
The dissertation is following both theoretical and practical sides of Victor Burgin's early work. The structure of this thesis mainly reflects a hybrid attitude of the artist/theorist - the text digress from theoretical comments to related art works which are arranged chronologically. The principal focus lies in Burgin's concers for ideological, social and cultural impacts of photographic advertising practice in Great Britain during the 1970s which he assesed through theories derived from marxism, semiology and psychoanalysis. Keywords: Victor Burgin, photography theory, minimal art, conceptual art, cognitive science, semiotics, modernism, postmodernism, LEF (Left Front of the Arts), marxism, psychoanalysis, feminism
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Model citizens and perfect strangers: American painting and its different modes of address, 1958-1965Relyea, Lane 28 August 2008 (has links)
Not available / text
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