It is difficult to say that anything will be proven in this thesis of mine. I think of it more as an account of some things that happened in my artwork over the course of graduate school and my earlier development as an artist. Some influences are listed, but certainly not all of them. Likewise, the work that is mentioned in this paper represents a sampling rather than an in-depth survey. I don't have any tables or charts.

Tendo como hipótese a de que as teorias teatrais podem ser utilizadas para a análise e para o estímulo da produção de arquitetura e urbanismo configura-se, nesta tese, um campo interdisciplinar cujo foco é a produção do arquiteto e cenógrafo Flávio Império(1935-1985). Império é um importante elo entre o teatro e a arquitetura vanguardistas produzidas em São Paulo, especialmente durante o período em que foi professor da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (FAU-USP); por esse motivo adota-se esse período como o recorte temporal desta pesquisa. Em São Paulo, o engajamento político dos arquitetos e dos artistas do teatro, ao longo da década de 1960, os levaram a desenvolver linguagens artísticas bastantes distintas, apesar de compartilharem objetivos políticos e sociais similares. A análise da produção arquitetônica e cenográfica de Império, complementada com a de outros artistas próximos ao seu contexto, permite descrever as convergências e divergências entre a linguagem arquitetônica brutalista, como defendida por Vilanova Artigas (1915-1985), arquiteto e professor da FAU-USP, e o teatro épico brechtiano valorizado pelos grupos Teatro de Arena e Teatro Oficina, junto aos quais Império trabalhou intensamente. O atrito entre estas duas linguagens (a arquitetônica e a teatral) manifesta-se na produção realizada por Império junto com os arquitetos Sérgio Ferro (1938) e Rodrigo Lefèvre (1938-1984), em que o pensamento utópico e desenvolvimentista, característico do brutalismo paulistano, confrontava-se com as propostas realistas e de exploração do cotidiano, defendidas por Bertolt Brecht (1898-1956). O retrocesso democrático produzido pelo Golpe Civil-militar de 1964 e pela consolidação da ditadura como Ato Institucional n.5 (AI-5) em 1968, colocam à prova estas distintas opções artísticas. A arquitetura reage reforçando a autonomia do seu campo disciplinar e artístico, enquanto que o teatro, em sentido oposto, coloca em cheque a pertinência das estratégias políticas e artísticas enrijecidas, e isso se pode observar na produção Tropicalista, intensa em muitos campos artísticos, mas não no ambiente cultural da FAU-USP. Enquanto o teatro, e as artes plásticas, exploraram os aspectos rituais, imagéticos e corporais da produção cultural, questionando o status do objeto artístico, os arquitetos mantiveram-se fiéis à espacialidade e à temporalidade abstrata e impessoal do modernismo. Estas questões são aqui desenvolvidas e analisadas tendo como referência as ideias teatrais influentes naquele período - partilhadas por Império - e foram utilizadas como ferramenta crítica desta produção arquitetônica e urbanística. / Adopting the hypothesis that theatrical theories can be used to analyze and stimulate the production of architecture and urbanism, this thesis set up an interdisciplinary field focusing on the production of the architect and set designer Flávio Império (1935-1985). Império is an important link between the avant-garde theater and architecture produced in São Paulo, especially during the period when he was professor at the School of Architecture and Urbanism at USP - University of São Paulo (FAU-USP); for that reason this period is adopted as the temporal cut of this research. In São Paulo, the political engagement of the architects and the theater artists throughout the 1960s led them to develop some rather distinct artistic languages, in spite of sharing similar social and political goals. The analysis of the architectural and scenographic production of Império, complemented by the analysis of the other artists close to his context, allows us to describe the convergences and divergences between the brutalist architectural language, as adopted by Vilanova Artigas (1915-1985),architect and professor at FAU- USP, and the brechtian epic theater valued by the groups Teatro de Arena and Teatro Oficina, where Império worked intensively. The friction between these two languages (architectural and theatrical) is manifested in the production carried out by Império along with the architects Sérgio Ferro (1938) and Rodrigo Lefèvre (1938-1984), in which utopian and developmentalist thinking - characteristic of the brutalist architecture produced in São Paulo - were confronted with the realist and exploitative proposals of daily life defended by Bertolt Brecht (1898-1956). The democratic retrogression produced by the1964 civil-military coup and the consolidation of the dictatorship with the Ato Institucional n.5(AI-5) in 1968 put these different artistic options to the test. Architecture reacts by reinforcing the autonomy of its disciplinary and artistic field, while the theater, in an opposite sense, puts in check the pertinence of stiffened political and artistic strategies, which can be observed in the Tropicalist production - intense in several artistic fields, but not in the cultural environment of FAU-USP. Whereas theater and the visual arts explored the ritual, imagetic, and corporeal aspects of cultural production, questioning the status of the artistic object, architects remained faithful to the abstract and impersonal spatiality and temporality of modernism. These questions are developed and analyzed here, with reference to the theatrical ideas that were influential in that period - shared by Império - which were used as a critical tool of this architectural and urbanistic production.

No description available.

Believing that one thing was real only if it corresponded with others, Ray Johnson highlighted the connections between himself and famous artists such as Marcel Duchamp. The ways the two artists thought and how they shaped their lives corresponded like two elements in Johnson's collages. My study of Johnson through the lens of Duchamp allows me to discuss two highly intellectual and creative artists. I address the few direct interactions between Johnson and Duchamp as well as their mutual acquaintances who served as conduits of information, particularly in Johnson's direction. This dissertation focuses on Johnson's creative engagement with Duchamp and begins to explicate the depth and richness of that interchange. Each chapter focuses on several key works by Johnson, ranging from some of his earliest collages to what was perhaps the last work he completed. Through these works I explore the correspondences between the two artists outside of their individual works, with each chapter looking at one major theme including language, the viewer, performance, and identity. I outline the relationship between Duchamp and Johnson, using the selected collages to demonstrate how the synergy of the two artists is manifested in Johnson's work. My work sheds light on the enigmatic Johnson who has only very recently come under critical and historical investigation. By looking at Duchamp from this unique perspective I am also contributing to our understanding of one of the most influential artists of the twentieth century. Most artists after Duchamp felt that they worked in his shadow but Johnson's relationship to the elder artist was different. He seems to have understood Duchamp better than almost anyone and therefore was able to selectively choose his inheritance--defining himself alongside and against Duchamp. / text

This paper will look back on the work of Equipo Cronica, who worked between 1964--1980, to reveal a production of art that centered on issues of originality and value that were grounded in attempts at social activism and a redefinition of the role of art vis-a-vis society. To achieve their goals, I will argue and describe how the two man team of artists used serialism, objectivity, hybridity, appropriation of mass media iconography and techniques, and parody to produce something that was neither an art object nor an ordinary object, but an object of criticism. The historical relevancy of such an art lies in its claims of participating in a political critique of the culture industry controlled by the oppressive Franco regime, and its wary outlook on the rapid modernization of Spain into the neo-capitalist state it is today within the multinational world order. / The relevance of such an examination lies in how their intentions to create a new relationship between art and society is still pertinent today in modern Spain. Since the death of Franco in 1975 there has been a feeling in Spain that the eyes of the world have been on its new democracy, leading to a campaign, led until recently by the Socialist government, to prove Spain is a modern state that has recuperated from 40 years of isolation. It has tried to demonstrate that it is progressive, not only economically and technologically, but culturally. Over the last twenty years a veritable culture industry has boomed in Spain which has been generously backed by its federal and regional governments. As Spain zealously and rapidly finds its place in the globalized multinational world order, I will demonstrate that the issues of identity pertinent to Equipo Cronica, and the tactics they used to address it, can still contribute a critical position to present-day discussions.

Zugl.: Bamberg, Universiẗat, Diss., 2005.

Originally presented as the author's Thesis (doctoral--Universität Mannheim, 2006). / Includes bibliographical references (p. [317]-358).

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Richard Shiff. Vita. Includes bibliographical references. Also available from UMI.

Originally presented as the author's thesis (doctoral--Universität Mannheim, 2006). / Includes bibliographical references (p. [317]-358).

Esta pesquisa propõe um levantamento e estudo da obra de Milton Kurtz (1951 - 1996), arquiteto e artista que desenvolveu sua técnica basicamente calcada no desenho, participando de grupos de artistas que promoveram um debate e uma efervescência cultural no Rio Grande do Sul no final dos anos 70 e inicio dos 80. O recorte principal está vinculado à presença de uma visualidade que denota sintonia com sua contemporaneidade e com a mídia de massa. Com referenciais nas histórias em quadrinhos, revistas, jornais, anúncios publicitários, cinema e televisão, que compõem sua coleção pessoal, Kurtz constrói uma obra com intensas aproximações ao espírito característico da Pop Art. A pesquisa propõe um levantamento destas aproximações, bem como o estudo de sua poética que apresenta forte viés erótico, explorando questões do corpo e revelando ambiguidades e dualidades ligadas tanto à bidimensionalidade quanto às questões de gênero. O presente estudo visa ainda, contribuir para o devido registro na história da arte no estado, não apenas da obra de Milton Kurtz, mas também do KVHR, grupo de artistas do qual participou ativamente desde novembro de 1977 a maio de 1980, junto com Julio Viega, Paulo Haeser e Mário Röhnelt. / This research proposes a survey and study the works of Milton Kurtz (1951 - 1996), architect and artist who developed his technique essentially based on drawing, participating in groups of artists that promoted a discussion and a cultural effervescence in state of Rio Grande do Sul in the final of the 70's and beginning of the 80's. The main bias is linked to the presence of a visuality that shows a link with his contemporary and the mass media. With references in comics, magazines, newspapers, advertisements, movies and television, making up his personal collection, Kurtz produced an intense work with verifiable approaches to the spirit characteristic of Pop Art. The research proposes a survey of these approaches, and the study of his poetic feature that shows a strong bias erotic, exploring issues of body and revealing ambiguities and dualities related to the bi-dimensionality and to the gender issues. This study also aims to contribute to the proper record in the history of art in the state, not just the work of Milton Kurtz, but also the KVHR, group of artists which participated actively since November 1977 to May 1980, with Julio Viega, Paulo Haeser and Mário Röhnelt.