The feeling of a narcotic cannot be put to words, just as the sensation one receives from her or his favorite artwork is impossible to record. Equally, both these delicacies of modern existence must be sought out. The user/viewer only gets a tiny taste and must therefore keep coming back for more. Utopia may be an unrealistic construction of culture, but I would posit the idea the both narcotics and art strive to give us just that – however tiny a taste. This paper addresses the intersections of visual art, drugs, anti-hero worship and contemporary representations of Romanticism throughout the American body politic.

Le grand projet à l’origine de la réalisation de cette thèse est de proposer une nouvelle manière de comprendre la nature instable et décloisonnée du pop art, ce courant pictural presque sorti de l’histoire de l’art pour s’ériger en signe diffus de la culture populaire.Les enjeux plus conceptuels, qu’il dissimule derrière une imagerie devenue familière, sont pourtant d’une importance capitale pour la reconfiguration de la définition contemporaine de l’œuvre d’art. Toujours entre surface et profondeur, l’image pop se développe insidieusement.Le concept de « coïncidence des opposés », hérité d’une tradition théologico-philosophique dont Nicolas De Cues est le dépositaire le plus illustre, nous servira d’outil opératoire pour tenter de comprendre les implications sémantiques liées à la nature glissante de cet espace artistique aux contours flous. L’instabilité de ses frontières s’exprime d’abord par la proximité entre « art » et « non-art ». Elle s’illustre ensuite et surtout par le développement d’une multitude de microstructures internes reproduisant le même schéma conceptuel de « coïncidence des opposés ». Nous utiliserons alors, pour faciliter notre approche philosophique le concept d’ « ambivalences instables ».Trois grands moments jalonneront notre enquête. Ils seront synthétisés par les trois notions suivantes : « le paradoxe de la destruction créatrice », « la littéralité anti-littérale », et « la désacralisation hyper-sacralisée ». / The aim of this PhD project is to propose a new way of understanding the profoundly unstable and essentially decompartmentalized nature of pop art, this pictorial stream which is almost going beyond the scope of art history to elevate itself to be a vague symbol of popular culture.However, its familiar image hides more conceptual matters of dispute which are of crucial importance when it comes to reconfiguring the contemporary definition of a work of art. Always between surface and depth, pop imagery is developing insidiously.The “coincidence of opposites” concept, inherited from a theological-philosophical tradition, with Nicolas De Cues as its most famous depositary, will be used as an operating tool in our attempt to understand the semantic implications bound to the changing nature of this artistic space, the limits of which are still clearly blurry. This fuzziness of its frontiers appears first and foremost through the proximity between “art” and “non-art”, and then, most of all, through the development of a multitude of internal microstructures mimicking the pattern of the “coincidence of opposites” concept. In order to facilitate the philosophical flexibility of our approach, we will therefore use the concept of “unstable ambivalences”. Three milestones mark our investigation. They are summarized by the three following notions: “the creative destruction paradox”,”anti-literal literalism” and ”hyper-sacralized desecration”.

[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.

This thesis examines the political pop art of contemporary Chinese artist Wang Guangyi in light contemporaneous shifts within the political, economic, and artistic space of China from 1978 until the present. Through an analysis of the work of art as an historically determined antagonistic aesthetic praxis, this thesis attempts to reveal the sedimented traces of the alternative modernity which the Chinese government is actively attempting to construct. With its evocative juxtaposition of contrasting ideological forms, the artwork of Wang Guangyi seeks to deconstruct the normative and teleological narratives encountered within the dialectic interplay between state sponsored transnational capitalism and Marxist-Leninist communism. An understanding of the discursive structure upon which these dual modernising narratives has been based, and of the fragmented artistic space they have engendered, should serve to enliven the debate concerning the role of cultural production in questioning and revealing narratives of the nation, of the Self, and of modernity.

This thesis examines the political pop art of contemporary Chinese artist Wang Guangyi in light contemporaneous shifts within the political, economic, and artistic space of China from 1978 until the present. Through an analysis of the work of art as an historically determined antagonistic aesthetic praxis, this thesis attempts to reveal the sedimented traces of the alternative modernity which the Chinese government is actively attempting to construct. With its evocative juxtaposition of contrasting ideological forms, the artwork of Wang Guangyi seeks to deconstruct the normative and teleological narratives encountered within the dialectic interplay between state sponsored transnational capitalism and Marxist-Leninist communism. An understanding of the discursive structure upon which these dual modernising narratives has been based, and of the fragmented artistic space they have engendered, should serve to enliven the debate concerning the role of cultural production in questioning and revealing narratives of the nation, of the Self, and of modernity.

Esta proposta procurou estabelecer o desenvolvimento e as obras do período pop, principalmente do artista Andy Warhol, como registros da história recente americana. Mostra também, uma correlação entre estas obras com a ideologia do consumo estabelecida nos anos seguintes a II Guerra Mundial, e que possibilitou a estabilização da hegemonia política, cultural e econômica dos Estados Unidos. Associou-se ainda a participação dos meios de comunicação de massa e da publicidade nesse processo, como divulgadores e propagadores da ideologia do consumo e, concomitantemente, fontes temáticas das obras de Warhol e outros artistas pop. Apresenta também a relação entre as mudanças geradas no pós II Guerra com elementos da atualidade, que sugerem um possível declínio desta hegemonia e, que se denominou contemporaneidade pop. Para isso realizou-se análises de algumas das obras mais características desse artista, associado a estudos bibliográficos específicos e gerais relacionados ao tema. / This essay proposes to demonstrate the development and the works of the pop art period, principally of Andy Warhol, as registered in recent American History. This essay also shows a correlation between those works and the ideology of consumerism established in the years following the Second World War, which made political, cultural and economical hegemony possible in the USA. Means of mass communication and publicity will be associated with this process as disseminators and propagators of consumerism and at the same time, thematic works of Warhol and other pop artists. The relationship between post war changes and present day elements will also be presented, which suggests a possible decline in this hegemony, which has been named contemporary pop.To this end, analyses of some of the most characteristic works of this artist will be realised, associated with specific and general bibliographic studies related to the subject.

Orientador: Milton Terumitsu Sogabe / Banca: Silvia Miranda Meira / Banca: Agnaldo Valente Germano da Silva / Resumo: A presente pesquisa tem por objetivo a análise da colagem como procedimento artístico. Para isto, foi traçado um histórico da colagem que englobou o Cubismo, o Dadaísmo, o Surrealismo e a Arte Pop. Em cada um destes momentos históricos, percebemos o significado do emprego da colagem como linguagem artística. Em um segundo momento, analisamos o processo da colagem nas imagens técnicas, sobretudo naquelas decorrentes da fotografia, como, por exemplo, nas fotomontagens, no cinema e na colagem digital. E, finalmente, realizamos entrevistas com artistas brasileiros e visitamos museus e galerias com o intuito de verificar como a colagem tem feito parte da arte contemporânea / Abstract: This study aims at analyzing the collage as artistic process. For this, we traced a history of collage that passed trough Cubism, Dadaism, Surrealism and Pop Art. In each of these historical moments we could perceive the meaning of the use of collage as an artistic language. After that, we analyzed the collage's process in imaging techniques, resulted from photography such as in the photomontages, movie and digital collage. And finally, we conducted interviews with Brazilian artists and visited to museums and galleries to see how the collage has been part of contemporary art / Mestre

Esta proposta procurou estabelecer o desenvolvimento e as obras do período pop, principalmente do artista Andy Warhol, como registros da história recente americana. Mostra também, uma correlação entre estas obras com a ideologia do consumo estabelecida nos anos seguintes a II Guerra Mundial, e que possibilitou a estabilização da hegemonia política, cultural e econômica dos Estados Unidos. Associou-se ainda a participação dos meios de comunicação de massa e da publicidade nesse processo, como divulgadores e propagadores da ideologia do consumo e, concomitantemente, fontes temáticas das obras de Warhol e outros artistas pop. Apresenta também a relação entre as mudanças geradas no pós II Guerra com elementos da atualidade, que sugerem um possível declínio desta hegemonia e, que se denominou contemporaneidade pop. Para isso realizou-se análises de algumas das obras mais características desse artista, associado a estudos bibliográficos específicos e gerais relacionados ao tema. / This essay proposes to demonstrate the development and the works of the pop art period, principally of Andy Warhol, as registered in recent American History. This essay also shows a correlation between those works and the ideology of consumerism established in the years following the Second World War, which made political, cultural and economical hegemony possible in the USA. Means of mass communication and publicity will be associated with this process as disseminators and propagators of consumerism and at the same time, thematic works of Warhol and other pop artists. The relationship between post war changes and present day elements will also be presented, which suggests a possible decline in this hegemony, which has been named contemporary pop.To this end, analyses of some of the most characteristic works of this artist will be realised, associated with specific and general bibliographic studies related to the subject.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-03-12T20:11:26Z No. of bitstreams: 1 nayseribeiroferreirasilva.pdf: 4483756 bytes, checksum: f89b1353003a6020c906acdd2c067cd4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-09T19:14:44Z (GMT) No. of bitstreams: 1 nayseribeiroferreirasilva.pdf: 4483756 bytes, checksum: f89b1353003a6020c906acdd2c067cd4 (MD5) / Made available in DSpace on 2018-04-09T19:14:44Z (GMT). No. of bitstreams: 1 nayseribeiroferreirasilva.pdf: 4483756 bytes, checksum: f89b1353003a6020c906acdd2c067cd4 (MD5) Previous issue date: 2016-11-10 / Esta pesquisa busca apresentar um retrato de Andy Warhol não por uma luz decididamente informativa, linear, biográfica; mas por tessituras com traços biografemáticos, pelo compartilhamento de pequenos pontos luminosos que nos captam a atenção em seu cotidiano: seus gestos, seus pensamentos, a fabricação de sua (filosofia de) vida. A experiência artística espaço-temporal warholiana materializa-se por uma lógica de transfiguração do banal, que é aberta e encontra-se em constante progressão: desenvolve-se, transforma-se, adapta-se, renasce constantemente. Acreditamos que, em Warhol, sendo convidados à imersão em obras que nos convocam o corpo, e não apenas a mente, percebemos e inventamos formas outras para atravessarmos o tempo e para estabelecermos novas relações – linhas de fuga – com e em nossos entornos. / This research aims to present a picture of Andy Warhol not by a decidedly informative, linear, biographic path; but sewing a biographematic text by sharing small bright dots that capture our attention in his daily life: his gestures, his thoughts, the fabrication of his life (philosophy). The artistic experience of the warholian spacetime rises through a logic of the transfiguration of the commonplace, which is open and in constant progression: develops, transforms, adapts itself and constantly reborn. We believe that in Warhol, once we are invited to immerse in artworks that call up our bodies, not only our minds, we realize and create other ways to pass the time and to establish new relations - lines of flight, as in Deleuze's concept - with our environments.

Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dix. / By 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights.