I uppsatsen undersöks utbytet mellan populärkultur och konst genom en jämförande analys av Andy Warhols Marilyn Diptych från 1962 och en stillbild från Lady Gagas musikvideo Telephone från 2010, i vilken hon refererar till Warhol. Lady Gaga har flera gånger refererat till konstvärlden genom kostym och sceniskt uttryck vilket hos mig väckte associationer kring hur Andy Warhol och popkonstnärerna influerades av populärkulturen. Warhols användning av populärkulturens bilder är idag välkänd som ett sätt att bryta mot konstvärldens normer. Detta utbyte undersöks och diskuteras i relation till hur Lawrence Alloway, John A. Walker och Richard Hamilton definierar populärkultur, massmedia och popkonst. De visar på en upplösning mellan populärkultur och konst som olika kategorier, något som Theodor Adorno och Clement Greenberg vänder sig emot. Popkonsten skulle dock kunna uppfattas som populärkultur efter de definitioner jag använt då Warhol idag både brukas filitigt av populärkultur och massmedia, samtidigt som konstvärlden också använder honom för att tilltala en masspublik. Jag vill mena att Andy Warhols konstproduktion och skapandet av Lady Gagas image grundas i olika typer av konstnärligt arbete, men att bådas verksamhet genom massproduktion sprids som populärkultur. Lady Gaga verkar framgångsrikt genom masskommunikation och hon är idag välkänd inom populärkulturella sammanhang. Genom vad som kan tyckas vara absurd styling utmanar hon den populärkulturella normen kring skönhet, en norm som skapades med bland andra Marilyn Monroe. Reproduktioner av Andy Warhols bilder med Marilyn Monroe som motiv har idag fått enorm spridning och stor popularitet. Populariteten för Warhols bild av Marilyn och Lady Gagas refererande till den kan förstås genom Jean Baudrillards teorier om hyperrealism och simulacra. Lady Gaga stylad som Warhols Marilyn blir ett tydligt exempel på simulacra då hon framstår som en kopia utan original. Detta eftersom Warhols Marilyn är ett eget orignal, frikopplat från det fotografi av Marilyn Monroe som han från början utgick från. Warhol använder sig av ett välkänt ansikte från populärkulturen, ett ansikte som sedan influerar Lady Gaga. Influensen kommer dock inte från Marilyn Monroes ansikte, utan Warhols version av Marilyn. Lady Gaga använder sig heller inte av själva bilden, utan refererar endast till den genom sin styling. Någon anslutning till verkligheten finns inte. Referenserna mellan konstvärlden och populärkulturen sprids som ringar på vattnet, och den mittersta utgångspunkten blir allt svagare.

acase@tulane.edu / This paper weaves together theory and research in the areas of musicology, dance studies, gender studies, art, history, science, and philosophy. The author makes the claim that a post-modern treatment of the body in the arts has political implications. The paper explains how sound-movement reciprocity reveals the body’s innate capacity to shape itself and the environment. The dissolution of constructed identities, including the ostensible categories of ‘man’ and ‘woman,’ make way for the ‘intentional body’ — a philosophy of being, in which the mind and body are indistinct from one another. Exemplifying the performative nature of identity and destabilizing normative understandings of gender, race, and nationality, Grace Jones is included as the practical application, or living representation, of this phenomenon. The culmination of the author’s research is a pedagogical book of piano études based on the theories of Rudolf Laban and Sonata 9, a multi-media, interdisciplinary dance performance, which is discussed at the end of the paper. / 1 / Sean Knapp

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-08-22T17:22:05Z No. of bitstreams: 1 ceciliasamelcortesfernandes.pdf: 4286966 bytes, checksum: 9ff6291280c4ff9f25af5d28baea8b86 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-08-28T13:26:02Z (GMT) No. of bitstreams: 1 ceciliasamelcortesfernandes.pdf: 4286966 bytes, checksum: 9ff6291280c4ff9f25af5d28baea8b86 (MD5) / Made available in DSpace on 2018-08-28T13:26:02Z (GMT). No. of bitstreams: 1 ceciliasamelcortesfernandes.pdf: 4286966 bytes, checksum: 9ff6291280c4ff9f25af5d28baea8b86 (MD5) Previous issue date: 2018 / A presente dissertação consiste na análise e revisão bibliográfica da obra de Arthur Danto, filósofo norte-americano. O intuito dessa pesquisa é buscar nas obras de Danto seu “modelo” de artista e analisar a forma como ele utiliza o exemplo de Andy Warhol, artista norteamericano, como principal figura desse modelo. Danto não estrutura esse modelo conceitualmente, no entanto é possível extraí-lo a partir dos exemplos em que são utilizados artistas. A pesquisa foi desenvolvida em três momentos, a saber: as fundamentações e influências teóricas de Danto que sustentam seus conceitos principais, que são o de arte e do de “fim da arte”; o uso de exemplos de artistas na obra de Danto e a demonstração de seu “modelo” de artista; a análise de Andy Warhol a partir de Danto e outros teóricos. Serão estabelecidos, ao longo da dissertação, diálogos de Danto com Georg Hegel, Clement Greenberg, Thierry de Duve, Hal Foster, Lucy Lippard, Hector Obalk. / The present dissertation consists on the analysis and bibliographical revision of North American philosopher Arthur Danto’s work. The aim of this research is to seek in Danto’s works his “idea” of the artist and to analyse the way North American artist Andy Warhol is used as an example and as the main figure in this idea. Danto does not structure this idea conceptually, however is is possible to extract it by means of his examples in which artists are in. The research was divided into three moments: Danto’s theoretical fundaments and influences that sustain his main concepts, which are the concept of art and of the “end of art”; usage of examples of artists in Danto’s work and demonstration of his “ideia” of artist; Andy Warhol’s analysis according to Danto and other authors. In the course of the dissertation, there will be stablished dialogues between Danto and Georg Hegel, Clement Greenberg, Thierry de Duve, Hal Foster, Lucy Lippard, Hector Obalk.

An investigation of transforming people' lives regarding their achievements into design processes of making textilesCase studies: Isaac Newton and Andy Warhol / Program: Master Programme in Fashion and Textile Design

Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

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.

This essay examines the intersection of Valerie Solanas' radical feminist manifesto, the S.C.U.M. (Society of Cutting Up Men) manifesto, and her attempted assassination of Andy Warhol in 1968, proposing that the latter can be understood as a sophisticated piece of performance art. Solanas' manifesto, penned in 1967, challenged societal norms, advocating for the overthrow of patriarchal structures. Through a lens of performativity theory, which emphasizes the performative nature of language and actions, this essay reinterprets Solanas' actions as deliberate expressions of her feminist beliefs. Tracing Solanas' life, from her early struggles to her involvement in the avant-garde art scene of New York City, highlighting her interactions with Warhol's Factory and her provocative works. Solanas' attempted assassination of Warhol, while initially perceived as a psychotic act, is reframed as a conscious enactment of her manifesto's principles, challenging dominant power dynamics. By reframing the assassination attempt as a form of performance art, this essay sheds new light on Solanas' legacy, emphasizing the transformative potential of art as a tool for social critique and change. / Denna uppsats undersöker skärningspunkten mellan Valerie Solanas radikalfeministiska S.C.U.M. (Society of Cutting Up Men) manifestet, och hennes försök att mörda Andy Warhol 1968. Undersökningen framhåller att det senare kan studeras som ett sofistikerat performanceverk. Solanas manifest utmanade rådande normer och förespråkade avskaffandet av patriarkala strukturer. Genom ett nyttjande av performativitetsteorin, som betonar den performativa naturen av språk och handlingar, omvärderar denna uppsats Solanas handlingar som medvetna uttryck för hennes feministiska övertygelser. Solanas försök att mörda Warhol, som vid sin tid uppfattades som en psykotisk handling, omvärderas i texten som en medveten förkroppsligande av hennes manifestets principer. Att omvärdera mordförsöket som en form av performancekonst, lyser texten ett nytt ljus på Solanas arv och betonar konstens transformerande potential som ett verktyg för social kritik och förändring.

Syftet med min uppsats är att jag vill påminna om människans egen förgänglighet. Jag vill upplysa att allting lever under samma princip. Förgängligheten finns i allt, att allting är underständig förändring och att det bara är en fråga om olika lång tid innan allt försvinner. Jag vill att människan ska bli mer påmind om att allt och alla, människor, naturen, och alla ting lever undersamma principer och på så sätt inte är särskilt skilda från varandra.Jag vill påvisa hur förgängligheten har analyserats och analyseras, samt ge en inblick i vad förgänglighetsteori handlar om. Förgängligheten har flitigt avbildats inom konsten.Jag kommer undersöka varför två betydelsefulla konstnärer har arbetat med förgängligheten och jämföraderas tolkningar. Mina frågeställningar är följande: • Hur definieras idén om förgängligheten historiskt och symboliskt? • Varför har Andy Warhol och Damien Hirst arbetat med förgängligheten?

This dissertation examines a small selection of the hundreds of films made by Andy Warhol and his collaborators between 1963 and 1968. Each chapter contextualizes a particular aspect of Warhol's filmmaking in terms of the artistic and cultural circumstances that informed it. Through an analysis of the content of specific films, rather than just their formal or stylistic tendencies, I discuss how the filmmaking process might have functioned for those involved in the films' production, as well as how those films might have functioned for specific spectators. The first chapter is a speculation on how Warhol might have understood filmmaking as a method for creating concrete connections between feelings and things -- for collecting imagery with his camera in order to create a historical catalog of people and their emotions. This first chapter also considers how some art critics in the 1960s used Warhol's early silent films as exemplars for their own anti-formalist art-historical and critical discourses. The second chapter examines the relationship between Warhol's films and the proliferation of amphetamine use amongst his collaborators. Amphetamines functioned to perpetuate for its users a way of life based on an alternative conception of time, and often involved a continued engagement with bad feelings, which fueled much of the creativity of the artistic community whose locus was Warhol's Factory in the mid-1960s. As such, many of Warhol's films from this period exhibit what I term an "amphetamine aesthetic" -- visual clues that suggest the effects of long-term amphetamine use by its participants. The third chapter is an analysis of a single film, Lonesome Cowboys. Participants in the film's production used the conventions of the Hollywood Western film genre to create a circumscribed space for transforming their everyday lives and their relationship to contemporary politics in the late 1960s. All of these chapters explore the effects of Warhol's particular approach to filmmaking, which involved Warhol's own detached style of directing, as well as his cultivation of an ultrapermissive environment in which his collaborators -- actors, directors, writers, and technicians -- felt free to experiment. This environment was predicated on the idea that the boundary between the space in front of the camera and the world beyond it was simultaneously arbitrary and deeply imbricated. Such a fluid boundary between the world inside and outside the scope of Warhol's camera is in part why some spectators, watching his films a half-century after they were made, might still find new meanings for the present in the films themselves. / text