Orientador: Nelson Alfredo Aguilar / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T04:59:05Z (GMT). No. of bitstreams: 1 Andrade_RodrigoVivas_D.pdf: 2437271 bytes, checksum: 53789e24f5454b5d4e957822c5307ee5 (MD5) Previous issue date: 2008 / Resumo: Encontra-se, nessa tese, o estudo das obras premiadas nos Salões Municipais de Belas Artes (SMBAs) de Belo Horizonte na década de 1960 e a transformação do SMBA em Salão Nacional de Arte Contemporânea (SNAC) em 1969. Para tanto, tornou-se necessário o entendimento das modificações do cenário artístico de Belo Horizonte iniciadas pelos confrontos entre acadêmicos, representados por Aníbal Matos, e os modernos reunidos nas exposições: Zina Aita em 1920, Salão Bar Brasil 1936, Exposição Moderna em 1944. Entende-se como a consolidação da arte moderna a vinda de Alberto da Veiga Guignard para fundar uma Escola de Artes, assim com as medidas modernizadoras de Juscelino Kubstchek, enquanto prefeito da capital mineira. Esse cenário e pinturas desses artistas são estudados na primeira parte da tese. Na década de 1960, os SMBAs abandonam o viés regional e passam a contar com a participação de artistas e críticos fundamentalmente do Rio de Janeiro e São Paulo. Para a compreensão desses acontecimentos, são analisadas as pinturas premiadas, nos Salões Municipais de Belas Artes, responsáveis por constituir o acervo do Museu de Arte da Pampulha. Para finalizar a tese, buscou-se compreender a emergência da arte contemporânea, na capital mineira, através do estudo das manifestações: Vanguarda Brasileira (1966), Objeto e Participação e Do Corpo à Terra (1970) que propunham a destruição do suporte do objeto artístico, da desmaterialização da obra de arte, assim como o questionamento dos SMBAs. / Abstract: This thesis is about the study of masterpieces awarded at the Fine Arts Municipal Salons of Belo Horizonte (SMBAs) in the 1960s and the transformation of the SMBA into The Contemporay Art National Salon (SNAC) of Belo Horizonte in 1969. To make it possible, it was necessary to understand the modifications of the artistic scene of Belo Horizonte considering the relations among the academic experts, represented by Aníbal Matos and the modern ones present in exhibitions such as: Zita Aita 1920, Salão Bar Brasil, 1936, Exposição Moderna 1944. The starting points of the modern art consolidation can be considered when Alberto da Veiga Guignard inaugurated a School of arts and the fact that that Juscelino Kubstchek, the major of Belo Horizonte (the capital of the State of Minas Gerais) had modern politics. That scene and the paintings of the artists are studied in the first part of this thesis. In the 1960s, the SMBAs spread their influence beyond the region and receive participations of artists and critics especially from Rio de Janeiro and São Paulo. To understand these events better, some awarded paintings are analyzed in the SMBA, responsible for keeping the Pampulha Art Musem objects. To conclude the thesis, there was an attempt to understand the emergency of the contemporary arts in the capital of Minas Gerais through the study of some art events such as: Vanguarda Brasileira 1966, Objeto e Participação and Do Corpo à Terra 1970. These events had the aims of destroying the support of the artistic object, the dematerialization of masterpiece and the questioning of the SMBAs. / Doutorado / Historia da Arte / Doutor em História da Arte

Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T08:34:46Z (GMT). No. of bitstreams: 1 Lessa_SandraUrizzi_M.pdf: 2182508 bytes, checksum: 442a203afdefdccd9404370cdf663249 (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa tem por finalidade analisar a produção da experiência por meio da narração, perpassando os temas da ficção e da realidade, as formas de atuação do atornarrador; e alguns dos modos de lidar com o tema dentro do universo da arte contemporânea. Propondo que o narrador também possa estar em que ouve, descrevo alguns experimentos práticos onde pude me colocar na ação de ouvir, experimentando-a como uma intervenção artística. Por fim, penso na possibilidade de uma reinvenção de um narrador que esteja sensível as questões do contemporâneo, enquanto uma perspectiva crítica de seu tempo. Dentro dessa proposta, experimento a possibilidade de estudar um ator-mediador. Os principais pensadores que ancoram esta pesquisa são Walter Benjamin, Jeanne-Marie Gagnebin e Luís Alberto de Abreu. Como referências artísticas, apoio-me em criações do Núcleo Interdisciplinar de Pesquisas Teatrais LUME, e no coletivo de arte alemão Rimini Protokoll / Abstract: This research aims to analyze the production experience through the narrative, passing the subjects of fiction and reality, ways of acting of the actor-narrator, and some of the ways to deal with the issue within the realm of contemporary art. Suggesting that the narrator can also be heard that, I describe some practical experiments to put me where I could hear the action, experiencing it as an artistic intervention. Finally, think about the possibility of a reinvention of a narrator who is sensitive to the contemporary issues, while a critical perspective of their time. Within this proposed experiment to study the possibility of an actor-mediator. The leading thinkers of this research are that anchor Walter Benjamin, Jeanne-Marie Gagnebin and Luis Alberto de Abreu. As artistic references, support me in creations of the Interdisciplinary Research LUME Theatre, and the german art collective Rimini Protokoll / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.

Alfred Stieglitz and the members of '291' are most often remembered in the art historical literature for introducing modernism into America through the work of European artists and through the integration of current European formal experiments into the work of American artists. While some authors have referred to the fact that this modernism, as presented by 291, was intended to critique society, any analysis of that critique is conspicuously missing. Also absent is an analysis of what one contemporary critic referred to as the "queer symbolism lurking at the Post-Impressionist hypothesis." In this thesis the following questions are asked: what was 291's critique and why did they insist upon the expression of the 'irrational' states of the psyche — passion, intuition and imagination, in their art. By situating 291 within its particular set of contexts I attempt to explain what their position represented — to the members themselves and to their rivals. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Orientador: Lúcia Eustáchio Fonseca Ribeiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T09:17:47Z (GMT). No. of bitstreams: 1 Oliveira_AmiltonDamasde_M.pdf: 8198814 bytes, checksum: 690cce01c2fdb055e6661374d1277864 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa tem como objetivo desenvolver um estudo e considerações sobre a presença da cor na minha produção, por meio do processo subtrativo, composta por uma série de xilogravuras coloridas, em sua maioria no processo matriz perdida, realizada entre os anos de 2009 e 2011. A temática é construída de narrativas provenientes de vivencias cotidianas rurais e urbanas e, principalmente, com as expressões da cultura popular das festas, folias e folguedos religiosos do Estado de São Paulo. Para efetivar a pesquisa, busco retomar o processo criativo envolvido na elaboração dessas gravuras, bem como rememorar momentos de vida que colaboraram na construção de minha trajetória pessoal e profissional. Como um "contador de estórias", recorro ao desenho e a coleta de falas dos festeiros para apreender, compreender e registrar aspectos da religiosidade popular e sua rica diversidade plástica. Na história da arte geral e brasileira, destaco artistas que apresentam produção significativa na área da gravura, enfatizando a cor na técnica de xilogravura / Abstract: This research aims to develop a study and consideration of the presence of color in my production of woodcuts by the subtractive process. Consisting of a series of colored woodcuts mostly lost in the process matrix, performed between the years 2009 and 2011. The conceptual relationship between printmaking and drawing will be explored and revealed through the very theme of the works (parties of popular Catholicism) and graphics processing. In the case of visual poetics, there will be a gradual process in which, concurrently, the results obtained experimentally subsidize further investigations, and thus successively over this research to achieve the final pointers / Mestrado / Artes Visuais / Mestre em Artes Visuais

Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T10:54:39Z (GMT). No. of bitstreams: 1 Amin_RaquelCarneiro_M.pdf: 92300981 bytes, checksum: e4b44687c03058d3351a26568c79047a (MD5) Previous issue date: 2009 / Resumo: Desde o século XIX até os nossos dias, houve crescente interesse por parte de psiquiatras, psicólogos e artistas plásticos em justapor a produção artística do louco e da criança. No Brasil o interesse remonta à década de 1920, com os estudos do psiquiatra Osório Cesar, baseados nas produções plásticas de pacientes do Hospital Juqueri e também com Ulisses Pernambucano, que em 1925 funda o Instituto de Psicologia do Recife. O presente estudo intencionou estudar o "Mês das Crianças e dos Loucos" - exposição organizada por Flávio de Carvalho e Osório César acompanhada por uma série de conferências, no ano de 1933, em São Paulo, no Clube dos Artistas Modernos (CAM) - do qual participaram artistas, médicos, intelectuais e educadores num momento de grande efervescência cultural modernista no país. O evento colocou em pauta os pontos comuns entre as produções plásticas da infância e dos doentes mentais. Discutiu prioritariamente o interesse que despontava entre alguns artistas plásticos e psiquiatras pela produção da criança, de um lado, e do louco, de outro, que este evento reuniu sob o mesmo teto. Este estudo se apoiou em metodologia documental para desenhar a estrutura do evento (como foi organizado o mês, quais coleções e obras foram expostas, e de que forma e quem dele participou) e seu impacto cultural. Interessou conhecer os argumentos que justificaram o evento, os princípios norteadores, o design da curadoria, a repercussão em jornais e periódicos do momento envolvidos e correlacionados à exposição. O estudo mostrou que este evento representou um marco em termos do encontro entre as áreas de arte, educação e psicologia e teve desdobramentos culturais significativos na cidade de São Paulo na década de 1930. / Abstract: The "Month of the Children and the Insane": reconstitution of the 1933 Paulista Exhibition From the nineteenth-century to the present day, there has been growing interest on the part of psychiatrists, psychologists and visual artists in bringing together the artistic production by the insane and by children. In Brazil, such interest emerges in the 1920s with publications by the psychiatrist Osório Cesar who studied visual arts productions of psychiatric patients from Hospital Juqueri, as well as Ulisses Pernambucano who founded the Instituto de Psicologia in Recife in 1925. This study aimed to investigate the "Month of the Children and the Insane" - an exhibition and series of conferences organized in 1933 by the artist Flávio de Carvalho and Osório Cesar in São Paulo at the Clube dos Artistas Modernos (CAM) - with the participation of artists, medical doctors, intellectuals and education professionals, at a time of great modernist upheaval in the country. The event illuminated common aspects of productions by children and people with mental illness. The discussion mainly circled around the emerging interest among some visual artists and psychiatrists in artwork by children on the one hand and by the insane on the other, which this event brought together under the same roof. This study used documentary methodology to design the structure of the event (how the month was organized, which collections and works were shown, and how they were presented, and who participated) and its cultural impact, We were interested in understanding the arguments that justified the event, the guiding principles, the curatorial design, the repercussions in current newspapers and in journals that were involved and related to the exhibition. The study showed that this event represented a breakthrough in terms of the coming together of the fields of visual arts, education and psychology, with significant cultural results for the city of São Paulo in the 1930s. / Mestrado / Artes Visuais / Mestre em Artes

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Wassily Kandinsky wrote Über das Geistige in der Kunst, in 1912, and was translated from German into English by Michael Sadler. Naming it at first, “The Art of Spiritual Harmony” in 1914 it is known as, Concerning the Spiritual in Art. He wrote color and music theories based on angles, synesthetic experiences, subjective instincts, chromotherapy, and shapes. Kandinsky’s theories are worth continuing to research and bring forth into the new generation of technology where we can see music as numerical expressions. The goal of this iPhone Application is to teach users the relationship between color and music based on Kandinsky’s theories. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017 / This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa. / XL2018

This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.