The objective of this dissertation is to establish the notion that art can serve to create and communicate an awareness of the interconnectedness between people and nature. This study debates the theoretical similarities and differences in attitudes toward the planet as interpreted in the artworks of pre-history shamans and traditional societies, 20th century land and urban artists and contemporary environmentally concerned artists. The comparative findings suggest that attitudes of anthropocentricism, greed and power and a denial of Pantheism associated with agriculture, industrial and technological developments, have changed the human-nature symbiosis found in early societies. The creative component of this study has employed the processes of etching and embossing, digital image manipulations and the juxtaposition and layering of images to establish visual metaphors that communicate interconnectedness. Sculptures, billboards, prints and photographs as artworks of the conscience intend to shift socially and personally constructed perceptions from human-centeredness toward a symbiotic worldview. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Artes de Exu trata os objetos de arte não só pelos aspectos artísticos e sociológicos, mas também pelos aspectos que ligam as obras a Exu, além do enunciado. Como coisa contida na concepção, na execução e imbricada na própria história da obra. As obras escolhidas são: Tridente de NI (2006) de Alexandre Vogler e Exu dos Ventos (1992), de Mario Cravo Júnior. As obras contêm conflitos que envolvem a mídia, religiosos e políticos. A partir de pesquisas etnográficas é feita uma análise dos olhares que se cruzam na construção dos sentidos na disputa pelo espaço simbólico, considerando ainda o trânsito percorrido pelas obras entre a oficina, o espaço de exposição e a rua. Pertence ainda ao corpo das análises as referências na mídia impressa, forma de veiculação das imagens, apropriações e discursos. As artes de Exu se evidenciam no desenrolar dessas tramas, conforme os objetos artísticos oferecem um lugar para pensar na conciliação entre diferentes: entre a cruz e o tridente, entre Cristo e Exu e entre cristãos e religiões de matriz africana / Artes de Exu deals with art objects not only by its artistic and sociological aspects, but also by the aspects that connect these works to the divinity Exu. As if something is contained in the conception, execution and within the history of these works. The chosen objects are: Alexandre Voglers Tridente de NI (2006) and Mario Cravo Juniors Exu dos Ventos (1992). These works brought conflicts involving press, religion and politics. From ethnographic researches its built an analysis of the different meanings that have been crossed in the construction of senses that struggle for the symbolic space, also considering the movement between street and gallery, performed by these works. Its also present in Artes de Exu the references collected from the printed press, the image circulation, appropriations and discourses. Some works of Exu appear themselves in the upbringing of these conflicts, as the referred art objects offer the condition to think about the conciliation between different aspects such as: the cross and the trident, Christ and Exu and Christians and African related religions

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Artes de Exu trata os objetos de arte não só pelos aspectos artísticos e sociológicos, mas também pelos aspectos que ligam as obras a Exu, além do enunciado. Como coisa contida na concepção, na execução e imbricada na própria história da obra. As obras escolhidas são: Tridente de NI (2006) de Alexandre Vogler e Exu dos Ventos (1992), de Mario Cravo Júnior. As obras contêm conflitos que envolvem a mídia, religiosos e políticos. A partir de pesquisas etnográficas é feita uma análise dos olhares que se cruzam na construção dos sentidos na disputa pelo espaço simbólico, considerando ainda o trânsito percorrido pelas obras entre a oficina, o espaço de exposição e a rua. Pertence ainda ao corpo das análises as referências na mídia impressa, forma de veiculação das imagens, apropriações e discursos. As artes de Exu se evidenciam no desenrolar dessas tramas, conforme os objetos artísticos oferecem um lugar para pensar na conciliação entre diferentes: entre a cruz e o tridente, entre Cristo e Exu e entre cristãos e religiões de matriz africana / Artes de Exu deals with art objects not only by its artistic and sociological aspects, but also by the aspects that connect these works to the divinity Exu. As if something is contained in the conception, execution and within the history of these works. The chosen objects are: Alexandre Voglers Tridente de NI (2006) and Mario Cravo Juniors Exu dos Ventos (1992). These works brought conflicts involving press, religion and politics. From ethnographic researches its built an analysis of the different meanings that have been crossed in the construction of senses that struggle for the symbolic space, also considering the movement between street and gallery, performed by these works. Its also present in Artes de Exu the references collected from the printed press, the image circulation, appropriations and discourses. Some works of Exu appear themselves in the upbringing of these conflicts, as the referred art objects offer the condition to think about the conciliation between different aspects such as: the cross and the trident, Christ and Exu and Christians and African related religions

O presente trabalho investiga algumas das articulações entre indivíduo e obra de arte através de quatro conceitos fundamentais encontrados na obra de T. W. Adorno: cultura, emancipação, formação e arte, abordados de forma constelacional. O método utilizado foi a análise de textos do próprio autor, de alguns escritos em conjunto com Horkheimer, de alguns de outros autores da Teoria Crítica (Benjamim e Marcuse) e de outros de autores tradicionais do pensamento alemão (Kant, Schiller e Goethe); assim como textos de seus comentadores. A hipótese que nos guia é a de que, apesar da tendência dominante de desaparecimento do sujeito e da arte autônomos, apontados por Adorno, sua própria teoria, ao fazer tal diagnóstico criticamente, já é parte da cura possível; que a crítica da formação e a crítica da arte, intrinsecamente conectadas, são uma práxis transformadora no caminho de uma emancipação de ambos. E concluímos que o conteúdo de verdade e a dimensão histórica também intrínsecos que emergem necessariamente de toda crítica à formação, quanto de toda crítica às obras de arte, apontam para o sofrimento vivido, e o reconhecimento desse sofrimento, na educação de arte, promove, dentro do possível, nas condições atuais, a verdadeira experiência com as obras de arte e com isso, ao mesmo tempo, pode promover uma formação emancipatória / This study investigates some of the intersections between individual and artwork through four key concepts found in the work of T. W. Adorno: culture, emancipation, formation and art, in a constellational approach. The employed method was the analysis of the authors texts, some written along with Horkheimer, some by other Critical Theory authors (Benjamin and Marcuse) and some by authors of the German tradition (Kant, Schiller and Goethe) so as texts of their critics. The hypothesis that guides us is that despite the dominant tendency of the disappearance of the subject and the autonomous art, pointed out by Adorno, his own theory, through making such a diagnosis critically, is part of a possible healing; that the critique of formation and art criticism, intrinsically linked, are a transformative praxis in the way of their emancipation. We conclude that the truth content and historical dimension also intrinsic that emerge necessarily from all critic of formation, the same way as any criticism of artworks, pointed out to the suffering, and the recognition of this suffering in art education promotes, within possibility, under current social conditions, the true experience towards the artworks, and that might promote an emancipatory formation

Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished

The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.

This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.

M.Tech. (Fine Art) / The focus of this research is an exploration of aspects of liminality and how it manifests in selected unsanctioned public art interventions in ‘urban places’, specifically, the Johannesburg Central Business District. Liminality informs my own art work and to contextualise my practice I investigate Steven Cohen’s performance/intervention entitled Chandelier (2001-2002), and Alison Kearney’s The Portable Hawkers Museum (2003). I argue that unsanctioned public art maintains a liminal identity, a fluidity of ‘repurposing a space’ that is in constant shift between different dimensions of liminality. Such works create a zone between physical and conceptual space, challenging the relationships between people and places, the artist and the audience. Liminal spaces (such as the underside of bridges for example) provide the platform for new mediation to happen outside of the normal social structures. Homi Bhabha (1994:54) refers to this as a “third space” where transformation may occur, and it is this transformation of space and experience that I aim to explore in my work. In my practical component I present a body of unsanctioned public art interventions consisting of ceramic sculptures placed in urban liminal spaces in Johannesburg. I populate the chosen spaces with imaginative objects that playfully reflect my own cultural hybridity, and resultant liminal existence, in a post-colonial urban society. My practical work thus draws on analyses of the liminal aspects of Cohen and Kearney’s works as well as on aspects of my hybrid existence arising from my status as an immigrant in Johannesburg. Through my art works I attempt to engage with the local inhabitants without the restrictions of institutionalised arenas, allowing for a new experience of both the space and the artwork. Finally I record my own interventions in detail and compile an annotated photographic catalogue to document the sculptures in situ and the ephemeral life span of these unsanctioned public art interventions.

Orientador: Marcelo Siqueira Ridenti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T11:16:25Z (GMT). No. of bitstreams: 1 Forte_GrazielaNaclerio_D.pdf: 23860775 bytes, checksum: 1ede3a879efea8f756b0c531b2e90b2e (MD5) Previous issue date: 2014 / Resumo: Esse trabalho de doutoramento tem o objetivo de analisar sob o ponto de vista histórico-social, o conjunto da obra de Carlos da Silva Prado (1908-1992), mais conhecido como Carlos Prado, atuante no modernismo como artista plástico, arquiteto e teórico da arquitetura funcional, no período 1930-1990. Com uma produção diversificada em termos de técnicas empregadas, estilos e temas, os trabalhos da fase popular ou folclórica, assim como os sociais, inclusive aqueles realizados sob o ponto de vista do urbanista, onde criou um panorama da urbe ao mesmo tempo moderna e com sérios problemas de infraestrutura, como a falta de transportes e moradias para as classes econômicas menos privilegiadas, relacionam-se entre si e evidenciam as diferenças entre progresso e atraso, ricos e pobres. Como hipótese de base, é possível dizer que Carlos Prado foi um pintor do modernismo paulista, que adotou a temática popular e social, imprimindo em seus trabalhos uma visão idealizada do passado sob o ponto de vista de um aristocrata, que absorveu a ideia de "brasilidade" defendida pelos críticos Mário de Andrade e Sérgio Milliet. O afastamento do sistema das artes plásticas na década de 1960 deve-se à atitude que assumiu de evitar a convivência com as pessoas uma vez que não se adaptou ao mundo capitalista, quando as artes plásticas também ficaram sujeitas às leis da oferta e demanda. Portanto temos como hipótese complementar que ele via no passado as bases para a construção de um futuro utópico, enquanto a modernidade parecia ignorar os valores humanos, incentivando o consumismo, o império do fetichismo da mercadoria e do dinheiro / Abstract: This PhD thesis analyzes from a social-historical point of view, the whole work by Carlos da Silva Prado (1908-1992), better known as Carlos Prado, an active painter of the modernism's scenario, architect and functional architecture theorist between 1930 to 1990. Presenting a wide variety of techniques, styles and themes, the popular or folk art, as well as the social art period, including the social art of urban point of view creating a metropolis panorama: at the same time modern and with serious infrastructure problems, such as transportation and housing for lower economic classes, showing the differences between progress and opposite situations, rich and poor. In our hypothesis, Carlos Prado was a São Paulo modernist painter, when adopted the popular and social themes, printing in his works an idealized view of the past from an aristocrat point of view, which absorbed the "brazilianness" idea by Mário de Andrade and Sérgio Milliet. He stood back the "arts system" in the 1960s due to the attitude he took to avoid interaction with people since he did not agree with the capitalism world rules, the period of time was incredibly under the rules of supply and demand. We have a complementary hypothesis. Prado was idealized the past, created an utopian way, while modernity seemed to ignore human values, encouraging consumerism, the empire of commodity fetishism and money / Doutorado / Sociologia / Doutora em Sociologia

The thesis called The Interventional Function of Public Art in Public Space and Society focuses on public art that confronts society and improves or even transforms public space. It attempts to point out the necessity in using knowledge from various disciplines such as urban anthropology, sociology, philosophy and semiotics in order to analyse public space and the role of public art in it. The aim is to look for the potential and the functions of public art and how it can be both accomplished. This will be discussed over the work of Swiss artist Thomas Hirschhorn, who challenges issues arising in today's society. Thesis will conclude with a study of art work called the Gramsci Monument. Keywords: public art, public space, city, Thomas Hirschhorn, society, intervention, Gramsci Monument