Pasirinkta baigiamojo darbo tema yra atsakas į analitinėje dalyje aptariamą fizinės erdvės nuosavybės monopolijos problemą šiandieniniuose miestuose, dėl kurios nyksta žmonių gebėjimas natūraliai formuoti bendruomenes. Bendruomenės centru Vilniaus mieste siekiama sukurti laisvos prieigos erdvių laboratoriją, kurioje žmonės galėtų laisvai ir nevaržomai užsiiminėti įvairaus spektro fizine ir intelektualine veikla, ją reprezentuoti kitiems centro lankytojams ir tokiu metodu kurti tarpusavio socialinius bendruomeninius ryšius. Pasirinktame gamyklos pastate, konversijos metu, įrengiama bendruomeninių erdvių tipologijos struktūra leidžianti lankytojams pasirinkti iš viešųjų arba privačiųjų erdvių. Industrinis pastato karkasas pritaikomas modulinės architektūros elementams: konvertuoti jūriniai konteineriai arba naujos statybos moduliniai namai. Jie skirti individualių bendruomenės narių gyvenimui ir veiklai. Gamyklos vidinis kiemas pritaikomas įvairios paskirties masinių bendruomeninių renginių organizavimui, o jo centre projektuojamas naujos statybos transformuojamas salės tūris. / The subject of this work is a response to a particular problem of ownership monopoly for social space in a modern city that damages human ability to create a network of community social interactions. The goal of Social Center in Vilnius Naujamiestis is to create a free access community lab space in which people could perform various types of physical and intellectual work as well as showcasing it to the other people without financial constraints or official obligation in response generating natural community interactions. A typology of community spaces is created in a chosen industrial object allowing people to choose between public and private working environments. Industrial framework of the building adapts to fit shipping containers and newly built modular architecture units where main living and working spaces are situated. The inner courtyard is shaped to accommodate various large scale social activities with newly built hall volume in its center.

<p>This dissertation is an attempt to explain art in the 21st century by an artist/researcher. It is a theoretical writing on art informed by current discourses that influence art such as science and technology. There are two goals of this project. The first one is to understand art’s cultural role in the age of the anthropocene. What is the anthropocene? How does art’s role in society change in this particular geological epoch (following Crutzen’s definition), compared to for instance Holocene? This brings us to the second goal of my project. To better understand art’s role in society, can we benefit from a theory of art, that could present an insight on the dynamics within an artistic experience? What are the current tools and tendencies that can help form such a theory of art? Which fields can contribute to such an understanding?</p><p>As an instance of artistic research practice which involves both academic research and art practice, I will be using art projects as case studies to reach these goals. Case studies will consist of my own projects as well as projects by other artists who had been working on similar topics such as Edward Burtynsky, Chris Jordan, Louis Bec, Trevor Paglen, Patricia Piccinini and Lynn Hershmann to name a few. From Timothy Morton to Mackenzie Wark to Donna Haraway cultural theorists of our time, highlight the fact that there is a need for a cultural theory that can attend to what we might call the anthropocene. What is the contribution of art for such a theory? Or can art be instrumental in building a cultural theory at all? My dissertation offers a multi-disciplinary argument for the need to address such questions . Starting from art’s roots in biology and extending to what we might call our biological imagination, the dissertation focuses on art’s connection to biology to initiate a formula for art in the age of the anthropocene.</p> / Dissertation

Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.

In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html

This diploma thesis "The Art Journal Ateliér from its foundation to the present" goes into the semimonthly art-oriented Ateliér magazine being issued from 1988 to December 2015. The work looks about historical context of period 1980 and 1990 until the first decade of the new millennium. The thesis, in detail, is focused on Ateliér magazine publishing in years 1988, 1989, 1990, 1992, 2000 and 2008. The most detailed there are analyzed years 2012 and 2015, the crucial years, in light of magazine financial crisis. In 2010 the magazine got into financial trouble that culminated at at the end of 2015, the time the periodical had made a request for liquidation. 1. January 2016 the magazine entered into liquidation. In all surveyed years the attention is focused on the editorial staff, the graphic design and the semimonthly Ateliér magazine content. The most detailed is the magazine analyzed in 2012 and 2015 by using the analyses of all authorial texts there, there will be presented story writers contents from among the editorial staff and externals who had participated in both editions. An attention is paied to those authors writting in the periodicals,on how many there were in total and on how many times they wrote in the magazine in one year. The second analysis aimes only on copyright reviews of...

<p>Confronting the rapidly increasing, worldwide reliance on biometric technologies to surveil, manage, and police human beings, my dissertation <italic>Informatic Opacity: Biometric Facial Recognition and the Aesthetics and Politics of Defacement</italic> charts a series of queer, feminist, and anti-racist concepts and artworks that favor opacity as a means of political struggle against surveillance and capture technologies in the 21st century. Utilizing biometric facial recognition as a paradigmatic example, I argue that today's surveillance requires persons to be informatically visible in order to control them, and such visibility relies upon the production of technical standardizations of identification to operate globally, which most vehemently impact non- normative, minoritarian populations. Thus, as biometric technologies turn exposures of the face into sites of governance, activists and artists strive to make the face biometrically illegible and refuse the political recognition biometrics promises through acts of masking, escape, and imperceptibility. Although I specifically describe tactics of making the face unrecognizable as "defacement," I broadly theorize refusals to visually cohere to digital surveillance and capture technologies' gaze as "informatic opacity," an aesthetic-political theory and practice of anti- normativity at a global, technical scale whose goal is maintaining the autonomous determination of alterity and difference by evading the quantification, standardization, and regulation of identity imposed by biometrics and the state. My dissertation also features two artworks: <italic>Facial Weaponization Suite</italic>, a series of masks and public actions, and <italic>Face Cages</italic>, a critical, dystopic installation that investigates the abstract violence of biometric facial diagramming and analysis. I develop an interdisciplinary, practice-based method that pulls from contemporary art and aesthetic theory, media theory and surveillance studies, political and continental philosophy, queer and feminist theory, transgender studies, postcolonial theory, and critical race studies.</p> / Dissertation

This dissertation examines the powerful role that museums played in constructing national art-historical narratives during the 1930s. By concentrating on Three Centuries of American Art—the 1938 exhibition organized by the Museum of Modern Art (MoMA) for viewing in Paris—I argue that the intertwining of art, political diplomacy, and canon formation uncovered by an analysis of the exhibition reveals American art’s unique role in supporting shared 1930s cultural ideologies. MoMA’s curators created the most comprehensive exhibition to date of the history of American art with works from 1590 through 1938, and with over five hundred architectural models, drawings, films, paintings, photographs, prints, sculptures, and vernacular artworks. With World War II on the horizon, these artworks took on new meaning as the embodiment of the United States. Adding complexity to notions of display, five chapters trace in chronological order how curators, politicians, journalists and art critics reimagined American art in the display, canonization, and reception of Three Centuries of American Art. Chapter 1 gives a synopsis of the exhibition, places it within the larger discourse of American art exhibitions in Paris, and documents how American and French relations developed during this pivotal time. Chapter 2 explores the different meanings ascribed to the artworks during loan negotiations and maps the works’ transportation to Paris. Chapter 3 elaborates on the notion of a unified American art in the 1930s by examining the histories of art created by each of MoMA’s departments. Chapter 4 offers the first substantive historiography of 1930s publications that examined American art across media to determine instances when MoMA curators echoed prior histories and when they deviated from them at a moment when scholars disputed the merit of such disciplinary histories. Chapter 5 grapples with the means by which audiences first learned about Three Centuries of American Art and unearths what American and international critics wrote about the exhibition. In sum, Three Centuries of American Art provides a model to understand how MoMA curators inserted their histories of American art into the emerging art historical discourse and how government agencies invested them with political meaning during the critical interwar period. / 2018-08-11T00:00:00Z

Esta dissertação analisa o discurso de repúdio à arte moderna, conforme este se manifestou em relação à obra do artista russo-brasileiro Lasar Segall (1889-1957). A singular trajetória deste artista, que viveu e produziu na Europa e no Brasil, permite que se observe e compare as retóricas dos refratários ao modernismo em diferentes lugares e épocas. Na busca pelas matrizes conceituais dessa mentalidade, recuou-se a observação para as décadas finais do século XIX, momento em que se consolidaram algumas formas novas de se compreender o fenômeno estético, amparadas na ótica positivo-cientificista, assim como categorias pejorativas de qualificação do modernismo, como a de degeneração. Atenção especial foi conferida à análise da política cultural do regime nacional-socialista, que empreendeu a partir de 1937 uma ação contra a arte degenerada, responsável por expurgar dos museus públicos alemães uma grande quantidade de obras de arte moderna, e por exibir em exposições difamatórias um conjunto delas, entre as quais, algumas de Lasar Segall. No Brasil, observou-se as relações entre o Estado Novo e a arte moderna, em especial no monitoramento de seus artífices pelos órgãos de repressão política. / This dissertation analyzes the discourse of repudiation of modern art, as manifested about the work of Russian-Brazilian artist Lasar Segall (1889-1957). The unique trajectory of this artist, who lived and produced in Europe and Brazil, allows comparisons of refractory discourses about modernism in different places and times. In the search for the conceptual matrices of this rhetoric, the observation returned to the final decades of the nineteenth century, when some new forms of understanding the aesthetic phenomenon consolidated, supported by the positive-scientificist view, as well as pejorative categories of qualification of the modernism, such as \"degeneration.\" Special attention was given to the analysis of the cultural policy of the National Socialist regime, which from 1937 on undertook an \"action against degenerate art\", responsible for purging a large number of modern works of art from the German public museums, and for exhibiting in defamatory exhibitions a group of them, including some of Lasar Segall. In regards to the Brazilian case, the research dedicated attention to the relations between the Estado Novo and modern art, especially in the monitoring of its artificers by the organs of political repression.

A Dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts. / American critic Hal Foster argues that conceptions of 'the natural' are not universal, they are historically and discursively produced, There is no unmediated presence of 'the natural' in painting. He proposes 'denaturalization' as a form of critical postmodemist aesthetic which questions universalist tendencies in contemporary cultural production" This research examines selected theories and visual. representations of 'the natural' in order to explore different ways in which Foster's notion of denaturalization may be productive in assessing the complexity of critical visual art practice in South Africa. My approach to the topic is largely fragmentary in order to reflect on and engage with the diverse terms of 'the natural' as manifest in visual art practice. To this end I discuss selected works of contemporary South African artists William Kentridge and Penelope'Siopis, While Foster's notion of denaturalization is productive in trying to engage with"critical issues' of art practice it is difficulr, if not impossible to determine if cenaln works conform with either his notion of a postmodernism of resistance or postmodernism of reaction. I will also explore the notion of denaturalization with reference to my practical work. / Andrew Chakane 2018

O problema do espaço, tanto em termos da experiência como no campo da produção de conhecimento, tem sido um dos pontos cruciais da prática contemporânea em artes visuais. Deixando-se afetar pela esfera da vida e pelas várias disciplinas que direta ou indiretamente lidam com a espacialidade - às quais podemos citar a filosofia, a física, a arquitetura, a geografia, dentre outras -, os artistas desenvolvem pesquisas direcionadas a essa questão; obviamente sem nunca esquecer a coordenada do tempo. No contexto brasileiro, o trabalho de Cildo Meireles - um artista de grande importância com uma relevante contribuição no cenário intelectual no país - a investigação desse problema é particularmente reveladora. Ele é um dos artistas que melhor possibilitam uma observância da natureza do espaço, seja por meio de sua subversão, de sua percepção ou mesmo de sua proposição. Inaugurada na segunda metade da década de 1960, a sua trajetória artística contribuiu para o tensionamento das fronteiras da arte pelo seu viés conceitual e experimental. Ao mesmo tempo que o artista se encontra profundamente consciente de sua situação contextual de caráter biográfico, histórico, ambiental e político, sua prática esteve sempre em sintonia com as paulatinas transformações vivenciadas pela arte, o que é revelado na própria história oficial da arte contemporânea recente. Tendo como referente o conjunto da obra do artista, parte-se da hipótese de que por meio de uma trama narrativa bifurcada (trama essa que pode ser espelhada em seu discurso), Cildo Meireles opera uma investigação aguda sobre as razões do espaço com claras implicações políticas. Portanto, procura-se traçar, num jogo de idas e voltas, uma perspectiva sobre sua trajetória, tendo em vista seus trabalhos de meados dos anos 1970 que representam o ponto nodal dessa trama. É das incertezas espaciais de trabalhos como Eureka/ Blindhotland e Malhas da Liberdade que se consegue definir uma prática de deflagração espacial, o que se revelará extremamente sedutora. Dividida em duas partes principais, a tese propõe em seu primeiro momento oferecer uma estrutura conceitual que define a percepção geral de uma situação espacial, onde o trabalho de arte deve operar ou ser ele mesmo aquela situação. Na busca incessante de desarmar o real e o consenso em obras que subvertem as expectativas comuns em relação ao espaço, o artista permite desestabilizar algumas tradições culturais e ideologias modernas. E é para novas formas de compreensão do espaço ou mesmo na proposição de espaços que o artista apontará seu olhar. É sobre esses desdobramentos em sua produção que a segunda parte da tese irá focar, apresentando alguns conjuntos instalativos em que a sedução pela arte se faz valer e que levam o individuo a uma imersão espaço - temporal e a questionar as certezas do espaço. / The problem of space both as experience and in the field of knowledge production has been one of the crucial matters of contemporary visual arts. Allowing themselves to be affected by the sphere of life and therefore by several disciplines that directly or indirectly deal with spatiality - such as Philosophy, Physics, Architecture, Geography among other - artists develop their researches aiming at this question, obviously never forgetting the time co-ordinate. In Brazilian context the work of Cildo Meireles - an artist of great importance due to his relevant contribution to national intellectual scene - the investigation of this problem is particularly revealing. He is one of the artists whose work best enables the observation of the nature of space either by its subversion, or his critical perception, or even its proposition. Starting in the second half of the sixties, Cildo Meireles artistic trajectory helped questioning the frontiers of art both in conceptual and experimental ways. While the artist is deeply conscious of his situation (featuring biographical, historical, environmental and political aspects, his practice has always been in the line with the gradual changes of art, fact that is revealed in the official history of recent art. Taking his life\'s work as a reference, our hypothesis is that Cildo Meireles operates an acute investigation about the reasons of space by means of a bifurcated narrative plot (a plot that can be mirrored in his discourse). With obvious political implications, we outline a perspective about his trajectory as in a game of moving back and forth. The central point of his trajectory occurs in the middle seventies. It is from the spatial uncertainties of works such as Eureka/ Blindhotland and Malhas da Liberdade that we define a practice of spatial outburst, later anchored on its chiefly seductive nature. Divided in two main parts, this thesis firstly offers a conceptual frame to define a general perception of a spatial situation where the work of art must operate or be itself that situation. In an endless search for disarming reality and consensus in works that subvert ordinary expectations in relation to space, the artist helps destabilizing some cultural traditions and modern ideologies. It is towards new forms of comprehending space or even proposing it that the artist directs his gaze. It\'s about these developments in his art production that the second part of the thesis will focus on, presenting some installations where the seduction through art asserts itself and takes the individual to a space-time immersion, questioning the certainties of space.