Diss.--Basel--Universität, 1999. / Bibliogr. p. [463]-515. Index.

Texte remanié de: Thèse de doctorat--Histoire de l'art et archéologie--Paris 1, 2005. / Bibliogr. p. 364-378. Index.

Texte remanié de: Diss.--Berlin--Freie Universität Berlin, 1995. / Bibliogr. p. 261-272. Index.

Texte remanié de: Väitöskirja--Taidehistorija--Helsinki--Taideollinen korkeakoulu, 1991. / Bibliogr. p. 359-363.

De nombreuses œuvres plastiques sont nées d'une réflexion théorique et pratique influencée par les questions politiques et sociales. Hormis des différences dans les procédés utilisés, elles sont fédérées par un esprit de rébellion et de contestation. A travers l'examen des rapports entre l'art et la culture populaire, le street art et les phénomènes socio-critiques dans la société de consommation, notre sujet est organisé sur trois axes en quatre parties. Notre intention première va montrer que les artistes modernes ont découvert la valeur artistique des graffitis et de certaines expressions anonymes inscrites sur les murs avec un caractère intellectuel. Ensuite, nous explorerons le sujet dans la perspective de la culture populaire, du regard critique sur l'époque, et de certains critères plastiques qui ont eu de l'influence sur les street artistes en France. Enfin, dans les troisième et quatrième parties, nous étudierons les querelles posées quant à la fonction sociale de l'œuvre d'art, le rôle de l'artiste, le problème éthique de l'artiste, et la valeur artistique véritable dans la culture industrielle et l'art commercial, en déroulant le panorama des activités des street artistes. C'est sur le fondement de cette hypothèse que nous nous sommes posé la question des contenus sociaux/critiques de ce street art et de ses rapports avec la sphère socio-critique qui, lui, est une représentation de l'ère contemporaine. Quant aux deux axes de « la valeur artistique » et de « l'acte rebelle », traitant de la modernité propre à l'art contemporain et des rapports qu'elle entretient avec la vision critique, ceux-ci fondent le mouvement street art, le caractère rebelle ou activiste de cet art et son approche critique du monde de l'art ou de notre société étant indispensables à sa survie en tant que tel. Les méthodologies visent à analyser et à critiquer l'influence politique et sociale de l'image de telle sorte qu'elles permettent de réfléchir sur le champ pratique et théorique de notre étude. / Many plastic works were born from a theory and practice influenced by political and social issues. Apart from differences in the methods used, they are united by a spirit of rebellion and contestation. We examined the relationship between art and popular culture, street art and socio-critical phenomenon of this period. Our hypothesis is that this relationship can be defined by the concept of street art, understood as an artistic practice whose connotations are both aesthetic and social a critique and order. It is on the basis of this hypothesis that we questioned the social content / critique of street art and its relationship with the socio-critical sphere which is a representation of the contemporary era. Our first intention was to show, through the graffiti testimony that the modern artists discovered the artistic value of graffiti and some anonymous registrant walls with intellectual expression. Then, this part concerns the prospect of popular culture, critical look at the age and plastics criteria that have had an influence on the street artists in France. Finally, the third and fourth parts deepen the street art movement that became the graffiti art in the history of contemporary art. We study the quarrels offered by the social function of works of art, the ethical problem of the artist's work social function, role, and real artistic value in the industrial culture and commercial art, unrolling a panorama of street artists activities. The two axes of “the artistic value” and “rebellious act”, dealing with contemporary art and its relationship with its critical vision of modernity, those are the foundation of the street art movement, which activist and rebel practice, as an art, and a critical approach towards the art world or our society are essential to its survival as it is. This subject will therefore give us the opportunity to question the true art in our society, a consumer society. Any image that is concerned with the meaning of the pictorial discourse is contentious and feeds on cultural and political antagonisms.

Made available in DSpace on 2016-04-26T18:14:03Z (GMT). No. of bitstreams: 1 Galciani Neves.pdf: 2078225 bytes, checksum: e6e5dee5850304679ab76cd24526dec1 (MD5) Previous issue date: 2014-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study approaches communicational resources and procedures on the production of Brazilian Art critics, attempting to minimise the great gap and absence of debate around such activity in this country. In Brazil, the critique crisis became a grand cliche. Modes of approaching and mediating artistic events were investigated, as well as public debates on the press, analysis of criteria specially during the 60 s and 70 s. At this time it was possible to perceive a plethora of transformations in the critique and in the professionalization process as well as much diversification in the critic s tasks within institutions, universities, art market, media. Aracy Amaral, Frederico Morais, Ronaldo Brito, Paulo Sergio Duarte, Annateresa Fabris, Paulo Venâncio Filho, Fernando Cocchiarale, Gloria Ferreira, Tadeu Chiarelli, Cristina Freire, Marcio Doctors, Mônica Zielinsky, Maria Amélia Bulhões, Sônia Salzstein were all interviewed ans studied under the light of their processes. These author-subjects talked about their experiences, ways of behave, references, position towards art, culture, politics. They spoke about the dialogues they established with the surroundings, contact with artists, experiences with art, as well as telling about their relationship with Art History and the critique itself, instruments of analysis. Under the Process Critique perspective, proposed by Cecilia Salles based on the Semiotics of Charles Sanders Peirce in dialogue with the concept of net proposed by Pierre Musso it was possible to discuss art critique as a sign process extremely marked by communicational issues in a broaden net of connections. Self-refexive and critical thinking, intertwined components of such a net, and understood in their constructive movement, became foundations for the eleven fields of critical procedures in which the communicative dimension of art in a number of directions is made evident: from the critic and their action contexts, in talks with artists and readers, as a perceptive experience when facing the works, as expansion and development of the work, to the public debate. In doing so, this study proposes an understanding of art critique in its complex reality and constant transformation as a creative and inventive exercise an act of communication / Esta pesquisa aborda procedimentos e recursos comunicacionais da producao de criticos de arte brasileiros, tendo como relevância buscar atenuar a grave lacuna e a ausencia de debate acerca de tal atividade no Brasil, onde a crise da critica transformou-se em verdadeiro cliche. Foram investigados modos de aproximacao e mediacao dos acontecimentos artisticos, debates no espaco público das midias impressas, critérios de análise, sobretudo, entre as décadas de 1960 e 1970, momento em que se pode observar inúmeras transformacões na critica e um processo de profissionalizacao e diversificacao das tarefas de criticos em instituicões, universidades, mercado de arte, midias. Aracy Amaral, Frederico Morais, Ronaldo Brito, Paulo Sergio Duarte, Annateresa Fabris, Paulo Venâncio Filho, Fernando Cocchiarale, Gloria Ferreira, Tadeu Chiarelli, Cristina Freire, Marcio Doctors, Mônica Zielinsky, Maria Amélia Bulhões, Sônia Salzstein foram entrevistados e investigados a luz de seus processos. Esses sujeitos autores relataram suas experiencias, modos de agir, referencias, posicionamentos frente a arte, a cultura, a politica, diálogos mantidos com o entorno, contatos com artistas, experiencias com a arte, relacões com a historia da arte e com a propria critica, instrumentais de análise. Sob a perspectiva da Critica de Processo, proposta por Cecilia Salles com base na Semiotica de Charles Sanders Peirce em diálogo com o conceito de rede de Pierre Musso foi possivel discutir a critica de arte como processo signico fortemente marcado por questões comunicativas em uma ampla rede de conexões. Pensamentos criticos e autorrefexivos componentes inter-relacionados dessa rede e avistados em seu movimento construtivo tornaram-se subsidios fundamentais para a elaboracao de onze campos de procedimentos criticos, em que se evidencia a dimensao comunicativa da critica de arte em múltiplos direcionamentos: do critico com seus contextos de acao, em diálogos com os artistas e com o público leitor, como experiencia perceptiva diante das obras, como expansao e desdobramento da obra ao debate público. Assim, esta pesquisa propõe uma compreensao da critica de arte em sua realidade complexa e em constante transformacao como um exercicio criativo e inventivo ato de comunicacao

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