Orientador: Claudia Valladão de Mattos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-15T14:24:13Z (GMT). No. of bitstreams: 1 Villares_MonicaFerrer_M.pdf: 4737397 bytes, checksum: eb971cf5e2273525e932fb659df9af9e (MD5) Previous issue date: 2010 / Resumo: ¿Arte fotográfica e liberdade de expressão: um diálogo entre o Brasil e Cuba ¿ aborda o desenvolvimento da fotografia latino-americana na segunda metade do século XX, a partir de um estudo comparativo e da análise de obras de fotógrafos cubanos e brasileiros, atuantes durante o período 1960-1990. O texto se divide em três grandes partes, correspondentes, cada uma delas, a um decênio, tomando como ponto de partida os gêneros de destaque em cada etapa e as relações destas produções com o contexto histórico e sócio-político em que se desenvolvem. No primeiro capítulo, a partir do conceito de 'fotojornalismo' são analisadas as obras dos artistas cubanos Alberto Díaz Gutiérrez (Korda) e Raúl Corrales, conjuntamente com as dos criadores brasileiros Antônio Luiz Benck Vargas e Evandro Teixeira. No segundo capítulo, tomando como base o conceito de 'fotografia antropológica¿ são submetidas à análise as obras dos artistas brasileiros Walter Firmo, Assis Hoffmann e Claudia Andujar, assim como a produção da fotógrafa cubana María Eugenia Haya (Marucha). Por fim, o terceiro e último capítulo da dissertação parte do desenvolvimento de poéticas de autor por parte dos artistas da câmera na década de 80, e a partir de diversos critérios se aproxima de forma crítica à obra dos fotógrafos cubanos Rogélio López Marín (Gory), Ramón Martínez Grandal e Mario García Joya (Mayito), assim como do artista brasileiro Clóvis Loureiro Junior. / Abstract: ¿Photographic art and freedom of expression: a dialogue between Brazil and Cuba ¿ discusses the development of Latin American photography in the second half of the twentieth century, from a comparative study and the analysis of works of Brazilian and Cuban photographers, working in the period of 1960-1990. The text is divided into three major parts, corresponding, each of them, to a decade, taking as a starting point the notable genres featured at every stage, and the relationship of these productions with the historical and socio-political context in which they develop. In the first chapter, from the concept of 'photojournalism' the works of the Cuban artists Alberto Díaz Gutiérrez (Korda) and Raul Corrales, together with the Brazilian creators Luiz Antônio Vargas Benck and Evandro Teixeira are analyzed. In the second chapter, building on the concept of 'anthropological photography' the works of the Brazilian artists Walter Firmo, Assis Hoffmann and Claudia Andujar, as well as the production of the Cuban photographer Maria Eugenia Haya (Marucha) are put under analysis. Finally, the third and final chapter of the dissertation is based on the development of author poetics by the artists of the camera in the 80's, and using several criteria, we approaches critically to the work of the Cuban photographers Rógelio López Marín (Gory), Ramón Martínez Grandal and Mario García Joya (Mayito), as well as the Brazilian artist Clóvis Loureiro Junior. / Mestrado / Historia da Arte / Mestre em História

Orientador: Maria José de Azevedo Marcondes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T17:11:03Z (GMT). No. of bitstreams: 1 Valio_LucianaBenettiMarques_D.pdf: 19188044 bytes, checksum: 89dc378e5989e4e90bc9d6f5cca49e49 (MD5) Previous issue date: 2014 / Resumo: Pretende-se na tese "Renata Lucas e os espaços públicos: intrincamento e fissura" discutir o conjunto dos trabalhos da artista que se configuram como instalações e intervenções no espaço, com ênfase nas intervenções nos espaços públicos. Parte-se das premissas de que tais trabalhos se instituem como um intrincamento específico com o lugar onde se inserem, e de suas configurações enquanto potencial político. Assim, o objeto da pesquisa decorre das relações que o trabalho artístico estabelece com o espaço, seja em sua fisicalidade ou em sua discursividade. A análise do conjunto dos trabalhos de Renata Lucas, produzidos entre 2001 e 2013, baseia-se em teorias de áreas diversas (filosofia, antropologia, história e, fundamentalmente, nas teorias do campo da arte). Por meio de leituras distintas, tenciona-se ressaltar na poética da artista: a percepção corporal do espectador/participante no espaço; a possibilidade de irromperem-se socialidades; a tentativa de criar uma fricção com o espaço por meio da alteração dos códigos representacionais pré-ordenados. Investigam-se as problematizações decorrentes da intervenção no espaço pré-ordenado, que possibilitem novas leituras e percepções. Procura-se defender, inclusive, o potencial político do trabalho de Renata Lucas como contido em estado de latência, no sentido de um potencial a ser desencadeado para o político, tanto pela produção de novos espaços, quanto pela subversão da ordem espacial preestabelecida, assim como pela constituição de uma esfera pública. Conclui-se que os trabalhos artísticos de Renata Lucas contêm muito do estranhamento, da incerteza, da fragmentação, da irrupção. Portanto, desvelar as camadas dos trabalhos da artista possibilita também desvelar camadas subjetivas, não aparentes, aflorar a emergência da "situação na qual estamos imersos". Inferiu-se, com isso, que o trabalho de Renata Lucas concretiza-se na oscilação entre o intrincamento e a fissura, o imiscuir-se e o friccionar / Abstract: The purpose of the thesis "Renata Lucas and the public spaces: intricacy and fissure" is to discuss the collection of the artist¿s works that configure as installations and interventions of space, with emphasis on interventions of the public space. It is assumed that such works consist of specific intricacy of the space with which they deal, and of their configurations as to their political potential. Thus, the objective of the study results from the relationship that the artistic work establishes with the space, whether in its physicalness or its discursiveness. The analysis of the collective works of Renata Lucas, produced between 2001 and 2013, is based on theories in diverse areas (philosophy, anthropology, history, and, fundamentally, on theories in the field of art). By means of distinct interpretations, the aime was to highlight the poetical aspects of the artist: the corporal perception of the spectator/participant in the space; the possibility of interrupting socialities; the attempt to create a friction with the space through the alteration of pre-organized representational codes. An investigation was conducted of the problematics resulting from the intervention in the pre-organized space that permit new interpretations and perceptions. An attempt was also made to defend the political potential of Renata Lucas¿ works as contained in the latent state, in the sense of a potential to be released in its political aspect, as much through the production of new spaces as to the subversion of pre-established spacial order, as well as for the constitution of a public sphere. It is concluded that the artistic works of Renata Lucas contain much of the surprise, the uncertainty, the fragmentation, the irruption. Therefore, uncover the layers of the artist¿s works enables us also to reveal subjective layers, not apparent, to treat the emergence of the "situation in which we are immersed". It is inferred, as such, that the work of Renata Lucas is concentrated on the oscillation between intricacy and fissure, intromission and friction / Doutorado / Artes Visuais / Doutora em Artes Visuais

A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in fulfilment of the requirements of Master of Arts, Durban 2018 / This dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum collections form an important but neglected archive of “hoeculture”, the form of subsistence crop cultivation based on the use of manual implements, within the Phongolo-Mzimkhulu geographic region that roughly approximates to the modern territory of KwaZulu-Natal. In response to observations made by Maggs (1991), namely that a disparity exists in the numbers of fieldhoes collected by museums in comparison with weapons, I conducted research to establish the present numbers of amageja in these museums, relative to spears in the respective collections. The dissertation assesses the historical context that these metallurgical artefacts were produced in prior to the twentieth-century and documents views on iron production, spears and hoes or agriculture recorded in oral testimony from African sources, as well as Zulu-language idioms that make reference to hoes. I furthermore examine the collecting habits and policies of private individuals and museums in this region from the nineteenthcentury onwards, and the manner in which hoes are used in displays, in order to provide recommendations on how this under-utilised category of material culture should be incorporated into future exhibitions. / XL2019

No description available.

Thesis submitted in partial fulfillment of the requirements for the Degree of Master of Technology in Fine Art, Durban University of Technology, 2011. / The crux of my thesis is the study of the relationship of script and image in the work of contemporary arts. I chose to focus on three selected artists, i.e. myself, Celeste van der Merwe, a local South African male artist named Willem Boshoff and an international female artist, Barbara Kruger. My intention was to write a readable self-study thesis that would be both informative and educational while simultaneously appealing to the heart of the reader. In order to realise this intention, I focussed on how the above-mentioned artists used script and image to address social issues prevalent in society today. I also made social statements through the medium of my art based on the familiar allegory, Little Red Riding Hood. My aim has been to address the breakdown of the family structure by focussing on the suffering of teenagers as a result of dysfunctional family structures and behaviours. I explored the powerful and provocative manner in which Barbara Kruger effectively wields the combination of script and image in her work. Boshoff on the other hand is a South African linguist who incorporates script in a variety of disciplines such as installations, visual poetry, concrete poetry, sculpture. In my own art I deconstructed and transformed materials and found that the process of breaking down and rebuilding reflected the breakdown and restoration in/of the lives of children. By consciously investigating my practice as a creative artist using script and image I have gained a better understanding of myself and I believe I am now able to improve my practise. Through this self-study research I have grown in self-discovery and self-actualization as an artist and have developed as a researcher. Finally, I concluded that the relationship between script and image is open-ended, not conclusive and differs in each work of art. / Durban University of Technology Research Management Office. / M

La notion d’« abstraction perceptuelle (perceptual abstraction) » apparaît dans le domaine de la psychologie cognitive avant d’être associée à l’art optique et cinétique dans les pages du catalogue de l’exposition « The Responsive Eye » au Museum of Modern Art en 1965. Ce lien tissé entre abstraction et phénoménologie de la perception, bien qu’il ait connu une résonance historiographique modeste, traduit avec justesse certains enjeux et complète les catégories du mouvement et de l’effet, sur lesquelles le débat et la réflexion se sont le plus souvent orientés. À partir de ce cadre initial des années 1950 et 1960 est établi un second cadre, plus vaste, allant des avant-gardes historiques à nos jours, d’un « art perceptuel ». Au sein de ce corpus transhistorique sont rassemblées des oeuvres caractérisées par leur oscillation constante entre surface et volume, fait et effet, matière et vibration. Le phénomène de palpitation et de dissolution, qui se substitue à la composition et à la polychromie, rend impossible la saisie d’oeuvres tantôt incandescentes, tantôt évanescentes. Dans cette exploration constante des seuils du visible, la perception est traitée comme un médium à part entière. À travers oeuvres et textes, cette étude entend mettre en avant les résonances thématiques entre les époques et les courants afin, précisément, d’établir un panorama, le plus large possible, des pratiques relevant de ce que Jean Clay présenta comme « une prise de conscience de l’instabilité du réel ». / The term “perceptual abstraction” appears within the field of cognitive psychology before being associated, in the catalogue of the exhibition "The Responsive Eye" at the MoMA in New York in 1965, with Optical Art and Kinetic Art, two parallel trends around which debate and reception were focused for about a decade. At the same time, this link between abstraction et perception, despite the modest resonance of its term, is relevant for understanding these kinds of artistic practices with the potential of covering a wider historical and aesthetic field. Beyond this narrow chronological frame of the 1950s and 1960s, this concept describes a type of Perceptual Art that is based on an oscillation between fact and effect, matter and flux, surface and volume—an art in which composition and polychromy give way to vibration and dissolution, from the historical avant-gardes until today. Through an analysis of diverse artworks and texts, this study approaches perception beyond the commonly used categories of mechanical movement and optical effect. Considered as a medium in itself by some artists, perception is driven to its limits and the spectator’s capacity to grasp form and space is questioned. Thematic echoes between periods and trends are highlighted, precisely in order to define the field as broadly as possible—to reflect on what Jean Clay aptly described as “an awareness of the instability of the real.”

Maori art forms are replete with symbolism entrenched in Maori cosmogony, as well as with political issues arising from the relationship of colonizer to colonized. This interdisciplinary project examined the core symbols, issues and stories present in Maori traditional and contemporary art and dance to determine the way in which the content present in these art forms acts as an active agent in the formation and perpetuation of Maori cultural identity in New Zealand. A secondary aim of the project was to examine the relationship of Maori to the greater Aotearoa/New Zealand culture thereby identifying common and contrasting themes and issues present within both cultures. Aotearoa/New Zealand is unique in that the indigenous society has equal rights with the British, now New Zealanders, who colonized them and, through the arts, Maori have gained tremendous ground in becoming a vital partner in the ongoing creation of New Zealand's cultural identity. One of the central issues that repeatedly appeared in all the art forms analyzed was the push and pull that exists for Maori struggling to retain a Maori identity and compete in the non-Maori world. Identity for Aotearoa/New Zealand Maori and Pakeha, or non-Maori, alike is created in response to, in conflict with, in tandem with, and in spite of their respective cultures, thus creating yet another aspect of push and pull dynamics in New Zealand. / Within the context of dance ethnology and visuals arts methodologies several methods were employed including: archival reviews; in situ examination and visual analysis of the meaning and value of these Maori art forms; information exchange sessions, which have been presented individually within the text, with Maori elders, educators, traditional and contemporary choreographers and performers, traditional and contemporary visual artists, and other knowledgeable individuals; the identification of recurrent themes and symbolism, which provide the basis for the synthesis of the information collected. The project involved nine years of research prior to a two-month in situ examination of Maori art, dance and culture. / by Cynthia Louise Zaitz. / Vita. / Thesis (Ph.D.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Orientador: Sérgio Mauro Romagnolo / Banca: Agnaldo Aricê Caldas Farias / Banca: José Leonardo Nascimento / Resumo: A pesquisa parte da observação de certos vazios percebidos na arte contemporânea e em minha própria produção, para uma investigação sobre alguns aspectos conceituais e estéticos do vazio relacionado às noções de existência e falta. O objetivo é entender porque alguns artistas contemporâneos parecem ter predileção pelo vazio e suas manifestações. Desta forma, o estudo apresenta uma reflexão sobre as mudanças ocorridas no período moderno relacionadas à queda da soberania religiosa, a ruptura da arte com as tradições e questões contemporâneas como narcisismo, indiferença e liberdade. Depois realiza-se um estudo sobre a falta comum a todos e as noções de recalque, sublimação e subjetividade na arte, aproximando o estudo da relação entre arte e psicanálise / Abstract: The beginning‟s point of this research was the perception of the often emptiness' representation in contemporary art and in my own production. From this, the next point was to investigate some conceptual and aesthetic aspects related with the notions of void, existence, freedom, indifference and lack. The research's purpose is to understand the reason for this kind of predilection in contemporary art. The study began through a short analysis of some artists and their works, where the empty takes place as privileged part of their poetic. After that, the second step was a reflection about the impacts and modifications in the modern time caused by: the religious' decrease, secession between art and traditions, contemporaries' questions such as individualism, indifference and freedom. Finally, the research traces a parallel between the common understanding of absence and psychoanalitical notions like repression, sublimation and subjectivity in art / Mestre

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-20T08:44:54Z No. of bitstreams: 1 Roseli Conceição de Moraes Rojas Demercian.pdf: 21774094 bytes, checksum: 95d38f47211b39dad7285d98ed51bcb6 (MD5) / Made available in DSpace on 2017-12-20T08:44:55Z (GMT). No. of bitstreams: 1 Roseli Conceição de Moraes Rojas Demercian.pdf: 21774094 bytes, checksum: 95d38f47211b39dad7285d98ed51bcb6 (MD5) Previous issue date: 2017-12-14 / Art in postmodernity does not survive by itself, without generating influxes in the social environment. It must make explicit the worldviews that structure reality, developing a multifaceted activity. As the art system expands throughout the world, so does the demand for curators who see a remarkable strengthening of their role. Thus, we discuss in the present thesis what should be expected of the art curator to develop criteria in the construction of an exhibition, with a new narrative communicational, raising the following hypotheses: what is the practical dimension of curatorial action and its characteristics current? Is it the art curator's job to educate the target audience? The general objective, therefore, is the study of how the curator's action should be, based on a legitimizing knowledge of contemporaneity; and its specific objective is the development of general criteria and models for this practical action, indent to utopias, in a method embodied in the space / time / occupation triad. The curator is an actor whose functions, methodology and activity have not yet been sufficiently explored in scientific research, which in practice have been diffused, marked by a strong empiricism that does nothing to develop curative theories. He must propose, through mediation, not only the orientation of the artist, but also the education of the gaze, thus revealing an effective interpretation of the world. The curatorship that served as a basis for this thesis was structured in four ethnographic concepts, namely: genocide of the Armenian people, memory, lectures and affective cartography. They were theorists: HANS ULBRICH OBRIST, who motivated the investigation of the materialization of the exhibition space, starting from conversations, meetings and exchanges, with the reinvention of a new meeting point with art, establishing relational and communicational criteria; JOHN DEWEY, whose concepts propitiated a new vision of research resulting from the junction between the new and the old, through the experience of the real, in which the impulsion gains form and solidity; and LÚCIA LEÃO, whose teachings raised the need to understand the process of creative construction of experience, resulting from a mapping of the global and panoramic view of the terrain on which the labyrinth would be projected. As a historical fact, the genocide of the Armenian people, recalled in its 100 years, the methodology used was eminently empirical based on reports, interviews and recordings, collecting files, documents of affection and memories. In order to achieve its purpose, it had, necessarily, an interdisciplinary character, involving, therefore, different areas of knowledge. The field survey lasted for approximately twelve months and its execution lasted for the same period. It is believed that the relevance of this research rests on its provocative character of affections because it revisits the memory and, at the same time, invites the dialogue. This aetiological construction requires study and repertoire acquisition, so that, based on these hypotheses, a great number of aesthetic, historical, political and social relations can be established. It has been demonstrated in this way that the final destination of the archive lies not in its own narrative but in the history that it makes possible / A arte na pós-modernidade não sobrevive por ela mesma, sem gerar influxos no meio social. Ela deve explicitar as visões de mundo que estruturam a realidade, desenvolvendo para tanto uma atividade multifacetada. Na medida em que o sistema das artes se expande pelo mundo, cresce também a demanda por curadores, que veem um notável fortalecimento do seu papel. Dessa forma, discute-se na presente tese o que se deve esperar do curador de arte para o desenvolvimento de critérios na construção de uma exposição, com uma nova narrativa comunicacional, suscitando as seguintes hipóteses: qual a dimensão prática da ação curatorial e suas características atuais? É tarefa do curador de arte a educação do público-alvo? O objetivo geral, portanto, é o estudo de como deve ser a atuação do curador, pautado num saber legitimador da contemporaneidade; e seu objetivo específico é o desenvolvimento de critérios e modelos gerais para essa atuação prática, indene a utopias, num método plasmado na tríade espaço/tempo/ocupação. O curador é um ator cujas funções, metodologia e atividade ainda não foram suficientemente exploradas nas pesquisas científicas, que, na prática, têm se mostrado difusas, marcadas por um forte empirismo que nada coopera para o desenvolvimento de teorias curatorias. Ele deve propor, pela mediação, não só a orientação do artista, como também a educação do olhar, descortinando, dessa forma, uma efetiva interpretação de mundo. A curadoria que serviu de base para a presente tese foi estruturada em quatro conceitos etnográficos, quais sejam: genocídio do povo armênio, memória, palestras e cartografia afetiva. Serviram-lhe de teóricos: HANS ULBRICH OBRIST, que motivou a investigação sobre a materialização do espaço expositivo, partindo de conversas, encontros e trocas reunidas, com a reinvenção de um novo ponto de encontro com a arte, estabelecendo critérios relacionais e comunicacionais; JOHN DEWEY, cujos conceitos propiciaram uma nova visão de pesquisa decorrente da junção entre o novo e o velho, por meio da experiência do real, em que a impulsão ganha forma e solidez; e LÚCIA LEÃO, cujos ensinamentos suscitaram a necessidade de se compreender o processo de construção criativa da experiência, resultante de um mapeamento do olhar global e panorâmico do terreno no qual o labirinto seria projetado. Como se abordou um fato histórico, o genocídio do povo armênio, rememorado nos seus 100 anos, a metodologia utilizada foi eminentemente empírica baseada em relatos, entrevistas e gravações, colhendo-se arquivos, documentos de afeto e memórias. Para a consecução da sua finalidade, teve, necessariamente, caráter interdisciplinar, envolvendo, portanto, diferentes áreas do conhecimento. A pesquisa de campo se prolongou por, aproximadamente, doze meses e a sua execução se estendeu por igual período. Acredita-se que a relevância desta pesquisa repousa no seu caráter provocador de afetos pois revisita a memória e, ao mesmo tempo, convida ao diálogo. Essa construção etiológica requer estudo e aquisição de repertório, para que, com base nessas hipóteses, se possa estabelecer um grande número de relações estéticas, históricas, políticas e sociais. Demonstrou-se, dessa maneira, que o destino final do arquivo está situado, não em sua própria narrativa, mas sim na história que ele torna possível

This thesis traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. It is the first sustained chronological study to consider the ways in which a select number of British poets, authors and critics challenged the received views of their post-war moment in the discovery of the imaginative and idealizing potential of abstraction. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke-Rose, as well as by groups of practitioners, such as the British concrete poetry movement, small press initiatives and Art & Language, this thesis offers a comprehensive account of the evolving status of abstraction across cultural, institutional and literary contexts. The discussions build a vision of an era that increasingly jettisons the predetermined critical lexicon of abstraction to generate works of a more pragmatic abstract inspiration: the spatial demands of concrete poetry, language as medium in the conceptual artwork, the absence of linear plot in the new novel.