Orientador : Cláudia Valladão de Mattos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T16:14:56Z (GMT). No. of bitstreams: 1 Silva_MariaAntoniaCoutoda_D.pdf: 26020970 bytes, checksum: 70aa6701a0a85422c8a30061f6223ded (MD5) Previous issue date: 2011 / Resumo: Nesta tese analisei a recepção do livro Brasil Pitoresco, de autoria dos franceses Charles Ribeyrolles e Victor Frond (1859-1861), considerado pelo crítico Alexandre Eulálio como um dos "mais altos momentos da nossa iconografia oitocentista". A consulta aos periódicos do fim dos anos 1850 e inicio da década seguinte revelou novos dados sobre o contexto histórico em que a publicação foi realizada e, sobretudo, acerca de sua importância no meio artístico brasileiro. O livro apresenta um conjunto de imagens que associam fotografia e litografia, duas inovações técnicas relacionadas ã modernidade. Em relação à repercussão do livro, duas cartas do escritor Victor Hugo destinadas a Ribeyrolles, amplamente divulgadas em sua época, nos levam a refletir sobre o papel relevante que a fotografia e a litografia assumiram no campo artístico brasileiro no século XIX, e sobre a importância do livro enquanto obra de caráter abolicionista e liberal. Concebido para representar o Brasil na Exposição Universal de Londres em 1862, o livro causou grande impacto em sua época, tanto pelo texto como pelas ilustrações. Entre as litografias, produzidas na França a partir das fotografias de Frond, podemos destacar a série de vistas do Rio de Janeiro e a que registra o trabalho escravo nas fazendas fluminenses, a mais conhecida atualmente. As imagens do Brasil Pitoresco, amplamente divulgadas, ganharam autonomia em relação ao livro, e trouxeram inovações formais que se revelaram importantes para a produção de pintores e fotógrafos do período. / Abstract: In this thesis I have analyzed the reception of the book the Brazil Pittoresco (Picturesque Brazity, produced by the French Charles Ribeyrolles and Victor Frond (1859-1861), and considered by the critic Alexandre Eulálio as one of the "highest moments of our 19th century iconography". The search on periodicals of the end of the 1850's and the beginning of the following decade has revealed new data about the historical context of the book's publication and, moreover, about its importance to the artistic Brazilian realm. The book presents a series of images that associate photography with lithography, two technical innovations that relate to modernity. Repercussion wise, two letters from the writer Victor Hugo to Ribeyrolles, amply publicized back then, lead us into reflecting upon the relevant role assumed by the book regarding the 19th century Brazilian artistic realm and upon its importance as a liberal and abolitionist work. Conceived in order to represent Brazil in the 1862's London Universal Exhibition, the book produced a huge impact on its times, be it because of its text or because of its illustrations. Among the lithographs, which were produced in France from Frond's photographs, we call attention upon the Rio de Janeiro's landscape series and the one that records slave work at haciendas in the Fluminense region. The latter is the most studied nowadays. The Brazil Pittoresco images, which were amply publicized, gained autonomy and brought about formal innovations that proved to be important for the production of painters and photographers of the period. / Doutorado / Historia da Arte / Doutor em História

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T09:36:56Z (GMT). No. of bitstreams: 1 Dazzi_CamilaCarneiro_M.pdf: 8078619 bytes, checksum: 3220fee87ea343fb3a72e572ad3353c2 (MD5) Previous issue date: 2006 / Resumo: Este trabalho apresenta a trajetória artística de Henrique Bernardelli na década de 1880, enfocando seus anos de estudo na Itália e a forma como sua produção desse período é recebida no meio artístico do Rio de Janeiro pré-republicano. O projeto busca uma melhor compreensão da pintura brasileira na segunda metade do Oitocentos, destacando as suas relações com a arte italiana do período / Abstract: This work presents Henrique Bernardelli¿ s artistic carrier focusing the 1880s, years in which he studies in Italy and the way this production was received by the Brazilian¿s art critics. The project aims also a better understanding of the Brazilian¿s painting in the second half of the 19th century, detecting its relations with the Italian art of the period / Mestrado / Historia da Arte / Mestre em História

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-15T10:22:07Z (GMT). No. of bitstreams: 1 Politano_Stela_M.pdf: 14318725 bytes, checksum: 343986721357bea94757ae3b5f72fac9 (MD5) Previous issue date: 2010 / Resumo: A Exposição Didática e a Vitrine das Formas foram duas exposições que marcaram o início do Museu de Arte de São Paulo, em 1947. Foi na Rua Sete de Abril que o projeto de Pietro Maria Bardi se iniciava, na busca pela formação didática do público moderno que adentrava pelas portas do Edifício dos Diários Associados. Este estudo visa à compreensão desse momento da história artística de São Paulo e, acima de tudo, ao resgate as falas e documentos históricos antes calados pelo esquecimento. / Abstract: "Exposição Didática" and "Vitrine das Formas" were benchmarks exhibitions in the beginning of Assis Chateaubriand Museum of Art of São Paulo, in 1947. It was on Sete de Abril street that the project of Pietro Maria Bardi started the pursue of the modern audience teaching training, which came into the building through the doors of "Diários Associados". This study aims at understanding this period of Art History of Sao Paulo and, above all, to rescue the speeches and historical documents before the silent oblivion. / Mestrado / Historia da Arte / Mestre em História

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

Orientador: Luise Weiss / A biblioteca do IA acompanha 2 DVD-R / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T02:45:00Z (GMT). No. of bitstreams: 1 Cardoso_SilviaHelenadosSantos_D.pdf: 204143936 bytes, checksum: 8684d797a1436e3233a9c041032a67bb (MD5) Previous issue date: 2011 / Resumo: Estrada, Paisagem e Capim - Fotografias e Relatos no Jalapão é uma pesquisa em Poética Visual constituída por viagens - como deslocamento e experiência estética - ao cerrado jalapoeiro, no interior do Estado do Tocantins. A fotografia digital e as anotações se constituem como expressão e desenvolvimento do percurso processual do trabalho realizado. As referências teóricas e visuais contaram com a Antropologia como essência, metodologia e inserção no campo de pesquisa e a Arte como espaço de reflexão e criação para o caminho poético. Diferentes questionamentos surgiram ao longo do desenvolvimento do fazer artístico e acabaram por delimitar o trabalho. Nesta pesquisa, arte, natureza e cultura tornam-se pares no processo de registro e percepção da intuição criativa fotográfica, enfatizando assim, o caráter de "work in progress". Um Livro de Fotografias e um DVD sonorizado com 170 imagens são apresentados como processo e resultado do trabalho poético / Abstract: Road, Landscape and Grass - Photographs and Reports in the Jalapão is a research in Poetic Visual consisting of travels - such as displacement and aesthetic experience - to the brazilian savannah, in the State of Tocantins/BR. The digital photography and the written summary notes are as expression and development of the proceedings of the visual work done. The theoretical and visual references counted with the Anthropology as well as essence, methodology and insertion in the field of research, and the Art to be a space for reflection and creation for the poetic way. Different questions have arisen in the course of the development of artistic making and ultimately define the work. In this research, art, nature and culture have become parts in the process of registration and perception of the creative intuition photographic, emphasizing the character of "work in progress". A book of photographs and a DVD with sound and 170 images are presented as a process and outcome of the research poetic / Doutorado / Artes Visuais / Doutor em Artes

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.

This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work

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