Abstract not available

This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.

Esta dissertação apresenta como objeto de estudo a Projeção Mapeada Urbana, um formato expressivoutilizado por artistas audiovisuais que consiste na projeção de imagens, estáticas ou em movimento, sobre as estruturas construídas da cidade. Nosso objetivo geral é o de proporcionar, através da análise das visões poéticas oferecidas por alguns artistas que se valem desta técnica, um olhar crítico sobre a metrópole ocidental contemporânea. Trata-se de uma pesquisa qualitativa, de cunho interpretativo, que parte de uma pesquisa bibliográfica que delimita teoricamente o espaço urbano. O conceitode "fato urbano" desenvolvido pelo arquiteto e teórico italiano Aldo Rossi, em conjunto com a noção de "imagem da cidade" do pesquisador norteamericano Kevin Lynch, a ideia de"espaços de representação" desenvolvida pelo filósofo francês Henri Lefebvre, bem como os entendimentos sobre "cultura" e "representação" explorados por autores dos Estudos Culturais e as classificações dos"suportes"das imagensconcebidaspor Milton Sogabe, constituem nosso referencial teórico para entender a cidade enquanto suporte artístico. Na sequência, apresentamos a Projeção Mapeada Urbana enquanto uma manifestação artística específica e fenômeno cultural, atentando para certos usos dos artefatos de projeção de imagens ao longo da história ocidental. Nos propomos a articular os processos históricos e culturais que possibilitaram a consolidação da Projeção Mapeada Urbana enquanto formato expressivo, após a exposição do entendimento do termo "articulação" enquanto teoria e método. As articulações entre a Projeção Mapeada Urbana e a arte contemporânea, vista segundo as percepções de Arthur Danto e Hans Belting, e alinhadas à investigação dos fenômenos do happening, da arte site-specific, da arte urbana e do VJing, constituem a contextualização do ambiente histórico-cultural em que nosso objeto de estudo se insere. Por fim, passamos a explorar o universo poético presente em algumas obras de Projeção Mapeada Urbana no Brasil, na América Latina e nosEUA, que tomam a cidade como suporte, mapeiam suas condições físicas e simbólicas e as transformam em obras artísticascuja materialização, embora efêmera, demarca contradições, desloca significados e estabelece novos pontos de vista em relação ao território que habitamos. / In this dissertation, we defined Urban Projection Mapping as a study object. This is an expressive form through which audiovisual artists projectover city structures poetic images that represent their views in relation to the environment in which they live. We present the literature that served as our theoretical boundary of urban space, specifically the social space of contemporary Western metropolis. The concepts developed by Italian architect and theorist Aldo Rossi, together with definitions of social space and spaces of representation developed by French philosopher Henri Lefebvre, as well as Cultural Studies author understandings of culture and representation, and considerations about artistic support by Milton Sogabe constitute our theoretical framework to understand the city as an artistic medium. Following, we present the Urban Projection Mapping as a specific art form and cultural phenomenon, noting some uses we observed inthe artistic practice mediated by technological devices. We propose to articulate the historical and cultural processes that have enabled the consolidation of Urban Projection Mapping as an expressive format after exposing our understanding of the term "articulation", seen as both theory and method. The articulations between the Projection Mapping and contemporary art, according to Arthur Danto and Hans Belting perceptions, and aligned to the investigation of contemporary art's phenomena called happening, site-specific art and urban art, as well asthe VJing activity, constitute the historical context of the historic-cultural environment in which our subject belongs. Finally, we explore the poetic universe in some specific works of Urban Projection Mappingin Brazil and overseas, in wich the city is a temporary support that artists map, in terms of physical and symbolic conditions, and transform in their materialized view,making contradictions visible, displacing meanings and establishing new points of view in relation to the territory we inhabit.

Esta dissertação apresenta como objeto de estudo a Projeção Mapeada Urbana, um formato expressivoutilizado por artistas audiovisuais que consiste na projeção de imagens, estáticas ou em movimento, sobre as estruturas construídas da cidade. Nosso objetivo geral é o de proporcionar, através da análise das visões poéticas oferecidas por alguns artistas que se valem desta técnica, um olhar crítico sobre a metrópole ocidental contemporânea. Trata-se de uma pesquisa qualitativa, de cunho interpretativo, que parte de uma pesquisa bibliográfica que delimita teoricamente o espaço urbano. O conceitode "fato urbano" desenvolvido pelo arquiteto e teórico italiano Aldo Rossi, em conjunto com a noção de "imagem da cidade" do pesquisador norteamericano Kevin Lynch, a ideia de"espaços de representação" desenvolvida pelo filósofo francês Henri Lefebvre, bem como os entendimentos sobre "cultura" e "representação" explorados por autores dos Estudos Culturais e as classificações dos"suportes"das imagensconcebidaspor Milton Sogabe, constituem nosso referencial teórico para entender a cidade enquanto suporte artístico. Na sequência, apresentamos a Projeção Mapeada Urbana enquanto uma manifestação artística específica e fenômeno cultural, atentando para certos usos dos artefatos de projeção de imagens ao longo da história ocidental. Nos propomos a articular os processos históricos e culturais que possibilitaram a consolidação da Projeção Mapeada Urbana enquanto formato expressivo, após a exposição do entendimento do termo "articulação" enquanto teoria e método. As articulações entre a Projeção Mapeada Urbana e a arte contemporânea, vista segundo as percepções de Arthur Danto e Hans Belting, e alinhadas à investigação dos fenômenos do happening, da arte site-specific, da arte urbana e do VJing, constituem a contextualização do ambiente histórico-cultural em que nosso objeto de estudo se insere. Por fim, passamos a explorar o universo poético presente em algumas obras de Projeção Mapeada Urbana no Brasil, na América Latina e nosEUA, que tomam a cidade como suporte, mapeiam suas condições físicas e simbólicas e as transformam em obras artísticascuja materialização, embora efêmera, demarca contradições, desloca significados e estabelece novos pontos de vista em relação ao território que habitamos. / In this dissertation, we defined Urban Projection Mapping as a study object. This is an expressive form through which audiovisual artists projectover city structures poetic images that represent their views in relation to the environment in which they live. We present the literature that served as our theoretical boundary of urban space, specifically the social space of contemporary Western metropolis. The concepts developed by Italian architect and theorist Aldo Rossi, together with definitions of social space and spaces of representation developed by French philosopher Henri Lefebvre, as well as Cultural Studies author understandings of culture and representation, and considerations about artistic support by Milton Sogabe constitute our theoretical framework to understand the city as an artistic medium. Following, we present the Urban Projection Mapping as a specific art form and cultural phenomenon, noting some uses we observed inthe artistic practice mediated by technological devices. We propose to articulate the historical and cultural processes that have enabled the consolidation of Urban Projection Mapping as an expressive format after exposing our understanding of the term "articulation", seen as both theory and method. The articulations between the Projection Mapping and contemporary art, according to Arthur Danto and Hans Belting perceptions, and aligned to the investigation of contemporary art's phenomena called happening, site-specific art and urban art, as well asthe VJing activity, constitute the historical context of the historic-cultural environment in which our subject belongs. Finally, we explore the poetic universe in some specific works of Urban Projection Mappingin Brazil and overseas, in wich the city is a temporary support that artists map, in terms of physical and symbolic conditions, and transform in their materialized view,making contradictions visible, displacing meanings and establishing new points of view in relation to the territory we inhabit.

Joseph Cornell (1903-1972) est un artiste américain très connu dans son pays mais peu étudié en Europe. Le catalogue raisonné de son œuvre n'est toujours pas établi à ce jour. <p><p>Tout au long de sa vie, ses sources d'inspiration sont intimement liées à la femme. Cette thèse souhaite aller plus loin que les études existantes: d'une part en envisageant la femme dans tous ses rôles (danseuse, diva, écrivaine, amie, starlette,) et d'autre part, en étudiant la série qui lui est consacrée. Ce regard minutieux sur les variations au sein d'une série est l'un des points forts et totalement inédits de cette thèse. Il permet d’observer le renouvellement de l’obsession et le goût pour la collection, au sens où Baudrillard l’entend.<p><p>En première partie, l'angle d'approche consiste à observer, les stratégies de l'artiste qui tente de s'approprier la femme par la mise en boîte, en bouteille, en dossier, <p><p>En deuxième partie, nous observerons la manière dont il installe une distance qui permet à la muse de rester inaccessible – au sens romantique voire nervalien du terme. La distance peut-être d'ordre surnaturel: la femme prend alors les traits d'une fée ou d'une sylphide ;temporelle (la muse est imaginée enfant) ;spatiale (la muse prend vie sous forme de constellation). Autre stratégie d'évocation: "le portrait sans visage" où le corps de la muse est totalement absent, seul « un objet symbolique) fait référence à la femme désignée. Il peut s’agir d’une chambre ou d’une lampe de mineur pour évoquer Emily Dickinson ou une poupée pour évoquer La Belle au Bois dormant. Vers la fin des années cinquante, Cornell réalise des « boîtes-mémoriaux » en hommage à des jeunes trop tôt disparues. <p><p>La troisième partie tente d’étudier comment Cornell « transcende » l’idée de mort. <p><p>Enfin, en quatrième partie, nous dresserons un bref inventaire des collages des années soixante ayant comme thème central le nu féminin. Cornell quittant un matériel « nostalgique » afin de « charge d’innocence » des images qu’il considère comme érotiques.<p> <p><p>Cette étude s'appuie, entre autres, sur une vingtaine d'œuvres analysées qui n'ont jamais été publiées, une trentaine d'autres qui n'ont jamais été commentées. Plus d'un tiers des œuvres choisies bénéficient d'une recherche de sources totalement inédites, se voyant ainsi placée sous un nouveau regard interprétatif. Et enfin, les œuvres sont mises en rapport avec les sources littéraires qui les ont nourries (Aurélia de Gérard de Nerval, Le Portrait de Jennie, la poésie d’Emily Dickinson, la biographie de Marilyn Monroe ou les écrits de Mary Eddy Baker, …). <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

Orientador: Francisco Elinaldo Teixeira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T09:40:46Z (GMT). No. of bitstreams: 1 Rios_EdnaMaria_M.pdf: 1169066 bytes, checksum: 9f2ceefed4050cc633a6ae7802e6de8a (MD5) Previous issue date: 2015 / Resumo: A presente dissertação, apropria-se da experiência audiovisual do dispositivo-jantar como objeto de reflexão, perpassa as seis cerimônias realizadas entre as cidades de Salvador e São Paulo, e encontra, nos rituais instalados em situação de rua, a possibilidade tanto de situar-se no devir criativo do projeto aqui esboçado: Entre ruas e calçadas, como de penetrar diferentes territórios audiovisuais com montagens e apropriações de sua malha imagética. O que o presente texto oferece é o sopro de uma criação que tem a incompletude como condição, a incerteza como única certeza. Em seu começo, uma disposição primeira: a cerimônia do jantar. Em seu percurso, a escultura de uma força criativa que se fez e refez no encontro com seus intercessores. Da inoperância temática, a abertura de possibilidades de seu dispositivo de escritura em diferentes montagens, por entre diferentes domínios do audiovisual / Abstract: This present work is resulted by the reflection about the audiovisual experience acquired from using the dinner ritual as a dispositif. It passes through six dinner rituals that took place in São Paulo and Salvador, two of which being done in the street with homeless people. These two particular dinners opened the possibility to go through a more creative path, here drawn by the Entre ruas e calçadas project, or to get into other audiovisual territories with different settings and different uses of its imagetic grid. This text offers a glimpse of a creation having the incompleteness as a condition, the uncertainty as the only assurance. When the project began, there was just one thought: the dinner ritual. During its course: the sculpture of a creative strength that elaborates and re-elaborates itself while understands its intermediators; of its thematic ineffectiveness: the possibilities opened to fit the installation dispositif to other different settings and different audiovisual domains / Mestrado / Multimeios / Mestra em Multimeios

Cette thèse envisage la mondialisation de l'espace artistique sous l'angle des représentations et des valeurs de l'art qui soutiennent le phénomène et lui donnent forme. Cette problématique est abordée au travers du cas de l' "art contemporain africain", des disputes et des controverses dont il est l'objet. Parce que ces dernières se manifestent principalement à l'occasion de grandes expositions et de biennales d'art contemporain en Europe comme en Afrique, elles constituent les terrains d'enquête de la recherche. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished