Acompanha DVD com o video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro Vieira / Orientador: Omar Khouri / Banca: José Leonardo do Nascimento / Banca: Neiva Pitta Kadota / Resumo: A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video "VT Preparado:AC/JC", de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação. / Abstract: The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the "VT Preparado: AC/JC" video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused. / Mestre

Orientador: Sergio Mauro Romagnolo / Banca: Lúcia Regina Vieira Romano / Banca: Joasé Paiani Spaniol / Banca: Rosa Gabriella de Castro Gonçalves / Banca: Alvaro Seixas / Resumo: O trabalho apresenta o processo de criação do texto dramatúrgico Auké - A Ilha Invisível e a produção pictórica criada especificamente para ele. O texto dramatúrgico discute os desdobramentos que a comunicação cria a partir do encontro entre personagens oriundos de mundos diferentes e os desentendimentos relacionais consequentes. O trabalho busca integrar a pintura com a dramaturgia teatral para compor uma nova sintaxe estética tanto visual quanto teatral a partir das afinidades e diferenças entre as duas linguagens. A tese aborda também a transformação da pintura ao estar nesse novo lugar que não é o espaço expositivo tradicional público e/ou privado. A pesquisa revela o processo de escrita do texto dramatúrgico e o resultado obtido dessa inter-relação com a pintura. Assim, a dramaturgia e a pintura ao se fundirem num propósito comum criam um campo conceitual e experimental que se desdobra em uma nova práxis artística. / The work presents the process of creation of the dramaturgic text Auké - A Ilha Invisível ( Auké - The Invisible Island) and the pictorial production specially created for it. The dramaturgic text discusses the unfolding ways that communication creates from the meeting of the characters coming from different worlds and the consequent quarrels in their relationship; The work aims at integrating the painting with theatrical dramaturgy to compose a new aesthetics syntax both visual as well as theatrical starting with the similarities and differences between the two languages. The thesis also approaches the transformation of picture by being in that new place which is not the private and or public traditional space for exhibition. The research reveals the process of writing the dramaturgic text and the result obtained out of that interrelation with the painting. Therefore, the dramaturgy and the painting when merging in a common purpose create a conceptual and experimental field that unfolds into a new artistic practice. / Doutor

Este estudo objetiva narrar uma história de obras produzidas por membros das classes populares, reconhecidas por meio de sua individualidade e inventividade, enfocando sua produção e sua recepção no Brasil, entre 1880 e 1990. A abordagem estética e histórica orientada pela fenomenologia foi realizada segundo o método micro-histórico, conduzido pela idéia de \"primitivo\". Os fragmentos das biografias e as imagens evocadas foram cruzados com os discursos de seus intérpretes que formularam designações como: \"arte primitiva\", \"arte psicopatológica\", \"arte bruta\", \"outsider art\", \"arte virgem\" e \"arte incomum\". No horizonte histórico da cultura brasileira abriram-se duas vias principais de interpretação: uma derivada do cientificismo do discurso psiquiátrico e outra do romantismo do discurso acerca da cultura popular. Não obstante a contribuição da noção francesa de Art Brut para questionar essas duas vias, a complexidade da produção artística brasileira solicita uma análise particular que revele o \"primitivo\" em suas ambigüidades / This study aims to narrate a history of art works produced by members of popular classes, recognized by its individuality and inventivety, focusing in the production and reception in Brazil between 1880 and 1990. The aesthetic and historic approaches was oriented by phenomenology followed the micro-historic method, guided by the idea of \"primitive\". The fragments of the biographies and evoked images were crossed with the discourse of its interpreters, that proposed designations as such: \"primitive art\", \"psychopathological art\", \"art brut\", \"outsider art\", \"uncommon art\" and \"virginal art\". In the historical context of the Brazilian culture two principal ways of interpretation were opened: one of them is derivated from the scientificism of the psychiatric discourse and the other from the romantic discourse about the popular culture. Nevertheless the contribution of the french notion of Art Brut to question these ways, the complexity of the Brazilian artistic production impose a particular analyses that reveals the \"primitive\" in its ambiguity

One of the central theoretical tenets of linear perspective is that it is based upon the idea of a monocular observer. Our lived perception, also referred to in the Renaissance as perspectiva naturalis, is always rooted in binocular vision, however, the guidelines for perspectiva artificialis often imply a single peeping eye as a starting point. In the early modern period, a number of rare art forms and instruments follow the prescriptive character of linear perspective to ludic ends. By focusing on this special class of what I would call 'monocular art forms', I will analyse the extent to which the perspectival method has been successfully applied in material form beyond the classic two-dimensional paintings. This special class of objects include: anamorphosis, peep-boxes, catoptrics, dioptric perspective tubes, and perspective instruments. It is my intention to draw attention to the different ways traditional perspectival paintings, exceptional cases such as perspective boxes and anamorphoses, and optical devices were encountered in the early modern period. In this thesis I will be examining the specific sites of each case study in depth so as to describe the various contexts - aristocratic, intellectual, religious - in which these items circulated. In Chapter 1 I illustrate a special class of perspective and anamorphic designs that confined their illusions to a peepshow. Chapter 2 examines one of the most consummate applications of the monocular principle of perspective: seventeenth-century Dutch perspective boxes. In Chapter 3, monocular catoptric designs are studied in light of the vogue for mirror cabinets in the seventeenth century. Chapter 4 examines the innovative techniques of drawing machines and their collection in early modern courts through close study of the 'perspectograph'.

This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.

From Introduction: Willem Boshoff was born in Vereeniging, South Africa, in 1951. The son of a carpenter, Boshoff developed an early interest in art. Although never taught formally by his father, he nevertheless acquired a knowledge of the craft of carpentry, a skill which he continues to utilize in much of his art-making today. Boshoff studied at the Johannesburg College of Art, and obtained a Master's Diploma in Technology in Fine Art in 1984. He taught at that institution for twelve years, becoming a full-time art practitioner in 1996. He produced some significant works prior to and during the time of his teaching tenure, including his KykAfrikaans visual poetry in 1979-1980, Bangboek between 1977-1986, and the researching and writing of the Dictionary of Perplexing English in 1986 (ending in 1999). In this study I will discuss Willem Boshoff's careful employment of language and materials, througb which he propagates his "study of ignorance" (Williamson and Jamal 1996:148). I will investigate two major works by Boshoff, namely The Writing in the Sand and The Blind Alphabet in Chapters 1 and 2 respectively. Both of these installations are concerned fundamentally with the subversion of power relationships and elitism. As I will show, both works offer an opportunity to investigate their objectives in relation to discourses surrounding language and hermeneutics. My study includes a third chapter, in which I discuss my own work entitled The Bread of the Presence in relation to Boshoff's own methodologies. As will be demonstrated with particular reference to The Blind Alphabet and my own work, a discussion of memory proves to be of some relevance within this dialogue.

Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.

Made available in DSpace on 2015-10-06T13:02:40Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-14. Added 1 bitstream(s) on 2015-10-06T13:19:36Z : No. of bitstreams: 1 000849668.pdf: 1903609 bytes, checksum: 8231313fb4e85e981f996294e5732c1e (MD5) / A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação. / The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the VT Preparado: AC/JC video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused.

Made available in DSpace on 2015-12-10T14:22:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-30. Added 1 bitstream(s) on 2015-12-10T14:28:58Z : No. of bitstreams: 1 000852999.pdf: 42160957 bytes, checksum: 1761b105afacbaf617d9c6ea8d8a7665 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias / In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias

Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-06-10Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1 000794486.pdf: 1064155 bytes, checksum: 0878cc1a04661628e01d96a1c06bc943 (MD5) / Tem-se por objetivo situar a produção de arte psicodélica vinculada ao movimento de contracultura da década de 1960, em relação à chamada arte contemporânea, que se iniciava no mesmo período e que pode ser tomada como uma arte que se deu no âmbito mainstream, por circular nas principais galerias, museus e fazer parte da História da Arte. A arte psicodélica era também conhecida como arte underground e, de fato, foi uma das expressões desse outro âmbito. Tal arte se vincula ainda a arte outsider, que também engloba várias expressões da chamada arte visionária. Dentro da arte visionária, há uma linha que se desenvolve desde produções que passam pela arte primitiva, antiga e medieval, até o Romantismo, Simbolismo, Arte Nova, Realismo Fantástico, culminando com o Psicodelismo nos anos 1960. Das expressões da arte contemporânea, a Arte Pop, o Minimalismo, a Land Art, a Op Art e o Happening situam-se entre os movimentos em que se pode encontrar relações. O Minimalismo, por exemplo, presentifica um apelo sensorial das superfícies dos materiais similar ao que é experiementado no estado psicodélico. A estética mínima e limítrofe é um estimulante para a formação de alegorias e ilusões sensoriais. O cinema underground se revelou outra importante área de intersecção entre Psicodelismo e arte contemporânea / Our goal is to find the relationship between psychedelic art, which was a part of the 1960’s counterculture movement, and the so called contemporary art, whose first expressions were coming out at the same time. Contemporary art can be assumed to be a mainstream art because it was found at the main galleries and museums and is a well known movement in the History of Art. Psychedelic art, on the contrary, was also known as a kind of underground expression, and is linked with outsider art, which includes in its scope a variety of works of the so called visionary art. Inside its range of artistic expressions we can find a historical line (and at the same time an a-historic essential spirit), that evolves itself between primitive and ancient art, goes following through medieval art, reaching the Romanticism of the nineteenth century, emerging through Simbolism, Art Nouveau, Fantastic Realism, and giving shape to the Psychedelic Art of the 1960’s. On the expressions of contemporary art, we can say that Pop Art, Minimalism, Land Art, Op Art and Happening are between the artistic movements that we can find relationships with psychedelia. Minimal art shows the sensorial appeal of surfaces which is very similar with the kind of sensorial ecstasy enjoyed under the psychedelic state. The minimal aesthetic is so basic that it can provoke mental associations to fulfill its empty meaning and also provoke sensorial illusions like an infinite color fog, for example. Underground cinema is another area that revealed intersections between psychedelic and contemporary art