Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-04Bitstream added on 2014-06-13T19:48:48Z : No. of bitstreams: 1 goncalves_ah_me_ia.pdf: 2790115 bytes, checksum: 0be06ec243541cba1a84b36daa789405 (MD5) / Universidade Estadual Paulista (UNESP) / 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 / 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

Orientador: José Leonardo do Nascimento / Banca: Cauê Alves / Banca: Sérgio Mauro Romagnolo / Resumo: Esta dissertação investiga a noção de arte moderna presente na reflexão estética do filósofo Maurice Merleau-Ponty, partindo da hipótese de que tal noção está inclusa na meditação sobre as indivisibilidades entre a relação homem, natureza e expressão artística. Apresenta a concepção de arte e arte moderna concomitantemente à trajetória e ao discurso filosófico de Merleau-Ponty. Discorre sobre a tese do filósofo acerca do retorno ao mundo percebido, as indivisibilidades, o corpo vidente e visível, o sensível, a carne do mundo, a pintura, o Ser bruto, a Natureza, logos e a expressão. A partir desses temas, foram desenvolvidas leituras sobre os seguintes textos para dimensionar essa noção de arte moderna: "A dúvida de Cézanne", "A expressão e o desenho infantil", "A linguagem indireta", "A linguagem indireta e as vozes do silêncio" e "O olho e o espírito". Para compreender o pensamento de Merleau- Ponty aproximamos suas ideias a várias teorias da história e da filosofia da arte, a partir dos temas: o espírito moderno, as correspondências, a representação e a expressão. Por fim, destaca os principais valores e ideias que compõem a noção de arte moderna em Merleau- Ponty. / Abstract: This work investigates the notion of modern art in this aesthetic reflection of philosopher Maurice Merleau-Ponty, on the hypothesis that such a notion is included in the meditation about the indivisibilities on the relationship between man, nature and artistic expression. It presents the concept of art and modern art concomitantly to the trajectory and the philosophical discourse of Merleau-Ponty. This work also discuss the thesis of the philosopher about returning to the perceived world, the indivisibilities, the visible and invisible body, the sensitive, flesh of world, the painting, the Being, the Nature, the logos and the expression. On the themes, the following texts were studied to investigate the author's notion of modern art: "Cézanne's Doubt", "Expression and the child's drawing", "The indirect language", "The indirect language and the voices of silence" "Eye and mind". To comprehend Merleu-Ponty's ideas, his thought was related with various History and Art Philosophy theories, under the following themes: the modern mind, correspondence, representation and expression. At last, this work emphasizes the core values and ideas that make up the notion of modern art of Merleau-Ponty. / Mestre

Orientador: Marco Antonio Alves do Valle / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T22:57:05Z (GMT). No. of bitstreams: 1 Januario_ElizeteTerezinha_M.pdf: 4484049 bytes, checksum: a4a509d50976eacd4eb6b58469c20f86 (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa teve por finalidade apontar a importância da estimulação sensorial no corpo humano por meio do contato com objetos e instalações que possam proporcionar uma experiência sensível (olhar, tatear, ouvir, degustar e falar). Neste sentido, tais experiências mostram a interação entre a arte e a vida do ser humano em seu dia-a-dia, bem como as relações que seguem entre os objetivos de Lygia Clark e Hélio Oiticica, abordando questões relativas à "exploração do corpo¿, focalizando-o como um instrumento ativador de sua própria percepção, e, posicionando os homens a uma proximidade maior com a Arte a partir das vivências sensoriais. Porém, seus caminhos são divergentes. Lygia Clark parte do interior do sujeito, cria dobras em seus objetos para que ele chegue ao mundo e ao outro à partir de seu inconsciente e de seu Self; Hélio Oiticica já propõe o oposto, chegar ao sujeito à partir do exterior, e ainda, levanta questões sociais e políticas a partir da reunião de objetos e pessoas ligados ao seu meio, determinando uma das vertentes mais arrojadas da arte contemporânea brasileira, sinalizando a principal característica de nossa cultura em que o corpo é suporte e meio da expressão artística brasileira. Este interesse surgiu a partir de conclusões adquiridas nos meios em que acontecem as exposições de Arte contemporânea. Foi então que percebeu-se o quanto as inter-relações e os acontecimentos envolvem o artista ao mundo, e fazem com que ele continue as buscas por novas expressões artísticas, experimentando, transformando, sentindo e ingerindo as diversidades que rodeiam a sociedade, principalmente no meio artístico. Estas relações se dão e são proporcionadas pelos cinco sentidos. A consciência do indivíduo se completa ao interagir com o mundo por meio das manifestação dos cinco sentidos. São eles que nos propiciam esta comunicação com o meio externo. O direcionamento do trabalho é apontar o Artista, e, neste sentido, ele exerce um papel de articulador destas relações quando propõe objetos interativos com seu corpo e com os corpos de outras pessoas. As considerações mencionadas nesta dissertação dizem respeito a este processo de construção interior em direção às pesquisas plásticas, que investigam uma série de materiais e novas interpretações sobre espaço, formas, corpo e mundo. Sendo assim, no corpo desta dissertação estarão descritos o caminhar de Lygia Clark e Hélio Oiticica em direção aos questionamentos sobre o conceito da ¿quebra do plano¿, a ¿queda da moldura¿, bem como as experiências sensoriais exploradas em seus objetos e instalações, fator que possibilita a manifestação de todos os órgãos dos sentidos em nosso corpo. O caminhar em direção a tridimensionalidade em conseqüência da exploração dos sentidos nos trabalhos plásticos mencionados neste trabalho, salientando a forte influência dos trabalhos dos artistas acima referidos. Portanto, não podemos deixar de mencionar a fundamentação teórica pautada nas considerações do pensamento fenomenológico existencial. Finalizando, foi feito um apanhado geral sobre o envolvimento dos cinco sentidos como elementos imprescindíveis para que a sensibilidade não se perca na vida do Ser Humano, e ainda, a relação das investigações sensoriais nos trabalhos de Lygia Clark e Hélio Oiticica. Concluindo, então, esta pesquisa com a certeza de que o Corpo não está distante da Arte em momento algum. Ao Ser Humano é dado a capacidade e sentir, vivenciar e captar o mundo a sua volta, desenvolvendo a vida, o movimento e o instinto de criação e transformação a partir do que lhe é oferecido / Abstract: This research had for purpose to point the importance of the sensorial stimulation in the human body by means of the contact with objects and installations that can provide a sensible experience (to look at, to tatear, to hear, to degustar and to speak). In this direction, such experiences day-by-day show to the interaction between the art and the life of the human being in its, as well as the relations that follow between the objectives of Lygia Clark and Hélio Oiticica, approaching relative questions to the "exploration of the body", focusing it as an activator instrument of its proper perception, and, locating the men to a bigger proximity with the Art from the sensorial experiences. However, its ways are divergent. Lygia Clark has left of the interior of the citizen, creates folds in its objects so that it arrives at the world and the other to leaving of its unconscious one and of its Self; Oiticica helium already considers the opposite, to arrive at the citizen to leaving of the exterior, and still, raises social matters and politics from the meeting of on objects and people to its half one, determining one of the sources boldest of the art Brazilian contemporary, signaling the main characteristic of our culture where the body is support and way of the Brazilian artistic expression. This interest appeared from conclusions acquired in the ways where the expositions of Art happen contemporary. It was then that it was perceived how much the Inter-relations and the events involve the artist to the world, and make with that it continues the searches for new artistic expressions, trying, transforming, feeling and ingesting the diversities that encircle the society, mainly in the artistic way. These relations if give and proportionate for the five are felt. The conscience of the complete individual if when interacting with the world by means of the manifestation of the five felt. They are they who in them propitiate this communication with the external way. The aiming of the work is to point the Artist, and, in this direction, it it exerts a paper of articulador of these relations when it considers interactive objects with its body and the bodies of other people. The considerações mentioned in this dissertação say respect to this process of interior construction in direction to the plastic research, that investigates a series of materials and new interpretations on space, forms, body and world. Being thus, in the body of this dissertação they will be described walking of Lygia Clark and Hélio Oiticica in direction to the questionings on the concept of the "plan in addition", the ¿fall of the frame¿, as well as the sensorial experiences explored in its objects and installations, factor that makes possible the manifestation of all the agencies of the directions in our body. Walking in direction the tridimensionalidade in consequence of the exploration of the directions in the plastic works mentioned in this work, pointing out the strong influence of the works of the artists above related. Therefore, we cannot leave to mention the pautada theoretical recital in the considerações of the existencial fenomenológico thought. Finishing, apanhado on the envolvement of the five was made general felt as elements essential so that sensitivity not if it loses in the life of the Human being, and still, the relation of the sensorial inquiries in the works of Lygia Clark and Hélio Oiticica. Concluding, then, this research with the certainty of that the Body is not distant of the Art at any moment. To the Human being the capacity is given and to feel, to live deeply and to catch the world its return, developing the life, the movement and the instinct of creation and transformation from that it is offered to it / Mestrado / Mestre em Artes

This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.

It would seem almost inconceivable that art could, of its own accord, move society towards the kind of ultimate resolution of conflict necessary for an emergence of the egalitarian paradise on earth that was proposed by most Messianic philosophies in the nineteenth century. Art continually appears to be in the process of undermining any attempt by theoretical philosophy to contain or describe it as an absolute. This seems to be the source of much of the irony of art objects and their tacit philosophical implications. We can assume then that there is a somewhat paradoxical basis for the phenomenon of art as we have come to understand it historically. Any object, in order to be meaningful, has to carry a charge. Whether this is of a magical quality or pertains, as we conventionally recognize it, to some social understanding, what we call an ideology, the art-object does not exist without meaning. It is important to realize that I am not drawing a distinction here between ordering or disordering phenomena. Destruction is equally meaningful as construction, these are not value judgments, evil is as present a phenomena as good, and probably as intrinsically human. The concept of creativity that permeates our knowledge and respect for the powers art traditionally held, are historical understandings. As a civilization, we may have done away with mythological stories of our origins, cosmogonies, etc., but we have tended to unconsciously replace them with conceptual, as opposed to imagistic, alternatives, still largely mythic in construction, although we do not popularly recognize them as such. I am using myth here in Levi-Strauss' sense of the word, i.e.: "the unconscious social truths, those principles which provide the broadest base for a society's conception of itself.”¹ One task of this thesis will be to sort out the confusion which has resulted because of the ideological entanglement with mythic (religious) and scientific conceptions that has characterized the central arguments surrounding the arts in the early years of the twentieth century. Revoluntionary Russia now appears as a particularly dense arena for the combat of extreme or polarized beliefs as to the nature of art, and the artist's responsibility relative to an emerging mass consciousness. In this context there was a comparatively conscious merger of ideological propositions into what was previously considered a uniquely aesthetic or pure art production. Such a situation was contingent to the life and work of Kasimir Malevich (1878-1935). My intention is to demonstrate the art historical antecedents to such a period relevant to Malevich’s conceptions and the relationships which interconnect the development of his aesthetic with the philosophical and political concerns of his time. The ethos in which the artist emerges is especially indivisible in this instance from… [abstract continues] / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

The XXXII Venice Biennale, held in 1964, presented an important moment in the history of American art, for it was the first time that an American painter was awarded the major prize at the prestigious international show. The fact that Robert Rauschenberg captured the most coveted award of the Biennale, the Grand Prize for painting, had major repercussions for the art scene in the United States and the international art community. For the Americans, the prize was "proof" that American art had finally come into its own, that through its struggle for recognition over the European avant-garde, it had finally reached its well-deserved place as leader of the pack. For the Europeans, especially the French, the award represented the "last frontier" of American expansionism--for it seemed that the economic and military dominance of the United States finally had been supplemented by cultural dominance. It seems pertinent to this study to examine the French response in particular, since they had traditionally dominated Biennale prizes. By analyzing the French reviews and responses to the prize, and situating these in a broader political context, I will discuss how the U.S. was perceived as the new cultural leader, despite the vehement objections to the culture of the New Frontier, which seemed to be only Coke bottles, stuffed eagles and carelessly dripped paint. Given the vehement objections engendered by the Rauschenberg victory, it seems somewhat curious that the United States would choose Rauschenberg as a representative of American culture. In order to discover how the pop imagery in the work was linked to the image : of U.S. culture promoted by the U.S. Information Agency (the government agency responsible for the show), it is necessary to analyze the cultural and intellectual debates of the early 1960s. Rejecting earlier notions that high art should remain separate from mass culture, a prominent group of intellectuals argued for a "new sensibility" in art which would embrace popular culture, thereby elevating it. This positive notion of a single, all-embracing culture corresponds to a more general optimism among many intellectuals; their rallying cry was the "end of ideology," which disdained radical critique in favor of the promise of Kennedy's "progressivism" and the welfare state. These intellectuals argued that while the system was not perfect, any major problems could be averted by simply "fine-tuning" the existing state; in the meantime, the promise of Kennedy's New Frontier required a more affirmative than critical stance. The elements shared between these discourses on culture and society at this time were of seminal importance to the critical understanding of Rauschenberg's work, particularly as it was presented at the Biennale. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

In the late 1870's English society witnessed the rise of the aesthetic movement, a phenomenon which affected the art and literary worlds and which was characterized then and later as the pursuit of art for art's sake. The notoriety of the movement at the time obscured its exact limits and the origins of its ideas and values. The intellectual and literary side of the movement, especially the ideology of art for art's sake, attracted most notice and comment, yet the plastic arts of painting and industrial design were crucial to the theories of aestheticism and its impact on Victorian culture. This thesis examines those plastic arts, and the social and economic contexts in which they had a place, and their relationship to the aesthetic movement. The aim of this thesis is to describe the cultural context in which the aesthetic movement in the arts developed. The aesthetic movement came at a time when most critics would agree that Victorian design in the fine and industrial arts was at a low point, and did much to stimulate higher standards in both fields. The reasons for this failure and subsequent recovery have been incompletely researched and, I think as a result, incompletely understood. The social and economic changes in the fine and industrial art worlds form a large part of this study out of necessity and in dealing with the mechanism of the art markets, the changing status of the painter, the rise of the industrial designer and the growing activity of the middle-classes in the art world, I have attempted to demonstrate that the aesthetic movement was merely an offshoot of a larger cultural problem, a problem which the Victorians could not solve. Behind the aesthetic movement was the problem of reconciling the mechanism and mechanistic rhythms of modern society with art and the values which art represented, especially individualism, humanism and the knowledge of life sprung of faith rather than science. The solutions and compromises which earlier Victorians had accepted were no longer possible to many people in the 1870's. / Arts, Faculty of / History, Department of / Graduate

This thesis explores some issues related to directed change in Chinese literature and art from 1930 to 1955. The focus is on the performing arts. The main issues of concern are changes in the social organisation of literary and artistic activity, and changes in the conscious model of literature and art held by those leading these social changes. Fieldwork was done in China during the period 1974 to 1977. Since the main concern of the thesis is with an earlier period, extensive library research was done in China, the United States, and Canada. The formative period of the modern transformation of Chinese literature and art was examined by research into the changes of the Kiangsi Soviet, Yenan, and National Consolidation periods. Theoretical concepts derived from the works of Clifford Geertz on ideology, Eric Wolf on peasant political movements, Antonio Gramsci on intellectuals and hegemony, and Raymond Williams on the arts in society were synthesised to form an approach which could illuminate these problems. In this work literature and art were consistently analysed as modes of social activity rather than as purely aesthetic phenomena. The development within leading circles in China of an approach to literature and art based upon recognition of its social and political aspects and a concern with effecting change in these areas is examined, beginning with the rudimentary formulation of ideas:-on this subject in the early 1930's. The effort to transform literature and art by way of carrying out planned and organised alterations in the social practice of literary and artistic activities on the part of both professionals and amateurs is examined in detail. These efforts were found to be theoretically provocative and to have shown some signs of success, particularly in the middle and late 1940's. A partial revision of these policies is noted in the early 1950's, and some possible reasons for that are suggested. / Arts, Faculty of / Sociology, Department of / Graduate

The problem being considered in this paper is the alienation of the general viewer from contemporary art. Modern art has become less understandable than ever before to the non-art audience because it has, in many cases, ceased to deal with human-oriented subject matter, and has become detached from life. This paper examines ways in which modern art might be made more accessible to the world through the artists' use of emotion, intuition, intelligence, and other Humanistic elements as content for paintings. It contains a four-part proposal of what Humanist art is. The basic form is the use of rhetorical questions about modern art, leading one to more questions and to a broader, more open-minded attitude toward modern art.

Orientador(a): Sergio Mauro Romagnolo / Banca: Agnaldo Valente Germano da Silva / Banca: Mônica Soares Tinoco Sanovicz / Resumo: Esta dissertação consiste numa análise de minha produção plástica preexistente do corpo de obras realizadas no período de dois anos do curso do mestrado. Esse estudo tem como foco um aprofundamento na investigação da apropriação de imagens prontas como procedimento artístico, tema extremamente relevante para produção artística atual, pois consiste como um dos eixos que norteiam a minha produção artística, já se fazendo presente em meus primeiros estudos e trabalhos artísticos, realizados desde a época da graduação. Para explorar todo esse panorama optei por focar no pensamento de críticos que se aprofundam no estudo dessas práticas como Douglas Crimp e Nicholas Bourriaud, bem como na obra de Marcel Duchamp e Andy Warhol, que são artistas que inauguram aspectos chave para esse contexto / Abstract: This dissertation consists of an analysis of my preexisting plastic production of the body of work done during the two years of the Master's degree course. This study focuses on deepening the investigation of the appropriation of ready-made images as an artistic procedure, witch is a extremely relevant theme for the current artistic production, and it also consists of the axes that guide my artistic production, and has been present since my first studies and artistic works as a graduate student. To explore this whole panorama, I have chosen to focus on the thinking of critics who delve deeper into the study of such practices as Douglas Crimp and Nicholas Bourriaud, as well as the work of Marcel Duchamp and Andy Warhol, who are artists who inaugurate key aspects of this context / Mestre