The following statement supports the investigations that culminated in the body of sculptural work entitled “Daoist Garden”. It is an examination of the most basic sculptural issues of form and space, and reverses the roles of prototype and mold to give visual accounting of spaces created by curved planes. These spatial records allude to cycles of disintegration and reconfiguration of matter on various timelines and scales. The philosophical influence behind the work employs the concepts of yin and yang, which relate directly to the mold/positive relationship, and are essential to experiencing Dao, the eternally nameless underlying order of the universe. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As exposições anuais Panorama da Arte Atua Brasileira e Jovem Arte Contemporânea, organizadas respectivamente pelo Museu de Arte Moderna de São Paulo e pelo Museu de Arte Contemporânea da Universidade de São Paulo, se dedicaram a expor e legitimar determinadas tendências da arte dita jovem e atual durante esse período. A análise comparativa proposta por essa pesquisa revela e discute os mecanismos de seleção, organização, premiação e apresentação de obras em ambas as exposições. O foco da pesquisa dá-se no ano de 1972, momento em que a edição da Jovem Arte Contemporânea apresenta grandes inovações, ano de intenso crescimento do mercado de artes paulistano, auge da repressão militar e em que o Panorama discute as categorias escultura e objeto. Buscou-se analisar as exposições dentro desse contexto maior, apontando como referências os encontros internacionais de diretores de museus e outras exposições paradigmáticas para o período realizadas na Europa e na América Latina. / Brazilian art from the 1970s is known for its high degree of experimentation and for challenging both artistic and museological canons. The annual exhibitions Panorama da Arte atual Brasileira and Jovem Arte Contemporânea, organized respectively by the Museum of Modern Art of São Paulo and the Museum of Contemporary Art of the University of São Paulo, are dedicated to exposing and legitimizing certain art trends during this period. The comparative analysis proposed by this research reveals and discusses the mechanisms of selection, organization, and presentation works in both exhibitions. The focus of the research takes place in 1972, when the show Jovem Arte Contemporânea presents major innovations and the Panorama discusses sculpture and object categories, the year is also marked by intense growth of the a São Paulo art market, the increase of military repression. We sought to examine the exhibitions within this larger context, taking as references the discussions that occurred in the international encounters of museums directors, and also other paradigmatic exhibitions for the period held in Europe and Latin America.

Este estudo resulta de um levantamento de dados, reflexões e análises sobre 3 Óperas conceituais do artista plástico José Roberto Aguilar, realizadas nos anos 1970: Circo Antropofágico Ambulante Cósmico Latino Americano apresenta essa noite: a transformação permanente do tabu em totem; Ópera o 3º mundo; 3 lutas de samurai, 25 metros de pintura contra 3 demônios que assolam a vídeo-arte nacional. Sob a luz da arte conceitual praticada naquela época, foram selecionados alguns procedimentos e processos criativos utilizados pelo artista e a partir daí foram posicionados temas de discussão, como: a crítica da crítica, arte e magia, a performance do autor, o vídeo como mídia, temas pertinentes àquela época. O tema Antropofagia, recorrente na obra de Aguilar, foi abordado através de um vídeo de 13 minutos. A contribuição desta dissertação é revelar dados e pontos de vista de 3 Óperas de Aguilar e ampliar os arquivos da arte dos anos 1970 para os estudos contemporâneos. / This dissertation is the result of a data collection, reflections and analysis on the three conceptual Operas made by the artist Jose Roberto Aguilar, realized in the seventies: Circo Antropofágico Cósmico Ambulante Latino Americano apresenta esta noite: A Transformação permanente do Tabu em Totem; Ópera do 3º mundo; As 3 lutas de samurai e os 25 metros de pintura contra os demonios que assolam a arte contemporânea brasileira. Under the perspectives of the conceptual art at that time it was selected some procedures and creative processes used by the artist. From this point of view were positioned topics of discussion, like: the critic of the critic, art and Magic, authors performance, and video media. Important themes at that time. The theme Antropofagia, recurring in the work of Aguilar, was approached in a poetic 13-minute video, where the artist through interviews and reading the manifesto anthropophagic shows his vision of anthropophagic world. The contribution that master degree is to reveal datas and some points of views about three Operas Aguilar, and to amplify the archives of the art from the 70\'s, to contemporary studies.

This is a study of the early work of the American artist Louise Lawler and her collaborators, including Christopher D’Arcangelo, Sherrie Levine, and Jenny Holzer. It centers on the New York art world between 1978 and 1983—a moment hailed as the end of avant-gardism and the birth of postmodernism—and examines the legacy and transformation of conceptual art and institutional critique by a new generation of artists during this period. Lawler’s practice is analyzed in relation to her Pictures Generation peers, so named for their affiliation with the non-profit space Artists Space (which mounted the influential exhibition "Pictures," curated by Douglas Crimp, in 1977) and the commercial gallery Metro Pictures, founded in 1980. The work of Pictures artists is united by its appropriation of images and texts that were culled from everyday life and modified through photographic strategies such as cropping, captioning, and juxtaposition. These artists, many of them women, developed a critique of representation—in Gayatri Spivak’s words, of "standing-for" and "speaking-for"—located at the crossroads of feminism and postmodernism. Though Lawler’s practice was understood as institutional critique at the moment of its emergence, she has since been historicized as a Pictures artist. This study understands her as a double agent who deliberately operates between and across spheres usually kept separate. In so doing, she refigures the practice of critique as a subtle form of maneuvering that I, following the artist, term finesse. The key contribution of Lawler’s work is a new understanding of power, informed by the politics of identity and difference, which accounts for the crucial importance of subjectivity and positioning in the act of critique.

Este estudo resulta de um levantamento de dados, reflexões e análises sobre 3 Óperas conceituais do artista plástico José Roberto Aguilar, realizadas nos anos 1970: Circo Antropofágico Ambulante Cósmico Latino Americano apresenta essa noite: a transformação permanente do tabu em totem; Ópera o 3º mundo; 3 lutas de samurai, 25 metros de pintura contra 3 demônios que assolam a vídeo-arte nacional. Sob a luz da arte conceitual praticada naquela época, foram selecionados alguns procedimentos e processos criativos utilizados pelo artista e a partir daí foram posicionados temas de discussão, como: a crítica da crítica, arte e magia, a performance do autor, o vídeo como mídia, temas pertinentes àquela época. O tema Antropofagia, recorrente na obra de Aguilar, foi abordado através de um vídeo de 13 minutos. A contribuição desta dissertação é revelar dados e pontos de vista de 3 Óperas de Aguilar e ampliar os arquivos da arte dos anos 1970 para os estudos contemporâneos. / This dissertation is the result of a data collection, reflections and analysis on the three conceptual Operas made by the artist Jose Roberto Aguilar, realized in the seventies: Circo Antropofágico Cósmico Ambulante Latino Americano apresenta esta noite: A Transformação permanente do Tabu em Totem; Ópera do 3º mundo; As 3 lutas de samurai e os 25 metros de pintura contra os demonios que assolam a arte contemporânea brasileira. Under the perspectives of the conceptual art at that time it was selected some procedures and creative processes used by the artist. From this point of view were positioned topics of discussion, like: the critic of the critic, art and Magic, authors performance, and video media. Important themes at that time. The theme Antropofagia, recurring in the work of Aguilar, was approached in a poetic 13-minute video, where the artist through interviews and reading the manifesto anthropophagic shows his vision of anthropophagic world. The contribution that master degree is to reveal datas and some points of views about three Operas Aguilar, and to amplify the archives of the art from the 70\'s, to contemporary studies.

Esta pesquisa parte da constatação de uma insistente ocorrência de enunciados no modo verbal imperativo no campo da arte contemporânea. Esses comandos se inserem na própria configuração dos trabalhos artísticos, na forma de textos que funcionam como “instruções como arte”. A investigação se desenvolve no sentido de uma projeção anacrônica – da arte mais recente em direção à arte conceitual (anos 1960 e 70), em uma tentativa de apontar o que, no caso dos imperativos artísticos, poderia ser uma atualização de procedimentos e estratégias de um passado mais ou menos recente. Para tanto, a pesquisa recorre a dois estudos de caso: o primeiro sobre a exposição coletiva Located work (Madrid) (2008), concebida pelo norte-americano Joseph Kosuth, e o segundo sobre os três Estudos para espaço e tempo (1969-2001), do brasileiro Cildo Meireles. A análise revisa as disputas discursivas entre o conceitualismo político e o conceitual de viés tautológico, sinalizando para uma precariedade de conceitos e narrativas. / This research rises from the verification of the somewhat frequent use of the imperative form in statements in contemporary art. The commands are inserted in the art work itself in the form of “texts” that function as “instructions as art”. The investigation is developed in an anachronic projection – from the most recent art towards conceptual art (1960’s and 70’s), attempting to point out what, in the case of artistic imperatives, could be an updating of procedures and past strategies. In order to do that, the research seeks two study cases: one regarding the exhibit Located work (Madrid) (2008), conceived by Joseph Kosuth, and the other about Estudos para espaço e tempo (1969-2001), by Cildo Meireles. The analysis discusses the discoursives disputes between political conceptualism and tautological conceptual art, indicating a current precariousness of concepts and narratives.

Within a practice founded on both typographic form and language, I have continued to push myself to make work that is more sensitive to place, more contextual, more (hopefully) generous toward a public audience. These pieces might serve as useful instruments of institutional critique, resources for comprehension, or moments in which to interrogate preconceived modes of seeing. I deploy original texts in public spaces in order that they might force viewers to decide how to personally resolve the content they encounter. Is it language or object? Literal or figurative? Graphic design or art? The further I develop this body of work, the less interested I am in providing answers to those questions. The questions themselves are enough.

J.O. Mallander’s Extended Play (1968) is a sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: “Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen…” Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper. Extended Play is, in parallel with Derrida’s critique of western metaphysics, a deconstruction in sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen’s politics of neutrality represent. Mallander’s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of sound recording. Through overturning the dialectics of the original and the copy, where repetition of sound also temporalizes the representation of the proper, it does not unequivocally reproduce its content. As an aural document, repeated and mass-produced as a record, it devalues, therefore, presumptions of origin. Derrida’s idea of “sous rature” initiates, in the discussion of Extended Play as a specific form of conceptual sound art, the notion of sound under erasure, which is not reducible to an auditory or medium-specific practice.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 323-346).

While ambitious art museums, biennials, galleries, curators, and critics promoted early Colombian conceptual art and its antecedents as being part of the latest international art trends, the intrepid iconoclasts who created it were not at all interested in being au courant or international. Far from it, their primary focus was on addressing local issues and audiences. They had an ambivalent relationship to institutions, taking advantage of internationalization, which was part of a strategy for cultural and economic development. But these artists did so in order to insert their own tactics emerging from, and dealing with, the realities of underdevelopment. Artists such as Antonio Caro, Jorge Posada, and Efraín Arrieta--developing approaches first introduced by antecedents like Bernardo Salcedo, Feliza Bursztyn, and Beatriz González--sought to open the viewers' eyes to the concrete experience of the here-and-now through the use of usually banal and often ephemeral materials and techniques. They focused critically on social issues--nationalism, education, imperialism, agrarian inequity, governmental policy, and political organization. In taking on specific, timely, and usually local matters dealing with culture, politics, the economy, and social organization, they sought to upset the prevailing conditions outside as well as inside the realm of art. Even the introduction of new forms and ways of producing art should be seen as an ideological rather than a formal exercise since it constituted a cultural assault against the Colombian ruling class. This art, then, was political: it was motivated by beliefs regarding the public affairs of a country. I argue that early Colombian conceptual art was a visual means of exposing institutional strategies of control. I show how this art partook of the spirit of participation which marked the late 1960s and early 1970s in Colombia and in the world. In the process, I add to the understanding of this tumultuous period in world history, since my study is an example of the complex processes of cultural production in an age of globalization. / text