No description available.

A arte conheceu durante o século XX algumas mudanças cruciais que tocaram os limites do que até então era considerado como artístico. Partindo da mímesis tradicional, buscou sua negação e voltou a ela através de uma busca cada vez mais radical da própria realidade, no limite de uma ruptura com as categorias tradicionais de mímesis/representação. Examinando o trabalho de Duane Hanson, Damien Hirst, Gunther von Hagens e Rudolf Schwarzkogler, o presente trabalho procura investigar este apelo ao real, por meio da apresentação cada vez mais evidente do corpo e do uso da violência a este corpo como operação para alcançar o real. Paralela a este encontro com o real através da violência ao corpo, mostra-se através da obra de Iberê Camargo, uma segunda alternativa, que aqui é interpretada como trágica. A tragédia surge nesta dissertação como contraponto à busca de um real que, em seu excesso violento e traumático, perde as características representativas e enunciativas (em seu modo particular de enunciação, ou seja, a criação de metáforas através da representação artística) que até então haviam caracterizado a arte. Como conceito eminentemente artístico, e dentro dos limites da representação, a tragédia apresenta-se como metáfora da última fase do trabalho de Iberê Camargo, produzida a partir da década de 1980 e tendo como singularidade o retorno à representação figurativa. / Art has known during the 20th century some crucial changes that touched the boundaries of what until then was considered as artistic. Starting from the traditional mimesis, it sought for its denial and came back to it through a search more and more radical of the Real at the limit of a rupture with the traditional categories of mimesis/representation. The Real is defined according to Lacan, through its reading by Hal Foster in the art field. Assessing the works of Duane Hanson, Damien Hirst, Gunther von Hagens and Rudolf Schwarzkogler, the present work attempts to investigate this appeal to the real by means of the presentation more and more evident of the body as well as the use of violence against this body. As a opposite to those works which put in scene the real by means of the violence against the body, through the works of Iberê Camargo, a second alternative is provided, construed here as a tragic one. Tragedy arises in this dissertation as a counterpoint to the search of a reality, which through its violent, traumatic excess, is deprived of both its enunciative and representative features (in this particular mode of enunciation, i.e., the creation of metaphors through the artistic representation), which until then has been characterizing the art. As an eminently artistic concept, and within the boundaries of representation, the tragedy presents itself as a metaphor of the former phase of Iberê Camargo’s works, produced from the 80’s on, and having as singularity, the return to the figurative representation.

A arte conheceu durante o século XX algumas mudanças cruciais que tocaram os limites do que até então era considerado como artístico. Partindo da mímesis tradicional, buscou sua negação e voltou a ela através de uma busca cada vez mais radical da própria realidade, no limite de uma ruptura com as categorias tradicionais de mímesis/representação. Examinando o trabalho de Duane Hanson, Damien Hirst, Gunther von Hagens e Rudolf Schwarzkogler, o presente trabalho procura investigar este apelo ao real, por meio da apresentação cada vez mais evidente do corpo e do uso da violência a este corpo como operação para alcançar o real. Paralela a este encontro com o real através da violência ao corpo, mostra-se através da obra de Iberê Camargo, uma segunda alternativa, que aqui é interpretada como trágica. A tragédia surge nesta dissertação como contraponto à busca de um real que, em seu excesso violento e traumático, perde as características representativas e enunciativas (em seu modo particular de enunciação, ou seja, a criação de metáforas através da representação artística) que até então haviam caracterizado a arte. Como conceito eminentemente artístico, e dentro dos limites da representação, a tragédia apresenta-se como metáfora da última fase do trabalho de Iberê Camargo, produzida a partir da década de 1980 e tendo como singularidade o retorno à representação figurativa. / Art has known during the 20th century some crucial changes that touched the boundaries of what until then was considered as artistic. Starting from the traditional mimesis, it sought for its denial and came back to it through a search more and more radical of the Real at the limit of a rupture with the traditional categories of mimesis/representation. The Real is defined according to Lacan, through its reading by Hal Foster in the art field. Assessing the works of Duane Hanson, Damien Hirst, Gunther von Hagens and Rudolf Schwarzkogler, the present work attempts to investigate this appeal to the real by means of the presentation more and more evident of the body as well as the use of violence against this body. As a opposite to those works which put in scene the real by means of the violence against the body, through the works of Iberê Camargo, a second alternative is provided, construed here as a tragic one. Tragedy arises in this dissertation as a counterpoint to the search of a reality, which through its violent, traumatic excess, is deprived of both its enunciative and representative features (in this particular mode of enunciation, i.e., the creation of metaphors through the artistic representation), which until then has been characterizing the art. As an eminently artistic concept, and within the boundaries of representation, the tragedy presents itself as a metaphor of the former phase of Iberê Camargo’s works, produced from the 80’s on, and having as singularity, the return to the figurative representation.

A arte conheceu durante o século XX algumas mudanças cruciais que tocaram os limites do que até então era considerado como artístico. Partindo da mímesis tradicional, buscou sua negação e voltou a ela através de uma busca cada vez mais radical da própria realidade, no limite de uma ruptura com as categorias tradicionais de mímesis/representação. Examinando o trabalho de Duane Hanson, Damien Hirst, Gunther von Hagens e Rudolf Schwarzkogler, o presente trabalho procura investigar este apelo ao real, por meio da apresentação cada vez mais evidente do corpo e do uso da violência a este corpo como operação para alcançar o real. Paralela a este encontro com o real através da violência ao corpo, mostra-se através da obra de Iberê Camargo, uma segunda alternativa, que aqui é interpretada como trágica. A tragédia surge nesta dissertação como contraponto à busca de um real que, em seu excesso violento e traumático, perde as características representativas e enunciativas (em seu modo particular de enunciação, ou seja, a criação de metáforas através da representação artística) que até então haviam caracterizado a arte. Como conceito eminentemente artístico, e dentro dos limites da representação, a tragédia apresenta-se como metáfora da última fase do trabalho de Iberê Camargo, produzida a partir da década de 1980 e tendo como singularidade o retorno à representação figurativa. / Art has known during the 20th century some crucial changes that touched the boundaries of what until then was considered as artistic. Starting from the traditional mimesis, it sought for its denial and came back to it through a search more and more radical of the Real at the limit of a rupture with the traditional categories of mimesis/representation. The Real is defined according to Lacan, through its reading by Hal Foster in the art field. Assessing the works of Duane Hanson, Damien Hirst, Gunther von Hagens and Rudolf Schwarzkogler, the present work attempts to investigate this appeal to the real by means of the presentation more and more evident of the body as well as the use of violence against this body. As a opposite to those works which put in scene the real by means of the violence against the body, through the works of Iberê Camargo, a second alternative is provided, construed here as a tragic one. Tragedy arises in this dissertation as a counterpoint to the search of a reality, which through its violent, traumatic excess, is deprived of both its enunciative and representative features (in this particular mode of enunciation, i.e., the creation of metaphors through the artistic representation), which until then has been characterizing the art. As an eminently artistic concept, and within the boundaries of representation, the tragedy presents itself as a metaphor of the former phase of Iberê Camargo’s works, produced from the 80’s on, and having as singularity, the return to the figurative representation.

Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.