S'appuyant sur une pratique personnelle du dessin, du collage et de la photographie, cette thèse de poïétique explore le thème de l'enfance dans l'art. Conçue comme un " work in progress", elle part d'une recherche sur l'intimité du dessin afin de construire un regard singulier sur : l'exposition de photographies et de vidéographies témoignant de traumas d'enfants. Elle vérifie l'hypothèse selon laquelle l'artiste puise dans sa propre enfance et dans celle des autres afin de conquérir des territoires de créations ignorés, là où prend corps l'altérité intime. La première partie analyse notamment les œuvres de Louise Bourgeois, Mike Kelley et Rosemarie Trockel, pour comprendre comment leurs processus créateurs réactivent l'espace transitionnel et ses phénomènes en nous immergeant dans des souvenirs d'enfances perdus. Dans une deuxième partie, c'est la transfiguration et l'altération radicale des visages d'enfants photographiés par Diane Arbus, Lewis Hine, Sebastiâo Salgado, ou filmés par Gillian Wearing qui sont interrogées. La réflexion se poursuit autour d'enjeux esthétiques et politiques liés à l'utilisation de ces images par des artistes tels que Mathieu Pemot et Catherine Poncin. Enfin, la troisième partie est centrée sur l'œuvre de Gerhard Richter traitant du transfert en tant que processus permettant d'actualiser, par la répétition, les événements passés qui le hantent. Le faire-œuvre qui en témoigne fait corps, devenant ainsi capable de figer ces blessures. Notre thèse, c'est que l'expérience d'un« absorbement » total dans ces œuvres nous incluant et nous excluant simultanément permet à l'artiste et au regardeur de reconnaître l'histoire des autres en lui. / Relying on personal experience in drawing, collage and photography, this thesis on poiesis explores the subject of childhood in Art. Designed as a work in progress, it stems from the intimacy of drawing and aims at constructing a singular outlook from the display of photography and films depicting childhood trauma. It verifies the hypothesis stating that the artist peers into his own childhood and that of others in order to conquer creative fields hitherto ignored, at the threshold of the intimate other. The first section scrutinizes the works of Louis Bourgeois, Mike Kelley and Rosemarie Trockel striving to understand how their creative processes reactivate transitional space -and its associated phenomena- by immersing us in distant recollections of childhood. The second section questions the transfiguration and the dramatic alteration of children's faces filmed and photographed by Diane Arbus, Lewis Hine, Sebastiâo Salgado and Gillian Wearing. The thesis then pursues on to evaluate the aesthetic and political stakes bound to the use of these images by artists, the likes of Mathieu Pemot and Catherine Poncin. Ultimately, the third part is centred on the work of Gerhard Richter dealing with transfer as a means of resurfacing -through reiteration- past events that haunt him. The resulting product thus making it possible to set these wounds in stone. Mythesis is that the experience of total absorption/immersion in these works -simultaneously including and excluding us- makes it possible for the artist and the observer to acknowled e the narratives of ethers within themselves.

Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

No description available.

Drawing from my archival research on the Red Army Faction (RAF), also known as the Baader-Meinhof Gang, and the urban guerrilla movement active in the Bundesrepublik Deutschland from the 1970s, my dissertation works through the RAF to speculate about the compulsion towards self-representation inherent to subjectivity. Such compulsion proffers an urgent and recurrent imperative to speak what cannot be said or to conjure what does not exist. This work argues that the perils and the failures of such enunciation, in the face of its compulsory demand, are felt not only in speech but in choreographies of subjectivity performed in aesthetic convolutions of space, gesture, and intonation. These convolutions are subject-forming material productions, rather than reflections or echoes of a pre-existing coherent subject, and trouble the notion of self-representation to the extent that they produce and re-produce the self. While the body is formed by culture, it consistently circumvents the limits of the genres that govern speech communication, therefore, my work is concerned with tracing a mise en scne of self-production by emphasizing non-textual elements. The forms that this circumvention can take exceed the involuntary cry, gesture, uneven breath, or facial expression to include uses of space space that is implicated in the bodys formation but the public legibility of such circumventions is not guaranteed. This work aims to refunction the RAF's declaration of the body as a weapon to the body as a medium for communication and to approach the aesthetics of a body (anti)language that extends beyond the particularities of the urban guerrilla project to the situation of mundane subjectivity that repeatedly calls for enunciation. My dissertation is a performative text that deploys formal interventions such as collage, assemblage, photography, and interleaved texts meant to intrude upon the reader that target instrumental language use. To illustrate that the ongoing production of subjectivity of the urban guerrilla is not alien to that of the politically recognizable citizen, my work contemplates practices of contemporary art and the production of material objects of signification that engage in practices of citation and disguise the incoherence of our acts.

This project explores the intersection of postwar German history, visual art, and left-wing terrorism. More than thirty years have now passed since the German Red Army Faction’s (1970-1998) most spectacular violent campaign—the so-called “German Autumn” of 1977—and yet the organization continues to elicit a variety of cultural responses from many artists. Interestingly, many films, texts, and visual artworks featuring the Red Army Faction (RAF) as their subject focus heavily on the group’s charismatic founders and on the German state’s vigorous efforts to suppress them and their successors, and yet these works pay comparatively scant attention to the individuals whom the RAF murdered. In light of this observation, I argue that the German Left’s cultural memory of the RAF was and still is marked not only by a significant ambivalence concerning the RAF (especially the founders) and the German state, but also the victims. As a means of elucidating this ambivalence, I offer close “readings” of two works of visual art that debuted at different moments in the years following the German Autumn. Gerhard Richter’s October 18, 1977 (1988) is a photorealist series that invites viewers to consider the lives and especially the deaths of the RAF’s principal members, while Hans-Peter Feldmann’s photo compilation The Dead 1967-1993 (1998) presents a sobering chronology of individuals killed either directly or indirectly as a result of the German leftist counterculture, including terrorist violence, without making an immediate distinction between perpetrators and victims. Within the framework of the larger RAF cultural memory, the works of Richter and Feldmann thus help clarify some of the causes and effects of the German Left’s suspended resolution regarding RAF terrorism. / text

The objective of my thesis is to extend the scholarship on colour in painting by focusing on how it is employed within the structuring framework of the orthogonal grid in the paintings of three contemporary artists, Ad Reinhardt, Agnes Martin and Gerhard Richter. Form and colour are essential elements in painting, and within the “essentialist” grid painting, the presence and function of colour have not received the full discussion they deserve. Structuralist, post-structuralist and anthropological modes of critical analysis in the latter part of the twentieth century, framed by postwar disillusionment and skepticism, have contributed to the effective foreclosure of examination of metaphysical, spiritual and utopian dimensions promised by the grid and its colour earlier in the century. Artists working with the grid have explored, and continue to explore the same eternally vexing problems and mysteries of our existence, but analyses of their art are cloaked in an atmosphere and language of rationalism. Critics and scholars have devoted their attention to discussing the properties of form, giving the behavior and status of colour, as a property affecting mind and body, little mention. The position of colour deserves to be re-dressed, so that we may have a more complete understanding of grid painting as a discrete kind of abstract painting. Each of the three artists I have examined here employed colour and grid in strategies unique to their work and its purposes. Ad Reinhardt arrived at his 1960s “black” paintings out of a background that included strong political beliefs, resistance to the dominant strain of 1950s Abstract Expressionism, and a deep interest in eastern religions and Buddhism. Agnes Martin shared Reinhardt’s interest in Buddhism and eastern religions, but chose to move toward the light in the atmospheric colour of her paintings, speaking of the quest for perfection of the mind in her writings and interviews. Gerhard Richter’s colour charts, a longstanding major subset of the vast range of this prolific artist’s work, speak to a need to go beyond his love of painting to the ungraspable substance of colour itself. / Thesis (Master, Art History) -- Queen's University, 2011-09-27 12:34:58.813

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T18:47:50Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Loren_Cristine_Ferreira_Cuadros.pdf: 4331024 bytes, checksum: 6f0813758e58cdd14dc44163a7ad1238 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:24:48Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Loren_Cristine_Ferreira_Cuadros.pdf: 4331024 bytes, checksum: 6f0813758e58cdd14dc44163a7ad1238 (MD5) / Made available in DSpace on 2018-07-17T21:24:57Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Loren_Cristine_Ferreira_Cuadros.pdf: 4331024 bytes, checksum: 6f0813758e58cdd14dc44163a7ad1238 (MD5) Previous issue date: 2017-12-21 / Sem bolsa / O artista plástico alemão Gerhard Richter tem causado certa controvérsia com sua abordagem do Holocausto que utiliza a técnica da pintura abstrata. Uma de suas obras mais recentes, “Birkenau”, tem como pano de fundo as fotografias tiradas pelos prisioneiros judeus que integravam o Sonderkommando em 1944. Alguns críticos acusam o trabalho de Richter de esconder a verdade de Auschwitz. Por sua vez, o romance “Tudo o que tenho levo comigo”, da escritora romeno-alemã Herta Müller, é constituído por uma série de imagens poéticas que são produto da visão pictórica de seu narrador, Leo Auberg. Aos dezessete anos, o jovem romeno é deportado para um gulag após a ocupação de seu país pelas tropas soviéticas e encontra na observação da beleza dos elementos de seu cotidiano no campo de trabalhos forçados uma forma de resistir à violência física e psicológica a que é submetido. O presente trabalho tem como objetivo sugerir que em vez de encobrir os horrores dos campos de concentração e de trabalhos forçados, a estetização presente nas obras de Richter e Müller evidencia a crueldade dos crimes cometidos pelos nazistas e soviéticos. / The German artist Gerhard Richter has caused some controversy through his use of the abstract painting technique to approach the Holocaust. One of his most recent works, “Birkenau”, uses as its background images the photographs taken by some of the Jewish prisoners who were part of the Sonderkommando group in 1944. Some critics accuse Richter of hiding Auschwitz’s truth. On its turn, “The Hunger Angel”, a novel by Romanian-born German author Herta Müller, consists of successive poetic imagery arising from the picturesque vision of its narrator, Leo Auberg. At the age of seventeen, the young Romanian is deported to a gulag after the occupation of his country by Soviet troops and finds in observing the beauty of the elements of his daily life at the forced labor camp a way of resisting the physical and psychological violence to which he is subjected. This research project aims to suggest that instead of concealing the horrors of the concentration and forced labor camps, the aestheticization found in Richter's and Müller's works emphasizes the cruelty of the crimes committed by the Nazis and Soviets.

The portfolio of compositions comprises six pieces: a chamber opera, an orchestral piece and four shorter chamber works. These pieces are diverse and distinct from one another but collectively explore aesthetic tensions relating to tonality, aura and ontology. The largest piece is a chamber opera setting Margaret Atwood's novel, The Handmaid's Tale, which has been flexibly scored as a series of fragments in order to reflect the quality of her text. The remaining pieces draw influence from poetry, landscape and the environment. They all encompass a series of material contrasts but attempt to simply contain these tensions in some way, leaving them partially unresolved. The thesis is a re-assessment of the music of the Ukrainian composer, Valentin Silvestrov, in particular, his 'metamusic' approach to composition that treats pre-existing styles as a form of musical metaphor. Through a series of comparisons with landscape and photography, I offer new vantage points for approaching the aesthetic issues present in his work, relating to aura, imitation and historical reference. The metaphors of landscape and photography might appear far removed from his work, but mediated by the work of the artist Gerhard Richter, offer a basis for critically analysing Silvestrov's approach. Furthermore, by drawing upon the theories of Walter Benjamin, Roland Barthes and the geographer, Stephan Harrison, I demonstrate how concepts from other disciplines can be recast in order to be effective for approaching both Silvestrov and Richter. As a form of conclusion, I consider the role of photography in the production of CD covers and how this relates to the reception of Silvestrov's metamusic in a commercial setting.

This supporting document for the thesis exhibition entitled “Veils: Truth in Translation” will discuss Block’s exploration of painting during her time at East Tennessee State University. The supporting document also provides the historical background and influences which have contributed to Block's overall process and techniques. These influences include the Abstract Expressionists, Carl Jung, Ferdinand de Saussure, John Dewey, Theodor Adorno, Joan Mitchell and Gerhard Richter. In the supporting document Block probes the idea that non-objective painting is more than a language confined by linguistic elements of sign, signifier, and signified, but is a process of thinking, which is communicated on a higher level of perception than verbal speech or visual symbolism. Block will discuss how she translates experiences from the metaphysical realm of feeling and thought to the physical reality of paint and surface which communicates the experience to the viewer.