Este trabalho disserta sobre as relações entre a arte contemporânea brasileira e a paisagem, através de algumas obras que nela intervieram diretamente, assim como de projetos que propunham-se a intervir, mas não foram executados. Tais obras, ao incorporarem os elementos naturais e culturais que constituem a paisagem, evidenciam-na e fazem-nos refletir sobre sua formação, transformação e apreciação. Foram escolhidas duas exposições que, a princípio, seriam realizadas em escala nacional, e que propuseram de modo mais efetivo a intervenção da arte brasileira na paisagem, estimulando discussões sobre o tema. São elas: projeto Fronteiras (1998-2001), que abordou as referências geográficas da paisagem, e projeto Margem (2009-2010), cujas referências eram as urbanas. Com Fronteiras, a partir do tema fronteira, abre-se o debate sobre território, região, escala geográfica e modos de ocupação territorial; mas a arte introduz nele a necessidade da paisagem. Já com Margem, vêm à tona questões da paisagem urbana, em específico, como os rios são apropriados e percebidos. Esta é uma amostragem de obras que, abordando referências distintas da paisagem, fazem-nos refletir sobre a produção artística nacional que tem na paisagem mais do que uma inspiração, mas um elemento constitutivo; assim como de que modos a paisagem é, possivelmente, uma influência para estas obras. / This research disserts about the relationship between brazilian contemporary art and landscape, regarding some works of art that interfered directly in it, as well as projects that intended to do it, but were not accomplished, eventually. These works, as they incorporate natural and cultural aspects of the landscape, they emphasize it and raise a debate on its development, transformation and appreciation. Two expositions - which were to be taken, at first, in national scale - more effectively proposed the intervention of brazilian contemporary art into the landscape and stimulated discussions on these matters. They are: Fronteiras ( 1998-2001), which approached the geographical landscape references, and Margem (2009-2010), which focused the urban ones. Within Fronteiras, from the boundary theme, the discussion arises on territory, region, geographical scale and models of territorial occupation; nevertheless, art introduces the need of landscape in this debate. In contrast, Margem brings up issues related to the the urban landscape, specifically how rivers are appropriated and apprehended by people. This is a sample of works of art that approach landscape in different ways, which lead us to consider how brazilian contemporary art handles landscape, not only as an inspiration, but as a constitutive component of the work; they also highlight how landscape might be, possibly, an influence on them.

Este trabalho disserta sobre as relações entre a arte contemporânea brasileira e a paisagem, através de algumas obras que nela intervieram diretamente, assim como de projetos que propunham-se a intervir, mas não foram executados. Tais obras, ao incorporarem os elementos naturais e culturais que constituem a paisagem, evidenciam-na e fazem-nos refletir sobre sua formação, transformação e apreciação. Foram escolhidas duas exposições que, a princípio, seriam realizadas em escala nacional, e que propuseram de modo mais efetivo a intervenção da arte brasileira na paisagem, estimulando discussões sobre o tema. São elas: projeto Fronteiras (1998-2001), que abordou as referências geográficas da paisagem, e projeto Margem (2009-2010), cujas referências eram as urbanas. Com Fronteiras, a partir do tema fronteira, abre-se o debate sobre território, região, escala geográfica e modos de ocupação territorial; mas a arte introduz nele a necessidade da paisagem. Já com Margem, vêm à tona questões da paisagem urbana, em específico, como os rios são apropriados e percebidos. Esta é uma amostragem de obras que, abordando referências distintas da paisagem, fazem-nos refletir sobre a produção artística nacional que tem na paisagem mais do que uma inspiração, mas um elemento constitutivo; assim como de que modos a paisagem é, possivelmente, uma influência para estas obras. / This research disserts about the relationship between brazilian contemporary art and landscape, regarding some works of art that interfered directly in it, as well as projects that intended to do it, but were not accomplished, eventually. These works, as they incorporate natural and cultural aspects of the landscape, they emphasize it and raise a debate on its development, transformation and appreciation. Two expositions - which were to be taken, at first, in national scale - more effectively proposed the intervention of brazilian contemporary art into the landscape and stimulated discussions on these matters. They are: Fronteiras ( 1998-2001), which approached the geographical landscape references, and Margem (2009-2010), which focused the urban ones. Within Fronteiras, from the boundary theme, the discussion arises on territory, region, geographical scale and models of territorial occupation; nevertheless, art introduces the need of landscape in this debate. In contrast, Margem brings up issues related to the the urban landscape, specifically how rivers are appropriated and apprehended by people. This is a sample of works of art that approach landscape in different ways, which lead us to consider how brazilian contemporary art handles landscape, not only as an inspiration, but as a constitutive component of the work; they also highlight how landscape might be, possibly, an influence on them.

S'inscrivant dans le champ en construction de la géographie de l'art, cette thèse traite de l'œuvre artistique de Christo et de Jeanne-Claude connue du public par The Pont-Neuf Wrapped ou Surrounded Islands, par exemple. Elle investit la dimension spatiale de la production artistique et la dimension spatiale de la réception esthétique d'un objet d'art textile in situ outdoors. Elle met en œuvre pour ce faire, d'une part, des références conceptuelles aux théories de l'action telles qu'elles se développent en géographie depuis une dizaine d'années et, d'autre part, une approche phénoménologique telle qu'elle s'est imposée en géographie depuis une trentaine d'années. En travaillant les articulations entre objet textile, objet d'art et œuvre d'art, elle montre que la dimension spatiale de l'objet-lieu d'art, sa monumentalité physique et symbolique, n'est pas pensable indépendamment de la dimension spatiale de l'œuvre d'art, celle qui est construite dans l'action artistique. Elle montre, par ailleurs, que l'objet textile est utilisé par le spectateur dans une expérience esthétique qui n'est pas seulement visuelle mais tactile et dans le cadre de l'objet-lieu d'art. Cette relation entre espace et utilisation d'objet explique la transposition et l'interprétation géographique d'un appareil théorique issu de la psychanalyse transitionnelle pour qualifier la dimension spatiale de l'expérience esthétique de l'objet d'art. Cette thèse est donc très fortement inscrite dans la pluridisciplinarité : géographie, esthétique et psychanalyse. En mettant en avant les rapports entre terrain, image et action, en replaçant cette relation dans le champ de l'expérience et en la rendant homogène à l'expérience esthétique, cette thèse est par ailleurs conçue comme le fondement d'une réflexion sur les relations entre terrain et image en géographie.

The road to becoming an artist is paved with much confusion as we try to mold our brains into understanding abstract concepts and ideas. I became fascinated with how people perceive art, in particular, southern males that have no previous knowledge of art history or desire to learn. I contemplated long and hard about this and asked myself the question, “What if they did want to understand art?” The only difference between my brethren and I is this desire to pursue this seemingly foreign world. By creating an imaginary world and culture based on my own southern upbringing I have created a series of figurative paintings exploring various contemporary art themes in an effort to clarify my own understanding of the two worlds I am closest to and how they may or may not be related.

No description available.

Presented theoretical-project thesis is conceived as a contribution to the project of teaching method on subject of Forest. This contribution is meant for primary sphere of basic school of art. Individual parts are briefly but clearly developed in the theoretical part of this thesis, which offers insight into the chosen theme of the three main aspects - scientific, educational and artistic. These three aspects are, according to the scale of the study, supplemented by additional sub opinions of how to inspect on the issue. In certain parts of the thesis we can find examples of possible approaches to particular parts of the project. There are applied flat art activity, spatial and intermedial. The theoretical part is followed by a specific artistic project, which consists of a set of eight samples of art activities. The entire work is complemented with images.

La presente investigación enmarca dentro del contexto cultural de la España de la década de los años 70, al arte conceptual que engloba al cuerpo como soporte artístico en la intervención en la naturaleza: body-nature-work, concretamente a través de las performances y de las intervenciones bien sea como escultura o como instalación. Dos son las artistas tema que nos ocupan: Àngels Ribé, quién ya en el 69 realiza obras con características que la ubican en el land art europeo, y Fina Miralles, quién es la pionera del Cos -Natura o Body- Nature- Works y que por la cronología de dichas obras las colocan contemporáneas de Ana Mendieta, a la que se le adjudica el ser pionera. Nuestro objetivo central será destacar la omisión que la historia del arte en cuanto al land art europeo y específicamente español, ha efectuado en relación a dos land artists catalanas, orientado a que sean incluidas en ediciones revisadas de textos alusivos o en los que a partir de dicha fecha se generen tanto en el tema del land art, como en los performances catalán y español. También, referimos obras de distintos tratamientos del cuerpo y profundizamos en las realizaciones de Gina Pane, Ana Mendieta y Valiè Export, por ser creadoras que coinciden en visiones y planteamientos con los de Àngels Ribé y Fina Miralles. Del mismo modo, trataremos las características que definen al land art europeo, destacaremos aquellas que lo diferencian del americano, y que las colocan dentro de aquel género del arte, refiriendo en específico las obras de Andy Goldsworthy, Richard Long, Guisseppe Penone y en contraste por algunas de sus apreciaciones al estadounidense Robert Smithson. Y de todos ellos, y otros como: Vanessa Beecroft y de los mexicanos Carmen Neuhauss Arvizu, Yolanda Gutiérrez, Omar González y Reto Morder, que también cuentan con puntos de encuentro temáticos, formales o de propuesta en sus obras con la de Fina Miralles y Àngels Ribé. Analizaremos las obras más representativas de Àngels Ribé y d / Mora Martí, LDL. (2005). Desplazamientos y recorridos a través del land art en Fina Miralles y Àngels Ribé -en la década de los setenta- [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/1978 / Palancia

This thesis is oriented on use of nature in art education. It consists of teortical and practial part. Theoretcial part describes possibiliteis of using nature and natural materials in art education in relationship with environmental education, history of art and art education in relationship with nature as inspiration or source of material. Practical part consits of two guidelines. The first one is focused on work with natural materials directly in nature. The second one is sectioned into another four guidelines inspirated by seasons of the year. Intention of this thesis is to point to the value of the nature in art education and offer number of possibiliteis how to use this topic. The main asset of this thesis is in summarizing knowledge about nature in relationship to art education and suggestions for activities inspirated by nature or realized directly in nature.

The diploma thesis as a whole deals with the topic of tracks in contemporary art. It is divided into three parts. Theoretical, didactic and practical part. In the theoretical part, I first define what a track means to me and I apply this definition when searching for tracks in the works of contemporary artists. The theoretical part of the work includes an interview with Patrik Proška, an artist creating some of his works in public space. In the didactic art project, created for high school students, the topic of tracks is viewed somewhat more freely. The main goal of the thematic unit is to lead students to think about tracks through their own artistic activity. Based on the experience gained, they should be able to think about the transience of the tracks, the meaning of our legacy and the consequences of our existence. I especially focus on the art area related to land arts and street art or graffiti. The practical part is the result of my reasoning about the tracks left in public space. I established my reasoning on the knowledge gained in the theoretical part. The result is a set of author's books that document my thoughts on the tracks found or created. I focused my attention mainly on the human desire to leave their tracks in the public space. KEY WORDS track, public space, art, land art,...

See file 01 / Art History, Visual Arts & Music / (M.A. (Visual Arts))