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61	Imagens à deriva : interlocuções entre a arte, a psicanálise e a análise do discurso Campos, Luciene Jung de January 2010 (has links) Dans cette recherche j’essaie présenter la discontinuité de l’image des médias de masse appropriée par les arts visuels. Ce qui est en jeu n’est pas « ce qui est vu », mais « comme est vu » dans l’image dans sa potentialité discursive. La construction de ce regard est faite par l’interface entre les domaines d’Art, de la Psychanalyse e de l’Analyse du Discours, en fessant des torsions d’un champ à autre. Dans cette imbrication des interventions subversives je cherche réfléchir sur les transformations esthétiques du langage commercial pour le langage poétique. Par le biais du dispositif théorique-analytique de l’Analyse du Discours Française j’ai pu observer que le regard est organisé par ce qui n’est pas vu, ce qui tombe hors du champ de la vision et qui n’acquiert que sens par rapport la culture et l’histoire, qui configure le déroulement du désir du sujet. L’image publicitaire est un langage qui ne dit pas tout, par cela étant un savoir incomplet se laisse approprier par l’art visuel. Le fait de ne dire pas tout est ce qui fait les artistes avoir choses à dire encore. L’Art en jouant avec le nonsens tisse l’équivoque et contamine l'idéologie dominante à travers des processus métaphoriques et métonymiques. La discontinuité de l’image apparaît dans cet espace de réel dans le symbolique, à travers les mécanismes de condensation et de déplacement où le point de l'existence du sujet est le point de séparation et des échanges entre la position-sujet et la formation discursive qui domine le tissu symbolique. La discontinuité est au-delà du symbolique, précisément, est la dimension du réel dans laquelle éclate et insiste dans le désir et résiste dans l'idéologie. / Nesta pesquisa procuro apresentar a descontinuidade da imagem de mídia de massa apropriada pelas artes visuais. O que se coloca não é “o que é visto”, mas “como é visto” na imagem em sua potencialidade discursiva. A construção deste olhar se dá na interface entre os campos da Arte, da Psicanálise e da Análise do Discurso, fazendo torções de um campo a outro. Nessa imbricação de intervenções subversivas busco refletir sobre as transformações estéticas da linguagem comercial para a linguagem poética. Através do dispositivo teóricoanalítico da Análise do Discurso francesa pude observar que o olhar está organizado por algo que não se vê, algo que cai fora do campo da visão e que só adquire sentido na relação com a cultura e com a história, onde se configura o desdobramento do desejo do sujeito A imagem publicitária é uma linguagem que não diz tudo, por isso, enquanto saber incompleto se deixa apropriar pela arte visual. O fato de não dizer tudo, é o que faz com que os artistas tenham a dizer, ainda. A Arte ao jogar com o non-sens urde o equívoco e contamina a ideologia dominante através dos processos metafóricos e metonímicos. A descontinuidade da imagem aparece nesse espaço de real no simbólico, por meio dos mecanismos de condensação e deslocamento em que o ponto de existência do sujeito é o ponto de separação e de intercâmbio entre a posição-sujeito e a formação discursiva que o domina na trama simbólica. A descontinuidade é o mais além do simbólico, propriamente, a dimensão do real na qual eclode e faz insistir no desejo e resistir na ideologia. Analyse du discours et image Arte et psychanalyse Analyse du discours et psychanalyse Analyse du discours et art contemporain Analyse du discours et pop art Análise do discurso Imagem Lingüística e Psicanálise Linguística e Arte Arte pop Arte contemporânea Artes visuais
62	A Literatura pop de Roberto Drummond : arte pop, referencialidade e ficção / Oliveira, Silvia de Cassia Rodrigues Damacena de. January 2008 (has links) Orientador: Arnaldo Franco Júnior / Banca: Maria Lúcia Outeiro Fernandes / Banca: Luciene Azevedo / Banca: Sérgio Vicente Motta / Banca: Álvaro Luiz Hattnher / Resumo: Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro "jogo-de-armar" novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo. / Abstract: Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works' composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn't limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time. / Doutor Arte e literatura. Coca-cola cycle. eng Pop literature. eng Pop art. eng Cultural industry. eng Mass culture. eng Military dictatorship. eng
63	Imagens à deriva : interlocuções entre a arte, a psicanálise e a análise do discurso Campos, Luciene Jung de January 2010 (has links) Dans cette recherche j’essaie présenter la discontinuité de l’image des médias de masse appropriée par les arts visuels. Ce qui est en jeu n’est pas « ce qui est vu », mais « comme est vu » dans l’image dans sa potentialité discursive. La construction de ce regard est faite par l’interface entre les domaines d’Art, de la Psychanalyse e de l’Analyse du Discours, en fessant des torsions d’un champ à autre. Dans cette imbrication des interventions subversives je cherche réfléchir sur les transformations esthétiques du langage commercial pour le langage poétique. Par le biais du dispositif théorique-analytique de l’Analyse du Discours Française j’ai pu observer que le regard est organisé par ce qui n’est pas vu, ce qui tombe hors du champ de la vision et qui n’acquiert que sens par rapport la culture et l’histoire, qui configure le déroulement du désir du sujet. L’image publicitaire est un langage qui ne dit pas tout, par cela étant un savoir incomplet se laisse approprier par l’art visuel. Le fait de ne dire pas tout est ce qui fait les artistes avoir choses à dire encore. L’Art en jouant avec le nonsens tisse l’équivoque et contamine l'idéologie dominante à travers des processus métaphoriques et métonymiques. La discontinuité de l’image apparaît dans cet espace de réel dans le symbolique, à travers les mécanismes de condensation et de déplacement où le point de l'existence du sujet est le point de séparation et des échanges entre la position-sujet et la formation discursive qui domine le tissu symbolique. La discontinuité est au-delà du symbolique, précisément, est la dimension du réel dans laquelle éclate et insiste dans le désir et résiste dans l'idéologie. / Nesta pesquisa procuro apresentar a descontinuidade da imagem de mídia de massa apropriada pelas artes visuais. O que se coloca não é “o que é visto”, mas “como é visto” na imagem em sua potencialidade discursiva. A construção deste olhar se dá na interface entre os campos da Arte, da Psicanálise e da Análise do Discurso, fazendo torções de um campo a outro. Nessa imbricação de intervenções subversivas busco refletir sobre as transformações estéticas da linguagem comercial para a linguagem poética. Através do dispositivo teóricoanalítico da Análise do Discurso francesa pude observar que o olhar está organizado por algo que não se vê, algo que cai fora do campo da visão e que só adquire sentido na relação com a cultura e com a história, onde se configura o desdobramento do desejo do sujeito A imagem publicitária é uma linguagem que não diz tudo, por isso, enquanto saber incompleto se deixa apropriar pela arte visual. O fato de não dizer tudo, é o que faz com que os artistas tenham a dizer, ainda. A Arte ao jogar com o non-sens urde o equívoco e contamina a ideologia dominante através dos processos metafóricos e metonímicos. A descontinuidade da imagem aparece nesse espaço de real no simbólico, por meio dos mecanismos de condensação e deslocamento em que o ponto de existência do sujeito é o ponto de separação e de intercâmbio entre a posição-sujeito e a formação discursiva que o domina na trama simbólica. A descontinuidade é o mais além do simbólico, propriamente, a dimensão do real na qual eclode e faz insistir no desejo e resistir na ideologia. Analyse du discours et image Arte et psychanalyse Analyse du discours et psychanalyse Analyse du discours et art contemporain Analyse du discours et pop art Análise do discurso Imagem Lingüística e Psicanálise Linguística e Arte Arte pop Arte contemporânea Artes visuais
64	Surface, Substance, and the Status Quo: Pop Cultural Influences on Architectural Design Hall, Timothy W. 01 July 2004 (has links) No description available. pop culture architecture car culture image consciousness mass media BOTOX plastic surgery American culture Pop Art late capitalism cultural commodification suburbia Post Modernism Pop Modernism Los Angeles West Hollywood
65	Model citizens and perfect strangers: American painting and its different modes of address, 1958-1965 Relyea, Lane 28 August 2008 (has links) Not available / text Art, Modern--20th century Art, Modern--20th century--Appreciation Minimal art--New York (State)--New York Pop art--New York (State)--New York
66	Andy Warhol's Utilization of <i>inter/VIEW</i> Magazine as a Self Promotional Marketing Tool Updated to a Social Media Strategy For Artists in Today's Technological Age Dieterich, Danielle May 10 June 2016 (has links) No description available. Art History Art Education American History Arts Management Biographies Communication Fine Arts Film Studies Marketing Modern History Technology Andy Warhol Colacello Social Media Social Media Strategy Social Media Marketing In Print Media Interview Magazine Self Promotion Marketing Life Style Brand Art Artists Commercial Art Fine Art Pop Art Underground Film Factory
67	Barbro Östlihn och New York : Konstens rum och möjligheter Öhrner, Annika January 2010 (has links) The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework. Barbro Östlihn post war art history American post war art history Swedish art history pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Barbro Östlihn post World War II Art History American post World War II art Swedish Art History pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Art Konstvetenskap
68	Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS Glomm, Anna Sandaker January 2012 (has links) This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue. 700

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