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Orientador: Marco Antonio Alves do Valle / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:07:18Z (GMT). No. of bitstreams: 1 Marcao_Cloves_M.pdf: 23323593 bytes, checksum: b494de6e9c7b7ba7dea9e3743afba9ac (MD5) Previous issue date: 2014 / Resumo: O objetivo deste projeto é estudar o trabalho de Akiko Fujita, dentro do contexto da cerâmica contemporânea, abordando os conceitos que a colocam dentro deste contexto de contemporaneidade, discutindo também as mudanças que ocorreram e deram as características desta prática ceramista contemporânea. Estudar o uso que a artista faz da cerâmica para o desenvolvimento de suas obras tridimensionais. Pretende-se identificar quais suas inspirações para o desenvolvimento do trabalho, técnicas usadas, materiais. E, sobretudo qual importância que o seu trabalho trouxe para o cenário artístico brasileiro durante sua estadia no país. Abordamos também as dificuldades enfrentadas pela artista durante sua estadia, tanto pela incompreensão de seu trabalho, como também pela nossa pouca tradição neste tipo de trabalho. Estudamos sua relação com o público, sua contribuição para os que tiveram contato com ela, não apenas dando enfoque as suas obras, mas também com suas preocupações sobre a disseminação do conhecimento, bem como o papel social do artista. Esta pesquisa seguiu a abordagem analítica dos estudos bibliográficos, e para tal realizou a consulta de estudos abrangentes e de outros mais específicos, consultados em livros, artigos e periódicos científicos que trataram das temáticas que foram analisadas. Permitindo, desta forma, discutir questões estéticas e conceituais. Tal análise foi pautada nos estudos conceituais dos artistas e movimentos artísticos abordados, e seus traços característicos, considerando a cerâmica contemporânea e a escultura. Também nos baseamos em relatos de pessoas que tiveram contato com a artista durante sua estada no país. Com esta pesquisa pude entrar em contato com outras formas de se pensar e fazer arte, estabelecendo conhecimento de outra teoria filosófica que ajudou a entender o meu próprio envolvimento com o suporte artístico abordado / Abstract: The objective of this project is to study the work of Akiko Fujita, within the context of contemporary ceramics. Address the concepts that lay within this contemporary context, also discussing the changes that have occurred and have the characteristics of contemporary ceramist practice. The use that the artist makes pottery for the development of its three-dimensional works. What are your inspirations for the development work, techniques used, materials. And above all what importance that his work brought to the Brazilian art scene during his stay in the country. We also analyze the difficulties faced by the artist during his stay, either by misunderstanding of his work, but also for our little tradition in this type of work. His relationship with the public, their contribution to those who had contact with her, not only focusing their works, but also with their concerns about the spread of knowledge and the social role of the artist. This research followed the analytical approach of bibliographical studies, and the consultations for such comprehensive studies and other more specific interest in books, articles and scientific journals that addressed the issues that were analyzed. Thereby enabling discuss aesthetic and conceptual issues. This analysis was based on studies of conceptual artists addressed, and their characteristic traits, considering the contemporary ceramics and sculpture. Also we rely on reports with people who had contact with the artist during his stay in the country. With this research we can get in touch with other ways of thinking and making art, by contacting another philosophical theory and that helped understand my own involvement with the artistic support addressed / Mestrado / Artes Visuais / Mestre em Artes Visuais

This thesis and related artwork examines the layers of meaning around the Tower of Babel and how the myth can be visually represented today. This thesis attempts to give new readings to the myth drawing on history, literature, philosophy and architectural writings while using multi-media visual experimentation to highlight the contemporary experience. The Tower of Babel acts as a generator of the creative process and provides a structural framework for the motivation of my creative practice. Throughout the written thesis the relationship between the myth and a possible contemporary reality is explored and can be seen as crucial to understanding the depth to which the myth has influenced and shaped contemporary art practice in terms of both the theory and the actual making and presenting of artwork in the late 20" and early 21" century. In the artwork this reality manifested itself in the three- part multi site exhibition of installations of my work, Reconstructing Babel. This acted as a test case in which the ideas about how and why the myth exists are explored and confronted within a given environment, the museum. Overall, the thesis and artwork show in combination how the modern Babel manifests itself as an excess of communication in which we are no longer able to select or decode. It is a city in the throes of continuous transformation which is searching for order, a centre, a name and a universal language.

Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées par les œuvres du début du XXe siècle (dont celles de László Moholy-Nagy), les sculptures d’ombres trouvent leur existence entre la photographie, le cinéma et la sculpture ; entre la sculpture et l’image ; entre la sculpture et la projection, dont elles reprennent le vocabulaire technique ainsi que les modalités de vision. Cette particularité des sculptures d’ombres les différencie d’une part des sculptures des décennies précédentes qui ont préféré aux images, les effets perceptifs et sensoriels des ombres. Elle permet d’autre part d’interroger le médium sculpture, a priori étranger à l’image. Elle permet enfin d’inscrire les sculptures d’ombres dans un contexte, celui des années 1980, qu’elles interrogent et dont elles sont le reflet. Analyse d’œuvres singulières, définition du médium sculpture, étude de la période historique qui s’étend depuis les années 1980 et exploration de la nature polysémique des ombres sont les quatre grands projets entrepris dans la présente thèse qui nous ont permis, à partir de l’expression « sculptures d’ombres », de dessiner un médium singulier. / “Shadow sculptures” are works of art where artists use projected shadows as a material. All works are composed with a basic projection device, and comprised of at least, a light source, a screen and an object. The shadow-pictures, still or moving, appear by the object’s interception of light. Since the 80’s, projected shadows have multiplied in sculpture. In addition, artists use them to enhance their picture quality. Inspired by the works from the beginning of the 20th century (such as László Moholy-Nagy’s Light-Space Modulator (1922-1930)), shadow sculptures stand between photography, cinema and sculpture, between sculpture and picture and between sculpture and projection. They use their technical vocabulary and their vision modality. This specificity distinguishes shadow sculptures from sculptures in the past few decades that preferred the sensorial quality of light and shadows. It also gives the opportunity to question the medium sculpture, which has been constantly (re-)defined since the late 60’s. Lastly, this specificity of shadow sculptures positions them in the context of the 80’s that they question and reflect. Artwork analyses, the definition of the medium sculpture, the study of the historical period beginning in the 80’s and the exploration of the shadows’ polysemy are the four principal elements investigated in the following PhD. They all participate to define shadow sculptures as a singular medium.

My work has a strong formal quality and a deep relation to minimalism without ever buying into it. Through tension and inserting my personal experience into the making of the work, but not always within the meaning of the work, I leave the viewer to draw their own conclusions.

This thesis examines the roles of Queen Victoria’s children as collectors, makers and patrons of sculpture from around 1860 to 1900. To date, the royal children’s engagement with sculpture has received hardly any scholarly attention. The conventional narrative is that after Prince Albert’s death in 1861 royal patronage stagnated and lost its previous significance in the art world. However, based on major archival research and object-focused analysis, this thesis demonstrates that the royal children represented a new and distinct group of royal patrons whose artistic engagement was at the heart of Victorian sculpture. By focusing on the careers of three of Victoria and Albert’s nine children as case studies, it becomes clear that royal patronage of sculpture was highly diverse and complex. The first chapter assesses the role of Bertie, the Prince of Wales, as a collector of sculpture and highlights the ambiguousness of his encounters with the medium. The prince was a well-informed and zealous collector of sculpture; but he considered the medium to be principally for decorative purposes and personal enjoyment. The second chapter looks at Princess Louise as a maker of sculpture who had to negotiate her status as a princess and female amateur with her ambition to work like a professional sculptor in the public sphere. The third chapter focuses on Vicky, the Princess Royal and later German Empress, as a patron of sculpture in an Anglo-German context. As eldest and favourite daughter of Prince Albert, Vicky tried to continue her father’s artistic legacy by engaging with sculpture in multifarious ways and realising his vision of an exemplary patron. Yet, her fraught political position as a British liberal at the imperial court in Germany complicated her efficacy in the sphere of contemporary sculpture and resulted in her focus on the Renaissance. This thesis contributes to a revaluation of royal patronage in Victorian sculpture studies and also indicates the relevance of Queen Victoria’s children to scholarly discourses including Aestheticism, female sculptors and Anglo-German artistic relations.

Abstract This project was in the Dorothy Somerset Studios on the University of British Columbia Campus during the week of April 14th till the 20th, 2008. I was advised by Professor Alison Green and Professor Richard Prince. The project’s title was When I’m in it… . It consisted of three groupings of sculptures set within the black box theatre space (see Illus. 1A, B and C). The Pattern Bubbles sculpture consisted of hollow tissue balls suspended from the ceiling, each containing a small and suspended object. These bubbles were suspended in a line, at different heights, and they were lit from within (see Illus. 2A and B). The entire theatre space was also lit using the lights on the grid in the theatre. A Silhouetted Cast consisted of Styrofoam cutouts shaped like dress forms covered with muslin and padding (see Illus. 3A, B and C). These cutouts were about 4ft X 2ft X 3inches. On one side I had a mixed media collage of imagery pinned to the muslin covering and on the other side were phrases stenciled right onto the muslin. These forms stood on the floor atop actual iron dress form stands. There were eight of these silhouettes, each one representing a character from a theatre production for which I had designed the costumes and the information on each one came from that experience. Costume Aprons, the final sculpture in the space, was also suspended from the ceiling. It had eight aprons made from cottons, silks and burlap hanging from a laundry carousel. The aprons were hung from the lines with silver bulldog stationary clips. I had hand-embroidered words on the aprons using embroidery threads of many different colors. In the pocket of each of the aprons was the title page from a script on blue paper (see Illus. 4A, B, C, and D). The black curtains were drawn around the square perimeter of the theatre stage, and you could still see the audience seating and the theatre booth. There was a soundtrack playing constantly within the space. / Arts, Faculty of / Theatre and Film, Department of / Graduate

This thesis explores the meanings of those Roman sarcophagi which show the Indian triumph of Dionysus. This group, found from approximately the early Antonine to just after the Severan period, shows the same mythological characters in similar positions and surroundings. They --- together with other groups --- tend to be approached from a methodology which either explicitly anticipates homogeneity of meaning or tacitly implies it through the transferral of interpretations from one piece to another. This study attempts to reconsider such actions by exposing the different effects that individual sarcophagi draw. As a group, these sarcophagi cover a period of significant change in the funerary realm. Since the group straddles important divisions between public imagery and private expression, we can more readily anticipate the latter through knowledge of the former. While studies of the triumph as ritual have begun to recognise it as a rite in flux, to be understood in its various instantiations rather than as a trans-historical event, such an analytical shift has not been applied to sarcophagi. In explicitly moving away from the assumption that we can assert genre-level meanings, this thesis undertakes an assessment sensitised to the possibility of case-by-case variation in meaning. This approach is also recommended by the intensely personal nature of the function of the sarcophagi: as the final resting places of lost loved-ones. First, a survey of prior approaches is made. Next, the group is rigorously defined with a methodology designed not with an intent to imply ancient applicability, but rather to be explicit about the generation of a working set. Subsequently, the sarcophagi are decomposed into their constituent elements and analysed, before in the next chapter being reconstituted and their effect in collusion analysed. Finally, the group is studied as a whole and the reasons behind its development, modifications and decline explored.

This thesis includes a monograph, The Sculpture of Charles Wheeler (London: Lund Humphries in association with the Henry Moore Foundation, 2012), and a catalogue essay ‘Let There Be History: Epstein’s BMA House Sculptures’, in Modern British Sculpture, ed.by Penelope Curtis and Keith Wilson (London: Royal Academy of Arts, 2011). The book is the first study of Wheeler, an important but neglected sculptor who was President of the Royal Academy from 1956-66; the Epstein essay looks anew at a notorious episode in the career of one of modernism’s canonical practitioners, coming to radically different conclusions to the accepted narrative. The accompanying analytical commentary reflects on the complex research journey towards understanding and articulating hidden histories of modern British sculpture. Deploying traditional methodologies of archive exploration and making connections between divergent critical and artistic groupings has enabled the construction of new histories. Disrupting the appropriation and elision of ‘modern’ with ‘modernist’ and ‘avant-garde’ restores the work of non-canonical practitioners to the historical moment of the first half of the 20th Century, while historical analysis draws mythologised artists into the contingencies of the real world. These publications offer original insights and their impact is becoming evident in the fields of British sculptural and architectural history. Beginning in the recent past as I prepared to write this thesis, the commentary moves into the deeper history of the research journey, considering my theoretical approaches, the initial difficulties of writing against the prevailing academic fashion, the serendipities of a supportive scholarly milieu and the details of making Wheeler’s history. The value of the monograph itself is discussed. Reviewing Epstein’s modernist cause célèbre proved the transferable value of dispassionate archival research. The commentary finally comes full circle, concluding in October 2014 when I found myself, unexpectedly, implicated in the very history to which I have contributed.