Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 298-308). Available also in a digital version from Dissertation Abstracts.

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-16T16:26:10Z No. of bitstreams: 1 JOSÉ RICARDO GOULART.pdf: 2971161 bytes, checksum: dac0c5b3b7ea842745b0f19f1e9772fb (MD5) / Made available in DSpace on 2018-03-16T16:26:10Z (GMT). No. of bitstreams: 1 JOSÉ RICARDO GOULART.pdf: 2971161 bytes, checksum: dac0c5b3b7ea842745b0f19f1e9772fb (MD5) Previous issue date: 2016-02-18 / The notion of reperformance is established and passed with the Marina Abramović’s exhibition The Artist is Present, in 2010. Five years earlier, however, the serbian artist had resubmitted works by other performers. This practice calls into question the relationship of artistic work with the here and now of the context in which is (re) presented, once the performance has emerged as ephemeral and unrepeatable art. The German philosopher Walter Benjamin diagnosed in the 30s, the decline of the artwork aura due to its mechanical reproduction. Taking such exhibition as a starting point, and 7 Easy Pieces (2005) and Terra Comunal (2015), I intend to investigate in this work the relationships arise between the terms performance, reperformance, reproducibility and aura. / A noção de reperformance se instaura e encontra repercussão com a exposição A Artista está Presente, de Marina Abramovic, em 2010. Cinco anos antes, porém, a artista sérvia já havia reapresentado obras de outros performers. Esta prática coloca em questão a relação da obra artística com o aqui e o agora do contexto em que é (re)apresentada, uma vez que a performance tenha surgido como arte efêmera e não repetível. O filósofo alemão Walter Benjamin diagnosticou, no anos 30, o declínio da aura da obra de arte em decorrência de sua reprodutibilidade técnica. Tomando como ponto de partida a referida exposição, além de Sete Peças Fáceis (2005) e Terra Comunal (2015), pretendo investigar, neste trabalho, as consequências decorrentes das relações que emergem entre os termos reperformance, reprodutibilidade e aura.

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Thesis (M.A.)--Stony Brook University, 2008. / This official electronic copy is part of the DSpace Stony Brook theses & dissertations collection maintained by the University Libraries, Special Collections & University Archives on behalf of the Stony Brook Graduate School. It is stored in the SUNY Digital Institutional Repository and can be accessed through the website. Presented to the Stony Brook University Graduate School in partial fulfillment of the requirements for the degree of Master of Arts in Art; as recommended and accepted by the candidate's degree sponsor, the Dept. of Art. Includes bibliographical references (p. 61-71).

<p dir="ltr">With a particular focus on her twelve years of partnership with Ulay, the life and work of performance artist Marina Abramović are taken as ekphrastic subjects in a research-based poetics reflecting the author’s understandings of art, love and belonging. In dynamic movements of literary form throughout the manuscript, <i>Nude Imperative</i> makes a restless inquiry into the meaning of embodiment as a person in language, desire, and diaspora, the nature of relation between this individual self and the intimate other, and the limits of these human connections; the limits of love.</p>

Thesis (M.M.)--University of North Texas, 2002. / A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).

This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.

This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.

Thesis (M.A. (Drama))--Rhodes University, 2006.

Thesis (M.A.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains ix, 70 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 68-70).