abstract: The Romanian avant-garde artist Constantin Brancusi is considered one of the most significant artists of modern sculpture. This is due to his innovative use of materials, such as wood and marble, and his reduction and precision of form. Brancusi developed his abstraction with "primitive" sources of art in mind. This thesis examines how and to what extent primitivism played a central role in Brancusi's sculptures and his construction as a primitive artist. Romanian folk art and African art were the two main sources of influence on Brancusi's primitivism. Brancusi identified himself with the Romanian peasantry and its folk culture. Romanian folk culture embraces woodcarving and folk literary fables--both of which Brancusi incorporated in his sculptures. In my opinion, Brancusi's wood pedestals, such as the Endless Column, are based on wood funerary, decorative, and architectural motifs from Romanian villages. Brancusi was exposed to African art through his relationship with the New York avant-garde. The art dealers Alfred Stieglitz, Marius de Zayas, and Joseph Brummer exhibited Brancusi's sculptures in their galleries, in addition to exhibiting African art. Meanwhile, Brancusi's main patron John Quinn also collected African art. His interaction with the New York avant-garde led him to incorporate formal features of African sculpture, such as the oval forms of African masks, into his abstract sculptures. Brancusi also used African art to expose the racial prejudice of his time. African art, along with Romanian folk art, informed Brancusi's primitivism consistently throughout his long career as a modern sculptor. / Dissertation/Thesis / Masters Thesis Art History 2014

Neste artigo estendido pretende-se revisar os modelos e concepções de se ensinar História da Arte, através de modelos de tempo e memória concebidos pela historiografia da arte, tendo em vista a produção de um material de linguagem diferenciada que possa ser utilizado no ensino de História da Arte em cursos ligados às Artes e ao Design. Estes cursos superiores possuem uma natureza muito mais ligada à criatividade e inovação, e, apesar disso, costumam possuir em seus currículos disciplinas de História da Arte ministradas por um viés datado, reprodutivista e repetitivo, distante da realidade dinâmica desses cursos. Motivado pela crescente produção acadêmica que defende a interdisciplinaridade e a utilização de materiais diferenciados no ensino de História, o presente estudo tem a intenção de apresentar reflexões teóricas acerca da historiografia da arte, e acerca da acessibilidade da disciplina histórica por parte de alunos e professores de cursos superiores ligados às Artes e ao Design. Consequentemente discutem-se as teorias a respeito da produção historiográfica para o grande público (a comunidade nãoacadêmica), do papel do historiador sobre seu campo de atuação e da didática da história, alicerçando-se no conceito de consciência histórica de Jörn Rüsen. Por fim, o artigo estendido tem como objetivo apresentar as representações teóricas utilizadas através da linguagem artística na obra proposta, o livro Pierre, Erica e uma conversa sobre a história da arte brasileira. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-12-04T11:37:07Z No. of bitstreams: 1 Dissertacao Ericki Funes Gutierrez.pdf: 8003076 bytes, checksum: 4ae67f767300cbb0515cf2f65c91c00f (MD5) / Made available in DSpace on 2015-12-04T11:37:07Z (GMT). No. of bitstreams: 1 Dissertacao Ericki Funes Gutierrez.pdf: 8003076 bytes, checksum: 4ae67f767300cbb0515cf2f65c91c00f (MD5) / This extended article is intended to review the models and conceptions on teaching Art History through models of time and memory conceived by the art’s historiography, looking to produce a material with a different language to be used in teaching History of Art in graduation courses related to Arts and Design. These courses are, by nature, much more connected to creativity and innovation, and yet, customarily have on their resumes disciplines of History of Art taught in a dated and repetitive fashion, far from the dynamic reality of these courses and their students. Motivated by the growing academic literature defending theinterdisciplinarity and the use of different ways of teaching History of Art, this study aims to present theoretical reflections about the historiography of Art, and the accessibility of the historical discipline by students and teachers on degree courses related to Art and Design. Therefore we discuss the theories of historical productions for the general public (non-academic community), the role of the historian on his field of work and historical education, using the concept of historical consciousness of JörnRüsen. At last, this extended article have the objective of showing the way the theory of the discipline was used, through the artistic discourse, in the proposed work, the book called Pierre, Erica and a conversation about the history of Brazilian art.

<p> Peyote beadwork is a nuanced and elegant art form. Hundreds of thousands of people today use peyote beadwork, including the Native American Church, powwow people, gourd dancers and Native Americans wanting a marker of Native Identity. Mainstream society has relegated this art form to the status of craft. It is virtually unstudied in the academic world. This paper accepts that objects so decorated are art, that is, expressions that are a means of communication among humans, and both a sacred art as well as a means of establishing cultural identity. The lack of academic study has led to hypotheses about its origin that obscure rather than reveal how it began. This paper aims to describe when and by whom the beadwork began, as well as how it was first disseminated.</p><p>

abstract: This study examines transnational connections between art as advertising and the tourism industry. The development of railroads, and later airlines, played a crucial role in the growth of travel. Art posters supported this expansion. By the mid-twentieth century, art posters gained wide acceptance for encouraging leisure travel. Posters and paintings were constructed by artists to visualize destinations, underscoring the social status and modern convenience of tourism. This thesis describes how advertising, as an aspect of popular visual culture, offered compelling parallels to stylistic developments in modern art. / Dissertation/Thesis / M.F.A. Art History 2013

Neste artigo estendido pretende-se revisar os modelos e concepções de se ensinar História da Arte, através de modelos de tempo e memória concebidos pela historiografia da arte, tendo em vista a produção de um material de linguagem diferenciada que possa ser utilizado no ensino de História da Arte em cursos ligados às Artes e ao Design. Estes cursos superiores possuem uma natureza muito mais ligada à criatividade e inovação, e, apesar disso, costumam possuir em seus currículos disciplinas de História da Arte ministradas por um viés datado, reprodutivista e repetitivo, distante da realidade dinâmica desses cursos. Motivado pela crescente produção acadêmica que defende a interdisciplinaridade e a utilização de materiais diferenciados no ensino de História, o presente estudo tem a intenção de apresentar reflexões teóricas acerca da historiografia da arte, e acerca da acessibilidade da disciplina histórica por parte de alunos e professores de cursos superiores ligados às Artes e ao Design. Consequentemente discutem-se as teorias a respeito da produção historiográfica para o grande público (a comunidade nãoacadêmica), do papel do historiador sobre seu campo de atuação e da didática da história, alicerçando-se no conceito de consciência histórica de Jörn Rüsen. Por fim, o artigo estendido tem como objetivo apresentar as representações teóricas utilizadas através da linguagem artística na obra proposta, o livro Pierre, Erica e uma conversa sobre a história da arte brasileira. / This extended article is intended to review the models and conceptions on teaching Art History through models of time and memory conceived by the art’s historiography, looking to produce a material with a different language to be used in teaching History of Art in graduation courses related to Arts and Design. These courses are, by nature, much more connected to creativity and innovation, and yet, customarily have on their resumes disciplines of History of Art taught in a dated and repetitive fashion, far from the dynamic reality of these courses and their students. Motivated by the growing academic literature defending theinterdisciplinarity and the use of different ways of teaching History of Art, this study aims to present theoretical reflections about the historiography of Art, and the accessibility of the historical discipline by students and teachers on degree courses related to Art and Design. Therefore we discuss the theories of historical productions for the general public (non-academic community), the role of the historian on his field of work and historical education, using the concept of historical consciousness of JörnRüsen. At last, this extended article have the objective of showing the way the theory of the discipline was used, through the artistic discourse, in the proposed work, the book called Pierre, Erica and a conversation about the history of Brazilian art.

This research set out to introduce art history in the art curriculum in an infant primary school in England. The intention was to broaden the curriculum to include interpreting art alongside making it. At the time the research began the National Art and Design Curriculum (2005) for Key Stage One included an art historical strand of learning known as Attainment Target Two (AT2) which included learning about art and artists from different times and cultures. Previous research indicated this strand of the art curriculum was overlooked by generalist classroom teachers for various reasons. A whole school action research project was undertaken lasting a full academic year. The participants were five teachers including the headteacher, three classroom teaching assistants, eighty four pupils, aged between four and seven years, and the researcher. The research tested out and evaluated a strategy for interpreting artworks. This was designed by the researcher and taught by the teachers in the classroom. The interpretive strategy for engaging and enquiring about art (known as the ISEE) included information about the art and artist in the final step of interpretation. The action research consisted of three cycles: i) preparation, planning and teacher training; ii) teachers implementing the ISEE and iii) teacher-designed lessons and research evaluation. Systematic reflection and evaluation of actions was carried out on two levels by the action team and the lead researcher and final reflective and thematic analyses were carried out by the latter in order to answer the research questions. The main finding was that the ISEE facilitated art interpretation in the classroom. Other significant findings were that i) interpreting paintings was inclusive of all pupils across the age groups and learning ability spectra; ii) the pupils’ affective response (Iser, 2006) often drove their cognition and this challenged the theory underpinning the research that art is interpreted through symbol references in meaning making; iii) when pupils used their imagination and affective response they were able to accommodate the factual information they were given about the paintings and artists; iv) despite struggling to include this information in their teaching at times, the teachers recognised that it added value to the art curriculum and the pupils expressed great interest in it and iv) the teachers preferred to combine art interpretation with other subjects such as literacy, citizenship and PSHE.

<p> Spearthrower devices held a role around the world as a primary weapon and tool before slowly falling out of favor in certain areas for other projectile weapons. While it is widely accepted that spearthrowers were used by the people of the ancient central Andes, comparatively little research has gone into the role that they had as weapons of war, hunting tools, and objects of ceremonial reverence. In addition, the Andes developed a unique style of spearthrower and have produced many examples of spearthrowers with exceptional craftsmanship, leading me to believe that these tools were given special reverence. </p><p> This thesis compiles evidence of who in the Andes was using spearthrowers, and in what contexts, by comparing iconography to existing artifacts. It was determined that they saw the heaviest use among the coastal societies through the Early Intermediate Period and were primarily seen as a symbol in the following years.</p><p>

<p> This dissertation examines the transformation of the South Indian city of Kanchipuram into a major cosmopolitan sacred center during the course of the eighth through twelfth centuries. In this pivotal five hundred-year period, Kanchipuram served as the royal capital for two major dynasties, the Pallavas and then the Cholas. Both dynasties sponsored the production of prominent sacred monuments built from locally sourced stone. These temples were crowned with pyramidal towers, adorned with sculpted and painted figures of deities amid groves and palatial landscapes, and elegantly ornamented with courtly Sanskrit and Tamil inscriptions. Over time, the temples functioned as monumental statements of power, sites of devotion, and municipal establishments where diverse social groups negotiated their claims to political authority and economic prosperity. In Kanchipuram, temples also played a crucial role in defining urban space by demarcating the city's center and borders, marking crucial junctions, and orienting the gods towards avenues, hydraulic features, and royal establishments. As religious monuments, they also fostered vibrant circuits of pilgrimage and travel that were integrated with a broader Indian Ocean network.</p><p> The dissertation argues that the construction of temples fundamentally shaped and reordered landscape. The four chapters, organized chronologically, address the expanding geography of Kanchipuram and its widening sphere of influence. The first two chapters trace the city's shifting contours and the emergence of a major pilgrimage route that led precisely through the urban core. The city was radically reconfigured around this new central road, which functioned as a processional pathway that created relationships between monuments both inside the city and beyond its borders. The third chapter reveals patterns of movement linking the city with its rural and coastal hinterland, and considers connections with Southeast Asia. Temples in more remote areas disclose links to Kanchipuram through their use of shared architectural forms, a standardized iconographic program, and inscriptions that detail economic and political ties to the urban hub. The fourth chapter focuses on colonial-era encounters with Kanchipuram and the city's role in the broader production of colonial knowledge. As a site of antiquarian interest and military history, Kanchipuram was subject to competing narratives about India. Whereas European officials and surveyors such as James Fergusson saw in the city's monuments India's past glory and inevitable decline, other travelers found no evidence of rupture or disrepair. I read these conflicting representations against the grain to expose Kanchipuram's continuity as a flourishing cosmopolitan center. The dissertation's goal is twofold. First, it documents Kanchipuram and maps its monuments spatially and chronologically in relation to each other, the city, and features of the natural environment. Second, it situates the temples within their ritual and civic functions as agentive establishments that both served and fostered a growing urban landscape.</p><p>

<p> Conceptualized by Costa Rican artist Guillermo Vargas Jim&eacute;nez (known as Habacuc), <i>Exposici&oacute;n #1</i> [Exposition #1](or its more infamous moniker &ldquo;starving dog art&rdquo;)(2007) operates as a multifarious transgressive work of art. A main point of contention within the artwork is the rumored starvation of a dog during the course of artwork&rsquo;s exhibition. This thesis analyzes Habacuc&rsquo;s proposition within contemporaneous debates around participatory practices and Internet art. This examination is provided in order to present an alternative interpretation of the work relative to the divisive practices of the artist. Similar to other artists working with the period known as postinternet, Habacuc engages in a form of art that is counter-cultural, utilizing misinformation as a catalyst for his viral proposition. While Habacuc employs a strategy of critique throughout his varied oeuvre, <i>Exposici&oacute;n #1,</i> arguably his most complex work to date, wholly demonstrates his approach to the Internet as an intrinsically hybridized, political, and oppositional medium. Within the following chapters I focus on the types of participatory relations being produced within <i>Exposici&oacute;n #1</i> and Habacuc&rsquo;s authorial intent to challenge the principles of emancipation promised in the discourses around participation in art and the Internet as &ldquo;global village.&rdquo; </p><p>

<p> The lengthy descriptions of tribute embassies in the Chinese dynastic histories have led to the widespread belief that the China-centered tribute system dominated the trade of pre-modern East Asia at all times. The tribute trade, however, was not the main form of trade between China and Japan. In the year 838 CE, the last Japanese embassy for nearly six centuries traveled to Tang-dynasty China (618-907). Until 1403, when the shogun Ashikaga Yoshimitsu of the Ashikaga bakufu dispatched a delegation to the Ming dynasty (1368-1644) to resume formal diplomatic relations, the tribute trade was suspended. Even though sources are few and far between, this thesis demonstrates the Sino-Japanese trade flourished throughout these six centuries.</p><p> Buddhist trade&mdash;the commercial exchange of objects for Buddhist uses, with monks as participants&mdash;occupied a prominent position in Sino-Japanese trade between 838 and 1403. People living on the Japanese archipelago desired many continental goods, and meanwhile, Chinese consumers also sought many commodities from Japan. Some of the Japanese embassy members in the 838 delegation were already engaged in non-tribute trade, trying to purchase incense and medicines in the lower Yangzi region of China. Meanwhile, Japanese monks diligently collected Buddhist texts and ritual objects. Archaeological discoveries show that between the eleventh and thirteenth centuries, the Japanese repurposed various Chinese daily utensils such as ceramic jars, porcelain boxes, and bronze mirrors for religious uses. At the same time, Chinese commoners acquired Japanese goods. In addition to fine products like pearls, China also imported bulky goods from Japan such as lumber for monastery construction and for coffins. </p><p> Religious networks and commercial networks gradually became integrated as monks traveled on merchant ships and transmitted trade information. Prestigious monasteries also actively collaborated with merchants, and the trust embedded in the religious network facilitated long-distance trade. The authorities in both China and Japan realized that the shared belief in Buddhism could act as a common ground to reduce friction. The emperors of the Song dynasty (960-1276) warmly welcomed pilgrim monks from Japan.</p><p> Although the Mongol ruler Khubilai Khan (r. 1260-1294) launched two invasions of Japan, in 1274 and 1281, the commercial and religious exchanges between China and Japan continued. The Mongol Emperor Chengzong (r. 1294-1307) dispatched a Zen master as his envoy to Japan, who stayed and taught in Kamakura. Ships named for Japanese monasteries brought sulfur and other goods to China and then returned to Japan with incense, medicines, ceramics, copper coins, and books. In the late thirteenth and fourteenth centuries Kamakura became the center of the growing Zen Buddhist movement as well as a distribution center for continental goods.</p><p> The six centuries of commercial and religious exchanges between China and Japan left a clear legacy. When Ashikaga Yoshimitsu resumed sending tribute to the Ming dynasty in 1403, an eminent monk led the Japanese delegation. Unlike the tribute system before 838, the newly established tribute exchanges acknowledged the need for participants to make a profit. And after the resumption of the tribute trade in 1403, monks and monasteries continued to play a significant role.</p><p>