Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

[ES] La investigación empieza con un análisis y cartografiado del sistema global del arte en la actualidad, así como la contextualización histórica del avance y desarrollo del concepto de arte asociado a la economía. El desarrollo del financiamiento de las artes y sus situación estructural es estudiado para poder analizar el fenómeno desde la perspectiva del materialismo dialéctico. La importancia de la economía radica en que es el motor del cambio en la percepción del arte entre su utilidad y un bien suntuario. Esta situación es relevante para establecer un vínculo entre la actividad artística y su relación social. Eso es lo que nos da las bases socio-económicas estructurales para ligarlo a la filosofía política anarquista. Estudiamos las características del pensamiento libertario desde las dos perspectivas, los clásicos anarquistas que dividían su pensamiento entre las cuatro ramas clásicas, el Anarquismo Individualista, el Anarquismo Comunista, el Anarquismo Sindicalista y el Mutualismo. Las cuatro vertientes del pensamiento ácrata contemporáneo Anarquismo Feminista, Anarquismo Cibernético, Anarquismo Ecologista y el Neo-zapatismo son estudiados para definir sus bases estructurales y los cambios al pensamiento clásico anarquista y nos ayuden a resolver las dinámicas de dichos cambios, para trasponerlos al estudio y práctica de las artes. Finalmente demostramos que las prácticas artísticas contemporáneas poseen el mismo espíritu de libertad que el pensamiento anarquista, una búsqueda constante por lo nuevo no puede darse dentro de los sistemas reconocidos o interpretados en el espacio-tiempo que define a los periodos artísticos. Ello lleva a los artistas a rebelarse de forma natural a los patrones existentes, no existirá nada nuevo dentro de lo conocido, y la transgresión se hace absolutamente necesaria. Esto comprueba la idea inicial de que la filosofía política anarquista posee las bases fundamentales para una creación artística, ambas son formas de alcanzar la libertad como forma de responsabilidad y el uso de la praxis como forma de conseguirla. Sentando así las bases teóricas para una de las posibles Teorías Anarquistas del Arte. / [CAT] La investigació comença amb una anàlisi i cartografiat de el sistema global de l'art en l'actualitat, així com la contextualització històrica de l'avanç i desenvolupament del concepte d'art associat a l'economia. El desenvolupament de l'finançament de les arts i els seus situació estructural és estudiat per poder analitzar el fenomen des de la perspectiva de l'materialisme dialèctic. La importància de l'economia radica que és el motor de l'canvi en la persepción de l'art entre la seva utilitat i un bé sumptuari. Aquesta situació és rellevant per establir un vincle entre l'activitat artística i la seva relació social. Això és el que ens dóna les bases socio-econòmiques estructurals per lligar-ho a la filosofia política anaquista. Estudiem les característiques de la pensada liebrtario des de les dues perspectives, els clàssics anarquistes que dividien el seu pensament entre les quatre branques clàssiques, l'Anarquisme Individualista, l'Anarquisme Comunista, l'anarquisme Sindicalista i el mutualisme. Les quatre vessants de la pensada àcrata contemporani Anarquisme Feminista, Anaquismo Cibernètic, Anarquisme ecologista i el Neozapatismo són estudiats per definir les seves bases estructurals i els canvis a la pensada clàssic anarquista i ens ajudin a resoldre les dinàmiques d'aquests canvis, per traspolarlos a l'estudi i pràctica de les arts. Finalment vam demostrar que les pràctiques artístiques contemporànies posseeixen el mateix espírutu de llibertat que el pensament anarquista, una recerca constant per la novetat no pot donar-se dins dels sistemes reconeguts o interprestados en l'espai-temps que defineix els períodes artístics. Això porta als artistes a rebel·lar de forma natural als patrons existents, no hi haurà res de nou dins del conegut, i la transgressió es fa absolutament necessària. Això comprova la idea incial que la filosofia política anarquista posseeix les bases fonamentals per a una creació artística, ambdues són formes d'aconseguir la llibertat com a forma de responsabilitat i l'ús de la praxi com a forma d'aconseguir-la. Establint així les bases teòriques per a una de les possibles Teories Anarquistes de l'Art. / [EN] This thesis begins with an analysis and mapping of the global art system today. The historical contextualisation of the advancement and development of the concept of art which we associate with the economy. The development of arts financing and its structural situation is studied to analyse the phenomenon from the perspective of dialectical materialism. The importance of the economy is that it is the engine of change in the pursuit of art between its utility and luxury good. This situation is relevant to establish a link between artistic activity and their social relationship. This is what gives us the structural socio-economic bases to link it to the anarchist political philosophy. We study the characteristics of Anarchist thought from two perspectives, the classic anarchists who divided their thinking between the four classical branches, Individualist Anarchism, Communist Anarchism, Syndicalist anarchism and Mutualism. The four strands of contemporary anarchist thought. Feminist Anarchism, Cybernetic Anarchism, Ecological Anarchism and Neozapatism are studied to define their structural bases and changes to classical anarchist thought and help us to resolve the dynamics of such changes, to transfer them to the study and practice of the arts. Finally, we demonstrate that contemporary artistic practices have the same spirit of freedom as anarchist thought; a constant search for the new cannot take place within the systems recognized or interpreted in the space-time that defines artistic periods. This leads artists to naturally rebel against existing patterns, there will be nothing new within the known, and transgression is necessary. This proves the initial idea that anarchist political philosophy has the fundamental bases for artistic creation, both are ways of achieving freedom as a form of responsibility and the use of praxis as a way of achieving it. Thus laying the theoretical foundations for one of the possible Anarchist Theories of Art. / Lugo Martínez, PÁ. (2020). Hacia una teoría libertaria del arte. Propuesta teórica sobre las relaciones y fundamentos de la filosofía política anarquista con las prácticas transgresoras artísticas contemporáneas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/158594 / TESIS

These pages include parts of the process diary, notes on process, reading, as well as photos from my research process.  These are abstracts of my research and therefore curated in their own right to show not only my somewhat sprawling process but also my honest attempt to share how I document and research in my process. These “written expositions” mirrors how I gather material when I work as a performer and performance maker. This document is as much about me finding out what I did in the project as you are attempting to understand the project´s content, methods and results. It is me looking at the produced material from the outside, curating it to try out words on the method, content and material. I have written about the work reflectively at the same time as I invite you into this action. It´s speculative and intimate.   During my master studies in Performing Arts, I have reflected on what it means to be a performer beyond the symbolic meaning of it- such, as being material or representation for someone else work. I have investigated what the performer spends time doing and reflecting on beyond what is seen “on stage”, and present that, whatever it is and looks like. I have then, in my final degree project, looked at how I can use my gained knowledge as a mainly interactive performer in relation to performance arts and black feminism theory to create my own artistic practice.   My aim has been to do this by being, meaning to exist with, breathing with, becoming part of, attending to and situating myself in relation to performance arts and black feminism theory in a mindful manner.

[pt] Se imagem, por sua anfibologia, pode ser tomada como uma proposição dada à contemplação tanto quanto uma operação da consciência, a pintura parece ser um locus privilegiado para observar a intensificação de seus desafios ao pensamento, assim como arena apoteótica de sua neutralização. Este trabalho se empenha em deslindar alguns aspectos do problema das imagens, visando contudo, aclarar a possibilidade de uma reflexão sobre a mímesis na pintura moderna. O trabalho do pintor Édouard Manet (1832-1883) é assim analisado como contra-exemplo da reiteração de uma premência imitativa nas artes visuais – sem que com isso deixe de se enfatizar as profundas conexões estabelecidas entre obra e mundo. Nossa especulação incidirá sobre a formulação do lugar das imagens no pensamento ocidental, a fim de aclarar se algumas proposições iniciais não se apresentam ainda como entraves na reflexão contemporânea. Por não ser de todo corriqueiro, o empreendimento teórico sobre a mímesis, juntado aí a ênfase das imagens como um modo de relação sui generis, permite refletir sobre a ênfase poiética na pintura de Manet, distanciando-a da sombra de ser ela uma mera crônica reiterativa. Esta investigação, portanto, pretende oferecer uma objeção ao mecanicismo imitativo de alguns dos discursos sobre artes visuais. / [en] If image, due to its amphibology, can be taken as a proposition given to contemplation as much as an operation of consciousness, the realm of painting seems to be a privileged locus to observe the intensification of its challenges to thought, as well as an apotheotic arena of its neutralization. This paper endeavors to unravel some aspects of image s surrounding issues, aiming, however, to clarify the possibility of a reflection on mimesis in modern painting. The work of painter Édouard Manet (1832-1883) is thus analyzed as a counter-example of the reiteration of an imitative urge in the visual arts – without neglecting to emphasize the deep connections established between the work and the world. Our speculation will focus on the formulation of images locus in Western thought, in order to clarify whether some initial propositions do not yet present themselves as obstacles in contemporary reflection. As it is not commonplace, the theoretical enterprise on mimesis, along with the emphasis on images as a unique mode of relationship, allows us to reflect on the poietic emphasis in Manet s painting, distancing it from the shadow of being a mere scandalous and repetitive chronicle. This investigation, therefore, intends to offer an objection to the imitative mechanism of some established discourses on visual arts.

The artist discusses the artwork of her Master of Fine Arts exhibition, Groundswell, held at Tipton Gallery in Johnson City, March 11 – 22, 2024. The exhibition includes wall pieces, sculpture, plaster, and ceramic objects that explore the traditional parameters of painting and its presentation. Ideas discussed include the philosophy of history, and the origin of European art tropes such as odalisques, flowers, and birds. Framing devices, deconstructed paintings, fiber arts, ceramics, 18th Century decorative art, plaster, the studio practice, Walter Benjamin, David Lowenthal, Gustave Courbet, Jean Honoré Fragonard, Titus Kaphar, Valerie Hegarty, and maximalism are also surveyed.

My thesis draws connections among Herbert Read’s aesthetics, his anarchism, and Carl Jung’s aesthetic theory. I discuss Jung’s concept of individuation and its importance in his theory of the creative process of life. He distinguished between personalistic and archetypal art, and argued that the latter embodies primordial symbols that are inherently meaningful. Archetypal art, he believed, symbolizes unconscious knowledge, which can promote self-awareness and impact on society, if an individual is able to discern its relevance and integrate this into an ethical lifestyle. Jung emphasized the importance of rational discernment and ethical choices along with free creativity. I show how Read used these Jungian concepts to explain aspects of his aesthetic and political emphasis on freedom. According to Read, art creates reality and as such it is both personally transformative and socially activist: he believed that aesthetics are a mechanism of the natural world, and that art is a unique type of cognition that manifests new forms. Art communicates new versions of reality because perception is holistic, allowing people to perceive both the essence inherent in forms and the relationships among them. Further, I consider Read’s belief that cognition and society are both organic, and should be allowed to evolve naturally. Therefore, according to Read, society must be anarchist so that creative freedom and aesthetic consciousness can be adequately supported. Finally, I conclude by highlighting the pivotal role of creative freedom in Jung’s and Read’s theories of personal and social change. I illustrate that Jung and Read concurred that the unique individual is the site of transformation, living out the organically creative nature of life.

My thesis draws connections among Herbert Read’s aesthetics, his anarchism, and Carl Jung’s aesthetic theory. I discuss Jung’s concept of individuation and its importance in his theory of the creative process of life. He distinguished between personalistic and archetypal art, and argued that the latter embodies primordial symbols that are inherently meaningful. Archetypal art, he believed, symbolizes unconscious knowledge, which can promote self-awareness and impact on society, if an individual is able to discern its relevance and integrate this into an ethical lifestyle. Jung emphasized the importance of rational discernment and ethical choices along with free creativity. I show how Read used these Jungian concepts to explain aspects of his aesthetic and political emphasis on freedom. According to Read, art creates reality and as such it is both personally transformative and socially activist: he believed that aesthetics are a mechanism of the natural world, and that art is a unique type of cognition that manifests new forms. Art communicates new versions of reality because perception is holistic, allowing people to perceive both the essence inherent in forms and the relationships among them. Further, I consider Read’s belief that cognition and society are both organic, and should be allowed to evolve naturally. Therefore, according to Read, society must be anarchist so that creative freedom and aesthetic consciousness can be adequately supported. Finally, I conclude by highlighting the pivotal role of creative freedom in Jung’s and Read’s theories of personal and social change. I illustrate that Jung and Read concurred that the unique individual is the site of transformation, living out the organically creative nature of life.

En 1897, paraît la première revue parisienne consacrée à la critique des arts décoratifs contemporains : Art et Décoration, publiée par la Librairie centrale des beaux-arts. Jusqu’en 1914,elle reste fidèle aux engagements énoncés par son programme : être l’auxiliaire du développement d’un art décoratif français moderne, au sens large, en suivant étroitement l’actualité artistique et en prenant part aux débats critiques, esthétiques, théoriques et idéologiques qui sous-tendent cette actualité. Cette recherche a pour but de décrypter l’action critique et théorique d’Art et Décoration en tant qu’auxiliaire de l’évolution des faits artistiques, selon trois niveaux de lecture : la place d’Art et Décoration et de ses principaux acteurs au sein du champ éditorial des revues d’art, la vocation militante de son discours critique, et, enfin, son élaboration d’une esthétique décorative extensive.Tout en suivant ce triple niveau de lecture, cette étude adopte un parcours en quatre temps,correspondant à quatre périodes, définies par la superposition de l’histoire interne d’Art et Décoration, de l’évolution des faits artistiques et du positionnement critique et théorique de la revue vis-à-vis de ces derniers. / In 1897, the Librairie centrale des beaux-arts published the first Parisian review devoted to contemporary decorative arts criticism : Art et Décoration. Until 1914, the review adhered to its original mission of chronicling the development of modern, French decorative art by reporting artistic events, and taking an active role in the critical, aesthetical, theoretical and ideological debates of the period. This research intends to understand the critical and theoretical actions of Art et Décoration through three different perspectives: the role of Art et Décoration and its main contributors in the field of art review publishing; the militant language of its critical discourse ; and, its construction of an extensive decorative aesthetic. In addition to these three viewpoints, this study is further divided into four chronological periods based upon the internal dynamics of Art et Décoration, artistic developments of the era, and the progression of the review’s critical and theoretical positions.

<p>The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself.  Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.</p>

The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself.  Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.