Investigations in Botanical Contact Printing (Where the Light Meets the Trees; Thirteen Variations) explores the process of botanical contact printing on paper, culminating in a series of thirteen handmade artist books. Each of the thirteen books contains a poem from a collection of thirteen poems written by Alice Yousef. Every element of the book: materials, structure, calligraphed text, type of botanical contact print, sometimes the enclosure, responds to the poem, providing a visual interpretation of the written word. The completely different approaches to binding structure in this series intend to not only visually support the text, but also explore the possibilities of botanical contact print imagery in the book form.

This thesis looks at the modern recontextualization of the illuminated book. Utilizing an interdisciplinary approach to English literature and the arts, it illustrates the dialectic between word and image. In my writing, I explore artists’ books as a physical representation of the constant dialogue of the verbal-visual relationship and how they affect each other. In this endeavor, I create an artist book, a modern bestiary that alludes to the myths and folklore of the Indo-Caribbean, specific to the country of Guyana.

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La présente thèse est un travail herméneutique sur Sports et Divertissements, édition de luxe qui combine musique et textes par Erik Satie et illustrations en pochoir par Charles Martin. Étant donné son caractère fortement intertextuel, Sports et Divertissements est abordé sous la problématique de l’art total et de ses prolongements dans les livres de peintres et d’artistes, ainsi que dans le contexte artistique de sa création (notamment la mode et son illustration et les livres art déco) pendant et un peu après la Première Guerre Mondiale.Conçu initialement par son éditeur Lucien Vogel, et paru dans une première version en 1914, Sports et Divertissements n’a pris sa forme finale qu’en 1923, dans une révision totale effectuée par Charles Martin. La thèse souhaite démontrer l’efficacité narrative maximale de cette deuxième version, en termes de correspondance entre les éléments littéraires, musicaux et visuels dans la temporalité de l’œuvre ainsi que dans son aspect plastique global à travers un processus ludique et dramaturgique de l’imagination. / The present thesis is an interpretative study of Sports et Divertissements, edition de luxe which combines music and texts by Erik Satie and pochoir illustrations by Charles Martin. Given the highly intertextual character of the work, Sports et Divertissements is seen under the notion of total art, extended to livres de peintres and livres d’artistes as well as in the artistic context of its creation (notably fashion and its illustration and art deco books) that occurred during and after the 1st World War.Initially conceived by its editor Lucien Vogel, and appearing on a first version in 1914, Sports et Divertissements didn’t take its final form until 1923, in a total revision of the illustrations by Charles Martin. The thesis attempts to show the maximal narrative efficacity of this final version, in terms of correspondence among literary, musical and visual elements in the temporality of the work, as well as in its global visual aspect, through a creative and dramaturgical process of the imagination.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-22T19:38:25Z No. of bitstreams: 2 Dissertação - Fátima Raquel Ferreira Costa - 2014.pdf: 6823323 bytes, checksum: 10abe9672487b926694f1a0e1bad3771 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-22T19:39:29Z (GMT) No. of bitstreams: 2 Dissertação - Fátima Raquel Ferreira Costa - 2014.pdf: 6823323 bytes, checksum: 10abe9672487b926694f1a0e1bad3771 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-01-22T19:39:29Z (GMT). No. of bitstreams: 2 Dissertação - Fátima Raquel Ferreira Costa - 2014.pdf: 6823323 bytes, checksum: 10abe9672487b926694f1a0e1bad3771 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-08-27 / This research has its focus on a discussion about “Gibis”, Artist Books by Raymundo Colares. It study examines aspects of his life history, his fragmented urban visualities and a dynamic group of images that compose, transform and decompose. The “ Gibis” make evolve geometric forms in multiple narratives of time, space and movement in an interaction between constructivism and pop art. The investigation analyses poetic appropriations of space, which demand touch and manipulation, necessary conditions for dilution of boundaries between subject and object, author and observer. It seeks to understand aspects of the pedagogical process in the construction of these artistic artifacts. Moved by the curiosity to understand and explore pedagogically the Gibis, I developed creative practices of productions of Gibis with students from the Visual Arts Course at the University of Montes Claros – UNIMONTES. I expanded this universe through the workshop “ Artesania dos Gibis” offered to art teachers and students. Additionally I interviewed two groups of collaborators. The first, subjec ts that did not know Ray Colares‟ Gibis and, the second, included family members, friends and persons that knew and/or worked with the artist. The investigation traces and weaves a profile of the artist, raises pedagogical possibilities related to his work and discusses questions that trouble me as researcher. / Esta pesquisa tem como foco uma discussão sobre os “Gibis”, Livros de Artista de Raymundo Colares. O estudo examina aspectos de sua história de vida, suas visualidades urbanas fragmentadas e um conjunto dinâmico de imagens que se compõem, se transformam e se decompõem. Os Gibis fazem emergir formas geométricas em múltiplas narrativas de tempo, espaço e movimento numa confluência entre construtivismo e arte pop. A investigação analisa apropriações poéticas do espaço que demandam toque e manuseio, condição necessária para a diluição das fronteiras entre sujeito e objeto, autor e observador. Busca compreender aspectos do processo pedagógico na construção desses artefatos artísticos. Motivada pela curiosidade de compreender e explorar pedagogicamente os “Gibis” realizei práticas criativas de produção de Gibis com acadêmicos do Curso de Artes Visuais da Universidade Estadual de Montes Claros (UNIMONTES). Expandi este universo através da oficina “Artesania dos Gibis”, oferecida para professores e acadêmicos de arte. Adicionalmente, realizei entrevistas com dois grupos de colaboradores. O primeiro incluiu sujeitos que não conheciam os Gibis de Ray Colares e, o segundo, familiares, amigos e pessoas que conheceram e/ou trabalharam com o artista. A investigação tece e traça um perfil do artista, levanta possibilidades pedagógicas relacionadas ao seu trabalho e discute questões que me inquietam como pesquisadora.

The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence.