Exegesis (MA--Art and Design) -- AUT University, 2008. / Includes bibliographical references. Also held in print (130 leaves : col. ill. ; 30 cm. + 1 booklet + 2 discs) in the Archive at the City Campus (T 709 KAI)

Thesis (Ph. D.)--University of Chicago, Dept. of Art History. / Includes bibliographical references. Also available on the Internet.

Orientador: Omar Khouri / Banca: José Spaniol / Banca: Rita Luciana Berti Bredariolli / Banca: Maria dos Prazeres Santos Mendes / Banca: Júlio César Mendonça / Resumo: O objetivo desta pesquisa é encontrar os possíveis diálogos entre palavra e imagem, dentro da Poesia Visual, Artes e Design. A proposta é realizar entrelaçamentos entre a palavra e imagem nessas linguagens, buscando encontros e desencontros, usando como fio condutor dessas reflexões a produção de Livros de Artista feitos por Mira Schendel, Lygia Pape, Edith Derdyk e do poeta visual Ronaldo Azeredo, que trabalharam a relação verbal e visual explorando diferentes possibilidades de representação, gerando obras representativas com grande valor artístico, estético e cultural. A ideia é traçar o caminhar dessas linguagens desde seus primórdios até os dias de hoje, relatando seus diálogos e retomando as origens dessas relações, pesquisando onde palavra e imagem iniciam seus encontros, quais suportes usados e sua exploração, quais as influências dos movimentos artísticos e como isso refletiu nas representações artísticas. A contemporaneidade é marcada por uma grande proliferação de imagens nas mídias e no cotidiano, mas como é feita esta leitura? Acredita-se na importância do olhar crítico em relação à visualidade, por isso a relevância deste estudo, que pensa sobre a imagem e sua relação com o verbal, levantando questões tão contemporâneas como a grande quantidade de imagens que recebemos no dia-a-dia, constatando que é preciso um olhar apurado sobre elas. O que se consegue elaborar em termos de conhecimentos nessas relações? Após a leitura dos autores, análise dos Livros de Artista, conversas e entrevistas com a artista Edith Derdyk, buscou-se um entendimento sobre os diálogos entre a palavra e a imagem, suas relações, encontros e desencontros. Esta pesquisa finaliza com um relato de experiência realizado com alunos do ensino médio na construção do livro de artista / Abstract: The goal of this research is to find possible dialogues between word and image within visual poetry, art and design. The proposal is to interweave word and image within these languages, seeking agreements and disagreements, using as a thread for these reflections the production of artistsʼ books made by Mira Schendel, Lygia Pape, Edith Derdyk and by visual poet Ronaldo Azeredo, who investigated verbal and visual relationship through different possibilities of representation, creating representative works with great artistic, aesthetic and cultural value. The idea is to outline the evolutions of these languages from their beginnings to the present day, narrating their dialogue and looking back on the origins of these relationships, researching where word and image started to merge, what media were used and how they were used. This paper also reflects on the influence of the avant-garde and how these movements are expressed in the artistsʼ books. The contemporary world is marked by a proliferation of images in the media and in everyday life, but how is this reading done? The critical eye toward the visual is seen today as highly important. This accounts for the relevance of this study, which proposes to think about the image and its relationship with the word, raise contemporary issues such as the large amount of images we receive from day to day and corroborate the idea that you must have a sharp eye on them. What knowledge can we draw from these relationships? After reading authors, analyzing artistsʼ books, interviewing the artist Edith Derdyk, we looked for an understanding of the dialogue between word and image, their relations, agreements and disagreements. This research concludes with an annexe that describes the experience undertaken with high school students during the creation of artistsʼ books / Doutor

Orientador: Fernando Cury de Tacca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:05:22Z (GMT). No. of bitstreams: 2 Grigolin_Fernanda_M.pdf: 34136948 bytes, checksum: f7931cf34c851f5a357631f74191628c (MD5) Moraes_FernandaGrigolin_M_Anexo.zip: 20060009 bytes, checksum: 1378fc50fa77a9908c384ae8be48aa68 (MD5) Previous issue date: 2015 / Resumo: Relato de um percurso de pesquisa em arte. Fala-se de um tema, livros, com o qual a autora possui uma relação como artista, pesquisadora e editora. A fotografia e o livro de artista são relacionados sob três aspectos: a produção, a edição e a circulação. É uma proposição que traz uma leitura sobre livros ¿ e divide-se em: uma proposta de escrita, que se aproxima do ensaio literário para falar de livros bem como da escrita pessoal para abordar o contexto; uma proposta de pesquisa em arte atrelada às poéticas visuais, caracterizando a experiência da autora como uma artista que possui produção no tema e pretende interpretá-lo; uma proposta de livro, recôncavo, e suas etapas de produção, edição e circulação / Abstract: A report of the trajectory of an art investigation. The author speaks of a theme, books with which she relates as an artist, a researcher and an editor. The artist photography and book are related by three traits: production, editing, and promotion. It is a reading proposition of books ¿ and is divided in: (1) a writing proposal, which is similar to a literary essay to discuss books, and close to the personal writing to approach context; (2) a research proposal in arts linked to visual poetics and characterizing the author¿s experience as an artist that has other productions in this theme and intends to interpret it; (3) a recôncavo [deep cavity] book proposal, with its phases of production, edition and promotion / Mestrado / Artes Visuais / Mestra em Artes Visuais

This dissertation centres on the classification of artists’ books based on the qualities they possess as works of art as well as the intimate engagement required by the reader in order to experience such works in their entirety. Among the qualities investigated are intimacy through the use of novelty devices, haptics, text, narrative and concrete systems, space, and shape. These qualities are exemplified through works by Estelle Liebenberg-Barkhuizen and Cheryl Penn. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

Thesis (MA)--Stellenbosch University, 2016 / AFRIKAANSE OPSOMMING: Hierdie tesis is ’n studie van Anne Carson se boek Nox wat die vorm, voorkoms, prosesse en samestelling van die teks ondersoek en analiseer. Dit probeer tot ’n begrip kom van presies hoe Carson “a brilliantly curated heap of scraps” verwerk tot ’n outonome kunswerk, “a thing that carries itself.” In die eerste gedeelte van die tesis word Nox as voorbeeld van ’n kunsboek (“artists’ book”) beskou. Nox se inhoud en voorkoms word gemeet aan die definisie en kenmerke van kunsboeke en binne die konteks van die geskiedenis van boekkuns as praktyk geplaas. Daar word veral gefokus op die visuele aard van Nox, die maniere waarop die boek verskil van meer konvensionele tekste, die selfbewustheid en selfrefleksie wat in die teks manifesteer en die eenheid van vorm en inhoud wat die outeur/kunstenaar bewerkstellig. Die tweede gedeelte ondersoek hoe vertaling op verskillende vlakke as proses in die skep van Nox funksioneer. Die fragmente en brokstukke waaruit die teks bestaan word deur middel van vertaling tot ’n eenheid gebind. Die proses van lewensbeskrywing word op metaforiese vlak as ’n soort vertaling gesien, wat parallel staan teenoor die letterlike vertaling van Catullus se “Gedig 101” wat op die bladsye van Nox plaasvind. Terselfdertyd verteenwoordig die wyse waarop ’n private objek (Carson se notaboek waarin sy die oorspronklike brokke byeengebring het) verwerk word tot ’n publieke kunswerk (die kunsboek Nox) ’n volgende vlak van vertaling wat die ander twee vlakke omarm en bevat. Deur middel van ’n proses van intersemiotiese vertaling skep Carson in die kunsboek Nox ’n weergawe van “Gedig 101”. Die manier waarop die gedig betekenis skep word in ander tekensisteme in die kunsboek nageboots. In die laaste afdeling word semiotiek aangewend as teoretiese raamwerk waarbinne ’n teks wat uit verskillende media saamgestel is, ondersoek kan word. In dié gedeelte word ’n stiplees van Nox onderneem om te demonstreer presies hoe Carson die fragmente en brokstukke verwerk om ’n samehangende eenheid te skep. Daar word aangedui dat die teks gelees kan word as ’n vertraagde, verskerpte en ontplofte vertaalhandeling wat uitdrukking en vorm gee aan menslike smart. Die bundel Afskrif bestaan uit gedigte wat die moontlikheid van oorspronklikheid ondersoek en op verskillende maniere kyk na replikas, afskrifte, kopieë en herskrywings. / ENGLISH ABSTRACT: This thesis is a study of Anne Carson’s book Nox. It investigates the form, aesthetic, process and composition of the text, and attempts to come to an understanding of the way in which Carson transforms a “brilliantly curated heap of scraps” into an autonomous artwork, “a thing that carries itself.” The first section of the thesis discusses Nox as an example of an artist’s book. The content and appearance of the book are measured against the definition and characteristics of artist’s books, before it is placed within the context of the history of bookwork as an artistic practice. The visual nature of the book, the ways in which it challenges conventions of bookmaking, its self-consciousness and self-reflexivity, as well as the author/artist’s means of creating unity between form and content are emphasised. The second section of the thesis investigates how translation is used at different levels in the process of creating the work. Translation is used as a way of drawing together the fragments and scraps from which Nox is essentially made. At a metaphoric level, the process of life writing is seen as a form of translation, which also runs parallel to the literal translation of Catullus’ “Poem 101” contained in the pages of Nox. At the same time, the transformation of a private object (Carson’s personal notebook in which she collected the original scraps) into an artwork for public consumption (the artist’s book Nox) represents a third level of translation, which embraces and contains the other two. Through a process of intersemiotic translation, Carson creates a version of “Poem 101” in her artists’ book that mimics the way in which the poem creates meaning. In the last section of the thesis, semiotics is applied as a theoretical framework to facilitate the reading of a text in which various media is present. A close reading of Nox is undertaken to demonstrate exactly how Carson goes about processing the fragments and scraps into a coherent unity. The close reading reveals that Nox can be read as a slow, intensified and exploded exercise in translation that gives expression to grief. The collection of poems entitled Afskrif consists of poems which question the possibility of originality and investigates replicas, photocopies, copies and rewritings in different ways.

The thesis spans two volumes ... Volume two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component.' -- Abstract. / Thesis (MA)--Stellenbosch University, 2007. / ENGLISH ABSTRACT: The thesis investigates the contemporary practice of book art, examining in particular the manner in which it fits both into the tradition of the book and the tradition of art making. The thesis spans two volumes. Volume One discusses the phenomenon of the artist's book from three vantage points: the attempts to define it, the attempts to catalogue it and the attempts to interpret it. Volume Two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component. (Briefly, one of the tasks it embarks upon is an examination of the phenomenon of thesis writing, as understood and endeavoured by myself in the production of the first volume - in this sense it is self-reflective. Another is an examination of some aspects of my attempts to make examples of artist's books, which includes an investigation of some of the recurrent themes and preoccupations of my work) Volume One is set out in three chapters. The first chapter pursues a definition of book art and the artist's book in order to draw some perimeters around the subject, and to build a picture of its nature. In the course of doing this, the ideas of some book artists and book art commentators are considered in an attempt to create a richer tapestry of understanding. In the next chapter some of the ways in which book art has been categorised are discussed. This is in order to more finely delineate the nature and scope of book art. It is also to bring some clarity to bear upon the different components and manifestations of a vast and sometimes confusing oeuvre. I then suggest a system of classification of my own which offers an adjacent model for investigating artists' books and the endeavour of book art. With the above model in place, I undertake a foray into the arena of interpretation. Here I suggest the suitability of adopting certain methodologies of interpretation that come from the field of contemporary literary studies in general, and the interpretation of poetry in particular. I draw comparisons between the book artist and the poet, and suggest that they occupy a similar territory of meaning making. In the course of laying out my arguments in the three chapters, I refer extensively to examples of artists' books in order to make particular points. Where I consider it apt, I draw upon my book art as a source of example. In this way, I am able to weave into the text some information and reflection about my own practice and concerns as a book artist. / AFRIKAANSE OPSOMMING: Daar word in die tesis ondersoek ingestel na die hedendaagse praktyk van die boekkuns en in die besonder die wyse waarop dit aansluit by die tradisie van die boek en die tradisie van die kuns. Die tesis beslaan twee volumes. Volume Een bespreek die fenomeen van die kunstenaarsboek vanuit drie invalshoeke: pogings om dit te definieer, pogings om dit te katalogisieer en pogings om dit te interpreteer. Volume Twee is 'n kunstenaarsboek en, hoewel dit deel uitmaak van die projek wat ek ondemeem het, word dit nie voorgele saam met die teoretiese komponent van die MA- dissertasie nie maar as deel van die praktiese komponent. (Een van die take wat dit ondemeem is, kortliks, 'n ondersoek van die fenomeen tesis-skryf soos ek dit met die produksie van die eerste volume self verstaan en benader het - in die sin is dit selfreflektief. 'n Ander taak is 'n ondersoek van sekere aspekte van my pogings om kunstenaarsboeke te maak, insluitende 'n ondersoek na van die deurlopende temas en preokupasies van my werk.) Volume Een bestaan uit drie hoofstukke. Die eerste hoofstuk streef na 'n definisie van die boekkuns en die kunstenaarsboek met die doel om die onderwerp nader te ornlyn en 'n beeld daarvan op te bou. In die proses word die idees van 'n aantal boekkunstenaars en boekkuns-kommentatore oorweeg in die poging om n ryker begripstapisserie te weef. In die daaropvolgende hoofstuk word van die wyses waarop die boekkuns gekategoriseer is, bespreek, om die aard en rykwydte van die boekkuns nog nader te omlyn. Dit work ook gedoen om lig te werp op die verskillende onderdele en manifestasies van 'n omvangryke en soms verwarrende oeuvre. Ek stel vervolgens my eie klassifiseringsisteem voor, wat 'n verdere model hied vir die ondersoek van kunstenaarsboeke en die boekkunsbedryf. Aan die hand van hierdie model betree ek dan die arena van interpretasie. Ek stel voor dat sekere interpretasiemetodes ontleen aan die tydgenootlike literatuurwetenskap, en spesifiek die interpreteer van poesie, oorweeg word. Ek vergelyk die boekkunstenaar met die digter en stel voor dat hulle op soortgelyke wyses met die skep van betekenis omgaan. In die loop van die uiteensetting van my argument in drie hoofstukke, verwys ek ekstensief na voorbeelde van kunstenaarsboeke om spesifieke punte te maak. Waar ek dit as gepas beskou, verwys ek, by wyse van illustrasie, na my eie boekkuns. Op hierdie manier is dit vir my moontlik om inligting en besinning oor my eie praktyk en pre-okkupasies as boekkunstenaar met die teks te verweef.

Orientador: Maristela Sanches Rodrigues / Banca: Adriana Giarola Kayama / Banca: Joana Mariz de Sousa / Banca: Mônica Pedrosa de Pádua / Banca: Sandra Madureira / Resumo: Este texto é o resultado da pesquisa conduzida durante o curso oferecido pelo Programa de Mestrado Profissional em Artes (PROF-ARTES), no Instituto de Artes da UNESP/SP, cuja proposta é promover a reflexão acerca do processo de criação poética, tendo como base as narrativas de histórias de vida de um grupo de cinco professores de Arte da Rede de Ensino Municipal de São José dos Campos/SP. O artigo busca contribuir para a compreensão da formação de professores de Arte, tomando como recorte suas experiências vividas com a arte e seu processo de ensino. / Abstract: This text is the result of a research led during the course offered by Arts Professional Masters Program (PROF - ARTES), in UNESP Arts Institute - State of Sao Paulo, which purpose is to promote the reflexion about poetic creation process, based on life stories narratives of a five Art teachers' group from Municipal Education Network of Sao José dos Campos, state of Sao Paulo. This article aims to contribute for the comprehension about Art teacher's formation, focusing their life experiences with art s and teaching process. / Mestre

Esta dissertação é o resultado de uma investigação sobre as relações entre a construção do livro de artista e sua possível presença na produção de instalações artísticas. Busquei compreender de que maneira a utilização do espaço acontece na arquitetura do livro e no espaço da instalação e relacioná-las. Para isso utilizei como corpus trabalhos meus anteriores ao processo deste mestrado, produzidos entre 2002 à 2012, somados a uma série de trabalhos que produzi durante este período e que apresento junto a este texto. Foram realizadas análises de obras de artistas que considero relevantes dentro do quadro em que se insere esta pesquisa. / This work is the result of an investigation on the relationships between the construction of artists\' books and their presence in art installations . I aimed to understand and to relate the use of space in the architecture of books and in installations . For this I used my previous work, produced from 2002 to 2012, before the beggining of my master studies, and also a series of works carried out during this period, which I present together with the text. I also analysed works by artists that I consider relevant within the framework in which this research operates.

Esta dissertação é o resultado de uma investigação sobre as relações entre a construção do livro de artista e sua possível presença na produção de instalações artísticas. Busquei compreender de que maneira a utilização do espaço acontece na arquitetura do livro e no espaço da instalação e relacioná-las. Para isso utilizei como corpus trabalhos meus anteriores ao processo deste mestrado, produzidos entre 2002 à 2012, somados a uma série de trabalhos que produzi durante este período e que apresento junto a este texto. Foram realizadas análises de obras de artistas que considero relevantes dentro do quadro em que se insere esta pesquisa. / This work is the result of an investigation on the relationships between the construction of artists\' books and their presence in art installations . I aimed to understand and to relate the use of space in the architecture of books and in installations . For this I used my previous work, produced from 2002 to 2012, before the beggining of my master studies, and also a series of works carried out during this period, which I present together with the text. I also analysed works by artists that I consider relevant within the framework in which this research operates.