Why "igolf"? I love golfing, especially enjoying the gigantic space of the golf course. More importantly, this is the place where I dream and get inspiration for my art. I imagine filling my own global golf course with monumental golf sculptures in the future. This motivation and enthusiasm has modified my direction in creating sculpture. I named my final MFA exhibition "igolf". The idea of the name comes from modern terms we find in popular devices, such as the iPhone, iPod, and the iMac that reflect our technological world. In addition, the sound for "i" shares the same sound of the Chinese Mandarin word for "love." The content of my art represents a dialogue of love similar to the dialogue between men and women who are in love. I have discovered that human beings share many common conversations in daily life, which contain either positive or negative meaning. These conversations might contain hope, excitement, humor, despair, sadness and so on. I decided to use dialogues such as "Can we Start over Again?", "Love is Blind" or "You are my Last Hope!" as the titles of my sculptures. These dialogues help build a mutual understanding between my works and my audiences. When the audiences look at my works and the titles, hopefully they will be reminded of their memorable experiences, whether it be good or bad, with their loved ones. Choosing golf as my subject matter in creating sculptures was inspired by Murakami Takashi, the famous Japanese artist, and Zaha Hadid, an outstanding architect. They are well acknowledged by their incredible works, which symbolize the luxurious life. Therefore, the famous brand Louis Vuitton invited both artists to design for their brand. Events such as these made me realized the potential trend for commercial art. In addition, my 15 year experience as a graphic designer has also helped generate many ideas that relate to golf and its associated products. The practical principles of graphic design have been applied in my "igolf" exhibition. I will proceed to explain the creative process behind each of the works in the exhibition.

Depuis les années 1960, l'art contemporain démontre un intérêt accru pour la maison. Cette préoccupation est particulièrement visible au sein d’œuvres qui semblent issues d’un croisement entre sculpture et architecture et qui prennent la forme variée de constructions monumentales et miniatures, d’environnements, d’installations, de cabanes et autres abris, d'interventions sur des bâtiments. etc. De telles œuvres interrogent la condition actuelle de l'habiter et révèlent l’hybridité qui caractérise toute une partie de la sculpture postmoderne. Sur la base d'un vaste ensemble de productions représentatives - telles que les "Demeures" d’Etienne-Martin, les "Igloos" de Mario Merz, la maison de Jean-Pierre Raynaud, les découpes de Gordon Matta-Clark, les "Nids " de Nils-Udo, les "Cabanes" éclatées de Daniel Buren ou les "Cellules" d'Absalon --, il s'agit dans cette étude à la fois thématique et typologique d’explorer les manifestations de la maison dans la sculpture contemporaine, pour élaborer ainsi une histoire de la « sculpture-architecture ». Quatre orientations sont à cette fin définies : premièrement, la maison « intérieure », comprise comme une image de l’identité et découverte au travers d’une « sculpture intimiste ; deuxièmement, la maison minimale et mobile, fondée sur le modèle du corps et examinée à partir d’une sculpture « habitable » ou une forme de « microarchitecture » : troisièmement, l'abri originel ou la maison dans la nature, associé à une sculpture primitiviste et paysagère : et quatrièmement, la maison « déconstruite», considérée comme un modèle architectural, social et culturel, et analysée au regard d'une sculpture essentiellement publique et critique. / Since the 1960s, contemporary art shows an increased interest in the house. This preoccupation is particularly, visible in works which seem to result from a crossing between sculpture and architecture, and which take the varied form of monumental and miniature constructions, environments, installations, huts or other shelters, interventions on buildings, etc. These works question the current inhabiting conditions and reveal the hybridity that characterizes a large part of postmodern sculpture. Based on a wide range of representative productions - such as Etienne-Martin's "Demeures", Mario Merz's "Igloos", Jean-Pierre Raynaud's hous,. Gordon Matta-Clark's cuts, Nils-Udo's "Nids", Daniel Buren's "Cabanes éclatées" or Absalon's "Cellules" -, , the aim of this study both thematic and typological is to explore the various manifestations of the house in contemporary sculpture, so to develop a history of "sculpture-architecture". Four orientations are defined to this purpose : first, the "inner" house, understood as an image or identity and discovered through an animist sculpture; second, the minimal and mobile house, founded on the model of the body and examined from an "inhabitable" sculpture or a form of "microarchitecture"; thirdly, the original shelter or house in nature, associated with a primitivism and landscaped sculpture; and fourthly, the "deconstructed" house, considered as an architectural, social and cultural model, and studied from the point of view of an essentially critical and public sculpture.

Esta dissertação tem por objetivo analisar o trabalho artís tico Projeto para a Ocupação de uma Casa, realizado dentro do programa de mestrado em Poéticas Visuais entre 2004 e 2005. Através desse trabalho pretendeu-se compreender e aprofundar o interesse no ambiente doméstico presente na produção que o antecedeu. Para isso, foi feita uma revisão crítica dessa produção, onde foram identificados os principais assuntos, recursos e problemas que formaram o interesse no ambiente doméstico. Essa revisão constitui a primeira parte desta dissertação. Na segunda parte, é analisado o Projeto. Partindo de um conjunto de referências prioritariamente literárias, uma série de objetos foi elaborada para ocupar cada um dos cômodos de uma casa escolhida, de modo que, ao percorrê-la, uma narrativa de caráter ficcional se formava. No texto, verificam-se as intenções e resultados de cada peça e ambiente; se elas cumpriram a meta de aprofundamento e entendimento da questão doméstica, as suas soluções formais, os sentidos que engendraram e o papel que desempenharam na constituição da narrativa. / The objective of this thesis is to analyze the art work Project for the Occupation of a House, which was developed within the masters program in Visual Poetics, between 2004 and 2005. The thesis has aimed at understanding and deepening the interest in the domestic environment that was present in the production that preceded it. In order to achieve this, a critical review of the production was carried out, in which the main subjects, resources and problems involved in the interest in the domestic environment were identified. This review constitutes the first part of the thesis. In the second part, the Project is analyzed. With the background of a number of primarily literary references, a series of objects was elaborated to occupy each of the rooms of a chosen house, in a way that as the house was visited, a narrative of fictional character was formed. In the text, the intentions and results of each piece and surrounding are checked: whether or not they have achieved the result of deepening the understanding of the domestic question, their formal solutions, the meanings that were generated, and the role they played in the cons titution of the narrative.

Orientador:Luise Weiss / Acompanha 1 CD-ROM e 1 Livro-objeto liluminado [14 f. de laminas] / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T10:28:31Z (GMT). No. of bitstreams: 1 Zurita_RitaCassiaRibeiro_D.pdf: 7902085 bytes, checksum: 752053fb512965e8ed1e19b298e5cd4c (MD5) Previous issue date: 2010 / Resumo: A presente pesquisa, Impressões da Luz, tendo como foco a construção de objetos artísticos a partir da relação entre matéria e luz, procurou responder à seguinte questão: como elaborar um livro-objeto iluminado? O trabalho nasceu desse conflito, que envolve também a observação, a percepção, a emoção e a apresentação dos objetos. Buscando expressar o ilimitado no espaço recluso de um projeto, notei que algumas formas e cores que compunham a paisagem do pôr do sol sempre apareciam mais intensamente em minha memória e, por isso, comecei a investigá-la. A produção artística, composta de um livro-objeto e intervenções no espaço por meio da instalação, que enfatizou os conceitos de luz, cor e forma na composição das Artes Visuais, resultou na procura de uma poética visual / Abstract: This research, Impressions of the Light, has its focus in the construction of artistic objects, made in relation to the matter and light: how can we elaborate an illuminated book-object? This paper was born from that conflict that also involves observation, perception, emotion and the presentation itself. How can we express the limitless in a reclusive space of the project? We have come to the conclusion that some forms and colors that composed the sunset always appeared more intensely in our memory and for that reason we began to investigate it. The understanding of the artistic production of the book-object and the interventions in space through its installation, emphasized the concepts of the light, color, form in the space of the composition of the Visual Arts and also had as a result the investigation and the search of a visual poetic / Doutorado / Artes Visuais / Doutor em Artes

Esta dissertação tem por objetivo analisar o trabalho artís tico Projeto para a Ocupação de uma Casa, realizado dentro do programa de mestrado em Poéticas Visuais entre 2004 e 2005. Através desse trabalho pretendeu-se compreender e aprofundar o interesse no ambiente doméstico presente na produção que o antecedeu. Para isso, foi feita uma revisão crítica dessa produção, onde foram identificados os principais assuntos, recursos e problemas que formaram o interesse no ambiente doméstico. Essa revisão constitui a primeira parte desta dissertação. Na segunda parte, é analisado o Projeto. Partindo de um conjunto de referências prioritariamente literárias, uma série de objetos foi elaborada para ocupar cada um dos cômodos de uma casa escolhida, de modo que, ao percorrê-la, uma narrativa de caráter ficcional se formava. No texto, verificam-se as intenções e resultados de cada peça e ambiente; se elas cumpriram a meta de aprofundamento e entendimento da questão doméstica, as suas soluções formais, os sentidos que engendraram e o papel que desempenharam na constituição da narrativa. / The objective of this thesis is to analyze the art work Project for the Occupation of a House, which was developed within the masters program in Visual Poetics, between 2004 and 2005. The thesis has aimed at understanding and deepening the interest in the domestic environment that was present in the production that preceded it. In order to achieve this, a critical review of the production was carried out, in which the main subjects, resources and problems involved in the interest in the domestic environment were identified. This review constitutes the first part of the thesis. In the second part, the Project is analyzed. With the background of a number of primarily literary references, a series of objects was elaborated to occupy each of the rooms of a chosen house, in a way that as the house was visited, a narrative of fictional character was formed. In the text, the intentions and results of each piece and surrounding are checked: whether or not they have achieved the result of deepening the understanding of the domestic question, their formal solutions, the meanings that were generated, and the role they played in the cons titution of the narrative.

[pt] Reunir Amilcar de Castro e João Cabral de Melo Neto, que, embora contemporâneos e compartilhantes de gostos artísticos, jamais se conheceram, é corrigir um projeto que a História se esqueceu de terminar. Entre os aspectos que aproximam João Cabral de Amilcar de Castro está o privilégio da visualidade em sua poesia, que toma as palavras por sua materialidade de tinta sobre papel. Amilcar, por sua vez, também explora a metalinguagem da escultura, fazendo saltar à percepção aspectos como o peso e a conquista da terceira dimensão. O método comparativo, que é a própria técnica das símiles cabralinas, nos serve ainda para confrontar o projeto construtivo presente em ambos, mas que em Amilcar toma as peculiaridades da ruptura neoconcreta. Finalmente, a abordagem fenomenológica nos leva a descobrir na dobra - literal em Amilcar e sob a forma de um desmonte interno da palavra em Cabral - a contribuição fundamental para o projeto compartilhado de desnaturar a percepção humana. Promover tal encontro, entre esse escultor e esse poeta, é, deixadas de lado as notórias diferenças, sobretudo asseverar as semelhanças que o minucioso Cabral, crítico do museu de tudo e todos, descuidou-se em realizar. / [en] Bringing together Amilcar de Castro and João Cabral de Melo Neto, who never met, although contemporaries and who shared tastes in art, is to correct a project that History forgot to finish. One of the aspects that bring João Cabral closer to Amilcar de Castro is the privilege of the visual in his poetry, which takes the words because of their materiality of pen on paper. Amilcar, in turn, explores the metalanguage of sculpture, bringing to the fore aspects such as weight and achievement of the third dimension. The comparative method, which is the very technique of Cabralian similes, helps us to match the constructive project present in both, but which in Amilcar adopts the peculiarities of neo-concrete rupture. Finally, the phenomenological approach leads us to discover in the fold - literal in Amilcar and in the form of an inner dismantling of the word` in Cabral - the fundamental contribution for the shared project of perverting human perception. To promote such a meeting between this sculptor and this poet is, first and foremost, and ignoring the notorious differences, to assert the similarities that the hairsplitting Cabral, critic of the museum of everything and everyone, failed to make.

This thesis examines the work of three Korean contemporary art practitioners: Lee Ufan (b. 1936), Lee Bul (b.1964) and the collective flyingCity (formed 2001). Lee Ufan is a senior Korean sculptor, painter and writer, who, during a long and productive career, has been based in Tokyo and Paris, and is now recognised in Korea, as well as internationally. Both Lee Bul and flyingCity have participated in projects at the Govett-Brewster Gallery for Contemporary Art in New Plymouth, New Zealand. These three art practices demonstrate a trend during the last fifty years from the individual artist working in a studio (Lee Ufan), to the artist moving from city to city making and showing artworks (Lee Bul), to artist collectives, working with community groups in the mode of relational aesthetics (flyingCity).

No description available.

[ES] La talla es uno de los procesos escultóricos más antiguos. Se trata de una técnica sustractiva en la cual, partiendo de una masa sólida, se da forma a la materia mediante el corte, cincelado o abrasión. Este medio, que se popularizó en el pasado y fue preferido por artistas como Fidias, Miguel Ángel, Brancusi o Barbara Hepworth, implica un proceso lento y laborioso, un desarrollo pausado. Es, en este sentido, un quehacer disonante en el contexto social actual, cuyo modo de vida, rápido y agitado, no lo asumiría con naturalidad en el sistema artístico. Y su uso, en el arte de hoy, ha decaído hasta condicionarlo con la expresión "estar pasado de moda". Esta investigación analiza, desde aproximaciones cuantitativas y cualitativas, lo que se configura como un corpus documental para presentar una guía de artistas contemporáneos, cuyas poéticas siguen mostrando el protagonismo de este tipo de procedimiento escultórico. De este modo, intentamos argumentar razonadamente que no solo resiste al paso del tiempo, sino que ha logrado adaptarse a nuestro contexto creativo actual. / [CA] La talla és un dels processos escultòrics més antics. Es tracta d'una tècnica subtractiva en la qual, partint d'una massa sòlida, es forma la matèria mitjançant el tall, el cisellat o l'abrasió. Aquest mitjà, que es va popularitzar en el passat i que va ser el preferit d'artistes com Fídies, Miquel Àngel, Brancusi o Barbara Hepworth, implica un procés lent i laboriós, això és, un desenvolupament pausat. En aquest sentit, és una tasca dissonant en el context social actual, atés que, la manera de viure actual, ràpida i atrafegada, no ho assumiria amb naturalitat en el sistema artístic. A més, el seu ús, actualment, ha decaigut, fins al punt d'haver estat etiquetada com una tècnica "passada de moda". En aquesta investigació s'analitza, des d'aproximacions quantitatives i qualitatives, el que es configura com un corpus documental, per tal de presentar una guia d'artistes contemporanis, les poètiques dels quals segueixen mostrant el protagonisme d'aquest tipus de procediment escultòric. D'aquesta manera, intentem argumentar raonadament que aquesta tècnica no sols resisteix al pas del temps, sinó que ha aconseguit adaptar-se al context creatiu actual / [EN] Carving is one of the oldest sculptural processes. It is a subtractive technique through which starting from a solid mass the material is shaped by the cutting, the chiseling or the abrasion. This means, which became very popular in the past and which was preferred by artists such as Phidias, Michelangelo, Brancusi or Barbara Hepworth, involves both a slow and laborious process and also a measured development. According to this, it is a dissonant work in the contemporany social context, whose fast and hectic lifestyle would not assume it as a natural issue into the artistic system. Moreover, its use in today's art has declined such an extent that these days it is considered as"out of fashion". This research analyses what it is configurated as a documentary corpus from both qualitative and quantitative approaches, in order to introduce a guide of contemporary artists whose poetics go on showing the importance of this kind of sculpture technique. In this way, we are trying to argue thoughtfully that it has not only resisted the passage of time but it has also been able to adapt it to our current context. / Samo Terrasa, A. (2022). La talla en el mercado del arte en Europa Occidental. Una revisión de la actualidad (2018-2020) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/189152