Angel Jones Artist Statement My mixed media collages address issues concerning the outcast, the overlooked, and the underprivileged. My inspirations come from what I experience and perceive around me. My purpose in life is to use my art to address social issues that involve children. For example, I focus my attention on issues ranging from homelessness to mental illness. I am passionate about how vital these concerns are to our success as human beings. To express my ideas, I layer a variety of materials and textiles. The materials include fragments of photographs, drawings, and objects. The textiles include articles of clothing and fabrics. Recurring symbols and imagery link the individual pieces together. The theme of each work determines the materials and media. While doing research for a piece, new social issues often surface and lead to the next piece.

[pt] Saberes Sobrepostos: design e artesanato na produção de objetos culturais tem como objetivo principal estudar as relações que podem ser estabelecidas em uma atuação de design sobre o artesanato. O foco recai sobre o exame da re-configuração do produto pelo design com o intuito de facilitar a sua inserção em novos mercados comerciais, verificando seu contexto de atuação e as conseqüências decorrentes desse processo. Para tanto, examina a epistème do design, a produção social das intervenções sobre o artesanato e apresenta um estudo de caso referente a uma intervenção em uma comunidade produtora de cuias artesanais. / [en] Overlapping forms of knowledge: craftwork and design for cultural objects production mainly aims at studying the parallels that can be established in the applications of design onto craftwork. It focuses on the analysis of the product re-configuration through design in order to facilitate its placement into the commercial market, by checking its application context and the consequences following that process. In order to achieve this, it examines the design episteme, the social origins of the influences on craftwork and presents a live case study, regarding an intervention within a craftwork bowls producing community.

Made available in DSpace on 2016-10-13T14:10:27Z (GMT). No. of bitstreams: 1 Julliana Biscaia reduzido.pdf: 6378270 bytes, checksum: 984c243f12ab815e19ad7bc09a3c671c (MD5) Previous issue date: 2016-03-18 / Art and crafts are contemporary mediated logic of production in blogs such as Elo7 (found in crafts ecommerce offered by Elo7), which brings us with testimonials of craftsmen/women, regarding representation in craft making. According to these craftsmen/women, crafts is a way of making art. The main purpose of this research is to analyze the testimonials found in this blog, conceiving them as publicity texts, since they value the craft activity, approaching it to art. We start from Carrascoza s (2004) strategies to analyze publicity texts concept. We also lay our verification of these texts in the French Discourse Analysis / A arte e o artesanato são lógicas de produção mediatizadas na contemporaneidade em blogs como o Elo7 (presente no site de comercialização de produtos artesanais Elo7), que nos traz depoimentos de artesãos, com representações em relação ao fazer artesanal. Na visão desses criadores, o artesanato é uma forma de fazer artístico. Temos como objetivo analisar os depoimentos presentes nesse blog, concebendo-os como textos publicitários, uma vez que valorizam a atividade artesanal, aproximando a da arte. Partimos da conceituação de Carrascoza (2004) para a análise das estratégias do texto publicitário. Nos ancoramos também na Análise de Discurso de Linha Francesa para empreender nossa verificação.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-07-05T16:46:50Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Daniel Roberto Torres.pdf: 5076151 bytes, checksum: 01ca2620ec362203257276712b740f14 (MD5) / Made available in DSpace on 2018-07-05T16:46:50Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Daniel Roberto Torres.pdf: 5076151 bytes, checksum: 01ca2620ec362203257276712b740f14 (MD5) Previous issue date: 2018-05-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo geral da pesquisa é analisar a reprodução do trabalho artesanal no processo de acumulação desigual do capital e suas formas de institucionalização política diante estudo social dos países de Brasil e França. Realiza-se a problematização do trabalho artesanal desde o debate sobre a necessidade que tem o capital de reproduzir atividades artesanais na medida em que se desloca temporal e espacialmente. No desenvolvimento desigual, o trabalho artesanal apresenta formas de organização e institucionalização diferenciada entre países e regiões, o que dificulta uma compreensão sobre o seu significado atual e sua importância na economia dos países. Nesse sentido, a importância de um estudo comparativo radica em sua melhor compreensão do desenvolvimento da relação entre o trabalho artesanal e o sistema económico e político particular, visando encontrar o estado de diferenciação e igualização que o movimento de reestruturação capitalista apresenta e as possibilidades de ação para a classe trabalhadora. Como método se utiliza o materialismo histórico na base dialética da teoria do valor, e como mecanismo metodológico a teoria de estudos comparados de forma intra-regional e inter-regional. Conforme ao desenvolvimento do trabalho no estudo dos dois países é possível definir, na forma de tese, o seguinte: O desenvolvimento desigual do processo de industrialização comprometeu a diferenciação da divisão e classificação do trabalho artesanal de cada país de estudo, especialmente pelo fortalecimento da classe media na França que permitiu a configuração do setor artesanal com maior integração vertical das atividades técnicas ao mercado nacional, e no Brasil com o desenvolvimento de práticas culturais para uma classificação do artesanato e da identidade de artesão num movimento de integração horizontal ao capital. O processo de desenvolvimento geográfico desigual permitiu demostrar que existe uma tendência para a diferenciação e igualização do trabalho artesanal. Diferenciação nos diversos níveis de relação entre a divisão do trabalho e o capital, e igualização das condições de produção globalizada do trabalho artesanal pela via artística ou cultural. Por ultimo, a maior parte das ações coletivas dos trabalhadores artesanais é de caráter local, onde as lutas reivindicativas são fundamentais na proteção dos direitos privados de produção, mas não como projeto político mais abrangente. / The aim of the research is to analyze the reproduction of craft work in the process of uneven accumulation of capital and its forms of political institutionalization in the social study of the countries of Brazil and France. The problematization of the craft work is carried out since the debate about the necessity that the capital has to reproduce artisan activities to the extent to which it moves temporally and spatially. In the uneven development, the craft work presents different forms of organization and institutionalization between countries and regions, which hinders an understanding of its current meaning and its importance in the economy of the countries. In this sense, the importance of a comparative study lies in its better understanding of the development of the relationship between craft work and the particular economic and political system, in order to find the trajectory of differentiation and equalization that capitalist restructuring movement presents and the possibilities of action for the working class. Historical materialism method is used with the dialectical basis of value theory, and as a methodological mechanism, the theory of comparative studies in an intra-regional and interregional form. According to the development of the research of the two countries it is possible to define, as a thesis, the following: The uneven development of the industrialization process compromised the differentiation of the division and classification of craft work in each country of study, especially by the strengthening of the middle class in France, which allowed the configuration of the artisanal sector with more vertical integration of technical activities into the national market, and in Brazil with the development of cultural practices for a classification of craftsmanship and artisan identity in a movement of horizontal integration to capital. The uneven geographical development processes allowed demonstrate that there is a tendency for differentiation and equalization of craftsmanship. Differentiation in the diverse levels of the relation between the division of labor and capital; and equalization of globalized production of craft work by the artistic or cultural way. Finally, most of the collective actions of artisanal workers are local, where advocacy struggles are fundamental in protecting private production rights, but not as a broader political project.

No description available.

Les recherches précédentes sur la coroplathie de Métaponte ont abordé ce matériel comme un objet de culte circonscrit dans le sanctuaire. Face à l'abondance des données dont on dispose, ce travail cherche à actualiser nos connaissances en le considérant d'abord comme une production artisanale. L'étude se centre sur les VII0-VI° siècles avant J.-C., époque durant laquelle la polis structure progressivement son territoire et met en place ses lieux de culte. Le choix d'un corpus provenant de plusieurs sanctuaires a conduit à la définition de types techniques et à l'analyse de leur diffusion dans la cité. L'étude combine trois approches complémentaires visant à éclaircir les spécificités du matériel métapontin : en premier lieu, les chaînes opératoires et les espaces artisanaux qui introduisent la question des ateliers locaux et des moyens d'identifier leurs productions; ensuite, la diffusion du matériel dans le Métapontin et au-delà, mettant en évidence les réseaux de contacts ; enfin, les spécificités fom1elles de ce corpus et les dynamiques créatives qui s'inscrivent dans des courants à plus grande échelle. Les résultats obtenus sont placés en dernier lieux dans une perspective plus large à travers trois axes: la place de l'artisan, l'analyse iconographique et l'emploi de l'artisanat dans la définition de l'identité des ltaliotes. Cet exercice méthodologique ouvre de nouvelles perspectives en considérant la production d'une cité dans son ensemble. Il met en évidence l'intérêt d'analyser la globalité du contexte de déposition et de replacer le matériel à l'intérieur des dynamiques productives et communautaires qui lui sont propres. / Previous research on metapontian coroplastic material has focused on their ex voto dimension, circumscribed to the sanctuary. Given the abundant data that we have, this work aims to update our knowledge considering this material first of ail as a craft production. The study focuses on the VII1h-VI1h centuries B.C., period during which the polis progressively structured its territory and established its places of worship. The constitution of a corpus with material from different sanctuaries enables us to define technical types and analyse their diffusion within the city. The study combines three complementary approaches aimed at determining the specificities of metapontian materials: on the first place, the operational chains and craft spaces which introduce the question of local workshops and how to identify their productions; then, the diffusion of the material within Metaponto and beyond, highlighting the contact networks; lastly, the formal specificities of the metapontian corpus and the creative dynamics the city integrates on a larger scale. Finally, these observations are placed on a wider perspective from three different angles: the place of the craftsman, the iconographic analysis and the use of crafts in the definition of the ltaliote identity. This methodological exercise seeks to bring new perspectives by considering the city's production as a whole. JI brings out the appeal of analysing the entire depositional context and approaching the material through its own productive and communitarian dynamics.

One of the most prominent traditions associated with the Southern Appalachians is the art of weaving. Extensive research has focused on the history of Appalachian weaving, but there is little on the current weaving community. Today, the region still serves as an axis for weaving, and many practicing weavers, weaving instructors, and learning institutions can be found in Southern Appalachia. The core of this study is the interviews with ten weavers that reside and practice their work in Appalachia. Using concept coding, the transcripts of the interviews led to the development of four major themes that highlight the weavers’ discovery of their weaving passion, what continues to be a source of motivation for weaving, how today’s weavers use weaving as a source of income, and how weaving continues to be deeply connected to Southern Appalachia’s art and craft making traditions.

Data on the handweaving program at the Quicksand Craft Center in the Appalachian Mountains of Eastern Kentucky were compiled and analyzed. Four areas--history of the craft program, business organization and financial structure, weave patterns of goods woven and sold by the craft center, and weavers employed in the program --were examined to assess the success of the program in the local community. Factors in the four areas examined contributed to the success of the program. The benevolence, perseverance, and co-operation of the founders, directors and community members involved with the craft center have been largely responsible for the continued success of the program. The non-profit organizational structure of the craft program was financially stable and met federal guidelines for tax exemption. Weave patterns in goods produced at the craft center were basically traditional with modern adaptations in fibers and end products. Influence of the handweaving program in the lives of weavers and their families was primarily positive.

A presente investigação teve como ponto de partida o estudo da palavra kôgei 工芸, derivada de geijutsu 芸術, que corresponde à ideia de arte no Japão. A pesquisa inicia-se com uma análise preliminar das principais diferenças entre geijutsu e a arte europeia, no sentido de belas artes predominante até meados do século XIX. Segue-se um esclarecimento acerca da origem da palavra kôgei, criada para traduzir o termo inglês industry no contexto da modernização do país, mas que sofreria um processo de reelaboração desse significado, tornando-o mais próximo de arte e artesanato, e símbolo da cultura material japonesa. Em nossa delimitação cronológica, que tem início com a reabertura dos portos japoneses para as potências marítimas estrangeiras durante os anos 1850, investigamos alguns elementos que contribuíram para a transformação semântica de kôgei, tais como a função social da arte no Japão pré-moderno, a participação nas exposições internacionais de arte e indústria, o aponismo e a inserção da arte japonesa no debate ocidental sobre a arte aplicada por volta da década de 1870. / The starting point of the investigation here presented was the study of the word kōgei工芸, derived from geijutsu 芸術, which corresponds to the idea of art in Japan. The research begins with a preliminary analysis of the main differences between geijutsu and European art, in the sense of fine arts prevalent until the mid-nineteenth century. It is followed by a clarification about the origin of the word kōgei, created to translate the English term industry in the context of the country modernization. That meaning would be the subject of re-elaboration, making it closer to art and crafts, and symbol of the Japanese material culture. In our chronological delimitation, which begins with the reopening of Japanese ports to the international maritime powers during the 1850s, we investigate some elements that contributed to the semantic transformation of kōgei, such as the social function of art in premodern Japan, the participation in international exhibitions of art and industry, Japonisme and the insertion of the Japanese art in the Western debate on applied arts around the 1870s.

This thesis explores the epistemological shift in my photographic practice from an ethnographic position to that of surrealist documentary. In charting this shift I have consider the use of documentary photography by the historical Surrealist movement ,and, the synthesis of surrealism and ethnography found in the English group Mass- Observation. The photograph’s oscillation between indexical record and mystical emanation forms a key position in understanding these two groups belief in the found images ability to describe a repressed reality located in the mass unconscious. Drawing on the Lacanian model of the Real used by Slavoj Zizek as a tool of cultural critique I suggest a new framework for a surrealist documentary practice. In bringing the methodology of the early Surrealists into a contemporary context I consider the position of suburbia as a new terrain vague in relationship to the fantasy of the Real.