Orientador: Luzia Margareth Rago / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013 / Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze / Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze / Doutorado / Historia Cultural / Doutora em História

[ES] Este proyecto busca conocer los orígenes y el desarrollo del Goddess Art, un tipo de arte basado en el arquetipo de la Gran Madre, estudiado por autores como Carl Gustav Jung o Erich Neumann, y que floreció de mano de diferentes artistas ligadas al movimiento feminista de segunda ola durante las décadas de los sesenta y setenta, principalmente en los Estados Unidos de América. Sus características de ser un arte principalmente desarrollado por mujeres, estar asociado al movimiento feminista-esencialista, y su cercanía con el movimiento de espiritualidad feminista le valió un gran descrédito, tanto por parte de un mundo del arte de marcado carácter androcéntrico, como por la rama política del movimiento feminista. A través de un análisis del contexto histórico trazamos paralelismos con diferentes sucesos y movimientos, que fueron clave para su surgimiento, como el interés del feminismo de rescatar a la mujer en la historia (Herstory), un incremento de la violencia en las calles, una mayor libertad sexual, un revival espiritual, el movimiento antiguerra, un creciente interés proteccionista hacia la naturaleza, o la conformación de la contracultura, entre otros. Este análisis sirve como base para un estudio posterior en el que observamos cómo el Goddess Art recogió los principales intereses de algunas de las artistas vinculadas al movimiento feminista-esencialista, que encontraron en el arquetipo de la Diosa la inspiración para manifestar sus inquietudes, y para desarrollar imágenes de poder en las que otras mujeres pudiesen verse reflejadas. A lo largo de los diferentes apartados se explora la obra de varias artistas, algunas de ellas de gran reconocimiento internacional, y otras menos conocidas, con el objetivo de dar visibilidad a las múltiples aportaciones que se dieron en esta época. A través de nuestra investigación hemos tratado de recuperar y unificar muchas de las obras realizadas en estos años, así como de mostrar su impacto posterior, exponiendo cómo hoy en día este tema se encuentra de gran actualidad, ya que varias de las artistas que lo abordaron en un primer momento han recuperado sus obras, confiriéndoles una gran relevancia dentro de sus exhibiciones retrospectivas realizadas en los últimos años, así como también es un tema que algunos artistas emergentes han recuperado, lo que muestra su gran actualidad. De este modo, este proyecto busca difundir el Goddess Art, y promover su conocimiento en nuestro país, contribuyendo a abordar facetas más desconocidas de artistas de gran prestigio, así como ayudar a revelar la obra de quienes no han gozado de tanto reconocimiento. / [CA] Este projecte busca conéixer els orígens i el desenvolupament del Goddess Art, un tipus d'art basat en l'arquetip de la Gran Mare, estudiat per autors com Carl Gustav Jung o Erich Neumann, i que va florir de mà de diferents artistes lligades al moviment feminista de segona ona durant les dècades dels seixanta i setanta, principalment als Estats Units d'Amèrica. Les seues característiques de ser un art principalment desenvolupat per dones, estar associat al moviment feminista-essencialista, i la seua proximitat amb el moviment d'espiritualitat feminista li va valdre un gran descrèdit, tant per part d'un món de l'art de marcat caràcter androcèntric, com per la branca política del moviment feminista. A través d'una anàlisi del context històric tracem paral·lelismes amb diferents successos i moviments, que van ser clau per al seu sorgiment, com l'interés del feminisme de rescatar a la dona en la història (Herstory), un increment de la violència als carrers, una major llibertat sexual, un revival espiritual, el moviment antiguerra, un creixent interés proteccionista cap a la naturalesa, o la conformació de la contracultura, entre altres. Esta anàlisi serveix com a base per a un estudi posterior en el qual observem com el Goddess Art va recollir els principals interessos d'algunes de les artistes vinculades al moviment feminista-essencialista, que van trobar en l'arquetip de la Deessa la inspiració per a manifestar les seues inquietuds, i per a desenvolupar imatges de poder en les quals altres dones pogueren veure's reflectides. Al llarg dels diferents apartats s'explora l'obra de diverses artistes, algunes d'elles de gran reconeixement internacional, i altres menys conegudes, amb l'objectiu de donar visibilitat a les múltiples aportacions que es van donar en esta época. A través de la nostra investigació hem tractat de recuperar i unificar moltes de les obres realitzades en estos anys, així com de mostrar el seu impacte posterior, exposant com hui dia este tema es troba de gran actualitat, ja que diverses de les artistes que el van abordar en un primer moment han recuperat les seues obres, conferint-los una gran rellevància dins de les seues exhibicions retrospectives realitzades en els últims anys, així com també és un tema que alguns artistes emergents han recuperat, la qual cosa mostra la seua gran actualitat. D'aquesta manera, este projecte busca difondre el Goddess Art, i promoure el seu coneixement al nostre país, contribuint a abordar facetes més desconegudes d'artistes de gran prestigi, així com ajudar a revelar l'obra dels qui no han gaudit de tant de reconeixement. / [EN] This project seeks to know the origins and development of Goddess Art, a type of art based on the archetype of the Great Mother, studied by authors such as Carl Gustav Jung or Erich Neumann, and which flourished at the hands of different artists linked to the second wave of the feminist movement during the sixties and seventies, mainly in the United States of America. Its characteristics of being an art mainly developed by women, being associated with the feminist-essentialist movement, and its proximity with the feminist spirituality movement caused it a great discredit, both by an art world with a strong male-centered orientation, as well as by the political branch of the feminist movement. Through an analysis of the historical context, we draw parallelisms with different events and movements that were key to its emergence, such as feminism's interest in rescuing women from history (Herstory), an increase of violence in the streets, a greater sexual freedom, a spiritual revival, the anti-war movement, a growing interest in protecting nature, or the formation of the counterculture, among others. This analysis serves as the basis for a subsequent study in which we observe how Goddess Art gathered the main interests of some of the women artists linked to the feminist-essentialist movement, who found in the archetype of the Goddess the inspiration to express their concerns, and to develop images of power in which other women could see themselves reflected. Throughout the different sections we explore the work of several women artists, some of them highly recognized internationally, but also others who are less known, in order to give visibility to the multiple contributions that occurred in this era. Through our research we have tried to recover and unify many of the works made in these years, as well as to show its subsequent impact, exposing that nowadays the Goddess archetype in art is of great relevance, as several of the artists who first addressed it have brought back their works in recent years, giving them a great emphasis in their retrospective exhibitions, as well as it is a theme that some emerging artists have recovered, which shows its significance in the present time. Therefore, this project seeks to promote Goddess Art, and to enhance its diffusion in our country, exploring an aspect that is not so widely studied in the work of prestigious artists, as well as helping to reveal the contributions of those who have not enjoyed so much recognition. / Menéndez Requeno, E. (2024). La representación de la Diosa en el arte feminista de los años sesenta y setenta en U.S.A.: Goddess Art [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203268

Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the camera obscura effect. Painting from a projection meant that Artemisia could achieve an extreme form of realism and detail in her work. This knowledge, which was of necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to manipulate the technology, an extreme competitive edge over their rivals. This dissertation challenges the naive assumptions that have been made about Artemisia's working practices, effectively ignoring the strong causal links between art and science in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up her story to a whole new generation of scholarship. / Art History / M.A. (Art history)

Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the camera obscura effect. Painting from a projection meant that Artemisia could achieve an extreme form of realism and detail in her work. This knowledge, which was of necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to manipulate the technology, an extreme competitive edge over their rivals. This dissertation challenges the naive assumptions that have been made about Artemisia's working practices, effectively ignoring the strong causal links between art and science in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up her story to a whole new generation of scholarship. / Art History / M.A. (Art history)

L’eau est porteuse d’aspects différents de consciences, tout en étant un espéranto planétaire. Doit-on parler des artistes de l’eau ? ou bien de l’eau des artistes ? Quel que soit le point de vue que l’on considère, il se dégage une synergie de pensées oeuvrant à une réflexion consensuelle et paradigmatique. Cette recherche propose une nouvelle lecture de l’interaction de l’élément naturel avec la place qu’il occupe dans l’art contemporain ; comment l’eau dans l’art contemporain devient, grâce à sa puissance évocatrice, l’Eau de l’Art, une source inépuisable d’adaptabilité transculturelle qui se fait l’écho d’une nécessaire métamorphose. L’eau est devenu un médium parmi tant d’autres. L'eau, matière naturelle par excellence, se retrouve utilisée indifféremment par un peu tous les courants artistiques actuels notamment dans des vidéos, des performances, des sculptures, en architecture ou dans des expériences à la frontière de l’art et des sciences cognitives. On peut examiner trois aspects de la culture de l'eau : en tant que vecteur à la fois d'une culture enracinée, et d'une éthique de l'Universel commun, la force symbolique de l'eau dans l'histoire de l’art, et l'actualité écologique, scientifique et psychologique. L’eau couvre tous les champs du possible, et rend accessible les moindres recoins de la pensée, aussi bien la part d’ombre que la lumière de la psyché humaine. Elle accompagne et interagit sur les non dits des sociétés, car elle contient leurs savoirs ; elle est la matrice de leur philosophie, leur sociabilité, leur géographie (compréhension de l’espace et des milieux de vie), leur communication, leur histoire, leur langage. L’Eau de l’Art dynamise ainsi une esthétique écosophique en puisant dans la poésie du temps. / Water is a messenger of various aspects of consciousness, while being a global Esperanto. Should we talk about artists of water? Or the water of artists? Whatever point of view one considers, a synergy of thoughts emerges involving a consensual and paradigmatic vision. This research proposes a new reading of the interaction of the natural element with its role in contemporary art; how water in contemporary art becomes, with its evocative power, Water of Art, an inexhaustible source of crosscultural adaptability that echoes a necessary metamorphosis. Water has become a medium among many others. Water, a natural material par excellence, is used interchangeably by almost all the current artistic trends, including video, performance, sculpture, architecture and experiences on the frontier of art and cognitive science. There are three aspects of the culture of water: as a vector of both an ingrained culture and the Universal ethic; the symbolic force of water in art history; and the ecological, scientific and psychological information. Water covers all possible fields, and allows access to every corner of the mind, the dark side as well as the light of the human psyche. It supports and interacts on the unspoken aspects of society because it contains their knowledge; it is the matrix of their philosophy, their sociability, their geography (understanding of space and living environments), communication, history, language. Therefore, Water of Art adds a dynamic to ecosophical aesthetics in drawing from the poetics of time.

The luminous, famous and enigmatic The Lady and the Unicorn tapestries are timelss objects at the center of heated scholarly discussion. There are six tapestries, created circa 1480-1500 (figures 1 – 6), and were commissioned by the le Viste family of Lyon, whose heraldic arms appear in each tapestry. This paper seeks to connect the tapestries conceptually to contemporary courtly, feminine ideals, the image of woman in late fifteenth-century Paris, and most importantly to Christine de Pizan's writings, particularly City of Ladies and The Treasury of the City of Ladies, both written in 1405. Through her texts, Christine de Pizan (1363 – 1434) created a noble, dignified image of women that may have influenced the way viewers were intended to perceive The Lady and the Unicorn tapestries. While recent scholarly studies have connected the tapestries to contemporary texts, there has not been a discussion regarding Christine de Pizan's influential writings, their surrounding discourse, or the image of a woman as the visual embodiment of the le Viste family in connection to the tapestries. Specific passages in Christine's texts resemble motifs, objects, and underlying messages in The Lady and the Unicorn. While Christine's works may not have been the direct inspiration for the tapestries, both are a part of the visual and textual make-up of the abstracted feminine ideals that were circulating in Paris and France at large in the fifteenth century. The Lady and the Unicorn may also have had a didactic purpose similar to Christine's Treasury of the City of Ladies, displaying for the le Viste daughters through a visual medium the attributes of the ideal maiden. Exploring the cultural context in which The Lady and the Unicorn was created, specifically as it relates to women in society, the upper class, expectations for young maidens, visual and written moral messages for women and their artistic manifestations provides a new understanding of these exceptional tapestries.

Return is a video-based installation which includes sound, performance, and textile elements. Leilani Bascom is the lone actor navigating the water and where the water meets the land in this personal project exploring concepts of the life cycle from birth to death and rebirth. Life's paradox of struggle and release unfolds with imagery of battling through waves to swim deep underwater, fighting a river current and then surrendering to the flow, and carving a hole in the sand to climb into and be held. Viewers are immersed in the movement and sounds of water to witness the power and meaning of our first home and what sustains us.

It has not been easy for me to talk about myself or describe my feelings or thoughts. Coming from Japan, a collective society, we typically are not raised to do so. Throughout the MFA program at UCF, I have shared my feelings and thoughts through my work. It is important to discuss and inform others of our cultural similarities and differences so that we may gain a better understanding of each other. This process has helped me grow not only on an artistic level, but also on a personal level. My journey towards integration has led me to a meaningful studio practice, which has allowed my work to bridge the gap between Western and Eastern artistic sensibilities. At the beginning of the MFA program, my mother sent many boxes of origami from Japan. As I started incorporating my mother’s origami into my work, I found myself identifying with the origami butterfly. My realization is that the person I am now is not the person I was when I began this journey. My wish for you, the reader, is to go along with me as I tell you the story of my transformation.