Review of my recent work and influences.

Submitted by Jordan (jordanbiblio@gmail.com) on 2016-10-08T13:49:31Z No. of bitstreams: 1 DISS_2015_Ana Lia Rodrigues da Silva.pdf: 3018236 bytes, checksum: 217a0fa5e13a0c8fbe522a33b52a18ff (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2016-10-08T13:51:00Z (GMT) No. of bitstreams: 1 DISS_2015_Ana Lia Rodrigues da Silva.pdf: 3018236 bytes, checksum: 217a0fa5e13a0c8fbe522a33b52a18ff (MD5) / Made available in DSpace on 2016-10-08T13:51:00Z (GMT). No. of bitstreams: 1 DISS_2015_Ana Lia Rodrigues da Silva.pdf: 3018236 bytes, checksum: 217a0fa5e13a0c8fbe522a33b52a18ff (MD5) Previous issue date: 2015-09-18 / A pesquisa aborda as instalações artísticas que dialogam com o som, resultado de hibridismos em arte que utiliza de recursos sonoros, musicais, visuais, espaciais, entre outras transversalidades. A pesquisa de campo, realizada na 31ª Bienal de Artes de São Paulo (2014) e no Centro de Arte Contemporânea Inhotim, estabelece produções que trouxeram o som como experiência, seja na desconstrução, documental ou a vivência em si da com os objetos. O viés de toda a pesquisa busca relacionar perspectivas de Tempo nesse corpo de obras analisadas. / The research addresses art installations that converse with the sound, which are the result of the hybridism in Arts, sound, music, visual and spatial, among other transversalities. The field research was carried out at the 31st São Paulo Biennial of Art (2014) and the Contemporary Art Center of Inhotim (Minas Gerais) and explored productions that bring the sound as an experience, used in the deconstruction, documentation or as a sensory experience of objects. The research focus seeks to relate perspectives of the Time in the body of the analyzed art works.

Submitted by Karin Yngrid Schmitt null (karinyschmitt@gmail.com) on 2017-08-12T19:11:14Z No. of bitstreams: 1 Dissertação - Karin Yngrid Schmitt (repositório).pdf: 53305389 bytes, checksum: cfb903a0529944ec60eadfa8fb4b7202 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-08-16T14:08:20Z (GMT) No. of bitstreams: 1 schmitt_ky_me_ia.pdf: 53305389 bytes, checksum: cfb903a0529944ec60eadfa8fb4b7202 (MD5) / Made available in DSpace on 2017-08-16T14:08:20Z (GMT). No. of bitstreams: 1 schmitt_ky_me_ia.pdf: 53305389 bytes, checksum: cfb903a0529944ec60eadfa8fb4b7202 (MD5) Previous issue date: 2017-07-12 / Esta pesquisa surge da reflexão sobre meu processo artístico em pintura digital. As características desta prática geraram questionamentos sobre o uso de dispositivos tecnológicos na criação artística, sobre arte híbrida e seus paradigmas estéticos e sobre as problemáticas de definição de meio na arte. A partir dessas investigações, senti a necessidade de realizar uma introspecção. Voltei-me, portanto, à prática do autorretrato e criei uma série de pinturas exclusivamente no software Photoshop, procurando compreender de que forma o meu processo criativo pode ser comparado às idéias já existentes sobre esse tipo de produção. Este processo prático gerou novas reflexões em torno da minha poética, da possibilidade de experimentações em mídias digitais, da abertura do processo criativo e de como a percepção que temos sobre nossa identidade é alterada pelo uso das mídias digitais. / This research comes from the reflection on my artistic process in digital painting. The characteristics of this practice have raised questions about the use of technological devices in artistic creation, on hybrid art and its aesthetic paradigms, and on the problem of the definition of medium in art. From these investigations, I felt the need to perform an introspection. I turned, therefore, to the practice of self-portrait and created a series of paintings exclusively in Photoshop, trying to understand how my creative process can be compared to the existing ideas about this kind of production. This practical process generated new reflections on my poetics, on the possibility of experimentation in digital media, on the opening of the creative process and on how our perception of our identity is altered by the use of digital media.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

ORIBOMBO: Arte da Pós-Modernidade A presente dissertação de mestrado propõe-se a apresentar o Oribombo como arte da pós-modernidade, trazendo a questão do hibridismo do Oribombo, à situação da arte atual, onde se verificam hibridismos de toda natureza, incentivados pela total liberdade. O artista não se prende mais à ideologias e limitações que ditavam as concepções artísticas do passado, inclusive do passado recente. Liberdade é a palavra de ordem da pós-modernidade. Liberdade que se manifesta em todos os segmentos da sociedade. E na arte, uma consequência do livre fazer, é que os hibridismos são constantes, acontecendo de forma natural. As modalidades artísticas são exploradas simultaneamente, abrindo um leque de possibilidades durante o processo de criação. No caso do Oribombo, as modalidades artísticas que se mostraram plasticamente mais interessantes, foram a pintura, gravura, escultura e a colagem. Outra consequência da total liberdade adquirida pelos artistas da pós-modernidade, é que em certos momentos, indaga-se se tudo que é produzido com o título de arte é arte realmente. Essa discussão é muito ampla, mas a premissa de que arte é a produção de um artista, é a que mais ecoa, não somente no meio artístico, como também, entre pensadores e escritores, que direcionaram suas atenções ao desenrolar da história da arte. Os fazeres e conhecimentos artísticos são indispensáveis ao artista plástico visual, sendo assim, as modalidades artísticas que foram fundidas no processo de criação do Oribombo são seculares, mas, a liberdade com que foram tratadas é uma questão pós-moderna. / This dissertation proposes to introduce Oribombo as art of postmodernity, bringing the question of hybridity of Oribombo, the situation of contemporary art, where there are all kinds of hybridisms, encouraged by complete freedom. The artist is not attached to the ideologies and more limitations that dictate the artistic conceptions of the past, even the recent past. Freedom is the slogan of the postmodernity. Freedom that is manifested in all segments of society. And in art, one of the consequences of free artistic making is the hybridism, and it is a constant, happening naturally. The artistic modalities are explored simultaneously, opening up a range of possibilities during the creation process. In the case of Oribombo, the artistic modalities that were artistically more interesting, were the painting, the printmaking, the sculpture and the collage. Another consequence of complete freedom gained by artists of the postmodernity, is that at certain times, inquires if everything is produced with the title art is really art. This discussion is very ample, but the premise that art is the production of an artist, is the one that resonates, not only in the artistic world but also among thinkers and writers, that directed their attention to the course of art history. The doings and artistic knowledge are indispensable to the visual artist. The artistic modalities that were merged into the creation process Oribombo are secular, but the freedom with which they were treated is a postmodern matter.

ORIBOMBO: Arte da Pós-Modernidade A presente dissertação de mestrado propõe-se a apresentar o Oribombo como arte da pós-modernidade, trazendo a questão do hibridismo do Oribombo, à situação da arte atual, onde se verificam hibridismos de toda natureza, incentivados pela total liberdade. O artista não se prende mais à ideologias e limitações que ditavam as concepções artísticas do passado, inclusive do passado recente. Liberdade é a palavra de ordem da pós-modernidade. Liberdade que se manifesta em todos os segmentos da sociedade. E na arte, uma consequência do livre fazer, é que os hibridismos são constantes, acontecendo de forma natural. As modalidades artísticas são exploradas simultaneamente, abrindo um leque de possibilidades durante o processo de criação. No caso do Oribombo, as modalidades artísticas que se mostraram plasticamente mais interessantes, foram a pintura, gravura, escultura e a colagem. Outra consequência da total liberdade adquirida pelos artistas da pós-modernidade, é que em certos momentos, indaga-se se tudo que é produzido com o título de arte é arte realmente. Essa discussão é muito ampla, mas a premissa de que arte é a produção de um artista, é a que mais ecoa, não somente no meio artístico, como também, entre pensadores e escritores, que direcionaram suas atenções ao desenrolar da história da arte. Os fazeres e conhecimentos artísticos são indispensáveis ao artista plástico visual, sendo assim, as modalidades artísticas que foram fundidas no processo de criação do Oribombo são seculares, mas, a liberdade com que foram tratadas é uma questão pós-moderna. / This dissertation proposes to introduce Oribombo as art of postmodernity, bringing the question of hybridity of Oribombo, the situation of contemporary art, where there are all kinds of hybridisms, encouraged by complete freedom. The artist is not attached to the ideologies and more limitations that dictate the artistic conceptions of the past, even the recent past. Freedom is the slogan of the postmodernity. Freedom that is manifested in all segments of society. And in art, one of the consequences of free artistic making is the hybridism, and it is a constant, happening naturally. The artistic modalities are explored simultaneously, opening up a range of possibilities during the creation process. In the case of Oribombo, the artistic modalities that were artistically more interesting, were the painting, the printmaking, the sculpture and the collage. Another consequence of complete freedom gained by artists of the postmodernity, is that at certain times, inquires if everything is produced with the title art is really art. This discussion is very ample, but the premise that art is the production of an artist, is the one that resonates, not only in the artistic world but also among thinkers and writers, that directed their attention to the course of art history. The doings and artistic knowledge are indispensable to the visual artist. The artistic modalities that were merged into the creation process Oribombo are secular, but the freedom with which they were treated is a postmodern matter.

Mémoire de recherche-Double culture. / Ce mémoire examine les contacts, les relations établies entre l’art qualifié d’occidental et les arts actuels d’artistes d’origine africaine pour mettre en évidence l’émergence d’une dualité culturelle émanant de deux mondes différents donnant naissance à un genre artistique uniquement hybride. Il sera question de construire une étude se penchant sur le travail des artistes Omar Victor Diop, Kehinde Wiley et Yinka Shonibare. En ayant recours à un médium qui leur est propre, ces trois artistes réalisent un travail hybride associant cette double culture dont ils ont hérité par le phénomène de la mondialisation. Les origines et nationalités différentes auront leur importance dans cette analyse, Diop étant sénégalais, Wiley afroaméricain et Shonibare anglo-nigérian. C’est un moyen aussi d’analyser cette question de la double identité que la mondialisation a entrainée par le prisme de l’art et la manière dont cela se manifeste chez ces artistes. Nous assistons à une ouverture des frontières géographiques créant ainsi de nouveaux contacts entre les différents pays notamment d’un point de vue culturel. Ainsi, s’ajoute au phénomène de la mondialisation celui de la mouvance postcoloniale. Cette pensée post-coloniale nous pousse à nous questionner sur la manière dont les artistes contemporains, et dans notre cas les artistes contemporains africains, définissent leur identité et ce que la notion d’authenticité signifie pour eux. Il y a une remise en question des stéréotypes, une réflexion autour de la binarité Occident/Orient, blanc/noir et enfin une volonté de montrer l’importance de la place des Noirs dans l’histoire chez Wiley, Shonibare et Diop. C’est donc une conscience commune autour de l’identité noire chez ces trois artistes qui nous permet de les rattacher à la notion de panafricanisme. / This thesis investigates the relationships between Western art and the works of three artists of African descent, Omar Victor Diop, Kehinde Wiley, and Yinka Shonibare, to uncover a distinct artistic genre, called hybrid, through these artists’ respective media. The hybridity that their art embodies results from the type of cultural duality that globalization enables. Of particular interest are these artists’ nationalities and ethnic identities, Diop being Senegalese, Wiley African-American, and Shonibare Anglo-Nigerien. As such the analysis unpacks the phenomenon of cultural duality engendered by globalization through the prism of art and the way it manifests itself in these artists’ works through which we witness the opening of geographical borders, thus breaking down barriers between different countries, particularly from a cultural point of view. In addition to the phenomenon of globalization, the thesis also investigates whether these artists of hybridity find their place in the post-colonial movement. The focus on the post-colonial era prompts us to question how contemporary artists, in this case contemporary African artists, define their identities and reveal what authenticity means to them. Stereotypes are questioned, as are the Western vs. non-Western and white vs. black divides. Finally, the thesis investigates these artists’ desire to show the place that Black people occupy in history. In this way, the black consciousness that runs through these three artists’ works allows us to appreciate their contributions to Panafricanism.

No description available.

The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.