Thesis (Ph. D.)--University of California, San Diego, 1997. / Vita. Includes bibliographical references (leaves 170-180).

Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T18:26:49Z (GMT). No. of bitstreams: 1 Romao_Tameny_M.pdf: 2819609 bytes, checksum: bb0469262ece96cc0dfa8fde19884b03 (MD5) Previous issue date: 2013 / Resumo: Apresentamos neste trabalho uma compilação dos retratos do escritor Mário de Andrade, feitos desde seus primeiros anos de vida até a contemporaneidade. Estas imagens que acompanham por vezes a obra do polígrafo e estudos sobre ele exercem o papel de acrescentar sentidos a tais publicações. A pluralidade formal e substancial dos retratos justifica esta produção que direcionou com um olhar cuidadoso sobre eles, por nós, dividida em duas partes: catálogo e texto analítico. Nesta tarefa definimos três eixos principais, abordando a relação de Mário de Andrade com seus retratistas e com sua própria imagem, além de esclarecimentos técnicos sobre a reunião do material. É importante salientar que as duas seções estão interligadas, sendo o conteúdo textual uma extensão de especificidades das obras do catálogo, seleção guiada pelos resultados da pesquisa / Abstract: We present in this work a compilation of pictures of the writer Mário de Andrade, made from his early life up to contemporary times. These images, that sometimes accompany the work of the polygraph and studies about him, have the role to add senses to such publications. The formal and substantial plurality of the pictures justifies the production with a careful look at them that we divided into two parts: the analytical text and the catalogue. In this task we set out three main principles, approaching the Mário de Andrade's relationship with his portraitists and with his own image, in addition to technical clarification on the meeting of the material. It is important to stress that the two sections are connected, being the textual content specifics a catalog's works extension, selecting guided by search results / Mestrado / Historia da Arte / Mestra em História

This study is concerned with the understanding as a way to enjoyment of the anti-literal in modern art.1 The work of art is regarded as the locus of various cultural factors--a live product of the vital energies of its age and itself a source as well as a reflection. The analysis of these cultural factors lays no claim to completeness. It seeks merely to indicate in simple language the layman can understand, conditions, forces, and stimuli in the artist's milieu which are potential motivations of his artistic idiom2 and through the examination of those influential factors, to try to discover why the artist chose the anti-literal idoms.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Contemporary South African artist William Kentridge’s experimentation with the visual strategies of European modernism and nineteenth-century optical devices, particularly the fragmented figure and shadow perception, has been well documented in contemporary cultural discourse. It is, however, something for which he is often criticized. In this dissertation I will demonstrate that Kentridge’s enduring interest in European modernism and the processes of human perception are in fact inextricably linked. I will further argue that the significance of this connection resides in that they are both critical visual strategies for exploring the fragmented nature of a postmodern postcolonial subjectivity in a South African contemporary cultural context. Kentridge’s concern with the subjective nature of the construction of knowledge, of the space between seeing and knowing, memory and reality, is a central motif in his art practice and is understood to be a personal attempt to reconcile his present with the past, South Africa’s colonial history with Western history and modernism with postmodernism. Shaped by theories of altermodernity, neomodern anthropology, and the relationship between the observer and ‘the gaze’ in contemporary discourse, my dissertation will thus also argue that Kentridge’s interrogation of the fragmented nature of human subjectivity could be regarded as being ethnographic and Gothic in nature. His multi-channel video installation, I am not me, the horse is not mine (2008), will provide the key visual text for my argument, for it is in this artwork that the inseparability of these concerns are best exemplified, particularly in his experimentation with fragmentation, the Russian avant-garde and shadows. I conclude this research with a discussion of my own creative work, which is a re-imagining and critical investigation of my maternal grandfather’s archive of late eighteenth-century family silhouette portraits. As such, I interrogate notions of subjectivity, human perception and an ‘altermodern’ anthropological quest through a personal lens, in the context of the broader concerns raised by Kentridge’s work. / AFRIKAANSE OPSOMMING: Die kontemporêre Suid-Afrikaanse kunstenaar William Kentridge se eksperimentering met die visuele strategieë van die Europese modernisme en negentiende-eeuse optiese toestelle, veral die gefragmenteerde figuur en skaduwee persepsie, is goed gedokumenteer in die hedendaagse kulturele debat. Dit is egter ook waarvoor hy dikwels gekritiseer word. In hierdie verhandeling sal ek aantoon dat Kentridge se volgehoue belangstelling in die Europese modernisme en die prossese van menslike waarneming onlosmaaklik aan mekaar verbind is. Ek sal verder aanvoer dat die betekenis van hierdie verband daarin geleë is dat albei krities belangrike visuele strategieë is waardeur die gefragmenteerde aard van 'n post-moderne, post-koloniale subjektiwiteit in ‘n Suid-Afrikaanse kontemporêre kulturele konteks verken kan word. Kentridge se besorgheid oor die subjektiewe aard van die konstruksie van kennis, van die ruimte tussen ‘om te sien’ en ‘om te weet’, herinneringe en die werklikheid, is ‘n sentrale motief in sy kuns. Dit word beskou as 'n persoonlike poging tot versoening tussen sy hede en die verlede, Suid-Afrika se koloniale geskiedenis en die Westerse geskiedenis, en modernisme en post-modernisme. My verhandeling is gebaseer op die teorieë van alter-moderniteit, neo-moderne-antropologie, en die verhouding tussen die waarnemer en ‘die staar na’ in kontemporêre debat. Ek neem dus ook standpunt in dat Kentridge se ontleding van die gefragmenteerde aard van die menslike subjektiwiteit beskou kan word as etnografies en Goties van aard. Sy multi-kanaal video-installasie, I am not me, the horse is not mine (2008), sal die sleutel visuele teks in my beredenering wees, aangesien dit is in hierdie kunswerk is dat die onlosmaaklikheid van hierdie verskynsels die beste beliggaam word, en veral ook in sy eksperimentering met fragmentering, die Russiese avant-garde en skaduwees. Ek sluit die navorsing af met ‘n bespreking van my eie kreatiewe werk, wat ‘n herinterpretasie en kritiese ondersoek van my grootvader aan moederskant se argief van die laat agtiende-eeu se familie silhoeët portrette. As sodanig, sal ek, in die konteks van die breë knelpunte wat in Kentridge se werk voorkom, die begrippe van subjektiwiteit, menslike waarneming en ‘n ‘alter-moderne’ antropologiese strewe deur ‘n persoonlike lens ontleed.

This dissertation is intended as an investigation into the art of Jasper Johns and Robert Rauschenberg.The aim of thisinvestigation is to assess the possibility that the art produced by Johns and Rauschenberg during the 1950s and 1960s constitutes a transition from modernism to postmodernism in the visual arts in America. This dissertation is introduced by means of a broad outline of relevent developments within the visual arts during the1950s and 1960s in America. This outline also contains explanations of modernism and postmodernism and looks at how these terms are presented throughout this text. In the outline I describe how Johns and Rauschenberg can be identified with a shift that occurred in the visual arts in America during the mid 1950s away from two prominent modes of painting within modernism, namely' action' painting, as described by Harold Rosenberg (1982:28), and Clement Greenberg's 'American-type' painting (1973:208). Both Johns and Rauschenberg actively produced art during the 1970s and 1980s the period in which postmodernism is generally regarded to have been most prominent. However, in an attempt to assess the possibility that their art is transitional from modernism to postmodernism, this investigation focuses upon a selection of artworks produced during the 1950s and 1960s. I intend to discover whether or not these works signalled a departure from modernism and if they did, at what point this occurred and what the specific nature of this departure was. These works are examined from conceptual, formal, iconographical, stylistic and technical viewpoints. Throughout this dissertation I attempt to describe how Johns and Rauschenberg anticipated and embraced various postmodem tendencies that have subsequently emerged in the arts and other related disciplines. Parallels are drawn between the artworks of Johns and Rauschenberg and the disciplines of architecture and literary theory. These parallels are drawn with the intention of aligning Johns and Rauschenberg's attitude towards making art in the 1950s and 1960s with a relatively widespread mood in literary theory, philosophy and the social sciences concerning the inability of these disciplines to deliver totalising theories and doctrines, or enduring answers to fundamental dilemmas and puzzles posed by objects of inquiry, and a growing feeling, on the contrary, that chronic provisionality, plurality of perspectives and incommensurable appearances of the objects of inquiry in competing discourses make the search for ultimate answers or even answers that can command widespread consensus a futile exercise. (Boyne and Rattansi 1990: 12). / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1998.

This thesis is an investigation of how spiritual ideas have contributed to West Australian academic and artist Tom Gibbons’s approach to Modernism. Against the backdrop of the local context I show how Gibbons’s 1950s undergraduate and 1960s post-graduate studies in the area of the occult and esoteric influences on Early Modernism provided him with an atypical perspective on Modernism itself but that this perspective resulted in his development of a Modernist sensibility particularly suitable for the type of questions asked about art in the later part of last century. My thesis traces Gibbons’s development of an integrated aesthetic “theory” that bridged for him the gap between a host of contrary sources. For Gibbons the bridge between divergent views on art, from the Modern period to the Renaissance period, is an ahistorical perspective based on Christian Immanence. He thus adopted a perspective that redefined the metaphysical aspects of Modernist abstraction through a particular approach to realism which celebrates the everyday world because of the Christian structures that for him condition it. I argue that his sensibility, which combines the stylistic features of a Modernist literature witty juxtaposition, irony and paradox with the concept of Christian Immanence, resulted in an oeuvre which can be read as a particular example of what Ken Wilber in the late 1990s termed Integral Studies. I argue that underlying Gibbons’s use of Christian Immanence is the Integralist’s understanding that the world’s great philosophical and spiritual traditions approach consciousness and experience through similar ideas. The argument presented, in agreement with writers such as Wilber, is that Gibbons’s capacity to develop a sense of life’s irony and metaphor, and to then use this as a capacity to embrace the beauty and outrageousness of the whole, is a mature spirituality that provides an integrated perspective filled with joy for the ordinary. I conclude that his art provides a particular example of how the loss of meaning felt by Modernists may be addressed.

Alfred Stieglitz and the members of '291' are most often remembered in the art historical literature for introducing modernism into America through the work of European artists and through the integration of current European formal experiments into the work of American artists. While some authors have referred to the fact that this modernism, as presented by 291, was intended to critique society, any analysis of that critique is conspicuously missing. Also absent is an analysis of what one contemporary critic referred to as the "queer symbolism lurking at the Post-Impressionist hypothesis." In this thesis the following questions are asked: what was 291's critique and why did they insist upon the expression of the 'irrational' states of the psyche — passion, intuition and imagination, in their art. By situating 291 within its particular set of contexts I attempt to explain what their position represented — to the members themselves and to their rivals. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Orientador: Marcos Tognon / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T11:35:24Z (GMT). No. of bitstreams: 1 Ribeiro_RobsonOrzari_M.pdf: 1987529 bytes, checksum: 825acaf88afcdfe12668a3395f469c98 (MD5) Previous issue date: 2013 / Resumo: O presente trabalho tem como proposta mapear a constituição de um saber no campo da História da Arte associado à política de preservação patrimonial brasileira, desde a primeira metade do século XX, logo após a instituição do Serviço do Patrimônio Histórico e Artístico Nacional. Para tal, valemo-nos das publicações especializadas do órgão, denominadas: "Revista do Serviço do Patrimônio Histórico e Artístico Nacional", editadas entre 1937 e 1978, quando a mesma esteve sub jurisdição e influência de Rodrigo Melo Franco de Andrade. A análise pretende apresentar elementos que delimitem o valor de tais publicações na criação, consolidação e divulgação de uma metodologia para o estudo da História da Arte no Brasil. Para isso, denotaremos o momento de constituição desse saber e as bases epistemológicas que orientaram os principais autores da Revista quanto à História da Arte do país, uma vez que a análise recaiu sobre o principal e único periódico da época a abordar temas peculiares a essa área. / Abstract: This paper aims to map the formation of knowledge in the field of art history associated with the Brazilian policy of heritage preservation, since the first half of the twentieth century, after the institution of Service National Historical and Artistic Heritage. To this end, we make use of the publications of that institution, named "Journal of Service National Historical and Artistic Heritage," published between 1937 and 1978, when it was under the jurisdiction and influence of Rodrigo Melo Franco de Andrade. The analysis aims to provide elements clarifying the value of such publications in the creation, consolidation and propagation of a methodology for the study of art history in Brazil. For this, denote the time of incorporation of this knowledge and the epistemological foundations that guided the main authors of the journal as the art history of the country, since the analysis drew on the main and only periodical of the time to address issues peculiar to this area. / Mestrado / Historia da Arte / Mestre em História

During the premodern era, images corresponded to the doctrines of ”The Word”, but in contemporary society this relationship is open and does not correspond to the divine Word. Because of our perceived, postmodern inability to respond to ancient Christian symbols, there is a need to revision these symbols and Christian spirituality. The result of such a revisioning would include an ”opening up” of ”The Word” and of traditional, worn symbols which have lost vitality in this milieu. Art produced with this in mind needs to make ”The Word” more currently accessible and relevant. Further, this revisioning would add significance and enhance the possibility of resurrecting language dealing with ”The Word”. In the process of revitalising old Christian imagery and language, I aim to show that the primary role of contemporary Christian art is to function metaphorically. Finally, I argue that Christian images can take on significance as contemporary images. / Art History Visual Arts and Musicology / M.A. (Visual Arts)

Centred on the architecture of the Winnipeg Civic Auditorium, this thesis tangentially investigates the presence of Anglo-Saxon race mindedness in a place civic planners call the metropolitan centre of North America (Watt, 1932). The introduction situates the building tangentially in Manitoba's history. By thinking about the Civic Auditorium in a tangential manner I aim to attack the linear and sequential framework found in Eurocentric historical accounts. Doing this, my thesis criticises western architectural history and welcomes Indigenous reinterpretations of civic planning and urban aesthetics. I aim to philosophically attack the informational rhetoric of the cultural turn (Fabian, 1983). My thesis participates in the production of a material turn discourse, wherein the important philosophical relationship between objects and occidental culture is demonstrated (Otter, 2010; Bennett & Joyce, 2010; Hamilton, 2013). It utilises the Civic Auditorium as a touch stone to demonstrate the important ways that architecture has agency in the production of racism. / February 2016