This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.

Thesis (M.F.A.)--Rochester Institute of Technology, 2003. / Typescript. Includes bibliographical references (leaves 21-23).

ATENCIÓ: el pes del fitxer txmm3de3.pdf és de 70 MBRESUM:El treball realitzat vol ser un anàlisi exhaustiu de l'efecte causat per l'aparició de la fotografia en la representació de l'arquitectura, la seva introducció en les presentacions dels projectes i l'ús del fotomuntatge. Amb el canvi de segle, del dinou al vint, la fotografia ja va començar a entrar en les diferents disciplines artístiques inclosa l'arquitectura, de tal manera que amb l'aparició de les avantguardes artístiques els moviments arquitectònicsmoderns també es van mostrar reaccionaris i van incloure, a part de nous conceptes arquitectònics, noves maneres de presentar-les, la qual cosa els va acostar a les propostes pictòriques i conseqüentment a la introduccióde la fotografia en el seu procés de treball i de presentació. / The study undertaken aims to present a comprehensive analysis of the impact of the emergence of photography in the representationof architecture, its introduction into project presentations and the use of photomontage. As the 19th century gave way to the 20th, photography had already begun its inroads into other artistic disciplines, includingarchitecture, hence the fact that with the emergence of the artistic avant-garde modern architectural movements also registered a reactionand included, in line with the new architectural concepts, new ways of presenting them, moving closer to pictorial approaches, and hence the introduction of photography within their working and presentational process.

This thesis presents the German magazine Arbeiter Illustrierte Zeitung (AIZ), one of the greatest illustrated papers at the time of Weimar Republic. The weekly was founded in the beginning of 1920s as a propaganda organ of the Workers' International Relief (Internationale Arbeiterhilfe, IAH), a mass organization formed to support workers in case of strikes or natural catastrophes. The founding of the magazine was entrusted to a communist activist and publisher Willi Münzenberg. Under his leadership the AIZ became the most popular left-wing illustrated magazine. It enforced socialism and fought to build a united anti-fascist front. AIZ collaborated with many prominent artists and writers, and its readers were attracted especially by the satirical photomontages of John Heartfield. After Nazi's took over Germany in 1933, AIZ exiled in Prague, where it continued its untiring fight against fascism and advocated the rights of the working class. In 1936, the magazine changed its name to Volks-Illustrierte in order to reinforce the united front movement. This thesis focuses on the history of the AIZ magazine, it describes the character and exile period of the weekly, which includes a brief introduction to selected members of Prague's editorial team. It also explores the lives and cultural work of German...

Esta dissertação visa estudar a produção do fotógrafo Francisco Aszmann (1907 - 1987), húngaro naturalizado brasileiro, que foi um dos responsáveis pela popularização da fotomontagem no Brasil entre as décadas de 1950 e 1960. Logo que chegou ao país, em 1948, Francisco Aszmann fixou residência na cidade do Rio de Janeiro, onde trabalhou para a revista Sombra e abriu um estúdio comercial de fotografia que faria sucesso junto a elite carioca. Aszmann atuou não apenas como fotógrafo, mas também como professor de fotografia, membro de fotoclubes, autor de livros sobre fotomontagem, colaborador de periódicos da grande imprensa e editor da revista especializada Fotoarte. Para Aszmann, a fotografia so atingia o patamar da arte por meio da fotomontagem. Esta pesquisa tem entre seus principais objetivos contribuir para a revisão de sua obra, para a identificação de suas referências artísticas e para a sua contextualização de sua produção a partir do conceito de kitsch na arte. Apesar das inúmeras atividades que desenvolveu no campo da fotografia, o trabalho de Francisco Aszmann é praticamente desconhecido nos dias de hoje. Um romance em cada foto foi o título de uma seção publicada por ele na revista mensal A Cigarra, entre 1950 e 1955, que irá nos ajudar a compreender a sua concepção de fotografia artística. / This dissertation aims to investigate the photographic work of Francisco Aszmann (1907 - 1987), who was an Hungarian-born Brazilian, in part responsible for photomontages rise to popularity in Brazil between the 1950s and 1960s. As soon as he arrived in this country, in 1948, Francisco Aszmann took up residence in Rio de Janeiro, where he worked at Sombra magazine and opened a commercial photography studio that would be successful within Rio de Janeiros elite. Aszmann acted not only as a photographer, but also as a teacher, a photoclubs member, author of books , collaborator of illustrated magazines with wide circulation and editor of the specialized journal Fotoarte. For Aszmann, photography only achieved art status through photomontage. The main objectives of this research are to contribute with the revision of his work, for the identification of his artistic references and to contextualize his work beginning at the concept of kitsch in art. Despite his numerous activities in the field of photography, Francisco Aszmanns work is practically unknown at the present day. Um romance em cada foto (roughly translated One story in each photo) was the title of a section published by him in the monthly magazine A Cigarra, between 1950 and 1955. The relation established between texts and photographies in this section will help us to comprehend Aszmanns conception of artistic photography.

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En relation avec la pratique artistique de l’auteur, cette recherche se développe autour de la questiondes comportements du spectateur de l’art contemporain dans l’espace de l’œuvre, en France.L’art intègre depuis les années 1960 le spectateur, appelant sa participation ou le tenant volontairement à distance. Les oeuvres ne nécessitent plus une attitude contemplative, espèrent le visiteur actif voire acteur du déroulement de la création. Mais l’observation de ses comportements révèle également un rapport inédit à l’espace de l’art : certains publics y voient une continuité de la rue, et leur réception s’en ressent. L’étude de cette nouvelle figure du spectateur mène à interroger les outils que lui proposent les structures, afin que sa rencontre avec l’œuvre ne soit pas vaine : la médiation est développée, accompagnement nécessaire mais potentiel obstacle à une interprétation personnelle. Elle est aussi une vitrine de la démocratisation culturelle ; comme d’autres missions des lieux d’art, elle a pour fonction d’attirer et de fidéliser des publics peu sensibles à l’art actuel. Les espaces de consommation, de repos peuvent les inciter à dépasser le seuil des lieux d’exposition, qui doivent s’adapter aux diverses attentes – souvent contradictoires – des artistes et du public, et aux exigences politiques.L’auteur donne forme plastique à ces préoccupations dans une installation traduisant, par une pratique du bricolage qui lui est propre, l’enfouissement de l’œuvre sous les discours de médiation et les diverses préoccupations concernant l’accueil des spectateurs. Que devient l’œuvre lorsque le contexte de l’art occupe plus de place dans les discours que l’art lui-même ? / In conjunction with the creator’s artistic practice, this research develops the issue of the contemporary art spectator’s behaviors in art spaces in France.Art has integrated the visitor since the 1960’s, calling upon his participation or voluntarily keeping him at a distance. The works do not require a contemplative attitude anymore, but would rather the visitor be active or even an actor in the creation process. But observing these behaviors equally reveals a new relationship with art spaces: certain publics consider them a continuation of the street, which plays out in their reception of the artwork. The study of this new type of spectator brings about an inquiry of the tools with which organizations provide him so that his encounter with the artwork is not in vain: mediation is developed, a necessary guide, but also a potential obstacle to a personal interpretation. It is also a showcase of cultural democratization. Like other arts centers’ missions, mediation is meant to attract and develop the public’s loyalty, especially for those who are not aware of contemporary art.Consumption and leisure spaces can incite them to enter the exhibition space, which must be adapted to political requirements and to the often contradictory expectations of the artists and of the public. The creator gives his interests a visual form in an installation, using his own methods and thus translating the artwork’s meaning, hidden beneath mediation, and the different concerns around the public’s reception. What does the work of art become once the context takes center stage in the discussion on art itself ?

My feet are my transportation while living in the college town of Provo, Utah. When walking, I am drawn to designs found at construction sites and office workplaces, methods of labor that are executed sequentially. These designs lead me to think about laborious jobs that I have had and time performing mundane, repetitive tasks. Walking, photographing, gathering, and transporting used material to a workspace are the preliminary actions for my art practice. Creation emerges by relating material from varying environments through their inherent patterns, sizes, and shapes. I organize elements of the everyday in a new harmonious context with each other. At the core of my art practice, I present an altered way of looking at commonplace materials.

Esta dissertação propõe-se a avaliar a importância de Valério Vieira para a história da fotografia brasileira por meio de seus retratos e suas experimentações fotográficas. Valério, profissional inovador, utilizava recursos diferenciados em todas as expressões artísticas a que se dedicava: música, pintura e fotografia. O resultado da pesquisa abrange a trajetória do fotógrafo, com os fatos mais relevantes de sua vida, pessoal e profissional, os quais foram de grande influência tanto em sua produção como em seu pensamento. Aqui serão apresentados o seu ofício de retratista de estúdio, os panoramas de grande formato, as técnicas de manipulação de negativos e de imagens fotográficas utilizadas nas Fotografias Compósitas, bem como seus usos e aplicações, seguida de uma análise das obras de Valério baseada nas técnicas expostas. O nível técnico dos fotógrafos brasileiros em relação aos profissionais dos centros hegemônicos é um tema pouco explorado entre os pesquisadores da área e esse trabalho busca preencher essa lacuna, ao menos em parte. / The essay intends an evaluation of Valério Vieiras importance to the History of Brazilian photography through his portraits and photographic experimentation. Valério can be seen as a unique professional, who made use of several resources on creating new work on all art forms he used to express himself with, such as: music, painting and photography. The researchs outcome includes his photographic career, with all the significant events, both from his personal and professional life, which were of great influence either on his artistic production as well as his way of thinking. The purpose of this text is to show Valerios expertise as a studio portraitist, the large format panoramas, his technique on handling negative films and photographic images that can be found on Composite Photographic, as well as its uses and applications, followed by an analysis of Valerios personal work based on the pre-mentioned techniques. The equity between the Brazilian photographers technical level and his colleagues abroad, on the hegemonic centers, is a rare subject among researches and this dissertation aims to fill this gap, or at least part of it.

This research proposes a reflection and analysis on issues related to the hybridization procedures of contemporary art, with the thread, my artistic process. Develop a visual output based on digital photography on hybrid identities in self-portraits and portraits. This study involves the examination of the artistic device of procedures resulting from crosses of photography and painting in the use of digital technologies, through processes of Photomontage. The procedures cover the treatment of remains of digital photographs 3x4cm coupled with other appropriate images and copyright. The thrust of the analysis are impregnation and displacement of original images, with other senses. It s about a Poiétic study involving the analysis of the personal work based on the operations of fragmentation and (un)mounting digital and conceptual research and that seeks a theoretical context in relation to production in contemporary art. The text provides a built in search parameters and academics whose artistic proposition follows the path of other studies that also dealt with the artists to investigate or address the issue of identity in art and in real life. / Esta pesquisa propõe uma reflexão e análise sobre questões relativas à hibridação nos procedimentos da arte contemporânea, tendo como fio condutor, o meu processo artístico. Desenvolvo uma produção visual, com base na fotografia digital, sobre identidades híbridas em retratos e autoretratos. O presente estudo envolve a análise do dispositivo artístico decorrentes de cruzamentos de procedimentos da fotografia e da pintura no uso de tecnologias digitais, através de processos de Fotomontagem. Os procedimentos abarcam o tratamento digital de restos de fotografias 3x4cm acopladas com outras imagens apropriadas e autorais. O fio condutor das análises são as impregnações e deslocamentos das imagens iniciais, com outros sentidos. Trata-se de um estudo Poiético que envolve a análise do processo de trabalho pessoal com base nas operações de fragmentação e (des)montagem digitais e pela investigação conceitual e teórica que busca uma contextualização em relação à produções na arte contemporânea. O texto apresenta uma pesquisa construida dentro de parâmetros artísticos e acadêmicos cuja proposição segue o caminho de outras pesquisas de artistas que também trataram ou tratam de investigar a questão da identidade na arte e na vida real.