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[en] ON THE EDGE: THE CONCEPTUALISM OF DAN GRAHAM / [pt] NO FIO DA BORDA: O CONCEITUALISMO DE DAN GRAHAMMICHEL NUNES LOPES MASSON 04 January 2018 (has links)
[pt] Figura-chave da chamada arte conceitual, o artista norte-americano Dan Graham iniciou sua trajetória artística em meados da década de 1960 muito por acaso. Convidado por amigos, tornou-se sócio da John Daniels, galeria em Nova York bastante ativa, mas de vida breve. Falido, viu-se obrigado a retornar à casa de seus pais em Nova Jersey. Durante a viagem de trem, pôde observar a nova cidade. Dessa experiência surgiu Homes for America, notório ensaio fotográfico sobre as habitações em massa dos subúrbios norte-americanos, que integra um primeiro conjunto de trabalhos do artista destinados a revistas. Algum tempo depois, Graham ingressou na Nova Scotia College of Art and Design, Halifax, dando início a um período em que seu interesse se volta para o vídeo, a performance e a instalação, interrompido por Public Space/Two Audiences, trabalho realizado para a Bienal de Veneza de 1976 que impõe ao artista uma autocrítica. A despeito de seu êxito, Graham reconhece que a instalação se aproximara em demasia do conceito de cubo branco. Como saída para o impasse, adotou a ideia de plano da cidade, passando a propor projetos de intervenção urbana até iniciar, no começo dos anos 80, seus pavilhões. Levando em conta a obra de Graham, ampla e diversa em seus meios, a tese é monografia que tem por objetivo realizar um estudo analítico sobre a prática do artista, definida, a meu ver, nos termos de um modelo crítico-conceitualista. / [en] Key figure of the so-called conceptual art, the North American artist Dan Graham began his artistic career in the mid-1960s quite by chance. Invited by friends, he became a partner of the John Daniels, a gallery in New York very active, but short-lived. Bankrupt, he was forced to return to his parents home in
New Jersey. During the train ride, Graham can saw the new city. From this experience came Homes for America, notorious photographic essay on mass tract housing of North American suburbs, which is part of a first set of works for magazines. A while later, Graham joined the Nova Scotia College of Art and Design, Halifax, starting a period in which your interest turns to video, performance and installation, interrupted by Public Space/Two Audiences, work done for the Venice Biennale in 1976 that impose the artist self-criticism. Despite its success, Graham recognizes that the installation was near of the concept of the
white cube. As out of the impasse, he adopts the idea of city plan, going to propose urban interventions projects, starting in the early 80s their pavilions. Considering Graham s work, broad and diverse in its mediums, the thesis is a monograph that aims to carry out an analytical study of the practice of the artist,
defined, in our view, in terms of a critical-conceptualist model.
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John Adams’s <i>Gnarly Buttons</i>: Issues of History, Performance and StyleTaylor, Anthony Gordon 09 October 2007 (has links)
No description available.
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[en] ROBERT SMITHSON AND RICHARD SERRA: SCULTURE IN THE NEW YORK CONTEXT / [pt] RICHARD SERRA E ROBERT SMITHSON: A ESCULTURA NO CONTEXTO NOVA-IORQUINOMARTHA TELLES MACHADO DA SILVA 12 February 2016 (has links)
[pt] Os trabalhos de Richard Serra e Robert Smithson apresentamuma relação constituitiva com o espaço público da megalópole contemporânea. Explorando a noção de tempo específico da matéria, suas produções expandem a concepção de processo artístico e criam uma tensão com a arquitetura e o espaço institucional da arte. Ao propor a crítica a estes espaços e explorar o mundo, ambas as obras estabelecem um jogo de semelhança com a megalópole, incorporando a racionalidade de seu espaço ético, político e cultural. Para tal, considero a relação com a Nova York laboratorial na qual Serra e Smithson desenvolvem intenso debate com seus pares, relação constitutiva que aconteceu com e na caótica Manhattan do final dos anos de 1960, bem como nas áreas suburbanas de New Jersey. Smithson constrói sua obra tendo a entopia do subúrbio de new Jersey como referência determinante, a partir da qual tempos e espaços infinitos são trazidos às suas realizações. O embate de Serra com a cidade assume por sua vez um caráter concreto e literal. Trabalhando no próprio caos e nas ruínas contemporâneas da urbe, ele propõe uma nova relação entre obra, o espectador e o entorno. Em ambos os artistas encontrados o esforço do largamento do conceito da escultura contemporânea numa nova relação como mundo. / [en] The works os Richard Serra and Robert Smithson have a founding relationship with the public space of the contemporary megalopolis. By incorporating the notion of the specific time of material, their output expands conceptions of the artistic process and sets up a tension with architecture and the institutional space of art. As they propose to criticize institutional space and explore the word, the works set a play of similarities with the megalopolis, incorporating the rationale of its ethical, political and cultural space. I therefore investigate the relationship with the New York laboratory where Serra and Smithson engage in intense debate with their peers. This founding relationship was formed in and through the bustling Manhattan of the late 1960s and suburban areas of new Jersey. The decisive reference for Smithson s work was the entropy of the New Jersey suburb, from which infinite times and spaces are brought into his work. Serra s clash with the city is concrete and literal in nature. Working in the midst of the chaos and contemporary ruins of the city, he proposes a new relationship between the work, the spectator and the surroundings. There are elements in both artists that strive to broaden the concept of contemporary sculpture in a new relationship with the world.
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[en] RHYTHM AND CHAOS: URBAN TEMPORALITIES IN THE WORKS OF PIET MONDRIAN AND RICHARD SERRA / [pt] RITMO E CAOS: TEMPORALIDADES URBANAS NAS OBRAS DE PIET MONDRIAN E RICHARD SERRAANA HOLCK 08 January 2004 (has links)
[pt] As obras de Piet Mondrian e Richard Serra possuem
profunda relação com a metrópole. Seus trabalhos
abrangeram distintas temporalidades urbanas no decorrer
do século XX, e foram permeados direta e indiretamente
pela música e pela dança, artes temporais igualmente
circunscritas ao fenômeno urbano. Mondrian identifica no
ambiente moderno, dinâmico e veloz, da Paris da primeira
metade do século XX, as premissas de sua teoria oplástica
do equilíbrio universal. Procurava realizar sua teoria em
outras artes além da pintura, de modo que ao integrar-se
à vida, a arte desapareceria. Sua chegada a América
coincide com a transferência do centro artístico mundial
de Paris para Nova York. No rico embate entre Europa e
América, percebemos as diferenças entre a monumental
escala do Novo Continente e a permanente atividade de seu
povo, em contraposição às dimensões tímidas e o
temperamento contemplativo do homem do Velho Continente.
Hoje, a mecanização das metrópoles já não é mais polêmica
ou fascinante, mas responsável pela monótona e repetitiva
vida urbana da qual partiu a obra dos Pós-Minimalistas,
entre os quais, Richard Serra. O caráter utópico da
intura de Mondrian, cuja virtualidade se queria
transformadora da realidade, visando a sociedade madura
exemplificada pela América, está ausente na arte do pós-
guerra. Os planos inseridos por Serra no tecido urbano
não querem su-cumbir ao colapso do grid cubista, buscam o
embate literal entre o habitante da metrópole e as
coisas que o cercam, num mundo já muito pouco palpável. / [en] The works of Piet Mondrian and Richard Serra are profoundly
related to the metropolis. Their works embrace different
urban temporalities elapsed in the twentieth century. They
were directly and indirectly influenced by music and dance,
temporal arts equally confined to the urban phenomenon.
Mondrian identifies the universal balance premises of his
neoplastic theory in the modern, dynamic and fast Parisian
environment of the first half of the twentieth century. He
tries to accomplish his theory in other arts besides
painting, so that by integrating art in life, the former
would disappear. His arrival in America coincides with the
artistic world center move from Paris to New York. In the
cultural clash between Europe and America, one realizes the
differences between the New World`s monumental scale and
its dynamic people, against the shy dimensions and
contemplative nature of the men in the Old Continent. The
metropolis` mechanization is no longer polemic or
fascinating, but responsible for the monotonous and
repetitive urban life, from which the Post-Minimalists
emerged, among them Serra. The utopian character of
Mondrian`s painting, whose virtuality intended to transform
reality, like America`s ripe society example, is absent
in post-war art. The planes inserted by Serra in the urban
fabric don`t intend to succumb to the cubist grid`s
collapse. They seek the literal clash between the
metropolis citizen and what surrounds him, in a very little
tangible world.
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Penser le territoire, sculpter le paysage Robert Smithson, les "Nonsites" au regard des géosciences : un modèle pour les échanges entre Arts et Sciences en résonance avec les démarches de Giuseppe Penone et Olafur Eliasson. / Decoding the land, modeling the landscape. Robert Smithson, the Nonsites and the Geosciences : a model for the relationship between Art and Science in resonance with the works of Giuseppe Penone and Olafur Eliasson.Grossmann, Ralph 07 December 2018 (has links)
Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciences. / Based on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science.
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