Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, 2011. / Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-09-06T20:18:02Z
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2011_TaigoLourencoMeireles.pdf: 3365900 bytes, checksum: ce83aa2d2caa5a039e3ec91b672bcf60 (MD5) / A pintura e a fotografia desenvolveram-se entrelaçadamente durante todo o último século, contaminando-se mutuamente. Na pós-modernidade a fotografia dominou as mídias, exercendo papel fundamental para a formação das bases estéticas da pintura, transformando a percepção do pintor contemporâneo e oferecendo um novo modelo para a representação. As imagens técnicas estão por toda parte, porém a atitude pictórica assimilou a lógica representacional dessas imagens, associando-as a seu processo criativo. A combinação entre imagens técnicas e pintura gerou questionamentos quanto ao estatuto da imagem, à verdade fotográfica e à morte da pintura: que mídia realmente contaminou a outra? Abordaremos, também, a diluição das fronteiras construídas pela crítica de arte a fim de isolar os campos de atuação da pintura e das outras mídias derivadas da fotografia. _______________________________________________________________________________ ABSTRACT / Painting and photography developed over the past century by continuously intertwining with each other. Photography has dominated all media throughout post-modernity, playing a fundamental role on the development of the aesthetic basis of painting, consequently transforming the perception of the contemporary painter. It has, thus, offered a new model of representation. Technical images have imposed their importance all around, although the pictorial attitude assimilated the representational logic of these images, associating them to their creative processes. The combination between technical images and painting created several questions in regards to the realm of the image, the photographic truth and the death of painting: which media really contaminated the other? Furthermore, the dissipation of the frontiers constructed by art criticism with the goal to isolate the field of painting and other medias derived from photography, will be discussed.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.unb.br:10482/9410 |
| Date | 19 May 2011 |
| Creators | Meireles, Taigo |
| Contributors | Alvim, Pedro de Andrade |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Source | reponame:Repositório Institucional da UnB, instname:Universidade de Brasília, instacron:UNB |
| Rights | info:eu-repo/semantics/openAccess |
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