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Mesquita, Tiago dos Santos. "Pintura e fotografia (Andy Warhol e Gerhard Richter)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-16042018-084033/.
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Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960.From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.
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Zahner, Nina Tessa. "Die neuen Regeln der Kunst : Andy Warhol und der Umbau des Kunstbetriebs im 20. Jahrhundert /." Frankfurt am Main [u.a.] : Campus Verl, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014797152&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Neves, Calac Nogueira Salgado. "Máquina, corpo e erotismo nos filmes de Andy Warhol." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-31102017-160336/.
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O trabalho tem como objeto os filmes realizados por Andy Warhol entre 1963 e 1969. No primeiro capítulo, \"A máquina\", discutimos algumas questões mais gerais e teóricas sobre a passagem de Warhol pelo cinema, em especial a constituição de um estilo impessoal e maquínico, que o artista parece trazer diretamente de sua prática anterior na pintura. No segundo capítulo, \"Corpo, superfície e erotismo\", observaremos como essa máquina atua na prática, submetendo os corpos filmados a um rígido dispositivo, trazendo à tona reflexões sobre temas como a performance e o erotismo nesses filmes.The present work is focused on the films directed by Andy Warhol between 1963 and 1969. On the Chapter 1, \"The machine\", we\'ll deal with more wide and theoretical questions concerning Warhol\'s itinerary through cinema, in particular the setting up of an impersonal and machinic style brought to cinema by the artist from his previous practice on painting. On the Chapter 2, \"Body, surface and eroticism\", we\'ll see how this machine works in practical terms by subduing the bodies to its rigid apparatus, bringing out issues such as the performance and the eroticism in those films.
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TORRES, FERNANDA LOPES. "YVES KLEIN, ANDY WARHOL AND JOSEPH BEUYS: PLACES OF MELANCHOLIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10053@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Lugar da contingência radical da arte, nos anos 1960 e 1970, tal como proposta pelas obras do francês Yves Klein, do norte- americano Andy Warhol e do alemão Joseph Beuys, o lugar-melancolia dimensiona a crise contemporânea da substância poética a partir da iminente saturação pública da arte. Por que agir quando toda ação é absorvida homogênea e acriticamente? Como se portar diante de uma realidade aparentemente refratária a qualquer valor? Destituídas da realidade da obra como espaço íntegro da possibilidade de ação e conhecimento, tais subjetividades artísticas fragmentárias apontam, segundo nossa hipótese, novas coordenadas para a capacidade produtiva do homem. Klein, Warhol e Beuys elaboram personas artísticas públicas a fim de circular com desenvoltura no iminente contexto cultural aberto, crescentemente dominado por formas de cultura de massa. Esses artistas se identificam com certas categorias artísticas, mas propõem a revitalização da arte a partir do ponto de indiferença entre potência e não-potência poética - condição precípua do dar forma ao mundo e, conseqüentemente, a nós mesmos.
A place of radical contingency in art in the 1960s and 1970s, as proposed by the works of Frenchman Yves Klein, American Andy Warhol and German Joseph Beuys, the place of melancholia gives a dimension to the contemporary crisis concerning the poetic substance in view of the imminent public saturation of art. What is the point of taking action when all action is absorbed both homogeneously and acritically? How should one behave when faced with a reality which would appear resistant to any value? Bereft of the reality of the artwork as an unmarred space for the possibility of action and knowledge, we propose that these fragmentary artistic subjectivities set a new route for man´s productive capacity. Klein, Warhol and Beuys developed public art personae to circulate freely in the impending context of open culture that was increasingly dominated by forms of mass culture. Though they are identified with certain artistic categories, these artists set out to revitalize art from the point of indistinction between poetic potency and non-potency - an essential precondition for shaping the world, and therefore, for shaping ourselves.
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Fernandes, Cecília Samel Côrtes. "O retrato de Andy Warhol: o artista segundo Arthur Danto." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7111.
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A presente dissertação consiste na análise e revisão bibliográfica da obra de Arthur Danto, filósofo norte-americano. O intuito dessa pesquisa é buscar nas obras de Danto seu “modelo” de artista e analisar a forma como ele utiliza o exemplo de Andy Warhol, artista norteamericano, como principal figura desse modelo. Danto não estrutura esse modelo conceitualmente, no entanto é possível extraí-lo a partir dos exemplos em que são utilizados artistas. A pesquisa foi desenvolvida em três momentos, a saber: as fundamentações e influências teóricas de Danto que sustentam seus conceitos principais, que são o de arte e do de “fim da arte”; o uso de exemplos de artistas na obra de Danto e a demonstração de seu “modelo” de artista; a análise de Andy Warhol a partir de Danto e outros teóricos. Serão estabelecidos, ao longo da dissertação, diálogos de Danto com Georg Hegel, Clement Greenberg, Thierry de Duve, Hal Foster, Lucy Lippard, Hector Obalk.
The present dissertation consists on the analysis and bibliographical revision of North American philosopher Arthur Danto’s work. The aim of this research is to seek in Danto’s works his “idea” of the artist and to analyse the way North American artist Andy Warhol is used as an example and as the main figure in this idea. Danto does not structure this idea conceptually, however is is possible to extract it by means of his examples in which artists are in. The research was divided into three moments: Danto’s theoretical fundaments and influences that sustain his main concepts, which are the concept of art and of the “end of art”; usage of examples of artists in Danto’s work and demonstration of his “ideia” of artist; Andy Warhol’s analysis according to Danto and other authors. In the course of the dissertation, there will be stablished dialogues between Danto and Georg Hegel, Clement Greenberg, Thierry de Duve, Hal Foster, Lucy Lippard, Hector Obalk.
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Silva, Nayse Ribeiro Ferreira. "Fabricações em Andy Warhol: vida, arte e linhas de fuga." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/6587.
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Esta pesquisa busca apresentar um retrato de Andy Warhol não por uma luz decididamente informativa, linear, biográfica; mas por tessituras com traços biografemáticos, pelo compartilhamento de pequenos pontos luminosos que nos captam a atenção em seu cotidiano: seus gestos, seus pensamentos, a fabricação de sua (filosofia de) vida. A experiência artística espaço-temporal warholiana materializa-se por uma lógica de transfiguração do banal, que é aberta e encontra-se em constante progressão: desenvolve-se, transforma-se, adapta-se, renasce constantemente. Acreditamos que, em Warhol, sendo convidados à imersão em obras que nos convocam o corpo, e não apenas a mente, percebemos e inventamos formas outras para atravessarmos o tempo e para estabelecermos novas relações – linhas de fuga – com e em nossos entornos.
This research aims to present a picture of Andy Warhol not by a decidedly informative, linear, biographic path; but sewing a biographematic text by sharing small bright dots that capture our attention in his daily life: his gestures, his thoughts, the fabrication of his life (philosophy). The artistic experience of the warholian spacetime rises through a logic of the transfiguration of the commonplace, which is open and in constant progression: develops, transforms, adapts itself and constantly reborn. We believe that in Warhol, once we are invited to immerse in artworks that call up our bodies, not only our minds, we realize and create other ways to pass the time and to establish new relations - lines of flight, as in Deleuze's concept - with our environments.
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Silva, Lígia Almeida da. "15 minutos de fama: Andy Warhol e a hegemonia americana." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=689.
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Esta proposta procurou estabelecer o desenvolvimento e as obras do período pop, principalmente do artista Andy Warhol, como registros da história recente americana. Mostra também, uma correlação entre estas obras com a ideologia do consumo estabelecida nos anos seguintes a II Guerra Mundial, e que possibilitou a estabilização da hegemonia política, cultural e econômica dos Estados Unidos. Associou-se ainda a participação dos meios de comunicação de massa e da publicidade nesse processo, como divulgadores e propagadores da ideologia do consumo e, concomitantemente, fontes temáticas das obras de Warhol e outros artistas pop. Apresenta também a relação entre as mudanças geradas no pós II Guerra com elementos da atualidade, que sugerem um possível declínio desta hegemonia e, que se denominou contemporaneidade pop. Para isso realizou-se análises de algumas das obras mais características desse artista, associado a estudos bibliográficos específicos e gerais relacionados ao tema.This essay proposes to demonstrate the development and the works of the pop art period, principally of Andy Warhol, as registered in recent American History. This essay also shows a correlation between those works and the ideology of consumerism established in the years following the Second World War, which made political, cultural and economical hegemony possible in the USA. Means of mass communication and publicity will be associated with this process as disseminators and propagators of consumerism and at the same time, thematic works of Warhol and other pop artists. The relationship between post war changes and present day elements will also be presented, which suggests a possible decline in this hegemony, which has been named contemporary pop.To this end, analyses of some of the most characteristic works of this artist will be realised, associated with specific and general bibliographic studies related to the subject.
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Gustafsson, Anna. ""When POP sucks the tits of ART" : Warhol och Gaga - mötet mellan konsten och populärkulturen." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-21529.
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I uppsatsen undersöks utbytet mellan populärkultur och konst genom en jämförande analys av Andy Warhols Marilyn Diptych från 1962 och en stillbild från Lady Gagas musikvideo Telephone från 2010, i vilken hon refererar till Warhol. Lady Gaga har flera gånger refererat till konstvärlden genom kostym och sceniskt uttryck vilket hos mig väckte associationer kring hur Andy Warhol och popkonstnärerna influerades av populärkulturen. Warhols användning av populärkulturens bilder är idag välkänd som ett sätt att bryta mot konstvärldens normer. Detta utbyte undersöks och diskuteras i relation till hur Lawrence Alloway, John A. Walker och Richard Hamilton definierar populärkultur, massmedia och popkonst. De visar på en upplösning mellan populärkultur och konst som olika kategorier, något som Theodor Adorno och Clement Greenberg vänder sig emot. Popkonsten skulle dock kunna uppfattas som populärkultur efter de definitioner jag använt då Warhol idag både brukas filitigt av populärkultur och massmedia, samtidigt som konstvärlden också använder honom för att tilltala en masspublik. Jag vill mena att Andy Warhols konstproduktion och skapandet av Lady Gagas image grundas i olika typer av konstnärligt arbete, men att bådas verksamhet genom massproduktion sprids som populärkultur. Lady Gaga verkar framgångsrikt genom masskommunikation och hon är idag välkänd inom populärkulturella sammanhang. Genom vad som kan tyckas vara absurd styling utmanar hon den populärkulturella normen kring skönhet, en norm som skapades med bland andra Marilyn Monroe. Reproduktioner av Andy Warhols bilder med Marilyn Monroe som motiv har idag fått enorm spridning och stor popularitet. Populariteten för Warhols bild av Marilyn och Lady Gagas refererande till den kan förstås genom Jean Baudrillards teorier om hyperrealism och simulacra. Lady Gaga stylad som Warhols Marilyn blir ett tydligt exempel på simulacra då hon framstår som en kopia utan original. Detta eftersom Warhols Marilyn är ett eget orignal, frikopplat från det fotografi av Marilyn Monroe som han från början utgick från. Warhol använder sig av ett välkänt ansikte från populärkulturen, ett ansikte som sedan influerar Lady Gaga. Influensen kommer dock inte från Marilyn Monroes ansikte, utan Warhols version av Marilyn. Lady Gaga använder sig heller inte av själva bilden, utan refererar endast till den genom sin styling. Någon anslutning till verkligheten finns inte. Referenserna mellan konstvärlden och populärkulturen sprids som ringar på vattnet, och den mittersta utgångspunkten blir allt svagare.
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Fox, John. "Profane illuminations : creolisation and disenchantment in the work of Andy Warhol." Thesis, University of Essex, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542336.
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Léon, Benjamin. "Les plasticités du cadre : Andy Warhol et le cinéma expérimental américain." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA084.
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En tant que préalable à l’appréciation d’une forme, le cadre demeure une question centrale en esthétique de l’image. Où débute une forme, où s’achève-t-elle ? Si le cadre délimite l’image en y circonscrivant un espace au regard, il peut jouer de ses plasticités et renverser ce présupposé en son contraire : la tendance all-over de l’expressionnisme abstrait montre bien des exemples où le cadre se défait dans une ouverture qui rend l’espace à son indétermination, fut-elle fixée à l’avant de notre regard. Le point de départ de cette recherche vient du concept établi par Meyer Schapiro du cadre comme « véhicule matériel » où il y fait distinction entre l’image-objet (absence de limites de surface et visibilité du support) et l’image-signe (limite de surface liée à la représentation). Faisant état de cette différence fondamentale, nous proposons un travail interdisciplinaire – le cinéma expérimental et sa relation avec les autres arts – où l’œuvre d’Andy Warhol servira de fil conducteur. A partir d’une première occurrence appelée cadre-surface, il semble important de revenir sur certains malentendus concernant le Pop art tant sur le plan historique, philosophique, qu’esthétique en proposant le concept de « ready-made illusionniste ». Dans un deuxième temps, le cadre-perception sera l’occasion d’affiner notre travail en revenant sur la position du spectateur face aux images à travers le concept de « Pensée visuelle » développé par Rudolf Arnheim. On verra de quelle façon le cinéma expérimental à tendance structurelle et matérialiste (Michael Snow, Paul Sharits, Peter Gidal) se nourrit de la relation figure-fond établit par la psychologie de la forme (gestalt). Par là, comment le film ouvre aux possibles phénoménologiques d’un autre rapport à l’image ? Enfin, la dernière partie situera le cadre à sa propre destitution physique dans un chemin qui va du cadre-écran au cadre-performance. Devant cette typologie quelque peu taxinomique, nous souhaitons moins y penser un cloisonnement entre les différents types de cadre qu’y trouver force circulaire afin de répondre à l’hypothèse suivante : en quoi la matérialité des premiers films de Warhol nous engage progressivement dans une réflexion ambiguë parce qu’ambivalente autour d’une image spectrale et dématérialisée ?As a prerequisite to the assessment of a form, the framework remains a central issue in the aesthetics of the image. Where does a form begin, where does it end? If the frame defines the image circumscribing there a space for the eye to see, it can play of its plasticity and overturn this assumption into its opposite: the all-over pattern of abstract expressionism shows examples where the frame opens up to an undetermined space, whether it might have been fixed or not before we set eyes on it. The starting point for this research comes from the concept established by Meyer Schapiro of the frame as a "material vehicle" where he makes a distinction between the image-object (no surface boundaries and visibility of support) and the image-sign (surface boundary associated with the representation). Stating this fundamental difference, we propose an interdisciplinary work - experimental cinema and its relationship to the other arts - where Andy Warhol’s work will serve as a guideline. From a first occurrence called frame-surface, it seems important to revisit some misunderstandings about Pop art, historically, philosophically, and aesthetically, by proposing the concept of "ready-made illusionist". Secondly, the frame-perception will be an opportunity to refine our work by returning to the position of the viewer facing images through the concept of "visual thinking" developed by Rudolf Arnheim. We'll see how experimental film with structural and materialistic tendency (Michael Snow, Paul Sharits, Peter Gidal) feeds on the figre-ground organization established by the psychology of form (Gestalt). Then, how does the film open to the phenomenological possibilities of another connection to the image? The last part will place the frame over its own physical removal on a path that goes from frame-screen to frame-performance. Given this typology somewhat taxonomic, we wish to think of it less as a division between different types of frame than to find circular strength in it, in order to meet the following hypothesis: how does the materiality of early Warhol films progressively engage us in an ambiguous, since ambivalent, reflection around a spectral and dematerialized image?
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Kattenberg, Peter. "Andy Warhol, priest : the last supper comes in small, medium, and large /." Boston : Brill, 2001. http://catalogue.bnf.fr/ark:/12148/cb39950137t.
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Sidorova, Elena. "US public diplomacy through the prism of Andy Warhol’s Pop Art." Thesis, Paris, Institut d'études politiques, 2019. http://www.theses.fr/2019IEPP0043.
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Notre thèse étudie l’interaction entre la diplomatie publique américaine et le Pop Art d’Andy Warhol. Elle révèle que la diplomatie publique américaine peut prendre trois formes (les formes « hiérarchique », « hybride » et « horizontale ») et que chaque forme de la diplomatie publique américaine suit ses propres principes de la promotion internationale de l’œuvre d’Andy Warhol. Lorsque la diplomatie américaine prend la forme « hiérarchique », le Pop Art d’Andy Warhol est promu au niveau international par le biais de la participation nationale des États-Unis aux expositions universelles et à la Biennale de Venise ainsi que des expositions itinérantes de l’Agence d'information des États-Unis. Lorsque la diplomatie américaine prend la forme « hybride », le Pop Art d’Andy Warhol est promu au niveau international par le biais du programme international du Musée de l’art moderne de New York et du programme « Art aux Ambassades ». Lorsque la diplomatie publique américaine prend la forme « horizontale », le Pop Art d’Andy Warhol est promu au niveau international par le biais des expositions organisées par des marchands d’art et des conservateurs d’art américains et européens qui travaillent indépendamment du gouvernement des États-UnisThe current thesis studies the interplay between U.S. public diplomacy and Andy Warhol’s Pop Art. It argues that U.S. public diplomacy is embedded into three forms (the ‘hierarchical’, ‘hybrid’, and ‘horizontal’ ones) and that each form of U.S. public diplomacy follows its own, individual ‘principles’ of the international promotion of Warhol’s work. When U.S. public diplomacy takes the ‘hierarchical’ form, Andy Warhol’s Pop Art gets promoted internationally through the U.S. national participation in World’s Fairs and the Venice Biennale, and USIA’s travelling shows. When U.S. public diplomacy takes the ‘hybrid’ form, Andy Warhol’s Pop Art gets promoted internationally through MoMA’s international program of circulating exhibitions and the Art in Embassies Program. When U.S. public diplomacy takes the ‘horizontal’ form, Andy Warhol’s Pop Art gets promoted internationally through the gallery shows and museum exhibitions organized by U.S. and European art dealers and art curators who work independently from the U.S. government
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Waterkeyn, Linda Catherine. "Idolatry and the artist's role with special reference to the work and thought of Andy Warhol." Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002221.
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This thesis uses Hirsch's dual notion of intention, i. e. conscious, intentional meaning and symptomatic, unconscious meaning, in order to avoid a dead end in the critical assessment of Warhol's work. T.S. Eliot's term "objective correlative" refers to a phenomenon whereby "an inner emotional reality" is evoked by its "external equivalent". (Benet, 1965). Thus, given that no work of art is purely self-referential (as distinct from its being autonomous),Hirsch's notion allows that viewerreconstruction of a painting involves shared values and concerns; that a painting reconstructed by a viewer acquires the status of an icon through which the viewer participates in the artist's sacred cosmos. Sociology of art tends on the whole to extrapolate from actual works to the alleged conditions that gave rise to them. That it cannot predict what specific works will arise from given conditions makes it unscientific. However, its usefulness lies in its ability to reveal what values and concerns are shared by artist and viewer. This is vital for an interpretation of Warhol's work. Warhol's biography leads directly into the meaning of his work. The sickly child of an immigrant steelworker, he grew up in Pittsburgh - an epitome of the technocratic-industrial environment - and was exposed from an early age to a violent and ugly world where the disparity between the super-wealthy and the struggling workers was deeply disturbing. That Warhol himself became a multi-millionaire artistic tycoon is significant, for it means that his works, his icons, were participatory in the very cultural myths and neuroses they appear to display or even despise. That his work has meaning and is open to interpretation there is no doubt. For example, a man-made soup can, as a manifestation and containment of the sacred, is coercive. Here the sacred becomes familiar, affordable and disposable. An electric chair, a man-made instrument of death, gives man supremacy over mortality and the divine prerogative of purging the world of all evil. The essay, however, does not attempt to answer the broader questions raised by Fromm and Roszak about the spiritual emptiness of the twentieth century and the existential crises experienced by those who hunger for meaning and fasten greedily onto anything that seems to proffer a glimpse of something beyond. The essay, nevertheless, strives within this context to elucidate the valid in Warhol's work
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Barry, Marie Porterfield. "Lesson 20: Soup Cans! Consumerism! Balloon Dogs! - From Andy Warhol to Jeff Koons." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/22.
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Mesquita, Tiago dos Santos. "Através do espelho: a constituição da pintura inicial de Andy Warhol (1956-1968)." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-08022010-150757/.
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Na década de60, Andy Warhol começou a trabalhar com as técnicas da serigrafia. Copiava imagens gráficas e fotográficas e as transferia diretamente para a tela. O artista abandonou os modos mais tradicionais de pintura e passou a trabalhar com a apropriação de imagens reproduzidas em série nos cartazes, fotografias, embalagens e no cinema. O uso destes clichês gráficos causou controvérsia. Uma série de discussões tentava entender a escolha do artista a partir de interlocuções dele com a obra de outros criadores e como uma interpretação de fatos da realidade social. A partir destas análises, este trabalho busca construir uma interpretação alternativa que entenda as razões para a modificação de procedimentos e linguagens na obra de Andy Warhol e o seu impacto na produção do século XX.Andy Warhol started to work with the silkscreen techniques in the 1960s. Graphic and photographic images were copied and transferred straight onto canvas. The artist abandoned the traditional modes of painting and began working with the appropriation of serialized images from billboards, photos, packages and film. The use of such clichés was controversial. In several discussions, critics tried to understand Warhol\'s choices from his dialogue with other artists and as an interpretation of the facts of social reality. This study attempts to build an alternative interpretation that tries to understand the reasons for the modification of procedures and poetics in the Andy Warhol\'s work and his impact on the 20th century art.
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Jancène, France. "Les mots dans la peinture pop américaine : Jasper Johns, Andy Warhol et Roy Lichtenstein." Paris 10, 1997. http://www.theses.fr/1997PA100016.
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Dans le contexte du pop art, une etude des mots dans la peinture pourrait paraitre surprenante puisque le spectateur n'a aucune difficulte a identifier la plupart des sujets representes par johns, warhold et lichtenstein : le concours d'un mot qui ferait figure au sein de l'espace represente n'est pas sollicite. Cette premiere supposition permet de mettre l'accent sur un premier axe de reflexion autour de la confusion entre espace represente et espace de representation et ainsi sur le domaine du hors-cadre (l'etiquette et le discours sur l'art). La question de la legitimite a discourir en peinture relance le debat sur l'autorite du pop et l'inscription de la signature du peintre. On s'interrogera sur les oppositions entre signature et nom propre. Soumis au jeu de la representation, le mot assume sa fonction plastique et la perte de sens qui en decoule. En suscitant l'engagement du spectateur, le mot represente lui permet de reinjecter de la subjectivite dans des images recouvertes d'un glacis de neutralite. Le pop, a defaut de retablir la signature de l'artiste, autorise le spectateur a mettre en place un rapport de type personnel avec l'oeuvre. Johns, warhol et lichtenstein travaillent chacun a leur maniere au retablissement de la vision contre la visualisation, heritage de l'acoutumance du public a la representation photographique, a la generalisation des images "de seconde main". Ces artistes font tous trois peser la rehabilitation du regard subjectif du spectateur par une conjugaison originale de la lettre et de l'image : la carte geographique est recuperee par johns comme ready-made mettant en scene le ready-found, warhol explore le rapport entre le mot et l'image a travers le portrait qui cherche a remplir le nom du modele, et lichtenstein recupere la bande-dessinee ou le mot et l'image font bon menage et se partagent equitablement le terrainThe study of the use of words in pop art may seem unecessary as words are not needed to make the subjects of johns, warhol and lichtenstein recognizable. This study contrasts the convas which is limited by the frame with the picture plane. This distinction enables one to take the space outside the frame into account and deal with the roles of labels in pop art together with the importance of discourse. The question of the legitimacy i artistic discourse leads to an opposition between signatures and names in pop art. When words are explicitly represented, they lose all their meaning. Yet this loss enables the spectator to get involved and inject his/her subjectivity into the painting. Johns, warhol and lichtenstein eact have their own strategy : johns uses maps as ready-mades quoting ready-founds, warhol points portraits thus posing the question of nomination, while lichtenstein quotes comic-strips where words and images are on equal terms, but all three artists suggest pictorial means to counter the neutral images of the 60's-
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Johnson, Jennifer Camille. "Body Politics in Don DeLillo, Adrienne Rich, and Andy Warhol: A Study in Postmodern American Culture." NCSU, 2007. http://www.lib.ncsu.edu/theses/available/etd-03282007-104816/.
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For many postmodern artists, such as Don DeLillo, Adrienne Rich, and Andy Warhol, the human body and identity are constantly challenged, refigured, and re-envisioned. In this thesis, I explore to what extent each of these artists depicts the human body as disempowered or empowered in postmodern American culture. In Chapter One, ?Technology, Death, and Identity in Don DeLillo?s White Noise,? I examine the ways in which White Noise explores the nexus between the body, pop culture, fear, and death. In Chapter Two, ?Adrienne Rich: Toward an Embodied Poetics,? I explore the shifts in emphasis throughout most of Rich?s poetry and how she explores the fate of the female body in a capitalist, patriarchal society. In Chapter Three, ?The Visual Art of Andy Warhol: Fame, Death, and Disaster in American Popular Culture,? I investigate how Warhol explores the human body as image and surface that lack depth or inherent meaning and human identity as a façade manufactured by American culture. In the ?Concluding Remarks,? I discuss the relationship between genre and each artist?s perspectives of the body while also exploring each artist?s conclusions about the empowerment and disempowerment of the human body in postmodern American culture.
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Steinruck, Thomas [Verfasser]. "Business Artists : Strategische Vermarkter im Kunstbetrieb ; Andy Warhol - Damien Hirst - Jeff Koons - Takashi Murakami / Thomas Steinruck." Heidelberg : arthistoricum.net, 2018. http://d-nb.info/1159968950/34.
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Reed, Alycia Faith. "Fifteen minutes and then some: an examination of Andy Warhol's extraordinary commercial success." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2973.
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Andy Warhol, one of the most famous American artists in history, achieved an extraordinary level of commercial and merchandizing success both during his lifetime and posthumously. Utilizing contemporary advertising theory, the emotional and psychological appeal of the artist to the art world and the general public is revealed.
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Bouchard, Marie-Ève. "L'influence d'Andy Warhol sur la musique du Velvet Underground (1965-67)." Master's thesis, Université Laval, 2000. http://hdl.handle.net/20.500.11794/33552.
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En 1965, Andy Warhol, déjà célèbre pour ses tableaux, décide de s’aventurer dans le domaine de la musique pop. Il devient alors gérant du Velvet Underground, un groupe rock newyorkais. Ce mémoire vise à rendre compte de l’influence de Warhol sur l’évolution musicale de cette formation entre 1965 et 1967. Dans un premier temps, une description du contexte socio-historique de l’époque et du milieu étudié est présentée, ainsi qu’un résumé des réalisations respectives de l’artiste et du groupe. Deux chansons du Velvet Underground sont ensuite analysées, soit « I’m Waiting for the Man » et « Ail Tomorrow’s Parties », toutes deux enregistrées à deux reprises soit avant et après la collaboration du groupe avec Warhol. Les éléments nouveaux ou transformés apparus dans les secondes versions sont alors répertoriés et comparés aux procédés utilisés par Warhol, ce qui permet d’évaluer l’influence de ce dernier sur l’évolution musicale du groupe.Québec Université Laval, Bibliothèque 2019
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Carlin, Abigail. "Let Us Now Praise Famous Women: Deborah Kass’s The Warhol Project (1992–2000)." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243344700.
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Caverzan, Elena <1997>. "AURELIO AMENDOLA: STORIA DEL NOVECENTO PER IMMAGINI. Marino Marini, Alberto Burri e Andy Warhol incontrati da Amendola." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21322.
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La mia tesi vuole approfondire il mito del fotografo Aurelio Amendola e gli avvenimenti che lo hanno reso così acclamato in giro per il mondo. Partendo da una breve analisi attorno al genere fotografico del ritratto e ricostruendo gli sviluppi che lo hanno reso così rinomato tra gli artisti, e non, degli ultimi due secoli, si giunge alla presentazione del contesto fotografico italiano che ha anticipato e cooperato assieme ad Amendola a partire dalla metà del XX secolo, nello specifico affrontando le esperienze di Ugo Mulas, il fotografo della Biennale, Elisabetta Catalano, attrice ma soprattutto fotografa di moltissime personalità internazionali e Mario De Biasi, il più versatile fra i colleghi ma altrettanto abile nella ritrattistica. Successivamente ci si addentra nella carriera di Amendola, a cominciare dagli esordi come “fotografo degli artisti” e approfondendo, attraverso la sua testimonianza diretta riportata all’interno dell’elaborato, le differenze e le affinità tra i due generi che lo hanno impegnato, ovvero fotografare da una parte la storia dell’arte e dall’altra i suoi contemporanei. Nel terzo e ultimo capitolo si prendono in esame nello specifico i tre incontri che hanno cambiato la sua vita, ovvero le personalità dello scultore Marino Marini, Alberto Burri e il suo informale, per concludere con l’eccentrico Andy Warhol.
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Kitnichee, Rapeeparn. "Living with Them." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17107.
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An investigation of transforming people' lives regarding their achievements into design processes of making textilesCase studies: Isaac Newton and Andy WarholProgram: Master Programme in Fashion and Textile Design
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Lentz, Alycia Faith. "Ready to blow your mind: Andy Warhol's Exploding Plastic Inevitable." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3128.
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Andy Warhol's Exploding Plastic Inevitable (EPI) was a drug-fueled rock concert-cum-multimedia art event where layers of mediation mixed with immediate experience: The Velvet Underground performed their innovative music in front of films of themselves performing, Factory Superstars danced and performed poetry, various Warhol films projected on the walls, flashing lights flickered on mirrored surfaces, and a crowd of spectators – both famous and unknown – packed in to see and be seen, to dance and trip into the early hours of the morning. The experience of the EPI was a potent combination of alienation, mediation, and commercialization.
The EPI was a promotional vehicle for Warhol, Warhol's Factory crew, and the Velvet Underground, but is also a complex example of spectacle that has been under-analyzed in recent scholarship. The EPI's unabashed emphasis on marketing, packaging, consumer goods, and empty celebrity are all manifestations of fears of late capitalist excess, but beneath the veneer of vapidity was an undercurrent of counterculture political activism and social awareness. Original contributions include cultural analysis, interpretation of contemporary reviews and reports, examination of the event's lack of art historical presence, and incorporation of music scholarship into the Warhol historical canon.
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SCARDINI, S. T. "O DIRETOR DA FACTORY: a convergência de conceitos artísticos e publicitários na pintura de Andy Warhol entre 1960-68." Universidade Federal do Espírito Santo, 2016. http://repositorio.ufes.br/handle/10/8475.
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Previous issue date: 2016-08-24Nesta pesquisa buscou-se analisar parte da obra do publicitário e pintor norte-americano Andy Warhol e entender como funcionou a inter-relação dos campos da publicidade e da arte em suas obras. Aprofundar o conhecimento na produção do artista pode contribuir para inovações criativas tanto na agência de propaganda quanto nos processos da arte, trazendo interpretações novas e desprendidas sobre o assunto. Afinal, a defesa feita é que não podem ser colocadas amarras prévias nas manifestações da arte e da publicidade, que podem ser mescladas em trabalhos que visem aproximar pessoas, seja com fins persuasivos ou contemplativos. O paradigma formalista que Warhol e os demais artistas da Pop Art enfrentaram, volta e meia apresenta relances no meio artístico atual, revisitar a produção deste pintor reforça a negativa quanto o retorno da forma sobre o conteúdo em arte. Para aos publicitários, a obra de Warhol pode ser encarada com um exemplo profícuo no qual a propaganda utilizou-se da arte não como elemento meramente ilustrativo, mas como parte fundamental do conteúdo do anúncio. Os traços e ilustrações sutis representavam a sofisticação e originalidade do produto, no caso os sapatos da I. Miller nos idos da década de 1950. Como principais bases teóricas foram utilizados os autores Anne Cauquelin, Arthur Danto, Roberto Menna Barreto, Alexandre Emerick Neves, Giulio Argan, Merian Korichi, Tony Scherman, David Dalton e Júlio Ribeiro. Os trabalhos de Warhol avaliados foram as ilustrações e as serigrafias produzidos entre as décadas de 1950 e 1960. Palavras-chave: arte, publicidade, convergência e Andy Warhol.
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Lee, Kyoung-Yul. "L'imagerie photographique floue et la représentation mnémonique (autour des oeuvres photographiques chez Christian Boltanski, Gerhard Richter et Andy Warhol)." Paris 1, 2000. http://www.theses.fr/2000PA010551.
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Dans l'art contemporain, l'image photographique floue se comprend par la représentation visuelle des souvenirs vagues qui disparaissent dans l'espace du temps, c'est-à-dire la réminiscence où l'image-souvenir floue qui se présente alors comme indice mnémonique de l'amnésie collective. L'illusion mnémonique sur laquelle se basent les oeuvres photographiques comme le cas du jeu de texte-image chez Boltanski, éveille notre croyance aveugle attachée toujours à la connexion logique, scientifique et mathématique qui absorbe confusement tous les souvenirs vrais ou faux. L'interférence mnémonique est une des causes principales de l'amnésie collective au sein de la société d'information. Notre mémoire historique est intrinsèquement destinée à la disparition comme si les souvenirs d'enfance disparaissaient en laissant un sentiment de nostalgie chez chacun de nous. Les effets de flou servent aussi à representer une mémoire historique à la fois refoulée dans l'inconscience collective et falsifiée ou censurée par un pouvoir. Pourtant leurs messages artistiques ne sont ni commémoratifs ni impératifs, mais plutôt une réflexion mnémonique. Le manque de souvenirs au sens positif peut être un atout qui nous permet de reconstruire ou restaurer une nouvelle image de notre société dans l'assomption du passé à laquelle s'attache l'image photographique floue utilisée dans la représentation mnémonique chez les artistes.
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Lee, Sook-Kyung. "The changing conceptions of the artist in the age of authorial demise : a study of Jackson Pollock and Andy Warhol." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437827.
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Möllersten, Elisabeth. "Förgänglighet." Thesis, Konstfack, Ädellab/Metallformgivning, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3217.
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Syftet med min uppsats är att jag vill påminna om människans egen förgänglighet. Jag vill upplysa att allting lever under samma princip. Förgängligheten finns i allt, att allting är underständig förändring och att det bara är en fråga om olika lång tid innan allt försvinner. Jag vill att människan ska bli mer påmind om att allt och alla, människor, naturen, och alla ting lever undersamma principer och på så sätt inte är särskilt skilda från varandra.Jag vill påvisa hur förgängligheten har analyserats och analyseras, samt ge en inblick i vad förgänglighetsteori handlar om. Förgängligheten har flitigt avbildats inom konsten.Jag kommer undersöka varför två betydelsefulla konstnärer har arbetat med förgängligheten och jämföraderas tolkningar. Mina frågeställningar är följande: • Hur definieras idén om förgängligheten historiskt och symboliskt? • Varför har Andy Warhol och Damien Hirst arbetat med förgängligheten?
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Schiff, Meredith A. "I Think Everybody Should Be Like Everybody: The Hidden Significance of the Andy Warhol Do It Yourself Series of 1962." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212092284.
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Thesis (M.A.)--University of Cincinnati, 2008.Advisors: Kimberly Paice Ph. D. (Committee Chair), Mikiko Hirayama Ph. D. (Committee Member), Kristi Nelson Ph. D. (Committee Member). Title from electronic thesis title page (viewed Sept. 4, 2008). Includes abstract. Keywords: Andy Warhol; Paint by Number; Do it Yourself; spectator participation; Factory. Includes bibliographical references.
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PASCOAL, Vinicius Gomes. "Eu serei o seu espelho: um estudo da Pop Art e do Roman à clef mediante a (1968), de Andy Warhol." reponame:Repositório Institucional da UFPE, 2015. https://repositorio.ufpe.br/handle/123456789/14004.
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O presente estudo traz um olhar crítico sobre um roman à clef intitulado a (1968), do pop artista Andy Warhol. Para a apresentação deste estudo o autor fragmentou todos os resultados obtidos durante a pesquisa em três etapas. A primeira etapa apresenta informações do mundo externo ao artista, e consecutivamente como esse universo troca referências com seu artista-autor. Aqui são apresentados alguns elementos que configuravam o movimento Pop Art, alguns de seus exponentes, e a figura warholiana. Na segunda etapa são apresentados detalhes sobre a obra literária em questão. É também neste momento que se problematizam as questões de aura trabalhadas em Warhol através do objeto a (1968) e de outras edições do mesmo. No terceiro momento a narrativa literária ganha mais espaço, é neste capítulo que se encontram as reflexões sobre o gênero literário conhecido por romance em chave. Ao término desse capítulo está disposto uma proposição conceitual de roman à clef, além de uma leitura crítica das personagens, do tempo, do espaço, da voz narrativa e da linguagem em a (1968). O último capítulo apresenta as considerações finais e comentários que o autor considerou pertinentes por registrar.
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Guyodo, Rochdi. "Warhol et le pop art : entre ambivalences instables et duels des contraires." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040047.
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Le grand projet à l’origine de la réalisation de cette thèse est de proposer une nouvelle manière de comprendre la nature instable et décloisonnée du pop art, ce courant pictural presque sorti de l’histoire de l’art pour s’ériger en signe diffus de la culture populaire.Les enjeux plus conceptuels, qu’il dissimule derrière une imagerie devenue familière, sont pourtant d’une importance capitale pour la reconfiguration de la définition contemporaine de l’œuvre d’art. Toujours entre surface et profondeur, l’image pop se développe insidieusement.Le concept de « coïncidence des opposés », hérité d’une tradition théologico-philosophique dont Nicolas De Cues est le dépositaire le plus illustre, nous servira d’outil opératoire pour tenter de comprendre les implications sémantiques liées à la nature glissante de cet espace artistique aux contours flous. L’instabilité de ses frontières s’exprime d’abord par la proximité entre « art » et « non-art ». Elle s’illustre ensuite et surtout par le développement d’une multitude de microstructures internes reproduisant le même schéma conceptuel de « coïncidence des opposés ». Nous utiliserons alors, pour faciliter notre approche philosophique le concept d’ « ambivalences instables ».Trois grands moments jalonneront notre enquête. Ils seront synthétisés par les trois notions suivantes : « le paradoxe de la destruction créatrice », « la littéralité anti-littérale », et « la désacralisation hyper-sacralisée »The aim of this PhD project is to propose a new way of understanding the profoundly unstable and essentially decompartmentalized nature of pop art, this pictorial stream which is almost going beyond the scope of art history to elevate itself to be a vague symbol of popular culture.However, its familiar image hides more conceptual matters of dispute which are of crucial importance when it comes to reconfiguring the contemporary definition of a work of art. Always between surface and depth, pop imagery is developing insidiously.The “coincidence of opposites” concept, inherited from a theological-philosophical tradition, with Nicolas De Cues as its most famous depositary, will be used as an operating tool in our attempt to understand the semantic implications bound to the changing nature of this artistic space, the limits of which are still clearly blurry. This fuzziness of its frontiers appears first and foremost through the proximity between “art” and “non-art”, and then, most of all, through the development of a multitude of internal microstructures mimicking the pattern of the “coincidence of opposites” concept. In order to facilitate the philosophical flexibility of our approach, we will therefore use the concept of “unstable ambivalences”. Three milestones mark our investigation. They are summarized by the three following notions: “the creative destruction paradox”,”anti-literal literalism” and ”hyper-sacralized desecration”
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Hamlyn, Anne Catherine Bentley. "Figuring the 'that-has-been' in the 1960s : time, trauma and representation in the work of Andy Warhol, Richard Hamilton and J.G Ballard." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252355.
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Fagnart, Claire. "La "désesthétisation" dans l'art du XXe siècle, approche à partir de deux oeuvres : Fontaine de Marcel Duchamp (1917), Boîte Brillo de Andy Warhol (1964)." Paris 8, 1996. http://www.theses.fr/1996PA081093.
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Des le debut du xxe siecle, a travers une pratique artistique de la negation, apparait une remise en question radicale du concept d'art et de la notion de l'artiste. Quels sont les termes de cette remise en cause, quelles en sont les raisons historiques ? telle est l'interrogation qui se trouve a l'origine de ce travail. Mais nous ne traitons pas cette question comme un probleme general de philosophie de l'art. Nous l'abordons de maniere specifique, ancrant notre reflexion dans l'analyse de deux oeuvres particulieres qui semblent manifester cette remise en cause de facon identique, par l'assimilation de l'oeuvre d'art a un objet trivial non-modifie : fontaine de marcel duchamp et boite brillo de andy warhol. L'analyse de ces oeuvres pose la question de la "desesthetisation". En quoi ces objets sont-ils des oeuvres d'art ? peut-on parler a leur sujet d'une mise a distance voire d'un rejet de l'esthetique ? notre recherche met en evidence que, contre toute apparence, fontaine et boite brillo sont des oeuvres antinomiques, situees dans des traditions differentes, et qui ont des significations opposees. La "desesthetisation" de fontaine correspond a l'effacement de l'oeuvre proprement dite, a un detachement de l'art. L'objet se veut instrument de demonstration. Il y a desesthetisation dans la mesure meme ou il n'y a plus art. Avec warhol, la question de savoir s'il y a oeuvre d'art ne se pose pas. L'oeuvre boite brillo annonce une esthetisation de surface, un sens du decoratif qui, pousse a son paroxysme, aboutit a un art indifferent a toute determination et a toutes significations profondes. Il n'y a donc pas lieu de parler de desesthetisation a propos de l'oeuvre de cet artiste. La question est plutot celle du refus d'une creation signifiante
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Williams, Gilda. "Towards a definition of the Gothic in contemporary art : haunted time and dark vision in the work of Andy Warhol, Louise Bourgeois, and Tacita Dean." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579802.
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This dissertation will consider how 'gothic' might be applied within contemporary art discourse beyond the motif-heavy assumptions which clutter its habitual usage today. I explore the term historically across its principal disciplines: firstly, art and architecture, from Renaissance to twentieth-century accounts of the Middle Ages alongside its stylistic revival during the Romantic era; and secondly, its now-predominant reference, the eponymous literature of terror emerging in the mid-eighteenth century, later strongly related to horror film, My first premise is that the term's original art-based significance - i.e., having to do with the lingering effects of unwanted inheritances - remains central to its meaning. Secondly, I observe that in attempting to define the essence of the genre, numerous literary theorists cite recurring aesthetic features, i.e., shadows and darkness; labyrinthine space; an emphasis on surface rather than depth; and claustrophobia, among others. These can be seen to establish a recognizable yet flexible aesthetic language - a gothic aesthetic - to speak of the present as a haunted time. This research will test and explore the relevance of a possible literary-based gothic aesthetic to art, particularly in relation to Andy Warhoi's Death and Disaster series (1962-65; '67), Louise Bourgeois's Cells (1986-2008), and a selection of artworks by Tacita Dean, all of which I identify as significant examples of gothic innovation in the visual arts. I also consider the gothic content of Warhol' s artistic persona, and explore whether an earlier art-historical meaning of the term, particularly regarding the fifteenth-century danse macabre, can be seen to continue in the Death and Disasters on radically revised terms. Conventionally assumed as opposites, Modernism and (modern) gothic can be said to have emerged contemporaneously during the Enlightenment. The gothic was a mode despised in the Modernist writings of Clement Greenberg and others; as I argue, some post-1960s artists can be seen to have adopted locations, figures, and forms associated with the gothic to assert counter- or after-Modernist art-making strategies, or to reflect upon Modernism's legacy today.
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Cueff, Alain. "De la Dernière Cène aux Marilyn, un examen des sources chrétiennes et de leur incidence dans l'oeuvre d'Andy Warhol." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2017.
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L’œuvre d'Andy Warhol a été évaluée dans le contexte culturel du Pop Art en fonction de certains thèmes : condition de l'image médiatique, héritage duchampien, paradoxes du modernisme, statut de la marchandise, unicité de l’œuvre d'art... Ce faisant, la culture propre de Warhol, déterminée par son rapport à la religion chrétienne, a été largement ignorée. Ces essais interrogent l'articulation d'une culture et d'une pensée religieuses à une pratique et à des motifs modernes à partir d'un changement de paradigme et de perspective. Il fallait vérifier comment ces sources chrétiennes se manifestent dans le détail et en évaluer les conséquences sur l'interprétation. Les questions de l'incarnation et de l'individuation, telles qu'il les traite dans ses portraits, ne sont pas envisageables sans une réflexion sur son rapport à la religion chrétienne. Plus généralement, ce point de vue fait ressortir le rapport complexe de Warhol à la modernitéThe work of Andy Warhol has been evaluated in the context of Pop Art, and scholarship favored a number of themes: the condition of the mass media image, Marcel Duchamp's legacy, the paradoxes of modernism, the status of commodities, the notion of originality of the artwork... So that his specific culture, established in a stringent relationship to Christian religion, has regularly been largely ignored. This dissertation envisions the articulation of a religious culture and thinking to modern praxis and topics. Thus, a change of paradigm and perspective is required. It became necessary to substantiate how the Christian inspiration reveals itself in the work and modify its interpretation. The issues of incarnation and individuation, as Warhol handles them in his series of commissioned portraits, can't be understood without an extended examination of his relationship to Christian theology. More generally, this standpoint does stress Warhol's complex attitude towards modernism
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Dahlström, Fredrika. "Manuel Puig - ¿El Andy Warhol de la literatura? : Una mirada crítica a El beso de la mujer araña enfocada en las características del arte pop." Thesis, Högskolan Dalarna, Spanska, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-15881.
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BACH, CHRISTINA ELIZA. "HOW TO EXPLAIN ART TO DEAD HARES? STRATEGIES OF ART OF THE SECOND POSTWAR: TONY SMITH, FRANK STELLA, DONALD JUDD, FLUXUS GROUP, JOSEPH BEUYS AND ANDY WARHOL." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8277@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORO trabalho examina a especificidade das relações culturais e das intermediações sociais instauradas pelas obras de Tony Smith, Frank Stella e Donald Judd, pelos eventos performáticos do Grupo Fluxus, pelas Aktionen de Joseph Beuys, e pela Pop Art de Andy Warhol. O texto é conduzido pela hipótese de que tais poéticas foram fundamentais para uma renovação estatutária da arte, obtida, principalmente, via sucessivas inaugurações de modos inéditos de trocas públicas. Os anos seguintes ao fim da Segunda Guerra Mundial exigiram sérias reavaliações e respondem até hoje pelos mais díspares comportamentos. A seleção pressupõe, em segundo plano, a incidência de um significativo ápice poético estimulado pelas urgências morais. As obras de arte resultantes desse aperto existencial distinguem-se, dentre outras tantas inovações estéticas, por uma extravagante apresentação e uma controvertida índole: fermentaram a contracultura do final da década de 1960, encaminharam os movimentos da seguinte e alimentaram os debates pós-modernistas dos últimos vinte anos.
The present work examines the specificity of the cultural relations and social intermediations established by Tony Smith's, Frank Stella and Donald Judd works, by Fluxus's Grup performatic events, by Joseph Beuys's Aktionen, and by Andy Warhol's Pop Art. The text is driven by the hypothesis that such poetics were fundamental for a statutory renewal of the art, obtained, mainly through successive inaugurations of completely new ways of public exchanges. The following years after the end of the World War II demanded serious revaluations which answers until today to the most disparate behaviors. This present selection of works and authors presupposes, in a second plan, the incidence of a significant poetic apex stimulated by moral urgencies. The resulting works of art of this existential configuration stand out, among other so many aesthetic innovations, by an extravagant presentation and a controverted disposition: they fermented the counterculture of the end of the decade of 1960, guided the movements of the following years and fed the post-modernists debates of the last twenty years.
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Otty, Lisa. "Signals and noise : art, literature and the avant-garde." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3454.
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One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.
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Hildebrandt, Antje. "Expanding the object : post-conceptual dance and choreographic performance practices." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/558802.
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This project is concerned with exploring the relationship between postconceptual dance and its state as object. As a practice-led research project it aims to do so both through the written thesis and through artistic practice, which is here presented as a series of video projects that extend representations of dance. Over five chapters I trace the permutation of the ‘object’ from choreographer to spectator, participant, editor, collector and ‘reframer’, arguing for the multiplicity of roles that choreographers, and by extension dancers, take on at the beginning of the 21st century. My interdisciplinary research draws from a variety of theoretical discourses including performance theory, visual cultures and critical theory, and is therefore both relevant to the field of dance studies and beyond the discipline. Given the practice-led nature of the project, my aim has been to expand choreographic performance practices and to increases the range of ‘objects’ that can be considered dance. Therefore, the project resides in the gaps and tensions between practice and theory, performance and documentation, language and dance, text and movement, choreography and objecthood. Throughout I argue that post-conceptual dance operates within an extended field in which dancers and choreographers are expanding the boundaries of the art form, making dance relevant to a broader artistic, cultural, political and social context.
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Santos, Aline Peterson dos. "O protagonista nas laranjas mecânicas : um tchelovek bratchni ou um maltchik bizumni?" reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149527.
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Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável.This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.
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Zipp, Collin. "A theoretical exploration of the transformative properties of experience." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, 2011, 2011. http://hdl.handle.net/10133/3243.
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This thesis document serves as a support paper for my exhibition titled, Selected Work. The goal of this document is to present and discuss a set of ideas and interests as they pertain to my studio practice and thesis project in particular, and to contemporary (ie. current) art practices in general. In this document I examine selected works from Marcel Duchamp, Andy Warhol, Andy Kaufman, Maurizio Cattelan and Richard Prince. Through the exploration of these artists and their works, I begin by examining the object and the conditions that give it approval as an art object. Using these conditions, I examine the effect that experience has on the object. This support paper will serve as a glossary of terms and theoretical concerns relevant to my thesis exhibitionvi, 64 leaves : col. ill. ; 29 cm
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Porcina, Mark. "I am not a ceramicist." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2012, 2012. http://hdl.handle.net/10133/3393.
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Ceramics has always existed on the fringes of craft and high art. The purpose of this
thesis project is to elevate clay beyond the traditions of craft by examining the historical use of
clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy
Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced
object and reflecting upon it’s validity as high status art object. In this project I am also
interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts
vents-- with a specific focus on systems lurking inside walls and how these function to influence
architectural space. With the advent of modern plumbing, concealing these elements was
adopted as the new standard and still exists today. Through the presentation of defamiliarized
handmade objects, my exhibition presents the appearance of manufactured material through the
serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the
material unrecognizable providing the viewer with a new view on the object's tradition.v, 47 leaves : ill. ; 29 cm
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Krispinsson, Charlotta. "Ung, samtida och postmodern : En studie av det svenska konstfältet under 1980-talet utifrån Lars Nilssons konstnärskap." Thesis, Södertörn University College, School of Culture and Communication, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3311.
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The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism.
The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s.
In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden.
The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as the most contemporary were to be questioned. The thesis ends with a summary and a discussion.
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Dieterich, Danielle May. "Andy Warhol's Utilization of inter/VIEW Magazine as a Self Promotional Marketing Tool Updated to a Social Media Strategy For Artists in Today's Technological Age." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1452949628.
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Cresap, Kelly Mark. "Warhol and the art of cultivated postmodern naivete." Full text, Acrobat Reader required, 1998. http://viva.lib.virginia.edu/etd/theses/cresap98.pdf.
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Parker, Andrew. "Consuming subjectivity in Warhol and Koons, mass appeal and commodification in art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ48583.pdf.
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Middleton, Samuel D. Shaw Donald Lewis. "Technology and the portrayal of death in photography over time Brady, Weegee, and Warhol /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2896.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2010.Title from electronic title page (viewed Jun. 23, 2010). "... in partial fulfillment of the requirements for the degree of Master of Arts in the School of Journalism and Mass Communication." Discipline: Journalism and Mass Communication; Department/School: Journalism and Mass Communication, School of.
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Forsell, Vincent. "In Plain Sight: Queer Symbolism Encoded in the Works of Marsden Hartley, Robert Rauschenberg, and Jasper Johns." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/593485.
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Art HistoryM.A.
Homoerotic images date back as early as 800 BCE in Persian art. Examples of homoeroticism in the arts continue in the works of the Greeks and Romans. A sharp decline in the subject coincided with the rise of Christianity and the demonization of homosexuality in Europe between 300-1000 CE. This notion of homosexuality as depraved and sinful behavior became embedded in European culture for over a millennium, and some parts of the world still believe this to be true. Criminalization of homosexuality forced most homosexual artists to hide any references to their own sexuality in their works, a practice known as “encoding,” which allowed for symbols to be hidden “in plain sight” and without context. Among the most prominent mainstream artists to utilize homosexual coding in his work was the modern American artist Marsden Hartley. Through the hidden symbols in the 1914-1915 “War Images” of his “Amerika” series, Hartley expressed his grief for his likely lover Karl van Freyberg, who had passed away following the outbreak of the Great War in 1914. Following in the footsteps of Hartley queer artists working in later generations utilized similar methods of encoding to express their sexuality in a guarded fashion. Operating in the 1950s and 60s, the artists Robert Rauschenberg and Jasper Johns used varying methods of encoding to disguise references to their sexuality in their work. Such encoding would become a major theme of the “queer aesthetic,” where queer artists encoded symbols through semiotic methods such as floating or dual signifiers to convey their homosexuality in a covert way. In pioneering the concept of encoding, Marsden Hartley gave several generations of artists a means of expressing their sexuality in their works without being fully “out of the closet,” or revealing their sexual identity.
Temple University--Theses
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Forster, Lou. "Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée." Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.
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Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentation que Childs met en œuvre seule, avec sa compagnie, ou des compagnies de répertoire, l’écriture et la lecture jouent un rôle déterminant pour concevoir et incorporer ses danses. Grâce à une enquête anthropologique au cœur des studios de danse, Lou Forster montre que le geste technique consistant à danser page à la main se construit à l’intersection de deux histoires parallèles. Au cours des années 1950, John Cage et Merce Cunningham inventent un ensemble de pratiques de lecture et d’écriture afin de s’opposer, détourner et reconfigurer des approches académiques dans lesquelles l’écrit constitue un support pour assoir des partages disciplinaires et des hiérarchies. Cette approche néo-avant-gardiste joue un rôle primordial au Judson ; et parmi les membres de ce groupe, Childs est l’une des chorégraphes qui se montrent la plus attentive à ces pratiques lettrées car elles rejoignent un aspect méconnu de sa formation de danseuse. En effet, elle étudie la danse moderne de 1955 à 1962 au sein de l’important réseau de la diaspora allemande de New York. Elle suit en particulier la formation dispensée dans l’école de la chorégraphe Hanya Holm (1893-1992) où est enseignée une forme américanisée de danse d’expression (Ausdruckstanz). Childs y découvre la cinétographie Laban ou Labanotation, le système d’analyse et d’écriture du mouvement développé par le chorégraphe austro-hongrois Rudolf Laban (1879-1958), dans lequel les danseurs et danseuses répètent page à la main. C’est vers cet événement de lecture atypique pour le monde de la danse que Childs se tourne quinze ans plus tard pour travailler avec sa compagnie. L’histoire de l’art et l’histoire de la danse ont dissocié ces deux versants des modernités chorégraphiques lorsqu’à partir de 1933 une partie de la danse d’expression se compromet avec le régime nazi. Aux États-Unis se construit alors le mythe d’une originalité de la danse moderne américaine, qui s’accentue encore dans le cadre de la guerre froide. La position privilégiée que Childs occupe dans cette histoire connectée la conduit à faire des pratiques graphiques une matrice du postmodernisme. À partir de 1973, elle aborde l’ensemble des techniques canoniques de la danse occidentale, passant au fil des années de la danse d’expression aux activités piétonnières, au ballet néoclassique puis baroque. Se positionnant comme une appropriationiste, elle développe une perspective historique et critique sur ces techniques d’emprunt. Dans ses pièces, elle tend ainsi à rassembler des genres et des histoires de la danse qui ont été séparées et disjointes, élaborant une véritable poétique de la relationLucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation
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Warchol, Ewa [Verfasser], and Claudia [Akademischer Betreuer] Veigel. "Expression, purification and characterization of human myosin 9a / Ewa Warchol. Betreuer: Claudia Veigel." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://d-nb.info/1101344083/34.
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