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Dissertations / Theses on the topic 'Contemporary Artist'
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Chambers, Janet Denise. "Three contemporary Korean artists." Thesis, University of Canterbury. Humanities, 2012. http://hdl.handle.net/10092/7822.
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This thesis examines the work of three Korean contemporary art practitioners: Lee Ufan (b. 1936), Lee Bul (b.1964) and the collective flyingCity (formed 2001). Lee Ufan is a senior Korean sculptor, painter and writer, who, during a long and productive career, has been based in Tokyo and Paris, and is now recognised in Korea, as well as internationally. Both Lee Bul and flyingCity have participated in projects at the Govett-Brewster Gallery for Contemporary Art in New Plymouth, New Zealand.
These three art practices demonstrate a trend during the last fifty years from the individual artist working in a studio (Lee Ufan), to the artist moving from city to city making and showing artworks (Lee Bul), to artist collectives, working with community groups in the mode of relational aesthetics (flyingCity).
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Serig, Daniel. "Visual metaphor and the contemporary artist ways of thinking and making." Saarbrücken VDM Verlag Dr. Müller, 2005. http://d-nb.info/989351890/04.
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Salter, Carson (Carson Charles). "Ambi_ : enterprise artworks, the artist-consultant, and contemporary attitudes of ambivalence." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82279.
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Thesis (S.M. in Art, Culture and Technology)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 82-85).
This thesis will discuss selected cases in which artists have undertaken projects directly relating to a business practice, and the relevant terms for understanding those projects. In the absence of a physical product (as is often the case with conceptual artwork and knowledge-based production), we rely on other ways of understanding the producer's work: typically, we look to distinctions amongst familiar production categories and supposedly strict differences in the native behaviors of artists or businessmen. Where these hard categories may once have helped identify the source and intent of work, they seem to hinder apt description in contemporary practice. I will argue that comprehension of current artistic undertakings requires an ontology of a middle position-between art and business-and regard for sustained attitudinal ambivalence. This paper aims to aid the reading of the growing field of artistic undertakings that deal with business practices, especially focusing on those in which an artist avails knowledge to a non-art market. To this end, the thesis lays out the methods and poetics of such projects in sections titled CASES and TERMS. The first chapter provides a background for enterprise artworks, and overviews the development of the terms Enterprise Culture and the New Spirit. The second chapter focuses on the artist-consultant (two cases, Artists Placement Group & Ocean Earth) and unpacks the spatial and embodied nature of the corporate language that they use. The third chapter surveys contemporary cases of artists working in this field, and describes the ambiguity and ambivalence with which they operate. These three chapters will progressively bring the reader, chronologically and topically, to an understanding of current projects in this field, and (hopefully) pragmatic thinking about their potential. The thesis functions as an analysis of artistic undertakings as well as positioning statement for the author, as ambi_
by Carson Salter.
S.M.in Art, Culture and Technology
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Pringle, Emily. "The artist as educator : an examination of the relationship between artistic practice and pedagogy within contemporary gallery education." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10006682/.
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Pilca, Ana-Irina [Verfasser]. "Regimes of Visual Representation in Selected Contemporary Anglophone Female Artist Novels / Ana-Irina Pilca." München : Verlag Dr. Hut, 2020. http://d-nb.info/1219475777/34.
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Chubb, Shirley Jane. "Intervention, location and cultural positioning : working as a contemporary artist curator in British museums." Thesis, University of Brighton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479071.
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Stroud, Zelda. "Making matters : the hand of the artist in contemporary South African sculpture / Creative work: Vanities." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62658.
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This research stems from the view that although the twenty-first century has witnessed a return to the skilfully crafted art object, many of these artworks are not made by the artists, but produced instead by fabricators and assistants according to the specifications of the artists. Some of these artists lack the relevant skills to produce any material portion of their artworks and, in addition, may have no interest in developing those particular skills, instead relying solely on the craftsmanship of others. I contend, in this study, that many valuable benefits, inherent in an artist's personal engagement with the material, are lost to the artist and the artwork, as well as to the viewer of the artwork, when the artwork is outsourced and produced by others. My research, via questionnaires and an interpretative analysis of critical theory, argues that the act of personally making one's own work provides a number of psychological rewards to the artist, in addition to other advantages such as the development of a laboriously achieved signature style, enhanced creativity and the opportunity to exploit serendipity. Supplementary to this, four South African sculptors, who conceive of and make their own work, have provided their individual insights into the experience and value of personal art-making. My individual experience, as a sculptor of both personal and commissioned works, forms a significant aspect of the study due to my familiarity with the 'hands-on' experience of making, the need to outsource larger work, and in addition, deadlines which require the type of digital assistance which, arguably, creates a further loss of connection between the artist and the artwork. An examination of the perceived value of skills in general, and skilled art-making in particular, contributes to my research's call for a return to the employment of both the artist's head and hand in the creation of art in general, and sculpture in particular. This research contributes to an existing body of knowledge that argues for a return to skill and a renewed appreciation of the value inherent in material contact with the artwork, in order to reduce the current tendency towards a disconnect between the artist and their work.Dissertation (MA)--University of Pretoria, 2017.
Visual Arts
MA
Unrestricted
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Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.
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This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.
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Gainer, Katelyn Yvonne. "Self-Representation and the Contemporary Female Artist: Challenging the Narrative Through the Work of Renee Cox." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent155654142406468.
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Ottinger, Gustav. "Contemporary brand strategy creation and portrayal of a music artist on social media : A management perspective." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-67094.
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The technological advancements in the web 2.0 era have been argued to have had a great impact on creating brand strategy and conducting communication. The music industry is categorized as a high interactivity industry, thus the interaction between marketing practitioners and consumersis high in its nature. Though, as consumers are empowered to either engage with or ignore marketing campaigns, the importance is argued for developing a deeper relationship between the brand and the consumer. Thus, how to strategically create the brand to reach the target audience has become the challenge. Once managed to establish the brand with a congruity, leveraging the marketing communication can set the foundation for retaining and establish relationships with the consumers. Therefore, the purpose of this thesis is to provide a deeper understanding on how brand strategy is created in the beginning of an artist’s career and how the brand is communicated in the online environment. From this, one research question was proposed; How do managers create brand strategies as a foundation for the portrayal of an artist’s brand on social media? This thesis has both a descriptive and exploratory nature with aqualitative and deductive approach. The strategy chosen for this study was a casestudy conducted with managers in the context of actively handling brand strategy creation and communication on social media. The collection of data was through interviews with managers from respectable companies within the music industry. The respondents chosen was based on a judgmental sampling, thus selected on the basis of their experiences and insights in an artist’s brand. The data suggests in correlation with theory, that the aim with the strategy takes the direction towards creating a foundation for a bond between the brand and the consumer in a consumer-brand relationship. Expressed in the findings, two perspectives exist when creating strategy and how each further affects what managerial decisions of the brand are based on namely; brand as a person or brand as a product. These two perspectives are each described as separate aspects in the initial stage of the creation of brand strategy. Though, in a longterm it was expressed that both perspectives are equally important to consider regardless of the initial focus to managed the discussed relationship.
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Scheibe, Marit [UNESP]. "Thinking being an artist: a lousa como objeto artístico na obra de Joseph Beuys." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/153968.
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Esta dissertação enfoca a Lousa como objeto artístico na obra de Joseph Beuys, procurando uma aproximação com o observador, captando seu interesse na direção dos caminhos sensíveis propostos pelos rabiscos. Pretende conduzir a sensibilidade do espectador para expandir a vivência de valores humanistas. Como suporte, revela-nos o empenho do artista por uma arte viva. A pesquisa se oferece como um fio condutor a quem se interessa pela ampliação do conceito de arte, e, ao mesmo tempo, se propõe a evidenciar, através do mergulho em alguns símbolos, as direções e paisagens do pensamento do artista.
The present study focuses on the Blackboard as an artistic object in the work of Joseph Beuys and aimes an aproximation with the observer. It wants to capture the interest of the spectator for the sensible paths proposed by the scribbles. It intends to drive the sensitivity of the spectator in order to expand the experience of humanistic values. As a support, the blackboard reveals the artist´s commitment to a living art, to life. The research offers itself as a guiding thread to those who are interested in the expansion of the concept of art. At the same time, it aims to evidence, through an immersion in some symbols, the directions and landscapes of the artist´s thought.
Não recebi financiamento
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Pholprasert, Apichart. "The rural based artist in Britain and Thailand : an investigation into the creative processes by which artists have rejected the metropolitan context of contemporary art." Thesis, Northumbria University, 2006. http://nrl.northumbria.ac.uk/3411/.
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In my home country there has been an assumption that innovative art is entirely an urban affair. As a result, Thai artists treat the city of Bangkok as a point of cultural focus modelled on Western art capitals such as New York and London. However, in the UK there is a thriving non-metropolitan art culture in which progressive and experimental practices are promoted in rural areas. Given that many Thai artists grow up in agricultural villages (and often explore rural topics in their art) it seems strange that Thailand has no viable alternative to the metropolitan model. My research project has developed new forms of creative practice for rural- based art in Thailand using practical and philosophical approaches derived from Western art. The methodology I have applied to this challenge has involved the dis-location of my practice in both urban and rural areas. During my doctoral project I have produced artworks on the City Campus at Northumbria University and in Banpao, my home village in northeast Thailand where I have pioneered one of the first rural art centres in my country. The body of practical work documented in this thesis is a synthesis of the processes of painting and agricultural work. The images are digitally manipulated photographic collages printed on the kind of canvas support I used when I began my career as a painter in Bangkok. Alongside this practical submission, my thesis begins by describing the contemporary urban/rural divide that allows us to continue to define an area of arts practice as 'rural-based'. I then move on to examine the homesickness and nostalgia that is conventionally said to motivate ruralism. I explore the desire to retreat from the problems of city life in relation to British art and, following a section on present-day life in my home village, the artists working in Bangkok who most epitomise the problems of making rural art in Thailand today. The conclusion to the thesis is reached through an engagement with Proustian reverie, Theravada Buddhism, environmental aesthetics and the philosophy of John Dewey. This leads me to speculate on the aspects of ruralism that make the British version so forward-looking and experimental. As a result, I am able to describe how nostalgia-driven forms of expression do not automatically produce sentimental artworks and propose an approach to rural art that could still carry a great deal of creative resonance for contemporary Thai artists.
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Jones, Caroline Elizabeth. "Art and investment a study on how investment in art affects the contemporary artist in South Africa." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002200.
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Saraiva, Érica Cristiane. "Visualidades de Luiza Prado: poética da ex-centricidade." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7529.
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This research proposes to analyze cuts of the work of the multidisciplinary artist Luiza Prado (1988 - ). From the analysis of the various visuals used by the artist, which include photoperformance, videoperformance and body art, we seek to understand its creative process and the construction of her poetics. Such poetics emerges from her confrontation with rape, with indigenous heritage, with profanation and with the sacred, so we take into account her construction as an ex-centric subject, the use of the body in her work and the strategies mobilized by the artist in the appropriation of representations, besides the relation with the psychodrama. The first chapter discusses her constitution as an ex-centric subject, the influence of psychodrama, and forms of appropriation as strategy. Secondly, we discuss the use of video as language and political strategy, a media that allows the problematization of the relation between performer and spectator in her works. Finally, we approach Prado's body art and photoperformance as postcolonial and anti-capitalist critique. We take as theoretical references the Critique of Art and Image, Philosophy and Feminist Theory, in dialogue with authors who treat the body as a support of art.
Essa investigação se propõe a analisar recortes da obra da artista multidisciplinar Luiza Prado (1988 -). A partir da análise das diversas visualidades utilizadas pela artista, que incluem a fotoperformance, a videoperformance e a body art, procura-se compreender seu processo criativo e a construção de sua poética. Tal poética emerge a partir de sua confrontação com a violação sexual, com a herança indígena, com a profanação e com a dominação, assim levamos em conta sua construção enquanto sujeito ex-cêntrico, a utilização do corpo em sua obra e das estratégias mobilizadas pela artista na apropriação de representações, além da relação com o psicodrama. No primeiro capítulo discute-se sua constituição como sujeito ex-cêntrico, a influência do teatro terapêutico, e formas de apropriação como estratégia. Em um segundo momento, discutimos o uso do vídeo como linguagem e estratégia política, uma mídia que permite a problematização da relação entre performer e espectador nas obras da artista. Por último, a body art e a fotoperformance de Prado são abordadas enquanto críticas de caráter pós-colonial e anticapitalista. Tomamos como referências teóricas da Crítica de Arte e Imagem, Filosofia e da Teoria Feminista, em diálogo com autores (as) que tratam do corpo como suporte da arte.
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Midhin, Majeed Mohammed. "The artist as a dramatic character in contemporary British drama : a critical study of Stoppard, Barker and Wertenbaker." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20011/.
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The focus of this dissertation is the representation of the artist as a character in British theatre. In this study, which includes three chapters and one introductory chapter, I attempt to show that British playwrights, whether male or female, use their main fictional characters as artists either for self-reflexivity or to comment on the situation of being an artist. In accordance with the above premise, the responsibility of the artist and the function of art is investigated with due reference to radical thinkers, philosophers and writers such as, among others, Immanuel Kant, Oscar Wilde, Georg Lukács, Antonio Gramsci, Walter Benjamin, Viktor Shklovsky, Bertolt Brecht and Jean-Paul Sartre. This investigation concentrates on the conceptualization and contribution of those intellectuals to the definition of the role of the artist. Though I focus mainly on the period from the 1970s to the 2000s onwards, by analysing the dramatic texts of three British playwrights: Tom Stoppard, Howard Barker, and Timberlake Wertenbaker, I also discuss the decade following John Osborne’s Look Back in Anger (1956). In this manner, I trace the key changes that have taken place in British theatre during the second half of the 20th century. Though there is an abundance of critical material on the subject which focuses on the figure of the artist to show self-referral for the dramatist, the present thesis goes beyond that to highlight the role and responsibility of the artist in British theatre, the function of art, the potential dilemmas he or she may confront and the economic and political circumstances surrounding them. The plays examined in this thesis range from those depicting the problematic role of the artist as an intellectual, who is torn between morality and immorality, as in Stoppard’s Artist Descending a Staircase (1972) and Travesties (1974), to those which reject the utilitarian function of art, for example Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984). In the case of Wertenbaker, I highlight the role and dilemmas of female artists as they use theatre as a means to show the hegemonic political and economic constraints imposed on their artistic creativity. By analysing several of Wertenbaker’s plays which centre on the use of the artist as a character, her Three Birds Alighting on a Field (1991) and The Line (2009), reflect the relationship between male and female artists and the dilemmas they faced. This thesis poses the following questions: as a fictional character, how can the artist function as a member of a certain community whilst at the same time retain the distinctiveness of his or her role as an outsider? Is he or she committed to the creative work or to the social usefulness of society? If so, can we expect art or the artist to have the answer to society’s problems? Or is that an overly high expectation to place on the artist? How did artists feel living in a society under censorship? How can they avoid being censored? And if they failed, what is the price of free expression? Springing from the discussion about the dilemmas of the artist in British theatre, it will become apparent how these dilemmas, represented by fictional characters, bring forth the dominant plays about artists. Within the framework of the above mentioned playwrights, it is demonstrated that the pressing dilemma which radical artists are faced with nowadays are multiple: social, commercial and political.
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Kiefer, Luísa Martins Waetge. "Jovem artista : a construção de um duplo mito." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97678.
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O presente trabalho investiga o papel e o lugar ocupados pelo jovem artista dentro do campo da arte hoje. Demonstra que esta figura passou por um processo de dupla mitificação: a de ser jovem e a de ser artista. Revela o processo da sua construção histórica e social, mostrando como este assumiu um papel central na arte do século XXI. A pesquisa foi realizada a partir de entrevistas com seis artistas nascidos na década de 1980 e 1990 – Daniel Escobar, Marcos Fioravante, Marina Camargo, Rafael Pagatini, Raquel Magalhães e Romy Pocztaruk. O olhar dos entrevistados é representativo de uma geração e serve como fonte primária para esta análise.This work seeks to investigate the role and place occupied by young artists in todays art field. It shows that this group has gone through two different mythification processes: being young and being an artist. Revealing the social-historical process that they went through and showing how they play this central role in the arts of XXI century. A research was made by interviewing six artists born on 1980 and 1990 decades - Daniel Escobar, Marcos Fioravante, Marina Camargo, Rafael Pagatini, Raquel Magalhães e Romy Pocztaruk. The view of the interviewees is representative of this generation and serves as a primary source for this analysis.
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Jackson, Deborah. "Shifting focus of the traditional centres of contemporary art : Scotland's evolving position from periphery to prominence." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9484.
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My thesis considers the distinctive characteristics of contemporary artistic production and display in Scotland from the 1960s to the present. The main objective is to make manifest the diversification of global sites of contemporary art away from traditional centres by examining less exposed aspects of art practice in Scotland. My methodology is driven by a set of case studies of artist-run initiatives (ARIs), which provide models of enquiry into alternative methods of production and display of contemporary art and that demonstrate the role of ARIs in producing art scenes, and not merely representing those that already exist. I focus on counter-histories of self-organised ARIs and their legacies, and adopt a genealogical approach to examine how recent praxis and infrastructures came into existence and how their initial impetus intersected with their historical conditions. Anthony Giddens’ structuration theory is employed to examine local forms of power and infrastructure, as well as the wider, global structures of the art world. The emphasis is on how ARIs and established institutions can and do negotiate with each other and in recognising the interpenetration of different scales of art institutions. I apply a bifurcated approach in order to bring Scotland into dialogue with anthropological discussions of cultural globalisation. I ask how locality, nationalism and globalisation are configured in (visual) culture generally and as applied specifically to a Scottish context. This is underpinned by a consideration of Scottish Devolution as a disintegration of hierarchical domination, which correlates to the ideologies of artist-run practice. Finally, I propose the eradication of top-down delivery in favour of horizontal distributions of knowledge and practice via self-organisation.
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Fischer, Deborah Vier. "Escola, artistas e docentes em movimento : encontros entre arte contemporânea e educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/108011.
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Esta dissertação tem como campo empírico uma determinada escola da rede privada de Porto Alegre, RS (Escola Projeto), que contempla a arte contemporânea em seu currículo e que convida artistas a construírem esse trabalho em parceria. Como proposta de investigação, busca olhar para os movimentos que esse modo de pensar a arte provoca em professoras e artistas visuais que se aventuram para, juntos, viverem a escola e a educação, produzindo pensamento e estranhando práticas naturalizadas e acomodadas pelo tempo e pelo uso. Pensar o estranhamento nas práticas docentes, instigadas pelas provocações da arte contemporânea, sugere uma aproximação à noção de discurso, tendo em Michel Foucault o principal referencial teórico. Discurso que emerge a partir de conversas e entrevistas com os sujeitos de pesquisa e que são analisadas dentro do campo discursivo que as envolve, neste caso, arte e educação. Movimentos e discursos interessam a esta pesquisa, pois atuam no sentido de olhar para as práticas tidas como mínimas ou basiquinhas, termo usado por um dos sujeitos de pesquisa, e contribuem para pensar na contramão da acomodação e da generalização, tão presentes no modo como a escola vem se constituindo historicamente. Por tratar da arte e da docência, encontrando pontos de encontro e de conflitos entre os fazeres artísticos e pedagógicos, termos como rigor, criação e participação são analisados desde esses dois pontos de vista. Ao olhar para esses encontros, apostando na possibilidade de exercícios de modificação, criação e compartilhamento, ganha força o conceito de docência artista, apresentado por Luciana Loponte, na relação com uma formação docente artista, termo que nasce nesta pesquisa e que se refere a uma formação contaminada, acompanhada e encharcada pelo contato próximo com a arte contemporânea, capaz de rever as relações mais seguras sobre ensinar e aprender, nas artes e para além delas. Desse modo, mais do que buscar resultados ou apontar soluções, esta dissertação busca realizar apostas: na docência, com suas dúvidas e estranhamentos; na escola, com sua possibilidade de educar sem consolação; na arte contemporânea, com sua abertura para provocar rupturas e para desestabilizar o pensamento. É, portanto, nos encontros entre docência, escola e arte contemporânea que esta escrita desenvolve-se, adquire intensidade e potência.This thesis has as an empirical study a certain private school in Porto Alegre, RS (School Project), which includes contemporary art into its curriculum as well as invites artists to build this partnership work. The bulk of this thesis is devoted to looking at what the moves that this way of thinking art instigate teachers and visual artists who venture to jointly live school and education, reasoning and wondering practices which are naturalized and accommodated by time and use. Thinking strangeness in teaching practices, instigated by contemporary art provocations, suggests an approach to the notion of discourse, having Michel Foucault as the main theoretical framework. Discourse that emerges from conversations and interviews with research subjects that are analyzed within the discursive field that these conversations involve, namely, art and education. Moves and discourses are subjects of interest to this research as they act in order to look at the practices taken as minimal or rough (basiquinhas), a term used by one of the research subjects, and contribute to think against of the grain of accommodation and generalization, as present in the way school has historically constituted. As this thesis discusses art and teaching, finding junction and conflict points between artistic and pedagogical doings, terms such as strictness, creation and participation are analyzed from these two standpoints. When looking at these junctions, focusing on the possibility of modification, creation and sharing exercises, gains strength the concept of artist teaching profession (docência artista), presented by Luciana Loponte, in relation to an artist teacher training (formação docente artista), a term born in this research which refers to an infected training, soaked and accompanied by close contact with contemporary art, able to review the most secure relationships on teaching and learning in the arts and beyond. Thus, more than seeking results or pointing solutions, this thesis aims at investing: in teaching, with its inquiries and strangeness; in school, with its ability to educate without consolation; in contemporary art, with its opening to cause disruptions and to destabilize the thought. It is, therefore, matches between teaching, school and contemporary art that this thesis develops, acquires intensity and power.
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Simon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.
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Fernandes, Mariana Queiroz. "Um balanço sobre o Seminário Longitudes: a formação do artista contemporâneo no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-01092016-190210/.
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A ampliação gradativa de instituições culturais privadas criou uma demanda de mão de obra qualificada para seus mais variados programas. Surgiram nos últimos 20 anos em todo o país cursos profissionalizantes e diversas graduações e pós-graduações em artes visuais reconfigurando assim um novo panorama daquilo que vem sendo, nos últimos anos, a formação do artista plástico (ou visual) no circuito artístico. A dissertação teve por objetivo discutir a posição do artista brasileiro contemporâneo através da análise do seminário Longitudes, realizado na cidade de São Paulo em março de 2014. Três temas centrais nortearam a configuração do seminário e posterior análise: o primeiro abordou a identidade do artista; o segundo tratou da expansão dos espaços alternativos e do escopo de trabalho do artista; o terceiro dedicou-se aos locais de formação e à proliferação de faculdades e cursos livres que têm suprido a demanda do mercado de trabalho recém desenvolvido. A partir dos depoimentos coletados no seminário, discutiremos as relações de trabalho no meio e a profissionalização do artista contemporâneo no BrasilThe gradual expansion of private cultural institutions created a hand demand for skilled labor for its various sectors. Emerged in the last 20 years throughout the country training courses and several graduate and post-graduate courses in visual arts as well reconfiguring a new panorama of what has been, in recent years, the formation of the artist (or visual) on the art circuit. The dissertation aims to discuss the position of the Brazilian contemporary artist by an analysis of the Longitudes seminar, held in São Paulo in March 2014. Three central themes guided the seminar configuration and its further analysis: the first dealt with the artist\'s identity; the second dealt with the expansion of the alternative space and the artist\'s scope of work; the third topic turned to the training sites and the proliferation of colleges and other courses to come meet the demand of the newly developed labor market. From the testimonies collected in the workshop, we will discuss the labor relations in the milieu and the professionalization of the contemporary artist in Brazil
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Santos, Gabriel Silva Lühmann. "Dissertação : modo de usar." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/718.
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Previous issue date: 2014-07-29Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Presented as an artist publication, this research intertwines a series of collections of objects found on the street, as well as fictions regarding the history of such items, by approaching different works of the French writer Georges Perec.
Apresentada como uma publicação de artista, esta pesquisa entrelaça uma série de coleções de objetos encontrados pelas ruas e fabulações sobre tais itens, com diversas obras do autor francês Georges Perec.
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Gharsalli, Awatef. "L'art contemporain en Tunisie : les enjeux sociaux et internationaux." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100031/document.
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L’art contemporain en Tunisie est resté à la marge de l’art contemporain. Quelles sont les raisons qui ont empêché sa reconnaissance ? Voulant rompre avec toutes les représentations dites coloniales et orientalistes, les artistes de la jeune génération qui viennent après l’indépendance, cherchent à s’ouvrir sur l’international et à se moderniser tout en préservant leurs identités et leurs appartenances. Ils se sont retournés vers le patrimoine et la calligraphie pour ainsi « tunisifier » leurs peintures abstraites. L’art abstrait, au départ était une aventure libératrice. Plus tard, avec une critique presque absente, peu curieuse ou censurée, voire corrompue, une commission nationale d’achat qui sélectionne arbitrairement les œuvres et les artistes, les artistes tunisiens ont pu se réfugier dans l’art abstrait pour fuir la réalité. Sinon pour profiter du consentement de la commission d’achat. A force de répéter et de se répéter ils sont tombés dans le suivisme et l’anarchisme qui ont engendré une médiocrité de style et une stagnation picturale. Pendant que les uns tombent dans une léthargie sans fin, d’autres vont chercher à communiquer implicitement leur désarroi et leur malaise. Les enjeux sociaux ont fait que ces artistes restent à la marge d’une reconnaissance artistique nationale. À l’échelle international, il y a deux ou trois décennies il était inimaginable de porter un regard autre qu’ethnographique sur la production artistique non occidental et plus tard quand les frontières ont été aboulies, ceux qui passent à la visibilité le font à travers des règles imposés de l’extérieur. Les artistes ont été soulagés par la Révolution et ont rompu le mur du silence, de la crainte, de l’interdit et de la peur. Mais la libération de l’art qui correspond au devenir démocratique pourrait aussi s’accompagner du retour à une censure symbolique d’une nature moins démocratique. C’est sans doute le défi de l’art tunisien d’aujourd’hui. Cette thèse d’histoire de l’art aborde le sujet avec les méthodes de l’historien et le regard du critiqueContemporary art in Tunisia was seen at the margin of contemporary art. What are the reasons that hide its recognition? In order to break with all the colonial and Orientalist representations, the artists of the youth generation who come after the independence, tried to be known all over the world and stick into modernity while preserving their identities and affiliations. They turned, as a result, to the patrimony and calligraphy in order to « tunisify » their abstract paintings. At the beginning, the Abstract art was defined as a liberating adventure. Later on the absence of critique which was not curious, or even corrupted, the commission of purchase selects arbitrarily the works and artists; Tunisian artists have taken refuge in abstract art to bury its reality, or to get the consent of the buying commission. By dint of repeating and re-repeating they fell into the conformism and anarchism which generate a mediocrity of style and pictorial stagnation. While some fall into lethargy endless lethargy, others will attempt to communicate implicitly their distress and discomfort. Besides, artists remain at the margin of a national artistic recognition due to many social issues. On the international scale, two or three decades ago, it was unimaginable to look back on non-occidental artistic production with ethnographic point of view and later when the borders were abolished, those who moved to the visibility did it with rules imposed from the outside. Artists was relieved by the revolution, after breaking the wall of silence, of fear, of the forbidden. But the liberation of art as the fate of democracy could also be accompanied by a back to the symbolic censorship of a narrow democratic landscape. It is probably the challenge of Tunisian art today. This thesis discusses, then, the topic of art history through historian’s approaches and critics view
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Souza, Bertoneto Alves de. "Aula Site-Specificity no contexto de formação do artista: processos de emancipação e de subjetivação." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-26022015-151118/.
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A redefinição da escultura e as pautas atuais de criação, fazendo uso da prática de projeto, provocam mudanças na formação do artista. Da aula expandida à aula Site-Specificity. A hipótese estudada: o projeto didático pautado em explorar as possibilidades das formas de experimentação e procedimentos artísticos em projeto Site-Specificity, que traz a vida para a \'sala de aula\', envolve mais o aluno, enquanto articulador de diferentes e complexas atividades no espaço público, supondo que essas características da prática de projeto Site-Specificity possam contribuir na formação do jovem artista e fornecer soluções às crescentes exigências de profissionalização que vem sofrendo a arte contemporânea em relação à sociedade. O principal objetivo: explorar as possibilidades de renovação das formas de experimentação e procedimentos em projeto Site-Specificity para descrever e explorar suas contribuições na formação do artista. Os objetivos específicos correspondem ao percurso da dissertação e ao processo das aulas \'site\', para os quais os três capítulos são como um campo das relações dialéticas, onde o Site-Specificity designa igualmente tanto o que é proposto para ser realizado quanto o que é feito para atingi-lo. Essa relação dialética leva a muitas possibilidades de operacionalizar projetos, tendo em vista as diferentes preocupações dos alunos. Concluindo, cada capítulo, respectivamente, concorre para um objetivo. O primeiro capítulo é uma reflexão sobre a expansão da escultura e as transformações do Site-Specificity; o segundo capítulo é sobre as aulas Site- Specificity e por último, no terceiro capítulo denominado \"Dupla exposição\", apresento exposições realizadas por alunos como resultados do processo de aprendizagem a partir das aulas Site-Specificity.The redefinition of sculpture and the current guidelines for creation, through the practice of projects, provoke change in the artist\'s formation. The class expanded to learning Site-Specificity. The studied hypothesis, along with the educational project outlined to explore the possibilities of forms of experimentation as well as the artistic procedures in Site-Specificity project, bring life into the \'classroom\' and better involve the students as they perform different and complex activities in public spaces, supposing that these characteristics from the practice of Site-Specificity project can contribute to the formation of the young artist and provide some solutions to the growing demands of professionalization that has been suffering contemporary art in relation to society. The main goal was to explore the possibilities of the renewal of both, the forms of experimentation and the procedures in Site-Specificity project to depict and explain its influences and contributions to an artist\'s formation. The specific goals correspond to the course taken by the dissertation and the \'site\' classes\' process, of which the three chapters stand as fields of dialectical relationships, where Site-Specificity designates equally what is to be accomplished as well as what is done in order to achieve it. This dialectical relationship leads to many possibilities of operating projects, having in mind the different student\'s concerns. In conclusion, each chapter, respectively, collaborates to a goal. The first chapter is a reflection of the expansion of sculpture and the Site-Specificity\'s transformations; the second chapter is about the Site-Specificity classes, and lastly, the third chapter denominated \"Double exposure\", presents student\'s exhibitions as a result of the learning process from the Site-Specificity classes.
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Basbaum, Ricardo Roclaw. "Você gostaria de participar de uma experiência artística? (+ NBP)." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-11052009-150004/.
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Nesta Tese, elaboro uma investigação acerca de meu projeto de trabalho Você gostaria de participar de uma experiência artística?, em desenvolvimento desde 1994. Trata-se de um projeto que envolve aspectos de participação do espectador, escultura e instalação, assim como uma abordagem do circuito de arte. A pesquisa se desenvolve em duas etapas complementares: em um primeiro momento, é elaborada a noção de Künstlertheorie ou Teoria de Artista, como procedimento de trabalho que envolve ao mesmo tempo a produção de textos e de obras de arte, articulando teoria e prática a partir de um sistema de revezamentos plásticodiscursivos; em um segundo momento, procura-se desenvolver o que seria a teoria do projeto Você gostaria de participar de uma experiência artística?, com a utilização da chamada escrita de artista na elaboração de uma nova narrativa, que incorpora diversos escritos já existentes articulando, deste modo, formas visuais e discursivas. Como resultado, é produzido um texto que ao mesmo tempo que se inscreve como teoria de artista (Künstlertheorie), indaga acerca da possibilidade de funcionar enquanto obra de arte.On this Thesis, I elaborate an investigation about Would you like to participate in an artistic experience?, a project of mine under development since 1994. This project involves aspects of participatory practices, issues on sculpture and installation, and an approach towards the art circuit. The research is developed in two complementary parts: firstly, the notion of Künstlertheorie or artists theory is established, as an working procedure that involves at the same time the production of texts and artworks, articulating theory and practice from the standard of a plastic-discursive rotation system; secondly, it is elaborated what might be considered the theory of the Would you like to participate in an artistic experience? project, with the use of the socalled artists writing. A new narrative is brought forward, with the use of several preexisting writings, articulating visual and discursive forms. As a result, a text is produced, one that is inscribed as artists theory (Künstlertheorie); at the same time, it inquires about the possibilities of its functioning as a work of art.
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Payne, Rachel Ann. "11.30 on a Sunday morning : a micro-ethnographic study exploring how year 7 learners negotiate meanings when working with an artist in a contemporary art gallery." Thesis, University of Bristol, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730878.
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Noga, John Koly. "Making It PersonalProgramming Untitled (The New Plan)A Billboard Artwork by the Artist Felix Gonzalez-Torres." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1404941895.
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Figliulo, Roberto. "Between public and private spaces: photographic visions in contemporary China." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398145.
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The aim of this dissertation is to present a particular point of view on the contemporary Chinese photographic production. We will analyze the photographic works that deal directly or indirectly with the representation of concrete spaces. We will give special attention to the representation of public and private spaces and to the problems related to them.
We will analyze the period that coincides with the eighties until today, the time of particular development of photographic production in China. The methodology employed will be a multidisciplinary approach that allows to better understand the complexity of determinate phenomenon related to the spaces represented by the selected artists.
This research wants to present the Chinese photographic production through determinate criteria that enable the understanding of its relevance in the comprehensive Chinese current cultural production.El objetivo de esta disertación es presentar una visión concreta sobre la producción fotográfica china contemporánea. Se analizarán aquellos trabajos fotográficos que tratan de manera directa o indirecta la representación de espacialidades concretas, con mayor atención al tratamiento de las espacialidades pública y privada, y a las problemáticas a ellas conectadas. La época que se analizará es la que va del decenio de los Ochenta hasta hoy en día, un periodo de particular desarrollo de la producción fotográfica en China. La metodología aplicada conisistirá en un acercamiento multidisciplinar que permita comprender la complejidad de determinados fenómenos ligados a las espacialidades representadas por los artistas seleccionados. Esta investigación quiere presentar la producción fotográfica en China a través de un determinado criterio que permita comprender las numerosas facetas y la importancia que tiene en la actual producción cultural china.
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Caldas, Felipe Bernardes. "O campo enquanto mercado : um estudo sobre o cenário mercadológico de Porto Alegre (1990-2012)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/81848.
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Este trabalho possui como tema o mercado da arte em Porto Alegre entre as décadas de 1990 e 2000, com foco no que denominamos de mercado da arte contemporânea. Volta-se a uma abordagem a partir do produtor primário, em outras palavras, o artista. Ou seja, na tríade “produtor, intermediários e consumidor”, a perspectiva adotada está centrada no produtor. Possui como objetivo averiguar e compreender as mais variadas mercadorias produzidas e comercializadas pelos artistas, assim como sua inserção em um mercado de trabalho. Deste modo, esta pesquisa não se limita a considerar somente o processo de compra e venda de obras, mas se propõe a entender e refletir sobre como os artistas participam de um processo produtivo e mercadológico entre 1990 e 2012 em Porto Alegre. Para tal entendimento, constitui-se uma pesquisa interdisciplinar entre arte, sociologia e economia, tendo como aporte teórico Pierre Bourdieu, Domenico de Masi, Michael Hardt, André Gorz e Maurizio Lazzarato. A pesquisa foi constituída a partir de três vertentes. A primeira, via entrevistas com atores locais do campo artístico (artistas, colecionadores, galerista, curadores, professores universitários). A segunda, através de enquete disponibilizada e divulgada via internet, que pretendeu atingir o maior número possível de agentes locais. A terceira, por meio de revisões bibliográficas a respeito da estrutura e história de um sistema artístico e seu mercado em Porto Alegre. Assim, esta proposição discute a condição do artista inserido em um sistema artístico, produtivo, mercadológico e seus meios de aquisição de capital financeiro, simbólico e de permanência no campo.The theme of this work is the art market in Porto Alegre between the decades of 1990 and 2000, focusing on what we call contemporary art market. Its approach is on the primary producer, in other words, the artist. I.e., in the triad "producer, middlemen and consumers", the adopted perspective is centered on the producer. It is aimed at finding out and understanding the various goods produced and marketed by the artists, as well as their insertion in a labor market. Thus, this research is not limited to considering only the process of buying and selling works, but it aims to understand how artists participate in a production and a marketing process between 1990 and 2012 in Porto Alegre. For such understanding, it constitutes an interdisciplinary research between art, sociology and economics, having as theoretical basis Pierre Bourdieu, Domenico de Masi, Michael Hardt, André Gorz and Maurizio Lazzarato. The research has three strands. The first one, via interviews with agents from the local field (artists, collectors, gallery owners, curators, university professors). The second one, through a survey available and disseminated via the Internet, which sought to reach the largest possible number of local agents. The third one, through literature reviews on the structure and history of an art system and its market in Porto Alegre. Thus, this proposition discusses the status of the artist inserted into an artistic, productive and marketing system and their means of acquisition of financial, symbolic and permanence capital in the field.
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Vilela, Jimson Ferreira. "[2013 - 2015] O movimento de translação de um artista em torno do próprio trabalho." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-14012016-105213/.
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O objeto desta dissertação são os trabalhos de arte produzidos pelo autor entre 2013 e 2015. Partindo dos próprios trabalhos e dos espaços onde foram apresentados, este ensaio busca articular procedimentos e conceitos recorrentes na produção do artista por meio de imagens, descrições, desenhos, anotações, projetos e interpretações que interroguem a ideia de livro como suporte, matéria-prima e lugar.The object of this Master\'s thesis is the author\'s works of art produced between 2013 and 2015. Departing from the works of art themselves and from the spaces where they were presented, this essay seeks to articulate recurring procedures and concepts in the artist\'s production through images, descriptions, drawings, notes, projects and interpretations that question the idea of the book as a support, raw material and place.
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Araujo, Paula Langie. "A imagem do artista e os diferentes públicos : um estudo de caso na 6ª Bienal do Mercosul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/13683.
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A imagem do artista e os diferentes públicos. Um estudo de caso na 6ª Bienal do Mercosul é uma pesquisa no campo da História, Teoria e Crítica de Arte que apresenta uma abordagem sociológica do estatuto do artista contemporâneo e visa analisar o quanto a construção e divulgação de uma “imagem” (entendida enquanto nome, conceito e reputação) em torno da figura do artista contemporâneo é importante para o seu desempenho profissional no atual sistema das artes plásticas. Baseando-se fundamentalmente em um estudo de caso realizado durante a 6ª Bienal do Mercosul, é questão central, neste trabalho, tentar compreender como o público que visita as bienais vê a figura do artista plástico contemporâneo. Para isso, são propostas as seguintes questões: Existe uma “imagem”, enquanto conceito, do artista? Essa imagem-conceito é veiculada em diferentes meios, como os de comunicação? Como essa imagem-conceito é encarada pelo próprio artista, pelo público especializado e pelo grande público? Como o público que freqüenta a Bienal do Mercosul se aproxima da imagem do artista contemporâneo? A dissertação foi dividida em 4 capítulos. Para enriquecer cada um dos 3 últimos capítulos, foram utilizadas entrevistas ordenadas em 3 grupos distintos. No primeiro capítulo, são apresentados conceitos importantes como o de distinção, de rede, de imagem e o de regime de singularidade. No segundo capítulo, são abordadas questões sobre a importância de reconhecerse e de ser reconhecido como artista. No terceiro, são discutidas questões referentes aos meios de divulgação da imagem do artista no sistema, como os meios de comunicação e as bienais. Nesse capítulo, foi feito um levantamento de dados a respeito das capas da revista Aplauso. E no quarto e último capítulo é apresentado o estudo de caso feito na 6ª Bienal do Mercosul através de entrevistas com os curadores Gabriel Perez-Barreiro e Moacir dos Anjos, com os artistas Cildo Meireles, Waltércio Caldas e Nelson Leirner e com uma amostra do público visitante.The image of the artist and the different audiences. A case study at the 6th Bienal do Mercosul is a research work on the fields of History and Art Theory and Criticism which presents a sociological approach to the statute of the contemporary artist and aims at analyzing how important is the construction and publicizing of an “image” (understood as name, concept and reputation) around the contemporary artist to its professional performance in the current Plastic Arts system. The central question in this work, which is based fundamentally on a case study undertaken during the 6th Bienal do Mercosul, is trying to comprehend how the general audience sees the figure of the contemporary plastic artist. With this aim, the following questions are proposed: Is there an “image”, as a concept, of the artist? Is this image-concept disseminated in different Media vehicles? How this image-concept is faced by the artist himself, by the specific audience and the general audience? How does the audience of the Bienal do Mercosul approaches the image of the contemporary artist? This dissertation is divided in 4 chapters. To make each of the last 3 chapters richer, interviews ordered in 3 distinct groups were employed. In the first chapter, important concepts like distinction, network, image and singularity regime are presented. In the second chapter, questions about the importance of acknowledging oneself and being acknowledged by others as an artist are approached. In the third chapter, questions regarding the means for divulging the image of the artist in the system, like the Media and the Bienals, are discussed. In such chapter, a data survey regarding the covers of the Aplauso magazine was performed. And in the fourth and last chapter the case study undertaken during the 6th Bienal do Mercosul by interviewing the curators Gabriel Perez-Barreiro and Moacir dos Anhos, the artists Cildo Meireles, Waltércio Caldas and Nelson Leirner and the audience is presented.
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Bain, Alison L. "Exhibiting the artist's city : occupational identity construction by contemporary Toroto visual artists." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423935.
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Mattos, Daniela de Oliveira. "Performance como texto, escrita como pele." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/15287.
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This thesis is as much an academic investigation as it is a work of art. It is constituted by text and image mutual crossings, problematizing the artist s writing as a poetic-performative device that produces itself by means of the contiguities that mediate discourse and visuality (and beyond). Conceived of as a space composed of sucessive rectangles, like those filled with words and velocity in the same way as a book , this work also configures itself as a sort of exhibition space or in-between space, which opens room for activations: from the ones, here analyzed, effectuated by the artist s gestures, to the singular experiences that will be generated by each one of the readers, when in contact with what is presented here. The heterogeneous parts that embody this text establish relations to each other, but don t configure a whole; they are not even submitted to hierarchization or evolutive enchainments of any sort, like the ones occurring in accordance with the traditional organization by chapters. Therefore, the research intends to implement and open relations among certain productions of the art field, both from my authorship and from other s, bringing them close to certain works from literature, poetry and philosophy
Esta tese é tanto uma pesquisa acadêmica quanto uma obra de arte. Constitui-se por atravessamentos entre texto e imagem, problematizando a escrita de artista como um dispositivo poético-performativo que se produz por meio das contiguidades entre enunciados e visualidades (e além). Pensado como um espaço composto por retângulos sucessivos, desses repletos de palavras e velocidades assim como um livro , este trabalho também se configura como uma espécie de espaço expositivo ou espaço entre, que dá lugar a ativações, desde aquelas efetivadas por meio dos gestos de artistas aqui analisados até as experiências singulares que serão geradas por cada um dos leitores, em seu contato com o que aqui se apresenta. As partes heterogêneas que dão corpo a este texto se relacionam mas não configuram um todo; tampouco se submetem a quaisquer hierarquizações ou encadeamentos evolutivos como os que ocorrem segundo a organização tradicional por capítulos. A pesquisa busca, portanto, tornar fecundas as relações entre certas produções do campo da arte, tanto as de minha autoria quanto aquelas de outros autores, aproximando-as de algumas obras da literatura, da poesia, da filosofia
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Motta, Gustavo de Moura Valença. "Discursos de Contrainformação - coletivos de artistas e curadores-autores no Brasil (2000-2015)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-13092018-150702/.
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Este trabalhou tomou como ponto de partida a presença, no meio artístico brasileiro, entre 2000 e 2015, dos assim chamados coletivos de artistas. Ele procurou circunscrever histórica e conceitualmente as \"práticas artísticas colaborativas\" e as \"estratégias de visibilidade\" desenvolvidas por esses agrupamentos de artistas \"emergentes\" - no contexto de seu envolvimento, entre 1999 e 2001, com os movimentos altermundialistas e antiglobalização, e, a partir de 2003, com movimentos sociais de luta por moradia - alinhando-se, ao menos discursivamente, com a perspectiva dos \"de baixo\". De outro lado, o trabalho também identificou o desenvolvimento simultâneo, \"pelo alto\", de um complexo de procedimentos curatoriais pautados por novos modos de apresentação (displays) de objetos artísticos em exposições de \"arte contemporânea\". Por meio dos novos procedimentos curatoriais, tanto a 27ª Bienal de São Paulo (2006) quanto as mostras de \"arte contemporânea\" do Museu de Arte do Rio (2013-2015) foram capazes de absorver e canalizar, em seus discursos, parte das demandas \"subalternas\" associadas à produção dos coletivos. Para refletir criticamente sobre esse complexo de fenômenos do campo artístico, a pesquisa procurou articular uma discussão atualizada em torno dos conceitos gramscianos de \"hegemonia\" e de \"revolução passiva\". Tais conceitos, formulados originalmente pelo pensador italiano Antonio Gramsci (1891-1937), têm sido reprocessados teoricamente, no debate da sociologia brasileira de extração marxista, para pensar o ciclo dito \"lulista\" do Brasil contemporâneo. Em síntese, uma vez verificada a absorção das práticas \"emergentes\" e \"colaborativas\" pelo circuito artístico local, este trabalho procurou estabelecer e questionar historicamente as contradições e possíveis confluências das \"estratégias de visibilidade\", associadas às demandas dos \"de baixo\", com o desenvolvimento combinado dos novos procedimentos curatoriais, operados \"pelo alto\".This research was motivated by the raising of the so-called artist collectives in Brazilian art field, particularly between the years 2000 and 2015. The thesis aims to delineate conceptually and historically the \"collaborative artistic practices\" and the \"strategies of visibility\" carried out seemingly \"from below\" by these \"emerging\" groups of artists - engaged mainly with the alter-mundialization and anti-globalization movements between 1999 and 2001, and, since 2003, with social struggles for housing. Furthermore, this survey also realized the simultaneous development of a complex of curatorial proceedings \"from the top\", based on new modes of display artistic objects in \"contemporary art\" exhibitions. Through these new curatorial practices, both the 27th Sao Paulo Bienal (2006) and the \"contemporary art\" exhibitions held by the Art Museum of Rio (2013-2015) managed to absorb and convey, in its discourses, part of the \"subaltern\" demands brought forward in the work produced by the artist collectives. In order to critically reflect about this complex of phenomena in the art field, the research articulates a debate operating the Gramscian concepts of \"hegemony\" and \"passive revolution\". These concepts, originally formulated by the Italian thinker Antonio Gramsci (1891-1937), had been theoretically reenacted in the Brazilian sociological debate derived from a Marxist background, to think the so-called \"lulist\" cycle in contemporary Brazil. Finally, after verifying the absorption of the \"emergent\" and \"collaborative\" practices by the local art circuit, this research aims to delineate and problematize the contradictions, and possible confluences, between the \"visibility strategies\" coming \"from below\" and the combined development of the new curatorial proceedings \"from the top\".
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Bacíková, Jana. "Současné české umění na domácím a světovém trhu." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-196533.
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The goal of this thesis is to analyse trends of the contemporary Czech art on the domestic market and possibilities of the contemporary Czech artists to succeed on the international art market. The firts part of the thesis describes specific forms of contemporary art and their position on the art market. The main factors influencing contemporary art prices are mentioned. The next chapter is concentrated on trends of contemporary art in comparison with the other segments of the art market. The third chapter is focused on development of the contemporary art on the domestic market. It analyses the present situation on the Czech art market and explores the potential of the contemporary Czech art. The last part of the thesis evaluates a success rate of the contemporary Czech art on the global art market.
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Lévy, Marjolaine. "Histoires de modernologues. Formes et significations du retour du modernisme historique dans la création contemporaine." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040093.
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Du Bauhaus à De Stijl, du Constructivisme au Style international ou au Mouvement moderne, le modernisme historique n’aura pas seulement occupé les historiens de l’architecture et du design. Il est en effet devenu, depuis une vingtaine d’années, un objet d’investissement à part entière d'un grand nombre d'artistes de toutes provenances. Au tournant des années 2000, ce phénomène de références, d'évocations, de déplacements, de réappropriations, de mises à distance ou de célébrations, a pris une ampleur telle que de nombreuses expositions en Europe et en Amérique du Nord l'ont interrogé, en le réduisant toutefois le plus souvent à une mouvance ruiniste, empreinte de nostalgie, qui n'est pas confirmée par une étude attentive des œuvres. Loin de toute vaine prétention à l’exhaustivité, notre recherche a opté pour une focale centrée sur les œuvres. Au risque d’un peu de myopie où pourrait sembler se perdre une conscience globale du phénomène historique traité, le parti est ici pris d’analyser individuellement les pratiques. L’étude des divers cas retenus conduit à différentes hypothèses et lectures, qu'on espère inédites. Si tous les travaux analysés ont en commun de se référer au modernisme, de prendre celui-ci pour objet à travers telle ou telle de ses réalisations, on verra qu’il est impossible de conférer un sens unitaire à pareil tropisme. L'indispensable proximité avec les œuvres aura ainsi permis de prendre non pas l’unique mais les mesures plurielles d’un phénomène qui aura indéniablement marqué la création artistique des dernières décennies, et continue de la marquerFrom Bauhaus to De Stijl, from Constructivism to the International Style or the Modern Movement, historical modernism has kept more than architecture and design historians busy. In fact, in the last twenty years, it has become a focus of investment in its own right for a large number of artists from all walks of life. At the turn of the century, this phenomenon of references, evocations, displacements, reappropriations, distancing or celebrations took on such a magnitude that many exhibitions in Europe and North America addressed it. However, it was primarily reduced to a ruinist movement, full of nostalgia, which is not discerned by a careful study of the works. Without pretense of being exhaustive, our research has chosen to focus on the works. At the risk of being slightly myopic, where a global consciousness of the historical phenomenon treated might seem lost, we seek to analyze individual practices. The study of the various cases selected leads to different hypotheses and readings, which we hope are novel. If the common thread of all the analyzed works is to refer to modernism, to take it as object through one or other of its achievements, we will see that it is impossible to confer a unitary meaning on such tropism. The indispensable proximity to the works will thus make it possible to take not the exclusive but the plural measures of a phenomenon that will undoubtedly mark the artistic creation of the last decades, and continues to mark it
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Samdanis, Marios. "Institutional logics of artistic innovation in contemporary art : the symbolic construction of young British artists." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50466/.
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The principal objective of this research is to investigate the institutional logics of artistic innovation in the context of contemporary visual arts. Contemporary art is a challenging field because there are no universal rules that determine artistic innovation, which inevitably relies on subjective justifications. Contemporary art institutions increasingly compete to display artistic innovation through their curatorial work, which derives from and shapes their institutional logics. The analysis in this study seeks to demystify the production of artistic innovation within contemporary art institutions, shedding light on the complex institutional dynamics that stem from interactions between artists, curators, patrons and art institutions. This thesis contributes to the existing theory a framework, based on the sociological thought of Becker and Bourdieu, which shows artistic innovation to be an organisational phenomenon. This conceptual framework is used to investigate the institutionalisation of art, in which artistic innovation is discursively constructed as a claim for authenticity. Such a claim expands knowledge structures concerning contemporary art and creates new identities for artists, creative agents and art institutions. The thesis makes a further contribution in that it seeks to advance organisational theory, and to provide insights into a field in which logics shift as a result of constantly changing power dynamics in order to fuel artistic innovations. The empirical focus of this study is the Young British Artists (YBAs), an art movement that emerged from London in the early 1990s, receiving support from powerful patrons, such as Charles Saatchi and art institutions including the Tate. This analysis contributes insights into the symbolic construction of artistic innovation, as the discourse of the YBAs facilitated their establishment as an art movement within the artistic field, and reinforced the position of the agents that appropriated this discourse. The case of the YBAs also demonstrates the importance of context for contemporary art production, as London provided the appropriate conditions for artistic innovation to flourish. Through its presentation of the social organisation of artistic innovation, this thesis demystifies contemporary art as the product of power relations and a stimulus of shifting logics in art institutions. Methodologically, this thesis contributes to the practice of critical discourse analysis, inserting a chronological dimension into Fairclough’s (2010) multilevel framework, in order to show how artistic discourses evolve while transforming the institution of art.
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Silva, Chrystine Pereira da. "Para transvalorar a dan?a contempor?nea: pot?ncias de dan?a no (do) corpo-artista." Universidade Federal do Rio Grande do Norte, 2014. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12464.
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Previous issue date: 2014-03-27Tanto no contexto acad?mico quanto no art?stico e mercadol?gico, ? crescente a discuss?o sobre o espa?o de conceitua??o da dan?a contempor?nea e suas fissuras, que deixam de abarcar esta ou aquela manifesta??o art?stica ou mesmo acaba por abarcar aquelas manifesta??es que n?o se encaixam em outros espa?os de conceitua??o. No presente trabalho objetivamos a investigar, a Dan?a na Contemporaneidade, para al?m do que se entende por dan?a contempor?nea, em sua capacidade de atravessar os espa?os de conceitua??o j? estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos tamb?m pensar a pot?ncia que a Dan?a imprime no corpo do artista criador, pensando tamb?m como este se comporta no espa?o de entre linguagens . A disserta??o que aqui se apresenta encontrou enquanto estrat?gia metodol?gica o recurso da met?fora, partindo das ideias de travessia, cartografia e cidades invis?veis para a constru??o do pensamento sobre o corpo do artista e suas rela??es com as diferentes linguagens art?sticas, tomando por base uma retomada das experi?ncias est?ticas e art?sticas de sua proponente. Dialogando experi?ncias pr?ticas e referenciais te?ricos, inicialmente tratamos da dan?a contempor?nea em seus problemas de classifica??o que apontam para a necessidade de um pensamento contempor?neo em dan?a, que pense as manifesta??es art?sticas em seus pontos convergentes, e n?o nos divergentes que as situam sob diversas nomenclaturas. No cap?tulo seguinte discutimos a possibilidade de contamina??o entre as linguagens art?sticas a partir do pr?prio corpo-artista. Discorremos tamb?m sobre a dan?a enquanto agenciamento e resposta aos impulsos resultantes da rela??o com o espa?o e outros corpos, pensando como o corpo do vivente se organiza nesta rela??o de compartilhamento de experi?ncias. Mostrando uma pot?ncia do corpo artista criador que se dedica ? transvalora??o das fronteiras entre as linguagens para a organiza??o do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de cria??o que variam de acordo com as possibilidades t?cnicas e necessidades est?ticas de cada artista criador
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Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.
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Thesis (Ed.D)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
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Rupp, Bettina. "Residências em arte contemporânea : espaço, tempo e interlocução." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/158018.
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Esta pesquisa analisa a residência artística pelo atravessamento de três conceitos principais: espaço, tempo e interlocução, vistos como aspectos fundamentais nos programas inseridos dentro do campo da arte contemporânea. Para tanto, foi previsto um percurso histórico que apresenta a sua formação, como sendo um lugar que oferece espaço e tempo para que o artista possa trabalhar de forma imersiva em seus projetos. Além da experiência do deslocamento do antigo ao novo contexto, as residências costumam propiciar diálogo entre os artistas durante suas estadias, promovendo, assim, uma rede de contatos. Como uma forma de entender também o objeto de estudo dentro da realidade brasileira, foram pesquisadas iniciativas no País. Resultante disso, percebeu-se a recorrência de um diferencial afinado com as reflexões da arte contemporânea e disponibilizado aos residentes: o acompanhamento crítico, realizado de forma sistemática por diferentes profissionais do campo da arte. A existência dessa prática apontou a necessidade de um aprofundamento nessa etapa da pesquisa, sendo consultados tanto artistas quanto críticos e curadores para levantar um conjunto de percepções individuais. As informações foram obtidas com o auxílio de entrevistas e enquetes qualitativas. Ainda, visando ampliar as discussões sobre a presença dessa atividade, os depoimentos foram confrontados com os conceitos de espaço, tempo e interlocução, apresentados por outros autores, entre eles, Gaston Bachelard, André Comte-Sponville e Maurice Blanchot. Por fim, foi possível concluir algumas considerações relevantes sobre a presença dessa atividade reflexiva nos programas de residência artística da atualidade.This research analyzes the artistic residence through the crossing of three main concepts: space, time and interlocution, seen as fundamental aspects in the programs inserted within the field of contemporary art. For that, it was foreseen a historical course that presents its formation, as being a place that offers space and time for the artist to work of immersive mode in his projects. In addition to the experience of the displacement between the old and the new context, the residences usually provide dialogue among the artists during their stays, thus promoting a network of contacts. As a way of understanding also the object of study within the Brazilian reality, initiatives were researched in the Country. Resulting from this, it was noticed the recurrence of a differential attuned to the reflections of contemporary art was made available to residents: the critical support by different professionals in the field of art. The existence of this practice pointed to the necessity of a deepening in this stage of the research, being consulted as much artists as critics and curators to raise a set of individual perceptions. The information, was obtained with the aid of interviews and surveys. Aiming to broaden the discussions about the presence of this activity, the statements were confronted with the concepts of space, time and dialogue, presented by other authors, among them Gaston Bachelard, André Comte- Sponville and Maurice Blanchot. Finally, it was possible to conclude some relevant considerations about the presence of this reflexive activity in the programs of artistic residence of the present time.
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Bartolone, Emily R. "Relationship Ties." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619427633784485.
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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /." Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.
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Ludvíková, Daniela. "Branding a jeho význam pro primární a sekundární trh s uměním v České republice." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-205651.
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This masters thesis identifies and analyzes the aspects and specifics of branding of an artist in the art industry, which is relatively different from the branding which we know from the corporate world. The first section defines the theoretical background of the branding and marketing communication with focus on those aspects that are relative to an art and its market specifics. Theoretical definition in combination with the outcome of qualitative research, which was conducted with outperforming contemporary artists and representatives of leading galleries in Czech Republic, helps to outline the most important factors and subjects influencing the artists brand creation process which is described in the practical part of this masters thesis. Besides the quality of the piece of art itself, the aspect of the strong brand is unquestionably increasing the value of artists production. Therefore, this chapter investigates those factors and subjects that have remarkable impact on the value of the artists pieces of art. The last section of this paper gives local and international best examples of contemporary artists with strong brand.
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BOMFIM, MARIA CRISTINA DO REGO MONTEIRO. "INTELLECTUAL ARTISTS AND CONTEMPORARY CONVERSATIONS ABOUT LANGUAGE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5771@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOA escrita criativa dos intelectuais-artistas Roberto Corrêa dos Santos e Teixeira Coelho, inconfigurável segundo parâmetros mais usuais do ensaísmo acadêmico em literatura, vislumbra outros espaços em relação à tarefa da crítica na atualidade. Essa escrita motiva um estudo em que as re-descrições produzidas pela crítica no universo da literatura quanto ao seu próprio discurso, no contexto dos últimos vinte anos, são comparadas a redescrições do posicionamento crítico elaborado no campo das artes visuais. As performances literárias de Roberto Corrêa dos Santos e de Teixeira Coelho, vistas como criação de novos instrumentos, harmonizam-se com experiências da visualidade na arte contemporânea, em que são problematizados, conjuntamente por críticos e artistas, o essencialismo, o representacionismo e o fundacionismo. O radicalismo crítico filosófico do neopragmatismo, voltado para essas últimas questões e pouco evidenciado na cultura acadêmica brasileira, é incluído no diálogo pretendido nesta tese com o objetivo de uma vívida ampliação de perspectivas.
The creative writing of the intellectual artists Roberto Corrêa dos Santos and Teixeira Coelho, unclassifiable according to the usual parameters of academic writing in literature, points to other spaces within current practices in literary criticism. Such writing motivates a study in which redescriptions of the discourse produced by literary criticism in the past two decades are compared with redescriptions of critical positioning produced in the field of visual art. The literary productions of Roberto Corrêa dos Santos and Teixeira Coelho, seen as the creation of new instruments, are found to echo the experiences of visuality in contemporary art, in which essentialism, representationalism and foundationism are questioned both by critics and artists. The critical philosophical radicalism of neopragmatism, which addresses such issues and is scarcely represented in Brazilian academic culture, is included in the comprehensive dialogue offered in this dissertation, with a view to a sharp widening of perspectives.
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Villanueva, González Paola. "De qué hablamos cuando hablamos de Proyecto Artistico. Derivas desde los artistas, la institución y el arte contemporáneo." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/402172.
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De qué hablamos cuando hablamos de Proyecto Artístico. Derivas desde los artistas, la institución y el arte contemporáneo es una narrativa parcial y fragmentada en torno a la idea de Proyecto Artístico. A partir de la voz de seis artistas emergentes seleccionados en la convocatoria de la Sala d’Art Jove en el año 2014, exploro distintos sentidos y significados que moldean la praxis del Proyecto Artístico, pensando cómo opera en la práctica de estos artistas en un contexto institucional, qué realidades construye o cómo se construyen los artistas en estas realidades. Esta indagación se organiza en cinco derivas, cada una de las cuales ofrece una posición desde la que mirar la complejidad de este dispositivo social, económico, político o, en definitiva, pedagógico. El foco de esta narrativa reside en las conversaciones con estos artistas, concebidas como espacios flexibles donde se producen las experiencias sobre las que se hilvana el devenir de la investigación. Para dialogar con estas conversaciones y convertirlas en relato, empleo una metodología híbrida que parte de la etnografía, avanza con la investigación narrativa y la Investigación Basada en las Artes, y se ensambla bajo los efectos de una perspectiva postcualitativa de la investigación. Algunos de estos efectos son la apertura a la generación de saberes corporeizados, rizomáticos, nómades, interdisciplinares e inconclusos. Y el rechazo de la universalización del conocimiento, la departamentalización del saber o las teorías estáticas, en este caso, alrededor de este dispositivo pedagógico. Con ello, este estudio trata de funcionar como un Proyecto Artístico en sí mismo, que no se limita al producto o los resultados de la investigación, sino que problematiza y muestra el proceso a través del cual se ha conformado.De qué hablamos cuando hablamos de Proyecto Artístico. Derivas desde los artistas, la institución y el arte contemporáneo is a partial and fragmented narrative about the idea of Artistic Project (AP). Based on six emerging artists’ voices, selected under the call for proposals of Sala d’Art Jove in 2014, I explore different meanings that shape the AP praxis. By doing so, I wonder how the AP works in the artists’ practice within an institutional context; which realities do the AP constructs; or how the artists are constructed in these realities. The inquiry is organised around five “drifts”. Each drift shows a position from which the AP complexity can be seen: as economic, social, political and, ultimately, pedagogical device. The whole story lies on my conversations with the artists, conceived as flexible spaces. In order to dialogue with the experiences arising from the conversations, I use a hybrid methodology. Starting with ethnography, I move on through narrative inquiry and Arts-Based Research (ABR). Finally, the story is assembled under the effects of post-qualitative research methods. Some of these effects take me into a rhizomatic, embodied, nomadic, interdisciplinary and open-ended knowledge. And move me away from universalised and compartmentalised knowledge, as well as static theories around the AP. In this way, this research attempts to work as an AP itself, not limiting the research to the resulting product, but problematizing and making visible the process through which the research has been constructed.
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Todd, Jessica Marie. "Little Boxes." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397821760.
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Knight, Christina Anne. "Performing Passage: Contemporary Artists Stage the Slave Trade." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11178.
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My dissertation examines the work of George C. Wolfe, August Wilson, Lorna Simpson and Glenn Ligon, theater and visual artists working in the 1980s and 1990s who feature representations of the Middle Passage in their work. Despite their different mediums--Wolfe and Wilson created plays for the proscenium stage and Simpson and Ligon crafted art installations--all four critiqued the racialized social retrenchment of their historical moment by linking it to the slave trade, and each did so through an engagement with black performance traditions.African and African American Studies
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Aly, Islam Mahmoud Mohamed. "Using Historical Bindings in Producing Contemporary Artists' Books." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4811.
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I regard the culturally rich bookbinding as formats that hold great meaning; I made models of books that existed in different cultures through the history of the book. I became interested in how each structure had unique features and how the books themselves transmitted knowledge about their form.
This interest in bookbinding formats led me to explore ways to add content to The binding plays a powerful role in producing my artist's books, the look and presence of these bindings is an integral part of my work and they are linked to the content and aesthetics. The final pieces encourage the viewer to interact with the work.
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Sánchez, Txuma. "Prácticas artísticas contemporáneas y edición de artista." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458029.
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La investigación que desarrolla esta tesis doctoral aborda el proceso de regeneración producido en la edición de artista en España –libro de artista y ediciones especiales de artista–, a partir del año dos mil. Así como la subsiguiente consolidación de este tipo de prácticas artísticas a lo largo de toda la primera década del siglo XXI, durante la llamada “Década de oro” de la edición de artista española.
En esta tesis realizamos una revisión crítica de los precedentes que impulsaron este proceso de regeneración –desde principios de los años setenta y hasta finales de los años noventa principalmente–, y nos sumergimos, asimismo, en los parámetros sobre los que se asienta su posterior afianzamiento y consolidación durante los años dos mil, en tanto que campo plenamente autónomo dentro de la creación artística contemporánea.
Es a partir de esta revisión y su análisis que rebatimos las lecturas tradicionales que han interpretado la edición de artista como un conjunto de prácticas subalternas, en relación a otras disciplinas artísticas. Lecturas que la han circunscrito y encasillado en taxonomías asociadas solo a sus procesos técnicos y disciplinarios, alejándolas, erróneamente creemos, de aquellos debates y transformaciones instituidos durante los últimos treinta años en la centralidad artística contemporánea.
A la hora de vertebrar los argumentos para rebatir estas lecturas simplificadas abordamos diferentes casos de estudio, ordenados cronológicamente desde principios de los años setenta y hasta llegar a finales de la década de los años dos mil. Algunos de estos casos pivotan sobre la transformación vivida durante este periodo por la propia edición como espacio de experimentación, cada vez más auto-consciente y enriquecido. Otros analizan los procesos graduales de relación que la edición sostuvo, e implementó progresivamente entretanto, con diferentes ámbitos: como el institucional, el político, el formativo, o el productivo. Por último el resto de casos en los que nos detenemos investigan, y ponen de manifiesto, la re-articulación y emergencia de los nuevos roles, que se desplegaron a partir del inicio del nuevo siglo, principalmente a partir del año dos mil, entre los propios agentes implicados y sus estrategias internas de relación.
Con ello ejemplificamos la predisposición y determinación con que estos casos influyeron en el florecimiento que se dio en nuestro país en la edición de artista durante la primera década de este siglo. Y desciframos las complejidades sobre las que se asienta este despertar: no solo atendiendo a los cambios sufridos en los modelos de creación, sino también fijándonos en las interrelaciones que desde instancias culturales y políticas se manifestaron como importantes en un conjunto más amplio de interacciones.
Algunas de las cuestiones en este sentido que acaban emergiendo durante nuestro trabajo atienden así a diferentes vectores. Por ejemplo señalamos la importancia que adquieren en este proceso de renovación los legados conceptuales y sus actualizaciones neo-conceptuales: ejemplificadas en el repunte en el uso del documento y el archivo en la edición, en el fortalecimiento de las prácticas procesuales y desmaterializadas, y en un nuevo acercamiento a la cultura del proyecto. También marcamos la influencia de los modelos de creación alternativos de los años ochenta: fraguados al margen de la comercialidad y basados en la constitución de redes de auto-producción y auto-distribución, que se revitalizaron notablemente y de maneras particularmente innovadoras en los dos mil con un reencuentro con el DIY y las estrategias de colectivización. Nos percatamos de las confluencias de la edición con el retorno a lo político, producido en el arte durante los años noventa, y representado, entre otras cuestiones, por el reencuentro con las responsabilidades del arte hacia la esfera pública y de la esfera de lo real; por el reconocimiento de la globalización y sus consecuencias sobre la reformulación crítica de las identidades en lo social, cultural o histórico; por la apertura de la subjetivización en el espacio institucional del arte; por la atención al nuevo papel de los media en esta confrontación; o por la exploración en la construcción de memorias críticas, más allá de los relatos institucionalizados sobre las sexualidades, la geografía política o la economía neoliberal.
La relación que establecemos entre los casos de estudio y la vertebración de la nueva edición de artista en España, que pretendemos clarificar, se afianza sobre una circulación simultánea y sincopada a través de diversos planos documentales y reflexivos. Uno de ellos es de la formulación de diferentes posibles genealogías como una intrahistoria de la propia edición, con saltos hacia atrás y hacia adelante no necesariamente estructurados en una única línea discursiva. Otro es el de los contextos geográficos. En este sentido, nos sumergimos especialmente en el contexto catalán, sobre el que creemos demostrar que se instituye el paradigma más visible de esta regeneración especial de la edición española, ya desde su primera incubación ahora hace cerca de cuarenta años. Contexto valedor, por ejemplo, de la influencia que adquiere el desarrollo del diseño gráfico español en la creación artística, en sus vertientes experimentales y formativas principalmente; valedor también de la transformación en los consumos culturales y en la creación que provocó la cultura de clubs de los años noventa, radicada principalmente en Barcelona y en su dimensión menos elitista y superficial; o asimismo certificador de la adaptación de la creación editorial artística a las nuevas tecnologías de la producción, la distribución, la transformación de las autorías o las trasferencias disciplinarias que acaecieron.
Esta tesis formula así un prototipo abierto para la lectura de la evolución y consolidación de la edición de artista española en la década de los años dos mil, asentado en sus referentes históricos directos, sus transiciones e implicaciones intra y extra-artísticas, así como en sus propias motivaciones, pruebas, espejismos y certezas.
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Friedman, Sara A. "The Legacy of Lynd Ward in Contemporary Artists' Books." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113266.
Full textAbstract:
Lynd Ward, an American Expressionist artist, and “father of the graphic novel,” helped shape the conventions of contemporary artists’ books. His legacy has influenced the direction beyond the graphic novel in areas such as the use of Expressionism and printmaking in the artists’ book, breaking graphic conventions, and using the artists’ book to convey a socio-political commentary. This paper will explain his influence and legacy by comparing his work to four contemporary artists’ books. Ward’s work, however, has only recently been recognized as a significant influence on graphic novels and has yet to be fully acknowledged as an influence on American artists’ books.