Relevant bibliographies by topics / Paolozzi

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Paolozzi'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Paolozzi"

1

Alloway, Lawrence. "Eduardo Paolozzi." October 136 (May 2011): 29–31. http://dx.doi.org/10.1162/octo_a_00035.

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Pearson, Fiona. "Eduardo Paolozzi 1924-2005." Sculpture Journal 14, no. 1 (January 1, 2005): 89–93. http://dx.doi.org/10.3828/sj.2005.14.1.9.

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Pearson, Fiona. "Eduardo Paolozzi 1924–2005." Sculpture Journal 14, no. 1 (December 2005): 89–93. http://dx.doi.org/10.3828/sj.14.1.8.

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Soares, Afonso Maria Ligorio. "DE BOTTON, Alain. Religião para ateus. Trad.: Vitor Paolozzi. Rio de Janeiro: Intrínseca, 2011." Revista de Estudos da Religião (REVER). ISSN 1677-1222 12, no. 1 (August 2, 2012): 271. http://dx.doi.org/10.21724/rever.v12i1.10495.

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Hare, David. "For Eduardo Paolozzi, art was everywhere." Sculpture Journal 14, no. 1 (January 1, 2005): 5–7. http://dx.doi.org/10.3828/sj.2005.14.1.2.

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Hare, David. "For Eduardo Paolozzi, art was everywhere." Sculpture Journal 14, no. 1 (December 2005): 5–7. http://dx.doi.org/10.3828/sj.14.1.1.

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Arribas, Àngels. "FLOOD RECOVERY PROJECT OF THE EDUARDO PAOLOZZI ARCHIVE." Studies in Conservation 47, supplement2 (September 2002): 2. http://dx.doi.org/10.1179/sic.2002.002.

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Arribas, Àngels. "FLOOD RECOVERY PROJECT OF THE EDUARDO PAOLOZZI ARCHIVE." Studies in Conservation 47, sup2 (September 2002): 2. http://dx.doi.org/10.1179/sic.2002.47.s2.002.

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Williamson, Beth. "Eduardo Paolozzi and the lost realms of child art." Sculpture Journal 28, no. 2 (January 2019): 229–46. http://dx.doi.org/10.3828/sj.2019.28.2.6.

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Aguirre Castro, Mercedes. "Tecnología convertida en mito: la obra artística de Eduardo Paolozzi." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 149–65. http://dx.doi.org/10.7195/ri14.v15i1.1038.

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Eduardo Paolozzi, un artista británico de origen italiano, inició su carrera artística dentro del llamado Pop Art británico con collages que partían de la cultura popular norteamericana y sus objetos de la vida cotidiana y de sus anuncios y revistas, utilizando monstruos y robots de la ciencia ficción al lado de personajes como Mickey Mouse e imágenes de radios y cohetes espaciales. Posteriormente desarrolló su carrera como escultor produciendo esculturas en bronce, a algunas de las cuales dio nombres de personajes de la mitología clásica (Jasón, Dédalo, Cíclope). Estas esculturas eran creadas a partir de un conglomerado de partes de máquinas y desechos que luego fundía en bronce. Las figuras resultantes reflejan el interés del artista por la idea de la fusión del hombre y la máquina, aunque al final no son ni hombres ni máquinas. Parte de los objetos que componen estas esculturas proceden de la tecnología de la época (ruedas, transistores, motores) de manera que estos productos tecnológicos se convierten en el material del artista: se trata de una técnica escultórica que se denomina “Brutalismo”.
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Dissertations / Theses on the topic "Paolozzi"

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Heath, Clare Charlotte Olivia. "Eduardo Paolozzi : from utopia to dystopia 1928-1958." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/15738.

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This thesis explores the early career of Eduardo Paolozzi (1924 – 2005), focusing in particular on his artworks of the 1940s and 1950s. Predominantly known for his post-World War Two activity as an eclectic artist, designer and pedagogue, Paolozzi emerged as an experimental alternative to the modernist formalism of Henry Moore’s generation and remains one of the acknowledged leaders of an artistic movement that helped invigorate the British art scene. The sheer volume and diversity of his creative output, however, its wide-ranging use of descriptive materials and profuse interests, has legitimised the now standard reception of his work as one of wilful, perhaps even whimsical, eclecticism. Thus, he has become simultaneously codified as British artist, child of Surrealism, and ‘father of Pop.’ The thesis presented here intends to offset the standard historiography of Paolozzi’s artistic development, employing instead an interpretation grounded in the artist’s Italian roots and which takes into consideration his exposure to wider avant-garde movements and trends. Such a re-evaluation enables sense to be made of the imagery and ideas present in his work, and gives shape to the superficial incoherence of the ‘fragmentary’ phases apparently marking his output. What emerges is an alternative trajectory, one that moves from the early collages, full of L'Esprit Nouveau and Futuristic enthusiasm for the New World, through his use of Greco-Roman art, mechanisation and Uomo Novo during the years of Fascism, to the more concerted reassessment of the modern post-War world that is embodied in his satirical brutalist sculptures and proto-Pop demythologies, these last works mapping an emergence out of totalitarianism and the rediscovery of ‘democratic and international values.’ In this new analysis, Paolozzi stands as one of the few international figures who consistently developed a mature and idiosyncratic rationale through which a new, non-Fascist modernism was reformulated.
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Huston, Carol. "Eduardo Paolozzi and J.G. Ballard : representing new British modernities, c. 1966-1980." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/eduardo-paolozzi-and-jg-ballard-representing-new-british-modernities-c-1966--1980(97dadfe7-8ca9-4c36-86ae-3fcbcad61a7b).html.

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The significance of the relationship between Scottish artist Sir Eduardo Paolozzi (1924-2005) and English novelist J.G. Ballard (1930-2009) has previously been overlooked in art historical and literary scholarship. This thesis fills this research gap through the analysis of how the pair’s works overlapped thematically to represent a particular strain of British modernity. By looking at shared cultural circumstances after World War II, parallels will be drawn between the work of Paolozzi and Ballard in the late years of British modernism. Drawing upon the topics of science fiction, Surrealism, the neo-avant-garde and militaristic and crash aesthetics, this thesis explores the various themes which Paolozzi and Ballard encountered during the period of their friendship. Overall, this comparative analysis reveals that despite dissimilar upbringings, Paolozzi and Ballard’s harrowing experiences of the Second World War culminated in a dual reaction against the stagnant flow of British modernism during the late postwar era. My thesis demonstrates this through their involvement with literary magazines as well as their mutually shared interests as expressed in their works of art and writings. By creating works which appropriated early twentieth century traditions, Paolozzi and Ballard rejected their immediate modernist inheritance and turned to the modernist past with renewed avant-garde intent. As exemplified in their works, the pair together represented the late postwar transition of British modernity during the dawn of what would come to be called ‘postmodernism’.
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Thomas, E. "Play as evolving process in the work of Eduardo Paolozzi, Philip Guston and Tony Oursler." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1393287/.

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This practice-related study uses a range of play theory to examine the creative processes behind the work of Eduardo Paolozzi, Philip Guston and Tony Oursler. All three artists express a need to create a semblance of life. Drawing on the work of D.W. Winnicott, Jean Piaget and Brian Sutton-Smith, the desire to animate matter is explored as the persistence of animistic play during adulthood. For Paolozzi, this desire is articulated as an attempt at “going beyond the Thing, and trying to make some kind of presence”;1 for Guston, it is expressed as a need to create “an organic thing that can lead its own life”2 and for Oursler, this manifests through a fascination with videoʼs ability to transform the “inanimate to animate”.3 By concentrating on the artistsʼ processes, the thesis explores the productive potential of moving away from a retrospective approach to childhood play. The particular form of play examined in this thesis is defined as a group of activities, objectives and perceptions that evolve. This enables the focus of the study to shift from the interpretation of a final image onto a potential toolkit of methods. The thesis uses this supposed ʻtoolkitʼ to activate the work in order to keep process alive in an object or image. The artistsʼ processes are seen to engage with the unforeseen and the unresolved. The repeated presence of stacking and piling in the work of Paolozzi and Guston is explored as a responsive process, whilst a notion of emergent narrative is proposed to place works by all three artists within change. Finally, the artistsʼ processes are discussed in relation to definitions of absurdity. In this context the artistsʼ uses of contradiction and incongruity are seen as means to suspend finality.
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Burr, Elizabeth Therese. "Assembling reminders for a particular purpose : an investigation into meaning in the work of Eduardo Paolozzi." Thesis, University of Cambridge, 1992. https://www.repository.cam.ac.uk/handle/1810/252246.

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Kotiranta, Mikko [Verfasser], Viktor [Akademischer Betreuer] Krozer, and Claudio [Akademischer Betreuer] Paoloni. "Development of terahertz vacuum electronics for array receivers / Mikko Kotiranta. Gutachter: Viktor Krozer ; Claudio Paoloni." Frankfurt am Main : Univ.-Bibliothek Frankfurt am Main, 2013. http://d-nb.info/1044413441/34.

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Maharaj, Sarat Chandra. "The dialectic of modernism and mass culture : a historical and stylistic study of pop art in Britain with particular reference to Richard Hamilton's and Eduardo Paolozzi's work (1940-85)." Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.641051.

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Ma, Chien-ti, and 馬千棣. "Eduardo Paolozzi's Bunk Series." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/86984994566240057803.

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碩士
國立中央大學
藝術學研究所
102
A significant member of Independent Group, Scottish artist Eduardo Paolozzi (1925-2005) greatly influenced the development of Pop Art. Having kept a scrapbook of images since 1947, he reproduced the pages for viewing during a lecture to the Independent Group in 1952. He presented slides of collages made from images of popular culture such as scrapbook images, fragments from comic books, postcards, magazines and advertisements. The presentation of these collage images sparked a controversial debate among the Group's members; these images are now considered amongst the earliest forerunners of Pop Art. The artist reproduced these early images as print series using screen printing, lithography, photolithography and collage techniques in 1972, named Bunk. This dissertation starts from the points of view on art of Paolozzi and his Independent Group fellows, discussing the background of British Pop Art, also makes further analysis on artworld which Arthur Danto have put forward, including atmospheres of artistic theory, knowledge of the history of art through the developing context of Bunk from 1950s to 1970s. In addition, this dissertation focuses on Paolozzi’s creative ideas through several avant-garde and popular culture discourses as well as originality/reproducibility issues on Bunk. The history of the artistic enfranchisement of Bunk is just like a text extended in time and space, a milestone that pop artists have been endeavored to. Bunk is, so to speak, not only life but also art for Paolozzi.
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Books on the topic "Paolozzi"

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Scotland, National Galleries of, ed. Paolozzi. Edinburgh: National Galleries of Scotland, 1999.

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Jones, Ann. Edwardo Paolozzi. London: Hayward Gallery, 2004.

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Cork, Richard. Eduardo Paolozzi Underground. London: Royal Academy of Arts, 1986.

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Paolozzi, Eduardo. Eduardo Paolozzi underground. London: Royal Academy of Arts in assoc. with Weidenfeld & Nicolson, 1986.

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Eduardo Paolozzi: Köpfe. Marl: Fels-Verlag, 1986.

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Mantoan, Diego, and Luigi Perissinotto, eds. Paolozzi and Wittgenstein. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0.

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Spencer, Robin. Eduardo Paolozzi--recurring themes. London: Trefoil Books, 1985.

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Spencer, Robin. Eduardo Paolozzi--recurring themes. New York: Rizzoli, 1985.

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Robin, Spencer, ed. Eduardo Paolozzi: Writings and interviews. Oxford: Oxford University Press, 2000.

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Gallery, Angela Flowers, ed. Eduardo Paolozzi: Projects 1975-2000. London: Flowers East, 2005.

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Book chapters on the topic "Paolozzi"

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Mantoan, Diego, and Luigi Perissinotto. "An Introduction to the Artist Who “Needed” Wittgenstein." In Paolozzi and Wittgenstein, 1–11. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_1.

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Lüthy, Michael. "Experience and Interpretation: An Art Theoretical Commentary on Wittgenstein’s Conception of “Aspect”." In Paolozzi and Wittgenstein, 145–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_10.

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Dreon, Roberta. "On a Certain Vagueness in the Definition of Art: Margolis’ Aesthetics and Wittgenstein’s Legacy." In Paolozzi and Wittgenstein, 167–83. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_11.

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Dal Sasso, Davide. "The Sides of Limit and the Possibilities for Artistic Creation: On the Influence of Wittgenstein’s Philosophy on Contemporary Art." In Paolozzi and Wittgenstein, 185–95. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_12.

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Guzzetti, Francesco. "Wittgenstein in New York (and Elsewhere) in the 1960s: From Eduardo Paolozzi to Mel Bochner." In Paolozzi and Wittgenstein, 197–207. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_13.

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Borutti, Silvana. "Aesthetic Family Resemblances Between Wittgenstein and Paolozzi." In Paolozzi and Wittgenstein, 15–29. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_2.

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Huemer, Wolfgang. "The Philosopher as Artist: Ludwig Wittgenstein Seen Through Eduardo Paolozzi." In Paolozzi and Wittgenstein, 31–43. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_3.

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Del Puppo, Alessandro. "Paolozzi and the Diverse Manners of Ornamenting Wittgenstein in the Arts." In Paolozzi and Wittgenstein, 45–53. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_4.

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Wienigk, Maren. "Assembled Pieces: Collage Techniques in the Work of Eduardo Paolozzi and Ludwig Wittgenstein." In Paolozzi and Wittgenstein, 55–67. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_5.

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Perissinotto, Luigi. "Paolozzi Reads Wittgenstein: Moments in a Research Process." In Paolozzi and Wittgenstein, 71–93. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15846-0_6.

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