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1
Morrison, John J. "Pop surrealism." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265089.
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The objective of this creative project was to see if Pop Surrealism appeals to a larger cross-section of culture and could be integrated into the fine arts. This study involved creating a series of drawings utilizing a wide range of optical and thematic devices to expand my visual vocabulary. The evidence suggests that the visual knowledge of our culture has expanded through mass media. In the 1800's, Stendhal Syndrome affected a cross-section of America. The illness was incurred by overexposure of visual stimuli resulting with the victim vomiting and passing out. The people's adaptation has lessened the syndrome to almost nonexistence. Pop Surrealism is the amalgamation of Pop Art, Surrealism, and cartoons. The drawings were an exploration of visual and technical applications. The study also included a search for the history and acceptance of techniques and media.Department of Art
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Stone-Richards, M. "The conception of embodiment in French Surrealist art : with reference also to Czech Surrealism 1919-1939." Thesis, Courtauld Institute of Art (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361395.
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Puentes, Kalid. "Introducing neo-surrealism : the social science of performance art." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/17144.
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This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the contextualisation of Performance art are explored: how it pertains to the theatrical framework, audience, art, social order, and the sublime. To this end, the influence of the socio-political construct of reality on the theatrical framework of a performance is examined. The premise is that a socio-political context both precedes and follows a performance and likely affects 5 how a performance is experienced. This investigation relies upon the methodological approach of Grounded Theory that allows the freedom of exploring this phenomenon in conjunction to the development of a communicative model. To delimit the scope of this study, I primarily focus on the symbolic, insofar as it affects the context of a performance. The analysis of this study supports the development of a theorisation that introduces an approach to the theatrical framework, defined as Neo-Surrealism. Drawing upon Immanuel Kant's philosophical work on judgement, a precept is introduced for a theatrical framework: Neo- Surrealism is a platform that constitutes the demarcation of sacred space, where the signification of the aesthetic has symbolic authority over the signification of the socio-political construct. In the present study, the term transgression as situated in a metaphysical context of sacred space, changes its symbolic signification from a complicit act against the socio-political construct to a complicit act against the limitations of perception, positioning this semiotic sign to constitute an aesthetic infinitude. This theorisation serves to support a philosophical dialectic that incorporates performative methods from Ritual Studies. This aspect of the dissertation acts as a counterpart to the documented artwork aimed at reinforcing the specific purposes as outlined through the research. The practical portion of this study consists of three performances that rely upon the platform of Neo-Surrealism. Each performance strategically responds to the influence of the socio-political construct in separate ways. Neo-Surrealism: What is Performance art? (2015) contains a fictitious narrative that is integrated in an academic context. I portray several different archetypes; this theoretically makes my identity impalpable to an audience comprised mostly of students that are unfamiliar with my work. Neo-Surrealism: The Audition (2016) is centred on the site specificity of the performance, challenging the application of the communicative model in an unfamiliar socio-political context, Anchorage, Alaska. Neo-Surrealism: The Rehearsal (2017) is aimed at asserting the relevance of the platform of Neo-Surrealism by expanding the symbolic boundaries of Performance Art.
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Wolfe-Alegria, Eduardo. "Meta/Physicals: Surrealism, spirituality and figuration in contemporary art." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13634.
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In the following thesis entitled Meta/Physicals: Surrealism, spirituality and figuration in contemporary art, I focus on an interpretation of spirituality ultimately separate to religion, that encompasses notions of a vital force underpinning existence, which acknowledges the innate connectedness of all “things,” and which is open to notions of the paranormal, aiming to discuss this interpretation of spirituality, in relation to contemporary art and in particular to figurative contemporary art. In the first chapter, I address a number of ways in which contemporary art and art discourses relate to the spiritual with emphasis on those of the sublime and Jane Bennett’s New Materialism. In chapter two, I discuss a spiritual interpretation of both Surrealism and Critical Surrealism identifying them as appropriate discourses through which to address contemporary figurative-spiritual artworks when discussed in conjunction with New Materialism and the sublime. In chapter three, I explore the work of a number of contemporary artists whose work can be discussed through this interpretive “triangle”, and in chapter four, I discuss my own work and practice through this framework, relating it to the artists discussed in the previous chapter, asserting that through my practice and research I have identified appropriate discourses through which to discuss spirituality and figurative contemporary art together. The creative work generated in relation to this research is a large scale watercolour and ink painted quadriptych, approximately 430 cm by 240 cm, to be exhibited in the Sydney College of the Arts Post-Graduate Exhibition in December 2014. The painting will be floated off the free-standing wall in section D3 of the SCA galleries. The painting depicts an underwater environment, part ocean part cosmos, in which animals, humans, plants, bones and shells, coalesce and disperse in a kind of murky underwater mélange. In this work, the ocean serves as a metaphorical underpinning with its manifold connotations of creation, destruction and rebirth, setting the stage for a contemporary myth, which at its core celebrates our inert connectedness, cycles of life and death, and the overwhelmingly abundant vitality that flows through us all.
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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.
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Eddy, Rebecca L. "A quest for art." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=1185.
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Thesis (M.F.A.)--West Virginia University, 1999.Title from document title page. Document formatted into pages; contains iii, 22 p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
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Coombs, Neil. "The communicating village : Humphrey Jennings and surrealism." Thesis, Liverpool John Moores University, 2014. http://researchonline.ljmu.ac.uk/4326/.
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This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943). These explorations allow an examination of the way that Jennings’s films articulate the relationship between surrealism and the everyday, the sublime and the uncanny. The thesis asserts that there is a specifically British form of surrealism that has developed from the historical situation of Britain in the period from 1936 to 1946, one that draws from the national identity of Britain. The symbolic domain of British surrealism and its praxis can read in the films of Jennings and the auratic traces of Jennings’s films thread through the work of subsequent filmmakers. This thesis describes these traces as the communicating village. The thesis’s consideration of Jennings’s films in relation to surrealism offers a means by which to examine the work of subsequent filmmakers and to assess the importance of surrealism to British cinema.
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Virava, Thiago Gil de Oliveira. "Uma brecha para o surrealismo : percepções do movimento surrealista no Brasil entre as décadas de 1920 e 1940." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-14112012-223853/.
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O objetivo deste trabalho é avaliar os diversos modos pelos quais o movimento surrealista foi percebido por artistas e escritores modernistas, entre as décadas de 1920 e 1940. Parte-se inicialmente da apresentação e discussão de documentos e bibliografia a respeito do discurso surrealista sobre arte e sua importância no contexto do movimento. Em seguida, com base em uma seleção de obras de artistas nacionais (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima e Flávio de Carvalho), assim como de um conjunto de documentos (artigos, cartas, manifestos) produzidos no Brasil no período abordado, são analisadas as aproximações e distanciamentos entre os movimentos brasileiro e francês. Procurando evitar tanto um cotejamento mecânico, quanto a rotulação das obras analisadas como \"surrealistas\", empreende-se essa análise sem deixar de se discutir a inserção de cada artista no contexto dos debates artísticos e intelectuais nacionais do período. A partir dessa perspectiva metodológica, é possível observar como o eventual interesse de cada um pelo surrealismo surge mediado por outros, ligados àqueles debates. Desse modo, busca-se salientar a singularidade desse interesse e da forma objetiva que assumiu na produção de cada artista.This work intends to survey the different ways by which the surrealist movement was perceived by Brazilian modernist artists and writers, between the 1920s and 1940s. It starts with a presentation and discussion of documents and bibliography about the surrealist discourse on art and its relevance in the context of the movement. Afterwards, based on a selection of works by five Brazilian artists (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima and Flávio de Carvalho) together with a set of documents (articles, letters, manifestoes) produced in Brazil during the period studied, it analyses the approaches and detachments between the Brazilian and French movements. In order to avoid either a simplistic confrontation or labeling the works discussed \"surrealists\", the analysis is made without putting aside a discussion about the insertion of each artist in the context of artistic and intellectual local debates in the period. From this methodological perspective, it is possible to observe how the potential interest in the surrealism expressed by each artist appears mediated by other interests, affined to those debates. Thereby it underlines the singularity of that interest and the objective form it has assumed in the production of each artist
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Laterza, Lucia. "The Presence of Words in Visual Art from Surrealism to Conceptualism." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7377/.
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Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself.
About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements.
Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.
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Scowcroft, Ronald. "Hidden codes and honest fictions : art, image and perspectivism in the works of J.G. Ballard." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337358.
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Turner, M. K., of Western Sydney Nepean University, and School of Contemporary Arts. "Representation and womens art." THESIS_XXX_CAR_Turner_M.xml, 1998. http://handle.uws.edu.au:8081/1959.7/732.
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The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual lifeMaster of Arts (Hons)
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Phillips, Alice Miller. "The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/4720.
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Rebellion against traditional aesthetics to express personal symbols and dreamlike visions connects the nineteenth-century Symbolists with the twentieth-century Surrealists. Yet the techniques of automatic writing and drawing to pursue self-discovery and the unconscious mind's inherent creativity remain primarily associated with Surrealism, and the extent to which this later movement's irrational content was inspired by Symbolist predecessors such as Gustave Moreau and Paul Gauguin remains uncertain. This dissertation explores the nineteenth-century psychological theories and occult beliefs behind automatism and the unconscious from the late Romantic to the Surrealist movements.
The first chapter addresses how Romantic revolutions in art and psychology respond to theories such as mesmerism, spiritism, and the "discovery" of the unconscious, and the later impact of these developments on Symbolism. The second chapter analyzes Victor Hugo's séances and "spirit" drawings in the 1850s as early examples of automatism that influenced Symbolism and Surrealism. The following chapter expands this research to include the impact of psychology and spiritism on the Symbolist movement's esoteric subjects and increasingly abstract style. Sickened by their materialistic society and with Naturalism's attention to the physical world, the Symbolists may have attempted to release conscious control over their designs to pursue a higher reality and express the inner states and emotions that emerge during dreams and hypnosis.
Although current art historical scholarship acknowledges basic connections between the Symbolists' visionary compositions and Surrealist concepts of the unconscious, the psychological and supernatural aspects of how Symbolist art transitions from dreamlike yet representative imagery towards pure abstraction and automatism merit further investigation, which I address in the final chapter. This research offers new perspectives on how the psychology of dreams and the unconscious evolved from an interest of Romantic and Symbolist artists to the ultimate revelation of individual creativity and expression in Surrealist automatism.
The primary visual sources include nineteenth-century and early twentieth-century paintings; artistic, "spirit," and some scientific photographs, and artist's prints, collages, and drawings. Both consciously-created and allegedly automatic artistic productions, such as Gustave Moreau's abstract oil paintings and watercolors, reveal the development of surreal and automatic techniques and allow insight into the artists' intentions. This study divulges previously overlooked influences of painters, printmakers, photographers, critics, writers, and poets on their own era's cultural and intellectual milieu and on the aesthetic movements that followed. The conclusion offers suggestions for further research beyond the project's current scope, such as analyzing how automatism and mythology in early modern art culminated in the calligraphic, shamanistic imagery of Abstract Expressionism.
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Turner, M. K. "Representation and womens art." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/732.
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The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life
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Marner, Anders. "Burkkänslan : surrealism i Christer Strömholms fotografi : en undersökning med semiotisk metod." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-236.
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This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization. In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.
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Weston, Dagmar Motycka. "The problem of space in early twentieth-century art and architecture." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360764.
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Turner, M. K. "Representation and womens art." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.113709/index.html.
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Asplund, Emily Patricia. "Les pas perdus : images of feet and shoes in surrealist art /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2335.pdf.
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Endt, Marion. "Reopening the cabinet of curiosities : nature and the marvellous in surrealism and contemporary art." Thesis, University of Manchester, 2008. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:82837.
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This thesis argues that the concepts of curiosity and the marvellous resurface at different moments in cultural history, most notably in periods of transition and epistemological uncertainty. The sixteenth- and seventeenth-century ‘culture of curiosity,’ which is characterised by the amateur collector’s engagement with rare and boundary-crossing objects in the process of assembling a cabinet of curiosities, presents a rich contextual foil against which to place the practice of the Surrealists and of some contemporary artists and curators; it has profound resonances for the relationship between modernism and postmodernism, and between art and science. Within modernism, the Surrealists initiated a large-scale, fundamental probing of the principles underlying rationalist thought, and of the categories and hierarchies of academic art and bourgeois taste, which had dominated Western culture since the Enlightenment; and within postmodernism, artists and curators who revert to practices of collecting and appropriate protocols of the natural sciences question institutional frameworks of knowledge production, identity formation and meaning making through material artefacts. In both instances, curiosity and the marvellous – and the related themes of classification and dilettantism – have emerged as especially effective and resonant means of reading dominant culture against the grain. More specifically, this thesis contends that the Surrealist marvellous is rooted in the early modern discourse of the marvellous and monstrous which was characterised by ‘paradoxes of classification.’ This is particularly evident in the Surrealists’ engagement with objects testifying to the natural marvellous and the natural fantastic: stones, coral and insects, among other things and creatures, carry distinctly subversive implications of obscuration, entanglement and excess, metamorphosis and mimicry, and deviation and transgression, straddling the boundaries between art and nature, and art and representation. Furthermore, contemporary artistic and curatorial practice drawing on the ‘age of the marvellous’ – which, in this perspective, extends to Surrealism, with the potential to recur at any time thereafter – is primarily concerned with overcoming ‘white cube’ and Beaux-Arts-Museum historicity, aesthetics and display rationales by reintroducing subjectivity, doubt and digression into the context of the museum and the sciences. In this regard, scepticism towards intellectual certainties and accomplished systems of classification leads to an informed recourse to moments in history when the meanings of objects were being constantly negotiated rather than set in stone.
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Goldbeck, Justina. "Beauty is in the eye of she who holds it." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1173.
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Justina Goldbeck
Artist Statement
My work explores themes of supernatural alternate universes and humans interaction with nature. Using the medium of photography I strive to create impossible realities, juxtaposing the real and the imagined. My work portrays mystical women interacting with surreal environments and seeks to portray the simple act of existing nature as a magical and spiritual experience.
As a female artist my work has often been criticized for being too beautiful and for this reason, void of substance. I believe that beauty has inherent value and goodness. My photos celebrate the beauty of female strength and the unmarred landscape. The mirror to me represents negative stereotypes of superficiality attributed to women female created art. Male painters and photographers thought history have become famous for portraying the passive female form. However, selfies or other images taken of women and by women are considered exercises in vanity. This series seeks to challenge that narrative.
The mirrors in my images add depth to the piece, showing a perspective one would not see otherwise. In most images the mirrors obscure the subject and reflect the environment she is in, uniting women with nature, and revealing something deeper within the subject. Photographs are taken far away from civilization and are not preplanned and are constructed without the use of elaborate technology. My practice is rooted in exploring, discovering new landscapes and new ways to photograph them. My work is notably not manipulated in photoshop. All of the seemingly impossible elements of the pieces are created in camera using mirrors and strategically placed colored camping lights. This lack of manipulation is intended to challenge the idea that images reflect unadulterated reality. It is also to contradict the idea that anything impossible must be photoshopped.
My work is influenced by magical realism as well as surrealist photography. As a female photographer working with female subjects it is important to me to escape the traditional relationship between active artist and passive subject. Each photo I take is a collaboration with my female subject as well as a collaboration with nature. Through my photos I seek to emphasize a non objectified female form as she interacts with nature and portray my subject as a magnetic and powerful force uniting in spirit with her natural environment.
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Asplan, Michael Jay. "PAINTING THE DRAMA OF HIS COUNTRY: RACIAL ISSUES IN THE WORK OF WIFREDO LAM IN CUBA, 1941-1952." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973709584.
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Vernon, Kay. "Searching for the surreal in Australian modernism." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/28545.
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[Surrealism] changed the face of art. Everything has changed. (James Gleeson)
A pervasive modern sensibility
This study adopts several approaches to surrealist practices in Australia. The
first is an historiographical one, in which I map surrealism's (re)presentafion
in Australian art historical texts. Second, I identify the emergence of
surrealism in modernist discourses in Australia, including mass media and
popular culture. I then contextualise surrealism in an epistemology of
privileged subjectivity in Australia, in which an understanding of Freud,
Jung, theosophy and Bergson are seen to inflect the apprehension of
surrealism. As psychoanalysis in particular is so crucial to an understanding
of surrealism, I have attempted to identify those ideas of Freud active in its
construction. In addition, I have included reference to Jacques Lacan, whose
ideas were constituted in the psychoanalysis of Freud and initiated in the
surrealist milieu. I have also drawn on the discourses of rhetoric to unpack
the surreal in Australian landscape practices in the 19405. And as surrealism
developed in Melbourne, particularly, against a background of various
claims on the left, I have situated it also in marxist discourses.
Over the past two decades in art historical texts, surrealism has been
recuperated as crucial to the construction of a legitimate Australian
modernism. These arguments have been rehearsed thoroughly in the review
of the literature in Chapter I. The explanation for this resurgence can be
attributed partly to the emergence in art history, as in other academic
disciplines, of theoretical concerns active also in surrealism, particularly
psychoanalysis and marxism. But there are still gaps in this recuperative
project which this study will attempt to address. First, with few exceptions
in the texts I draw on in the review of the literature in Chapter 1, surrealism
is represented as having emerged in Australian visual art practices at the end
of the 19305 and continuing into 1940s. But as this study will show
surrealism, like the latent signifier in the 'return of the repressed', insisted in
signifying practices in Australia during the 19303, particularly through mass
media and popular discourses. Surrealism as a contemporary European style
or tendency became available initially through imported reproductions and
in publications, such as Minotaure and Herbert Read's Art Now and in local
magazines such as Stream and Manuscripts. As the decade progressed
surrealist imagery was appropriated increasingly as the latest modern style
for photographs and advertisements in such popular Australian magazines
as The Home and Man and also Art in Australia.
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Pahl, Brenton. "From Ancient Greece to Surrealism: The Changing Faces of the Minotaur." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511613466777073.
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Hamilton, P. T. "The role of Futurism, Dada and Surrealism in the construction of British Modernism 1910-1940." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.232965.
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Montanaro, Lee Ann. "Surrealism and psychoanalysis in the work of Grace Pailthorpe and Reuben Mednikoff, 1935-1940." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5633.
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The story of the collaboration between the psychoanalyst Dr Grace Pailthorpe and the artist Reuben Mednikoff is indeed an extraordinary one. The aim of this thesis is to throw light upon their joint research project between 1935, when they first met, and 1940, when they were expelled from the British Surrealist group with which they had been closely involved since its official launch in 1936. The project that Pailthorpe and Mednikoff plunged into just days after they first met in February 1935 focused on how art could be used as a way of curing mental problems. Paintings and drawings produced ‘automatically’ were used as a means to bring memories to a conscious level. Many personal tensions, obsessions and fears that had lain dormant and repressed were released and detailed commentaries and explanations followed every work they produced in order for the exercise to be fully therapeutic. The aim was to externalise the unconscious and reintegrate it with the conscious. Despite the fact that Pailthorpe’s work was hailed as ‘the best and most truly Surrealist’ by the leader of the Surrealist movement, André Breton, at the 1936 International Surrealist exhibition in London, which brought the movement to Britain, the couple were expelled from the British Surrealist group just four years later and moved to America into relative obscurity. After their deaths, Pailthorpe and Mednikoff’s drawings and paintings were dispersed and their commentaries never read. My thesis provides biographies of Pailthorpe and Mednikoff before they met. It analyses the work they made together, discussing the impact on their thinking not only of Surrealism but also of psychoanalytic theory, notably the work of Melanie Klein. Apart from this, the thesis also reintegrates the couple into the history of Surrealism in England.
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Bogoni, Roberta. "Joan Miró 1922-1942. Interpretación del simbolismo místico de la obra mironiana surrealista." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398392.
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La presente tesis expone los resultados de investigación sobre el contenido y simbolismo místicos de la obra mironiana a partir de la detección y la interpretación de los símbolos y códigos de símbolos de rasgo metafísico, religioso, espiritual y mítico del periodo comprendido entre 1922 y 1942. Este periodo cronológico, que toma como punto de partida las interpretaciones del primer cuadro con contenido místico, La masía, involucra las fases de constitución, desarrollo y consolidación de los símbolos y los códigos de símbolos seleccionados, cerrando un ciclo evolutivo cuyo patrones establecidos se instauran definitivamente en la obra mironiana en las décadas posteriores con reiteraciones simbólicas que no manifiestan ulteriores evoluciones desde el punto de vista iconográfico y semiótico.
El origen de la tesis se encuentra en la relevancia de algunos resultados de investigación previos, propuestos en la tesis de licenciatura Los dibujos surrealistas de Joan Miró de los años veinte, y en la tesis de Máster La interpretación del simbolismo místico de la obra surrealista de Joan Miró derivados de la oportunidad de efectuar una prolongada investigación en el archivo de la Fundación Joan Miró de Barcelona. Los primeros enfoques en la contextualización y la relación entre las obras mironianas y sus símbolos, han puesto en relieve la naturaleza mística y espiritual de los contenidos y elementos analizados brindando la posibilidad de un análisis interpretativo de la obra de Miró en varios niveles y abriendo camino hacia la indagación del tema místico, en el que hasta ahora se había parcialmente ahondado gracias a las intuiciones de los especialistas a los que se hace referencia en el trabajo.
La primera parte de la tesis presenta la reinterpretación del lienzo Paisaje catalán, en el cual, tras la aplicación de un método nombrado de “dislocación de elementos”, se ha detectado un sistema de signos que revela el rasgo espiritual del cuadro y fundamenta nuevas relaciones con los lienzos a este directamente vinculados: La masía y Tierra labrada.
El simbolismo místico mironiano expresa conceptos abstractos elaborados plásticamente por Miró, como la condición de libertad del ser, los vínculos entre la realidad tangible e intangible, los movimientos de transición entre estas dos realidades y elevación espiritual experimentados por los seres de la obra y perseguidos por el mismo artista. La interpretación de determinados símbolos, códigos y contenidos místicos y el estudio de sus evoluciones semánticas y formales, determinadas por los procesos de síntesis, asociación, fusión, integración y mutación aplicados por el pintor, están en todo momento respaldados por los hallazgos derivados de la investigación de archivo, los datos de las fuentes secundarias, las declaraciones del artista y sus fuentes de inspiración místico-religiosas, tanto intelectuales como iconográficas y literarias.
Vista su relevancia y la cantidad de resultados de investigación inéditos, a las fuentes de inspiración del artista de ámbito literario se ha dedicado el último capítulo. En él se certifica como la vertiente mística indagada no solo concierne al simbolismo y a la obra de Miró sino a la intencionalidad expresiva y al proceso artístico del pintor catalán, comparados, hasta por sus propios contemporáneos, a los de un asceta y un místico.The present dissertation expounds the research results on the mystic contents and symbolism in Miró's work, based on the detection and interpretation of the symbols and symbol codes of metaphysical, religious, spiritual and mythical traits in the period between 1922 and 1942. This chronological period, which takes as a starting-point the interpretations of the first painting with mystic content, La Masía, involves the phases of constitution, development and consolidation of the selected symbols and symbol codes, completing an evolutionary cycle, whose established models are definitely installed in Miró's work of the later decades, reiterating symbols that do not manifest any further evolution from the iconographic or semiotic point of view.This dissertation started from the relevance of certain results in previous investigation, that were exposed in the licenciate thesis entitled: I disegni surrealisti di Joan Miró degli anni venti (Miro’s Surrealistic Drawings of the 1920s), and in the Master thesis La interpretación del simbolismo místico de la obra surrealista de Joan Miró (The Interpretation of Mystic Symbolism in Joan Miro’s Surrealistic Work). Both are the result of the opportunity to carry out an exhaustive investigation in the archives of the Fundación Joan Miró in Barcelona. Initial focusing on the contextualization and the relation between Miró's work and its symbols have clearly highlighted the mystical and spiritual nature of the contents and elements analyzed, thus offering the possibility of an interpretation of Miró's work on various levels, and thereby leading to research into the topic of mysticism, which up to now has partly been dealt with thanks to the insights of specialists which are referred in this dissertation.The first part of this thesis exposes a reinterpretation of Paisaje catalán canvas, in which, after the application of a method named “dislocation of the elements”, a system of signs that has been detected and that reveals the spiritual features of the painting and substantiates new connections with paintings that are directly linked to it: La masía and Tierra labrada.Miró's mystical symbolism expresses abstract concepts that he elaborated plastically, such as the condition of freedom of any being, the links between the tangible and intangible reality, the movements of transition between these two realities and the spiritual elevation experienced by the beings portrayed in the work and pursued by the author himself. The interpretation of determined mystical symbols, codes and contents and the study of their semantic and formal evolution, determined by the processes of synthesis, association, fusion, integration and mutation applied by the painter, are at any moment backed by findings derived from the archival research, secondary sources data, the artist's statements and his sources of mystical-religious inspiration, intellectual and iconographic as well as literary.Considering the relevance and the amount of unpublished research results, the final chapter has been dedicated to the sources of the artist's inspiration in the context of literature. In this chapter is testified how the mystical aspect not only concerns symbolism and Miró's work, but also the Catalan painter's purposes of expression and his artistic process, which have been compared, even by his contemporaries, to those of an ascetic and mystical character.
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Pucci, Alicia Meredith. "Consuming Surrealism in Modern Mexican Advertising: Remedios Varo's Pharmaceutical Illustrations for Casa Bayer, S.A." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/516897.
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Art HistoryM.A.
My thesis investigates an interdisciplinary narrative of the transatlantic migration of Surrealism to Mexico during the 1940s. I focus on the ways exiled European Surrealists approached notions of Mexican material culture in a hybrid society where local traditions coexisted with a global modernity. Looking to popular and print culture outlets, I concentrate on how Mexican material culture was perceived, promoted, and marketed through a Surrealist lens. Specifically, I consider the collaboration of the German pharmaceutical company Casa Bayer, S.A. and exiled Spanish-born Surrealist Remedios Varo, who produced a series of medical advertisements during her first decade in Mexico City from 1943 to 1949. Through an examination of Varo’s work, my thesis explores the changing boundaries of fine and commercial art that resulted from the efforts of artists who participated in modern mass culture and consumerism. I investigate the significance of her Surrealist advertisements for Casa Bayer as a material culture bound on one side with fine art and the other side with the development of Mexican advertising. This case study supports my argument that Surrealism, as a transnational aesthetic, was one alternative way of demonstrating the new cultural meanings of advertising in an ambiguous, modern Mexican society. Examining Varo’s illustrations in light of the movement of western Europeans to Mexico and the country’s commitment to modern progress explains why the artist negotiated her past avant-garde sensibilities with her Mexican present.
Temple University--Theses
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Shek-Noble, Elizabeth Ann. "‘Any kind of outcast whatsoever’: the art and politics of David Wojnarowicz." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13023.
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This doctoral thesis examines the sexual, gender, and bodily politics of the multimedia artist, David Wojnarowicz (14 September 1954 – 22 July 1992). Wojnarowicz coined the term ‘ONE-TRIBE NATION’ to describe the illusion of a heteronormative and monocultural America that demanded compliance of its citizens through the violent suppression of non-normative ontologies. Wojnarowicz’s art and literature sought to destroy the symbolic and literal stranglehold of the ONE-TRIBE NATION over the potentialities of the American population by bringing into public visibility the myriad sexualities, genders, and corporealities that were perceived as compromising the stability of the body politic. By repeatedly pressing at the boundaries of what was visually and imaginatively permitted by the ONE-TRIBE NATION and challenging the highly circumscribed depiction of the ideal American citizen as heterosexual, male, white, able-bodied, and upper-middle class, Wojnarowicz aimed to improve the circumstances of the most dispossessed and marginal individuals of his society. For Wojnarowicz, the apparatus of the ONE-TRIBE NATION reached its apotheosis with the intersection of Reaganite politics, right-wing religious rhetoric, and biomedical orthodoxy during the first decade of the AIDS crisis, granting that his dedication to issues concerning social justice and reform extended beyond his immediate biographical context. Wojnarowicz’s value as an artist is and must be associated with his political identity as a person with AIDS (PWA). However, the importance of Wojnarowicz’s oeuvre extends beyond its singular categorisation as a form of AIDS activism by resituating his politics and motifs as amenable to a variety of contexts. Consequently, this thesis also emphasises the politics of expression at work in Wojnarowicz’s oeuvre, arguing that his literary and artistic strategies generate multiple networks of association and intersection among discrete aesthetic and historical moments in the nineteenth and twentieth centuries. Chapter one revisits the posthumous removal of Wojnarowicz’s A Fire in My Belly, a Work in Progress, from the National Portrait Gallery exhibition, Hide/Seek: Difference and Desire in American Portraiture. The chapter clarifies misperceptions about the offending crucifix sequence, arguing that the text, existing as it does in various extant versions, defies any attempt to singularise its meaning. I therefore undertake a filmographic analysis of these versions to consider their aesthetic resemblances to the Surrealist procedures of Luis Buñuel and Salvador Dalí. Identifying significant differences between the versions in their imagery, structure, and duration, confirms the semantic complexity of A Fire in My Belly. This filmographic analysis also elucidates some of Wojnarowicz’s preeminent thematic concerns, such as spirituality, death, and sexuality. Chapter two examines how Wojnarowicz responded to the intersection of biomedical knowledge, symbolic representation, and public policy in 1980s America, which created a pernicious social environment where (gay) PWAs were vilified for engaging in practices deemed dangerous in compromising the illusion of a monolithic ONE-TRIBE NATION. Close to the Knives: A Memoir of Disintegration and Memories That Smell Like Gasoline represent through Wojnarowicz’s narratives of individual and communal loss the interpersonal and ideological struggles arising from the pathologisation of PWAs and HIV/AIDS. This chapter argues that Wojnarowicz’s texts were always and already engaged in a discourse of (auto)thanatography, since gay PWAs in particular were perceived as a dispensable group by religious and governmental structures operating under the ideologies of the ONE-TRIBE NATION at the onset of the AIDS crisis. The central argument of chapter three is that Wojnarowicz’s narratives about the open road and the automobile are key instruments in his dismantling of the ONE-TRIBE NATION by unveiling the ‘millions of tribes’ that populate America. At the same time, such narratives in The Waterfront Journals form part of an extensive tradition within American literature avowing the transformative and epiphanic possibilities of travel and migration. Of particular interest is how Wojnarowicz’s representations of the emotional, psychic, and physical excursions converging in highway narratives resemble Jack Kerouac’s On the Road and Gregg Araki’s The Living End. Equally, the utopian sentiment underlining Wojnarowicz’s catalogue of the myriad social voices he heard during his automotive journeys suggest the democratic humanism of Walt Whitman’s ‘Song of the Open Road.’ Wojnarowicz rigorously opposed the policing of imaginative and artistic expression, particularly in its disproportionately negative effects on gay PWAs. Chapter four identifies how Wojnarowicz utilised a repository of non-human figures to critique the main axes of civilisation responsible for preventing alternative relations and subjectivities from reaching the wider public. Wojnarowicz employed a politics of vision in which he distorted perspective, size, and scale in his visual artworks to focus his audience’s attention upon what the ONE-TRIBE NATION aimed to conceal from the public sphere, namely homosexuality and homosexual desire. With his inversion of the hierarchy between human and animal and public and private, Wojnarowicz provides his audience with a momentary glimpse into the positive changes effected through the destruction of the ONE-TRIBE NATION. Chapter five examines Wojnarowicz’s representation of counterpublics such as the subculture of cruising, which involve sexual practices that generate alternative forms of collectivity by resisting the normative logic of sex as dyadic, monogamous, and heterosexual. Such non-normative relations reinforce Wojnarowicz’s dismantling of the ONE-TRIBE NATION through consistently representing behaviour regarded as ‘taboo’ or ‘deviant’ by the status quo. Additionally, Wojnarowicz’s relationship with Peter Hujar challenges pre-existing assumptions about the roles of the carer and cared-for within a feminist ethical framework. Wojnarowicz construes an ethics of intimacy wherein the relationship between the carer and cared-for is reciprocal and interdependent in nature. In chapter six, I contend that Wojnarowicz utilised the conventions of Victorian mortuary portraiture in his postmortem photographs of Peter Hujar. The genre of mortuary portraiture reinforced the political motives underlying his aesthetics, since through these photographs Wojnarowicz commemorated his departed friend whilst situating his death within the political context of the AIDS crisis. Wojnarowicz’s determination to cultivate new methods to express the discursive entanglements of mourning, witnessing, and testimony was closely related to the cultural activism that proliferated within the gay community as a result of the HIV/AIDS crisis. For this thesis, I consulted the David Wojnarowicz Papers in Fales Library & Special Collections, New York University, including Wojnarowicz’s personal correspondence and the many audio recordings and unfinished films he made whilst embarking on his cross-country and transcontinental road trips during the 1980s. These materials shed light on Wojnarowicz’s struggle to represent his sexuality and desires in a world he perceived as increasingly hostile to difference in its many forms.
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Uzelac, Gregory Ross. "Harnessing the Myths of Now: Restoring Social Harmony Through Mythic Art." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27724.
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Dissertation:
This thesis explores contemporary art’s role in the rejuvenation of mythic storytelling, which enables societal cohesion and progress. I investigate Joseph Campbell’s concept of mythic dissociation and outline the industrial, academic, and ideological factors that have stifled myth in modernity. Synthesising the mythological scholarship of Campbell and Alexander Eliot with Japanese artist Takashi Murakami’s Superflat Theory, I examine the unique position the contemporary artist now holds in digital-age society as cultivator of myth. I posit that Superflat’s emphasis on narrative interpretation, viewer agency, and opposition to formal, temporal, and stylistic limitations allows for artwork that executes the functions of myth put forward by Campbell and Eliot. I provide evidence of key, practical methodology that allows for contemporary mythic artwork.
Ultimately this thesis advocates for the restoration of mythic narrative to its crucial societal role as a mechanism for social harmony via the production and dissemination of mythic art.
Studio Work:
My body of work entitled Song of @Merica consists of mixed media artworks that depict a modern mythic saga. The exhibition was installed at the University of Sydney in December 2021.
I created works on canvas, plastic, and paper using a variety of materials including acrylic paint, oil pastels, ink, pencil, and watercolour. Aesthetically, my artwork connects to abstract expressionist and surrealist lineages, but my technique also derives from screenwriting, adjoining metaphorical and narrative elements to colour, contour, material, and text. Conceptually integral, my use of nonlinear narrative, repurposed materials, as well as the mixing of media, language, and reappropriated cultural references, illustrates the effectiveness of Takashi Murakami’s Superflat Theory, which explodes defined aesthetic and temporal boundaries, enabling myth to be conveyed fully and accessible to all.
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Chambers, Julia. "TIGER JELLY: EXPLORING THE SUBCONSCIOUS MIND THROUGH DREAMSCAPES." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1187.
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My installation is an exploration of the subconscious ventures within dreams, focusing on aspects of identity, anxiety, and intimacy. The personal disposition of an ‘active’ imagination, even while I sleep, has made me both fascinated and exasperated by my dreamed experiences. By documenting my dreams through animation I am able to explore this power dynamic between my consciousness and subconscious which orchestrates these scenes. Tension between the audio, content, and aesthetic of the work explore the grey emotional areas of dreams that leave residue in the back of our head as we navigate the real world. Time, form, and the scientific and societal laws that govern our lived experiences may be distorted beyond recognition within a dream, and mankind’s proclivity to fantastical dreams makes sleep a gateway to something otherworldly and freeing, all-consuming and overwhelming.
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Hanenbergh, Maria Rudolphine Irene. "Freedom nature : (researching the visionary fantastic in contemporary art) /." Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/8398.
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In the research for this project I investigate several prominent definitions and examples of fantasy in contemporary visual art, notably associated with the Freudian “uncanny” and the Surrealist “marvellous”. In the dissertation I propose a sub-genre of fantasy: the Visionary Fantastic. The mode of this sub-genre, I claim, is manifest in the work of several contemporary artists. It is also a concept I find useful in describing and directing my own artistic practice during this project. The adopted research methods include:- Surveying a number of concepts, theories and literature on fantasy, I have drawn upon a number of writers, noting two seminal essays, “The Uncanny” (1919), by Sigmund Freud and “The Surrealist Manifesto” (1924) by André Breton, and definitions by theorist Tzvetan Todorov.
- Investigating the subject by discussing elements of the Visionary Fantastic in the practice of six contemporary artists whose work has been of considerable significance to my practice. Fantastic art can hardly be referred to as an autonomous area and does not refer to a particular movement in art. Given that it rather possesses a system of inclusion based upon certain selective principles, these artists address elements of the Visionary Fantastic yet do not approach the concept of fantasy as their exclusive concern.
- Discussing the processes in my practice, addressing the subject loosely within tropes of Utopia (– Arcadian lands, fantastic communities and marginal societies), Obsession (– techniques of detailed repetition, miniscule facture), Monstrosity (– formidable creatures, instinctual domains, hybridity) and Enchantment (– meditative, mediumistic and altered states of mind).
The disciplines I have applied in the work for the end exhibition include painting, printmaking and drawing. The outcome, a selection of works produced within this research, will be displayed as a cohesive body of work. It addresses myriad fantasy manifestations within the four principles discussed in the dissertation.
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Nader, Myrna. "Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5439.
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This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.
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Landrum, Theodore A. "Tube and tuber : the quest for criteria." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935914.
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Walter, Christopher D. "On Yonder Mountain." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/112.
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The road to becoming an artist is paved with much confusion as we try to mold our brains into understanding abstract concepts and ideas. I became fascinated with how people perceive art, in particular, southern males that have no previous knowledge of art history or desire to learn. I contemplated long and hard about this and asked myself the question, “What if they did want to understand art?” The only difference between my brethren and I is this desire to pursue this seemingly foreign world. By creating an imaginary world and culture based on my own southern upbringing I have created a series of figurative paintings exploring various contemporary art themes in an effort to clarify my own understanding of the two worlds I am closest to and how they may or may not be related.
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Ferreira, Adriana de Sousa. "Anatomia animica da criação : analogias entre sonhar, criar e viver: imagem como linguagem." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284221.
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Orientador: Ernesto Giovanni BoccaraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T20:55:00Z (GMT). No. of bitstreams: 1 Ferreira_AdrianadeSousa_M.pdf: 5464574 bytes, checksum: 1741e3b4ffbc7f0f081bf2c606ee666d (MD5) Previous issue date: 2005
Resumo: A misteriosa, fascinante e multiforme realidade anímica do processo de criação artística oferece incontáveis trilhas para peregrinação, reflexão e busca. A arte visual me incita ao ato de OLHAR, de Ver, de Ouvir e me induz ao risco de sugerir possíveis formas de contato e aproximação da Imagem como Linguagem. As motivações para esta redação remontam a indagações levantadas pelo interesse pessoal, pela prática terapêutica clínica e pela docência ministrada a arteterapeutas. O objetivo é investigar os meandros e as implicações do fazer artístico, desde as suas raízes na interioridade do artista - a terra incógnita da alma onde forças informes se movimentam em busca de tomar forma; passando pela emergência ou o cultivo de imagens - tais como sonhos, visões ou narrativas - com sua dimensão simbólica; até o esforço, ora disciplinado, ora improvisado, de moldar os materiais que enfim expressam no mundo das formas o impulso criativo. As referências básicas são o testemunho de alguns artistas sobre sua experiência e sobre o significado da criatividade, e a análise de algumas imagens, todos selecionados por simpatia pessoal e pertinência ao assunto. Um espaço maior é dado a contemplação de uma das obras do pintor espanhol Juan Miró, cujos escritos e cujas obras corporificam os princípios aqui elucidados. Os fundamentos teóricos acham-se na obra de Carl Gustav Jung, que usa o conceito de arquétipos para compreender os movimentos da força criativa humana, e na obra de Joseph Campbell, que estuda as relações entre os mitos e a arte. A metodologia inspira-se na crítica genética, buscando compreender as fontes anímicas e os momentos cruciais da geração e da construção de imagens e obras de arte, e também tece conexões interdisciplinares entre os campos da Psicologia, da Arte (especialmente Pintura e Poesia) da Filosofia e da Espiritualidade
Abstract: The fascinating animistic reality of the artistic creative process offers many possibilities for reflections, search and pilgrimage. Visual Art invites me to look and to listen leading me to the risk of suggesting possible ways of contact and approach to Image as Language. The main course of the work is to investigate the implications of the artistic making trom its roots in the deep inside of the artist-the unknown land of the soul-where forces yet unshaped move towards a definition given by shape as as outcome of images as such in dreams and visions, ali of it in the symbolic dimension. Shape attained throughout the effort and discipline practiced by the artist as a mean of translating its imagination in the work of art. The guiding references are the testimony of some artists about their experiences conceming the meaning of creativity, and the analysis of a few images in works of art selected by personal empathy. A wider space is given to the contemplation of Juan Miro's painting: Personagens e Passaros na Noite 1973. Theoretical foundations are based on Carl Gustav Jung 's work on the archetypal views of the creative forces that nourishes and instigate human imagination. Methodology is inspired by genetic critic, aiming to understand the crucial moments of the creative processo Multidiciplinary connections are traced with the fields of Psychology,Arts (Iiterature as well), Philosophy and Spirituality
Mestrado
Mestre em Artes
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Carman, Hillary Anne. "Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3428.
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In this thesis I consider photographs of the mannequin by Vogue's fashion photographer, George Hoyningen-Huene. Little scholarship has been written on Huene, as well as many other fashion photographers of the twentieth century. I examine four of Huene's works and his appropriation of the surrealist aesthetic, specifically the use of the mask and mannequin, which were directed at female spectators during the interwar atmosphere and development of the identity of the interwar modern woman. These images include Life-mask of Dolores Wilkinson (1933), Antoine with One of His Creations (1933), Scarf and Gloves by Chanel, Mannequin by Pierre Imans (1934) and Mauboussin Diamond-and-Topaz Corsage Clip, Mannequin by Pierre Imans (1934). I argue that his use of the mask and mannequin legitimates his work as he draws from the artistic milieu of nineteenth and twentieth-century high art.My survey describes photography's theoretical affinities with fashion and surrealism, the surrealist aesthetic and Huene's adoption of it in his fashion photographs of the mannequin, primitivism and Huene's adoption of high art themes and use of the mask, the interwar modern woman in a consumer society, female spectatorship and Huene's surrealist images functioning through a female gaze.
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Chayama, Yuri. "The Influence of Modern Art on Toru Takemitsu's Works for Piano." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/268593.
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This study examines the influence of Modern Art on the piano compositions of Toru Takemitsu (1930-1996) to demonstrate how he was inspired by visual art and integrated its ideas into his music. From his youth, Takemitsu was aware of the relationship between music and visual art, exploring different genres, especially Surrealist poetry and modern painting, as well as Japanese gardens, then harmonizing and incorporating these ideas within his music. In doing so, he established his own philosophy and musical structure, combining colorful sonorities with spatial effects of timelessness, which became cornerstones of his music. This document explores and identifies ideas from Modern Art - primarily visual works of Paul Klee, Odilon Redon, Kagaku Murakami, and other Surrealists - that Takemitsu adapted and wove into his compositions to create visual imagery, rich in color, within his music. The use of these ideas is discussed in an analysis of two of Takemitsu's most profound and mature solo piano works, Les Yeux Clos - In Memory of Shuzo Takiguchi (1979) and Les Yeux Clos II (1989), both inspired by Odilon Redon's series of paintings, entitled Les Yeux Clos (1890).Following Chapter I, the introduction, Chapter II discusses Takemitsu's early influences, film music, legacy, and contribution to society. Chapter III examines Takemitsu's encounter with Surrealism and the four artists– Shuzo Takiguchi, Paul Klee, Odilon Redon, and Kagaku Murakami - that influenced him the most by demonstrating the importance of breaking with convention and freely exploring one's inner world. Chapter IV identifies the principles and ideas of Modern Art and Surrealism that appealed to Takemitsu, and how he adapted them into his compositions. The ideas fall into four categories: philosophy, structure, color, and space. Chapter V presents original analyses of two solo piano works, Les Yeux Clos and Les Yeux Clos II, demonstrating how the principles and ideas of different art forms are integrated into Takemitsu's works. Concluding remarks in Chapter VI include a brief discussion of how an understanding of Takemitsu's complex artistic journey can deepen a performer's understanding and interpretation of Les Yeux Clos and Les Yeux Clos II.
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Serrano, Raurell Andrea. "L’autòmat, la fotografia i la crisi del model de subjectivitat clàssica en el surrealisme. Claude Cahun i Jindřich Štyrský." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/666305.
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La present investigació té com a objecte d’estudi la significació de la figura del maniquí en el surrealisme, entesa com a imatge representativa o simptomàtica de la crisi del model de subjectivitat clàssica. Per fer-ho, es pren com a exemple l’obra fotogràfica de Claude Cahun i la de Jindřich Štyrský, en les quals, sigui com a objecte o com a concepte, la figura del maniquí adquireix un lloc destacat. En aquest sentit, per una banda, es reflexiona entorn la caiguda del subjecte substancial i es planteja la possibilitat d’entendre la figura de l’autòmat, el maniquí o la nina com una image-symptôme d’un subjecte que ha entrat en crisi; d’una altra, s’aprofundeix en el tractament que té aquesta figura en l’obra fotogràfica de Claude Cahun i en la de Jindřich Štyrský. Recorregut que, alhora, ens submergeix en el surrealisme francès i en el surrealisme txec, dos mons aparentment allunyats que, tanmateix, es troben interconnectats.
En els capítols introductoris, que serveixen per ubicar la tesi en el seu marc teòric i contextualitzar l’àmbit d’estudi, a més de definir a què ens referim quan parlem de crisi de la subjectivitat clàssica, es planteja un dels punts de partida de la present investigació, és a dir, la possibilitat d’entendre el surrealisme com una expressió del Romanticisme al segle XX. Al llarg d’aquest recorregut, apareixen així des de l’Olímpia d’E.T.A. Hoffmann a Hadaly de Villiers de l’Isle-Adam, al mateix temps que es fa una aproximació a diferents aspectes que ens ajuden a entendre el surrealisme i el tractament que en aquest té la figura del maniquí. En aquest sentit, es realitza una aproximació als fonaments teòrics del surrealisme, així com a aspectes com el mite, la màgia, la infància o la meravella, que ens porten a parlar, al seu temps, d’un rebuig a un sistema polític, econòmic i social.
A continuació, en els capítols centrals, prestant atenció al maniquí, al mateix temps que viatgem al París dels surrealistes, descobrim algunes de les principals manifestacions en què aquesta figura participà. Així, de la Rue surréaliste a les Puppen de Hans Bellmer, transitem fins als capítols dedicats a Claude Cahun i Jindřich Štyrský, en els quals, el maniquí, sigui com a objecte o com a concepte, adquireix un rol destacat.
És al llarg d’aquest recorregut, una trama interconnectada d’idees en què cada apartat té la seva raó de ser, que assistim a l’adveniment d’un nou tipus de subjecte. Idea del jo entès com a màscara, que evidencia una realitat contingent, mutable i polimòrfica. Un subjecte entès com a procés, mancat de tota possibilitat de síntesi, marcat per l’alteritat i l’inconscient. En aquest sentit, tal com digué Claude Cahun, “je suis autre, un multiple toujours”.
La figura del maniquí surrealista, d’aquesta manera, se’ns presenta com una figura transfronterera, una imatge amb valor de símptoma que es relaciona amb un subjecte construït en gran part fora de si mateix. L’inconscient, l’alteritat o la follia, són alguns dels aspectes que es vinculen amb aquesta inquietant figura. Efígie que, com a doppelgänger o com a tout autre, sovint es converteix en un motiu discursiu que ens porta a parlar de l’emergència de nous models de subjectivitat. Així doncs, en el diàleg entre l’humà i l’inhumà, en la imprecisió dels límits que separen el subjecte de l’autòmat, el maniquí esdevé una expressió de l’unheimlich freudià. Figura que, altrament, se’ns presenta com a passatge. Una imatge de la poésie moderne, tal com observava Nezval, que esdevingué un punt de fuga per retrobar la meravella perduda en un món desencantat.The present research deals with the figure of the mannequin significance in surrealism, understood as a representative or symptomatic image for the crisis of the classic subjectivity model. Our investigation is based on the photographic works of Claude Cahun and Jindřich Štyrský, in which the figure of the mannequin acquires a prominent place, either as an object or as a concept. On the one hand, this leads us to reflect on how the fall of the substantial subject raises the possibility of understanding the figure of the automaton, the mannequin or the doll as an image-symptôme of a subject who has entered into crisis. On the other hand, our work deepens the understanding of the treatment this figure has in the photographic works of Claude Cahun and Jindřich Štyrský. This journey will immerse us in the French and Czech surrealisms at the same time, two apparently remote worlds that are nevertheless interconnected. In this way, the figure of the surrealist mannequin is presented as a cross-border figure, an image bearing a symptomatic value referring to a subject building himself largely outside his own self. The unconscious mind, the otherness, and the madness are some of the aspects intertwined in this disturbing figure. This effigy, as a doppelgänger or a tout autre, often becomes a discursive motive leading to the emergence of new models of subjectivity. Therefore, in the dialogue between human and inhumane, and in the unclear boundaries separating the subject from the automaton, the mannequin becomes an expression of the Freudian unheimlich; this figure is otherwise presented as a passage. As observed by Nezval, this image of poésie moderne has become a point of escape to regain a lost wonder in a disenchanted world.
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Bernardo, Juliana Ferreira [UNESP]. "Colagem nos meios imagéticos contemporâneos." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86944.
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bernardo_jf_me_ia.pdf: 3000865 bytes, checksum: cc405d86a49347b33bc4455a9cdb0a4f (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Universidade Estadual Paulista (UNESP)
A presente pesquisa tem por objetivo a análise da colagem como procedimento artístico. Para isto, foi traçado um histórico da colagem que englobou o Cubismo, o Dadaísmo, o Surrealismo e a Arte Pop. Em cada um destes momentos históricos, percebemos o significado do emprego da colagem como linguagem artística. Em um segundo momento, analisamos o processo da colagem nas imagens técnicas, sobretudo naquelas decorrentes da fotografia, como, por exemplo, nas fotomontagens, no cinema e na colagem digital. E, finalmente, realizamos entrevistas com artistas brasileiros e visitamos museus e galerias com o intuito de verificar como a colagem tem feito parte da arte contemporânea
This study aims at analyzing the collage as artistic process. For this, we traced a history of collage that passed trough Cubism, Dadaism, Surrealism and Pop Art. In each of these historical moments we could perceive the meaning of the use of collage as an artistic language. After that, we analyzed the collage’s process in imaging techniques, resulted from photography such as in the photomontages, movie and digital collage. And finally, we conducted interviews with Brazilian artists and visited to museums and galleries to see how the collage has been part of contemporary art
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Pažimeckaitė, Justina. "Pasąmonės ir sapnų refleksijos mene. Paroda sapnų tema - ,,SITKANABAL"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110802_152916-85530.
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Pažimeckaitė J. Pasąmonės ir sapnų refleksijos mene. Paroda sapnų tema ,,Sitkanabal“: Audiovizualinio meno studijų bakalauro baigiamasis darbas. Vadovė asist. A.Plungienė; Šiaulių universitetas, Menų fakultetas, Audiovizualinio meno katedra. Šiauliai, 2011. 62 p. Darbe nagrinėjamos pasąmonės ir sapnų refleksijos vaizduojamame mene. Darbo tikslas remiantis teorine mokslinės literatūros ir menininkų kūrusių pasąmonės refleksijomis kūrybos analizėmis, sukurti savo sapnų vizijomis pagrįstą originalią meninę instaliaciją – parodą ,,Sitkanabal“, kuri yra kūrybinė darbo dalis. Šio tikslo siekiama teorinėje darbo dalyje nagrinėjant pasąmonės sampratą, jos pasireiškimą per meno kūrinius, įsigilinant ir aptariant įvairias sapnų teorijas, apžvelgiant lietuvos ir užsienio menininkų darbus nagrinėjama tematika, bei stebint asmeninius sapnus.Pažimeckaitė J. Unconscious and dreams reflections in art. The exhibition by the theme of dreams - ,, Sitkanabal”: Multimedia Arts studies Bachelor of final thesis. Labour Leader assist. A. Plungienė; Šiauliai University, Faculty of Arts, Multimedia Arts Department. Šiauliai, 2011. 62 p. The object of work is to create an original art installation- an exhibition ‘Doog Thgin’ (the creative part of the work) which is created using the author’s visions of dreams with reference to the theoretical nonfiction literature and the analysis of artists’ works in which the reflection of sub-consciousness was used. This is achieved by examining the theoretical part of the concept of the unconscious, its manifestation through the works of art, analyzing and discussing various theories of dreams, reviewing the works of Lithuanian and foreign artists on the topic of an analyzing subject, also studying personal dreams.
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Weir, Simon. "The discontinuity of matter : Salvador Dalí, painting and architecture / Simon Weir." Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/28849.
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Salvador Dali, is known primarily as a Surrealist painter, dandy and provocateur. His theoretical works are far less known. Dali’s theories, interspersed throughout his eleven books and numerous essays and interviews range across the fields of art, architecture, psychology and science. In this thesis I examine these ideas, in particular Dali’s paranoiac
critical method, for their potential application in contemporary issues regarding representation and architecture.
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Larsson, Josefin. "Exquisite corpse : Exploring the methods of surrealism to challenge the hierarchies of body, dress and accessories." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13011.
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Just as the surrealistic movement challenged our perception of reality, the present work applies surrealistic methods to challenge our preconceived hierarchies between body, dress, and accessory. Adding to past surrealistic work in fashion design, the present work does not only strive to create surrealistic expressions, but to enhance the creative process through surrealistic methods. Three surrealistic methods were tested: Entopic Graphomani, Frottage, and Exquisite Corpse. The methods ability to challenge hierarchies between body, dress, and accessory was assessed through their ability to result in an element of surprise. For the present work, Exquisite Corpse had the greatest potential. By using participant observation and an adapted version of Exquisite Corpse seven looks were developed. The present work concludes that the surrealistic methods can by used not only to develop surrealistic expressions, but also to enhance the creative process within fashion design.
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Hannan, Holis. "Transcendence." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1316.
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This thesis is a description and critical analysis of the processes, concepts and imagery of my artwork. I am interested in creating visual narratives, often figurative, in the form of sculpture, collage, and installation. In my work I attempt to call attention to the human condition, specifically addressing sexuality, mortality, psychological issues and power struggles. I incorporate both cultural and personal references and use traditional and non traditional materials and processes that are intended to conceptually inform the viewer further. My intention is to create distinct embodiments that provoke contemplative emotion and in which the object and the aesthetic experience allow us to consider and reconsider who we are and how we progress as a culture.
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Rachlevičiūtė, Ramutė. "SIURREALUMAS XX A. II PUSĖS LIETUVOS DAILĖJE." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130205_113426-76862.
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Tikro, programinio, siurrealizmo Lietuvoje nebuvo tarpukariu, t. y. istorinio siurrealizmo laikais, nebuvo jo ir XX a. II pusėje. Negalime kalbėti apie siurrealizmą Lietuvoje, tačiau neabejotina, kad siurrealumo apraiškų yra mūsų XX a. II pusės dailėje. Šiame darbe terminas siurrealumas naudojamas kaip estetinė kategorija, nurodanti sąsajas su kai kuriais siurrealizmo, kaip modernizmo judėjimo, bruožais, vaizdo kūrimo principais. Disertacijoje svarbi sąvokų siurrealumas ir siurrealistiškumas skirtis: pirmasis terminas nebūtinai susijęs su istoriniu siurrealizmu. Pirmiausia mėginama išgryninti aktualius XX a. II pusės Lietuvos dailei siurrealumo bruožus, išnagrinėti siurrealumo bruožų turinčią lietuvių dailininkų kūrybą kaip savitą meninį reiškinį. Siurrealūs kūriniai dažnai priklauso XX a. antrosios pusės Lietuvos dailės istorijos „paraštėms“, jos mažajam naratyvui, ir gali būti traktuojami kaip dalinė opozicija didžiajam, kanoniniam naratyvui, ekspresionistinės krypties dominavimui. Nors siurrealumo apraiškos Lietuvos dailėje nesuformavo savarankiškos dailės krypties, siekta XX a. antrosios pusės pagrindinį Lietuvos dailės istorijos naratyvą papildyti mažuoju siurrealumo naratyvu.There was no real, programmatic Surrealism in Lithuania between the two wars, when the historical Surrealist movement was at its peak; nor was there any influence of Surrealism here in the second half of the twentieth century. In this work the term the surreal is used as an aesthetic category pointing to the links with some of the features of Surrealism as a modernist movement and its principles of image creation. The divide between the concepts of the surreal and the surrealist aspect is important in this dissertation: the former term is not necessarily related to historical Surrealism. In this dissertation an attempt is made to crystallize the features of the surreal which were topical for Lithuanian art in the second half of the twentieth century. The thesis aims to single out the concept of the surreal and develop its content; to examine the artwork of Lithuanian painters that contains the features of the surreal as an original artistic phenomenon. Surreal artwork belongs to the 'margins' and 'the small narrative' of Lithuanian art in the second half of the twentieth century, and can be treated as a partial opposition to the big canonical narrative and the predominance of the expressionist trend. Although the manifestations of the surreal in Lithuanian art did not shape an independent trend in art, an attempt has been made to expand the main narrative of the Lithuanian art of the second half of the twentieth century with the a small narrative of the surreal.
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Lange, Andreas. "The Surreal Museum: An Intervention for the Cincinnati Art Museum." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.
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van, den Bosch Craig David. "Technology pursuing the dialectical image /." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/vandenbosch/vandenBoschC0507.pdf.
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Romano, Pace Alba. "Endre Rozsda : la pluralité du regard surréaliste." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010560.
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« L'œil existe à l'état sauvage [...] mais qui dressera l'échelle de la vision ?». Cette question qui ouvre "Le Surréalisme et la peinture", nous fait comprendre combien il est complexe de définir un peintre surréaliste. Le titre de l'ouvrage est d'ailleurs symptomatique: il ne s'agit pas de la peinture surréaliste, mais plutôt du surréalisme et de la peinture. Breton assemble différents peintres dont la vision est proche de la poétique surréaliste, sans jamais préciser comment celle-ci se manifeste dans l'art. Quel est donc l'élément qui peut faire d'une peinture une oeuvre surréaliste ? En focalisant l'attention sur le concept d' «automatisme absolu» énoncé en 1939, ce travail tient à préciser comment, grâce à des précurseurs comme Duchamp, Masson, Ernst, l'automatisme de Breton se tresse avec l'idée exprimée par Matta des "Morphologies psychologiques" résultant en une peinture d'"Inners worlds", qui mènera à l'expressionnisme abstrait américain. Endre Rozsda est parmi les peintres qui choisissent cette voie, Dans "Le Surréalisme et la peinture", son nom est associé à ceux de Dominguez, Matta, Paalen. L'artiste hongrois rejoint le mouvement en 1957. Son œuvre représente un trait d'union entre l'imaginaire enraciné dans son pays d'origine et le surréalisme. Focalisant l'attention sur le contexte historique, cette thèse veut montrer l'importance de l'œuvre de Rozsda, autant dans la culture hongroise que dans l'européenne. Elle étudie les rapports entre Breton et le groupe de l'Ecole européenne et, à travers une documentation inédite, elle analyse les raisons de l'absence d'un mouvement surréaliste officiel à Budapest, montrant comment la peinture d'après-guerre de Rozsda constitue un des rares exemples de surréalisme automatique en Hongrie«The eye exists in its privative state. [...] but who is to draw up the scale of vision ?» By the question which initiates "Surrealism and painting", Breton revealed how complex is to provide a definition of a surrealist painter. The book's title itself is symptomatic : Breton did not write about the surrealist painting but about surrealism and painting. He associated different painters who shared a vision close to the surrealist poetic. He never specified how this vision is expressed on art. What is the element that makes a work of art a surrealist work of art ? Focusing on the concept of "absolute automatism", introduced in the 1939, these doctoral studies wish to clarify how the Breton's theory of automatism and the Matta's theory of "Morphological psychologies" are intertwined and led to the surrealist painting of : "lnners worlds" which resulted into the American abstract expressionism. Endre Rozsda is a part of the artistes who had choice this way. On "Surrealism and painting" his name is associate with painters like : Dominguez, Matta, Paalen. The Hungarian artist joined the movernent in the 1957. His work bridged the deep-rooted imaginary world of Hungary and the surrealism. Focusing on the historical context, this thesis wishes to highlight the importance of the Rozsda's art in the Hungarian as well as in the European culture. In addition it investigates on a relationship between Breton and the artists of the European School and it is analyzed, by inedited documentations, the lack of an official surrealist movement in Budapest. Moreover, this work aim to prove how the Rozsda's painting after the Second War World represent a rare example of surrealist automatist Hungarian art
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Porter, Zoe. "How do Representations of Animal - Human Relationships in Contemporary Art Signify Current Crises?" Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366669.
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My studio-‐based research consists of a cross-disciplinary body of work and textual analysis. The research focuses upon concepts associated with animal-human relationships in a contemporary art context and how these have implied a range of current crises occurring on a global scale.
This exegesis begins by outlining how animals have been perceived in both historical and cultural contexts. I begin by examining the ways in which animals and our relationship with them have been perceived in the areas of psychoanalysis, with particular attention to the theories of Sigmund Freud and Carl Jung and their research into the subconscious, unconscious and instinctual drives connected with the animal. I also consider the parallels between anthropology and psychoanalysis and the significance of post-colonial research to these disciplines. I explore how the psychoanalytical theories of Freud and Jung influenced the work of the Surrealists, resulting in much of their experimentation and depictions of animal-human relationships from the 1930s onwards. I also discuss a number of Surrealist artworks, demonstrating how the psychological has been historically connected to representations of animals as
well as their interest in non-Western cultures and art forms.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Asif, Noor A. "Women Surrealists: Muses or Seekers?" Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/826.
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Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.
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Rodenstedt, Kjell. "Främling, chockerande, despot : Endre Nemes som konstnär och lärare 1940 till 1958." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182479.
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This thesis is an analysis of Endre Nemes’ art and how he was received in Sweden. It will also cover his eight years as an art teacher at Valand art school. The timespan has been limited to his first eighteen years in Sweden. The thesis uses mainly Pierre Bourdieu’s The Rules of Art as a theoretical approach. Nemes was from Central European and a modern painter, he was regarded as cubist, surrealist and in the last years of the period as abstract. The first part concentrates on how his art evolved during the eighteen years and how the art critics described him. Especially four artworks have been analyzed. Context analysis is used to examine art criticism in Swedish newspapers from eight exhibitions. One result from the analysis is that during the years 1940 up until 1955 Nemes is regarded as avantgarde, a forerunner in Sweden and tended to shock the audience with his art. Even if he was very productive and had solo exhibitions, he mostly sold to other artists and early adopters. In the last years, especially after he left his job as a teacher, and became more abstract, he was just one of several artists and cannot any longer be regarded as avantgarde. The second part of the thesis covers Nemes as teacher at Valand art school in Gothenburg. Nemes was a precursor in modern art teaching. The period at Valand is interesting as it influenced both Swedish and Nemes own art. The thesis investigates what method he used as a teacher, how he was appreciated as a teacher both by his art students and by art critics in Swedish newspapers. The thesis also analyzes how Nemes impacted the student’s future way of painting. The result is that he had an impact on some of the students, but not on others. Most impact did he have on a group of students that was close to him, while other did not fully appreciate his teaching. Nemes’ method was to leave the students and their individual development as much freedom as possible, while still being strict on teaching different techniques and the importance of a careful composition. Another result was that all studied students used this knowledge in their future as independent artists.
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Kim, Youmee. "An analysis and performance guide to Benjamin Lees's Odyssey I and II." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199061624.
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