Dissertations / Theses on the topic 'Artists' books'
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1
Emslie, Anne. "Art and book : a commentary on artists' books." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/50684.
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The thesis spans two volumes ... Volume two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component.' -- Abstract.Thesis (MA)--Stellenbosch University, 2007.
ENGLISH ABSTRACT: The thesis investigates the contemporary practice of book art, examining in particular the manner in which it fits both into the tradition of the book and the tradition of art making. The thesis spans two volumes. Volume One discusses the phenomenon of the artist's book from three vantage points: the attempts to define it, the attempts to catalogue it and the attempts to interpret it. Volume Two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component. (Briefly, one of the tasks it embarks upon is an examination of the phenomenon of thesis writing, as understood and endeavoured by myself in the production of the first volume - in this sense it is self-reflective. Another is an examination of some aspects of my attempts to make examples of artist's books, which includes an investigation of some of the recurrent themes and preoccupations of my work) Volume One is set out in three chapters. The first chapter pursues a definition of book art and the artist's book in order to draw some perimeters around the subject, and to build a picture of its nature. In the course of doing this, the ideas of some book artists and book art commentators are considered in an attempt to create a richer tapestry of understanding. In the next chapter some of the ways in which book art has been categorised are discussed. This is in order to more finely delineate the nature and scope of book art. It is also to bring some clarity to bear upon the different components and manifestations of a vast and sometimes confusing oeuvre. I then suggest a system of classification of my own which offers an adjacent model for investigating artists' books and the endeavour of book art. With the above model in place, I undertake a foray into the arena of interpretation. Here I suggest the suitability of adopting certain methodologies of interpretation that come from the field of contemporary literary studies in general, and the interpretation of poetry in particular. I draw comparisons between the book artist and the poet, and suggest that they occupy a similar territory of meaning making. In the course of laying out my arguments in the three chapters, I refer extensively to examples of artists' books in order to make particular points. Where I consider it apt, I draw upon my book art as a source of example. In this way, I am able to weave into the text some information and reflection about my own practice and concerns as a book artist.
AFRIKAANSE OPSOMMING: Daar word in die tesis ondersoek ingestel na die hedendaagse praktyk van die boekkuns en in die besonder die wyse waarop dit aansluit by die tradisie van die boek en die tradisie van die kuns. Die tesis beslaan twee volumes. Volume Een bespreek die fenomeen van die kunstenaarsboek vanuit drie invalshoeke: pogings om dit te definieer, pogings om dit te katalogisieer en pogings om dit te interpreteer. Volume Twee is 'n kunstenaarsboek en, hoewel dit deel uitmaak van die projek wat ek ondemeem het, word dit nie voorgele saam met die teoretiese komponent van die MA- dissertasie nie maar as deel van die praktiese komponent. (Een van die take wat dit ondemeem is, kortliks, 'n ondersoek van die fenomeen tesis-skryf soos ek dit met die produksie van die eerste volume self verstaan en benader het - in die sin is dit selfreflektief. 'n Ander taak is 'n ondersoek van sekere aspekte van my pogings om kunstenaarsboeke te maak, insluitende 'n ondersoek na van die deurlopende temas en preokupasies van my werk.) Volume Een bestaan uit drie hoofstukke. Die eerste hoofstuk streef na 'n definisie van die boekkuns en die kunstenaarsboek met die doel om die onderwerp nader te ornlyn en 'n beeld daarvan op te bou. In die proses word die idees van 'n aantal boekkunstenaars en boekkuns-kommentatore oorweeg in die poging om n ryker begripstapisserie te weef. In die daaropvolgende hoofstuk word van die wyses waarop die boekkuns gekategoriseer is, bespreek, om die aard en rykwydte van die boekkuns nog nader te omlyn. Dit work ook gedoen om lig te werp op die verskillende onderdele en manifestasies van 'n omvangryke en soms verwarrende oeuvre. Ek stel vervolgens my eie klassifiseringsisteem voor, wat 'n verdere model hied vir die ondersoek van kunstenaarsboeke en die boekkunsbedryf. Aan die hand van hierdie model betree ek dan die arena van interpretasie. Ek stel voor dat sekere interpretasiemetodes ontleen aan die tydgenootlike literatuurwetenskap, en spesifiek die interpreteer van poesie, oorweeg word. Ek vergelyk die boekkunstenaar met die digter en stel voor dat hulle op soortgelyke wyses met die skep van betekenis omgaan. In die loop van die uiteensetting van my argument in drie hoofstukke, verwys ek ekstensief na voorbeelde van kunstenaarsboeke om spesifieke punte te maak. Waar ek dit as gepas beskou, verwys ek, by wyse van illustrasie, na my eie boekkuns. Op hierdie manier is dit vir my moontlik om inligting en besinning oor my eie praktyk en pre-okkupasies as boekkunstenaar met die teks te verweef.
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Grinols, Susan. "Mind states /." Online version of thesis, 1990. http://hdl.handle.net/1850/11308.
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Aly, Islam Mahmoud Mohamed. "Using Historical Bindings in Producing Contemporary Artists' Books." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4811.
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I regard the culturally rich bookbinding as formats that hold great meaning; I made models of books that existed in different cultures through the history of the book. I became interested in how each structure had unique features and how the books themselves transmitted knowledge about their form.
This interest in bookbinding formats led me to explore ways to add content to The binding plays a powerful role in producing my artist's books, the look and presence of these bindings is an integral part of my work and they are linked to the content and aesthetics. The final pieces encourage the viewer to interact with the work.
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Aly, Islam Mahmoud Mohamed. "Historical book structures and artists' books as a teaching tool." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3040.
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This study focuses on developing a book arts curriculum as a tool for teaching about creativity and problem solving. The curriculum's ultimate goal is to introduce and emphasize book arts as an expressive and powerful medium to future teachers and artists.
Book arts will be used to offer potentialities for collaborative, learner-centered instruction. Students will create structures and artists' books from their experience, their learning will emerge from personal interactions with the structures and artists' books presented.
The curriculum is planned into three modules, each module containing a different set of projects and activities organized to scaffold students learning in an engaging process. The modules examine book structures, artists' books, and a project that can either further explore book structures and artists books, or it can explore incorporating some other aspect of book arts in the project. Each module provides a broad range of examples, discussions, questions, and applications.
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Zussman, Na'ama. "Artists' Books---Both Map and Territory." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1590433.
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The field of artists' books is a realm in which a phenomenon is mapped and territorialized. This is based on the human necessity to map the world and have a better grasp of it. Additionally, it is constructed on the understanding of the history of the book’s physicality as an important emblem in civilization. An artist’s book is an isolated realm, both a map and a territory. It is closed in itself, and has its own rules and dynamics, yet carries varied affinities with the outside world.
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Desjardin, Arnaud. "The Everyday Press : an artists' books imprint." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22526/.
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In short, I would argue that our notion of the artist's book came about not through a singular definitive change in the practical mode with which an artist might choose to express himself, as for instance in the familiar Marxist model of greater distribution and economy of the art object through mass-production, but rather in a fundamental and decisive change in the consciousness of both author and reader as a concrete corollary of many different factors. Thus the difficulty of defining precisely what sort of classification one should impose or how to exclude, include or segregate into category the many different tribes of book that might satisfy a particular brief is essentially brushed aside. The familiar skirmishes between the modernist protagonists of mass-production and the paladins of craft over content are immaterial; it is the reader who, just as much (if not more) than the artist/author, establishes the conditions with which the book will become meaningful. "Tropes" by Paul Claydon In PutAbout: a Critical Anthology of Independent Publishing (Maria Fusco and Ian Hunt eds. ) London: Bookworks, 2004. p124. The Everyday Press began its life as a proposal for a Fine Art Practice-based Doctoral Research at the University of Kingston. This research practically questions how publishing artists' books can be considered an art practice in and of itself, it articulates a series of problematic associated with the position of the artist as publisher and the effective conditions of reception of the said books within the field of Artists Books. The Everyday Press is a publisher of artists' books. This means that the practical, actual, critical and historical commitments of The Everyday Press to artists' books are its project. How this is arguably achieved is documented in part by this thesis and made evident by the publications themselves. The present thesis contains all the publications of The Everyday Press to date as well as four contextual volumes that approach the work of The Everyday Press from different perspectives. Through a process of mise en abyme each volume includes one another in a condensed, reflected form. In this four volumes thesis I will specify my use of mise en abyme as a self-reflexive structure and a working model for the research. Together the thesis forms an expose of The Everyday Press as a work in itself. The contextual volumes are organised as follows: Volume One proposes an outline of the field and defines an area of knowledge and professional experience of the publisher. This is done in order to first expose on the one hand the conventional relationship of the press to the field and on the other its attempt at expanding the category through practical publishing. This first volume sets The Everyday Press in a critical and historical moment informed by precedents. Volume Two endeavours to describe the publications, their context of production and content. It constitutes a catalogue of the publications to date and problematises the intentions of the publisher against the actual publications and their possible reception as artists' books. The writing here should at times be understood as a parody of some authoritative interpretive modes related to artists books, particularly those seeking affiliation and original contributions. Those intentions are as laden with problematic a priori conceptions, unshakable because they are always already present to the interpretive paradigm that bypasses the reader and his ability to make his mind up for himself. Volume Three marks the traces of the passage of a few artists' books through time and space and produces an account of the field through revealing anecdotes and encounters. This account of the field is also where some of the networks of dissemination of the books are exposed as productive sites and encounters rather than as neutral vehicles for distribution. The books are released through distributive networks, bookshops, museums and the Internet. The research documents and interrogates how such networks may have been formed in the past and how the channels of distribution constitute an essential part of the Field of Artists Books. Volume Four is a bibliography of books and catalogues on artists' books. The bibliography takes stock of a wide variety of publications on artists' books to draw attention to the kind of documentary trace of distribution, circulation and reception they represent That overlooked history of the practice of exhibiting, publishing, disseminating and collecting artist's books during the last forty years is primarily focused on bibliographic data where the main criteria is bibliographical information rather than critical writing or texts on artists' books. My research gathered and compiled these documents in order to provide an aspect of the field often ignored. In its final form it aims to be a source book of exhibition catalogues, collection catalogues, monographs, dealership catalogues and other lists published to inform, promote, describe, show, distribute and circulate artists' books. A series of exhibition of that material and the works of The Everyday Press further the work of public dissemination of the present research. Although this is not stated repeatedly in the thesis, the material presence of The Everyday Press publications should be assumed throughout. The reader can take for granted that books were exchanged, gifted and pushed on anyone remotely interested in the subject of artists' books I came in contact with in the course of the research. My long-standing experience as an art book dealer provided the background knowledge and direct connections to doing the work of production, distribution and research necessary for the PhD. That background no doubt played a role in wanting to produce new books with other artists, possibly wanting to make the kind of books I didn't see because they didn't exist. While all the people contacted for the purpose of this enquiry were aware of my being an artist undertaking a work of research related to artists' books also consisting in a publisher, they welcomed my questions and the books I came with as a genuine publishing project. Explaining what I was doing was not always easy and The Everyday Press publications were also a calling card for me to contact artists, publishers, dealers, editors etc. Paradoxically it is the work of research itself (for example interviewing a publisher or an librarian, or looking for reference books in a dealer's basement) that represents a practical insertion of The Everyday Press into the field (where publishers compare notes, the librarian gladly accepts a new free book and dealers sometimes share some knowledge). As we will see in the thesis, the category of artists' books is full of those contradictions and paradoxes: to begin with artists' books are viewed and received as Art but released as books.
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Mosely, Timothy. "The Haptic Touch of Books by Artists." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367982.
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The book as a medium for creative practice proliferated during the twentieth century. The early stages of this period were marked by an engagement with visible language driven largely by poets and, to a lesser degree, artists. From the mid-twentieth century, a distinctive literature and discourse for these books began to emerge. It was not until the late-twentieth century and particularly through artists' conceptual engagement with it that the book as a medium was afforded recognition as a distinct field, termed ‘artists books’. Within the growing literature, a consistent tension relating to the multidisciplinary nature of the field is evident. It has led to concern that, until the discourse reaches the level of a critical field, the field itself is in danger of losing its identity. While this view has received widespread support, how to mature the discourse has proved contentious.
At the turn of the twentieth century, when the West's privileging of sight began to attract critical attention, the haptic (pertaining to touch and materiality) was identified as a means to address the effects of that privileging. Together with a renewed interest in materiality, it informed the early-twentieth-century poets and artists' engagement with the book. In recent decades, the haptic has emerged as a disciplinary focus in many fields, particularly aesthetics. Within artists books discourse, the haptic nature of a book has now been raised as a potential focus for the field. Research into the literature of haptic aesthetics, as it is being termed, soon uncovers a wealth of significance for artists books relating to the sense of touch and its role in perception. With such an historical and a contemporary presence, the haptic warrants investigation as a focus for artists book practice and discourse. The research undertaken during my PhD candidature initiates such an investigationThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Farman, Nola. "The humours of the artists' book." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/25097.
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Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis submitted to the University of Western Sydney, College of Arts, Writing and Society Research Group in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
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Bodman, Sarah. "Towards a community of artists' books : extending international knowledge and debate in the field of artists' books through practice-research." Thesis, University of the West of England, Bristol, 2018. http://eprints.uwe.ac.uk/34118/.
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The field of activity in artists’ books – artworks in the form of a book - has evolved over the last sixty years into a significant, international contemporary arts practice. Many artists, especially those new to the field, search for the means of situating their practice and extending their knowledge. Artists seek answers on how and where they can connect with other practitioners, increase their knowledge of, and place themselves within the international field. They need to know how and where they can learn to create, market, exhibit, contextualise and sell their work to the public. These needs have informed the development of the research question: How can practice-informed, participatory research develop and extend knowledge and debate in the international field of artists’ books? This question is predicated on the needs of a wide range of artists’ books practitioners, and many others with whom their practice is interwoven: librarians, researchers, students, curators, educators and the public. The following DPhil commentary offers a post-rationalisation of some of the issues and solutions for connecting artists’ books internationally, based upon my research and the network hub I have established at UWE, Bristol. In the text, I reflect upon my contribution to new knowledge through offering examples of artistic and curatorial practice, research and publications that have raised awareness in relation to specific interventions in Australia, Brazil, Europe, Iraq, South Africa and the USA. This DPhil submission discusses the research aims outlined within the narrative, under the heading Connecting Artists’ Books - The Findings, in relation to the evidence submitted in the accompanying portfolio of publications. The portfolio includes samples of authored books, edited publications, published articles and artists’ books created. These have been collated under the related headings of: practice, reporting on the field, curatorial, artefacts. I will use the following commentary to explore and analyse the contemporary position of the artist’s book, in order to reflect upon how its creators and audiences have been rhizomatically interwoven into my research investigations and how the participants have benefitted. The analysis outlines contributions made to new knowledge through some of the interventions I have made as a practitioner, publisher, curator and writer. It identifies examples of themes of practice discovered, revealed and connected through these interventions and their impact upon the field of artists’ books today.
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Ahlbom, Katinka. "Från konstverk till dokument. Artists books och bibliotek." Thesis, Uppsala University, Department of ALM, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-101847.
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Sheah, Julie. "Reading Dreams| Representation of Dreams Through Artists' Books." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591082.
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Within pages and spreads, a reader can sometimes experience someone’s stream of consciousness. The book’s narrative, images, prose, and other components can break free from the parameters of a conventional book, unbound by the rules of formatting styles, grammar, and narrative. An artists’ book is free to be confusing, delightful, and horrifying. When creating an artists’ book to represent a dream, the difficulty of solidly recounting images and events that existed only in my mind creates a barrier between the reader and me. This barrier makes me feel inarticulate and ineffectual in that one of my main objectives as an artist is to coherently express an idea. While no medium possesses the capacity to fully transmit a dream, the artists’ book is one of the most comprehensive, artistic representations of a dream, and the parallels between experiencing a dream and experiencing a book allow for the terms “artist” and “dreamer” to shift interchangeably.
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Friedman, Sara A. "The Legacy of Lynd Ward in Contemporary Artists' Books." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113266.
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Lynd Ward, an American Expressionist artist, and “father of the graphic novel,” helped shape the conventions of contemporary artists’ books. His legacy has influenced the direction beyond the graphic novel in areas such as the use of Expressionism and printmaking in the artists’ book, breaking graphic conventions, and using the artists’ book to convey a socio-political commentary. This paper will explain his influence and legacy by comparing his work to four contemporary artists’ books. Ward’s work, however, has only recently been recognized as a significant influence on graphic novels and has yet to be fully acknowledged as an influence on American artists’ books.
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Bader, Barbara. "Modernism and the order of things: a museography of books by artists." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491587.
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Hartzell, Robert S. Stealey Josephine M. "Polite conversations provoking dialogue through community interaction /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5654.
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Thesis (M.F.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 2, 2008) Vita. Includes bibliographical references.
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Eason, Andrew Clark. "Becoming what the book makes possible : aspects of metaphorisation of identity and practice through artists' books." Thesis, University of the West of England, Bristol, 2010. http://eprints.uwe.ac.uk/18767/.
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Maher, Kimberly A. "Two lives." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/1358.
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Nannini, Priscilla Barranqueiros Ramos 1972. "Palavra e imagem : possíveis diálogos no universo do livro de artista /." São Paulo, 2016. http://hdl.handle.net/11449/139484.
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Orientador: Omar KhouriBanca: José Spaniol
Banca: Rita Luciana Berti Bredariolli
Banca: Maria dos Prazeres Santos Mendes
Banca: Júlio César Mendonça
Resumo: O objetivo desta pesquisa é encontrar os possíveis diálogos entre palavra e imagem, dentro da Poesia Visual, Artes e Design. A proposta é realizar entrelaçamentos entre a palavra e imagem nessas linguagens, buscando encontros e desencontros, usando como fio condutor dessas reflexões a produção de Livros de Artista feitos por Mira Schendel, Lygia Pape, Edith Derdyk e do poeta visual Ronaldo Azeredo, que trabalharam a relação verbal e visual explorando diferentes possibilidades de representação, gerando obras representativas com grande valor artístico, estético e cultural. A ideia é traçar o caminhar dessas linguagens desde seus primórdios até os dias de hoje, relatando seus diálogos e retomando as origens dessas relações, pesquisando onde palavra e imagem iniciam seus encontros, quais suportes usados e sua exploração, quais as influências dos movimentos artísticos e como isso refletiu nas representações artísticas. A contemporaneidade é marcada por uma grande proliferação de imagens nas mídias e no cotidiano, mas como é feita esta leitura? Acredita-se na importância do olhar crítico em relação à visualidade, por isso a relevância deste estudo, que pensa sobre a imagem e sua relação com o verbal, levantando questões tão contemporâneas como a grande quantidade de imagens que recebemos no dia-a-dia, constatando que é preciso um olhar apurado sobre elas. O que se consegue elaborar em termos de conhecimentos nessas relações? Após a leitura dos autores, análise dos Livros de Artista, conversas e entrevistas com a artista Edith Derdyk, buscou-se um entendimento sobre os diálogos entre a palavra e a imagem, suas relações, encontros e desencontros. Esta pesquisa finaliza com um relato de experiência realizado com alunos do ensino médio na construção do livro de artista
Abstract: The goal of this research is to find possible dialogues between word and image within visual poetry, art and design. The proposal is to interweave word and image within these languages, seeking agreements and disagreements, using as a thread for these reflections the production of artistsʼ books made by Mira Schendel, Lygia Pape, Edith Derdyk and by visual poet Ronaldo Azeredo, who investigated verbal and visual relationship through different possibilities of representation, creating representative works with great artistic, aesthetic and cultural value. The idea is to outline the evolutions of these languages from their beginnings to the present day, narrating their dialogue and looking back on the origins of these relationships, researching where word and image started to merge, what media were used and how they were used. This paper also reflects on the influence of the avant-garde and how these movements are expressed in the artistsʼ books. The contemporary world is marked by a proliferation of images in the media and in everyday life, but how is this reading done? The critical eye toward the visual is seen today as highly important. This accounts for the relevance of this study, which proposes to think about the image and its relationship with the word, raise contemporary issues such as the large amount of images we receive from day to day and corroborate the idea that you must have a sharp eye on them. What knowledge can we draw from these relationships? After reading authors, analyzing artistsʼ books, interviewing the artist Edith Derdyk, we looked for an understanding of the dialogue between word and image, their relations, agreements and disagreements. This research concludes with an annexe that describes the experience undertaken with high school students during the creation of artistsʼ books
Doutor
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Daly, Timothy Michael. "Towards a fugitive press : materiality and the printed photograph in artists' books." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617237/.
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The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists' books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. My research examines the discourse surrounding the materiality of the photographic print within artists' publishing and explores book handling as a research method to identify non-codex forms that invite non-sequential reading, physical interaction and touch. The primary purpose of the practice element of my research is to test disruptive making strategies and fugitive materials, in order to make tacit knowledge explicit in the physical forms of prototypes and finished artists' books that operate beyond our horizons of expectations. My practice interconnects the separate fields of documentary photography and curating photography and the vernacular together with visual humour and seeks to restore a connection with the 'thingness' of photography largely absent in the post-digital age.
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McDowall, John Charles. "The time of reading : artists' books and self-reflexive practices in literature." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/20652/.
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This project proposes that the reading of an artist’s book is one that may entail an experience that is distinctive to the medium, one that encompasses a shift of expectations of what a book is or does. That there is an awareness of the book held in the hands, and of its interactivity and deployment in time, and that this combination of tactile and cognitive negotiation of the mechanisms of the book’s structure, sequence and content make for a particularity of engagement. As a dialogical relationship, coming from a personal and infinitely variable experience of the book by its reader/viewer, this is one that is inherently elusive and complex to analyse. In investigating the nature of the temporality of self-reflexive dynamics as an underlying characteristic of the medium, this thesis submits that the foregrounding of the synthesis in time of the mutable and the concrete may be an apposite and constructive approach to exposition and evaluation of this heterogeneous field. The development of this research and the setting out of the enquiry has been undertaken through the production and methodology of my practice, which takes such auto-reflectivity as manifest subject. The thesis approaches the questions by means of the allusion to the occurrences and strategic use of self-conscious metafictional play in literature, not as a directly comparative study but by appraising the effect in terms of relational, and at times implicit association. Following an outline of the contexts of the critical study of artists’ books and of structuralist and post-structuralist narratology and literary theory in terms of the specular, the main portion of the writing is in the form of self-contained sections, in each of which a range of figures and mechanisms are considered, forming an overall constellation of shifting interconnection.
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Pestana, Fernanda Cristina Martins 1985. "Livro : material da dobra e do labirinto /." São Paulo, 2019. http://hdl.handle.net/11449/183356.
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Orientador(a): Agnus ValenteBanca: Susana Oliveira Dias
Banca: Carolina Cantarino Rodrigues
Banca: Omar Khouri
Banca: José Paiani Spaniol
Resumo: Livro: material da dobra e do labirinto pretende testar o fazer de um objeto livro, por entre experimentações e procedimentos artísticos (gráficos, plásticos e digitais), em aproximação com os conceitos de dobra e labirinto do filósofo pós-estruturalista Gilles Deleuze (1991). A inspiração para esta proposta foi a minha dissertação de mestrado intitulada Objetos e afetos (2014, IEL-Labjor, Unicamp), na qual experimentei dar visibilidade ao processo de escrita da pesquisa, deixando visíveis rasuras, correções, apagamentos, com desenhos, manchas de tinta e linhas de costura, em conversas com o artista brasileiro Arthur Bispo do Rosário e com o poeta Manoel de Barros. Com a vontade de dar continuidade à pesquisa, no doutorado buscamos ampliar a trama de conexões entre autores e artistas para investigar a própria tese enquanto abrigo dos diversos gestos e procedimentos da feitura de um objeto livro (ou um livro-objeto). Compor lâminas de espaços-tempos nas quais as relações imagem-texto se desdobrem pelos labirintos da poesia visual de Augusto de Campos, Haroldo de Campos e Julio Plaza, pelas escritas de Jorge Luis Borges, e pelos livros e instalações de Edith Derdyk. Uma pesquisa por superfícies artesanais-digitais que acumulam as camadas dos rumos perdidos, das escolhas traçadas, dos caminhos embaralhados, das referências inspiradoras dos processos do fazer-escrever um livro. Uma tentativa de entrelaçar o tátil, o visual, o sonoro e o semântico, por dobras e redobras da matéria... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Book: fold and labyrinth material aims to test the making of a book object, through experimentation and artistic procedures (graphics, plastics and digital), in close proximity to the concepts of fold and labyrinth by the poststructuralist philosopher Gilles Deleuze (1991). The inspiration for this proposal was my master dissertation entitled Objects and Affects (2014, IEL-Labjor, Unicamp), in which I tried to give visibility to the research writing process, leaving visible erasures, corrections, sketches, with drawings, ink stains and sewing threads, in dialogue with the Brazilian artist Arthur Bispo do Rosário and the poet Manoel de Barros. With the desire to continue the research, in the doctorate we seek to broaden the web of connections between authors and artists to investigate the thesis itself as a shelter of the various gestures and procedures of making a book object (or an object book). A willingness to compose blades of spaces-times in which the imagetext relations unfold through the labyrinths of the visual poetry of Augusto de Campos, Haroldo de Campos and Julio Plaza, through the writings of Jorge Luis Borges, and the books and installations of Edith Derdyk. A search for handmade-digital surfaces that accumulate the layers of the lost directions, the choices drawn, the scrambled paths, the inspiring references of the process of making-writing a book. An attempt to intertwine the tactile, the visual, the sonorous and the semantic, through the folds and the refold... (Complete abstract click electronic access below)
Doutor
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O'Neill, Maureen. "The mystery of mapness : the void between mind and map." Thesis, University of Portsmouth, 2007. https://researchportal.port.ac.uk/portal/en/theses/the-mystery-of-mapness(2ba04379-cba4-45b9-afae-9a0c51c4868e).html.
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This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them.The processes of creating map-like artifacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act In conjunction to influence the artistic and design expression to communicate mapness.
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Macken, Marian. "The Book as Site: Alternative Modes of Representing and Documenting Architecture." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8400.
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Architectural space is usually documented in the form of orthographic projections, that is, plan, section and elevation drawings, with perspective and three-dimensional models. These render the space in a particular way and hence, have limitations and specificity. The artist’s book – that is, a book made as an original work of art, with an artist or architect as author – offers a different mode of presenting documentation and reading representation. This thesis examines the potential for the documentation of space by coupling the artist’s book with the content of post factum architectural documentation. Through an examination of the relationship between the drawing, the building and the book, and various case studies, the potentiality of the book as a site for architecture is examined. This thesis proposes the artist’s book as a complementary, three-dimensional architectural representation with a generational and propositional role within the design process. This examination repositions books within an expanded notion of the design process, which displaces the built object as the endpoint of this process, and investigates the critical facility of artists’ books. The creative work presented for examination comprises three artists’ books – 'Mies van der Rohe: Built Houses'; 'Ise Jingū: Beginning Repeated'; and '$1.45¢: Houses in the Museum Garden: Biography of an Exhibition' – which operate as case studies, within the text. These works are informed by the research of the dissertation and frame the reading of this text. Three other works, undertaken through the course of the study, are also presented, and further explore the ideas presented in the textual enquiry of the thesis.
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Brandon, Katie Emily. "A writerly reading of art : theories of authorship and artists' books, 1960-1980." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505486.
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Little, Laura. "A practice-based exploration of the relationship between artists' books and children's picturebooks." Thesis, Anglia Ruskin University, 2015. http://arro.anglia.ac.uk/701519/.
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This thesis presents a practice‐based exploration of the relationship between narrative and the use of the book form in artists’ books and children’s picturebooks, placing emphasis on the experiential qualities of the physical book. Most of the academic literature on the relationship between artists’ books and children’s picturebooks focuses on the finished book. Taking a practice‐based perspective, I approached this project as a book artist and explored my attempts to make a children’s picturebook. My analysis of the creation of a series of books contextualised with a discussion of literature on artists’ books and children’s picturebooks led to an investigation of the structures of children's picturebooks and the ways in which it overlaps with artists’ books. As a book artist, I had not anticipated my use of the book form to present significant creative challenges. However, the picturebook form imposed a more direct story than I would usually work with when creating artist’s books; new ways of using the book form emerged. My depictions of narrative became more figurative and my use of the book form took on greater subtlety. A key outcome of this research was a discussion from the book artist’s perspective of the process of creating a children's picturebook. An analysis of my practical work demonstrated the possibility of taking an interdisciplinary approach as a way for practitioners to discuss work in progress and finished work, offering insights into the process of both creating and interpreting practical work while investigating the relationship between artists’ books and children’s picturebooks.
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Pagan, Candida. "Pathways to new understanding." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1717.
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The conceptual foundation for my creative thesis work is based in research into the development of science, particularly the field of cosmology, and its related visual vocabulary. Three interrelated projects encompass my interests in unique artists' books and variable editions, research based projects, codified presentation of data, and universal interconnectedness, or oneness in all things, that was at the heart of medieval cosmology and is embraced by some 21st century subcultures.
The thematic timeline of the artwork spans developments in the Early Middle Ages related to astronomy and cosmology and through 20th century guidebooks and NASA's social media accounts. The resulting artwork includes an artist's book, sculptural bookwork, monoprints, and an edition of broadsides.
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Levy, Judith A. "Thesis documentation /." Online version of thesis, 1988. http://hdl.handle.net/1850/11330.
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Cotten, Nicole. "Fool's gold." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6086.
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Fool’s Gold is a collection of handmade books that illustrate selected Grimms’ fairy tales and offer an unexpected interpretation of the actions of the heroes. Each book displays a unique cover decoration, inspired by medieval European treasure bindings. Treasure bindings incorporate dimensional decorative elements such as gems, gold or other metalwork and often depict Christ's suffering. In a similar way, Fool's Gold beautifies the suffering of the protagonists using gold leaf, glass beads and lush illustrations. A traditional hidden fore-edge painting technique is used to reveal more scenes from each story. When the pages are fanned opened, the fore-edge paintings display the gruesome revenge the perceived heroes take upon the villains.
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Ciommo, Iris Di 1950. "Permanências e rupturas de um suporte : livro de artista, estudo de casos." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285327.
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Orientador: Haroldo GalloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Nesta pesquisa estudo e analiso alguns exemplares de livros de artista dos artistas plásticos Luise Weiss e Feres Khoury. Para tanto, a pesquisa detém-se, inicialmente, no estudo da evolução do objeto livro, arquetípico e tracional e as transformações ocorridas em sua forma e na concepção da página - seu elemento primordial - decorrentes do uso de materiais e tecnologias diversas; para depois buscar algumas definições contemporâneas sobre "livro de artista". A intenção destes estudos foi a absorção e apropriação das características fundamentais do livro: objeto portável que reune folhas presas à uma capa, característica esta que induz a um sistema de leitura próprio e as possíveis transgressões e inovações que o livro de artista pode propor ao "pensar" sobre o objeto. Essa pesquisa permitiu a análise dos exemplares escolhidos e sua relação com a manutenção ou não das características fundamentais do objeto livro
Abstract: In this research I study and analyze some examples of artist books by artists Luise Weiss and Feres Khoury. Therefore, the research holds up, initially to study the evolution of the book object, archetypal and traditional and the changes occurring in its form and design the page - its primordial element - from the use of different materials and technologies; and then seek some contemporary definitions of "artist book". The intent of these studies was the absorption and appropriation of the fundamental features of the book: portable object that gathers pages attached to the cover, a characteristic that induces a proper system of reading and possible transgressions and innovations that the artist¿s book may propose to "thinking" about the object. This study allowed the analysis of selected specimens and its relation to the maintenance or not of the fundamental characteristics of the object book
Mestrado
Artes Visuais
Mestra em Artes Visuais
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Fiera, Katia Fernanda. "O espaço do papel e o papel do espaço na construção do livro do artista." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-24112015-102346/.
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Esta dissertação é o resultado de uma investigação sobre as relações entre a construção do livro de artista e sua possível presença na produção de instalações artísticas. Busquei compreender de que maneira a utilização do espaço acontece na arquitetura do livro e no espaço da instalação e relacioná-las. Para isso utilizei como corpus trabalhos meus anteriores ao processo deste mestrado, produzidos entre 2002 à 2012, somados a uma série de trabalhos que produzi durante este período e que apresento junto a este texto. Foram realizadas análises de obras de artistas que considero relevantes dentro do quadro em que se insere esta pesquisa.This work is the result of an investigation on the relationships between the construction of artists\' books and their presence in art installations . I aimed to understand and to relate the use of space in the architecture of books and in installations . For this I used my previous work, produced from 2002 to 2012, before the beggining of my master studies, and also a series of works carried out during this period, which I present together with the text. I also analysed works by artists that I consider relevant within the framework in which this research operates.
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Blankenbaker, Anna L. "Based on a true story : an exploration of the emotional and social ramifications of infertility." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1409585.
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This project focused on the integration of metal and book forms. Each piece addressed infertility and how this condition affects a couple, both physically and socially. The seven projects are connected through content interest and metal-smithing skills. The techniques used include: casting, sheet construction, enameling, hinge construction, resin insets, xerography and silver etching with Image-On. In additional to the metal-based artworks, this creative project also includes six large-scale photographs to illuminate the experiences of infertile individuals and couples. Three contemporary techniques - de-enameling, Image-On transfers, and Xerography - were used for the creation of Based on a True Story. This was the first usage of Image-On transfers and de-enameling during a creative project at Ball State University.Department of Art
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Boncha, Alison. "Designing compelling interfaces : an exploration of the artist book and how its unique interactive experience can influence the graphical user interface /." Online version of thesis, 2008. http://hdl.handle.net/1850/7748.
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Reisberg, Mira. "An A/r/tographic study of multicultural children's book artists : developing a place-based pedagogy of pleasure." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Dissertations/Summer2006/m%5Freisberg%5F062206.pdf.
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Souza, Luis Alberto de. "O corpo marcado : imagens e narrativas de formação docente em arte, na construção de um livro de artista /." São Paulo, 2018. http://hdl.handle.net/11449/157094.
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Orientador: Maristela Sanches RodriguesBanca: Adriana Giarola Kayama
Banca: Joana Mariz de Sousa
Banca: Mônica Pedrosa de Pádua
Banca: Sandra Madureira
Resumo: Este texto é o resultado da pesquisa conduzida durante o curso oferecido pelo Programa de Mestrado Profissional em Artes (PROF-ARTES), no Instituto de Artes da UNESP/SP, cuja proposta é promover a reflexão acerca do processo de criação poética, tendo como base as narrativas de histórias de vida de um grupo de cinco professores de Arte da Rede de Ensino Municipal de São José dos Campos/SP. O artigo busca contribuir para a compreensão da formação de professores de Arte, tomando como recorte suas experiências vividas com a arte e seu processo de ensino.
Abstract: This text is the result of a research led during the course offered by Arts Professional Masters Program (PROF - ARTES), in UNESP Arts Institute - State of Sao Paulo, which purpose is to promote the reflexion about poetic creation process, based on life stories narratives of a five Art teachers' group from Municipal Education Network of Sao José dos Campos, state of Sao Paulo. This article aims to contribute for the comprehension about Art teacher's formation, focusing their life experiences with art s and teaching process.
Mestre
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Tien, Ming-Chang. "Visual representations of an imagined return from a Taiwanese exile : an installation of photographic diptychs with artists' books." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/5c028a5d-b469-4622-9cc2-5cddb51ae978.
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This thesis constitutes five sets of photographic work of self-portraits in diptych form within an installation, with two Artists’ Books and a written component. It explores and visualises my autobiographical condition as an exiled artist from Taiwan, seeking for an imagined return.
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Beltrão, Milena Ferreira Mariz. "Genética teatral na escola : o livro de encenação como elemento formativo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/128915.
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Esta dissertação trata sobre o potencial formativo dos registros durante o processo criativo da encenação em sala de aula. O trabalho parte dos estudos da crítica genética literária, por meio do pensamento de Cecília Almeida Salles, e da Genética Teatral, a partir do pensamento de Josette Féral e Almuth Grésillon sobre a problemática lançada de como fazer os registros em teatro. Esta pesquisa problematiza a efemeridade da encenação diante do processo de registro. A partir disso, é utilizado o processo de montagem do espetáculo A História Secreta da Lua, de autoria da pesquisadora, releitura do mito judaico-cristão da criação humana, com uma turma de treze alunos do ensino médio do Colégio de Aplicação da UFRGS. A pesquisa buscou alternativas para conceber o livro de encenação e refletir sobre a prática do teatro performativo como pedagogia teatral. Buscou-se estabelecer relações entre o processo de criação e o processo de aprendizagem em teatro. A pesquisa baseia-se nos Estudos da Performance para apontar indicadores de pesquisa dentro do campo da Genética Teatral que possibilitem a fabricação dos registros presentes no livro de encenação e as consequências dessa busca no caminho de aprendizagem dos alunos-atores em situação colaborativa de criação. Por intermédio de registros em grupo fechado, colhidos da rede social Facebook, bem como fotografias e registros retirados de gravações em vídeo e diário de trabalho, busca analisar os principais caminhos percorridos para os registros produzidos. Durante esse percurso, os registros colhidos foram selecionados e reunidos na materialidade do livro de encenação, que é resultado do processo, revela quando a qualidade performativa dos registros e contribuindo para o processo de aprendizagem dos alunos-atores por intermédio da indissociabilidade entre os processos criativo e pedagógico. Essa indissociabilidade demonstrou que há uma ampliação do aprendizado para outras referências artísticas além do território do teatro. Os registros quanto ao seu elemento formativo demonstraram ser hábeis em revelar qualidades como: o nível de envolvimento dos alunos no processo criativo e o fortalecimento da identidade de grupo, além de atuar como concretude de uma prática docente que pode ser consultada como referencial mnemônico do processo e mais especificamente dos elementos da encenação. Os registros mostram pela materialidade do livro igualmente, possibilidades de desdobramento na esfera artística e pedagógica o que reforça a constatação da performatividade dos mesmos.This dissertation deals with the formative potential of the records during the creative staging process in the classroom. The work is based from the genetic literary criticism studies from the thoughts of Cecilia Almeida Salles and of the Theatrical Genetics from the thoughts of Josette Féral and Almuth Grésillon about the issue launched on how to make the records in theater. This research discusses the ephemerality of the staging facing the registration process. From this on, it is used the assembly process of the show The Secret History of the Moon, written by the researcher, reinterpretation of the Jewish-Christian myth of the human creation, with a group of thirteen high school students of the UFRGS Application High School. The research sought for alternatives to conceive the staging book and reflect about the practice of the performative theater as theatrical pedagogy. It attempted to establish relationships between the process of creation and the learning process in theater. The research is based on the Performance Studies to point indicators of the research within the Theatrical Genetics field which enable the production of the records presented in the staging book and the consequences of this quest in the path of the learning of the students- actors in the collaborative situation of the creation . Through the records in closed group picked from the Facebook social network, as well as photographs and records taken from video recordings and daily work, seeks to analyze the main paths taken for the records produced. Along the way the selected records were chosen and gathered in the materiality of the staging book, which is the result of the process, revealing the performative quality of the records and contributing to the learning process of the students-actors through the inseparability between the creative and pedagogical processes. This inseparability demonstrated that there is an extension of the learning for the other artistic references beyond the territory of the theatre. The records regarding to their formative element proved to be skillful in revealing qualities such as: the level of the involvement of the students in the creative process and the strengthening of the group identity, besides acting as a concreteness of a teaching practice that can be consulted as a mnemonic reference of the process and more specifically of the staging elements. The records show by the materiality of the book also the possibilities of the deployment in the artistic and pedagogical spheres which reinforces the finding of the performativity of thereof.
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Elen, Albert J. "Italian late-medieval and Renaissance drawing-books from Giovannino de'Grassi to Palma Giovane : a codicological approach /." Leiden : A.J. Elen, 1995. http://catalog.hathitrust.org/api/volumes/oclc/33228704.html.
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Tarbuck, Alice. "'Some particulars' : the poetry and practice of Thomas A. Clark." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/f83543e1-2cf3-4988-a8c7-f802c7b6bae7.
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This thesis is a critical study of the poetry and practice of Thomas A. Clark. It constitutes the first extended critical study of Clark's work. This thesis orients Clark within a network of influence, both historic and contemporary. It does this in order to contextualise and investigate Clark's innovative use of form, theme, and materiality. In Clark's work, form is used to explore and engage with the natural world. These interactions reveal the primacy of close attention in Clark's work, and his understanding of the ethical relationship between form, content, and the natural world. This thesis isolates four geographic features in Clark's work as lenses through which to explore his practice: the Field, the Garden, Concrete, and the Mountain. Thus, the thesis follows the structure of a walk through Clark's work, designed to echo Clark's own walking poetry. These four chapters explore different facets of Clark's influence: The Field chapter investigates Clark's reputation as a pastoralist, and his links to Romanticism, as well as to Charles Olson's open field poetics. Chapter two, 'Composition is a forgotten art': The Garden, explores Clark's engagement with 'domestic nature', and the parallels he creates between the space of the text and the space of the garden, and how this parallel allows for intense formal experimentation in a small space. Additionally, the Garden chapter investigates spaces of rest and recuperation in Clark's work. Chapter three, Thomas A. Clark and Concrete Poetry investigates Clark's relationship with concrete poetry, and how his post-concrete poetics have developed in relation to the broader post-concrete and conceptual art scene in Britain. Finally, Mountain Tasting: Zen and the poetry of Thomas A. Clark examines Clark's relationship with Japanese Zen poetics, and the way in which the 1960s interest in Zen which influenced Objective poetry and minimalism has profoundly influenced Clark's understanding of the ethical function of a text.
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Kaiser, Lesley. "Preserve, renew, invent [Light Bytes] an art exploration into disseminating aphorisms : this exegesis is submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Arts (Art and Design) MAArtDes, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/410.
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The expanding potential for the dissemination and archiving of aphorisms is explored in this practice-based research thesis. An aphorism is a short statement that communicates an insight about the world (and can sometimes function as a guide to action). Eric McLuhan, interviewed in Signs of the Times: The History of Writing (Goëss Video, 1996), suggests that the future of the book is the aphoristic statement. Aphoristic knowledge has traditionally been transmitted through texts and through libraries, but this project brings into play various modes of recirculating aphoristic texts using contemporary distribution networks and digital media such as moving image, projection on to urban screens, artists’ books, archival digital photography and glazed ceramics. Texts ‘virally inhabit’ a number of sites and languages in a series of works situated in the interdisciplinary context of contemporary text art and artists’ books. The sayings rejoin the cultural river of ideas in local and international incarnations. Practice-based work (80%) and exegesis (20%)
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von, Schantz Tylestam Maria. "Eva Klasson : En analys av verk, karriär och reception." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24370.
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The Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern Museum of Art, in Stockholm. She is now presented as a pioneer and a forerunner to the later generation of Swedish women artists working with photo based art and staged photography in the 1990s. This historiographical study revisits Klasson’s work, career and reception in order to examine the prevalent understanding of the artist and her work. There is limited previous research on Klasson. This empirical study is therefore based on Klasson’s works that I have examined first hand at Moderna Museet and Borås konstmuseum. By tracing Klasson’s career and examining the contemporary reception in France and in Sweden one can see that Klasson not only enjoyed wider attention in France than in Sweden but also that she was received and understood differently in the two countries. Today’s prevalent reading of Klasson is to a large extent based on the contemporary reception, which disregards important aspects of her work. By discussing Klasson’s body of work in relation to photography of similar subject matter and aesthetics it become clear that one cannot only discuss her work in terms of photography. It is evident that Klasson’s work comprises of subtle elements that have largely been ignored so far. The prevalent understanding of Klasson also shows to be based on a narrow selection of her work. I argue that Klasson’s working method and artistic expression is formulaic. This becomes evident in the examination of her artist book, Le troisième angle (1976), which set off her artistic career. The artist’s book also forms a background against which this artistic project originally had been formulated and brings new light to Klasson and her work. Her two following series, Ombilic (1977) and Parasites (1978), are modeled on the artist’s book. Therefore these three series, following the same strategy, must be regarded in relation to one another. Furthermore I argue that one needs to pay attention to all parts of her artistic production that together comprise the works. In doing so, this essay, with its historiographical scope, suggests and opens up to new and alternative readings of Klasson’s work.
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Grigolin, Fernanda 1980. "A fotografia no livro de artista em três ações : produzir, editar e circular." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284994.
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Orientador: Fernando Cury de TaccaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Relato de um percurso de pesquisa em arte. Fala-se de um tema, livros, com o qual a autora possui uma relação como artista, pesquisadora e editora. A fotografia e o livro de artista são relacionados sob três aspectos: a produção, a edição e a circulação. É uma proposição que traz uma leitura sobre livros ¿ e divide-se em: uma proposta de escrita, que se aproxima do ensaio literário para falar de livros bem como da escrita pessoal para abordar o contexto; uma proposta de pesquisa em arte atrelada às poéticas visuais, caracterizando a experiência da autora como uma artista que possui produção no tema e pretende interpretá-lo; uma proposta de livro, recôncavo, e suas etapas de produção, edição e circulação
Abstract: A report of the trajectory of an art investigation. The author speaks of a theme, books with which she relates as an artist, a researcher and an editor. The artist photography and book are related by three traits: production, editing, and promotion. It is a reading proposition of books ¿ and is divided in: (1) a writing proposal, which is similar to a literary essay to discuss books, and close to the personal writing to approach context; (2) a research proposal in arts linked to visual poetics and characterizing the author¿s experience as an artist that has other productions in this theme and intends to interpret it; (3) a recôncavo [deep cavity] book proposal, with its phases of production, edition and promotion
Mestrado
Artes Visuais
Mestra em Artes Visuais
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Dixon, Claire. "Printed Matter, Inc., The First Decade: 1976-1986." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/160.
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This thesis provides an account of the events of the first ten years of Printed Matter, Inc., a distribution center for artists’ books established in New York City in 1976. Included are descriptions of the individuals who formed Printed Matter’s first board, their objectives, books published by Printed Matter, and the windows installation program. This thesis also describes challenges the board members faced, including lack of organization, difficulty cultivating a broad public audience, and inadequate income. In addition, it recounts the gradual streamlining of business practices, and the realignment of goals and expectations for the genre as board members accepted the fact of a limited audience for artists’ books. The conclusion offers a brief summary and a look at Printed Matter, Inc.’s current operations.
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Herrmann, Laura Renee. "African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo, 1598." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000573.
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Sitzia, Emilie. "L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola." Åbo : Åbo Akademis Förlag, 2004. http://books.google.com/books?id=mzRlAAAAMAAJ.
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Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.
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This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
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Araújo, Hanna T. G. P. 1982. "Livros de Imagem = três artistas narram seus processos de criação." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284969.
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Orientador: Lúcia Helena ReilyDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T08:22:24Z (GMT). No. of bitstreams: 1 Araujo_HannaT.G.P._M.pdf: 64424296 bytes, checksum: 0ea59cb6a76faf9ee2caf4fe0ade1f97 (MD5) Previous issue date: 2010
Resumo: Esta pesquisa visou investigar o processo criativo de artistas plásticos que produzem livros de imagem no sentido de compreender os modos de sua produção poética e criativa da narração visual. Os livros de imagem são produções nas quais a narrativa é desenvolvida a partir da sequência de imagens, visando, geralmente, ao público infantil. Para o desenvolvimento desta pesquisa, escolhemos três renomados e premiados artistas na categoria livro de imagem, cujos processos criativos de construção narrativa serão o objeto do estudo. A abordagem da psicologia que fundamenta a pesquisa é a sociocultural (tendo Lev S. Vygotsky, como principal expoente), com apoio das contribuições de Fayga Ostrower e Ernst Gombrich no campo das artes visuais. Os dados foram coletados por meio de entrevistas semi-estruturadas, filmadas em vídeo e transcritas. Neste estudo, pudemos vislumbrar as especificidades que permeiam os processos criativos de narrativas visuais, nos quais, pautados na experiência, o artista estrutura suas obras sem que esteja, necessariamente, consciente dos modos que o faz. Por outro lado, observamos que suas intenções baseiam-se na tentativa de ampliação de repertório imagético de seus leitores, corroborando na formação estética das crianças
Abstract: The aim of this study was to investigate the creative processes of three visual artists that produce picture books, in order to understand how poetic production and visual narratives are engendered. Picture books, geared, usually, towards children, are works in which the narrative is developed through a sequence of images. In this study, three renowned artists who have won several prizes in the picture book category (namely André Neves, Angela Lago e Graça Lima) participated in the study, discussing their creative processes in narrative construction. The study is founded on the sociocultural approach (Lev S. Vygotsky being the main exponent of this theoretical construct). Othercontributions came from the writings of Fayga Ostrower and Ernst Gombrich in the field of visual arts. The data was collected using semi-structured interviews that were filmed and transcribed. In this study, we were able to uncover characteristics that permeate these artists' creative processes for making visual narratives. The artists draw on the own artistic experiences, childhood memories, and visual references, in order to structure their compositions, though this process may not always be a conscious one. As they Interact and negotiate with publishing houses, the artists reported that their aim is to broaden the visual repertoire of their readers, contributing to children's aesthetic development
Mestrado
Artes Visuais
Mestre em Artes
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Sánchez, Txuma. "Prácticas artísticas contemporáneas y edición de artista." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458029.
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La investigación que desarrolla esta tesis doctoral aborda el proceso de regeneración producido en la edición de artista en España –libro de artista y ediciones especiales de artista–, a partir del año dos mil. Así como la subsiguiente consolidación de este tipo de prácticas artísticas a lo largo de toda la primera década del siglo XXI, durante la llamada “Década de oro” de la edición de artista española.
En esta tesis realizamos una revisión crítica de los precedentes que impulsaron este proceso de regeneración –desde principios de los años setenta y hasta finales de los años noventa principalmente–, y nos sumergimos, asimismo, en los parámetros sobre los que se asienta su posterior afianzamiento y consolidación durante los años dos mil, en tanto que campo plenamente autónomo dentro de la creación artística contemporánea.
Es a partir de esta revisión y su análisis que rebatimos las lecturas tradicionales que han interpretado la edición de artista como un conjunto de prácticas subalternas, en relación a otras disciplinas artísticas. Lecturas que la han circunscrito y encasillado en taxonomías asociadas solo a sus procesos técnicos y disciplinarios, alejándolas, erróneamente creemos, de aquellos debates y transformaciones instituidos durante los últimos treinta años en la centralidad artística contemporánea.
A la hora de vertebrar los argumentos para rebatir estas lecturas simplificadas abordamos diferentes casos de estudio, ordenados cronológicamente desde principios de los años setenta y hasta llegar a finales de la década de los años dos mil. Algunos de estos casos pivotan sobre la transformación vivida durante este periodo por la propia edición como espacio de experimentación, cada vez más auto-consciente y enriquecido. Otros analizan los procesos graduales de relación que la edición sostuvo, e implementó progresivamente entretanto, con diferentes ámbitos: como el institucional, el político, el formativo, o el productivo. Por último el resto de casos en los que nos detenemos investigan, y ponen de manifiesto, la re-articulación y emergencia de los nuevos roles, que se desplegaron a partir del inicio del nuevo siglo, principalmente a partir del año dos mil, entre los propios agentes implicados y sus estrategias internas de relación.
Con ello ejemplificamos la predisposición y determinación con que estos casos influyeron en el florecimiento que se dio en nuestro país en la edición de artista durante la primera década de este siglo. Y desciframos las complejidades sobre las que se asienta este despertar: no solo atendiendo a los cambios sufridos en los modelos de creación, sino también fijándonos en las interrelaciones que desde instancias culturales y políticas se manifestaron como importantes en un conjunto más amplio de interacciones.
Algunas de las cuestiones en este sentido que acaban emergiendo durante nuestro trabajo atienden así a diferentes vectores. Por ejemplo señalamos la importancia que adquieren en este proceso de renovación los legados conceptuales y sus actualizaciones neo-conceptuales: ejemplificadas en el repunte en el uso del documento y el archivo en la edición, en el fortalecimiento de las prácticas procesuales y desmaterializadas, y en un nuevo acercamiento a la cultura del proyecto. También marcamos la influencia de los modelos de creación alternativos de los años ochenta: fraguados al margen de la comercialidad y basados en la constitución de redes de auto-producción y auto-distribución, que se revitalizaron notablemente y de maneras particularmente innovadoras en los dos mil con un reencuentro con el DIY y las estrategias de colectivización. Nos percatamos de las confluencias de la edición con el retorno a lo político, producido en el arte durante los años noventa, y representado, entre otras cuestiones, por el reencuentro con las responsabilidades del arte hacia la esfera pública y de la esfera de lo real; por el reconocimiento de la globalización y sus consecuencias sobre la reformulación crítica de las identidades en lo social, cultural o histórico; por la apertura de la subjetivización en el espacio institucional del arte; por la atención al nuevo papel de los media en esta confrontación; o por la exploración en la construcción de memorias críticas, más allá de los relatos institucionalizados sobre las sexualidades, la geografía política o la economía neoliberal.
La relación que establecemos entre los casos de estudio y la vertebración de la nueva edición de artista en España, que pretendemos clarificar, se afianza sobre una circulación simultánea y sincopada a través de diversos planos documentales y reflexivos. Uno de ellos es de la formulación de diferentes posibles genealogías como una intrahistoria de la propia edición, con saltos hacia atrás y hacia adelante no necesariamente estructurados en una única línea discursiva. Otro es el de los contextos geográficos. En este sentido, nos sumergimos especialmente en el contexto catalán, sobre el que creemos demostrar que se instituye el paradigma más visible de esta regeneración especial de la edición española, ya desde su primera incubación ahora hace cerca de cuarenta años. Contexto valedor, por ejemplo, de la influencia que adquiere el desarrollo del diseño gráfico español en la creación artística, en sus vertientes experimentales y formativas principalmente; valedor también de la transformación en los consumos culturales y en la creación que provocó la cultura de clubs de los años noventa, radicada principalmente en Barcelona y en su dimensión menos elitista y superficial; o asimismo certificador de la adaptación de la creación editorial artística a las nuevas tecnologías de la producción, la distribución, la transformación de las autorías o las trasferencias disciplinarias que acaecieron.
Esta tesis formula así un prototipo abierto para la lectura de la evolución y consolidación de la edición de artista española en la década de los años dos mil, asentado en sus referentes históricos directos, sus transiciones e implicaciones intra y extra-artísticas, así como en sus propias motivaciones, pruebas, espejismos y certezas.
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Slippers, Beatrice Barbara. "'n Ding wat homself dra : Anne Carson se Nox as visuele en poetiese ondersoek na haar broer se lewe en dood en Afskrif." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/98038.
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Thesis (MA)--Stellenbosch University, 2016AFRIKAANSE OPSOMMING: Hierdie tesis is ’n studie van Anne Carson se boek Nox wat die vorm, voorkoms, prosesse en samestelling van die teks ondersoek en analiseer. Dit probeer tot ’n begrip kom van presies hoe Carson “a brilliantly curated heap of scraps” verwerk tot ’n outonome kunswerk, “a thing that carries itself.” In die eerste gedeelte van die tesis word Nox as voorbeeld van ’n kunsboek (“artists’ book”) beskou. Nox se inhoud en voorkoms word gemeet aan die definisie en kenmerke van kunsboeke en binne die konteks van die geskiedenis van boekkuns as praktyk geplaas. Daar word veral gefokus op die visuele aard van Nox, die maniere waarop die boek verskil van meer konvensionele tekste, die selfbewustheid en selfrefleksie wat in die teks manifesteer en die eenheid van vorm en inhoud wat die outeur/kunstenaar bewerkstellig. Die tweede gedeelte ondersoek hoe vertaling op verskillende vlakke as proses in die skep van Nox funksioneer. Die fragmente en brokstukke waaruit die teks bestaan word deur middel van vertaling tot ’n eenheid gebind. Die proses van lewensbeskrywing word op metaforiese vlak as ’n soort vertaling gesien, wat parallel staan teenoor die letterlike vertaling van Catullus se “Gedig 101” wat op die bladsye van Nox plaasvind. Terselfdertyd verteenwoordig die wyse waarop ’n private objek (Carson se notaboek waarin sy die oorspronklike brokke byeengebring het) verwerk word tot ’n publieke kunswerk (die kunsboek Nox) ’n volgende vlak van vertaling wat die ander twee vlakke omarm en bevat. Deur middel van ’n proses van intersemiotiese vertaling skep Carson in die kunsboek Nox ’n weergawe van “Gedig 101”. Die manier waarop die gedig betekenis skep word in ander tekensisteme in die kunsboek nageboots. In die laaste afdeling word semiotiek aangewend as teoretiese raamwerk waarbinne ’n teks wat uit verskillende media saamgestel is, ondersoek kan word. In dié gedeelte word ’n stiplees van Nox onderneem om te demonstreer presies hoe Carson die fragmente en brokstukke verwerk om ’n samehangende eenheid te skep. Daar word aangedui dat die teks gelees kan word as ’n vertraagde, verskerpte en ontplofte vertaalhandeling wat uitdrukking en vorm gee aan menslike smart. Die bundel Afskrif bestaan uit gedigte wat die moontlikheid van oorspronklikheid ondersoek en op verskillende maniere kyk na replikas, afskrifte, kopieë en herskrywings.
ENGLISH ABSTRACT: This thesis is a study of Anne Carson’s book Nox. It investigates the form, aesthetic, process and composition of the text, and attempts to come to an understanding of the way in which Carson transforms a “brilliantly curated heap of scraps” into an autonomous artwork, “a thing that carries itself.” The first section of the thesis discusses Nox as an example of an artist’s book. The content and appearance of the book are measured against the definition and characteristics of artist’s books, before it is placed within the context of the history of bookwork as an artistic practice. The visual nature of the book, the ways in which it challenges conventions of bookmaking, its self-consciousness and self-reflexivity, as well as the author/artist’s means of creating unity between form and content are emphasised. The second section of the thesis investigates how translation is used at different levels in the process of creating the work. Translation is used as a way of drawing together the fragments and scraps from which Nox is essentially made. At a metaphoric level, the process of life writing is seen as a form of translation, which also runs parallel to the literal translation of Catullus’ “Poem 101” contained in the pages of Nox. At the same time, the transformation of a private object (Carson’s personal notebook in which she collected the original scraps) into an artwork for public consumption (the artist’s book Nox) represents a third level of translation, which embraces and contains the other two. Through a process of intersemiotic translation, Carson creates a version of “Poem 101” in her artists’ book that mimics the way in which the poem creates meaning. In the last section of the thesis, semiotics is applied as a theoretical framework to facilitate the reading of a text in which various media is present. A close reading of Nox is undertaken to demonstrate exactly how Carson goes about processing the fragments and scraps into a coherent unity. The close reading reveals that Nox can be read as a slow, intensified and exploded exercise in translation that gives expression to grief. The collection of poems entitled Afskrif consists of poems which question the possibility of originality and investigates replicas, photocopies, copies and rewritings in different ways.
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Ferreira, Rikus. "'n Ondersoek na en dekonstruksie van die taal (beeld en teks) vervat in die visuele narratief met spesiale verwysing na die komiekstripmedium." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52963.
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Thesis (MA)--Stellenbosch University , 2002.ENGLISH ABSTRACT: This thesis is concerned with a study of the two basic elements of communication, namely image and text. How these basic communication tools function in the genre of the visual narrative with regard to their roles in the comic strip and the artist's book, will be examined. Both genres, the comic book and the artist's book, consist of complex structures regarding their workings in the framework of the visual narrative, and this work explores these complexities by analysing how image and text function in the visual narrative. The area of semiotics is used as a basis on which the arguments in this thesis are built. The principles contained in semiotics act as useful guidelines in the reading and understanding of communication in general, but in this study these principles give focus and structure to the research of especially the comic strip and the artist's book. Concepts that are discussed in depth include the interesting interactions which occur between image and text when they are used together. Signs, icons, symbols and how they function with (or without) text, are also examined. Text can also function as image, and this visualisation of text is explored. The role of concepts like interpretation, perception, the study of images and image-association, are all very important in the visual communicator's eventual success with his/her communication. How these concepts influence the creation and forming of one's visual intelligence and visual literacy, and the eventual effect it has on the process of communication, make up a very important part of this study. These arguments lead to a discussion of the dynamics contained in the visual narrative when looked at from a semiotic perspective. Central to the discussion on the visual narrative in this thesis, is the differentiation between two similar genres: 1) Firstly, a discussion of the functioning of the comic strip medium. Important aspects of this subject are the interactions of image and text, and how the comic medium consists of a unique set of symbols, which influence the specific communication in this genre. 2) Secondly, the genre of the artist's book, and how the medium of the book functions as a unique phenomenon in communication. The systems of meaning contained in the medium of the book are looked at against the light of a semiotic analysis of text and image. This research supports the importance of a semiotic approach as a helpful aid in the interpretation of any piece of communication, but especially that of the comic strip medium and the artist's book. The theories of Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty and Umberto Eco are used as basis of the arguments in this thesis and serve as valuable ground for a useful discourse. The implementation of above mentioned theories lead to an indication of the complexities involved in the special visual language of the comic strip and the artist's book.
AFRIKAANSE OPSOMMING: Hierdie studie is gemoeid met 'n ondersoek na die twee basismiddele of "taal" van kommunikasie, naamlik beeld en teks. Hoe hierdie basiese kommunikasiegereedskap funksioneer in die visuele narratief, met verwysing na veral die komiekstrip en die kunstenaarsboek, word ondersoek. Beide van laasgenoemde genres beskik oor komplekse strukture in hul bestaan binne die raamwerk van die visuele narratief, en hierdie navorsing ondersoek hierdie kompleksiteite deur die funksionering van beeld en teks in die visuele narratief te ontleed. Die area van semiotiek word as basis gebruik waarop die argumente in die tesis gebaseer is. Die beginsels vervat in die rigting van semiotiek tree op as 'n handige hulpmiddel in die lees en verstaan van enige vorm van kommunikasie, maar in hierdie studie verleen dit veral fokus en struktuur aan die navorsing binne die raamwerk van die komiekstrip en kunstenaarsboek. Konsepte wat in diepte bespreek word met die oog op hul uiteindelike funksionering binne die visuele narratief, sluit die interessante interaksies wat ontstaan tussen beeld en teks wanneer hulle saam gebruik word, in. Konsepte soos tekens, ikone en simbole, asook hul werking saam met teks (en afsonderlik daarvan), word bespreek. Teks kan in werklikheid ook as visuele beeld funksioneer, en hierdie "ikonifisering" of "beeldwording" van teks word ondersoek. Die rol van konsepte soos interpretasie, persepsie, beeldherkenning en assosiasie, wat uit hierdie proses van visuele kommunikasie voortspruit, is baie belangrik in die visuele kommunikeerder se uiteindelike sukses met sy/haar poging tot kommunikasie. Hoe hierdie konsepte aanleiding gee tot die skep van 'n persoon se "visuele intelligensie" en "visuele geletterdheid", en die uiteindelike effek wat dit op die proses van kommunikasie het, maak 'n belangrike deel van hierdie navorsing uit. Hierdie konsepte lei tot 'n bespreking van die dinamika van die visuele narratief wanneer daar vanuit 'n semiotiese oogpunt daarna gekyk word. Sentraal tot die bespreking van die visuele narratief in hierdie tesis, kan daar tussen twee ooreenkomstige genres onderskei word: 1) Eerstens is daar 'n bespreking van die funksionering van die komiekstripmedium. Belangrike aspekte van hierdie onderwerp is die funksionering van en interaksies tussen beeld en teks binne die medium, en hoe die stripmedium bestaan uit 'n unieke stel simbole wat die kommunikasie van die werk beïnvloed. 2) Tweedens die genre van die kunstenaarsboek, en hoe die boek as unieke medium funksioneer, word bespreek en ontleed. Die sisteme van betekenis vervat in die visuele narratief betrokke in die boekmedium, word beskou teen die lig van 'n semiotiese ondersoek na die interaksies van die basismiddele beeld en teks. Hierdie navorsing steun die belangrikheid van semiotiek as hulpmiddel in die interpretasie van enige stuk kommunikasie, maar veral in die stripmedium en die kunstenaarsboek. Die studie maak veral gebruik van die teorieë van Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty en Umberto Eco. Die toepassing van bogenoemde teorieë in hierdie studie, lei tot 'n aanduiding van die kompleksiteite vervat in die spesiale "visuele taal" van veral die komiekstrip en die kunstenaarsboek.
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Kohashi, Andrea Aya. "A question of efficiency." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1666.
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Estrada, de Isolbi Ana Paula. "Documenting Life Stories through Artist Books." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/386567.
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I was there (vol. I and II) is a set of two limited-edition artist books that portrays and tells the life stories of Kevin and Esta, two unrelated older individuals who live close to my home. I was there translates my conversations with them into a material form through an unconventional combination of text, image, the blank space of the page, and the book structure itself. The tasks involved in the production of the artist books expanded to include photography, audio and video recordings, transcription, designing, printing and publishing.
Accompanying the artworks, this exegesis reflects a critical exploration of issues surrounding the notions of language, storytelling, portraiture and representation, and unpacks ideas that concern and respond to a wider ongoing conversation found in the literature. In particular, the research responds to and draws upon Mexican artist Ulises Carrión‘s definition of the artist book; Italian microhistorian Carlo Ginzburg‘s theory of signs; American literature professor Walter Ong‘s ideas on the impact of the invention of writing; and the work of German philosopher Benjamin Walter and French literary theorist Roland Barthes. Within this framework, the research outcome demonstrates an original way of communicating life stories and proposes the artist book as an alternative space for documentary work.Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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