Dissertations / Theses on the topic 'Robert Smithson'
To see the other types of publications on this topic, follow the link: Robert Smithson.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 45 dissertations / theses for your research on the topic 'Robert Smithson.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Ewbank, Antônio Gabriel Gonçalves. "Escritos de Robert Smithson." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01032013-114329/.
Full textAbstract:
Esta pesquisa parte da obra do artista norte-americano Robert Smithson (1938-1973), sobretudo de seus escritos deixados. Desde o início, a vontade era a de andar às voltas de um modo específico de conhecimento do mundo: escrever sobre a intricada relação entre teoria e prática no campo das artes visuais. Estudo cujo conteúdo teve por lastro as referências - literárias, artísticas, teóricas e históricosociais - sintetizadas nos textos do artista eleito. Tal contexto de trabalho conduziu as análises deste ensaio, cada forma determinada por seu próprio repertório. Escavando assuntos com palavras, sempre rente à coleção de escritos de Robert Smithson. Experimento por acabar, resta um conjunto composto por dezessete pequenos fragmentos. A execução desta montagem representa uma adaptação ensaiada repetidas vezes diante de um espelho. O tiro partiu de local pouco conhecido; o cartucho era de festim: ricocheteou até perder força e cair, por fim.This research departs from the oeuvre of the American artist Robert Smithson (1938-1973), especially from the writings he left. From the beginning, the will was to surround a specific way of knowing the world: to write about the intricate relation between theory and practice in the visual arts field. Study whose content had as its ballast the references - literary, artistic, theoretical, historical and social - synthesized in the texts of the elected artist. Such work context conducted the analysis of this essay, each form determined by its own repertoire. Excavating subjects with words, always close to the collected writings of Robert Smithson. Unfinished experiment, a set made up of seventeen small fragments remains. The execution of this assemblage represents an adaptation rehearsed repeatedly before a mirror. The shot came from little-known site; it was a blank cartridge shot: ricocheted till it lost strength and fell, at last.
2
Martin, Timothy Daniel. "Robert Smithson : writings, sculptures, earthworks." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324920.
Full text
3
Castilho, Joao Teixeira. "A fotografia entrópica de Robert Smithson." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/JSSS-8E4HLY.
Full textAbstract:
Departing from Robert Smithsons work involving photography, the concept of entropy will be analyzed in Smithsons work as a central notion in his production and also as a funding ground on which photographic language will be built. Such works take part in an artistic renovation of photography, outside its documental tradition. A study of Smithsons artistic and textual production will be developed, with focus on some of his main concepts, such as geological time, enantiomorfism and underside ruins. Such study will culminate in an understanding of how the American artists work and concepts are deeply related tomy own artistic production.A partir de um recorte dos trabalhos de Robert Smithson que envolvem a fotografia, ver-se-á como o conceito de entropia, noção central em sua obra, funda sua linguagem fotográfica, bem como esses trabalhos participam de uma renovação artística da fotografia fora da tradição documental. Desenvolve-se, então, uma análise mais detida de sua produção artística e de seus textos, pontuando conceitos importantes como ruínas ao avesso, tempo geológico e enantiomorfismo. Por fim, busco compreender como a obra e os conceitos trabalhados pelo artista norte-americano mantêm pontos de contato com minha própria produção.
4
Maffei, Maud. "Robert Smithson et la cybernétique : langage, technologie et abstraction." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080057.
Full textAbstract:
L’oeuvre de Robert Smithson (1938-1973) connaît un regain d’intérêt depuis le début duXXIème siècle. Cependant l’importance de l’impact des théories de la cybernétique sur sonoeuvre a été peu soulignée jusqu’ici. En prenant comme piliers les écrits et carnets de RobertSmithson notre recherche consiste en une analyse de cet impact dans la pensée et l’oeuvre del’artiste à travers l’étude des rapports étroits qu’y occupent le langage, la technologie etl’abstraction artistique.A partir des principes de la cybernétique, Smithson formule une critique de l’abstractionmoderniste et pose les bases de sa pratique plastique. S’attachant à des questions à l’oeuvre encybernétique, il saisit que se mettent en jeu de nouveaux problèmes de représentation. Ilréaffirme alors un fondement sémiotique aux arts plastiques, à savoir une structure invisiblefondée sur le langage qui est essentielle dans l’art classique.Les oeuvres de Smithson effectuent des pivotements du sens qui se révèlent aux différentsniveaux que nous étudions dans les trois parties de la thèse : pivotement de la notiond’atemporel telle que traditionnellement envisagée dans la culture occidentale (I), pivotementde l’abstraction moderniste (II), pivotement du rapport au temps et à la mémoire (III). Cestrois formes de pivotement tendent à repenser les formes de l’oeuvre d’art à l’âge del’électronique.En analysant la manière dont l’oeuvre de Smithson se construit, comment elle fonctionne et cequ’elle implique sur la durée, nous montrons en quoi les problèmes plastiques et esthétiquesque pose Smithson au moment de la révolution électronique dans les années 1960-1970résonnent avec la situation de l’art contemporain à l’heure de la révolution numériqueThe work of artist Robert Smithson (1938-1973) enjoys a renewed interested since thebeginning of the XXIst century. However, the importance of the impact of cybernetic theorieson his work has not been stressed so far. Taking as essential basis Robert Smithson’snotebooks and writings, this dissertation consists in an analysis of the impact of cybernetics inhis thought and art through the close relationships between language, technology and artisticabstraction.With the principles of cybernetics, Smithson formulates a critique of modernist abstractionand builds the foundations of his plastic practice. Focusing on issues at stake in cybernetics,he is aware of new representation problems. He then reaffirms a semiotic basis for visual arts,namely an invisible structure that is essential in classical art.Smithson’s works realize rotations of meaning that appear at the different levels that we studyin the three parts of the dissertation: rotation of the notion of timelessness as traditionallydealt with in Western culture (I), rotation of modernist abstraction (II), rotation of the relationto time and memory (III). With these three types of rotations Smithson rethinks the forms ofthe artwork in the age of electronics.We analyze how Smithson’s work constructs, how it operates and what it implies over time.We show how the plastic and esthetic issues Smithson contemplates at the time of theelectronic revolution in the years 1960-1970 resonate to the present day with the situation ofcontemporary art at the time of the digital revolution
Seit dem Anfang des 21. Jahrhunderts erfährt das Werk von Robert Smithson (1938-1973) ein erneutes Interesse. Jedoch, wurde die Bedeutung der Auswirkung von Theorien der Kybernetik auf sein Werk bis heute nur wenig aufgezeigt. Mit Smithsons Schriften und Notizbücher als Ausgangsbasis, analysiert die Vorliegende Untersuchung den Stellenwert der Kybernetik in seinem Denken und seinem Werk durch die engen Beziehungen, die Sprache, Technologie und künstlerische Abstraktion dort eingehen. Ausgehend von den Prinzipien der Kybernetik, formuliert Smithson eine Kritik der modernistischen Abstraktion und legt den Grundstein für seine eigene künstlerische Arbeit. Als er sich für Fragestellungen der Kybernetik interessiert, erkennt er, dass sich in ihr neue Darstellungsprobleme stellen. Er bekräftigt daraufhin eine semiotische Grundlage der bildenden Kunst, nämlich eine unsichtbare, auf Sprache gründende Struktur, wie sie der klassischen Kunst wesentlich ist. Die Werke von Smithson vollziehen Umkehrungen des Sinns auf verschiedenen Ebenen, die in drei Teilen der Dissertation untersucht werden: Umkehrung der traditionellen Vorstellung des Zeitlosen in der westlichen Kultur (I), Umkehrung der modernistischen Abstraktion (II), Umkehrung des Verhältnisses zu Zeit und Gedächtnis (III). Diese drei Umkehrungsformen zielen darauf, die Formen des Kunstwerks im elektronischen Zeitalter neu zu denken.Wir analysieren, auf welche Weise sich Smithsons Werk konstruiert, wie sie sich vollzieht und welche Implikationen sie im Laufe der Zeit mit sich bringt. Damit zeigen wir, inwieweit die plastischen und ästhetischen Probleme, die Smithson im Zeitalter der elektronischen Revolution in den Jahren 1960-1970 aufwirft, bis heute mit der Situation der zeitgenössischen Kunst im Zeitalter der digitalen Revolution von Bedeutung sind
5
Maffei, Maud. "Robert Smithson et la cybernétique : langage, technologie et abstraction." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080057.
Full textAbstract:
L’oeuvre de Robert Smithson (1938-1973) connaît un regain d’intérêt depuis le début duXXIème siècle. Cependant l’importance de l’impact des théories de la cybernétique sur sonoeuvre a été peu soulignée jusqu’ici. En prenant comme piliers les écrits et carnets de RobertSmithson notre recherche consiste en une analyse de cet impact dans la pensée et l’oeuvre del’artiste à travers l’étude des rapports étroits qu’y occupent le langage, la technologie etl’abstraction artistique.A partir des principes de la cybernétique, Smithson formule une critique de l’abstractionmoderniste et pose les bases de sa pratique plastique. S’attachant à des questions à l’oeuvre encybernétique, il saisit que se mettent en jeu de nouveaux problèmes de représentation. Ilréaffirme alors un fondement sémiotique aux arts plastiques, à savoir une structure invisiblefondée sur le langage qui est essentielle dans l’art classique.Les oeuvres de Smithson effectuent des pivotements du sens qui se révèlent aux différentsniveaux que nous étudions dans les trois parties de la thèse : pivotement de la notiond’atemporel telle que traditionnellement envisagée dans la culture occidentale (I), pivotementde l’abstraction moderniste (II), pivotement du rapport au temps et à la mémoire (III). Cestrois formes de pivotement tendent à repenser les formes de l’oeuvre d’art à l’âge del’électronique.En analysant la manière dont l’oeuvre de Smithson se construit, comment elle fonctionne et cequ’elle implique sur la durée, nous montrons en quoi les problèmes plastiques et esthétiquesque pose Smithson au moment de la révolution électronique dans les années 1960-1970résonnent avec la situation de l’art contemporain à l’heure de la révolution numériqueThe work of artist Robert Smithson (1938-1973) enjoys a renewed interested since thebeginning of the XXIst century. However, the importance of the impact of cybernetic theorieson his work has not been stressed so far. Taking as essential basis Robert Smithson’snotebooks and writings, this dissertation consists in an analysis of the impact of cybernetics inhis thought and art through the close relationships between language, technology and artisticabstraction.With the principles of cybernetics, Smithson formulates a critique of modernist abstractionand builds the foundations of his plastic practice. Focusing on issues at stake in cybernetics,he is aware of new representation problems. He then reaffirms a semiotic basis for visual arts,namely an invisible structure that is essential in classical art.Smithson’s works realize rotations of meaning that appear at the different levels that we studyin the three parts of the dissertation: rotation of the notion of timelessness as traditionallydealt with in Western culture (I), rotation of modernist abstraction (II), rotation of the relationto time and memory (III). With these three types of rotations Smithson rethinks the forms ofthe artwork in the age of electronics.We analyze how Smithson’s work constructs, how it operates and what it implies over time.We show how the plastic and esthetic issues Smithson contemplates at the time of theelectronic revolution in the years 1960-1970 resonate to the present day with the situation ofcontemporary art at the time of the digital revolution
Seit dem Anfang des 21. Jahrhunderts erfährt das Werk von Robert Smithson (1938-1973) ein erneutes Interesse. Jedoch, wurde die Bedeutung der Auswirkung von Theorien der Kybernetik auf sein Werk bis heute nur wenig aufgezeigt. Mit Smithsons Schriften und Notizbücher als Ausgangsbasis, analysiert die Vorliegende Untersuchung den Stellenwert der Kybernetik in seinem Denken und seinem Werk durch die engen Beziehungen, die Sprache, Technologie und künstlerische Abstraktion dort eingehen. Ausgehend von den Prinzipien der Kybernetik, formuliert Smithson eine Kritik der modernistischen Abstraktion und legt den Grundstein für seine eigene künstlerische Arbeit. Als er sich für Fragestellungen der Kybernetik interessiert, erkennt er, dass sich in ihr neue Darstellungsprobleme stellen. Er bekräftigt daraufhin eine semiotische Grundlage der bildenden Kunst, nämlich eine unsichtbare, auf Sprache gründende Struktur, wie sie der klassischen Kunst wesentlich ist. Die Werke von Smithson vollziehen Umkehrungen des Sinns auf verschiedenen Ebenen, die in drei Teilen der Dissertation untersucht werden: Umkehrung der traditionellen Vorstellung des Zeitlosen in der westlichen Kultur (I), Umkehrung der modernistischen Abstraktion (II), Umkehrung des Verhältnisses zu Zeit und Gedächtnis (III). Diese drei Umkehrungsformen zielen darauf, die Formen des Kunstwerks im elektronischen Zeitalter neu zu denken.Wir analysieren, auf welche Weise sich Smithsons Werk konstruiert, wie sie sich vollzieht und welche Implikationen sie im Laufe der Zeit mit sich bringt. Damit zeigen wir, inwieweit die plastischen und ästhetischen Probleme, die Smithson im Zeitalter der elektronischen Revolution in den Jahren 1960-1970 aufwirft, bis heute mit der Situation der zeitgenössischen Kunst im Zeitalter der digitalen Revolution von Bedeutung sind
6
Maffei, Maud [Verfasser]. "Robert Smithson and Cybernetics: Language, Technology and Abstraction / Maud Maffei." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1152264281/34.
Full text
7
MARTINS, TATIANA DA COSTA. "ROBERT SMITHSON: ... LA TERRE, SUJET AUX CATACLYSMES, C’EST UNE MASTER CRUELLE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15171@1.
Full textAbstract:
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICORobert Smithson, artiste américain du Land Art, cherche élargir son champs d’actuation cuturelle, ainsi, l’artiste joue sur le limite entre les moyens artistiques. Ses actions – dans lequelles il y avait l’indissoluble lien entre la matière et l’esprit comme tourbillion générateur – font avancer des fractures, soit dans l’universe de l’art, soit dans le monde correspondant, qui permetent d’éclosion de ses ouevres poétiques et ses jeus artistiques. L’artiste ne valorise aucun moyen d’actuation, pourtant, il imagine le panorame zero – un territoire fictif de les possibilités plastiques – apartir duquel reformule imaginement du temps et de la nature. Dans ses articles, Robert Smithson manifeste des autres sens pour le faire artistique – évidement il y gère un genre de detourne sur la circulation de la production – et il pars encore à l’illimitée assimilation de ses dispositives opératoires au-délà de sa transitivité : site et nonsite, dialetique entropique, atopie, échelle, cristaux inorganiques, miroirs, chartes, dédales, deplacement, materialité, paysage, dérive et, à la fin, l’écriture. Toutefois, ceux éléments ne sont pas aléatoires ; ils y traversent, en gross, la qualité de l’actualité dans l’art – à travers d’une tension productrice – du circuit artistique et les mouvements révécus, paradoxalment par Smithson, du romantismes, l’allemand, poétique et philosophique d’élan verbale ; et le sublime, comme experience de la formation de la culture américaine.
Robert Smithson, artista americano da Land Art, procura ampliar seu campo de atuação cultural, para isso, o artista atua no limite entre os meios artísticos. Suas ações - nas quais o indissolúvel vínculo entre matéria e mente seria o vórtice engendrador - promovem fraturas, seja no universo da arte, seja no correspondente mundo, que permitem a eclosão das suas obras poéticas e seus jogos artísticos. O artista não privilegia meio algum de atuação, contudo, fabula o panorama zero - território fictício das possibilidades plásticas – a partir do qual reformula imaginativamente tempo e natureza. Em seus textos, Robert Smithson evidencia outros nexos para o fazer artístico – evidentemente gerando ainda o desvio na circulação da produção - e parte para assimilação irrestrita de seus dispositivos operatórios e sua transitividade: site e non-site, dialética entrópica, atopia, escala, cristais inorgânicos, espelhos, mapas, labirintos, deslocamento, materialidade, paisagem, deriva e, finalmente, a escrita. Todavia, tais elementos não são fortuitos; eles transitam, grosso modo, entre a qualidade da atualidade em arte – por constante tensão produtora - do circuito artístico e as correntes revivenciadas, paradoxalmente pelo artista, dos romantismos, o Alemão, poético e filosófico de élan verbal; e o sublime, a experiência da formação da cultura americana.
8
SILVA, MARTHA TELLES MACHADO DA. "ROBERT SMITHSON AND RICHARD SERRA: SCULTURE IN THE NEW YORK CONTEXT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25753@1.
Full textAbstract:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOROs trabalhos de Richard Serra e Robert Smithson apresentamuma relação constituitiva com o espaço público da megalópole contemporânea. Explorando a noção de tempo específico da matéria, suas produções expandem a concepção de processo artístico e criam uma tensão com a arquitetura e o espaço institucional da arte. Ao propor a crítica a estes espaços e explorar o mundo, ambas as obras estabelecem um jogo de semelhança com a megalópole, incorporando a racionalidade de seu espaço ético, político e cultural. Para tal, considero a relação com a Nova York laboratorial na qual Serra e Smithson desenvolvem intenso debate com seus pares, relação constitutiva que aconteceu com e na caótica Manhattan do final dos anos de 1960, bem como nas áreas suburbanas de New Jersey. Smithson constrói sua obra tendo a entopia do subúrbio de new Jersey como referência determinante, a partir da qual tempos e espaços infinitos são trazidos às suas realizações. O embate de Serra com a cidade assume por sua vez um caráter concreto e literal. Trabalhando no próprio caos e nas ruínas contemporâneas da urbe, ele propõe uma nova relação entre obra, o espectador e o entorno. Em ambos os artistas encontrados o esforço do largamento do conceito da escultura contemporânea numa nova relação como mundo.
The works os Richard Serra and Robert Smithson have a founding relationship with the public space of the contemporary megalopolis. By incorporating the notion of the specific time of material, their output expands conceptions of the artistic process and sets up a tension with architecture and the institutional space of art. As they propose to criticize institutional space and explore the word, the works set a play of similarities with the megalopolis, incorporating the rationale of its ethical, political and cultural space. I therefore investigate the relationship with the New York laboratory where Serra and Smithson engage in intense debate with their peers. This founding relationship was formed in and through the bustling Manhattan of the late 1960s and suburban areas of new Jersey. The decisive reference for Smithson s work was the entropy of the New Jersey suburb, from which infinite times and spaces are brought into his work. Serra s clash with the city is concrete and literal in nature. Working in the midst of the chaos and contemporary ruins of the city, he proposes a new relationship between the work, the spectator and the surroundings. There are elements in both artists that strive to broaden the concept of contemporary sculpture in a new relationship with the world.
9
Netto, José Emídio de Medeiros. "O tempo em obras de Richard Serra, James Turrell e Robert Smithson." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12054.
Full textAbstract:
Mestrado em Criação Artística ContemporâneaEste trabalho tem como meta a pesquisa e análise dos conceitos de tempo retilíneo e cíclico e os fatores perceptivos que tornam esses conceitos ligados às obras de Richard Serra, James Turrell e Robert Smithson. Nesse aspecto, serão pesquisados conceitos filosóficos e científicos para que se possa estabelecer, já que não encontra-se um conceito absoluto de tempo, um padrão ou definição que seja aplicável e de base suficiente para que o estudo tenha substancia e embasamento. O resultado da pesquisa possibilita o entendimento da percepção não só visual, mas temporal e a relação do observador com a obra e com o ambiente. Serve ainda como exemplo de análise dos fatores característicos de uma obra (físicos e perceptivos) e como atuam na percepção temporal.
The objective of this study is the research and analysis of the concepts of linear and cyclic time and perceptual factors that make these concepts linked to the works of Richard Serra, Robert Smithson and James Turrell. In this sense, scientific and philosophical concepts are sought in order to establish, since there is no absolute concept of time, a standard or applicable definition with sufficient basis for giving this study a solid base.The result of the search allows the understanding of not only visual perception, but also a time perception and the relationship of the observer with the work and environment. It also serves as an model foranalysing characteristics of the work (perceptual and physical) and how to understand the perception of time on the work of the aforementioned artists.
10
Doyle, Eileen R. "Art in the mirror reflection in the work of Rauschenberg, Richter, Graham and Smithson /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079947550.
Full textAbstract:
Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains 218 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 209 March 29.
11
Leger, Nina. "Systèmes d’incrédulité : la perspective dans les travaux de Mel Bochner et de Robert Smithson." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080056.
Full textAbstract:
Cette thèse s’origine dans un étonnement. Il s’agit de comprendre pourquoi, au milieu des années 1960, plusieurs artistes de la nouvelle avant-garde américaine s’emparent d’un objet que la modernité de l’art semblait avoir à jamais abandonné : la perspective linéaire. Pourquoi cette construction, intimement liée à l’héritage artistique de la Renaissance, cristallisa-t-elle les préoccupations d’artistes qui entendaient liquider cet héritage s’inscrire dans une histoire strictement américaine de l’art ? Comment put-elle se concilier avec l’élaboration d’un projet d’avant-garde ? Le but du travail est de passer du constat d’un paradoxe au diagnostic d’un symptôme. Pour cela, il convient de dépasser le sentiment d’un retour incongru et rétrograde du passé de l’art, pour considérer la manière dont la perspective est suscitée à nouveau par un champ contemporain qui la déplace en l’exploitant. Notre étude se concentre sur les cas de Robert Smithson (1938-1973) et de Mel Bochner (1940-), d’abord, parce que leurs usages de la perspective furent les plus concertés et les plus conséquents ; ensuite parce qu’ils occupent deux positions à la fois proches (liés d’amitié, ils réfléchirent et travaillèrent ensemble) et distinctes : là où Smithson, d’abord lié au mouvement minimal, s’orienta vers le Land Art, Bochner se rapprocha du courant conceptuel. Cette diversité de pratiques permet de saisir la manière dont la perspective résonne avec une pluralité de problématiques propres à la période. Trois axes principaux animent notre étude : éclairer ce qui, dans le contexte artistique contemporain, favorisa et accompagna le retour de la perspective ; préciser la spécificité des usages et des pensées de la perspective que développèrent Smithson et Bochner et la manière dont ceux-ci fut souvent la pierre de touche de leurs particularismes ; comprendre comment l’un et l’autre transformèrent l’objet qu’il convoquaient, et réinventèrent la perspective plutôt que de la réhabiliterThis dissertation is born out of astonishment. It aims at understanding how, in the middle of the 1960s, several artists of the American avant-garde seized an object that artistic modernity seemed to have discarded for good: linear perspective.Why did this device, so tightly linked to the legacy of Renaissance art, crystallize the interest of artists whose project was to put an end to this legacy and to write a strictly American history of art? How could it fit into an avant-garde agenda? This work aims at turning what seems to be a paradox into the understanding of a symptom. This means overriding the feeling of an incongruous and reactionary comeback and understanding how perspective is called forth by a specific context that recodes it and transforms it.To do so, we focus on the works of Robert Smithson (1938-1973) and Mel Bochner (b.1940). First of all, because they are the two artists, among the avant-garde, who most engaged with perspective. Secondly, because they were both close (as friends they thought and worked together) and apart in the artistic field: Smithson drifted from Minimalism to Land Art, while Bochner moved toward Conceptual Art. This diversity helps us observe how perspective reflects several questions at stake in the artistic landscape. Three main lines of questioning structure this dissertation: highlighting what features of the artistic context trigger this return of perspective; specifying how Bochner’s and Smithson’s use of and thinking about perspective differ from this general context and reflect their particular positions; and finally, showing how they both transformed the object they conveyed, reinventing perspective rather than simply recalling it, and eluding its usual definitions to produce new ones and reveal others
12
Leger, Nina. "Systèmes d’incrédulité : la perspective dans les travaux de Mel Bochner et de Robert Smithson." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080056.
Full textAbstract:
Cette thèse s’origine dans un étonnement. Il s’agit de comprendre pourquoi, au milieu des années 1960, plusieurs artistes de la nouvelle avant-garde américaine s’emparent d’un objet que la modernité de l’art semblait avoir à jamais abandonné : la perspective linéaire. Pourquoi cette construction, intimement liée à l’héritage artistique de la Renaissance, cristallisa-t-elle les préoccupations d’artistes qui entendaient liquider cet héritage s’inscrire dans une histoire strictement américaine de l’art ? Comment put-elle se concilier avec l’élaboration d’un projet d’avant-garde ? Le but du travail est de passer du constat d’un paradoxe au diagnostic d’un symptôme. Pour cela, il convient de dépasser le sentiment d’un retour incongru et rétrograde du passé de l’art, pour considérer la manière dont la perspective est suscitée à nouveau par un champ contemporain qui la déplace en l’exploitant. Notre étude se concentre sur les cas de Robert Smithson (1938-1973) et de Mel Bochner (1940-), d’abord, parce que leurs usages de la perspective furent les plus concertés et les plus conséquents ; ensuite parce qu’ils occupent deux positions à la fois proches (liés d’amitié, ils réfléchirent et travaillèrent ensemble) et distinctes : là où Smithson, d’abord lié au mouvement minimal, s’orienta vers le Land Art, Bochner se rapprocha du courant conceptuel. Cette diversité de pratiques permet de saisir la manière dont la perspective résonne avec une pluralité de problématiques propres à la période. Trois axes principaux animent notre étude : éclairer ce qui, dans le contexte artistique contemporain, favorisa et accompagna le retour de la perspective ; préciser la spécificité des usages et des pensées de la perspective que développèrent Smithson et Bochner et la manière dont ceux-ci fut souvent la pierre de touche de leurs particularismes ; comprendre comment l’un et l’autre transformèrent l’objet qu’il convoquaient, et réinventèrent la perspective plutôt que de la réhabiliterThis dissertation is born out of astonishment. It aims at understanding how, in the middle of the 1960s, several artists of the American avant-garde seized an object that artistic modernity seemed to have discarded for good: linear perspective.Why did this device, so tightly linked to the legacy of Renaissance art, crystallize the interest of artists whose project was to put an end to this legacy and to write a strictly American history of art? How could it fit into an avant-garde agenda? This work aims at turning what seems to be a paradox into the understanding of a symptom. This means overriding the feeling of an incongruous and reactionary comeback and understanding how perspective is called forth by a specific context that recodes it and transforms it.To do so, we focus on the works of Robert Smithson (1938-1973) and Mel Bochner (b.1940). First of all, because they are the two artists, among the avant-garde, who most engaged with perspective. Secondly, because they were both close (as friends they thought and worked together) and apart in the artistic field: Smithson drifted from Minimalism to Land Art, while Bochner moved toward Conceptual Art. This diversity helps us observe how perspective reflects several questions at stake in the artistic landscape. Three main lines of questioning structure this dissertation: highlighting what features of the artistic context trigger this return of perspective; specifying how Bochner’s and Smithson’s use of and thinking about perspective differ from this general context and reflect their particular positions; and finally, showing how they both transformed the object they conveyed, reinventing perspective rather than simply recalling it, and eluding its usual definitions to produce new ones and reveal others
13
Govan, Hugh. "Baroque Postminimalism : the problem of style in the work of Robert Smithson, Robert Morris and Gordon Matta-Clark (1965-1980)." Thesis, University of Essex, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702725.
Full textAbstract:
In this thesis, I look at the reception of the Baroque in U.S. art of the late 20th Century, with a particular focus on the expanded sculptural situations of Postminimal art in the mid-late Sixties and Seventies. The Baroque is a surprising, though productive, theme in this area, for how it reveals the transformations in attitudes to style in art, art history and art criticism during this time. I first of all look at what is at stake in differentiating between Mannerism and the Baroque in the late 60s, through a close reading of the art historical sources in the work and writing of the artist Robert Smiths on. I follow this changed attitude to the Baroque through the development of Smithson's sculptural work, which I will argue is a response to the problems generated by Heinrich Wolfflin's Principles of Art History, an early and influential study of the Baroque. Secondly, I discuss" the role of anachronism in understanding the shared" concerns between the Baroque and the present, through a close reading of Robert Morris's exploratory art criticism. Last of all, I provide an original reading of a single work; Office Baroque (1977) by the architect turned sculptor Gordon Matta-Clark. In doing so, I show the ways in which the image of the Baroque is re-figured in Postminimal art and how this impacts upon two theoretical terms elicited by such work; the semiotic concept of the index, and Gilles Deleuze's study of the Fold. Rather than commenting upon or appropriating some aspect of Baroque art or culture, I argue that the work of these three Postminimalists actively shapes and redefines its meaning. In this sense, I propose to study the Postminimal contribution to the Baroque. This, in turn holds potential for an alternative reading of Postminimalism, one which negotiates between its rejection of modernist criticism and anticipation of a Postmodern sensibility"
14
Chung, Hsiang Ying. "A sound encounter of en creux : in-between Roni Horn, Alvin Lucier, and Robert Smithson." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10903/.
Full textAbstract:
This practice-led Ph.D. research consists of a body of work and its contextual analysis and reflection through the creative practice of Roni Horn, Robert Smithson and Alvin Lucier. Initiated with the following questions: why do I hear sound when there is no sound to hear? What is it to cause the impression of something that is not present? which emerged from my own practice and my chance encounter of Horn’s work, the aim of this writing intends to explore and adumbrate the notion of en creux evoked and circumscribed in and through sound as a creative medium in the light of the practice of Roni Horn, Robert Smithson and Alvin Lucier. Five pieces of artwork have been developed, analysed and discussed as case studies alongside with the foregoing artists’ work and aesthetic thinking. In order to tease out the constituents of an encounter of en creux, each case study focuses the examination and investigation on different aspects of Horn’s creative strategy of doubling, Smithson’s dialectic of Site and Nonsite and Lucier’s I am sitting in a room, and in turn, their aesthetic and critical influence on my approach to use sound in the pursuit of the subject in question. The primary concern of this practice-led research is not to develop and define sound as specific aesthetic object impinging on in its environment, but as specific aesthetic agent in which the form and the content constantly modifies and contains each other, and as an aesthetic agent through which specific circumstances are created in time and space. The creative practice of this research project is thus modulating between these three artists’ practice while the critical reflection and the analysis of the work produced is triangulated by their conceptual and aesthetic thinking. Five pieces of artwork, varying from stereo recordings, installations, performance and textual instructions, are selected and discussed as case studies in the written thesis. These include Spring Piece (2009), 2 p.m. (2009), Folding (2009-10), Hear One Near and Think of the Other (2011) and Measurement No.1 D NAB (2011-). Being both the source and the outcome of the critical findings and analysis, these works are considered as doubling to the written thesis, and vice versa.
15
Vilches, Flora. "The art of archaeology the archaeological process in the work of Robert Smithson, Mark Dion, and Fred Wilson /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2600.
Full textAbstract:
Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
16
Bernardes, Proença Renata. "Les transformations de la relation artiste - oeuvre - spectateur à travers de l'art de Joseph Beuys, Hélio Oiticica et Robert Smithson." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0091.
Full textAbstract:
Une recherche sur les transformations du rapport entre l'art et son spectateur qui ont profondément changé le monde de l'art dans les années 60-70 et dont la marque ne cesse de se faire sentir. « L’œuvre » et les espaces de l'art sont repensés: ils sont invariablement considérés trop limités pour pouvoir exprimer les désirs de ces artistes, qui veulent tous élargir la notion et le champ de l'art. C'est donc un rapport social inédit qui prend place dans la sphère culturelle. Il s'agit d'une étude de ce phénomène social à travers les productions et l'expérience de l'art de Joseph. Beuys, Hélio Oiticica et Robert Smithson, trois exemples emblématiques appartenant à trois cultures différentes : l'allemande, la brésilienne et l'américaine. Ce processus de transformation de l'attitude interne de l'artiste par rapport à son "œuvre" et au spectateur est analysé à partir du surgissement des premiers objets-concepts jusqu'au développement d'un art environnementalThe phenomenon of the transformation between art and the spectator had changed considerably the art world during the 1960's and 1970's and continues to do so until today. The notion of the art work, in relation to the art spaces, have been revaluated: They are considered very limited to express the desires of those artists that want to expand the notion and the art field as a whole. Therefore, a new social rapport took place in the cultural scene. My research is about this social phenomenon, studied through the artwork and the artist's creative experience of Joseph Beuys, Hélio Oiticica and Robert Smithson; three symbolic examples representing three different cultures: German, Brazilian and American. The process of transformation of the artist, in relation to his work and the spectator, is analyzed since the appearance of the first conceptual objects until the development of environmental art
17
Giannouri, Evgenia. "Marches des corps, [dé]marches des images. Image et mouvement a l'aune du regard contemplatif et du corps en acte." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030160.
Full textAbstract:
Cette étude a des assises autant dans l’histoire de l’art que dans l’esthétique du cinéma. Son point de départ est une aporie : « Qu’est-ce que le mouvement en image dès lors il s’agit de le chercher en dehors des représentations et de leurs techniques ? ». La substance mobile des images dont nous souhaitons faire ici le cas se situe à l’intérieur même du point de vue et non pas à l’enchaînement entre points de vue. Il s’agit de penser sa construction en termes d’un clivage interne, d’une bifurcation. Il s’agit surtout de placer la construction du point de vue au croisement de deux apprentissages [mathésis] : d’un côté celle de la contemplation du monde à partir d’un point fixe, unique ou changeant, de l’autre celle de la mobilité inhérente qui régit tout aspect de la vie. Dans ce contexte, le mouvement des images ne serait pas seulement le résultat d’une révolution du regard ou l’aboutissement d’une aventure technique, mais également et au même titre qu’eux, le résultat d’un événement conflictuel entre deux configurations du [sa]voir différentes bien que totalement pondérées. « Qu’est-ce qui ne marche pas ? » est la question qui nous guide à travers l’écriture. Les images témoignent d’une forme de [dé]marche transversale, d’un accident de la « marche » tant au niveau structurel du film qu’au niveau diégétique. Elles renvoient à quelque chose comme un trouble, un dissentiment. Chaque partie de ce travail constitue, enfin, une étude de cas. Chaque cas dénonce une aporie de point de vue : pittoresque, elliptique, théorique. Les films analysés, très différents les uns des autres, proviennent du cinéma et de ses pratiques élargies. Mais chacune des trois parties est également conçue autour d’un « metteur-en-scène » au sens large : Robert Smithson, Gus van Sant, Victor Burgin. Issus de la grande famille des artistes et non seulement de celle des cinéastes confirmés, ils nous guident à travers la construction de récits ancrés autant dans l’histoire des arts [peinture, sculpture, architecture] que dans les péripéties du cinéma contemporainBoth art history and cinema aesthetics lie at the foundations of this study. Our starting point is a perplexing difficulty [an aporia]: “What is an image motion when we think about movement beyond its representations and the techniques that accompany them?”. In this dissertation, we examine the mobile substance of images from within the standpoint itself and what resembles to an internal cleavage. We argue that a particular kind of viewpoint can emerge at the crossroads of two different understandings [mathesis]: on the one hand, the contemplation of the world from a single or interchangeable fixed point; on the other hand, the corporeal mobility inherent to every aspect of life. Within this context, image motion is more than just the consequence of a major change in our “ways of looking”, or the outcome of a technical adventure. We argue that image motion is equally the result of a conflict between two different configurations of knowledge - seeing. The images attest to a way of thinking and unthinking motion, illustrated by a disruption in “the walk of the images” which takes place both in the film’s narrative and in the film’s structure revealing something like a trouble, or a dissent. Each section in this work constitutes an autonomous case study. Each case relates to a particular bifurcation of the standpoint: picturesque; elliptical; theoretical. The films in question, very different from one another, stem from cinema and its expanded practices. These three sections are also articulated around three “metteurs-en-scène”: Robert Smithson, Gus Van Sant, Victor Burgin. Belonging to the larger family of artists [and not only to that of confirmed filmmakers], they guide us through the unfolding of a narrative, whose roots are to be found as much in the history of the arts [painting, sculpture, architecture], as in the vicissitudes of contemporary cinema
18
Schwarz, Janien (Nien), and n. schwarz@ecu edu au. "Beyond Familiar Territory: Dissertation: De-centering the Centre (An analysis of visual strategies in the art of Robert Smithson, Alfredo Jaar and the Bark Petitions of Yirrkala); and Studio Report: A Sculptural Response to Mapping, Mining, and Consumption." The Australian National University. Sculpture and Art Theory, 1999. http://thesis.anu.edu.au./public/adt-ANU20010703.110608.
Full textAbstract:
Dissertation:
"Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. The Dissertation is a comparative analysis of selected works by Robert Smithson, Alfredo Jaar, and the Bark Petitions of the Yirrkala people in North East Arnhem Land. The focus is on how these artists have endeavoured to challenge urban audiences, disrupt the perceived hierarchy between centre and periphery, and bridge gaps between urban sites of mineral consumption and overlooked sites of mineral extraction.
¶"Beyond Familiar Territory" takes the form of this Dissertation (33%), and an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which, together with the Studio report, documents the outcome of the Studio Practice Component (67%).
¶
Report:
"Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. To decentre the self-importance and perceived inclusiveness of urban centres by bridging gaps or facilitating insight between a centre of mineral extraction and production and a centre of mineral consumption. The Dissertation entails a comparative analysis of strategies used by Robert Smithson, Alfredo Jaar, and the Yirrkala Bark Petition painters, and analyses how these artists have perceived their relationships as mediators or facilitators between mining sites (and associated activities) and urban centres of consumption.
¶
"Beyond Familiar Territory" takes the form of an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which comprises the outcome of the Studio Practice Component (67%), together with a Dissertation (33%), and the Report which documents the nature of the course of study.
19
Troiani, Igea Santina. "The Politics of Friends in Modern Architecture : 1949-1987." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16040/.
Full textAbstract:
This thesis aims to reveal paradigms associated with the operation of Western architectural oligarchies. The research is an examination into "how" dominant architectural institutions and their figureheads are undermined through the subversive collaboration of younger, unrecognised architects. By appropriating theories found in Jacques Derrida's writings in philosophy, the thesis interprets the evolution of post World War II polemical architectural thinking as a series of political friendships.
In order to provide evidence, the thesis involves the rewriting of a portion of modern architectural history, 1949-1987. Modern architectural history is rewritten as a series of three friendship partnerships which have been selected because of their subversive reaction to their respective establishments. They are English architects, Alison Smithson and Peter Smithson; South African born architect and planner, Denise Scott Brown and North American architect, Robert Venturi; and Greek architect, Elia Zenghelis and Dutch architect, Rem Koolhaas.
Crucial to the undermining of their respective enemies is the friends' collaboration on subversive projects. These projects are built, unbuilt and literary. Warring publicly through the writing of seminal texts is a significant step towards undermining the dominance of their ideological opponents. It also appears that through the making of these projects, the unrecognised architects are able to convert themselves to being recognised as new figureheads.
This thesis contends that as a consequence of the power within each of the three friendship partnerships, the architects are enabled to collaborate against the dominant ideology of their respective enemies and gain status. It also contends that a cycle of friendship and warring is the political system by which the institution of modern architecture has historically reengineered itself to suit the times.
20
Grossmann, Ralph. "Penser le territoire, sculpter le paysage Robert Smithson, les "Nonsites" au regard des géosciences : un modèle pour les échanges entre Arts et Sciences en résonance avec les démarches de Giuseppe Penone et Olafur Eliasson." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH159.
Full textAbstract:
Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciencesBased on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science
21
Schneller, Katia. ""Some splashes in the Ebb tide" : constructions et déconstructions des catégories artistiques, New-York, 1966-1973." Paris 1, 2009. http://www.theses.fr/2009PA010652.
Full textAbstract:
Entre 1966 et 1973, la scène new yorkaise voit apparaître un foisonnement d'étiquettes telles que «Minimal Art », «Conceptual Art », «Earth Art », «Anti Form» ou « Postminimalism » qui, loin de catégoriser clairement les nouvelles pratiques artistiques, s'entremêlent. Carl André, Mel Bochner, Eva Hesse, Robert Morris, Bruce Nauman, Richard Serra, Robert Smithson se trouvent en effet répertoriés sous plusieurs d'entre-elles. L'étude du processus d'élaboration de ces appellations et de la relation que ces artistes y entretiennent, laisse comprendre qu'a alors lieu une redéfinition de la notion de style. La succession linéaire des appellations mimant les ruptures avant-gardistes, que le contexte de développement du marché de I'art et de démocratisation culturelle motivent, s'en trouve perturbée. Elle est finalement remplacée par un pluralisme à I' issue de la période, qui révèle l’affirmation d' une forme d'individualisme.
22
Troiani, Igea Santina. "The politics of friends in modern architecture : 1949-1987." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16040/1/Igea_Troiani_Thesis.pdf.
Full textAbstract:
This thesis aims to reveal paradigms associated with the operation of Western architectural oligarchies. The research is an examination into "how" dominant architectural institutions and their figureheads are undermined through the subversive collaboration of younger, unrecognised architects. By appropriating theories found in Jacques Derrida's writings in philosophy, the thesis interprets the evolution of post World War II polemical architectural thinking as a series of political friendships.
In order to provide evidence, the thesis involves the rewriting of a portion of modern architectural history, 1949-1987. Modern architectural history is rewritten as a series of three friendship partnerships which have been selected because of their subversive reaction to their respective establishments. They are English architects, Alison Smithson and Peter Smithson; South African born architect and planner, Denise Scott Brown and North American architect, Robert Venturi; and Greek architect, Elia Zenghelis and Dutch architect, Rem Koolhaas.
Crucial to the undermining of their respective enemies is the friends' collaboration on subversive projects. These projects are built, unbuilt and literary. Warring publicly through the writing of seminal texts is a significant step towards undermining the dominance of their ideological opponents. It also appears that through the making of these projects, the unrecognised architects are able to convert themselves to being recognised as new figureheads.
This thesis contends that as a consequence of the power within each of the three friendship partnerships, the architects are enabled to collaborate against the dominant ideology of their respective enemies and gain status. It also contends that a cycle of friendship and warring is the political system by which the institution of modern architecture has historically reengineered itself to suit the times.
23
Dryansky, Larisa. "Déplacements : les usages de la cartographie et de la photographie dans l'art américain des années 1960 et du début des années 1970 : les cas de Mel Bochner, Douglas Huebler, Dennis Oppenheim, Ed Ruscha et Robert Smithson." Paris 1, 2011. http://www.theses.fr/2011PA010557.
Full textAbstract:
A travers les cas de cinq artistes (Mel Bochner, Douglas Huebler, Dennis Oppenheim, Ed Ruscha et Robert Smithson), il s'agit, dans cette étude, de rendre compte de la diversité et de la complexité des usages de la cartographie et de la photographie dans l'art américain des années 1960 et du début des années 1970, une période marquée par la remise en question de la définition formaliste de l’œuvre d'art. Loin de n'avoir, dans ce contexte, qu'une fonction documentaire - interprétation qui a prévalu jusqu'ici -, cartes et photographies, ainsi que nous le démontrons, jouent un rôle fondamental dans l' exploration de modalités différentes de la perception et la recherche de voies nouvelles pour l'art. Dans la première partie de la thèse, nous examinons comment le recours à la cartographie et au médium photographique s'articule à la problématique de la réintroduction de la temporalité dans les oeuvres d'art qui est au cœur de la crise du modèle moderniste. Dans un deuxième temps, nous traitons de la relation au paysage en montrant en quoi cartes et photographies participent d'une réflexion sur la redéfinition de l' abstraction en lien avec le réel. La troisième partie porte sur les façons dont les techniques et les représentations cartographiques et photographiques servent à interroger les conceptions habituelles de l'espace, et ce à un moment où l'art investit de nouveaux sites. Nous envisageons de la sorte tant les usages conceptuels que matériels de la cartographie et de la photographie.
24
Smith, Lisa Elliott. "Displaced: Robert Smithson's significant other. Nancy Holt and Robert Smithson's aesthetic relationship, 1969-1973." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300981694.
Full text
25
Kurtz, Matthew B. "What Comes After the Blues." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619717430532435.
Full text
26
Voorhies, James Timothy Jr. "Falling from the Grip of Grace: The Exhibition as a Critical Form since 1968." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340212498.
Full text
27
Domínguez, Rubio Fernando. "Beyond humanist patterns of explanation : thinking through Robert Smithson's Spiral Jetty." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612146.
Full text
28
Uggla, Karolina. "Konst och kartläggning kring 1970 : Modell, diagram och karta i konstens landskap." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-121726.
Full textAbstract:
The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method. In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping. In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.
29
Marot, Sébastien. "Palimpsestuous Ithaca : un manifeste relatif du sub-urbanisme." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0085.
Full textAbstract:
En 1978, Rem Koolhaas publie Delirious New York, manifeste du sur-urbanisme contemporain (le programme invente le site). L'ambition de cette thèse est d'illustrer la poétique opposée du sub-urbanisme (le site invente le programme) à partir de la petite ville d'Ithaca (siège de l'université de Cornell) qui est l'inverse géographique de Manhattan (lac / île). Notre argumentation se développe en 3 temps: 1) Une thèse géographique consacrée aux 3 fondateurs de l'université: un ingénieur autodidacte, un amateur d'architecture et un extraordinaire botaniste 2) Une antithèse urbanistique qui suit Colin Rowe, O. M. Ungers et Rem Koolhaas jusqu'à l'époque où ils viennent chacun échafauder à Ithaca les intrigues de leurs 3 manifestes respectifs: Collage City, Berlin as a Green Archipelago et Delirious New York 3) Enfin une synthèse poétique consacrée à l'earth artist Robert Smithson (dont l'œuvre atteint sa maturité à Ithaca), à l'anarchitecte Gordon Matta-Clark (le meilleur étudiant que Colin Rowe ait jamais eu à Comell), et à Vladimir Nabokov (qui s'inspira d'Ithaca pour créer l'un des hyperpaysages les plus étonnants de la littérature contemporaine)In 1978, Rem Koolhaas published Delirious New York, the manifesto for contemporary super-urbanism (the program invents the site). The ambition of Palimpsestuous Ithaca is to illustrate the reverse poetics of sub-urbanism (the site invents the program), by focusing on the town of Ithaca (seat of Cornell University) which is the geographical opposite of Manhattan. Our demonstration is articulated in 3 parts: 1) a geographic thesis devoted to the 3 founding father of the university: a self-made engineer, an architecture enthusiast and an inspiring botanist; 2) an urbanistic antithesis following architects Colin Rowe, OM. Ungers and Rem Koolhaas up to the moment when they came to Ithaca to build up the plots of their respective manifestoes: Collage City, "Berlin as a Green Archipelago", and Delirious New York. 3) a poetic synthesis devoted to earth artist Robert Smithson (whose artistic adventure reached its maturity in Ithaca), anarchitect Gordon Matta-Clark (the best student Colin Rowe ever had at Cornell), and Vladimir Nabokov (who fantasized Ithaca into one of the most fascinating hyperlandscapes of contemporary literature)
30
Ming-Yuan, Huang, and 黃明媛. "Robert Smithson 1938-1973." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/43602441837159313650.
Full text
31
李雀惠. "Robert Smithson and Land Art." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/26602786447790072388.
Full text
32
Bérard, Serge. "Daniel Buren and Robert Smithson : a comparative study." Thesis, 1999. http://hdl.handle.net/2429/11959.
Full textAbstract:
This thesis compares the works of French artist Daniel Buren
and American artist Robert Smithson during the years 1965-
1968. Smithson and Buren have been chosen because their
career paths exemplify the fate of the artist in an
increasingly administered art world, but also because the
subject matter of their respective works is a reflection of
the importance of various kinds of infrastructures in shaping
everyday life in the modern world. The questions that the
thesis tries to answer are principally the following: how has
this infrastructural and standardized reality been
investigated by artists, and how did it affect their choice
of artistic strategy? Furthermore, has their evaluation of
this reality found the same formulation whether the artist
lived in the United States or in France?
Smithson's work recalls the physical infrastructures
characteristic of public works, especially that of the
highway system. His choice of infrastructure is significant
for an American artist. The extension of the highway system,
which will increase dramatically in the mid-1950s and
throughout the 1960s, is a major event in the history of the
United States, and represents the final confirmation of the
supremacy of "car culture." As well as evoking the grid of
the highway system, Smithson alludes to the corporation and
its vast organizational structure that is the source of the
need for an enlarged highway infrastructure. Buren's
materials and their display in an urban space are intended to
compete with the network of urban signs as it is found in the
streets of Paris, which becomes in the period around May 1968
the site of a struggle for political affirmation, with wildly
inventive slogans scrawled on the walls of the city.
The thesis takes into account the different socio-historical,
intellectual and esthetic contexts in which each artist
elaborated his strategy, and, as well, relates their work to
contemporary concerns over the evolution of the industrial
world and its organizations as it develops, with a different
national emphasis, in both France and the United States.
33
Bérard, Serge. "Fuite hors de l’objet Joseph Kosuth et Robert Smithson ̀la fin des années soixante." Thesis, 1992. http://hdl.handle.net/2429/1984.
Full textAbstract:
The conceptual art of Joseph Kosuth and the earthworks of Robert Smithson mark, at the end of the sixties, a radical break from the modernist and formalist tradition in that they reject the art object. While minimalism signals the end point of a strategy of negation (Adorno) at it has been carried inside the "system of the object", Kosuth and Smithson will try to escape this system in two opposite directions. The inverse symmetry of their reactions will be emphasize as it reflects two major changes that affect American society at that time: a structural change in the modes of production defined by the decline of the manufacturing sector and the emergence of the technologies of information; an ideological change defined by the replacement of the emphasis on consumerism and the faith in scientific and technological progress by the doomsday scenario of the ecologists with their attack on the dogma of unlimited growth. It will be shown that, while they both reject the manufactured object, Kosuth continues the negation of the minimalists onto the tertiary sector of linguistic technologies while, inversely, Smithson goes back to the primary sector of the extraction of matter and its infrastructure. Kosuth's use of Wittgenstein's philosophy makes explicit his capitulation in front of the latest, linguistic, move of instrumental reason, and to capitulate is still an hostile gesture. Smithson's use of the scenario of the ecologists, and his rejection of the accelerated time of technology and its environmental legacy, will end in entropic, morbid despair.
34
Beattie, Amanda Helen. "The crossroads of industry and ecology : the new landscapes of Robert Smithson, Edward Burtynsky and Susan Leibovitz Steinman." Thesis, 2006. http://spectrum.library.concordia.ca/9090/1/MR20790.pdf.
Full textAbstract:
This thesis is concerned with the changing status of the North American landscape art tradition, focusing on the 1970s to the present day. The relationship between industry and ecology is at the forefront of these changes, as the interaction between these areas has become essential during this time of ecological crisis. With the use of different media and from diverse theoretical approaches, artists Robert Smithson, Edward Burtynsky and Susan Leibovitz Steinman all contribute to the development of a 'new landscape' and utilize industrial and urban sites as the subject matter and location of their artworks. They enable the possibility of a nature/culture dialogue through their art production that has the capacity to introduce a deeper understanding of environmental concerns from an original perspective. This thesis focuses on select works from Smithson's land reclamation projects of the early 1970s, Burtynsky's industrial photography of the 1990s, and Steinman's interactive environmental art of the 1990s, and demonstrates that art can play a significant role in raising awareness on the state of our environment. These artists' works are powerful tools of communication that encourage contemplation and, in certain cases, direct action toward a deeper appreciation of the environment in the twentieth and twenty-first centuries, and play significant roles in the contemporary landscape art tradition.
35
Ming-Yuann, Huang, and 黃明媛. "From the Museums to the Barrens: The Series of “Sites/ Nonsites” of Robert Smithson（1938-1973）and His Writings." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/20558893994353588285.
Full text
36
Schwarz, Janien (Nien). "Beyond Familiar Territory: Dissertation: De-centering the Centre (An analysis of visual strategies in the art of Robert Smithson, Alfredo Jaar and the Bark Petitions of Yirrkala); and Studio Report: A Sculptural Response to Mapping, Mining, and Consumption." Phd thesis, 1999. http://hdl.handle.net/1885/49354.
Full textAbstract:
Dissertation: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. The Dissertation is a comparative analysis of selected works by Robert Smithson, Alfredo Jaar, and the Bark Petitions of the Yirrkala people in North East Arnhem Land. The focus is on how these artists have endeavoured to challenge urban audiences, disrupt the perceived hierarchy between centre and periphery, and bridge gaps between urban sites of mineral consumption and overlooked sites of mineral extraction. ¶ "Beyond Familiar Territory" takes the form of this Dissertation (33%), and an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which, together with the Studio report, documents the outcome of the Studio Practice Component (67%).¶ ...
37
Brohl, Christiane [Verfasser]. "Displacement als kunstpädagogische Strategie : Robert Smithson, Kontext-Kunst, KunstPädagogik ; Vorschlag einer heterotopie- und kontextbezogenen ästhetischen Diskurspraxis des Lehrens und Lernens / vorgelegt von Christiane Brohl." 2001. http://d-nb.info/964849852/34.
Full text
38
Fiske, Courtney. "“Requestioning” Postminimalism: Gordon Matta-Clark’s Creative Energetics, 1968–72." Thesis, 2021. https://doi.org/10.7916/d8-pehn-dz33.
Full textAbstract:
This dissertation is a study of the early career of the American architect-turned-artist Gordon Matta-Clark (1943–1978) that spans the years 1968 to 1972. Immersing himself in SoHo’s vibrant artistic community, of which he was both a catalyst and a nexus, Matta-Clark worked through the essential ideas and concerns that would inform his practice during this condensed but incredibly generative four-year period. The works that resulted are heterogeneous, united less by specific media than by a shared constellation of concepts. Foremost among these concepts is energy: a key trope in the cultural, theoretical, and artistic discourses of Matta-Clark’s late-1960s and early-1970s moment. In histories of this period (spurred, in part, by the attention paid to Matta-Clark’s peer, Robert Smithson), energy has often been aligned with entropy: a negative movement that leads to an ultimate stasis. In contrast, Matta-Clark marshaled energy as a creative force: a motor of the "metamorphic" processes that his works both enacted and pursued. By focusing on these four years, my study opens new perspectives on both Matta-Clark’s project and the artistic and discursive formation, Postminimalism, from which it is inextricable. In doing so, I defamiliarize art history’s current conception of Postminimalism, “requestioning” (to adopt Matta-Clark’s neologism) its central term, process, through his creative energetics.
39
Turpin, Stephen. "Aesthetics of Expenditure: Art, Philosophy, and the Infinite Faculty." Thesis, 2010. http://hdl.handle.net/1807/24901.
Full textAbstract:
The dissertation re-examines the philosophy of Georges Bataille within the context of post-Kantian aesthetics and argues for a re-evaluation of Bataille’s notion of expenditure [depenser] within this context. The dissertation argues further that the artistic practice of Robert Smithson is an exemplary case of an ‘aesthetics of expenditure.’ It is our contention that Bataille’s cosmic-energetic philosophy finds a complementary material expression in Smithson’s abstract geology and its confrontation with post-Kantian aesthetics. We will argue that this occurs through Smithson’s varying strategies, which are grouped conceptually according to the broader logic of their expression:seriality, sedimentality, monumentality, and meandering. While Smithson’s own references to Bataille in the early 1970s are discussed in detail, it is not our position that Smithson was enacting Bataille’s philosophy ‘aesthetically’; rather, by reading Bataille’s evaluation of Kant’s aesthetics and teleology in relation to Smithson’s artistic practice, we emphasize instead that the politics of disgust shared by both figures advance a radical decentring and repositioning of the human in relation to
planetary and geological forces. If, as geologists now agree, our present age is
that of the Anthropocene1, our argument is that Bataille and Smithson anticipate
this precarious condition analytically, and, perhaps more importantly, that their analysis suggests further important diagnostic considerations at the level of social organization and political composition that might help defer, if not entirely prevent, the catastrophic end of this all-too-human period.
40
Gracia, Mafalda Rio Colles Fraga. "Ex alio Sistere : o ser que é Tempo e o tempo que é Ser." Master's thesis, 2019. http://hdl.handle.net/10451/37782.
Full textAbstract:
As a visible symbol and allegory of the divine hand representing man´s attempt to understand the cosmic dimensions of the universe, to the invisible presence behind an artist´s unique style, technique, or method, the artist's hand has ultimately come down to us as the perennial subject of art. I have attempted to reflect on this idea, paying special attention to the artist's hand in its relationship to subjectivity, inter-subjectivity, and self-reflective creation. My dissertation investigates the artist's hand(s) as the self-reflective subject of art, the artist's perennial search for the “inner hand”, the “and'' in the “hand”, and the “leap of the artist's hand”, by looking at the creative act as a symbolic re-enactment of the originary leap of the human hand into self-reflective consciousness. My historical research looks closely at the transition from the figurative representation of the human hand to the birth of the invisible hand of the artist. I begin with a brief discussion of the representation of the human hand in the history of western art, citing examples of Paleolithic and Neolithic cave paintings, where I first recognize the primary subject of artistic representation to coincide with the moment of man's originary leap into self-reflective consciousness. Throughout antiquity and leading right up to the Medieval period of European history, the symbolic significance of the figurative representation of the human hand served as a key to uncovering the meaning and intent of many forms of artworks concerned with preserving religious and mythical traditions. In most cases, throughout the Ancient and Medieval periods, the human hand acted as a symbolic and allegorical referent. Consequently, it pointed away from the actual artist to a transcendental truth or vision. The anonymous hand of the artist pointed to the intended “subject” of the painting or work of art. The artist, and hence the artist's hands, were mediums of a trans-subjective message. In many religious traditions the artists themselves remained anonymous. In my thesis I cite examples from ancient Egyptian art to Minimalism, addressing how the artistic process involves reflective inter-subjectivity, challenges to the temporal/spacial limits of image reflection, and reinterpretations of the idea of spontaneity and randomization. The symbolic portrayal of the artist's hand representing the subject of art would be transformed with the emergence of Impressionist and Expressionist painting. Then, with the development of Dadaism and Surrealism we find a significant return to the symbolic neo-Expressionist representation of the conscious subject of art as the voice of the artist's hand(s), the development of the representation and expression of the artist's hand(s) in the place of the priest’s hands, and the reinstatement of the originary leap of the artist's hand(s) into randomization. The practical component of my research shows how the story of my own hand's leap into self-reflective consciousness is the story of my hands' search for transcendental interiority, inspired by the love of the one for the many and the many for the one. My dissertation moreover reveals the artist's hands' self-reflective history to be based on their relationships with their own creations, with themselves, and with the foundations upon which they ask or frame questions, which is to say, with their approaches or preparations for artistic acts. I look at the artist's hands as if everything they touched became a mirrored image of themselves. The gloved hand, the clenched hand, the open hand, the hand under water, the hands of the sun, the symbolic hand, the actual hand, the invisible hand, the and in the hand, the random hand, the loving hand, the mad hand, the detached hand, the hand of God. Above all, what we come to see is that man's hand is the subject of man's art. Artist's hands bring the outside world inside and the inside world outside, turn objects into subjects, nothing into something. The artist's hands present and represent things, grasp, squeeze, draw, write and paint the world into existence. The artist’s hands choose, shape, frame, set-up, distort,. The artist's hands are the comprehensive listeners, the sketch La proposta di investigazione che adesso presentiamo cerca di dare una risposta alla inquietudine sopra la possibilitá di un ente come la pietra, frutto della montagna, comunemente considerato inanimato, essere capace potere di elevarci sopra di noi stessi. Possono la pietra e la montagna essere veicoli di ascensione all'essere? Anche se la questione possa sembrare strana, la veritá é che la relazione intima dell’uomo con la pietra si impose dai primordi dell’umanitá, e lasció una memoria, un cammino percorso a lungo della sua storia, nella quale, come si vedrá, la pietra si fece presente nei momenti piú simbolici, siano questi del rinascimento, morte, espressione del sacro o rappresentazione del divino. Da i primordi dell'umanitá che l' uomo si confronta con la necessitá di spiegare il mondo dove vive: sia per necessitá di trovare un ordine nel caos dello sconosciuto, che gli permette una rete di referenze essenziali alla sua vita, sia, piu tardi, come forma di organizzazione razionale che dia inteleggibilitá al suo rapporto con il Cosmo e lo allontani dalle narrative mitiche anteriori. Intanto, questa ricerca dell'origine é una ricerca di se stessi, ora che conscientemente o no, contiene una impotenzia implícita, tenendo in conto che: l’uomo si sente dependente di qualcosa, egli non é l’autore della sua esistenza, tale come tutti gli enti, egli é un ex alio sistere (un essere per l’altro). La base del nostro esercizio teorico é l'intedimento sopra multiple considerazioni della relazione del uomo con la trascendenza, nella configurazione finita della sua esistenza. Niente di quello che esiste dura. Il tempo é inesorabile: la vita si espressa nel ciclo della nascita, sviluppo e morte. Tutto quello che esiste sussiste per un attraverso, dal quale aquisisce il suo essere. Ex alio sistere.Talle come una opera di arte. Ci rivolgiamo agli artisti: Giorgio Morandi, Lucio Fontana, Michael Heizer, Robert Smithson, Anish Kapoor
41
Silva, Tatiana Marta Coelho 1985. "O caminho da praia : desenhos e impressões." Master's thesis, 2017. http://hdl.handle.net/10451/30463.
Full textAbstract:
The present work project developed in a dynamic process of graphics research and experimentation with the main objective to create an object that reflects the set of elements constructed during the period of our investigation. We addressed the walk as an inducer agent that could lead to the development of a working posture. The discovery of artistic references inspired by a similar relationship with our own took place step by step, and took into account extended examples in time and space, ranging from the ancestry of the ages before the written records, as the case of the legacy in Nazca, to the latest walks of Francis Alÿs or Hamish Fulton. The relationship between walking, collection data and its transformation into new language resulted from a natural tension arising from the need to find new questions and answers to the development of a personal language in the field of drawing. In this sense we explored the concepts of registration, printing and memory, looking for understandings on aspects related to traditional and psychographic mappings, and even in our own understanding of dynamism that not only the act of walking, but also that the physical territory that we ran showed us in a variety of morphological settings.
Walking and exploring graphics processes, are for us core actions in this reflection, that becoming loose gestures but resolute and purposeful allowed us to understand the spatial depth of the path, inhabiting it and meditate it, in its multiple natural and formal dimensions
42
Marques, Ana Margarida Fernandes. "O meu corpo é uma ruína: as casas também morrem." Master's thesis, 2019. http://hdl.handle.net/10451/40693.
Full textAbstract:
This is an investigation about ruins, that aims to explore the relationship between architecture and performatic body. Here, it’s presented the theoretical development about a multimedia work done within the last two years. Theory and practice have worked together and have always, depended on each other. Studying the notion of ruin was fundamental for the forward development of the body as a building. To work with and about ruins it is necessary to understand its relationship with the human being through the ages. It’s mainly an emotional e sensorial discovery about a ruin that is already built, bodily and then, inevitably, by the nature of the events, a moral ruin.
Therefore, this thesis has been divided in a chronological order, similar to the
path the work had gone through. The understanding of the romantic ruin, associated with nostalgy and contemplation of the Romantic period, going through the created ruin by mankind during Modernism, until the works done by contemporary artists, such as Gordon Matta-Clark, Robert Smithson e Rebecca Woodman, as references, not as inspirations but as examples of different ways to work different notions of ruin.
It became, also, important to analyze, even if briefly, de notion of psychosomatic body, that presents itself as a physical ruin in an emotional and psychological of empathy with its surroundings. The body tends to imitate its context. The attempt to present the work is seen as an experience which enables the most correct description of the event. Either way, those experiences will be presented, objectively. Also, it’s presented the tragic event that made the work to be extended in the future but in the present to be used as a moment of reflection. The instant devastation of the territory from where the object of ruin is from, imposed to be included the notion of catastrophe and therefore, the notion of immediate ruin, which until now the notion was the one of time and return to mother nature. To talk about ruin, we need to know how to wait. I too, learnt how to wait.
43
Serrano, Pedro Pires 1991. "Considerações sobre o espaço : do espaço mítico à espacialidade." Master's thesis, 2017. http://hdl.handle.net/10451/28496.
Full textAbstract:
The objective of this work lies in the issues of space in sculpture. It crosses a path through the various territories of modernism until postmodernism, evoking those who have had the most influence for an awareness and perception of space and the place of sculpture up to the present day. This dissertation addresses sculptors such as Richard Serra, Robert Morris, Robert Smithson, Anish Kapoor, Henri Moore, Vito Acconcci, among others artists whose work refers directly to space as main motto. In order to obtain a better understanding of this subject this investigation attempts to define the concept of space, in its mystical and physical relationship, and than evolving for technical references (construction, installation, exposition, among others), problematizing the direct relation with the body, with the object and with the space. In this way, we delimit a journey through the twentieth century, passing through the emergence of the happening (in it´s performance consecration), of constructivism, minimalism and site-specif and, as clutching units, references to cubism, environment, unism, process art and land art
44
Toscano, Marta 1975. "Imagem do tempo:os espelhos na arte contemporânea." Doctoral thesis, 2014. http://hdl.handle.net/10451/11255.
Full textAbstract:
Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014O objectivo deste trabalho é explorar o tema do espelho na arte contemporânea, e relacionar as obras analisadas com a dimensão tempo. A ideia-chave que decidimos perseguir é simples: o espelho visto como um poderoso artifício, o que em última instância trará acoplado a própria «artificialidade» do conceito identidade. Exploraremos o mito de Perseu, o espelho grego e o espelho barroco — âncoras fundamentais; tentaremos assinalar a passagem de uma época especular «dual» para uma época pós-especular, onde tudo se parece fundir. A problemática do duplo, mesmo assim, vem ao nosso encontro – e nós temos medo. Por fim, reflectimos sobre o tema do espelho na arte, onde para cada par de artistas escolhido fizemos corresponder uma determinada «ideia» de tempo. Conheceremos espelhos que evocam um perigo eminente, espelhos infinitos, espelhos glaciares, espelhos-viajantes, espelhos «controladores»... Sintetizando: são obras que têm, algures, um espelho, que fogem da auto-representação, que são impessoais, ardilosas, e que se relacionam de forma peculiar com o tempo. De certa forma, o espelho pode ser considerado como o mais «impossível» (e fascinante) dos objectos: máquina que tudo vê, mas que nunca se deixa ver. E o que é que acontece quando prevalece a inoperatividade, a falência ou a simples recusa da máquina em «ver»? A rigidez dos segundos, minutos e horas são esquecidos. Cronos deixa, apenas por breves instantes, de devorar cruelmente os filhos.
The aim of this work is to investigate the theme of the mirror in contemporary art, and to think about the way in which the examined art works can be related to the time dimension. The key-idea that we decided to follow is a very simple one: the mirror seen as a powerfull artifice, that ultimetely brings along with it the «artificiality» of the concept of identity in itself. We will explore the myth of Perseus, the greek and the baroque mirror — vital anchors; we will then try to characterize the passage from a «dual» specular epoch to a post-specular one, where everything seems to get indistinct. Still the problematic of the double runs into to us – and we are scared. Finally, we´ll think about mirrors in art, where for each pair of chosen artists we matched a particular idea of time. We will meet mirrors that recall eminent danger, infinite mirrors, glacier mirrors, travelling-mirrors, «controlling» mirrors. To summarize: the chosen works have, somewhere, a mirror, they run away from self-representation, they are inexpressive and astute, and they can be related in a fruithful manner to time. In a certain way, the mirror can be considered as the most «impossible» (and fascinating) of all objects: a machine that sees everything, but doesn´t allow to be seen. What happens when inoperativity prevails, and the machine fails or refuses to «see»? The harshness of seconds, minutes and hours are forgotten. Cronus stops, for brief instants, to cruelly devour his children.
Fundação para a Ciência e a Tecnologia (FCT)
45
Gantes, Manuel. "Desenho nos séculos XX e XXI:imagem, espaço e tempo." Doctoral thesis, 2013. http://hdl.handle.net/10451/8949.
Full textAbstract:
Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2013Esta tese teórico-prática debruça-se sobre transformações ocorridas no campo do desenho ao longo do século XX e início do XXI, com importantes implicações para o presente desta área central da prática artística. Desde a prática bidimensional do desenho até à conquista efectiva do espaço e do tempo, estudam-se obras que se entendem como paradigmáticas nesse percurso. Num primeiro momento a tese incide sobre aspectos das obras de Pablo Picasso, Alberto Giacometti e Pierre Bonnard, que contribuíram para renovar e manter a prática bidimensional do desenho; posteriormente são centrais as contribuições de Jackson Pollock, Franz Kline e Barnett Newman para a ampliação do âmbito do desenho. Além da representação, em direcção ao espaço e ao tempo mais vastos; as obras paradigmáticas de Robert Smithson e de James Turrell, respectivamente “Spiral Jetty” e “Roden Crater”, são reveladoras da conquista efectiva para o desenho de espaço e de tempo, entendidas estas variáveis num sentido concreto. Sem esquecer a diversidade de processos do desenho, a parte prática insiste na pertinência da manutenção da bidimensionalidade dentro do campo expandido do desenho.
This teoretical and practical thesis is concerned with the transformations wich took place in the field of drawing during the past XX century and the beginning of the current century. Relating to these transformations paradigmatic works of art are studied, starting with bidimensionality towards the conquest of time and space. Important to the renovation of image in drawing, examples of the oeuvre of Pablo Picasso, Alberto Giacometti and Pierre Bonnard are considered. The works of Jackson Pollock, Franz Kline and Barnett Newman are central to the expansion of the field of drawing away from the figure towards space and time. “Spiral Jetty” and “Roden Crater”, seminal works from Robert Smithson and James Turrell, reveal true space and time as part of the new elements of drawing. Without forgetting the huge diversity of existing drawing practices, the practical side of the thesis insists on the relevance of maintaining a focus on image-making through drawing.