Qual o lugar da fotografia contemporânea?
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações do Mackenzie |
Texto Completo: | http://dspace.mackenzie.br/handle/10899/24636 |
Resumo: | The work aims to address the relationships around the picture as visualities precursor that caused changes in relation to other artistic languages. Seeking similarities between these and contemporary photography, we undertook a journey that sought answers around the photography place in relation to other contemporary arts. The course was conducted through the trends and artistic movements and photography lined up like picturalism, Dadaism and Surrealism during their various uses as an object and as an expressive art materials and plastic through to other languages and images several orders that compete with this technology and that constitute the art scene. In the present work we place it on copyright, artistic, expressive and procedural framework determined by technology and languages taking into account their defilements, their contributions and their deviations. In the first chapter, we treat the relationships that are structured within a cultural perspective around the differences given on the day and especially in the polarizations of the artistic work and daily life, establishing distinctions between practices that will reflect the distinctions between doings. Mainly the differences on photographic practice, to establish beforehand our subsequent arguments at work. In the second chapter, built from historical photographic procedures a thesis that had already constituent elements of artistry in these, and they determined all a path that photography would travel trying to demonstrate that it is a fair means of expressive possibilities, though, was still a new field to be explored with varying articulation possibilities in artistic circles. Since its inception it had already said artistic qualities, and how other modalities also had plastic and expressive features, though, was not understood these parameters by some segments of society. We seek the picturalism trend the basis for our arguments, understanding that this above others, then, is the questions that we propose to discuss, and which in turn promotes maturation and a more emphatic attitude, more focal than other attempts photography establish earlier in the field of art. Between the second and third chapters we scale a map that was developed from the events of cultural history, art and photography relating them graphically providing the ability to visually establish the relationships between important points for photography. They were related 126 (one hundred and twenty six) events that we believe to be important and relevant, including the demarcation of the period between the world wars. It covers a period that begins in the historic discovery of photography until 2007. In the third chapter, we treat of the photographic technique of a procedural way in relation to the practice of learned photography, addressing the technical capabilities of expressive means in relation to the procedures in the photographic field and their correlations in contemporary art. In the fourth chapter, they are aligned with respect to the intersections of the issues we discussed in previous chapters, covering the ways in which photography is established as the object of multiple approaches in art and around this in their relations as privileged material in contemporary art. We treat these matters primarily a visual path established from selected portfolios of the artists included in the work: Eustaquio Neves, Vik Muniz and Laurence Gartel and relationships of their works with other productions that we believe relevant artistically. The photography’s status as art has changed in the course of its development making it currently one of the materials used in contemporary art. We aim to scale in the production of these three artists within their artistic contributions, looking through the production of such a response on our questions about the contemporary place of photography. |
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2017-09-20T13:11:22Z2020-05-28T18:09:54Z2020-05-28T18:09:54Z2016-10-07CARVALHO, José Marcos Cavalcanti de. Qual o lugar da fotografia contemporânea?. 2016. 163 f. Tese( Educação, Arte e História da Cultura) - Universidade Presbiteriana Mackenzie, São Paulo .http://dspace.mackenzie.br/handle/10899/24636The work aims to address the relationships around the picture as visualities precursor that caused changes in relation to other artistic languages. Seeking similarities between these and contemporary photography, we undertook a journey that sought answers around the photography place in relation to other contemporary arts. The course was conducted through the trends and artistic movements and photography lined up like picturalism, Dadaism and Surrealism during their various uses as an object and as an expressive art materials and plastic through to other languages and images several orders that compete with this technology and that constitute the art scene. In the present work we place it on copyright, artistic, expressive and procedural framework determined by technology and languages taking into account their defilements, their contributions and their deviations. In the first chapter, we treat the relationships that are structured within a cultural perspective around the differences given on the day and especially in the polarizations of the artistic work and daily life, establishing distinctions between practices that will reflect the distinctions between doings. Mainly the differences on photographic practice, to establish beforehand our subsequent arguments at work. In the second chapter, built from historical photographic procedures a thesis that had already constituent elements of artistry in these, and they determined all a path that photography would travel trying to demonstrate that it is a fair means of expressive possibilities, though, was still a new field to be explored with varying articulation possibilities in artistic circles. Since its inception it had already said artistic qualities, and how other modalities also had plastic and expressive features, though, was not understood these parameters by some segments of society. We seek the picturalism trend the basis for our arguments, understanding that this above others, then, is the questions that we propose to discuss, and which in turn promotes maturation and a more emphatic attitude, more focal than other attempts photography establish earlier in the field of art. Between the second and third chapters we scale a map that was developed from the events of cultural history, art and photography relating them graphically providing the ability to visually establish the relationships between important points for photography. They were related 126 (one hundred and twenty six) events that we believe to be important and relevant, including the demarcation of the period between the world wars. It covers a period that begins in the historic discovery of photography until 2007. In the third chapter, we treat of the photographic technique of a procedural way in relation to the practice of learned photography, addressing the technical capabilities of expressive means in relation to the procedures in the photographic field and their correlations in contemporary art. In the fourth chapter, they are aligned with respect to the intersections of the issues we discussed in previous chapters, covering the ways in which photography is established as the object of multiple approaches in art and around this in their relations as privileged material in contemporary art. We treat these matters primarily a visual path established from selected portfolios of the artists included in the work: Eustaquio Neves, Vik Muniz and Laurence Gartel and relationships of their works with other productions that we believe relevant artistically. The photography’s status as art has changed in the course of its development making it currently one of the materials used in contemporary art. We aim to scale in the production of these three artists within their artistic contributions, looking through the production of such a response on our questions about the contemporary place of photography.O trabalho visa tratar das relações em torno da fotografia como precursora de visualidades que provocaram mudanças em relação às outras linguagens artísticas. Buscando aproximações entre estas e a fotografia contemporânea, empreendemos um percurso que procurou respostas em torno do lugar da fotografia no que diz respeito a outras artes contemporâneas. O percurso foi realizado por intermédio das tendências e movimentos artísticas que e a fotografia alinhou-se, como o picturalismo, o dadaísmo e o surrealismo no decorrer das suas diversas utilizações como objeto e como material artístico expressivo e plástico em meio a outras linguagens e imagens de ordens diversas que concorrem com esta tecnologia e que constituem o cenário artístico. No presente trabalho buscamos posicioná-la no âmbito autoral, artístico, procedimental e expressivo determinado pela tecnologia e pelas linguagens levando-se em conta suas contaminações, suas contribuições e seus desvios. No primeiro capítulo, tratamos das relações que são estruturadas dentro de uma perspectiva cultural em torno das diferenças dadas no dia a dia e em especial nas polarizações do fazer artístico e cotidiano, estabelecendo distinções entre as práticas que irão repercutir nas distinções entre os fazeres. Principalmente nas diferenças sobre a práxis fotográfica, visando estabelecer de antemão nossas argumentações subsequentes no trabalho. No segundo capítulo, construímos a partir dos procedimentos fotográficos históricos uma tese que já haviam elementos constituintes de artisticidade nestes, e que eles determinaram todo um trajeto que a fotografia percorreria tentando demonstrar que ela é um meio justo de possibilidades expressivas, muito embora, ainda fosse um novo campo a ser explorado com variadas possibilidades de articulação nos meios artísticos. Desde o seu princípio ela já possuía qualidades ditas artísticas, e como outras modalidades também possuía características plásticas e expressivas, muito embora, não fosse entendida nesses parâmetros por alguns segmentos da sociedade. Buscamos na tendência picturalista o embasamento para as nossas argumentações, compreendendo que este acima de outros, naquele momento, representa as questões que nos propomos a discutir, e que por sua vez promove um amadurecimento e uma atitude mais enfática, mais focal do que outras tentativas anteriores de estabelecimento da fotografia no campo da arte. Entre o segundo e terceiro capítulos dimensionamos um mapa que foi desenvolvido a partir de acontecimentos da história cultural, da arte e da fotografia relacionando-as graficamente permitindo a possibilidade de estabelecermos visualmente as relações entre pontos importantes para a fotografia. Foram relacionados 126 (cento e vinte e seis) acontecimentos que acreditamos ser importantes e relevantes, inclusive a demarcação do período entre as grandes guerras mundiais. Ele abrange um período que se inicia no descobrimento histórico da fotografia até 2007. No terceiro capítulo, tratamos das dos procedimentais fotográficos de uma maneira técnica em relação à práxis da fotografia instruída, abordando as potencialidades técnicas do meio expressivo em relação aos procedimentos no campo fotográfico e nas suas correlações na arte contemporânea. No quarto capítulo, são alinhadas no que diz respeito aos cruzamentos das questões que abordamos nos capítulos anteriores, contemplando as maneiras em que a fotografia se estabelece como objeto de múltiplas abordagens na arte e em torno desta, nas suas relações como material privilegiado na arte contemporânea. Tratamos essas questões principalmente num percurso visual estabelecido a partir de portfólios selecionados dos artistas contemplados no trabalho: Eustáquio Neves, Vik Muniz e Laurence Gartel e nas relações de suas obras com outras produções que acreditamos relevantes artisticamente. O estatuto da fotografia como arte mudou no decorrer do seu desenvolvimento tornando-a atualmente um dos materiais mais empregados na contemporaneidade artística. Visamos dimensionar na produção destes três artistas no âmbito de suas contribuições artísticas, procurando por intermédio da produção desses a resposta sobre a nossas indagações sobre o lugar contemporâneo da fotografia.application/pdfporUniversidade Presbiteriana MackenzieEducação, Arte e História da CulturaUPMBrasilCentro de Educação, Filosofia e Teologia (CEFT)http://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessartefotografialinguagemcontemporaneidade.CNPQ::CIENCIAS HUMANAS::EDUCACAOCNPQ::LINGUISTICA, LETRAS E ARTES::ARTESQual o lugar da fotografia contemporânea?info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisRizolli, Marcoshttp://lattes.cnpq.br/4808339542698874Guimarães, Alexandre Huady TorresFatorelli, Antonio PaccaAlmeida, Sullivan Bernardo deDavino, Gláucia Eneidahttp://lattes.cnpq.br/9533803289697734Carvalho, José Marcos Cavalcanti dehttp://tede.mackenzie.br/jspui/retrieve/14855/Jos%c3%a9%20Marcos%20Cavalcanti%20de%20Carvalho.pdf.jpghttp://tede.mackenzie.br/jspui/bitstream/tede/3319/5/Jos%C3%A9%20Marcos%20Cavalcanti%20de%20Carvalho.pdfartphotographylanguagecontemporaryreponame:Biblioteca Digital de Teses e Dissertações do Mackenzieinstname:Universidade Presbiteriana Mackenzie (MACKENZIE)instacron:MACKENZIE10899/246362020-05-28 15:09:54.435Biblioteca Digital de Teses e Dissertaçõeshttp://tede.mackenzie.br/jspui/PRI |
dc.title.por.fl_str_mv |
Qual o lugar da fotografia contemporânea? |
title |
Qual o lugar da fotografia contemporânea? |
spellingShingle |
Qual o lugar da fotografia contemporânea? Carvalho, José Marcos Cavalcanti de arte fotografia linguagem contemporaneidade. CNPQ::CIENCIAS HUMANAS::EDUCACAO CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
title_short |
Qual o lugar da fotografia contemporânea? |
title_full |
Qual o lugar da fotografia contemporânea? |
title_fullStr |
Qual o lugar da fotografia contemporânea? |
title_full_unstemmed |
Qual o lugar da fotografia contemporânea? |
title_sort |
Qual o lugar da fotografia contemporânea? |
author |
Carvalho, José Marcos Cavalcanti de |
author_facet |
Carvalho, José Marcos Cavalcanti de |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Rizolli, Marcos |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/4808339542698874 |
dc.contributor.referee1.fl_str_mv |
Guimarães, Alexandre Huady Torres |
dc.contributor.referee2.fl_str_mv |
Fatorelli, Antonio Pacca |
dc.contributor.referee3.fl_str_mv |
Almeida, Sullivan Bernardo de |
dc.contributor.referee4.fl_str_mv |
Davino, Gláucia Eneida |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/9533803289697734 |
dc.contributor.author.fl_str_mv |
Carvalho, José Marcos Cavalcanti de |
contributor_str_mv |
Rizolli, Marcos Guimarães, Alexandre Huady Torres Fatorelli, Antonio Pacca Almeida, Sullivan Bernardo de Davino, Gláucia Eneida |
dc.subject.por.fl_str_mv |
arte fotografia linguagem contemporaneidade. |
topic |
arte fotografia linguagem contemporaneidade. CNPQ::CIENCIAS HUMANAS::EDUCACAO CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS HUMANAS::EDUCACAO CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
description |
The work aims to address the relationships around the picture as visualities precursor that caused changes in relation to other artistic languages. Seeking similarities between these and contemporary photography, we undertook a journey that sought answers around the photography place in relation to other contemporary arts. The course was conducted through the trends and artistic movements and photography lined up like picturalism, Dadaism and Surrealism during their various uses as an object and as an expressive art materials and plastic through to other languages and images several orders that compete with this technology and that constitute the art scene. In the present work we place it on copyright, artistic, expressive and procedural framework determined by technology and languages taking into account their defilements, their contributions and their deviations. In the first chapter, we treat the relationships that are structured within a cultural perspective around the differences given on the day and especially in the polarizations of the artistic work and daily life, establishing distinctions between practices that will reflect the distinctions between doings. Mainly the differences on photographic practice, to establish beforehand our subsequent arguments at work. In the second chapter, built from historical photographic procedures a thesis that had already constituent elements of artistry in these, and they determined all a path that photography would travel trying to demonstrate that it is a fair means of expressive possibilities, though, was still a new field to be explored with varying articulation possibilities in artistic circles. Since its inception it had already said artistic qualities, and how other modalities also had plastic and expressive features, though, was not understood these parameters by some segments of society. We seek the picturalism trend the basis for our arguments, understanding that this above others, then, is the questions that we propose to discuss, and which in turn promotes maturation and a more emphatic attitude, more focal than other attempts photography establish earlier in the field of art. Between the second and third chapters we scale a map that was developed from the events of cultural history, art and photography relating them graphically providing the ability to visually establish the relationships between important points for photography. They were related 126 (one hundred and twenty six) events that we believe to be important and relevant, including the demarcation of the period between the world wars. It covers a period that begins in the historic discovery of photography until 2007. In the third chapter, we treat of the photographic technique of a procedural way in relation to the practice of learned photography, addressing the technical capabilities of expressive means in relation to the procedures in the photographic field and their correlations in contemporary art. In the fourth chapter, they are aligned with respect to the intersections of the issues we discussed in previous chapters, covering the ways in which photography is established as the object of multiple approaches in art and around this in their relations as privileged material in contemporary art. We treat these matters primarily a visual path established from selected portfolios of the artists included in the work: Eustaquio Neves, Vik Muniz and Laurence Gartel and relationships of their works with other productions that we believe relevant artistically. The photography’s status as art has changed in the course of its development making it currently one of the materials used in contemporary art. We aim to scale in the production of these three artists within their artistic contributions, looking through the production of such a response on our questions about the contemporary place of photography. |
publishDate |
2016 |
dc.date.issued.fl_str_mv |
2016-10-07 |
dc.date.accessioned.fl_str_mv |
2017-09-20T13:11:22Z 2020-05-28T18:09:54Z |
dc.date.available.fl_str_mv |
2020-05-28T18:09:54Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
CARVALHO, José Marcos Cavalcanti de. Qual o lugar da fotografia contemporânea?. 2016. 163 f. Tese( Educação, Arte e História da Cultura) - Universidade Presbiteriana Mackenzie, São Paulo . |
dc.identifier.uri.fl_str_mv |
http://dspace.mackenzie.br/handle/10899/24636 |
identifier_str_mv |
CARVALHO, José Marcos Cavalcanti de. Qual o lugar da fotografia contemporânea?. 2016. 163 f. Tese( Educação, Arte e História da Cultura) - Universidade Presbiteriana Mackenzie, São Paulo . |
url |
http://dspace.mackenzie.br/handle/10899/24636 |
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por |
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openAccess |
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Universidade Presbiteriana Mackenzie |
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Educação, Arte e História da Cultura |
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UPM |
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Brasil |
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Centro de Educação, Filosofia e Teologia (CEFT) |
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Universidade Presbiteriana Mackenzie |
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Universidade Presbiteriana Mackenzie (MACKENZIE) |
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