Sculptural abstraction of landscape

The purpose of my Senior Scholar project was to create a series of sculptures that are based on the interaction of natural forms within a selected landscape setting. I hope to convey a sense of how I view and interpret the landscape and to create works that stimulate a sense of wonder in the mind of the viewer. This fascination, perhaps even obsession, with the power of the landscape has kept me going throughout the year. As a source of ideas and imagery, the landscape can never be depleted. There will always be new combinations of landscape elements, different light conditions, and changing seasons to provide me with fresh ideas. Research for the project took me to many different places, be it my trip to Monhegan Island or driving to New York City to study the cityscape. I began the year working in steel and plaster, combining the two in works that explore the interaction between living tree roots and inanimate rocks. This led to a series entitled Landscape Recollections, comprised of welded steel forms housed in protective wooden boxes and lit from inside. After visiting New York City, architecture began to playa role in my work, as seen in the two Roadcut pieces and the Cathedral Woods series. Roadcut #1 and Roadcut #2 explore the relationship between a man-made road and the landscape that lies beneath and around it. The Cathedral Woods pieces incorporate architecture in a more abstract manner, using imagery derived from Gothic cathedrals to convey a sense of quiet peacefulness. The soaring verticality of Gothic architecture integrates with the tall tree forms in each piece, enabling me to intertwine these two elements into one another and create a harmonious relationship between architecture and nature. Throughout the year I have kept a sketchbook in which I draw from life, jot down ideas, and take notes on how the project is progressing. I have also completed several large charcoal drawings of my sculptures in which I explore different ways of viewing the steel forms. I am grateful to have had the opportunity to undertake this project, as it has been a very difficult but rewarding process of observing, interpreting, and manifesting the landscape according to my personal vision and experiences.

Stephen Procter: reflections of a glass artist

Stephen Procter: Reflections of a Glass Artist, records the thoughts and philosophies of the artist and glassmaker who for a number of years headed the Glass Department of the Australian National University School of Art. It traces his career in glass working from his first interest developed through a pointillist technique while living on Dartmoor; through his British Council-funded grant that enabled him to learn glass blowing and cutting techniques in Austria; to the mature landscape paintings and glass sculptures created during his years living in Australia.

Beyond the analogon; the "transfer of the referent" : the relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referen

Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.

Not the holocaust memorial

Evoking Genocide compiles more than sixty short essays written by leading scholars and activists in the field of genocide studies. These authors pay eloquent tribute to the works of art and media that influenced their engagement with genocide and crimes against humanity. The subjects include books and stories, films, songs, drawings, documents, monuments, sculptures, personal testimonies, and even a Lego set. In an accessible and often deeply personal way, contributors explore their own relationships with the works in question. Edited by Adam Jones, recently selected as one of fifty key thinkers in Holocaust and genocide studies, Evoking Genocide makes an important contribution to the study of the art and culture of mass atrocity.

Protecting public art

A documentation and discussion of the volunteer based Protect Public Art! pilot project that aims to create an inventory of culturally significant outdoor sculptures and monuments in Victoria, gauge community awareness of public art and outdoor cultural heritage and identify opportunities for future projects. It clearly shows that working with volunteers requires specialised knowledge and planning.

Creating a dialogue across time in Athens : the new Acropolis museum and the Parthenon

A visit to the New Acropolis Museum in Athens, Greece, in late June 2010 set in train a number of questions and inspired a research project to begin to unravel something of the complex relationship between ancient and modern architecture on the Athenian Acropolis. Research was guided by the question: how does the contemporary museum, designed by Swiss born architect Bernard Tschumi in collaboration with local Greek architect Michalis Photiadis relate to the ancient Acropolis and the fifth century BC Parthenon, whose sculptures it was to house? A critical literature review was augmented by design analysis and field experience. This paper documents the resulting critical thematic investigations of the Parthenon, the Acropolis and the New Museum through siting, materiality and light, alignment, visual connections, through exploitation of the unique Attic light, orchestrated movement and considered juxtapositions. Research has revealed that Tschumi’s deliberate strategy of creating a dialogue between his building and the ancient monuments holds the key to his design intent, to creatively exploring contemporary architecture at the edge of such a physically and culturally dominant ancient plateau.

As imagens do povo e o espaço vazio da arte/educação: (um estudo sobre Antonio Poteiro)

Este trabalho - As imagens do povo e o espaço vazio da arte - educação - é o desenvolvimento de uma reflexãos sobre a arte, suas condições de produção e o seu conteudo, na busca de subsídio para o desenvolvimento da educação artística no contexto da Educação Formal. Esta refleção se fundamenta no pressuposto de que a arte não ê um momento separado da praxis humana, mas que se constitui num objeto de apropriação do real, que ao expressá-lo cria uma realidade humano-social e a ela se integra, estabelecendo uma rede de interações. A metodologia empregada para as verificações concernentes aos pressupostos teóricos, situa-se no que se convencionou denominar "estudo de caso". Analisa-se a produção do artista plástico, Antônio Poteiro, ceramista e pintor, de origem popular, procurando nela instâncias de crítica e renovação social. Do ponto de vista da apresentação, este estudo se constitui de quatro partes. Na primeira parte, introdutória, sao abordados aspectos teóricos da arte em sua relação com a realidade social. Enfatiza-se o problema da fruição nas artes figurativas.A segunda é dedicada à vida do artista. Faz-se transcrição da história de vida, segue-se um comentário evidenciando aspectos da capacidade criadora do artista. A terceira é dedicada a sua obra, pintura e escultura. Procede-se o deciframento de um conjunto de obras, a partir de um tema recorrente. Numa fase final, reunem-se as questões concernentes a produção do artista, para que venham contribuir para a educação, supondo-se que a arte ocupe nos processos educacionais, um espaço que leve ao desenvolvimento da sensibilidade humana.

O discurso do grotesco na mídia digital

This study presents our research on the discourse of the grotesque in digital media, specifically in two blogs. We rely on the theoretical-conceptual and methodological discourse analysis of the French School. We analyzed a set of posts in the following blogs: Eu Sou Ryca and Cleycianne, and we did it based on some propositions on the discourse of the grotesque by Mikhail Bakhtin (1999a), Muniz Sodré and Raquel Paiva (2002), Wolfgang Kayser (2003) and Mary Russo (2000). The expressions of the grotesque analyzed in the blogs Eu Sou Ryca and Cleycianne result predominantly in humorous effect, obtained by means of irony and parodization, which calls for ridicule and relegation, through a strong tension between the beautiful and the ugly, the socially acceptable and the aberration, the taste for the strange and the aesthetically striking. The grotesque appears initially as a significant feature of ornamental paintings found in Roman caves in the late fifteenth century, and today it can be seen permeating from sculptures, paintings, literary works, talk shows for television, videos hosted in cyberspace, specifically in the collective domain of weblogs. This work seeks to analyze how the discourse of the grotesque constitutes the humorous process in its insertion in cyberspace

Evolution of representation of the hands in plastic arts

A interação entre arte e ciência foi intensa durante o Renascimento, sofrendo declínio nos anos posteriores com retomada significativa no século XX, principalmente com o uso de técnicas de identificação, datação de obras de arte e o desenvolvimento de novos materiais. O relacionamento entre artes plásticas e Cirurgia da Mão mantêm-se intenso , sendo freqüente o uso de reproduções artísticas da mão nas ilustrações de textos científicos. Objetivando compreender o papel da mão nas artes plásticas, reproduções de obras de artes (esculturas e pinturas) representativas de vários estilos ou períodos da história da arte foram analisadas com enfoque no estudo das mãos. Detalhes anatômicos, relacionamento com outras estruturas do corpo humano, papel na composição e aspectos simbólicos das mãos foram estudados no contexto histórico e artístico de obras de arte do período paleolítico (pré-história) até o século XX. A representação da mão nas artes plásticas está diretamente relacionada ao estilo ou período da obra e à capacidade individual de interpretação e execução do artista.

Ultramorphological features of the egg of Telmatoscopus albipunctatus (Williston) (Diptera, Psychodidae)

Aspectos ultramorfológicos do ovo de Telmatoscopus albipunctatus (Williston) (Diptera, Psychodidae). As moscas da família Psychodidae, também conhecidas como moscas de banheiro, são de importância médica e veterinária. Informações gerais sobre ciclo de vida e hábitos do adulto são facilmente encontradas, mas pouco se sabe sobre a morfologia do ovo. Dessa forma, neste estudo, a ultramofologia do ovo de Telmatoscopus albipunctatus (Williston, 1893) foi analisada por microscopia eletrônica de varredura com o objetivo de descrever sua estrutura, provendo importantes dados para futuras comparações entre moscas de diferentes espécies e gêneros. O aspecto geral do ovo de T. albipunctatus é similar a outros Psychodidae, medindo aproximadamente 0.4 mm de comprimento e 0.1 mm de largura. Entretanto, baseado nas esculturas contínuas e descontínuas do exocórion, as quais podem ser espécie-específicas, podemos inferir que os ovos de T. albipunctatus podem sobreviver sob condições de muita umidade ou seca, dificultando o controle da espécie. Nossos resultados ressaltam a importância do uso da microscopia eletrônica como uma ferramenta no estudo dos padrões do exocórion. A morfologia externa do ovo de T. albipunctatus pode ser usada como base para futuros estudos e como ferramenta para comparação de diferentes espécies de moscas do gênero Psychodidae.

A arquitetura espontânea de Niki de Saint Phalle: o jardim de tarô

Pós-graduação em Artes - IA

Os movimentos da sensibilidade: o diálogo entre Mário Pedrosa e Alexander Calder no projeto construtivo brasileiro

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

The Lord of the rings e a estética da finitude

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Aproveitamento dos resíduos gerados pelo processamento industrial/artesanal de pedra-sabão da região de Ouro Preto

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)