Programa de Pós-graduação em Arte e Cultura Visual
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Navegando Programa de Pós-graduação em Arte e Cultura Visual por Por Orientador "BORGES, Maria Elizia"
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Item O ativismo ambiental nas ações e instalações de Siron Franci, 1986-2008: A arte como estratégia de divulgação(Universidade Federal de Goiás, 2009-06-26) BERTAZZO, Lucia; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221Siron Franco is an artist who has, in a parallel with his pictorial work, always produced pieces that denounced social grievances and pieces of political nature which, placed in public settings, aimed at inducing the media to broadcast protests. The artist has for very long championed the environmental cause, what has led him to produce a series of pieces on the theme: paintings, demonstrations, stickers, installations, video-sculptures. This dissertation sets out to review the historical moment in which these pieces come out and presents them as postmodern art work produced in line with environmental activism. This research intends to analyze the insertion of artistic protests which have the environment as a cause, into the press and in contemporary art productionItem Registros de memória em imagens: usos e funções da fotografia mortuária em contexto familiar na cidade de Bela Vista de Goiás (1920-1960)(Universidade Federal de Goiás, 2008-04-04) BORGES, Déborah Rodrigues; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The research Registros de memória em imagens: usos e funções da fotografia mortuária em contexto familiar na cidade de Bela Vista de Goiás (1920 – 1960) proposes analysis about the ways in which bereaved families used the portraits of the deceased during the mourning period. For this, we fixed the town of Bela Vista de Goiás as the space for research, trying to establish relations between the content expressed in the photographs collected in the town and the cultural context that was around the production and use of these images. The mortuary portrait appeared practically at the same time of the photographic technique, and enjoyed a great social acceptance in Brazil and in other western societies until the middle of the twentieth century. There are certain ideas expressed in these portraits of a Christian collective mentality about death, especially the imaginary about the good and the beautiful death. In Bela Vista de Goiás we found the interference of the Catholic faith in the building and in several uses that families of the town have did with the pictures of their dead, as a way of keeping alive his memory. This study, therefore, try to contribute with discussions about the collective attitudes towards death and death rituals, and reflect about a specific type of use of the photograph in a process of building family memories.Item CARLOS SENA: A TRAJETÓRIA DE UM ARTISTA NA ARTE GOIANA (1980-1989)(Universidade Federal de Goiás, 2009-08-07) COELHO, Armando de Aguiar Guedes; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221This research CARLOS SENA: THE ARTIST STEPS INTO THE GOIÂNIA ART SCENE (1980-1989) focuses on Carlos Sena s professional status and productions of plastic arts in the goianiense visual arts community from the 80s. He is known for his many group expositions and private art shows, festival awards, and being an active member of the art jury at festivals. He is also well known for his intense production in painting, which was divided into two phases. The first phase being the first half of the 80s and the second being the other half of the decade. This period revealed an artist who dedicated the same posture to technician in drawing and painting as in experimental arts. During this time, it is possible to observe into the Carlos Sena´s iconography, several symbolisms which dialogue with several discussions from the period, as sexuality, mass media, and symbolic power. The analysis of Sena´s paintings of this time follows the analysis system adopted from the authors Ferreira Gullar e Gaston Bachelard. It happened to be during his painting production in the 80s, that arts career became a professional job in Goiânia, conducting the research to verify the connection between the art work and market structure. This research presents the Goiânia artistic scenario from the 80s that focuses on Carlos Sena´s presence and artist market from the period.Item A Morte Severina em Cândido Portinari e em João Cabral de Melo Neto(Universidade Federal de Goiás, 2012-06-20) COIMBRA, Glayce Rocha Santos; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The purpose of this dissertation was to study the possible dialogue between art and literature because of the literary work of João Cabral de Melo Neto, Morte e vida severina and painter production of Candido Portinari, in particular the series of 1944 called: Retirantes, Criança morte e Enterro na rede, which the content that unites them is an expression of how the northeastern refugees dealt with death, indicate that Melo Neto and Portinari the migration process and the flight of the misfortunes experienced in the northeastern backlands seems to represent the possible output. Through a literature review and analysis of the poem and the works of Portinari, we conclude that to represent the drama experienced by these refugees, Portinari used expressionist aesthetic resources and the deformation and Melo Neto sought through the Pernambuco Regionalism and folklore, elements to portray the same situation painted by Portinari. Art and literature dialogue situations in common: the desire to express the way that these Brazilians were reluctant because of the difficulties caused by droughtItem Os segredos visíveis da cidade: a efemeridade da luz e da sombra na linguagem fotográfica(Universidade Federal de Goiás, 2010-04-06) COLLANTES, Galo Raúl Yépez; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The present work proposes a theoretical reflection around the photographic images produced by the author between the years 2001 and 2006 during the passing of certain visual effects of a transitory nature that appear in the city. The analysis of images is proceeded by a historical review on urban morphology and iconography; the image of the city; and on a selection of American and European photographers that included the city within their preferred subject matter. In the second part of the article the intention is to be explicit on some of the positions that underlie the fundamental concepts of the author's work, starting with the explanation of the language around the ephemeral and then developing aspects relating to the technical image, an unbreakable element of the photograph. Finally, the study focuses on an interpretative and descriptive analysis, looking at historical, technical, aesthetic and conceptual elements of the most representative images that form part of the author's three thematic exhibitions. At this stage it explores: the embedding in photographic aesthetics of facets of simple and routine urban daily life; the potential of reflection in water on the ground; as well as the dominance of shadows in the contemporary vision of creative photography.Item Visita ao museu de pedra: o Cemitério da Saudade de Campinas - SP(Universidade Federal de Goiás, 2008-11-04) ELUSTA, Halima Alves de Lima; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The Saudade Cemetery, in Campinas, Brazil, is considered na open-sky museum for burial monuments that represents and materialize the relation man death in this city. The main goal of the present research is to show the transformations after the death secularization in the city, since 1881, when the cemetery was founded till the 1950 s decade. The transformations occurred during this period are here represented by statuary, tombs and monuments elaborated by Giuoseppe Tomagnini, Vélez Family, V. Lazzeri, Rosada Family, Coluccini Brothers and Camillo dos Santos. Those artist-artisans responsible for that buildings were influenced by stylistic of the European funerary art, such as neoclassic and eclectic architecture, art nouveau, art déco and modern to attend to the local citizen needs in order to preserve their memory. The burial buildings found in the Saudade Cemitery, besides a local for reflection and memory, can be considered significant part of Historical and Cultural Patrimony of CampinasItem A INFLUÊNCIA DA VOLUMETRIA ARQUITETÔNICA NO DESIGN DE MOBILIÁRIO CONTEMPORÂNEO (ESTUDO DE CASO: O TRABALHO DE AUGUSTO THOMÉ).(Universidade Federal de Goiás, 2008-09-22) RORIZ JÚNIOR, Laudemiro; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The present work consists of the result of a research, whose objective age to identify the historical and stylistic influences that act in the furniture of designer Augusto Thomé, who got his architectural formation and acts professionally in Goiânia. The region of the city and its outskirts are furniture polar region of national representation. The study of the history of the city, in its foundation and marked moment of its growth, which happened with the construction of Brasília, it was necessary for the agreement of the lines traced in design of Thomé. In Goiânia, characteristics of art déco in the urbanistic plant, in monuments and historical buildings, dated of its foundation, and the modernist monumentalism of Brasília, they determine the formal references of the associations between volumes, plans and lines that generate the identity of the creation of Thomé. The architectural and furniture conceptions of these moments, analyzed in a world-wide context of influence on our culture, are gifts here, as parts of the formation of our social values and aspirations of development.Item Construções, desconstruções e reconstruções: histórias do grafite contemporâneo goianiense(Universidade Federal de Goiás, 2010-07-02) TAVARES, Jordana Falcão; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221This research, linked to the research line Theory, History and Criticism of Art and the Image of the Graduate Program in Visual Culture, is based on proposals of the Image of History to discuss the graphite in Goiânia nowadays. It is a job search support in post-modern theorys, adopting a qualitative research methodology as effected through interviews with social actors participating in the Goiânias s 2000 graffiti scene. Based on the Social History, which allows other versions of the facts that not only the official version, it brings an explanation about the history of graffiti showing that several political constructions, social and cultural rights were erected to their surroundings, since its inception until his passer contemporary according to changing interests. The history of contemporary image goianiense graphite itself consists of speeches from supporters of the practice. At its meetings, the interviewees discussed the meanings they attach to the images they produce, revealed positions, motivations, expectations and reflections. The statements were the raw material for discussions about the social role of graphite, its dialogue with the market and what lies behind the images produced. This work is thus a version of history composed by the opinions of each participant interwoven to show not only one truth, but the possibility of multiple viewpoints on the subject.