Dissertações em Artes (Mestrado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6806

O Mestrado em Artes, em 2008 foi autorizado pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) com funcionamento no Programa de Pós-Graduação em Artes (PPGARTES) do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA).

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Deslocamentos cotidiano: corpo-cidade-arte-educação
(Universidade Federal do Pará, 2012-03-29) PORTO, Priscilla Fragoso da Silva; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184
It is a narrative of everyday life for an art teacher who lives the city of Belém do Pará with an aesthetic look, aim to instigate research into the city, on the aesthetics and art education all tied to the aesthetics of everyday life and relational, where all the livings are leveraged (percept and affect), an apprehension of the world. Art is a way to create worlds through scripture that reveals the spaces as an artistic medium where the actual events that occur in it already leads to a poetics. Using as theoretical references Bachelard, Guattari, Sartre, Walter Benjamin and some authors who see the street, public space, as a support of artistic enjoyment. The city, approached in a poetic and subjective. The street and urban daily life and art education thinking and lead to an intense gaze and dense on the space that a body moves. The images of the city (specifically Bethlehem: center and periphery) and images of everyday life (everyday, everyday urban school) act to subjectivity according to the theoretical perspectives discussed in this research.
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Mulheres artistas: narrativas, poéticas, subversões e protestos do feminino na arte contemporânea paraense
(Universidade Federal do Pará, 2012-02-07) ASSIS, Sissa Aneleh Batista de; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This paper analyzes the works of women artists and contemporary plastic and visual art of Pará. However, I quote this search to Antonieta Santos Feio modernist painter to represent the woman of Pará. First, is presented starting from a historical representation of women from the statues of Venus Steatopygous of prehistoric sculptures of Venus from the Classical Era to contemporary reinterpretations. This work also traces the path of struggles and achievements for the professionalization of women in the arts to contemporary times. Later, a brief introduction to different perspectives on concepts of gender, identity, identification and social movements in contemporary releases that contributed to social, sexual and intellectual to the artistic universe. Research shows the female universe in the arts, women's artistic expression, the interpretation of the female artist about on women and the symbolic representation of the regional women. The artists chosen for this study are composed narratives, aesthetics and poetics of the feminine in contemporary art of Pará.
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Olhando pro muro, enxerguei o mundo! : uma visão sobre a poética de quatro grafiteiros do cosp tinta crew
(Universidade Federal do Pará, 2015-06-29) MACHADO, Carmen Maria Bragança de Souza; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184
Looking at the wall, I saw the world! This is how this dissertation starts, a research willing to rediscover those artists who inscribe themselves on the streets, on the skin walls of a supporting city. Four graffiti artists from the Cosp Tinta Crew, George, Marcelo Bokão, Edpaulo and Fábio Graf, those who, within their personal differences, create spaces on the plots which get cross linked alongside the graffiti universe of Belém do Pará. Discovering how those "Manus" (kind of slang among the artists, meaning "Guys") get crossed, completed and inscribe the poetic trails of their jobs was one of the aims reached; it was evidenced how the aesthetic-artistic knowledge enlarged and enabled those lads to be seen as well-known artists by their fellows and allowed the oncoming of the universe of the theoretical realities with the practical reality, from the teaching of graffiti to the living of it. In order to do so, it was needed to highlight the speech and opinions from the "manus", allowing them to choose the images which represented them and interfered in the inscriptions aesthetically, showing to the academy as well as through it, that these youngsters have identity in their traits and drawings, without either the aspiration of decoding them or analyzing the meaning of their "jobs". Authors like Jan Christian Smuts, with the concept of the holistic view; Oswald de Andrade and Michel Melamed, with the concepts of the Manifesto Antropofágico e Regurgitofagia (Anthropophagic Manifest and "Regurgitofagia"); distant-experience and close-experience, from Clifford Geertz; Leda Guimarães and Romulo Avelar, with their concepts of writings in a dissertation in Arts are some of the theoretical support which allowed the development of a pleasant research and close to reality, not only to the graffiti artists but also to the schools I work as an Arts teacher. Nevertheless, in order to build up this bridge, it is necessary to fortify the crews’ basis which spread throughout the city; the academy and its researches are fundamental support sources in order to do so. In these aspects, we are led to credit that this paper, of academic character, cannot be limited to the university academic range only. It was realized aiming at the posture of authorrecognition, enlarging the possibility that graffiti artists identify themselves in it and get closer and closer to the academy, in constant exchanges.
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Sob medida: tipologias estratégicas de inserção do vestuário nas artes visuais
(Universidade Federal do Pará, 2011-06-30) CIRILO NETO, João; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
According to Roland Barthes, the ordinary clothing is accepted as an object in the visual arts since the avant-garde experiments of the European modernism in the twentieth century. Thereafter, concepts and practices such as readymade and artist‟s clothing (künstlerkleid) respectively created by Marcel Duchamp (1887-1968) and Henry Van De Velde (1863-1957) will promote profound changes in art in that sense. The readymades will allow many everyday objects to enter spaces traditionally intended for works of art, which will lead as a result to the notion of artist's clothing, understood here as a subcategory of the readymade concept strictly concerning to garments. This study aims to examine the use and the relevance of the term artist's clothing as a category of or a resource for the modern and contemporary visual arts. Such an examination will explore the general aspects related to social and symbolic value of clothing, to offer typologies for the term artist's clothing based on the way tailor-made wearable items are used in a work of art or are conceived as art itself. Finally, in order to verify the validity of such a phenomenon and the proposed classifications in this study, the concept of artist's clothing is taken into account within the visual arts production in Belém, the capital of the state of Pará.
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O vocabulário ornamental de Antônio José Landi: um álbum de desenhos para o Grão Pará
(Universidade Federal do Pará, 2011-02-09) OLIVEIRA, Domingos Sávio de Castro; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
The architecture of the city of Belém, in Pará, in the second half of century XVIII is marked by the works of the Italian architect Antônio José Landi responsible for the project and construction, or remodels, of buildings that mark the landscape of the city until the current days. Analyzing the published bibliography regarding the artist, it is possible to notice a fluctuation between the authors in what says about the classification of his artistic style. It is possible to attribute this fact to the influences suffered by the architect throughout his formation in Europe, what printed in his language elements of some artistic chains. It’s objective of this work, through a systemize study of the ornament used for the architect, to perceive his ornamental vocabulary and to supply then beddings studies regarding the influences that the workmanship of Landi can have provoked in the local art. For in such a way, the ornates had been congregated in four groups in order to facilitate the visualization of his vocabulary and his ornamental language. Vast was his production between Italy, Portugal and Brazil, however, had been prioritized the ornaments used in the workmanship carried through in Brazilian lands, its characteristics, its use and its variations. The applied methodology consisted in bibliographical research, survey and analysis of the drawings carried through in Brazil and photographic register and analysis of the workmanships executed in Belém. To the end of the research, it is concluded that the Italian artist developed his art, with the use of an ornamental vocabulary formed by the artistic influences suffered by him in the Europe and of the conditions of the Amazonian environment, its limitations of materials and manpower.