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Doctoral Thesis
DOI
10.11606/T.27.2016.tde-22092016-151132
Document
Author
Full name
Sandra Minae Sato
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2016
Supervisor
Committee
Grinberg, Norma Tenenholz (President)
Ajzenberg, Elza Maria
Costa, Carlos Roberto Zibel
Cristofaro, Valéria de Faria
Rizzi, Maria Christina de Souza Lima
Title in Portuguese
A cerâmica artística: interfaces na contemporaneidade
Keywords in Portuguese
arte contemporânea
artes maiores e artes menores
Cerâmica
design
história e crítica de arte
Abstract in Portuguese
Uma das mais antigas matérias-primas utilizadas pelo homem, a cerâmica vive hoje uma das mais importantes revoluções conceituais de sua história. Como expressão artística, a cerâmica tem atravessado séculos sob o estigma de "arte menor" e refugiada no que o pesquisador Garth Clark denomina "fortaleza cerâmica", recorrendo a um gueto artístico construído com seus próprios veículos de comunicação, espaços expositivos e eventos. Esta pesquisa investiga quais foram os ecos desta condição marginal que conformaram a cerâmica tal como ela se apresenta na atualidade entre as artes visuais e o design, em tempos de intenso desenvolvimento dos recursos tecnológicos disponíveis e da ideia da não-materialidade como forma de manifestação. O estudo revisa a trajetória de artistas que, a despeito das diferenças hierárquicas que segregaram o artista do artesão, atribuíram novos significados a essa que é uma das mais primitivas formas de expressão do sentimento humano. A partir da revisão histórica dos pensamentos, tanto a favor quanto contra, sobre a classificação das artes em "maiores" ou "menores"; "belas artes" ou "artes aplicadas", questionamos a necessidade desta categorização. Analisamos, ainda, como as especificidades da cerâmica a tornam representação legítima da arte pós-moderna, conforme a visão de teóricos como Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, entre outros, pela sua capacidade de se adaptar as novas linguagens e aos conceitos nos nossos dias.
Title in English
The artistic ceramics: interfaces in contemporaneity
Keywords in English
art history and criticism
ceramic design
Ceramics
contemporary art
low and high art
Abstract in English
One of the most ancient media employed by the human being, ceramics nowadays is passing through one of the most important conceptual revolutions of its history. As art expression, ceramics has crossing over centuries under the stigma of "low art" and it looked for refuge wherein researcher Garth Clark calls "Fortress ceramica", recurring to an artistic ghetto built with its own communication vehicles, exposition spaces and events. This research investigates which were the echoes of this marginal condition that shaped pottery as it stands today among the visual arts and design, in a time of intense development of technological resources available and of non-materiality concept as expression. We look over the path of artists who, despite of hierarchic differences that segregate artist from artisan, gave new meanings to this form of expression that is one of the most primitives in history of humanity. From the historic revision of theories, both against or pro, about classification in "low art" or "high art"; "fine arts" or "applied arts", we question the necessity of any categorization. The research analyzes also how the specificities of ceramics turns it as a legitimate representation of postmodern art, under the vision of theorists as Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, among others, by its capacity of adaptation to the new languages and to the nowadays concepts.
 
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SANDRAMINAESATO.pdf (4.23 Mbytes)
Publishing Date
2016-09-22
 
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