SCULPTURE

Author: PRIETO PÉREZ SANTIAGO.
Year: 2004.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The Bauhaus was a capital movement in the history of art of S. XX. The Bauhaus or "home building" was born as a school in 1919, in Weimar. Its founder and first director was the architect Walter Gropius, who, at first, defended strongly vovler look crafts, but soon focused on the school into a functional design and industrial production. Although originated in Germany, the Bauhaus school can be seen as a European. Not in vain among its members and partners included Dutch artists, such as T. Van Doesburg; Russians, as K. Malevich; Hungarians, as L.Moholy-Nagy or Swiss as P. Klee and M. Breuer. Likewise, it should be noted that individual directors that took place in front of the school, architects all of them agreed to give a leading role to architecture as aglutinadora all other arts. Following the closure of the school by Hitler in 1931 most of their teachers and students were forced into exile. Thus, prominent professors had the opportunity to disseminate their ideas and experience in the United States, Albers at Black Mountain College, Gropius at Harvard, Moholy - Nagy at the New Bauhaus in Chicago, and Mies, along with Hilberseimer, at the Institute of Technology Illinois. The truth is that today we live surrounded by designs that have their origins in the Bauhaus: chairs, furniture, buildings .., in the painting, sculpture, graphic design and plublicidad find continuous references to the German school.

Author: NÚÑEZ MARCOS DOLORES.
Year: 2004.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: With the idea of finding some kind of natural order or orders are dealt with different views and assumptions that try to explain the possible origin of the world, the evolution of matter, the ways of nature, likely continuing to investigate and laws in the universe. Another link in the evolutionary chain of possible natural order is psychological, cultural and artificial man-made. Over its history mankind has had the need to design the same order. This raises the possibility of three broad ways to feel and understand Western art, characterized by these relationships that human beings had with their environment and with itself: The worldview zoomórfica when maintained a very close relationship with nature. In antropormófica begins to dominate and transform the world, dominated the visual projection that is himself. Then, with the comsovisión mecanomórfica, there is a new "universe" evolving where artificial devices and the world incorporate its own objectives and challenges. The man has taken many twists and turns to the concepts of form, structure, space and time, transforming approaches according to their worldview. This thesis addresses these concepts related to the disciplines and materials that have made change their meaning and significance, suggesting new solutions. These alternatives are the result of an internal logic of its own cultural evolution, particularly artistic and sculptural. Of the experimentation of the cosmos as a unit we have come to feel fragmented. Almost all of our current system of governance is based on Western expertise and the inevitable result of that competition. What varies, so random, trasponibilidad and random patterns are governing artificial and artistic world today. Faced with a world of the masses adverse tend to prevail: the apparent chaos stems from the established order.

Author: PARRA GRONDONA AGUSTÍN ALONSO.
Year: 2004.
University: PAÍS VASCO.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This research was aimed at designing and testing a methodology for the teaching of art action, while respecting the diversity of the countryside, as its hybrid nature and multidisciplinary. The methodology aims to expand the expressive possibilities of the human being, through the expansion of creativity body. At a conceptual level, the term refers to originality potential transformer personal and social contexts that has enabled the art of action, as a great cultural achievement of the twentieth century, in the disjunction between the organic and the industrial. Looking to take away our historical and cultural conditions, we undertook a redesign of the concept of organic thinking in traditional Chinese and Japanese cultures, finding there a basic tension that stimulates creativity: it is between the intuitive processes, for a hand and processes type lógico-racional, on the other. Fitting bridges between the aesthetic traditions of East and West around the notion of organic, from an anachronistic and transcultural analysis, we proposed that the organic in art refers to that game symbolic that celebrates the sacred in everyday life. For the design methodology we use gestures rituals designed a series of exercises, which were structured in a workshop, which was piloted with a group of students from the University of the Basque Country, obtained very satisfactory results.

Author: NIETO GUIMARAES PIMENTEL JOANA FILIPA.
Year: 2004.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This dissertation deals with a comprehensive study of the movements of the historical and vanguards of the post, the vanguards of decades of the fifties and sixties, which proves that has been from these movements and new situations as the collective exhibitions and trade publications of art that have been changes in the sculpture of the twentieth century, to new approaches and new materials has been released delos charges clásicos.Se talk about photography as a sculpture before the spring of new materials have emerged from these cambios.Se also presented the work performed (artist) during this investigation to the need of trade and the art of working with both camps, so they complement each other.

Author: MONTE SACRISTÁN M. ANTONIA.
Year: 2004.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This thesis is reached picture informative, clear and thorough regard to the sculpture done in the 20 years covered (1980-2000) in downtown Madrid. The conceptual apparatus of this thesis enriches the catálogo-fichero done the same. The works are studied sculpture and strictly fall within an area predetermined by the plain fact is that most of this "gender" is in the public spaces that belong to the town government Madrid.Por therefore space or labor camp is in Madrid municipal level, without renouncing include certain works that are not strictly municipal pertenecia, provided they are in public spaces. It has been noted that there are new circumstances for the first time in those 20 years, contributing pockets of interest and views and considerations not touched antes.Tales as the extension of abstract art in this field, shifting the topic to the field the current socio-political daily, in a sort of democratization of public art (sculpture without pedestal), the appearance and attention to aesthetics municipal peripheral areas of the city, which until that time were the same orphan, and the expansion of a new concept not only in the sculpture itself, but even in its accompanying elements (missing gates, limits and, above all, pedestals).

Author: LÓPEZ DE BENITO RAMÓN.
Year: 2004.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This thesis comprises as fundamental research, analysis of the evolutionary process that continues iron in joining the field of sculpture, reflecting on how, when and how this integration occurs, and it investigates the importance and impact iron, as a material and technique, plays in the artistic avant-garde of the early twentieth century and therefore in the development of sculptural the modernidad.Todos aspects of this analysis we situán over a period of time with previous and characteristics, logically begins with the first sculpture made entirely of iron in 1912-13, and ends in 1917, when the Russian Revolution, through the constructivism, iron lead to a new phase of expansion and outreach. As a complement or support of this analysis, includes a catologo rationale of the works performed entirely in iron, within that period (1912-1917); settle period, the first stage of modern sculpture built on iron, clearly separated from their subsequent developments.

Author: GARCÍA ARNAO JUAN JOSÉ.
Year: 2004.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The contemporary sculpture has been rushing towards a fragmentariedad this is more a lack of conceptual content that parts absent in all of its formal aspect. While it is true that the fragmented, broken, incomplete, has been a category cultivated by artists at all times, but not since the Renaissance, as a product nostalgic d ela classical ruin, where the presence of sculptures are fragmented imposed as a sham, a distortion that will rise to present the piece fragment not as part of a whole, but as all the same. Lsa neoclassical statuary and later noucentista impose the viewer falsehood, too, the treatment of the subject, in which the fragment is and imitates the parties creeks are so elaborate as those that show parts complete. The vanguards, objects found, the evolution of abstract shapes simple sculpture of the twentieth century, has been stripping alo sculptural presence material but also thematic ambition as far as its contents are refiere.El artist of the twenty-first century will eventually present some works of art that an avid viewer eventually engullendo without difficulty, ávio also exhausting and consume some messages as lightweight, affordable and trivial as the taste of strawberries one morning summer. The first part of the thesis deals with a study of the concept of beauty in the piece over centuries, esespecial relevance for the last three. In a second, showing works and artists who have cultivated this genre, trying to compare manifestaviones common in various periods of the history of art. In its conclusions, as if a dissection table concerned, outlines a series of concepts related to the fragmented, as trivial as broken, imcompleto.Por midst, concludes that the intrascendencia is a the defining characteristics of the twentieth century sculpture.

Author: CARR MILIO TOM.
Year: 2004.
University: BARCELONA.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: UNIVERSIDAD DE BARCELONA.

Summary: This thesis explores a series of works that highlight different aspects of temporality. When analyzed has been established typologies of discipline while clarifying key to the understanding of the same from the time -- existential incompatibility, the ephemeral -- permanence, sequence, accumulation, which defines instantly zero a center of the universe.

Author: PUIG PAGÉS SILVIA.
Year: 2004.
University: BARCELONA.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES DE BARCELONA.

Summary: Inquiries about the size of physical objects in relation to humans. With an emphasis on sculpture of the twentieth century. They show that the actions of the objects is not something purely metric neutral, but there is a way to be a "character", a "personality", a psychological tendency, etc., for each size. That character is caused by several factors and that each object according to its size, condition and the circumstances of perception regarding the individual. It organizes all sizes possible into several groups, depending on the circumstances of perception and common respect. This gives a classification of the measures of three-dimensional objects. From here discusses several examples of spare sizes increasing, noting the trend is psychological and how it relates to their actions. It seeks to clarify the reasons why a play has a specific size and not another, with the idea that there is a size better than another but an expressive adequacy different in each case. Establishing this link between action and psychological trend is of the utmost interest to be able to select those most relevant to the objectives of the creator.

Author: CABALLERO CANO FRANCISCO JAVIER.
Year: 2004.
University: POLITÉCNICA DE VALENCIA.
Place of defense: Dep. Escultura.
Place of preparation: Universidad de Granada.

Summary: according to their personal strategies plastic that notion. The point I want to define the range that space, the uniqueness space, is in the works of modern art from consideration of artistic element, especially the art of sculpture. A reflection on the consequences that the abandonment of traditional methods and materials accounted for sculpture-its transformation into art object and its subsequent integration into environments influential affirm or contradict their status estético-, and an analysis of the duality space / sculpture , the place of art as a means of communication / presentation, which may involve aesthetic determinant of this plastic in the valuation of the artwork contained in Section II. In section III studying contemporary proposals which encourage a new position in the art and its essential prerogatives. Since resolutions dadaístas or environmental art of the sixties, the incursions of the sculptor or the pintor- modern art that fits their particular options and encodes plastic through the setup of a total space (the facilities) require an analysis that expose, albeit tangentially, the peculiarities of a new plastic that rises up writing his speech in space as articulated by diverse as object and some materials that may take shape from the minimum of arte povera up to the sophistication of the latest technology materials as the laser. Finally, paragraph IV analyzes the most striking aspects of plastic brought about initiatives that expose location,

Author: BADÍAS MANGUAL ADRIÁN.
Year: 2004.
University: POLITÉCNICA DE VALENCIA.
Place of defense: Dep. Escultura.
Place of preparation: Universidad Politécnica de Valencia.

Summary: Felix Gonzalez Torres (1957-1996) was an artist of Cuban origin who spent his adolescence in Puerto Rico and moved to the end of the decade from 70 to New York, where he would develop in a few years a stellar career before dying under aftermath of an HIV infection. Among notable features of his work, the criticism has highlighted its ability to link key formal artistic dominant discourse (eg proceeds of minimalism and conceptual art) interests linked to daily personal experiences. The Doctoral Thesis takes place as the relationship it maintains with his partner sentimental Ross Laycock, in how to analyze their photographs on paper, photographs and photographs on puzzles on acetate (also known as fotostatos) arises that delicate registration in a conservative and fraught with uncertainty. In the course of working out a glistening thematic concerns such as AIDS, the relationship between private and public, and the difficulty of developing a relevant and appropriate framework from which to arrive at an important experience of the artist that are marginal under the time period in question. This last consideration in turn raises a number of questions about certain social norms, such as the development of masculinity and the conception of the family, and certain values trial, as what we consider to be familiar and strange (ie items corresponding to the difficulty of building a sense of what those under a certain period of time highly mediatised governed by the overproduction of information). Our research addresses the complex relationship around these themes developed parts in question to understand how strategically negotiate the agenda of the artist and clarify the rules it lays down and redefined to establish the production process of sense you might be interested. Likewise, the present thesis arises how these proposals talk with the ambiguity and generality interested how they respond to a negotiating table.

Author: CABALLERO ARENCIBIA MARIA DEL MAR.
Year: 2004.
University: LA LAGUNA.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Theoretical thesis in which they intersect techniques of engraving and sculpture from three cores basic relief engraving, stamping serigráfica, and the art foundry. The processes, materials and techniques of these areas combine to be a large mixed-media alternative. As for the role: wax, emptied the molds, work in mud plate. As for the engraving and printing: printing, conducting marices through traditional procedures, mixed media and alternatives. It is obtained, engraving, reproduction series and the application of images to metal sculpture, and the casting, turning the same forms or prints engraved in the sculpture itself willing to handling, processing, combination and / or composition .

Author: MARTÍNEZ FERNÁNDEZ MIGUEL ÁNGEL.
Year: 2004.
University: VIGO.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: BELLAS ARTES.

Summary: The thesis is divided into four distinct parts. The first is the theoretical study donse explores the artistic context of Galicia and the first contacts artist Paco Pestana with art, his first exhibitions and the evolution of his works of sculpture. The second contains written documentation where twenty-one were selected texts, all of which are the sculptor Paco Pestana except two. The third has the graphic documentation to be presented in chronological order to be able to view the evolution of his work from 1975 to 2003. The fourth contains the conclusions which presents literature as a major element in his work, as well as the nature and an interest in popular culture.

Author: BOTELLA MESTRES MARTINA.
Year: 2005.
University: POLITÉCNICA DE VALENCIA.
Place of defense: ESCULTURA.
Place of preparation: UNIVERSIDAD POLITÉCNICA DE VALENCIA.

Summary: This working hypothesis of the existence of a reciprocal relationship between the practices sculpture and theater. To prove this hypothesis, we have divided the study into three parts: First, we determined how is the process of expanding the field sculptural which begins in the sixties and involves teatralización of sculpture. To explain how this process develops, we have allowed the analysis of "The sculpture in the expanded field" of Rosalind Krauss, we have expanded to the analysis of José Luis Brea and the revision makes Navy Shepherd of the latter. The comparative study of these three authors has allowed us to determine how to give this process of expanding the field of sculpture over the second half of the twentieth century. Subsequently, we stress the importance that this process has taken the concepts of space and time and its transformation into contemporary society. Finally, we set out how certain experiences prioritize sculptural hybrid relational aspects, performative s transdisciplinares, diluting the boundaries between disciplines and bringing the sculpture to the theater. Secondly, we have set out the process by which the theater its wide field and desteatraliza, following a path opposite to that of the sculpture. To demonstrate this process we have referred to the practices that since the sixties, have staged a theatrical flight of the wrapper and dismantled the foundations on which rests the convention. We began our exposure in the process of politicization of the scene of the sixties and continue analyzing its deconstruction and custionamiento the concept of representation posed by the post-colonial tendencies, anthropological and feminist. This exhibition allows us to verify the changes that occur in the theater and its continued expansion in the second half of the twentieth century. Then expose the importance of the concepts of space and time in this process of redefining the scene. Finally, we argue how art, street theater and acting work have expanded their limits appropriating experiences as a sculptural installation practices intervention in public space and performance. Thirdly, we have exemplified this process by which there is a reciprocal relationship between the practices hybrid sculpture and theater. Exhibiting the background of this relationship reviewing the vanguards performing arts, to focus on the analysis of the influences and confluences that occur between the works of Artaud and Cage, Nauman and Beckett, Kantor and Botlanski and finally Forced Entertainment and Orozco. This has enabled us to confirm the existence of an expansion in both fields that draws its limits in a place of active exchanges and relationships of influence and confluence.

Author: RODRÍGUEZ MATTALIA MARÍA LORENA.
Year: 2005.
University: POLITÉCNICA DE VALENCIA.
Place of defense: Dep. Escultura.
Place of preparation: Universidad Politécnica de Valencia.

Summary: This research aims to first verify, through analysis of works from the beginning of the video in the 60/70 until videografías the end of 90, how the device is used by many video artists as a tool for study the moving image. Our basic assumption is that the device allows for a kind of connection with the kinetic image that promotes critical analysis of their bases, their regimes production and reception of their various areas of creation. The first part of this thesis is an introduction to the fundamentals of the device at hand, in order to account for its beginnings in the years 60/70, its settlement in the 80 and their subsequent evolution. We have studied the one hand, the technological context, social and artistic emerged in the video mail, in addition to its essential characteristics as a means of creating mobile imaging (emphasis especially those that are deducted from their comparison with film and TV). On the other hand, the commentary from the 80's, is accompanied by a study of the video as an object of study controversial, as a territory constantly challenged and surrounded by debates that put into question, among other things, its institutionalization in the field of art and his alleged technical specificity. The second part, which is intended to support the further study of the corpus, has been dedicated to defining the elements of analysis for the review of the video works in the ways Single and instalacionista, investigating the essential parameters that are involved in this type of work such as: the concept of narrative in the kinetic image, assembly, perspective, relationships, in the case of instalación- between moving image, exhibition space and viewer. Finally, the third part contains the survey in the previous chapters to apply to the analysis of the corpus video, first by defining what are the basic features that make this device an analytical tool for moving image. The commentary corpus is organized from the various strategies put into video game for each work. The first large group correspond to works that revolve around the self through two basic strategies that cut across the entire body under different intensities: exihibición device and interpelacíon the viewer. The second grupo-núcleo of corpus- includes those works that employ appropriation as a strategy autoferrencial (defined concept from the idea of intertextuality) to interact with other areas of the moving image, from the appropriation of films and other works television, through the strategy of specialization or modification of the evolution of the image, until those works that appropriate models film or television. The conclusions we provide an overview of the research conducted impact on the vidiografía puts image movíl the scope of an intervention artistic desublimadora, adeás of how they relate artists studied those who hijack the film and television with figures like Godard, working as a bridge connecting devices and as questioning its borders.

Author: PEDRÓS ESTEBAN ARMAND THIERRY.
Year: 2005.
University: POLITÉCNICA DE VALENCIA.
Place of defense: Dep. Escultura.
Place of preparation: Universidad Politécnica de Valencia.

Author: MAÑAS CARBONELL MOISÉS.
Year: 2005.
University: POLITÉCNICA DE VALENCIA.
Place of defense: UNIVERSIDAD POLITÉCNICA DE VALENCIA.
Place of preparation: UNIVERSIDAD POLITÉCNICA DE VALENCIA.

Summary: The thesis is presented as a practical desk study on changes regarding the concepts of space in art practices called post. Making an impact on those works of nature digital relationship with the common phenomenon networks. The investigation consists of three complementary parts: the first focuses on the analysis of concepts needed to address the theme: information, connectivity, time-sharing, shared space or modification and intervention, approached from the point of view estético-filosófico and sociological. These concepts are contextualizan through examples of artistic experiences developed in the last twenty years, pointing out their relationship with the conceptual movement of the late sixties. The second part proposes a chapter structured platform for the development of communication technologies and their relationship to art, showing classic and contemporary relating associated with the radio, telephone, television and ultimately to the Internet. Also within this second part contextualizan related arts in relation to the dematerialization of the art object and the consequent relocation of the image of the nineties and early twenty-first century, defining the status of the issue of new relational models temporary space post Internet art practices. The third part shows the development of different models made by the honoree during the thesis that arise as development of the theory and practice of the merger process itself theoretical study with the active development of the researcher in the field of Art. Moreover, it should be noted that there has been a comprehensive study and review of related art, done on the basis of the concepts covered in each chapter and communication technology used by each referee, thus establishing a more flexible system of relationship técnico-conceptual. This review has taken place in one form simultaneously and influence of artistic practice and teaching in this field. So the solutions presented are intended to show that the field of study of this thesis is in a process of continuous transformation, both qualitatively and quantitatively, but this heterogeneity changing relations have been common that we can identify them as exercises telecommunication .

Author: CUBELLS CASARES AMPARO.
Year: 2005.
University: POLITÉCNICA DE VALENCIA.
Place of defense: UNIVERSIDAD POLITÉCNICA DE VALENCIA.
Place of preparation: UNIVERSIDAD POLITÉCNICA DE VALENCIA.

Summary: Since the 60's are witnessing a gradual integration of audio-visual elements in contemporary art. In particular artistic use of video technology, called video or video creation. The purpose of this research study focuses on the importance of women in the visual arts, particularly in the video. Almost from its beginning with the emergence of portapak, a division of video: technical and thematic. Analyzing the landscape of female video at the international level; American candiense, Australian, European, Latin American. We are witnessing the evolution of video of women using it primarily to explore the identity of women and their sexuality, criticizing in unison patriarchal society and the use of excessive violence. Feminists in the 60's looking for their own representation, remember as Betty Friedan with his book "The mystique of femininity" (1963) denounces the cultural malaise of American women submissive under state control; that hegemoniza a model of women only as a wife and mother. The artists responded to it with his art full of rage and brutality, in a direct and forceful way. For the first time in his speech named the innombrable: female identity, female sexuality and gender-based violence. The work was emblematic of the art of women are: Baptisms Judy Chicago in 1972, The Last Supper Judy Chicago in 1974, paper profit of Mary Nelly 1974, Genitalpanik of Valie Export in 1969; are characterized by anger contained a culture silenced The female. If analyzed the evolution of video art from the mid-60's to the present, look like female video has been influenced by the various types of existing feminismos. The videoperformances most significant in the history of art are; Vertical Roll, Joan Jonas, Valie export of Touch Cinema, 1972 Semiotics of the Kitchen, Martha.

Author: SANZ LOBO ESTEFANÍA.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The glass is a subject that has been used throughout history for the production of art objects and utilitarian. This thesis focuses on the study of various techniques for working with glass (merger, thermoforming, casting glass paste), which can be used to make sculpture. Special emphasis is placed on those processes affordable for a sculptor in a workshop low cost installation. The investigation is concerned with materials and working methods more useful to create volume and color.

Author: LINAZA IGLESIAS MARTA.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES (UNIVERSIDAD COMPLUTENSE DE MADRID).

Summary: The context of the investigation are multiple relationships between hand tools and sculpture, beginning of the nineteenth century with Rodin and even contemporary artistic expressions. As background talking about the anatomy of the hand as well as the first performances of the latter. This is the starting point for a teaching job with a side consisting of an educational exercise conducted with students from three different centers. The term research refers to the special features that have research: it is necessary to produce the phenomenon to be studied. The laboratory is the same classrooms and handling procedures, mix, and so on. Are equivalent to the teaching strategies that have been used to create the climate that has emerged in the work of pupils. The data on these works and their opinions are reflected in Chapter VIII. The chapter of the conclusions you alluded ad rates commentary: on the one hand kind of conclusions or didactic teaching, and on the other, broader issues, such as the hand is intelligent and involved in the process of creation as much as the mind.