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Jeff Wall: fotografias à escala humana
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Orientador(es)
Resumo(s)
Seguindo o rasto de dois autores, foi meu interesse desenvolver alguns tópicos
relacionados com fotografia, tradição pictórica e problemas de composição no contexto
da arte contemporânea, especificamente em alguma da produção fotográfica feita a
partir da década de 70.
A obra de Jeff Wall é composta por imagens com múltiplas influências, como o
cinema, a pintura, a literatura, o quotidiano e as experiências falhadas, Michael Fried ou
os minimalistas. O resultado, muitas vezes exibido em caixas de luz numa escala quase
humana, é inequivocamente fotográfico e visa repor o confronto entre artista, obra e
espectador. Fruto de um caminho igualmente tortuoso, o trabalho teórico de Michael
Fried contextualiza a fotografia de Jeff Wall na arte contemporânea, ligando-a
simultaneamente às questões centrais da sua crítica, como a absorção e a convicção na
composição, derivadas de uma certa tradição pictórica do realismo que remonta a
Caravaggio, e encontra ecos na época de Diderot e no modernismo.
Através da análise de algumas fotografias de Jeff Wall, constatei o carácter
ontológico das mesmas, o que me conduziu a considerações mais gerais, relacionadas
com a natureza da própria disciplina e com o seu vínculo à tradição pictórica. Estas
considerações reforçaram a minha convicção de que a arte é, forçosamente, uma
construção, tanto mais sublime quanto mais espontânea parecer.
Abstract: Following the track of two authors, I sought to develop various topics related to photography, pictorial tradition, and compositional problems in the context of contemporary art, specifically in some of the photographical production created since the 1970’s. Jeff Wall’s work is composed of images with multiple influences, such as films, paintings, literature, daily life, as well as failed experiments, Michael Fried, or minimalists. The result, often exhibited in light boxes on an almost human scale, is unequivocally photographic and aims to restore the confrontation between the artist, the work, and the spectator. Product of an equally crooked path, the theoretical work of Michael Fried contextualizes Jeff Wall’s photography in contemporary art, connecting it simultaneously to fundamental questions of his critiques such as absorption and conviction in its composition, derived from a pictorial tradition of a realism that harkens 6 back to Caravaggio, and notes similarities with the age of Diderot and Modernism. Through the analysis of some of Jeff Wall's photographs, I found that their ontological character, that drove my general considerations, related to the nature of the discipline and its link to pictorial tradition. These considerations reinforce my conviction that the more sublime and spontaneous art appears, the more it becomes a construction.
Abstract: Following the track of two authors, I sought to develop various topics related to photography, pictorial tradition, and compositional problems in the context of contemporary art, specifically in some of the photographical production created since the 1970’s. Jeff Wall’s work is composed of images with multiple influences, such as films, paintings, literature, daily life, as well as failed experiments, Michael Fried, or minimalists. The result, often exhibited in light boxes on an almost human scale, is unequivocally photographic and aims to restore the confrontation between the artist, the work, and the spectator. Product of an equally crooked path, the theoretical work of Michael Fried contextualizes Jeff Wall’s photography in contemporary art, connecting it simultaneously to fundamental questions of his critiques such as absorption and conviction in its composition, derived from a pictorial tradition of a realism that harkens 6 back to Caravaggio, and notes similarities with the age of Diderot and Modernism. Through the analysis of some of Jeff Wall's photographs, I found that their ontological character, that drove my general considerations, related to the nature of the discipline and its link to pictorial tradition. These considerations reinforce my conviction that the more sublime and spontaneous art appears, the more it becomes a construction.
Descrição
Tese de mestrado, Teoria da Literaura, Universidade de Lisboa, Faculdade de Letras, 2012
Palavras-chave
Wall,Jeff,1946- Fried, Michael, 1939- Fotografia artística Arte e fotografia Teses de mestrado - 2012