Author(s):
Saraiva, Catarina, 1973-
Date: 2012
Persistent ID: http://hdl.handle.net/10451/6333
Origin: Repositório da Universidade de Lisboa
Subject(s): Abramovic, Marina, 1946-; Cunha, Luisa, 1949-; Beecroft, Vanessa, 1969-; Holzer, Jenny, 1950-; Krueger, Barbara; Sieverding, Katharina, 1944-; Messager, Annette, 1943-; Almeida, Helena, 1934-; Hatoum, Mona, 1952-; Levine, Sherrie, 1947-; Villard, Emmanuelle; Bontecou, Lee, 1931-; Belin, Valérie; Bourgeois, Louise, 1911-2010; Horn, Rebecca, 1944-; Espelho; Reflexos; Corpo feminino; Identidade; História da arte
Description
Tese de mestrado, Pintura, (Variante Curricular I), Universidade de Lisboa, Faculdade de Belas Artes, 2012
This dissertation is part of my Master‟s Degree in Painting (course variant I), at Faculdade de Belas Artes, Universidade de Lisboa. Its objective is to present a reflection on such concepts as body, identity, duplication, fragmentation or distortion, and how they mould a variety of approaches to the representation and construction of the feminine. Throughout the history of Western Art, the mirror, as an attribute of seduction, has accompanied the image of the woman. In contemporaneity in general and in contemporary art in particular, it appears as a postmodern deconstruction of classical archetypes that acquires the status of an art object, revealing a multitude of meanings and conveying the personal or collective experiences of the female subject. Within this context, and in accordance with contemporary artistic practices, a number of works by women artists who explore the mirror image‟s dimensional possibilities in a variety of techniques, such as sculpture, photography, performance, video and installation, will be analysed. The reflection carried out within the dissertation theoretical component will be warranted by the study‟s visual work section
