{"id":374,"date":"2022-02-18T12:37:10","date_gmt":"2022-02-18T11:37:10","guid":{"rendered":"https:\/\/carlosperiscom.wordpress.com\/?page_id=374"},"modified":"2022-02-19T11:47:10","modified_gmt":"2022-02-19T11:47:10","slug":"phd","status":"publish","type":"page","link":"https:\/\/carlosperis.com\/?page_id=374","title":{"rendered":"PhD"},"content":{"rendered":"\n
\n
<\/div>\n<\/div>\n\n\n\n
\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

La fotograf\u00eda se encuentra en un estado de masificaci\u00f3n incontrolada. Todo el mundo es fot\u00f3grafo. En el terreno de las artes pl\u00e1sticas contempor\u00e1neas, todo creador (ya sea pintor, escultor, grabador…) es paralelamente fot\u00f3grafo. Hist\u00f3ricamente, encontramos precedentes de estas relaciones entre las diferentes disciplinas de las artes pl\u00e1sticas hasta crear un todo inseparable; en la praxis del pintor, su relaci\u00f3n con la fotograf\u00eda se presenta de una manera directa y hermanada. En el caso de Cy Twombly, tanto su est\u00e9tica como su producci\u00f3n multidisciplinar, muestran un camino en que la fotograf\u00eda se adopta como posible v\u00eda de exploraci\u00f3n o nervio de producci\u00f3n. Todo ello nos lleva a necesitar, como observadores, un m\u00f3vil; el espectador precisa saber por qu\u00e9 el modus operandi <\/em>de un artesano de la materia pintura, intercede e interact\u00faa con tal m\u00e1quina, es decir, qu\u00e9 utiliza, qu\u00e9 extrae, cu\u00e1l es el drenaje obtenido de tal acci\u00f3n.<\/p>\n\n\n\n

El objetivo de esta investigaci\u00f3n es ahondar en el trabajo fotogr\u00e1fico de Cy Twombly, el cual ha permanecido en un plano de marginaci\u00f3n respecto al resto de sus pr\u00e1cticas art\u00edsticas. El an\u00e1lisis y la documentaci\u00f3n de estas im\u00e1genes, comprende desde sus primeras tomas de 1952 hasta los \u00faltimos disparos con m\u00e1quina Polaroid los \u00faltimos d\u00edas de su vida durante 2011. El estudio de estas im\u00e1genes se ha llevado a cabo, paralelamente, a las intenciones, c\u00f3digos y formas de hacer del artista y, a su vez, puesta en relaci\u00f3n con el resto de medios que este utiliz\u00f3 a lo largo de su carrera productora. Este conjunto de factores pretende dilucidar las razones de la existencia de estas fotograf\u00edas y profundizar en su descripci\u00f3n visual y material de las obras.<\/p>\n\n\n\n

El proceso de esta tesis doctoral basa su grueso en la investigaci\u00f3n de campo y en el trabajo con personas cercanas al entorno de Twombly, as\u00ed como en contacto directo con las obras originales y objetos pertenecientes al artista. El trabajo durante dos a\u00f1os en la Cy Twombly Foundation <\/em>ha servido para fundamentar lo expuesto en estas p\u00e1ginas, as\u00ed como las conversaciones con las primeras fuentes, como las entrevistas transcritas con el Sr. Nicola Del Roscio (amigo, editor y compa\u00f1ero de viajes del artista), han servido para afianzar estas palabras y dotarlas de un peso significativo.<\/p>\n\n\n\n

–<\/p>\n\n\n\n

Photography is in a state of uncontrolled massification; everyone is a photographer. In the field of plastic arts, nowadays every creator (be it a painter, sculptor, engraver…) is, at the same time, a photographer. Historically, we find precedents of these relationships between the different disciplines of the plastic arts to create an inseparable whole and, in the praxis of the painter, this relationship with photography is presented in a direct and twinned way. In the case of Cy Twombly, both its aesthetics and its multidisciplinary production show a path in which photography is adopted as a possible route of exploration or production nerve. This leads us to need, as observers, a motive; the viewer needs to know why the modus operandi of an artisan of the pictorial matter intercedes and interacts with the photographic machine; what he uses, what he extracts, what is the drainage obtained from such action.<\/p>\n\n\n\n

The objective of this research is to delve into Cy Twombly\u2019s photographic work, which has remained in a state of marginalization compared to the rest of his artistic practices. The analysis and documentation of these images, including from his first shots of 1952, until the last ones with Polaroid machine the last days of his life during 2011. The study of these images has been carried out, in parallel, to the intentions, codes and ways of doing of the artist and, in turn, put in relation to the rest of the media that he used throughout his productive career. This set of factors aims to clarify the reasons for the existence of these photographs and deepen their visual and material description of the works.<\/p>\n\n\n\n

The process of this doctoral thesis bases its bulk on field research and work with people close to the Twombly environment, as well as in direct contact with places, original works and objects belonging to the artist. The two-year work at the Cy Twombly Foundation has served to base the exposed in these pages, as well as the conversations with the first sources, like the interviews transcribed with Mr. Nicola Del Roscio (friend, editor and travel companion of the artist ), have served to strengthen these words and give them a significant weight.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
<\/div>\n\n\n\n
\n

DESCARGA \/ DOWNLOAD<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

La fotograf\u00eda se encuentra en un estado de masificaci\u00f3n incontrolada. Todo el mundo es fot\u00f3grafo. En el terreno de las artes pl\u00e1sticas contempor\u00e1neas, todo creador (ya sea pintor, escultor, grabador…) es paralelamente fot\u00f3grafo. Hist\u00f3ricamente, encontramos precedentes de estas relaciones entre las diferentes disciplinas de las artes pl\u00e1sticas hasta crear un todo inseparable; en la praxis […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"blank","meta":[],"_links":{"self":[{"href":"https:\/\/carlosperis.com\/index.php?rest_route=\/wp\/v2\/pages\/374"}],"collection":[{"href":"https:\/\/carlosperis.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/carlosperis.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/carlosperis.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/carlosperis.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=374"}],"version-history":[{"count":4,"href":"https:\/\/carlosperis.com\/index.php?rest_route=\/wp\/v2\/pages\/374\/revisions"}],"predecessor-version":[{"id":475,"href":"https:\/\/carlosperis.com\/index.php?rest_route=\/wp\/v2\/pages\/374\/revisions\/475"}],"wp:attachment":[{"href":"https:\/\/carlosperis.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=374"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}