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Tese Final Corrigida UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES Topografia DIY na Baía de São Francisco (1945-1965) Do Surgimento da Cultura Activista às Práticas Artísticas em Painterland no Vórtice de Jay DeFeo Rita Andreia Bernardes de Almeida Barreira Dissertação Mestrado em Crítica, Curadoria e Teorias da Arte Dissertação orientada pelo Prof. Doutor Fernando António Batista Pereira e pela Prof.ª Doutora Cristina Pratas Cruzeiro 2018 RESUMO A “Topografia DIY na Baía de São Francisco (1945-1965): Do Surgimento da Cultura Activista às Práticas Artísticas em Painterland no Vórtice de Jay DeFeo” pretende cumprir o mapeamento crítico das galerias cooperativas, comunas e espaços alternativos na cidade de São Francisco no pós- guerra. Numa primeira fase avançamos com as legendas de interpretação do mapa em desenho, construindo nesse sentido o primeiro Capítulo para o efeito. A Tradição Regional de Organização Artística e Política em São Francisco pretende fixar as premissas para o desenvolvimento do argumento em dissertação. Na conferência integrada do estado da arte sobre as galerias cooperativas, comunas e espaços alternativos em questão, assim como a exegese estética do grupo de artistas que as/os constituiu, debatemos na primeira parte do capítulo, “A Imaginação da Cidade” dois princípios constantes na literatura sobre o tópico. O primeiro ancora-se na ideia de isolamento geográfico ou síndrome da periferia do mercado da arte em São Francisco, Califórnia. O segundo emerge a partir da iconografia do artista rebelde vivente do enquadramento cultural da Beat Generation. O debate demonstra alguns problemas e fragilidades destes princípios como causas absolutas do fenómeno que pretendemos mapear, a saber, a confirmação de um mercado de arte emergente a Oeste com as mesmas lógicas e valências de Este, Nova Iorque; a dissonância da imaginação cultural Beat com a materialidade levantada no grupo de artistas em questão. Para a resolução de contradições e incongruências levantadas nestes princípios, exploramos a elasticidade conceptual e cultural do conceito de boémia. Esta passará a cuidar a escultura estética da comunidade artística enquadrada na nossa baliza de análise. Perante a necessidade de fixar a boémia artística fora da imaginação da cidade, mergulhamos num retorno histórico às fundações da mesma em São Francisco no sentido de pontuar as suas tradições políticas e sequentemente relacioná-las com as artísticas. Através de um percurso cronológico com indicadores materiais que seguem desde a pulsão comunal na geografia californiana, aos sindicatos de trabalhadores e artistas, às políticas New Deal, ao Federal Art Project com a sistematização da arte pública, é-nos permitido propor uma marca regional na qual o artista não é espectador (flâneur) da cidade, mas sim participante. Recorremos ao filósofo Kenneth Rexroth para sintetizar a estética culminada no pós-guerra que conduz sincrética o artista-participante com o cosmopolitismo próprio e fundacional de São Francisco. A ética prática da boémia reposiciona-se no lugar da imaginação da boémia (Beat Generation) conferindo um sentido último à segunda parte do primeiro capítulo “ A Matéria da Cidade”. Após este cume e reunidas as legendas do mapa, seguimos para o segundo Capítulo “De North Beach a Fillmore Street: Colectivismo, Galerias Cooperativas, Espaços Auto-organizados e Cultura DIY”. Aqui sinalizamos os espaços recursivos em concreto na cidade, debatendo simultaneamente a sua performatividade urbana e os objectos artísticos num jogo de relação e vitalização mútua. Conectamos a materialidade do circuito sinalizado com a metafísica da boémia integrando-a no paradigma do “parasitismo” proposto por Rexroth. Este exercício envia-nos em concreto para a hipótese de um mercado próprio que concluímos dever ser analisado enquanto proposta afirmativa e alternativa ao mercado comercial da arte paralelamente emergente no pós-guerra. Na consubstanciação da hipótese, revemos a sua performatividade no espectro do activismo e colectivismo artístico, dos espaços alternativos e auto-organizados submetidos ao campo abrangente e maior da cultura DIY (Do It Yourself). A propósito do balanço estético do circuito topografado, é evidente uma simbiose entre boémia, mercado e prática artística que revelam a persistência moderna do objecto artístico e a simultânea desmaterialização contemporânea. Esta simbiose é encapsulada nos códigos comunais o que produz para além da performatividade urbana natural à boémia, uma intencionalidade artística auto- reflexiva reflexa nas práticas, nos espaços e objectos. Com a topografia DIY fixada, podemos por fim seguir para o último estágio da dissertação: Práticas Artísticas em Painterland no Vórtice de Jay DeFeo. Submetemos ao fecho do argumento, um exercício de aprofundamento da materialidade dos objectos e processos artísticos num estudo de caso do trabalho da artista Jay DeFeo (1929-1989). De forma conveniente, a sua linguagem é fundamentalmente o Expressionismo abstracto o que nos vai permitir explorar as expansões, derivações e migrações técnicas próprias da comunidade onde se insere, conectando-as de igual modo com a performatividade urbana em que participa como membro da comunidade artística de São Francisco no pós-guerra. Palavras-Chave: DIY; São Francisco; Activismo; Boémia; Jay DeFeo. ABSTRACT This thesis aims to critically map the cooperative galleries, communes and alternative spaces of Post-war San Francisco. I start by introducing the keys for interpreting this topography in the first chapter “The Regional Tradition of Artistic and Political Organization in San Francisco.” In this chapter I establish the propositions of the argument I develop in the thesis. I start by laying out the state of the art of the research on cooperative galleries, communes and alternative spaces address in the thesis, and examining the aesthetics of the groups of artists that constituted them. Next, in the first part of the chapter titled “The Imagination of the City” I discuss two main topics present in the literature on this topic. The first is the notion of the geographical isolation, or the syndrome of the periphery of the art market in San Francisco. The second is the iconography of the artist as rebel, in the context of the Beat Generation. In this discussion I show some problems that arise when taking these two variables as absolute causes of the phenomenon I analyze. Namely, to adopt the facets and characteristics of the art market in the East, New York, to analyze the creation of an art market in the West; and the dissonance between the Beat cultural imagination and the materiality of the group of artists discussed in this dissertation. In order to solve these contradictions and incongruences I explore the conceptual and cultural elasticity of the concept of the bohemia, a concept that I use to draw the aesthetic sculpture of the artistic community here discussed. In order to structure the artistic bohemia outside of the imagination of the city, I dive into the historical past of San Francisco to point out its political traditions and, accordingly, relate them with the artistic traditions. Following a chronological course from the communal impulse in the Californian geography, to the Unions of workers and artists; to the New Deal policies and the Federal Art Project with its systematization of public art, I establish a regional mark in which the artist is not a flaneur of the city, but a participant member of it. I draw on the philosopher Kenneth Rexroth to define the Post War aesthetics that connects the artist-as- participant with San Francisco’s unique and fundational cosmopolitanism. The imagination of the bohemia (Beat Generation) is thus replaced by practical ethics of the bohemia in the second part of the first chapter, titled “The matter of the City”. After collecting the keys to interpret this map, I follow to the second chapter, “From North Beach to Fillmore Street: Collectivism, Cooperative Galleries; Self-Organized Spaces and DIY Culture.” In this chapter I draw a picture of the art system marked by this community. I point out the particular recursive spaces of the city discussing their performative agency, and the artistic objects in mutual interrelation and vitalization. I relate the materiality of this circuit with the metaphysics of the bohemia, integrating it in the paradigm of parasitism, put forward by Rexroth. This exercise presents us with the proposition of an art market particular to San Francisco which I argue should be analyzed as an affirmative proposition of an alternative to the commercial art market being created during the same Post-war period. In order to fundament this argument, I reread the performativity of this artistic community within the frames of activism and artistic collectivism, and of the alternative and self-organized spaces, submitting them to the larger field of DIY (Do It Yourself) culture. Next, I show that there is a symbioses between bohemia, market and artistic practice, revealing the modern persistence of the artistic object and the simultaneous contemporary dematerialization. This symbiosis is encapsulated within the codes of communalism, originating the urban performativity, natural to the bohemia, and an artistic self- reflexive intentionality in the practices, spaces and objects. Finally, and having drawn this map and created the topography of DIY in San Francisco, I follow to the last chapter: “Artistic Practices in Painterland in Jay DeFeo’s vortex”. In this chapter, I close my argument with a case study of Jay DeFeo’s
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