R. Inter. Interdisc. Art&Sensorium, Curitiba, v.7, n.1, p. 315 – 326 Jan.- Jun. 2020 315 MINICURSO: MULHERES DO ATELIER 17: INSPIRAÇÕES E REFLEXÕES DOI: https://doi.org/10.33871/23580437.2020.7.1.315-326 Rosane Maria Demeterco Bussmann 1 Jane A. Marques 2 Resumo: Este ensaio apresenta como experiência pessoal, uma reflexão sobre o “Mini -curso– Mulheres do Atelier 17,” ministrado pela historiadora de arte, Christina Weyl, parte baseado nos eventos: a exposição “Atelier 17 e a gravuras nas Américas” e a conferência internacional “Atelier 17–a Gravura no Brasil e nos Estados Unidos: 1900 a 1950” que aconteceram no Museu de Arte Contemporânea da Universidade de São Paulo–MAC USP em 2019. O “Mini-curso” apresentou mulheres artistas que fizeram parte do Atelier 17–criado e fundado por Stanley Willian Hayter–na cidade de Nova Iorque entre 1940 e 1955. Em uma leitura particular, Sue Fuller destaca-se pela maneira criativa que incorporou no seu trabalho o uso de textura com tecido na composição e técnica de um dos seus trabalhos. Finalmente, a participação no estudo–As Mulheres do Atelier 17– proporcionou reflexões e inspirações relacionadas a experiências com um coletivo de mulheres gravuristas nos Estados Unidos (2006–2009), que foram orientadas por Sylvie Covey. Ambos os casos utilizam processos inovadores de gravura e também demonstram a importância do trabalho coletivo e criativo para promover a troca de conhecimento entre os artistas e o mentor. Palavras-chave: Atelier 17; Mulheres do Atelier 17; Gravura; Stanley William Hayter; Sue Fuller. MINI-COURSE: THE WOMEN OF ATELIER 17: INSPIRATIONS AND REFLECTIONS Abstract: This essay reflects a personal experience and view of the “Mini -course–The women of Atelier 17,” ministered by the art historian, Christina Weyl, which was part of both the exhibition “Atelier 17 and the modern printmaking in the Americas” and the international conference entitled “Atelier 17–The Printmaking in Brazil and the United States of America: from 1900 to 1950” held at the Museum of Contemporary Art of University of São Paulo–MAC USP in 2019. The mini-course presented women artists that integrated Atelier 17–created and founded by Stanley Willian Hayter– in New York City between 1940 and 1955. In a particular narrative, Sue Fuller stands out for the creative way she incorporated the use of textile in the composition of one of her works. Finally, during her 1 https://orcid.org/0000-0002-3108-3211–Universidade de São Paulo–São Paulo, SP, Brazil. PhD and CAPES scholarship student in the Interunits in the Aesthetics and Art History Graduate Program (PGEHA), at the University of São Paulo (USP), with research interest in Production and Circulation of Art. Was a member of the Deliberative Council of the Contemporary Art Museum (MAC USP) (2017–2018) as a student representative. Researcher in contemporary art history, contemporary global art, and São Paulo Art Biennials. Acts as Monitor in the Undergraduate Marketing Program at University of São Paulo. As a Graphic Designer and Visual Artist was awarded 1st place in printmaking (USA, 2007) and 2nd place in the “Bom Design Awards” (Brazil, 1996). E-mail: rosane.bussmann@usp.br 2 https://orcid.org/0000-0003-2382-9041–Universidade de São Paulo, SP, Brazil. Associate professor in the following Graduate Programs: Interunits in Aesthetics and Art History (acting sub-Coordinator), and Entrepreneurship Master, both at the University of São Paulo. A professor in the Undergraduate Marketing Program at the School of Arts, Sciences and Humanities, University of São Paulo. Researcher in the field of art production and distribution, focusing on the following themes: art market, creativity, creative industries, and creative economy. Experienced in reception research and interactive media and its impact on consumer behavior, especially on younger generations. E-mail: janemarq@usp.br