A counter-narrative analysis of psychological riot in contemporary painting
- Authors: Ng’ok, Ivy Chemutai
- Date: 2018
- Subjects: Painting -- South Africa , Painting -- Psychological aspects , Distress (Psychology) in art , Imperialism in art , Violence in art , Patriarchy in art Political art
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/60458 , vital:27782
- Description: I am rioting against a system of my own beliefs about the world. In my mind, I struggle to overcome these beliefs, hence, I construct the psychological riot as ‘the disturbance of the mind’. In this mini-thesis, I argue that it exists in the psyche too. This definition of psyche becomes painterly. My psychological riot is difficult to trace, let alone paint. The beliefs that I target are patriarchy within a post-colonial context. I use theories that are simultaneously psychological and corporeal. They address violence colonialist system. The psychological riot is an practical submission.
- Full Text:
- Date Issued: 2018
- Authors: Ng’ok, Ivy Chemutai
- Date: 2018
- Subjects: Painting -- South Africa , Painting -- Psychological aspects , Distress (Psychology) in art , Imperialism in art , Violence in art , Patriarchy in art Political art
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/60458 , vital:27782
- Description: I am rioting against a system of my own beliefs about the world. In my mind, I struggle to overcome these beliefs, hence, I construct the psychological riot as ‘the disturbance of the mind’. In this mini-thesis, I argue that it exists in the psyche too. This definition of psyche becomes painterly. My psychological riot is difficult to trace, let alone paint. The beliefs that I target are patriarchy within a post-colonial context. I use theories that are simultaneously psychological and corporeal. They address violence colonialist system. The psychological riot is an practical submission.
- Full Text:
- Date Issued: 2018
These aesthetics are not new: Post-Internet conditions and their effect on contemporary ideas of representation in Painting
- Authors: Grecia, Callan
- Date: 2017
- Subjects: Art and the internet , Digital media -- Philosophy , Technology and the arts , Aesthetics , Painting -- Philosophy
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/46333 , vital:25601
- Description: These Aesthetics Are Not New draws inspiration from the effect of digital technological progress on a consumer society. The Internet as a source of ubiquitous imagery reaffirms the idea that in a Post-Internet age there is nothing new, only conditions affected by a networked way of life. In this thesis I attempt to question contemporary ideas of representation and art making, specifically within the medium of oil paint, in a digitally consumed culture of instantaneous access. I interrogate the repetitive imagery that pervades our online experiences, and I speak about how I use my grasp of painterly knowledge and lexicon to replicate digital conditions in the real world to further cement my position that contemporary aesthetics, (digital, physical or both) are not new. I first introduce the reader to the idea of the Post-Internet, exploring the digital’s encroachment on our physical spaces and it’s relation to the politics of the medium of Oil Paint. I then address the concept of the Image-Object, and unpack this idea by comparing and contrasting emoji’s in relation to gestural mark making and the ascription of meaning through iconographic methods in Oil Painting. This culminates in an analysis of my physical practice in relation to these ideas, and concludes with my observations on the future of our ways of seeing, as affected by the Internet and technological progression.
- Full Text:
- Date Issued: 2017
- Authors: Grecia, Callan
- Date: 2017
- Subjects: Art and the internet , Digital media -- Philosophy , Technology and the arts , Aesthetics , Painting -- Philosophy
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/46333 , vital:25601
- Description: These Aesthetics Are Not New draws inspiration from the effect of digital technological progress on a consumer society. The Internet as a source of ubiquitous imagery reaffirms the idea that in a Post-Internet age there is nothing new, only conditions affected by a networked way of life. In this thesis I attempt to question contemporary ideas of representation and art making, specifically within the medium of oil paint, in a digitally consumed culture of instantaneous access. I interrogate the repetitive imagery that pervades our online experiences, and I speak about how I use my grasp of painterly knowledge and lexicon to replicate digital conditions in the real world to further cement my position that contemporary aesthetics, (digital, physical or both) are not new. I first introduce the reader to the idea of the Post-Internet, exploring the digital’s encroachment on our physical spaces and it’s relation to the politics of the medium of Oil Paint. I then address the concept of the Image-Object, and unpack this idea by comparing and contrasting emoji’s in relation to gestural mark making and the ascription of meaning through iconographic methods in Oil Painting. This culminates in an analysis of my physical practice in relation to these ideas, and concludes with my observations on the future of our ways of seeing, as affected by the Internet and technological progression.
- Full Text:
- Date Issued: 2017
Abstract art and the contested ground of African modernisms
- Authors: Mumba, Patrick
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2515 , http://hdl.handle.net/10962/d1021165
- Description: This submission for a Masters of Fine Art consists of a thesis titled Abstract Art and the Contested Ground of African Modernisms developed as a document to support the exhibition Time in Between. The exhibition addresses the fact that nothing is permanent in life, and uses abstract paintings that reveal in-between time through an engagement with the processes of ageing and decaying. Life is always a temporary situation, an idea which I develop as Time in Between, the beginning and the ending, the young and the aged, the new and the old. In my painting practice I break down these dichotomies, questioning how abstractions engage with the relative notion of time and how this links to the processes of ageing and decaying in life. I relate this ageing process to the aesthetic process of moving from representational art to semi-abstract art, and to complete abstraction, when the object or material reaches a wholly unrecognisable stage. My practice is concerned not only with the aesthetics of these paintings but also, more importantly, with translating each specific theme into the formal qualities of abstraction. In my thesis I analyse abstraction in relation to ‘African Modernisms’ and critique the notion that African abstraction is not ‘African’ but a mere copy of Western Modernism. In response to this notion, I have used a study of abstraction to interrogate notions of so-called ‘African-ness’ or ‘Zambian-ness’, whilst simultaneously challenging the Western stereotypical view of African modern art. I have also related the theoretical and practical analysis of abstraction to scholarly debates on abstraction and ‘African Modernism’, arguing for multiple African Modernisms.
- Full Text:
- Date Issued: 2016
- Authors: Mumba, Patrick
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2515 , http://hdl.handle.net/10962/d1021165
- Description: This submission for a Masters of Fine Art consists of a thesis titled Abstract Art and the Contested Ground of African Modernisms developed as a document to support the exhibition Time in Between. The exhibition addresses the fact that nothing is permanent in life, and uses abstract paintings that reveal in-between time through an engagement with the processes of ageing and decaying. Life is always a temporary situation, an idea which I develop as Time in Between, the beginning and the ending, the young and the aged, the new and the old. In my painting practice I break down these dichotomies, questioning how abstractions engage with the relative notion of time and how this links to the processes of ageing and decaying in life. I relate this ageing process to the aesthetic process of moving from representational art to semi-abstract art, and to complete abstraction, when the object or material reaches a wholly unrecognisable stage. My practice is concerned not only with the aesthetics of these paintings but also, more importantly, with translating each specific theme into the formal qualities of abstraction. In my thesis I analyse abstraction in relation to ‘African Modernisms’ and critique the notion that African abstraction is not ‘African’ but a mere copy of Western Modernism. In response to this notion, I have used a study of abstraction to interrogate notions of so-called ‘African-ness’ or ‘Zambian-ness’, whilst simultaneously challenging the Western stereotypical view of African modern art. I have also related the theoretical and practical analysis of abstraction to scholarly debates on abstraction and ‘African Modernism’, arguing for multiple African Modernisms.
- Full Text:
- Date Issued: 2016
Dominion: architecture as a symbol of authority in the Eastern Cape Colonial Frontier
- Authors: Mnyila, Desmond
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4256 , vital:20639
- Description: My mini thesis is an exploration of architecture as part of the landscape of Grahamstown and how ideas of dominion and subordination of the non- white citizens of this town were asserted or communicated through space. I concur with theories about architectural buildings as objects that express power and reinforce power relations in any given society. Markus (1993) goes into great lengths to explain how buildings are primarily about power and town planning is a means of control. The area under consideration is very rich in history especially during the period that interested me which is the nineteenth century as this was a period of the establishment of Grahamstown, firstly, as a military establishment and then as a small town serving as a residential area for the British Settlers who arrived in 1820. Throughout the mini thesis I have unpacked the nature of power itself by referring to Njoh (2009) who refers to different categories of the use and especially the abuse or demonstration of power. It wouldn’t do justice to an area as rich in history as the area which is now referred to as the Albany to not dwell into some of the events that were played out here, some of which had consequences and implications for the rest of South Africa. After 1820, the town developed as more buildings of domestic houses, churches, houses of officials, prisons and schools were built. In the thesis I unpack the different architectural styles like the Georgian, Victorian and Cape Dutch styles that formed a significant part of this small town. I draw attention to the ideas of dominion that Njoh elucidates, which were played out in the building of the town architectural structures. Architecture demonstrated British might and power through the imposition of British and European architectural styles on an African landscape. The sheer magnitude of the buildings, I argue, was carefully planned and the use of durable materials, often stones that were imported from abroad, was a carefully orchestrated move to demonstrate British wealth and power through intimidation and seduction. Thomas Baines was one of the artists who spent some time in Grahamstown and made a series of the landscape of this town. My interest in Baines for purposes of this thesis is the manner in which he represented Grahamstown and how he was propagator of British imperialism under the guise of ‘spreading civilisation’ among the ‘back ward’ inhabitants of this continent. My painting practice is influenced by and responds to the vacant land theory especially Baines’ works which were executed to present a Grahamstown as a purely British town ‘emptying’ it of all traces of non- British non- European dwellings or citizens. My practice brings back the layers of history that I have witnessed and the painting surface is slowly built up with water metaphorically destroying the solid structures that were built in the nineteenth century in Grahamstown. As a person who has lived through apartheid and a new dispensation in South Africa, this is reflected in my paintings with a tension between aesthetically pleasing painting styles and disturbing rough surface textures. Anselm Kiefer is the artist who has influenced my work in the manner of working he prefers and also in his tendency to look back at past periods in history.
- Full Text:
- Date Issued: 2016
- Authors: Mnyila, Desmond
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4256 , vital:20639
- Description: My mini thesis is an exploration of architecture as part of the landscape of Grahamstown and how ideas of dominion and subordination of the non- white citizens of this town were asserted or communicated through space. I concur with theories about architectural buildings as objects that express power and reinforce power relations in any given society. Markus (1993) goes into great lengths to explain how buildings are primarily about power and town planning is a means of control. The area under consideration is very rich in history especially during the period that interested me which is the nineteenth century as this was a period of the establishment of Grahamstown, firstly, as a military establishment and then as a small town serving as a residential area for the British Settlers who arrived in 1820. Throughout the mini thesis I have unpacked the nature of power itself by referring to Njoh (2009) who refers to different categories of the use and especially the abuse or demonstration of power. It wouldn’t do justice to an area as rich in history as the area which is now referred to as the Albany to not dwell into some of the events that were played out here, some of which had consequences and implications for the rest of South Africa. After 1820, the town developed as more buildings of domestic houses, churches, houses of officials, prisons and schools were built. In the thesis I unpack the different architectural styles like the Georgian, Victorian and Cape Dutch styles that formed a significant part of this small town. I draw attention to the ideas of dominion that Njoh elucidates, which were played out in the building of the town architectural structures. Architecture demonstrated British might and power through the imposition of British and European architectural styles on an African landscape. The sheer magnitude of the buildings, I argue, was carefully planned and the use of durable materials, often stones that were imported from abroad, was a carefully orchestrated move to demonstrate British wealth and power through intimidation and seduction. Thomas Baines was one of the artists who spent some time in Grahamstown and made a series of the landscape of this town. My interest in Baines for purposes of this thesis is the manner in which he represented Grahamstown and how he was propagator of British imperialism under the guise of ‘spreading civilisation’ among the ‘back ward’ inhabitants of this continent. My painting practice is influenced by and responds to the vacant land theory especially Baines’ works which were executed to present a Grahamstown as a purely British town ‘emptying’ it of all traces of non- British non- European dwellings or citizens. My practice brings back the layers of history that I have witnessed and the painting surface is slowly built up with water metaphorically destroying the solid structures that were built in the nineteenth century in Grahamstown. As a person who has lived through apartheid and a new dispensation in South Africa, this is reflected in my paintings with a tension between aesthetically pleasing painting styles and disturbing rough surface textures. Anselm Kiefer is the artist who has influenced my work in the manner of working he prefers and also in his tendency to look back at past periods in history.
- Full Text:
- Date Issued: 2016
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