An investigation into outsider sculpture with special reference to D.C. van der Mescht
- Authors: Cowley, Kerstin
- Date: 1991
- Subjects: Outsider art Art -- South Africa Sculptors -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2477 , http://hdl.handle.net/10962/d1010608
- Description: It was both by luck and by accident that Dirk Charley van der Mescht's creations were discovered as a topic for research ... a recluse who lived out in what seemed to be the middle of nowhere. It was said of this man that he was a strange person who produced even stranger works. On investigation it was discovered that he was an Outsider sculptor by the name of D. C. van der Mescht. He and his family live at a small railway siding, known as Zuney, eighteen kilometres west of Alexandria. Isolated, uneducated and untutored, he had created an environment of sculptures for no apparent reason at all. The only explanation he appeared to be able to offer is that: he just does it. Intro. p. 1.
- Full Text:
- Date Issued: 1991
- Authors: Cowley, Kerstin
- Date: 1991
- Subjects: Outsider art Art -- South Africa Sculptors -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2477 , http://hdl.handle.net/10962/d1010608
- Description: It was both by luck and by accident that Dirk Charley van der Mescht's creations were discovered as a topic for research ... a recluse who lived out in what seemed to be the middle of nowhere. It was said of this man that he was a strange person who produced even stranger works. On investigation it was discovered that he was an Outsider sculptor by the name of D. C. van der Mescht. He and his family live at a small railway siding, known as Zuney, eighteen kilometres west of Alexandria. Isolated, uneducated and untutored, he had created an environment of sculptures for no apparent reason at all. The only explanation he appeared to be able to offer is that: he just does it. Intro. p. 1.
- Full Text:
- Date Issued: 1991
The relationship and commitment of an artist to his or her society in a revolutionary environment
- Authors: Jones, Jacqueline
- Date: 1989
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:21163 , http://hdl.handle.net/10962/6662
- Description: From Introduction: In Aesthetics after Modernism, Peter Fuller writes that "good art can only be realized when a creative individual encounters a living tradition with deep tendrils in communal life" (Fuller, 1983: p.36). Yet Francis Bacon believed that "the suffering of people and the differences between people are what have made great art, and not egalitarianism ... " (Brighton and Morris, ' 1977: p.234 and 235). If it is true that art was once an integral part of society and reflected the aspirations of the whole community, its effect on society today has become marginal. Throughout history, especially since the emergence of Romanticism in the nineteenth century, the relationship between art, the artist and the public has become more and more tenuous. The spread of capitalism has resulted in widespread changes in methods of production, literacy, and industrial and technical development. Societies have become so diversified that today art no longer expresses the values and spiritual concerns of a unified society, but rather the individual or the small group. Given this, it has become impossible to return to a system of shared values and beliefs. To preserve some kind of 'truth', art has become a self-evolving activity, autonomous from political, social and economic concerns, and the term 'art for art's sake' is synonymous with many artists working in western capitalist societies.
- Full Text:
- Date Issued: 1989
- Authors: Jones, Jacqueline
- Date: 1989
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:21163 , http://hdl.handle.net/10962/6662
- Description: From Introduction: In Aesthetics after Modernism, Peter Fuller writes that "good art can only be realized when a creative individual encounters a living tradition with deep tendrils in communal life" (Fuller, 1983: p.36). Yet Francis Bacon believed that "the suffering of people and the differences between people are what have made great art, and not egalitarianism ... " (Brighton and Morris, ' 1977: p.234 and 235). If it is true that art was once an integral part of society and reflected the aspirations of the whole community, its effect on society today has become marginal. Throughout history, especially since the emergence of Romanticism in the nineteenth century, the relationship between art, the artist and the public has become more and more tenuous. The spread of capitalism has resulted in widespread changes in methods of production, literacy, and industrial and technical development. Societies have become so diversified that today art no longer expresses the values and spiritual concerns of a unified society, but rather the individual or the small group. Given this, it has become impossible to return to a system of shared values and beliefs. To preserve some kind of 'truth', art has become a self-evolving activity, autonomous from political, social and economic concerns, and the term 'art for art's sake' is synonymous with many artists working in western capitalist societies.
- Full Text:
- Date Issued: 1989
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