A study of kitsch in South African suburban society
- Authors: Page, Lindsay Ann
- Date: 1984
- Subjects: Kitsch -- South Africa Decorative arts -- South Africa Popular culture -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2458 , http://hdl.handle.net/10962/d1007673
- Description: Consider the possibility of the remnants of our present day society being excavated and studied in centuries to come. Imagine the craftsmanship, the art, artifacts and architecture that will then be compared to those of the past centuries. Our entire culture will be labelled by the endless array of rubbish that has become an integral part of our lives. The increasing prevalence of kitsch in the society goes almost unnoticed where it should be causing concern. Few people are aware of its existence, or the permanent aesthetic scars induced by this prevalence. How has this cult of sheer awfulness come about and why has it become prevalent? It is impossible to pursue all the avenues of kitsch - so vast is it but it is the purpose of this study to try and answer some of the questions, in order to make people more aware of what has crept into our society, to help them become more discriminating, and not merely to level criticism at the perpetrators of kitsch.
- Full Text:
- Date Issued: 1984
- Authors: Page, Lindsay Ann
- Date: 1984
- Subjects: Kitsch -- South Africa Decorative arts -- South Africa Popular culture -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2458 , http://hdl.handle.net/10962/d1007673
- Description: Consider the possibility of the remnants of our present day society being excavated and studied in centuries to come. Imagine the craftsmanship, the art, artifacts and architecture that will then be compared to those of the past centuries. Our entire culture will be labelled by the endless array of rubbish that has become an integral part of our lives. The increasing prevalence of kitsch in the society goes almost unnoticed where it should be causing concern. Few people are aware of its existence, or the permanent aesthetic scars induced by this prevalence. How has this cult of sheer awfulness come about and why has it become prevalent? It is impossible to pursue all the avenues of kitsch - so vast is it but it is the purpose of this study to try and answer some of the questions, in order to make people more aware of what has crept into our society, to help them become more discriminating, and not merely to level criticism at the perpetrators of kitsch.
- Full Text:
- Date Issued: 1984
Art and cosmology: masks : the instruments of metamorphosis ...
- Authors: Landman, J H
- Date: 1984
- Subjects: Masks Masks, African
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2439 , http://hdl.handle.net/10962/d1005638
- Full Text:
- Date Issued: 1984
- Authors: Landman, J H
- Date: 1984
- Subjects: Masks Masks, African
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2439 , http://hdl.handle.net/10962/d1005638
- Full Text:
- Date Issued: 1984
Art and technology: an analysis of this relationship in the field of graphic art since 1960, with specific emphasis on the development of printmaking
- Authors: Thorburn, Dominic
- Date: 1984
- Subjects: Graphic arts -- History -- 20th century Prints -- Technique Art and technology
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2444 , http://hdl.handle.net/10962/d1006136
- Description: From Introduction: The reIationship between technology and art today is a logical extension of a collaborative tradition with ancient roots. The artist has always been a principal perpetrator of technological innovation. He, through the natural progression of technical means, has virtually evolved each new art form. There are many examples such as the 'lost wax' casting process, Jan Van Eycks oil paint innovations, Senefelders 'chemical printing' and Niecephore Niepce's first eight hour photographic exposures. Even woodblocks were in their time an innovation. All art uses technology of a kind and artists who prefer to remain aloof from it are in fact merely using technologies absorbed in older traditional media further back in the history of art. It is the flexibility of art to adapt to changing conditions of the world today which has spurred change and brought about a new dynamism in the graphic arts. The present intensity of interest in the print can be directly attributed to the advancement of technology and communication in this century. A whole new field of materials, methods and techniques are now available to the venturesome graphic artist and printmaker. Along with the contemporary technology dedication to expression leads naturally to innovation in aesthetics.
- Full Text:
- Date Issued: 1984
- Authors: Thorburn, Dominic
- Date: 1984
- Subjects: Graphic arts -- History -- 20th century Prints -- Technique Art and technology
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2444 , http://hdl.handle.net/10962/d1006136
- Description: From Introduction: The reIationship between technology and art today is a logical extension of a collaborative tradition with ancient roots. The artist has always been a principal perpetrator of technological innovation. He, through the natural progression of technical means, has virtually evolved each new art form. There are many examples such as the 'lost wax' casting process, Jan Van Eycks oil paint innovations, Senefelders 'chemical printing' and Niecephore Niepce's first eight hour photographic exposures. Even woodblocks were in their time an innovation. All art uses technology of a kind and artists who prefer to remain aloof from it are in fact merely using technologies absorbed in older traditional media further back in the history of art. It is the flexibility of art to adapt to changing conditions of the world today which has spurred change and brought about a new dynamism in the graphic arts. The present intensity of interest in the print can be directly attributed to the advancement of technology and communication in this century. A whole new field of materials, methods and techniques are now available to the venturesome graphic artist and printmaker. Along with the contemporary technology dedication to expression leads naturally to innovation in aesthetics.
- Full Text:
- Date Issued: 1984
Goethe's theory of colours: Rudolf Steiner's foundation for an impulse in painting
- Authors: Coetzee, Cyril Lawlor
- Date: 1984
- Subjects: Goethe, Johann Wolfgang Von, 1749-1832 -- Aesthetics Steiner, Rudolf, 1861-1925 Color in art Painting, Modern Goethe, Johann Wolfgang Von, 1749-1832 -- Knowledge -- Art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2464 , http://hdl.handle.net/10962/d1008571
- Description: From Introduction: In his influential treatise, Concerning the Spiritual in Art, Wassily Kandinsky refers to Goethe's "prophetic remark" made in connection with the relationship between the arts in which Goethe had asserted that "painting must count this relationship her main foundation". Kandinsky went on to say that Painting in his day stood "at the first stage of a road by which she abstraction of composition". I will, according to her thought and arrive own possibilities, make art an finally at purely artistic What he seems to have been suggesting is that form, colour and sound are differentiated expressions of a unifying spiritual content, that this spiritual content lives also somehow in the human soul and that it is the new task of the artist to awaken original creativity from out of this spirit by working consciously in creative empathy with the laws implicit in form, colour and sound. The extent to which this view of creativity is indebted to Goethe is only fully realised when it is discovered how closely Kandinsky's writings on colour recapitulate his. In an unpublished essay: Goethe's Theory of Colours : Its relation to some aspects in . the history of Art, Michael Grimly argues that not only Kandinsky in Germany but also Chevreul, the colour-theoretician who was, in France, the leading light, in a technical sense, both of Delacroix and of the Impressionists simply repeats in his writings on Colour many of the ideas that Goethe had already formulated.
- Full Text:
- Date Issued: 1984
- Authors: Coetzee, Cyril Lawlor
- Date: 1984
- Subjects: Goethe, Johann Wolfgang Von, 1749-1832 -- Aesthetics Steiner, Rudolf, 1861-1925 Color in art Painting, Modern Goethe, Johann Wolfgang Von, 1749-1832 -- Knowledge -- Art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2464 , http://hdl.handle.net/10962/d1008571
- Description: From Introduction: In his influential treatise, Concerning the Spiritual in Art, Wassily Kandinsky refers to Goethe's "prophetic remark" made in connection with the relationship between the arts in which Goethe had asserted that "painting must count this relationship her main foundation". Kandinsky went on to say that Painting in his day stood "at the first stage of a road by which she abstraction of composition". I will, according to her thought and arrive own possibilities, make art an finally at purely artistic What he seems to have been suggesting is that form, colour and sound are differentiated expressions of a unifying spiritual content, that this spiritual content lives also somehow in the human soul and that it is the new task of the artist to awaken original creativity from out of this spirit by working consciously in creative empathy with the laws implicit in form, colour and sound. The extent to which this view of creativity is indebted to Goethe is only fully realised when it is discovered how closely Kandinsky's writings on colour recapitulate his. In an unpublished essay: Goethe's Theory of Colours : Its relation to some aspects in . the history of Art, Michael Grimly argues that not only Kandinsky in Germany but also Chevreul, the colour-theoretician who was, in France, the leading light, in a technical sense, both of Delacroix and of the Impressionists simply repeats in his writings on Colour many of the ideas that Goethe had already formulated.
- Full Text:
- Date Issued: 1984
Image and symbol : some aspects of the creative impulse in the visual arts
- Authors: Stonestreet, Lyn
- Date: 1984
- Subjects: Art Symbolism in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2445 , http://hdl.handle.net/10962/d1006138
- Description: From Introduction: The making of images has been a human activity since Prehistory, undergoing many and drastic changes over the centuries, but the symbols integral to images have proved enduring and recurrent. This is because the artist draws on that stratum of the psyche which C.G. Jung calls the collective unconscious: a universal archaic memory within the human mind, containing the archetypes of all human experience.In this essay I have dealt with aspects of two of these archetypes; the anima and, to a lesser extent, the mother. I have limited my study to the work of male artists. Long sanctioned by tradition, images of women as seen by men, have provided an acceptable vehicle for men to express their own female principle. As long as a man operates in the world with total apparant masculinity, the anima or female principle is repressed and denied at a conscious level.
- Full Text:
- Date Issued: 1984
- Authors: Stonestreet, Lyn
- Date: 1984
- Subjects: Art Symbolism in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2445 , http://hdl.handle.net/10962/d1006138
- Description: From Introduction: The making of images has been a human activity since Prehistory, undergoing many and drastic changes over the centuries, but the symbols integral to images have proved enduring and recurrent. This is because the artist draws on that stratum of the psyche which C.G. Jung calls the collective unconscious: a universal archaic memory within the human mind, containing the archetypes of all human experience.In this essay I have dealt with aspects of two of these archetypes; the anima and, to a lesser extent, the mother. I have limited my study to the work of male artists. Long sanctioned by tradition, images of women as seen by men, have provided an acceptable vehicle for men to express their own female principle. As long as a man operates in the world with total apparant masculinity, the anima or female principle is repressed and denied at a conscious level.
- Full Text:
- Date Issued: 1984
The historical collection, King George VI Art Gallery, Port Elizabeth
- Authors: Forster-Towne, Rosemary
- Date: 1984
- Subjects: Art collections and art museums Fine arts and History of art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2463 , http://hdl.handle.net/10962/d1008567
- Description: From Conclusion: For the sake of posterity and historical research, our need for secure origins and our appreciation of and pleasure in fine craftsmanship and art, it is important that any Art Collection, particularly an Historical one, be fully documented. All data pertaining to the pictures should be recorded from an artistic, historical and even scientific point of view and photographs should be taken of the pictures. An organized classification system, the correct registering and labeling of each picture and its accessioning and cataloguing as part of the contents of the Gallery and for visitors information, should be constantly 53 maintained and where necessary and in as many ways as possible, cross-references made so that the stored information be usable. To this end and with the growth and increasing importance being placed on Art Museums and Galleries in the community it would probably be of value to cross-reference with other similar institutions and in the respect and day and age, it is not unrealistic to propose that the King George VI Art Gallery consider a computer cataloguing system to facilitate research and complement a more simplified version for the use and guide of the general viewing public . The significance of a picture is not only its value as such, but also the information relating to it. The importance of the Historical Collection as Africana and works of art, expressive of the places, events, people and even attitudes, and as cultural and historic items, goes without saying. Without the Historical Collection of the King George VI Art Gallery, Port Elizabeth, the Eastern Cape community and South Africa too, would be the poorer. The pictures have their role to play .
- Full Text:
- Date Issued: 1984
- Authors: Forster-Towne, Rosemary
- Date: 1984
- Subjects: Art collections and art museums Fine arts and History of art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2463 , http://hdl.handle.net/10962/d1008567
- Description: From Conclusion: For the sake of posterity and historical research, our need for secure origins and our appreciation of and pleasure in fine craftsmanship and art, it is important that any Art Collection, particularly an Historical one, be fully documented. All data pertaining to the pictures should be recorded from an artistic, historical and even scientific point of view and photographs should be taken of the pictures. An organized classification system, the correct registering and labeling of each picture and its accessioning and cataloguing as part of the contents of the Gallery and for visitors information, should be constantly 53 maintained and where necessary and in as many ways as possible, cross-references made so that the stored information be usable. To this end and with the growth and increasing importance being placed on Art Museums and Galleries in the community it would probably be of value to cross-reference with other similar institutions and in the respect and day and age, it is not unrealistic to propose that the King George VI Art Gallery consider a computer cataloguing system to facilitate research and complement a more simplified version for the use and guide of the general viewing public . The significance of a picture is not only its value as such, but also the information relating to it. The importance of the Historical Collection as Africana and works of art, expressive of the places, events, people and even attitudes, and as cultural and historic items, goes without saying. Without the Historical Collection of the King George VI Art Gallery, Port Elizabeth, the Eastern Cape community and South Africa too, would be the poorer. The pictures have their role to play .
- Full Text:
- Date Issued: 1984
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