Chirema Chine Mazano Chinotamba Chakazendama Madziro
- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
- Full Text:
- Date Issued: 2020
- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
- Full Text:
- Date Issued: 2020
The life and work of Robert Paul
- Johnson, Christopher Charles Bonsall
- Authors: Johnson, Christopher Charles Bonsall
- Date: 1986
- Subjects: Paul, Robert, 1906-1980 , Artists -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2510 , http://hdl.handle.net/10962/d1018631
- Description: [From Introduction] When Robert Paul died in 1980, his daughter Colette Wiles gave her father's art materials to an artist who was very close to both Robert and his wife in their last years - Dian Wright. The materials consisted of five different pigments and brushes cut into different shapes to suit the artist. This is remarkable when one considers his proficiency in a variety of media and his accurate portrayal in the far reaching studies he executed of the Zimbabwean landscape. Yet, it is characteristic of his resourcefulness that Paul could make 'something out of nothing'. Paul welcomed the opportunity of new landscape when he arrived in Rhodesia in 1927. Against the backdrop of a chosen isolation from the British Isles, Paul developed his own personal tracks in spite of any early influence through John Piper with the English Southern Landscape idioms of the 1920s. This was a fruitful isolation where the creation of his art retained influences but were manipulated according to his needs and unleashed with a proficiency sometimes equal to his peers, who later found fame under the term 'Neo-Romantics'. Paul remained an individual in Africa. My intention in this essay is three-fold; first, to illustrate the effects and influences of 'chosen' and 'enforced ' isolation on his work. Secondly, I wish to determine the extent of the influence that Piper and the Neo-Romantics had on Paul and to illustrate mostly with anecdotes his life and life-style. He was no mean character. His life-long obsessions with art, alcohol and women were played out with a flair and dry humour which few emulated in his era. Although a strictly academic approach can be applied to the assessment of his work, his life followed thoroughly unorthodox lines. As Bradshaw noted when he wrote the forward to the Catalogue of Paul's Retrospective in 1976, he (Paul) had no historical interests in the accepted sense of the word. , ABBYY FineReader 12
- Full Text:
- Date Issued: 1986
- Authors: Johnson, Christopher Charles Bonsall
- Date: 1986
- Subjects: Paul, Robert, 1906-1980 , Artists -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2510 , http://hdl.handle.net/10962/d1018631
- Description: [From Introduction] When Robert Paul died in 1980, his daughter Colette Wiles gave her father's art materials to an artist who was very close to both Robert and his wife in their last years - Dian Wright. The materials consisted of five different pigments and brushes cut into different shapes to suit the artist. This is remarkable when one considers his proficiency in a variety of media and his accurate portrayal in the far reaching studies he executed of the Zimbabwean landscape. Yet, it is characteristic of his resourcefulness that Paul could make 'something out of nothing'. Paul welcomed the opportunity of new landscape when he arrived in Rhodesia in 1927. Against the backdrop of a chosen isolation from the British Isles, Paul developed his own personal tracks in spite of any early influence through John Piper with the English Southern Landscape idioms of the 1920s. This was a fruitful isolation where the creation of his art retained influences but were manipulated according to his needs and unleashed with a proficiency sometimes equal to his peers, who later found fame under the term 'Neo-Romantics'. Paul remained an individual in Africa. My intention in this essay is three-fold; first, to illustrate the effects and influences of 'chosen' and 'enforced ' isolation on his work. Secondly, I wish to determine the extent of the influence that Piper and the Neo-Romantics had on Paul and to illustrate mostly with anecdotes his life and life-style. He was no mean character. His life-long obsessions with art, alcohol and women were played out with a flair and dry humour which few emulated in his era. Although a strictly academic approach can be applied to the assessment of his work, his life followed thoroughly unorthodox lines. As Bradshaw noted when he wrote the forward to the Catalogue of Paul's Retrospective in 1976, he (Paul) had no historical interests in the accepted sense of the word. , ABBYY FineReader 12
- Full Text:
- Date Issued: 1986
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