Creative production and existential thought: a feminist existential analysis of South African visual artist Berni Searle’s artwork
- Authors: Mokwena, Palesa
- Date: 2020
- Subjects: Women artists -- South Africa , Women artists, Black -- South Africa , Existentialism and art , Feminism and art -- South Africa , Searle, Berni
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148005 , vital:38701
- Description: Through an analysis of the work of South African artist Berni Searle, my study will investigate feminist existential ideas and concepts that have been explored by various creative producers in and outside of Europe/South Africa through different forms of creative productions and under different epistemological categories. ‘Canons’ of European existentialist/feminist thought often exclude the existence of feminist existential knowledge productions and producers outside of Europe. In conducting this study, I am responding to the past and present separatist and identitarian categorisations of creative productions from black/African creative producers, particularly women creative producers in South Africa, creating an alternative canonisation around their selected works. Although canons have been and can be used to drive separatist and identitarian categorisations, it is my hope to elucidate a discourse around the preservations and acknowledgements of South African creative and knowledge productions through a feminist existential framework that canonises important black feminist existentialist works and thereby brings to light their intellectual contributions over and above their identities. My development of a South African feminist existentialism is an attempt to graft a more intersectional, holistic framework to introduce in the feminist and existential discourses, and to proffer a new intersectional holistic paradigm of discussing categories that do not limit creative productions. To frame this research, I will reflect on the politics of historical and contemporary South African society as it is reflected in the works of the chosen creative producers and theorists and to question how we respond as creative feminist existentialists to contemporary South African struggles and how such a lens can be activated as a creative-theoretical tool of investigation.
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- Authors: Mokwena, Palesa
- Date: 2020
- Subjects: Women artists -- South Africa , Women artists, Black -- South Africa , Existentialism and art , Feminism and art -- South Africa , Searle, Berni
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148005 , vital:38701
- Description: Through an analysis of the work of South African artist Berni Searle, my study will investigate feminist existential ideas and concepts that have been explored by various creative producers in and outside of Europe/South Africa through different forms of creative productions and under different epistemological categories. ‘Canons’ of European existentialist/feminist thought often exclude the existence of feminist existential knowledge productions and producers outside of Europe. In conducting this study, I am responding to the past and present separatist and identitarian categorisations of creative productions from black/African creative producers, particularly women creative producers in South Africa, creating an alternative canonisation around their selected works. Although canons have been and can be used to drive separatist and identitarian categorisations, it is my hope to elucidate a discourse around the preservations and acknowledgements of South African creative and knowledge productions through a feminist existential framework that canonises important black feminist existentialist works and thereby brings to light their intellectual contributions over and above their identities. My development of a South African feminist existentialism is an attempt to graft a more intersectional, holistic framework to introduce in the feminist and existential discourses, and to proffer a new intersectional holistic paradigm of discussing categories that do not limit creative productions. To frame this research, I will reflect on the politics of historical and contemporary South African society as it is reflected in the works of the chosen creative producers and theorists and to question how we respond as creative feminist existentialists to contemporary South African struggles and how such a lens can be activated as a creative-theoretical tool of investigation.
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Being for others : critical reflections on the stranger, the estranged and the self in participatory art
- Authors: Munro, Samantha Fawn
- Date: 2015
- Subjects: Self , Identity (Philosophical concept) in art , Alienation (Philosophy) , Interactive art , Art appreciation , Art exhibition audiences , Interactive art -- Themes, motives , Social interaction
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2507 , http://hdl.handle.net/10962/d1017771
- Description: By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.
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- Authors: Munro, Samantha Fawn
- Date: 2015
- Subjects: Self , Identity (Philosophical concept) in art , Alienation (Philosophy) , Interactive art , Art appreciation , Art exhibition audiences , Interactive art -- Themes, motives , Social interaction
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2507 , http://hdl.handle.net/10962/d1017771
- Description: By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.
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