A critical analysis of South African underground comics
- Authors: Breytenbach, Jesse-Ann
- Date: 1996
- Subjects: Underground comic books, strips, etc. -- South Africa -- History and criticism
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2396 , http://hdl.handle.net/10962/d1002192
- Description: In a critical analysis of several independantly produced South African comics of the 1980s and early 1990s, close analysis of the comics leads to an assessment of the artists'intentions and purposes. Discussion of the artists' sources focuses on definitions of different types of comics. What is defined as a comic is usually what has been produced under that definition, and these comics are positioned somewhere between the popular and fine art contexts. As the artists are amateurs, the mechanical structure of comics is exposed through their skill in manipulating, and their initial ignorance of, many comic conventions. By comparison to one another, and to the standard format of commercial comics, some explanation of how a comic works can be reached. The element of closure, bridging the gaps between frames, is unique to comics, and is the most important consideration. Comic artists work with the intangible, creating from static elements an illusion of motion. If the artist deals primarily with what is on the page rather than what is not, the comic remains static. Questions of quality are reliant on the skill with which closure is implemented. The art students who produced these comics are of a generation for whom popular culture is the dominant culture, and they create for an audience of peers. Their cultural milieu is more visual than verbal, and often more media oriented than that of their teachers. They must integrate a fine art training and understanding into the preset rules of a commercial medium. Confronted with the problem of a separation of languages, they evolve a new dialect. Through comparative and critical analyses I will show how this dialect differs from the language of conventional comics, attempting in particular to explain how the mechanics of the cornie medium can limit or expand its communicative potential.
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- Date Issued: 1996
An exploration into the photo-transformation of the human form, through a research of its contemporary influential imagery and diversity within our culture
- Authors: Murphy, Alexandra Christina
- Date: 1996
- Subjects: Photography, Artistic Photography of the nude Human figure in art Portrait photography
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2416 , http://hdl.handle.net/10962/d1002212
- Description: The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.
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- Date Issued: 1996
Architecture and landscape design : an investigation into the harmonising of these two aspects of design as exemplified by the collaboration of Gertrude Jekyll and Sir Edwin Landseer Lutyens
- Authors: Judge, Stephen Michael
- Date: 1996
- Subjects: Lutyens, Edwin Landseer, Sir, 1869-1944 Jekyll, Gertrude, 1843-1932 Gardens -- Design Architecture, British
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2405 , http://hdl.handle.net/10962/d1002201
- Description: Sir Edwin Lutyens and Miss Gertrude Jekyll were part of the 'Art's and Crafts' movement, which advocated the use of local techniques and materials. They grew up separately, both in the Surrey country-side and both among creative people. Jekyll later worked with Edward Hudson (the author of 'Country Life') who persuaded her to be a garden designer . Lutyens was inspired first by the architecture of Surrey (mostly that of Norman Shaw), then by his friend, Herbert Baker, at architectural school, and lastly, by his long - time partner Jekyll. Munstead Wood, Surrey, England, was the partners' first project and it embodies nearly all of their ideals; the natural and indigenous use of flowers and plants, with an ordered colour scheme ; graded colour schemes without discord; the use of entirely local materials ; the sole use of local craftsmen and local techniques; a garden of 'rooms'; the intergration of architecture and garden design. A revival of interest in the partners work has helped to recreate some of the lost gardens of Jekyll. This interest has in turn put a spotlight on the ideals employed by the partners. Their wide influence has also produced many great buildings and gardens, most notably through the work of Sir Herbert Baker in South Africa. The Union Buildings are a perfect example of Baker's work, and much of it has the stamp of Lutyens' style and ideals. Through my own interest in Lutyens and Jekyll I have created my own Jekyll-style border in Grahamstown, Eastern Cape, to try and prove that her ideals can be translated into climates other than that of England. In this experiment, I succeeded in using indigenous South African plants and flowers with a colour scheme in the style of Jekyll, proving that the ideals to which she aspired could be applied in other countries.
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- Date Issued: 1996
European stylistic influence on early twentieth century South African painters
- Authors: Mannering, Hildegard Kirsten
- Date: 1996
- Subjects: Painters -- South Africa -- European influences Art, South African -- European influences
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2411 , http://hdl.handle.net/10962/d1002207
- Description: South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the post-Impressionists and finally, I.Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return was imperative. Simultaneously, as part of the analysis, reference was also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of t he styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa.
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- Date Issued: 1996