Art marketing and management
- Authors: Anderson, Larna
- Date: 1995
- Subjects: Art -- Marketing Art portfolios Art -- Finance Art -- Economic aspects Community arts projects
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2392 , http://hdl.handle.net/10962/d1002188
- Description: Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.
- Full Text:
- Date Issued: 1995
- Authors: Anderson, Larna
- Date: 1995
- Subjects: Art -- Marketing Art portfolios Art -- Finance Art -- Economic aspects Community arts projects
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2392 , http://hdl.handle.net/10962/d1002188
- Description: Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.
- Full Text:
- Date Issued: 1995
Unearthed : personifications of widowhood and acts of memory : volume 1 and 2
- Authors: Arbi, Linda Margaret
- Date: 2009
- Subjects: Widowhood -- Social aspects -- South Africa Widowhood -- Social aspects -- Cape of Good Hope (South Africa) Widows in art -- South Africa Widows in art -- Cape of Good Hope (South Africa) Memory in art -- South Africa Memory in art -- Cape of Good Hope (South Africa)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2428 , http://hdl.handle.net/10962/d1002225
- Description: By researching visual traditions of representing widows in relation to a social role, I explore how these may be related to processes of mourning and memory. My study begins with an historical reading and, along with an analysis of Renaissance widow portraiture, I trace the experiences of widows in the Cape of Good Hope. For the purposes of this thesis, I have selected images of widows to investigate memory-work particularly when speaking of loss. I re-view these memory processes through recent historical and art historical discourse with reference to contemporary South African artworks in order to understand how public memory is formed by way of visual documentation. These narratives around widowhood have informed the subject matter for my Master’s exhibition and shed light on my own experience as a widow. The interaction between objects and memory are of particular interest and manifest in my studio art practice.
- Full Text:
- Date Issued: 2009
- Authors: Arbi, Linda Margaret
- Date: 2009
- Subjects: Widowhood -- Social aspects -- South Africa Widowhood -- Social aspects -- Cape of Good Hope (South Africa) Widows in art -- South Africa Widows in art -- Cape of Good Hope (South Africa) Memory in art -- South Africa Memory in art -- Cape of Good Hope (South Africa)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2428 , http://hdl.handle.net/10962/d1002225
- Description: By researching visual traditions of representing widows in relation to a social role, I explore how these may be related to processes of mourning and memory. My study begins with an historical reading and, along with an analysis of Renaissance widow portraiture, I trace the experiences of widows in the Cape of Good Hope. For the purposes of this thesis, I have selected images of widows to investigate memory-work particularly when speaking of loss. I re-view these memory processes through recent historical and art historical discourse with reference to contemporary South African artworks in order to understand how public memory is formed by way of visual documentation. These narratives around widowhood have informed the subject matter for my Master’s exhibition and shed light on my own experience as a widow. The interaction between objects and memory are of particular interest and manifest in my studio art practice.
- Full Text:
- Date Issued: 2009
Hippocampus: seahorse; brain-structure; spatial map; concept
- Authors: Armstrong, Beth Diane
- Date: 2010
- Subjects: Hippocampus (Brain) Sea horses -- Symbolic representation Meaning (Philosophy) Deleuze, Gilles, 1925-1995 Escher, M C (Maurits Cornelis), 1898-1972 Visual perception Space perception Optical art Art -- Themes, motives
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2427 , http://hdl.handle.net/10962/d1002224
- Description: Through an exploration of both sculptural and thought processes undertaken in making my Masters exhibition, ‘Hippocampus’, I unpack some possibilities, instabilities, and limitations inherent in representation and visual perception. This thesis explores the Hippocampus as image (seahorse) and concept (brain-structure involved in cognitive mapping of space). Looking at Gilles Deleuze’s writings on representation, I will expand on the notion of the map as being that which does not define and fix a structure or meaning, but rather is open, extendable and experimental. I explore the becoming, rather than the being, of image and concept. The emphasis here is on process, non-representation, and fluidity of meaning. This is supportive of my personal affirmation of the practice and process of art-making as research. I will refer to the graphic prints of Maurits Cornelis Escher as a means to elucidate a visual contextualization of my practical work, particularly with regard to the play with two- and three-dimensional space perception. Through precisely calculated ‘experiments’ that show up the partiality of our visual perception of space, Escher alludes to things that either cannot actually exist as spatial objects or do exist, but resist representation. Similarly I will explore how my own sculptures, although existing in space resist a fixed representation and suggest ideas of other spaces, non-spaces; an in-between space that does not pin itself down and become fixed to any particular image, idea, objector representation.
- Full Text:
- Date Issued: 2010
- Authors: Armstrong, Beth Diane
- Date: 2010
- Subjects: Hippocampus (Brain) Sea horses -- Symbolic representation Meaning (Philosophy) Deleuze, Gilles, 1925-1995 Escher, M C (Maurits Cornelis), 1898-1972 Visual perception Space perception Optical art Art -- Themes, motives
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2427 , http://hdl.handle.net/10962/d1002224
- Description: Through an exploration of both sculptural and thought processes undertaken in making my Masters exhibition, ‘Hippocampus’, I unpack some possibilities, instabilities, and limitations inherent in representation and visual perception. This thesis explores the Hippocampus as image (seahorse) and concept (brain-structure involved in cognitive mapping of space). Looking at Gilles Deleuze’s writings on representation, I will expand on the notion of the map as being that which does not define and fix a structure or meaning, but rather is open, extendable and experimental. I explore the becoming, rather than the being, of image and concept. The emphasis here is on process, non-representation, and fluidity of meaning. This is supportive of my personal affirmation of the practice and process of art-making as research. I will refer to the graphic prints of Maurits Cornelis Escher as a means to elucidate a visual contextualization of my practical work, particularly with regard to the play with two- and three-dimensional space perception. Through precisely calculated ‘experiments’ that show up the partiality of our visual perception of space, Escher alludes to things that either cannot actually exist as spatial objects or do exist, but resist representation. Similarly I will explore how my own sculptures, although existing in space resist a fixed representation and suggest ideas of other spaces, non-spaces; an in-between space that does not pin itself down and become fixed to any particular image, idea, objector representation.
- Full Text:
- Date Issued: 2010
The eyes of the wall : space, narrative and perspective
- Authors: Baasch, Rachel Mary
- Date: 2013
- Subjects: Installations (Art) , Frames (Sociology) , Architecture, Domestic, in art , Narrative art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2388 , http://hdl.handle.net/10962/d1001578
- Description: The Eyes of the Wall and Other Short Stories is concerned with dialectics of seeing and perceiving as they pertain directly to a corporal understanding of interiority and exteriority, architectural framing and notions of dislocation in relation to place. This practical submission is a site-specific installation that engages in a reciprocal dialogue with its environment. The individual sculptural works which demarcate the parameters of the installation are hybrids of domestic architectural forms, (namely the wall, the window and the door) and internal furnishings such as the curtain and the bed. These hybridised metal and resin constructions frame the interior of a site, a tennis court located within my immediate Grahamstown environment. The placement of familiar objects generally associated with the home and notions of security and privacy, within the open, exposed and permeable enclosure of the tennis court evoke a sense of displacement within the viewer. This supporting document, The Eyes of the Wall: Space, Narrative and Perspective, considers the key conceptual concerns informing my installation. In this mini-thesis I address the relationship between domestic architecture and the body, examining the notion of framing as fundamental to the individual comprehension of space. I position my work in relation to that of Mona Hatoum drawing on the similarities that exist between her practice and my own. In the first chapter of this paper: My House/Your House: Walls, Windows, Doors and Skins I address the relationship between domestic architecture, framing and the body, and ‘contamination’. Within Chapter Two: Narratives of Division I engage with the idea of multiple ‘short stories’—personal and collective narratives—and their connection to issues of division and dislocation. Chapter Three: Seeing Blindness discusses the possibility that perspective, or at least one potential approach to perspective is concerned with that which one cannot see, an acknowledgment of the implicit relationship between seeing and not-seeing. Each of the three core concerns expressed in the title of this mini-thesis, The Eyes of The Wall: Space, Narrative and Perspective intersect within the site of The Eyes of The Wall and Other Short Stories. It is at this intersection that the shadows of stories within stories within stories insert themselves, like phantom limbs into the gaps and tensions framed by the forms of the installation.
- Full Text:
- Date Issued: 2013
- Authors: Baasch, Rachel Mary
- Date: 2013
- Subjects: Installations (Art) , Frames (Sociology) , Architecture, Domestic, in art , Narrative art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2388 , http://hdl.handle.net/10962/d1001578
- Description: The Eyes of the Wall and Other Short Stories is concerned with dialectics of seeing and perceiving as they pertain directly to a corporal understanding of interiority and exteriority, architectural framing and notions of dislocation in relation to place. This practical submission is a site-specific installation that engages in a reciprocal dialogue with its environment. The individual sculptural works which demarcate the parameters of the installation are hybrids of domestic architectural forms, (namely the wall, the window and the door) and internal furnishings such as the curtain and the bed. These hybridised metal and resin constructions frame the interior of a site, a tennis court located within my immediate Grahamstown environment. The placement of familiar objects generally associated with the home and notions of security and privacy, within the open, exposed and permeable enclosure of the tennis court evoke a sense of displacement within the viewer. This supporting document, The Eyes of the Wall: Space, Narrative and Perspective, considers the key conceptual concerns informing my installation. In this mini-thesis I address the relationship between domestic architecture and the body, examining the notion of framing as fundamental to the individual comprehension of space. I position my work in relation to that of Mona Hatoum drawing on the similarities that exist between her practice and my own. In the first chapter of this paper: My House/Your House: Walls, Windows, Doors and Skins I address the relationship between domestic architecture, framing and the body, and ‘contamination’. Within Chapter Two: Narratives of Division I engage with the idea of multiple ‘short stories’—personal and collective narratives—and their connection to issues of division and dislocation. Chapter Three: Seeing Blindness discusses the possibility that perspective, or at least one potential approach to perspective is concerned with that which one cannot see, an acknowledgment of the implicit relationship between seeing and not-seeing. Each of the three core concerns expressed in the title of this mini-thesis, The Eyes of The Wall: Space, Narrative and Perspective intersect within the site of The Eyes of The Wall and Other Short Stories. It is at this intersection that the shadows of stories within stories within stories insert themselves, like phantom limbs into the gaps and tensions framed by the forms of the installation.
- Full Text:
- Date Issued: 2013
The Hasidic spirit as the foundation of the art of Marc Chagall
- Authors: Bagraim, Abigail Sarah
- Date: 1987
- Subjects: Chagall, Marc, 1887-1985 Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2393 , http://hdl.handle.net/10962/d1002189
- Description: In considering Chagall's art the observer is immediately struck by the constancy of his almost obsessive repetition of certain symbols and themes. In this way Chagall has created his own fantasy world, one with which the observer soon becomes acquainted and grows to love and understand.
- Full Text:
- Date Issued: 1987
- Authors: Bagraim, Abigail Sarah
- Date: 1987
- Subjects: Chagall, Marc, 1887-1985 Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2393 , http://hdl.handle.net/10962/d1002189
- Description: In considering Chagall's art the observer is immediately struck by the constancy of his almost obsessive repetition of certain symbols and themes. In this way Chagall has created his own fantasy world, one with which the observer soon becomes acquainted and grows to love and understand.
- Full Text:
- Date Issued: 1987
Printmaking at the Dakawa Art and Craft Project : the impact of ANC cultural policy and Swedish practical implementation on two printmakers trained during South Africa's transformation years
- Authors: Baillie, Giselle Katherine
- Date: 1999
- Subjects: Prints -- Technique Dakawa art and craft project Printmakers -- South Africa -- Grahamstown Prints -- Technique -- Study and teaching
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2394 , http://hdl.handle.net/10962/d1002190
- Description: In 1998, the national Department of Arts, Culture, Science and Technology published a document aimed at the growth of culture industries in South Africa (DACST, "Creative South Africa", July 1998). Focussing on aspects of economic growth which this development could generate for South Africa, it nonetheless points to issues of cultural understanding which need to be addressed. Projects aimed at the development of arts and culture in South Africa have followed troubled paths. While projects aimed at establishing discourse for this development have succeeded on many levels, the imperatives of showcasing, rather than implementing cultural concepts appropriate to South African contexts, have tended to dominate. When the Dakawa Art and Craft Project was established by the ANC, in 1992, in Grahamstown, as the locus for the deve! opment of an arts and culture discourse in the liberated South Africa, all seemed set for success. Yet, less than four years after opening, the Project was closed. While speculatory reasons for closure tended to focus on financial and administrative problems, the basis for this closure had its roots in problems of cultural understanding manifesting themselves at the Project. These reflected a lack of cultural understanding on the part of the ANC and SIDA, the Swedish administrators sent to the Project, and the lack of clear cultural guidelines on the part of the trainees to the Project itself. These reasons for the Project's failure are integral to an understanding of arts add culture development and needs in South Africa today. As other projects, aimed at the same issues of development grow, an understanding of the history of the Project's failure is essential, for it poses questions still in need of answers. Part One examines the historical significance of the Dakawa Art and Craft Project between 1982 and 1994, recording the reasons for its establishment, the path of implementation it followed, and the cultural misunderstandings it posed to development. Part Two examines the cultural context of the trainees to the Project, followed by an account of the printmaking teaching practice, and the effects of cultural concepts on two printmakers trained during the Project's initial establishment, at the time of South Africa's political transformation.
- Full Text:
- Date Issued: 1999
- Authors: Baillie, Giselle Katherine
- Date: 1999
- Subjects: Prints -- Technique Dakawa art and craft project Printmakers -- South Africa -- Grahamstown Prints -- Technique -- Study and teaching
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2394 , http://hdl.handle.net/10962/d1002190
- Description: In 1998, the national Department of Arts, Culture, Science and Technology published a document aimed at the growth of culture industries in South Africa (DACST, "Creative South Africa", July 1998). Focussing on aspects of economic growth which this development could generate for South Africa, it nonetheless points to issues of cultural understanding which need to be addressed. Projects aimed at the development of arts and culture in South Africa have followed troubled paths. While projects aimed at establishing discourse for this development have succeeded on many levels, the imperatives of showcasing, rather than implementing cultural concepts appropriate to South African contexts, have tended to dominate. When the Dakawa Art and Craft Project was established by the ANC, in 1992, in Grahamstown, as the locus for the deve! opment of an arts and culture discourse in the liberated South Africa, all seemed set for success. Yet, less than four years after opening, the Project was closed. While speculatory reasons for closure tended to focus on financial and administrative problems, the basis for this closure had its roots in problems of cultural understanding manifesting themselves at the Project. These reflected a lack of cultural understanding on the part of the ANC and SIDA, the Swedish administrators sent to the Project, and the lack of clear cultural guidelines on the part of the trainees to the Project itself. These reasons for the Project's failure are integral to an understanding of arts add culture development and needs in South Africa today. As other projects, aimed at the same issues of development grow, an understanding of the history of the Project's failure is essential, for it poses questions still in need of answers. Part One examines the historical significance of the Dakawa Art and Craft Project between 1982 and 1994, recording the reasons for its establishment, the path of implementation it followed, and the cultural misunderstandings it posed to development. Part Two examines the cultural context of the trainees to the Project, followed by an account of the printmaking teaching practice, and the effects of cultural concepts on two printmakers trained during the Project's initial establishment, at the time of South Africa's political transformation.
- Full Text:
- Date Issued: 1999
The artist and the technological society: a survey of attitudes in the wake of scientific and industrial revolution
- Authors: Baker, Claerwen Glenys
- Date: 1976
- Subjects: Art and technology Art, Modern -- 20th century -- History
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2472 , http://hdl.handle.net/10962/d1009499
- Description: One of the most frequently repeated questions of our time is what is art? Since we have become conditioned to the idea that ''significant art - a much overworked modern term - belongs to the revolutionary avant-garde, artists carry their search for the new at all costs into the field of non art. P.1
- Full Text:
- Date Issued: 1976
- Authors: Baker, Claerwen Glenys
- Date: 1976
- Subjects: Art and technology Art, Modern -- 20th century -- History
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2472 , http://hdl.handle.net/10962/d1009499
- Description: One of the most frequently repeated questions of our time is what is art? Since we have become conditioned to the idea that ''significant art - a much overworked modern term - belongs to the revolutionary avant-garde, artists carry their search for the new at all costs into the field of non art. P.1
- Full Text:
- Date Issued: 1976
Creative misreadings: allegory in Tracey Rose's Ciao Bella
- Authors: Bateman, Genevieve
- Date: 2007
- Subjects: Rose, Tracey, 1974- Artists -- South Africa Women artists -- South Africa Performance artists -- South Africa Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2473 , http://hdl.handle.net/10962/d1009506
- Description: This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
- Full Text:
- Date Issued: 2007
- Authors: Bateman, Genevieve
- Date: 2007
- Subjects: Rose, Tracey, 1974- Artists -- South Africa Women artists -- South Africa Performance artists -- South Africa Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2473 , http://hdl.handle.net/10962/d1009506
- Description: This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
- Full Text:
- Date Issued: 2007
South African art institutions : their formation and strategy with particular reference to the question of legitimacy
- Authors: Becker, Carl
- Date: 1993
- Subjects: Art schools -- South Africa Art -- Study and teaching -- South Africa Art and society -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2456 , http://hdl.handle.net/10962/d1007622
- Description: I have examined the relationship between the art institution and its social base, and the way in which legitimacy is sought and maintained under changing social circumstances. The social pattern of 'avante garde artist' vs. 'philistine public' has tended to be the context within which 20th century art has developed. The consequent disjuncture between the public art institution and its social base was subsequently accepted as the natural condition of Fine Art production. During the 1980's, two significant factors were to influence this 'natural' condition: i) The demise of 'modernism' internationally, ' which broadened the scope of allowable objects for consideration as Fine Art. ii) Political mobilisation in South Africa was accompanied by calls for democratisation and charges of 'elitism' being levelled against many public institutions. These factors have combined to make the S.A. art institutions (public galleries, tertiary teaching institutions and national art competitions) re-assess their legitimacy, particularly in terms of 'accountability' and 'representativeness' . A close examination of these two factors is essential if one is to gain insight into the current condition of the public art institutions. This research is an attempt to understand the history and the current nature of the shifting relationship between the art institutions and the 'public' in South Africa. A further goal is to assess the extent to which concepts that are valid within the realm of the polity can be transposed into the cultural realm: A tendency prevalent within the cultural debate in South Africa during the 1980's. The emphasis of this mini thesis is on the artworld's perception of its social role. I therefore look at the way changing attitudes are reflected in the statements and writing of leading figures within this sector. The method is to critically analyse texts that pertain to my chosen area of research.
- Full Text:
- Date Issued: 1993
- Authors: Becker, Carl
- Date: 1993
- Subjects: Art schools -- South Africa Art -- Study and teaching -- South Africa Art and society -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2456 , http://hdl.handle.net/10962/d1007622
- Description: I have examined the relationship between the art institution and its social base, and the way in which legitimacy is sought and maintained under changing social circumstances. The social pattern of 'avante garde artist' vs. 'philistine public' has tended to be the context within which 20th century art has developed. The consequent disjuncture between the public art institution and its social base was subsequently accepted as the natural condition of Fine Art production. During the 1980's, two significant factors were to influence this 'natural' condition: i) The demise of 'modernism' internationally, ' which broadened the scope of allowable objects for consideration as Fine Art. ii) Political mobilisation in South Africa was accompanied by calls for democratisation and charges of 'elitism' being levelled against many public institutions. These factors have combined to make the S.A. art institutions (public galleries, tertiary teaching institutions and national art competitions) re-assess their legitimacy, particularly in terms of 'accountability' and 'representativeness' . A close examination of these two factors is essential if one is to gain insight into the current condition of the public art institutions. This research is an attempt to understand the history and the current nature of the shifting relationship between the art institutions and the 'public' in South Africa. A further goal is to assess the extent to which concepts that are valid within the realm of the polity can be transposed into the cultural realm: A tendency prevalent within the cultural debate in South Africa during the 1980's. The emphasis of this mini thesis is on the artworld's perception of its social role. I therefore look at the way changing attitudes are reflected in the statements and writing of leading figures within this sector. The method is to critically analyse texts that pertain to my chosen area of research.
- Full Text:
- Date Issued: 1993
Broken vessels : the im-possibility of the art of remembrance and re-collection in the work of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng
- Authors: Belluigi, Dina Zoe
- Date: 2002
- Subjects: History in art Kiefer, Anselm, 1945- Boltanski, Christian, 1944- Kentridge, William, 1955- Mofokeng, Santu, 1956-
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2395 , http://hdl.handle.net/10962/d1002191
- Description: This thesis is structured around investigating the philosophical and aesthetic problematics, politics, and possibilities of representing the past for the purposes of demythifying the present as well as commemorating the losses of history, as explored in the artworks of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng. The first chapter begins with Theodor Adorno’s philosophical understanding of myth and history: how he is influenced by and then develops Karl Marx’s critique of society, Sigmund Freud’s critique of reason and its subject, and particularly Walter Benjamin’s ideas of history as catastrophe, the role of the historian and his messianic materialism. The second section looks at Theodor Adorno’s dialectic of art and society: immanent criticism in aesthetic practice, mimesis, and the shift in conceptions of allegory from Walter Benjamin’s understanding to that of Jacques Derrida. The last section of the chapter looks at Jacques Derrida’s poststructuralist theories against boundary-fixing, within that the ethical relation to the ‘other’ and the theorist/artist as psychic exile. The second chapter deals with the politics of remembrance and representation — beginning with Theodor Adorno’s historic interpretation of the Mosaic law against the making of images and Jean-Francois Lyotard on the im-possibility of representing the unrepresentable. The chapter is divided in two parts between the post-Holocaust European artists Anselm Kiefer and Christian Boltanski, and the post-apartheid South African artists William Kentridge and Santu Mofokeng. It explores, within these artists’ specific contexts, their formal and philosophical approaches to myth and history, and the problematics of image-making, representing the unrepresentable, and commemorating the immemorial. The thesis concludes by considering different conceptions of melancholia as they relate to these artists: the Freudian psychoanalytic approach, Benjamin’s notions of the artist-genius, and Julia Kristeva’s Lacanian reading of the humanist melancholic, concluding with the mythic-historical Kaballist notion of melancholia as the historical burden or responsibility to commemorate loss.
- Full Text:
- Date Issued: 2002
- Authors: Belluigi, Dina Zoe
- Date: 2002
- Subjects: History in art Kiefer, Anselm, 1945- Boltanski, Christian, 1944- Kentridge, William, 1955- Mofokeng, Santu, 1956-
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2395 , http://hdl.handle.net/10962/d1002191
- Description: This thesis is structured around investigating the philosophical and aesthetic problematics, politics, and possibilities of representing the past for the purposes of demythifying the present as well as commemorating the losses of history, as explored in the artworks of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng. The first chapter begins with Theodor Adorno’s philosophical understanding of myth and history: how he is influenced by and then develops Karl Marx’s critique of society, Sigmund Freud’s critique of reason and its subject, and particularly Walter Benjamin’s ideas of history as catastrophe, the role of the historian and his messianic materialism. The second section looks at Theodor Adorno’s dialectic of art and society: immanent criticism in aesthetic practice, mimesis, and the shift in conceptions of allegory from Walter Benjamin’s understanding to that of Jacques Derrida. The last section of the chapter looks at Jacques Derrida’s poststructuralist theories against boundary-fixing, within that the ethical relation to the ‘other’ and the theorist/artist as psychic exile. The second chapter deals with the politics of remembrance and representation — beginning with Theodor Adorno’s historic interpretation of the Mosaic law against the making of images and Jean-Francois Lyotard on the im-possibility of representing the unrepresentable. The chapter is divided in two parts between the post-Holocaust European artists Anselm Kiefer and Christian Boltanski, and the post-apartheid South African artists William Kentridge and Santu Mofokeng. It explores, within these artists’ specific contexts, their formal and philosophical approaches to myth and history, and the problematics of image-making, representing the unrepresentable, and commemorating the immemorial. The thesis concludes by considering different conceptions of melancholia as they relate to these artists: the Freudian psychoanalytic approach, Benjamin’s notions of the artist-genius, and Julia Kristeva’s Lacanian reading of the humanist melancholic, concluding with the mythic-historical Kaballist notion of melancholia as the historical burden or responsibility to commemorate loss.
- Full Text:
- Date Issued: 2002
Featuring simplicity: jargon and access in contemporary South African art
- Authors: Bereng, Lerato
- Date: 2018
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/60479 , vital:27784
- Description: The focus of this paper is an exploration of curating and its various forms as understood in a South African art context. In order to understand this context I examine definitions of South African publics as well as different curatorial models. I raise questions around art and accessibility as well as the functions of language as a gate keeper within the visual arts. Through a practical exploration of curatorial methods of engagement, I assess the curator's role as disseminator of information. My final project Conversations at Morija that was held in Morija, Lesotho faces the challenge of curating within a space that has a strong creative platform, but lacks a visual art audience. The exhibition was held during the 2013 Morija Art and Culture festival which is dominated by its music component. Despite Morija being the country's creative centre and sole museum, there is little support for its programme both monetary and in terms of attendance. Through a series of conversations several issues pertaining to Morija, Lesotho and the diaspora were addressed. I look at the absence of creative platforms and alternative curatorial methods that engage the public in a participatory manner. Briefly exploring questions of migrant labour and definitions of what constitutes a diaspora. I look at relatable ways to engage the local audience whilst maintaining a creative core in which to spark dialogue around pertinent matters relating to the country.
- Full Text:
- Date Issued: 2018
- Authors: Bereng, Lerato
- Date: 2018
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/60479 , vital:27784
- Description: The focus of this paper is an exploration of curating and its various forms as understood in a South African art context. In order to understand this context I examine definitions of South African publics as well as different curatorial models. I raise questions around art and accessibility as well as the functions of language as a gate keeper within the visual arts. Through a practical exploration of curatorial methods of engagement, I assess the curator's role as disseminator of information. My final project Conversations at Morija that was held in Morija, Lesotho faces the challenge of curating within a space that has a strong creative platform, but lacks a visual art audience. The exhibition was held during the 2013 Morija Art and Culture festival which is dominated by its music component. Despite Morija being the country's creative centre and sole museum, there is little support for its programme both monetary and in terms of attendance. Through a series of conversations several issues pertaining to Morija, Lesotho and the diaspora were addressed. I look at the absence of creative platforms and alternative curatorial methods that engage the public in a participatory manner. Briefly exploring questions of migrant labour and definitions of what constitutes a diaspora. I look at relatable ways to engage the local audience whilst maintaining a creative core in which to spark dialogue around pertinent matters relating to the country.
- Full Text:
- Date Issued: 2018
Narratives and home: remembering an almost forgotten walk
- Bezuidenhout, Natasha Belinda
- Authors: Bezuidenhout, Natasha Belinda
- Date: 2019
- Subjects: Home in literature , Home in art , Artists -- South Africa
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/115039 , vital:34072
- Description: The title of my exhibition Bittersoet alludes to the self-exploratory nature of my practice, as I interrogate the personal memories associated with objects that characterise the relationship between myself and my mother (mamma). This supporting document, Narratives and Home: Remembering an almost forgotten walk, considers the key conceptual concerns informing my practice. In this mini-thesis, I address the question: ‘What is a home?’. Drawing from my own Fine Art Practice, I explore how home can be examined as a product of the imagination, rather than only as a physical place. I consider how ‘home’ is constructed as the primary objective within an ideological framework defined by history, memory and narrative. Engaging beyond the idea of ‘home’ as a fixed structure or place, I examine the idea of ‘home’ as something fluid that is negotiated and defined by the interaction between objects and language. It is concerned with dialectics of memory and narrative as they pertain directly to an experience of both searching for and reimagining home through metaphorical representations. In particular, I explore how home can be seen as equally familiar and unfamiliar, existing in-between, always changing, never fixed, rather in a constant state of flux. The concept of home is addressed in a dialogical process by using Afrikaans as my mother tongue, I narrate informal conversations between myself and my mother. These conversations transform and expand into hybrid words, memories and narratives to form a layered continuous dialogue between my practice and research. This notion relates to exploring oneself and the ‘fictions’ of the past. The self being fundamental to the individual comprehension of both ‘place’ and ‘space’.
- Full Text:
- Date Issued: 2019
- Authors: Bezuidenhout, Natasha Belinda
- Date: 2019
- Subjects: Home in literature , Home in art , Artists -- South Africa
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/115039 , vital:34072
- Description: The title of my exhibition Bittersoet alludes to the self-exploratory nature of my practice, as I interrogate the personal memories associated with objects that characterise the relationship between myself and my mother (mamma). This supporting document, Narratives and Home: Remembering an almost forgotten walk, considers the key conceptual concerns informing my practice. In this mini-thesis, I address the question: ‘What is a home?’. Drawing from my own Fine Art Practice, I explore how home can be examined as a product of the imagination, rather than only as a physical place. I consider how ‘home’ is constructed as the primary objective within an ideological framework defined by history, memory and narrative. Engaging beyond the idea of ‘home’ as a fixed structure or place, I examine the idea of ‘home’ as something fluid that is negotiated and defined by the interaction between objects and language. It is concerned with dialectics of memory and narrative as they pertain directly to an experience of both searching for and reimagining home through metaphorical representations. In particular, I explore how home can be seen as equally familiar and unfamiliar, existing in-between, always changing, never fixed, rather in a constant state of flux. The concept of home is addressed in a dialogical process by using Afrikaans as my mother tongue, I narrate informal conversations between myself and my mother. These conversations transform and expand into hybrid words, memories and narratives to form a layered continuous dialogue between my practice and research. This notion relates to exploring oneself and the ‘fictions’ of the past. The self being fundamental to the individual comprehension of both ‘place’ and ‘space’.
- Full Text:
- Date Issued: 2019
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.
- Full Text:
- Date Issued: 1996
- 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.
- Full Text:
- Date Issued: 1996
The effect of the feminist movement on painting and sculpture in Europe and America after 1945
- Authors: Brooks, Jennifer
- Date: 1983
- Subjects: Painting, American -- 20th century Painting, European -- 20th century Sculpture, European -- 20th century Sculpture, American -- 20th century Feminism and art -- United States Feminism and art -- Europe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2459 , http://hdl.handle.net/10962/d1007675
- Description: My investigation of women artists and their status in society today as a result of the feminist movement, revealed issues which, I felt, were multifaceted. This necessitated an exploration of many aspects in order to arrive at a fairly satisfactory conclusion as to whether the revolt and the aggression on the part of the feminists had borne any fruit, either generally in everyday life, or artistically. It has proved most stimulating and informative. I think that the need to assess oneself as a woman, working within a male-dominated creative environment is a very necessary process and one which has been most beneficial to me. The subsequent research revealed that a radical, thematic change had occured within the feminist movement at the start of the Eighties; a fact of which, till recently, I was largely unaware. What I discovered was that the militant, feminist approach of the Sixties and Seventies had given way to a more realistic involvement brought on partly by the economic recession and the effects as well of earlier feminist movements, leading to a relaxation on the part of the younger generation. The Violence had faded. Hard times curbed the excesses of the movement and took it along the road to practicality. Dovetailed to this and seeming to run concurrently was the phenomenon of the demise of the Modern Art Movement. These changes described were not only artistic and feminist, but cut right across the board. involving all facets of life. To take one as an example. the political with conservatism reinstating itself in America not merely as an alternative but as a worthwhile direction in itself. Other issues included the sociological, historical, biological, and cultural; all closely interwoven and therefore requiring some generalisations at times. Previous to becoming involved with my topic, I had been reacting to pre-conceived ideas laid on me as a student in the Sixties and Seventies - a militant, aggressive approach acquired as a protective shield, to deal with the masculine environment which denigrated in varying degrees mine and fellow female artists work, sometimes overtly, sometimes subconsciously. This discrimination, is usually denied as ever having existed by the men involved. It shows a lack of awareness of what, we, as female art students, were subjected to. This is one of the main reasons why I undertook this subject; partly out of interest and perhaps partly as some sort of catharsis.
- Full Text:
- Date Issued: 1983
- Authors: Brooks, Jennifer
- Date: 1983
- Subjects: Painting, American -- 20th century Painting, European -- 20th century Sculpture, European -- 20th century Sculpture, American -- 20th century Feminism and art -- United States Feminism and art -- Europe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2459 , http://hdl.handle.net/10962/d1007675
- Description: My investigation of women artists and their status in society today as a result of the feminist movement, revealed issues which, I felt, were multifaceted. This necessitated an exploration of many aspects in order to arrive at a fairly satisfactory conclusion as to whether the revolt and the aggression on the part of the feminists had borne any fruit, either generally in everyday life, or artistically. It has proved most stimulating and informative. I think that the need to assess oneself as a woman, working within a male-dominated creative environment is a very necessary process and one which has been most beneficial to me. The subsequent research revealed that a radical, thematic change had occured within the feminist movement at the start of the Eighties; a fact of which, till recently, I was largely unaware. What I discovered was that the militant, feminist approach of the Sixties and Seventies had given way to a more realistic involvement brought on partly by the economic recession and the effects as well of earlier feminist movements, leading to a relaxation on the part of the younger generation. The Violence had faded. Hard times curbed the excesses of the movement and took it along the road to practicality. Dovetailed to this and seeming to run concurrently was the phenomenon of the demise of the Modern Art Movement. These changes described were not only artistic and feminist, but cut right across the board. involving all facets of life. To take one as an example. the political with conservatism reinstating itself in America not merely as an alternative but as a worthwhile direction in itself. Other issues included the sociological, historical, biological, and cultural; all closely interwoven and therefore requiring some generalisations at times. Previous to becoming involved with my topic, I had been reacting to pre-conceived ideas laid on me as a student in the Sixties and Seventies - a militant, aggressive approach acquired as a protective shield, to deal with the masculine environment which denigrated in varying degrees mine and fellow female artists work, sometimes overtly, sometimes subconsciously. This discrimination, is usually denied as ever having existed by the men involved. It shows a lack of awareness of what, we, as female art students, were subjected to. This is one of the main reasons why I undertook this subject; partly out of interest and perhaps partly as some sort of catharsis.
- Full Text:
- Date Issued: 1983
The emotive qualities of light as a prime factor in artistic expression
- Authors: Brooks, R B
- Date: 1965
- Subjects: Light in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2502 , http://hdl.handle.net/10962/d1014659
- Description: What we do possess to-day as 'art' a faked music, filled with exotic and showcard effects, that every ten years or so concocted out of the form-wealth of millenia some new "style'' which is no style at all since everyone does as he pleases. A lying plastic that steals from Assyria, Egypt and Mexico indifferently. Yet this and only this, the taste of the "man of the world" can be accepted as the expression and sign of the age. Everything else, everything that sticks to old ideals is for provincial consumption. This is the year 1965 - nearly fifty years since Oswald Spengler published "The decline of the West" The paragraph I have quoted by way of justification for this dissertation is in turn a justiification of the fact that Spengler is as valid today as he was in 1918.
- Full Text:
- Date Issued: 1965
- Authors: Brooks, R B
- Date: 1965
- Subjects: Light in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2502 , http://hdl.handle.net/10962/d1014659
- Description: What we do possess to-day as 'art' a faked music, filled with exotic and showcard effects, that every ten years or so concocted out of the form-wealth of millenia some new "style'' which is no style at all since everyone does as he pleases. A lying plastic that steals from Assyria, Egypt and Mexico indifferently. Yet this and only this, the taste of the "man of the world" can be accepted as the expression and sign of the age. Everything else, everything that sticks to old ideals is for provincial consumption. This is the year 1965 - nearly fifty years since Oswald Spengler published "The decline of the West" The paragraph I have quoted by way of justification for this dissertation is in turn a justiification of the fact that Spengler is as valid today as he was in 1918.
- Full Text:
- Date Issued: 1965
Decorative aspects of reality with reference to sociological painting
- Authors: Clark, Dorothy
- Date: 1974
- Subjects: Decorative arts
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2474 , http://hdl.handle.net/10962/d1010501
- Description: The writer could not blame the reader for finding the title to this essay couched in somewhat academic terms. It must be said immediately that the title is a fake -- or that the following essay is a fake; the title has pretensions to the academic -- the essay has not. All academicism no longer has an independent existence -- it operates by formulae, is mechanical, uses faked sensations and vicarious experience and borrows its tricks and themes from a mature, established culture close at hand. This ' culture's life's blood is looted, given new twists, watered down and served up in academic terms. For these reasons, academicism and Kitsch are the same -- both change according to style and yet are always the same; both are the epitome of all that is spurious in our time. So, academicism could be said to be the 'stuffed shirt-front' for Kitsch. Preamble, p. 1.
- Full Text:
- Date Issued: 1974
- Authors: Clark, Dorothy
- Date: 1974
- Subjects: Decorative arts
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2474 , http://hdl.handle.net/10962/d1010501
- Description: The writer could not blame the reader for finding the title to this essay couched in somewhat academic terms. It must be said immediately that the title is a fake -- or that the following essay is a fake; the title has pretensions to the academic -- the essay has not. All academicism no longer has an independent existence -- it operates by formulae, is mechanical, uses faked sensations and vicarious experience and borrows its tricks and themes from a mature, established culture close at hand. This ' culture's life's blood is looted, given new twists, watered down and served up in academic terms. For these reasons, academicism and Kitsch are the same -- both change according to style and yet are always the same; both are the epitome of all that is spurious in our time. So, academicism could be said to be the 'stuffed shirt-front' for Kitsch. Preamble, p. 1.
- Full Text:
- Date Issued: 1974
South African art, the romantic principle and the Grahamstown group
- Authors: Clark, George Phillip Haven
- Date: 1977
- Subjects: Art, South African , Art -- South Africa -- Grahamstown
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2501 , http://hdl.handle.net/10962/d1014638
- Description: The purpose of this essay is to examine the "rumblings in the belly of Leviathan from which we are able to diagnose his disease" (Comfort). Adopting a cyclical idea of art, it aims to point out that South African art has degenerated to a state where the much publicised so-called leaders of art are simply using charm techniques to woo the consent of a society whose metaphysics are derived from twentieth century collective materialism. The South African situation is examined, as is the Romantic principle underlying all genuine artistic activity. It is proposed that the cure lies in a reinstatement of this principle and in a readjustment of the concepts of reality and unreality. Finally, the Grahamstown Group is propounded as an embodiment of the Romantic principle with its implicit concept of artistic reality.
- Full Text:
- Date Issued: 1977
- Authors: Clark, George Phillip Haven
- Date: 1977
- Subjects: Art, South African , Art -- South Africa -- Grahamstown
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2501 , http://hdl.handle.net/10962/d1014638
- Description: The purpose of this essay is to examine the "rumblings in the belly of Leviathan from which we are able to diagnose his disease" (Comfort). Adopting a cyclical idea of art, it aims to point out that South African art has degenerated to a state where the much publicised so-called leaders of art are simply using charm techniques to woo the consent of a society whose metaphysics are derived from twentieth century collective materialism. The South African situation is examined, as is the Romantic principle underlying all genuine artistic activity. It is proposed that the cure lies in a reinstatement of this principle and in a readjustment of the concepts of reality and unreality. Finally, the Grahamstown Group is propounded as an embodiment of the Romantic principle with its implicit concept of artistic reality.
- Full Text:
- Date Issued: 1977
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
Boetie is verlore: the reproduction of militarized white masculinities through the lens of Boetie gaan border toe! (1984)
- Authors: Coetzee, Joseph
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4245 , vital:20638
- Description: My father fought for the South African Defence Force (SADF) from 1983 to 1985. At that time the apartheid regime was involved in extensive military operations in what is now Namibia and Angola. This conflict was aimed at quelling the liberation movements in those countries and, as Gary Baines has noted, supported the United States of America’s Cold War interests (Baines 2007:1). When I was fourteen I found a piece written by my father in which he remembers the first person that he had killed in the aforementioned conflict. This was a child soldier who he compared to me as I was a similar age at the time of his writing. The idea of my father as a killer haunted me. He has carried the trauma of his experiences on the border with him; he has told me how the dead visit him in dreams. On the one hand, these memories, not my own, have been constructed through my interpretation of the events in my father’s stories. On the other hand, homologies may be drawn between his actual experiences and a fantasy representation of the conflict I have encountered, the film Boetie gaan border toe! or Brother goes to the border! (1984). This apartheid propaganda film presents an idealised representation of the conflict from the point of view of the apartheid state. The protagonist of the film, Boetie, is an example of the aspirational and dominant image of militarised masculinity the apartheid state wished young white men to emulate. The racist sexist, patriarchal and materialistic reality created within the film is one I am familiar with. The toys I grew up playing with, television shows, films, advertising and popular culture I consumed, alongside the boys’ school I attended and the University I currently attend are all rooted in and continue to reproduce this reality. I have encountered many similar archetypes to the Boetie character. With this in mind I wish through my art practice to create a work which draws upon my father’s writing and imagery from Boetie gaan border toe! (1984). I have placed these alongside windows into my contemporary context in order to emphasise the continual reproduction of these ideas. In reference to the Boetie film I have decided to create my own film entitled Boetie is verlore or Brother is lost. This is a magic realist documentary film that I have constructed through various interviews and fantasy dream sequences in order to paint a picture of the continual incubation and reproduction of realities similar to that of Boetie. Boetie is a rich white man who is characterised through his material possessions and his compulsive heterosexuality. White women are interchangeable to him whilst blackness in the film is made completely invisible. In South Africa such representations are strongly linked to the question of land and naturalising the white male coloniser’s dominance and privilege.
- Full Text:
- Date Issued: 2016
- Authors: Coetzee, Joseph
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4245 , vital:20638
- Description: My father fought for the South African Defence Force (SADF) from 1983 to 1985. At that time the apartheid regime was involved in extensive military operations in what is now Namibia and Angola. This conflict was aimed at quelling the liberation movements in those countries and, as Gary Baines has noted, supported the United States of America’s Cold War interests (Baines 2007:1). When I was fourteen I found a piece written by my father in which he remembers the first person that he had killed in the aforementioned conflict. This was a child soldier who he compared to me as I was a similar age at the time of his writing. The idea of my father as a killer haunted me. He has carried the trauma of his experiences on the border with him; he has told me how the dead visit him in dreams. On the one hand, these memories, not my own, have been constructed through my interpretation of the events in my father’s stories. On the other hand, homologies may be drawn between his actual experiences and a fantasy representation of the conflict I have encountered, the film Boetie gaan border toe! or Brother goes to the border! (1984). This apartheid propaganda film presents an idealised representation of the conflict from the point of view of the apartheid state. The protagonist of the film, Boetie, is an example of the aspirational and dominant image of militarised masculinity the apartheid state wished young white men to emulate. The racist sexist, patriarchal and materialistic reality created within the film is one I am familiar with. The toys I grew up playing with, television shows, films, advertising and popular culture I consumed, alongside the boys’ school I attended and the University I currently attend are all rooted in and continue to reproduce this reality. I have encountered many similar archetypes to the Boetie character. With this in mind I wish through my art practice to create a work which draws upon my father’s writing and imagery from Boetie gaan border toe! (1984). I have placed these alongside windows into my contemporary context in order to emphasise the continual reproduction of these ideas. In reference to the Boetie film I have decided to create my own film entitled Boetie is verlore or Brother is lost. This is a magic realist documentary film that I have constructed through various interviews and fantasy dream sequences in order to paint a picture of the continual incubation and reproduction of realities similar to that of Boetie. Boetie is a rich white man who is characterised through his material possessions and his compulsive heterosexuality. White women are interchangeable to him whilst blackness in the film is made completely invisible. In South Africa such representations are strongly linked to the question of land and naturalising the white male coloniser’s dominance and privilege.
- Full Text:
- Date Issued: 2016
John N. Muafangejo, 1943-1987 : a perspective on his lino-cuts with special reference to the University of Bophuthatswana Print Collection
- Authors: Cole, Collin
- Date: 1994
- Subjects: Muafangejo, John N., 1943-1987 -- Criticism and interpretation Linoleum block-printing -- Art collections Art, Namibian
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2398 , http://hdl.handle.net/10962/d1002194
- Description: By way of an analysis of the lino-cuts executed by Muafangejo, firstly elements and influences that are evident in terms associated with his works, will be traced, for example 'primitive' and 'traditional' elements. Secondly, the characteristics that are particular to this artist's work will be defined. It is believed that by using this avenue of approach, a clearer understanding of the artist's traditional world and possibly the stylistic placement of the artist can be attained. However, to rely only on historical and cultural influences to give a perspective of his work, will not be sufficient. It will only highlight a portion of the evidence needed to fully understand his work. (From the introduction).
- Full Text:
- Date Issued: 1994
- Authors: Cole, Collin
- Date: 1994
- Subjects: Muafangejo, John N., 1943-1987 -- Criticism and interpretation Linoleum block-printing -- Art collections Art, Namibian
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2398 , http://hdl.handle.net/10962/d1002194
- Description: By way of an analysis of the lino-cuts executed by Muafangejo, firstly elements and influences that are evident in terms associated with his works, will be traced, for example 'primitive' and 'traditional' elements. Secondly, the characteristics that are particular to this artist's work will be defined. It is believed that by using this avenue of approach, a clearer understanding of the artist's traditional world and possibly the stylistic placement of the artist can be attained. However, to rely only on historical and cultural influences to give a perspective of his work, will not be sufficient. It will only highlight a portion of the evidence needed to fully understand his work. (From the introduction).
- Full Text:
- Date Issued: 1994