Space Station: negotiating identities in the contemporary performance artscape
- Authors: Nott, Chiro Carolyn
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4233 , vital:20635
- Description: Being a part of various contemporary South African societies, we often find ourselves having to negotiate multiple dimensions of ourselves in our everyday lives amongst other culturally diverse people. These complex networks of identity, which define who we are, extend beyond the insular self into our daily interactions with others. This active methodology of existence requires social individuals to be able to embody a constant mobile identity, which when employed is not guaranteed to be socially successful. How then, do we cope with potential social failure and reflect on ourselves or our communal identities? For the submission of my Masters of Fine Art, I present the interactive exhibition, Space Station: a mini-golf art experience and the accompanying thesis,Space Station: Negotiating Identities in the Contemporary Performance Artscape. The exhibition manifests as a nine hole miniature golf course temporarily installed along a distance of unused train track in Grahamstown. The audience members’ or “players’” experiences of the exhibition draw attention to the subtle performances of everyday life as well as the ways in which identity is re-constructed through transitory mapped networking practices.The thesis interacts with the performed artwork, as not only a supporting text, but is activated, ‘performing’ in collaboration with the artwork’s temporary lived and present experiential journey. The thesis creates three fictional metaphoric characters: the pilgrim, the everyday migrant and the astral-bodied tourist who all negotiate contemporary urban space in order to explore ways in which mobile identity is socially practiced, developed and maintained.I argue that the Space Station audience member blurs between these characters, in the processes of ‘performing’ the game, by becoming the ‘player’. The research works alongside contemporary social environments to guide the audience and reader through positive self and socially reflective experiential processes to inspire rethinking around the interaction of habitual daily living.
- Full Text: false
- Date Issued: 2016
- Authors: Nott, Chiro Carolyn
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4233 , vital:20635
- Description: Being a part of various contemporary South African societies, we often find ourselves having to negotiate multiple dimensions of ourselves in our everyday lives amongst other culturally diverse people. These complex networks of identity, which define who we are, extend beyond the insular self into our daily interactions with others. This active methodology of existence requires social individuals to be able to embody a constant mobile identity, which when employed is not guaranteed to be socially successful. How then, do we cope with potential social failure and reflect on ourselves or our communal identities? For the submission of my Masters of Fine Art, I present the interactive exhibition, Space Station: a mini-golf art experience and the accompanying thesis,Space Station: Negotiating Identities in the Contemporary Performance Artscape. The exhibition manifests as a nine hole miniature golf course temporarily installed along a distance of unused train track in Grahamstown. The audience members’ or “players’” experiences of the exhibition draw attention to the subtle performances of everyday life as well as the ways in which identity is re-constructed through transitory mapped networking practices.The thesis interacts with the performed artwork, as not only a supporting text, but is activated, ‘performing’ in collaboration with the artwork’s temporary lived and present experiential journey. The thesis creates three fictional metaphoric characters: the pilgrim, the everyday migrant and the astral-bodied tourist who all negotiate contemporary urban space in order to explore ways in which mobile identity is socially practiced, developed and maintained.I argue that the Space Station audience member blurs between these characters, in the processes of ‘performing’ the game, by becoming the ‘player’. The research works alongside contemporary social environments to guide the audience and reader through positive self and socially reflective experiential processes to inspire rethinking around the interaction of habitual daily living.
- Full Text: false
- Date Issued: 2016
Visual narratives of division in contemporary Palestinian art and social space
- Authors: Baasch, Rachel Mary
- Date: 2017
- Subjects: Art, Palestinian Arab , Art, Palestinian Arab -- Political aspects , Art and society -- Palestine
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/41770 , vital:25132
- Description: This study analyses artworks by contemporary Palestinian artists that respond to visual narratives of division in social space from a perspective grounded in a South African context. The state of Israel is built on Historic Palestine. Political Zionism has created an ideological narrative of division that positions people of the Jewish faith as the rightful heirs to the land on which Palestinians have lived for centuries. In order to execute their vision of an exclusively Jewish nation state, the founding pioneers of political Zionism colonised and ethnically cleansed Historic Palestine, establishing Israel in 1948. To sustain the exclusive claim to Palestinian land, Israel has divided the space and the people in it at every possible level. The greatest testament to these efforts is the Israeli apartheid wall and checkpoint security system that can be described as a monumental visual narrative of division. With each second that passes, Israel claims more Palestinian land and expands on existing fences, walls and barriers. It is no secret that the Occupied Palestinian Territories are rapidly transforming into open-air prisons. Israel has stolen the Palestinian horizon line and replaced it with a concrete wall that blocks out light, vision and optimism. Within the shadows of these conflicted, traumatised sites of division, Palestinian artists seek openings, cracks and loopholes that signal the possibility for physical and psychological transgression of these seemingly impenetrable structures of division. I have developed a creative methodology that can be understood through the metaphor of ‘looking with the skin’ as a way to identify and analyse visual narratives of division and artistic responses to sites of division in Palestinian social space. Looking with the skin combines aspects of participant observation (specifically the emphasis on engaged fieldwork) from the discipline of Anthropology with the method of visual analysis from the discipline of Art History. In my application of this method through primary fieldwork conducted within the Occupied Palestinian West Bank Territory from 2013 and 2014, I have learnt that Israel’s colonisation, military occupation and system of apartheid directly impacts the ability of Palestinian artists to make and disseminate their work as well as the choice of content within their artwork. The artworks analysed in this thesis by the artists Khaled Jarrar, Y ael Bartana, Larissa Sansour, Hasan Darahgmeh, Fareh Saleh and Emily Jacir can be positioned in relation to artworks by artists based within a South African context, namely Thando Mama, Serge Alain Nitegeka and Doung Anwar Jahangeer. In this thesis I present a combination of my own photographic documentation of sites of division with the West Bank OPT in relation to the specific artworks made by the artists mentioned above. In my analysis of the photographic documentation and the artists’ work I highlight similarities, parallels, threads and intersecting narratives that connect different artists to one another and to the sites of division they are responding to within their artistic practice. This study carves a small conceptual pathway through ideological and physical walls from South Africa to Palestine through the study of contemporary art and visual culture.
- Full Text:
- Date Issued: 2017
- Authors: Baasch, Rachel Mary
- Date: 2017
- Subjects: Art, Palestinian Arab , Art, Palestinian Arab -- Political aspects , Art and society -- Palestine
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/41770 , vital:25132
- Description: This study analyses artworks by contemporary Palestinian artists that respond to visual narratives of division in social space from a perspective grounded in a South African context. The state of Israel is built on Historic Palestine. Political Zionism has created an ideological narrative of division that positions people of the Jewish faith as the rightful heirs to the land on which Palestinians have lived for centuries. In order to execute their vision of an exclusively Jewish nation state, the founding pioneers of political Zionism colonised and ethnically cleansed Historic Palestine, establishing Israel in 1948. To sustain the exclusive claim to Palestinian land, Israel has divided the space and the people in it at every possible level. The greatest testament to these efforts is the Israeli apartheid wall and checkpoint security system that can be described as a monumental visual narrative of division. With each second that passes, Israel claims more Palestinian land and expands on existing fences, walls and barriers. It is no secret that the Occupied Palestinian Territories are rapidly transforming into open-air prisons. Israel has stolen the Palestinian horizon line and replaced it with a concrete wall that blocks out light, vision and optimism. Within the shadows of these conflicted, traumatised sites of division, Palestinian artists seek openings, cracks and loopholes that signal the possibility for physical and psychological transgression of these seemingly impenetrable structures of division. I have developed a creative methodology that can be understood through the metaphor of ‘looking with the skin’ as a way to identify and analyse visual narratives of division and artistic responses to sites of division in Palestinian social space. Looking with the skin combines aspects of participant observation (specifically the emphasis on engaged fieldwork) from the discipline of Anthropology with the method of visual analysis from the discipline of Art History. In my application of this method through primary fieldwork conducted within the Occupied Palestinian West Bank Territory from 2013 and 2014, I have learnt that Israel’s colonisation, military occupation and system of apartheid directly impacts the ability of Palestinian artists to make and disseminate their work as well as the choice of content within their artwork. The artworks analysed in this thesis by the artists Khaled Jarrar, Y ael Bartana, Larissa Sansour, Hasan Darahgmeh, Fareh Saleh and Emily Jacir can be positioned in relation to artworks by artists based within a South African context, namely Thando Mama, Serge Alain Nitegeka and Doung Anwar Jahangeer. In this thesis I present a combination of my own photographic documentation of sites of division with the West Bank OPT in relation to the specific artworks made by the artists mentioned above. In my analysis of the photographic documentation and the artists’ work I highlight similarities, parallels, threads and intersecting narratives that connect different artists to one another and to the sites of division they are responding to within their artistic practice. This study carves a small conceptual pathway through ideological and physical walls from South Africa to Palestine through the study of contemporary art and visual culture.
- Full Text:
- Date Issued: 2017
International passports : portrait of the Nigerian diaspora
- Authors: Makun, Adetoun Jones
- Date: 2012
- Subjects: Portrait painting -- South Africa Nigerians -- Portraits Portrait photography -- Nigeria
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2429 , http://hdl.handle.net/10962/d1002226
- Description: International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.
- Full Text:
- Date Issued: 2012
- Authors: Makun, Adetoun Jones
- Date: 2012
- Subjects: Portrait painting -- South Africa Nigerians -- Portraits Portrait photography -- Nigeria
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2429 , http://hdl.handle.net/10962/d1002226
- Description: International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.
- Full Text:
- Date Issued: 2012
Habitual transience : orientation and disorientation within non-places
- Authors: Heymans, Simone
- Date: 2014
- Subjects: Beeck, Hans Op de, 1969- , Space perception , Place (Philosophy) , Liminality , Art and society , Art, Modern -- 21st century , Art, Abstract -- 21st century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2493 , http://hdl.handle.net/10962/d1013141
- Description: This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.
- Full Text:
- Date Issued: 2014
- Authors: Heymans, Simone
- Date: 2014
- Subjects: Beeck, Hans Op de, 1969- , Space perception , Place (Philosophy) , Liminality , Art and society , Art, Modern -- 21st century , Art, Abstract -- 21st century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2493 , http://hdl.handle.net/10962/d1013141
- Description: This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.
- Full Text:
- Date Issued: 2014
Moving through the city : Cape Town's legacy of slavery and the performance of creolised carnival
- Authors: Nsele, Zamansele
- Date: 2012
- Subjects: Carnival -- South Africa -- Cape Town , Cape of Good Hope (South Africa) -- Economic conditions , Cape of Good Hope (South Africa) -- Social conditions , Cape Town -- Economic conditions , Cape Town -- Social conditions , Slavery -- South Africa -- Cape Town , Stereotypes (Social psychology -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2489 , http://hdl.handle.net/10962/d1012977
- Description: After South Africa entered into democracy in 1994, a mediation period of change was set in motion. It was an invitation for South Africans to imagine and envision themselves anew (Gqola 2010). Slave memory; a neglected past, that was previously silenced came to the fore and is currently in the process of being renegotiated in post-apartheid South Africa. In the light of this, I believe that the study of the Cape Minstrel Carnival which has its social roots in slavery lends itself for an insightful interpretation within an art historical framework. While institutionally the memory of slavery was officially marginalized: comparatively, on the streets of Cape Town, the community preserved it in elusive ways embodied in the procession of Carnival through the city. This thesis explores the imagery of creolisation, through an analysis of the Cape Minstrel Carnival. Zimitri Erasmus (Erasmus 200:14) defines creolisation as cultural production that happens under the specific conditions of slavery. Before I decode some of the motifs embedded in the imagery of creolisation, in chapter one I provide an in depth analysis; of the contextual conditions of which the practice of carnival originated. My analysis is informed extensively by post-colonial theories on race, identity, and creolisation. The route of the procession of carnival reveals an alternative and clandestine history of the city of Cape Town which I believe deserves focus. In chapter two I discuss its site specificity in relation to key urban sites, such as the District Six Museum, the Slave Lodge Museum and the Bo-Kaap Museum. This thesis explores the use of performance as a corporeal tool to demarcate the city. In the process of this analysis, a repertoire of movement becomes salient in the construction of creolised identities. In chapter three I discuss the motif of the “coon” as the most salient image of creolisation in the parade; I trace its iconographic roots to the performance of blackface minstrelsy that originated from the slave plantations of the United States of America. By unpacking the racist iconography bound up in the initial construction of the “coon”, it becomes clear that its derogative meaning was subverted when it was appropriated as a symbol of celebration into the New Year’s parades. As a result of its complicated history, some residents deride the parade as perpetuating racial stereotypes, by portraying “coloured” people as buffoons. Class snobbery has played a big part in the criticism. Therefore the procession of “the coons” or euphemistically the minstrels represents a cultural cringe for some and a festive celebration for others and both these sentiments coexist simultaneously. The Cape Town Minstrel Carnival can be interpreted on multiple shifting levels because it takes on an ambivalent and ambiguous position as far as meaning is concerned.
- Full Text:
- Date Issued: 2012
- Authors: Nsele, Zamansele
- Date: 2012
- Subjects: Carnival -- South Africa -- Cape Town , Cape of Good Hope (South Africa) -- Economic conditions , Cape of Good Hope (South Africa) -- Social conditions , Cape Town -- Economic conditions , Cape Town -- Social conditions , Slavery -- South Africa -- Cape Town , Stereotypes (Social psychology -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2489 , http://hdl.handle.net/10962/d1012977
- Description: After South Africa entered into democracy in 1994, a mediation period of change was set in motion. It was an invitation for South Africans to imagine and envision themselves anew (Gqola 2010). Slave memory; a neglected past, that was previously silenced came to the fore and is currently in the process of being renegotiated in post-apartheid South Africa. In the light of this, I believe that the study of the Cape Minstrel Carnival which has its social roots in slavery lends itself for an insightful interpretation within an art historical framework. While institutionally the memory of slavery was officially marginalized: comparatively, on the streets of Cape Town, the community preserved it in elusive ways embodied in the procession of Carnival through the city. This thesis explores the imagery of creolisation, through an analysis of the Cape Minstrel Carnival. Zimitri Erasmus (Erasmus 200:14) defines creolisation as cultural production that happens under the specific conditions of slavery. Before I decode some of the motifs embedded in the imagery of creolisation, in chapter one I provide an in depth analysis; of the contextual conditions of which the practice of carnival originated. My analysis is informed extensively by post-colonial theories on race, identity, and creolisation. The route of the procession of carnival reveals an alternative and clandestine history of the city of Cape Town which I believe deserves focus. In chapter two I discuss its site specificity in relation to key urban sites, such as the District Six Museum, the Slave Lodge Museum and the Bo-Kaap Museum. This thesis explores the use of performance as a corporeal tool to demarcate the city. In the process of this analysis, a repertoire of movement becomes salient in the construction of creolised identities. In chapter three I discuss the motif of the “coon” as the most salient image of creolisation in the parade; I trace its iconographic roots to the performance of blackface minstrelsy that originated from the slave plantations of the United States of America. By unpacking the racist iconography bound up in the initial construction of the “coon”, it becomes clear that its derogative meaning was subverted when it was appropriated as a symbol of celebration into the New Year’s parades. As a result of its complicated history, some residents deride the parade as perpetuating racial stereotypes, by portraying “coloured” people as buffoons. Class snobbery has played a big part in the criticism. Therefore the procession of “the coons” or euphemistically the minstrels represents a cultural cringe for some and a festive celebration for others and both these sentiments coexist simultaneously. The Cape Town Minstrel Carnival can be interpreted on multiple shifting levels because it takes on an ambivalent and ambiguous position as far as meaning is concerned.
- Full Text:
- Date Issued: 2012
An Archive of Upset : the Shift from Commissioning to Curating through South Africa’s Representations at the Bienal de São Paulo and the Interstitial Nexus of Leonard Tshehla Mohapi Matsoso
- Authors: Dantas, Nancy Isabel
- Date: 2021-04
- Subjects: Bienal Internacional de São Paulo , Curatorship , Art -- Commissioning , Art -- Political aspects , Matsoso, Leonard Tshehla Mohapi
- Language: English
- Type: thesis , text , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/174492 , vital:42482 , https://doi.org/10.21504/10962/174492
- Description: This thesis explores the distinction between commissioning and curating, adopting the Bienal de São Paulo (or Bienal) as its conceptual propeller and point of departure. The thesis regards exhibitions as palimpsests, in other words, platforms built on previous conscious or sublimated models, beyond the Venetian model inaugurated in 1895. By looking at world expositions, particularly the Cape presence at the Colonial and Indian Exhibition of 1886, this project traces a lineage of commissioners, from Sir Henry Cole to Sydney Cowper through to the Director of the Pretoria Art Museum, Albert Werth. It distinguishes these men, their vision and allegiances from the curatorial model instantiated in South Africa by the late Okwui Enwezor as a consequence of the Second Johannesburg Biennale, held in 1997. The aim of this research has been to provide a partial but crucial account of this shift, and to remain attentive to the silences and deletions, to what happens in the interstice, at transitionary moments of ‘betweenness.’ I ask that readers consider the 1979 Bienal as an instance of an interstice where the occluded and silenced ghost of modernist artist Leonard Tshehla Mohapi Matsoso, who represented South Africa at the 1973 edition of the Bienal, garnering a substantial award for his work in drawing, resides. Matsoso was the first and only Black South African artist to receive this accolade. This thesis posits that Matsoso’s absence from the exhibition in 1979, an exhibition where he would rightly have featured, constitutes a curatorial haunting, wedged in the archive of the Bienal’s history, and an opportunity for revision and evaluation of commissioning vis-àvis curating. In reading the exhibition histories’ archive “along the grain” (Stoler 2002), the commissioner emerges as a man of letters, a privileged social category found in the archive; a colonial authority whose status was founded as much on his display of European learning as on his studied ignorance of local knowledge; an implementer of the taxonomic state and modernist art historical canon (in the case of Werth); a cultivator of the fine arts of deference, dissemblance and persuasion. At a later stage and moment of dissonance and disruption, the independent curator emerges to reconsider, question and expand the canon, distancing him/herself from the (South African) State to serve the artist or artists and a wider community. This research aims to contribute, albeit in a small way, to a reappraisal of the position of Leonard Tshehla Mohapi Matsoso in South African modernism, and the distinction between commissioning and curating. , Thesis (PhD)--Rhodes University, Faculty of Humanities, Department of Fine Art, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Dantas, Nancy Isabel
- Date: 2021-04
- Subjects: Bienal Internacional de São Paulo , Curatorship , Art -- Commissioning , Art -- Political aspects , Matsoso, Leonard Tshehla Mohapi
- Language: English
- Type: thesis , text , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/174492 , vital:42482 , https://doi.org/10.21504/10962/174492
- Description: This thesis explores the distinction between commissioning and curating, adopting the Bienal de São Paulo (or Bienal) as its conceptual propeller and point of departure. The thesis regards exhibitions as palimpsests, in other words, platforms built on previous conscious or sublimated models, beyond the Venetian model inaugurated in 1895. By looking at world expositions, particularly the Cape presence at the Colonial and Indian Exhibition of 1886, this project traces a lineage of commissioners, from Sir Henry Cole to Sydney Cowper through to the Director of the Pretoria Art Museum, Albert Werth. It distinguishes these men, their vision and allegiances from the curatorial model instantiated in South Africa by the late Okwui Enwezor as a consequence of the Second Johannesburg Biennale, held in 1997. The aim of this research has been to provide a partial but crucial account of this shift, and to remain attentive to the silences and deletions, to what happens in the interstice, at transitionary moments of ‘betweenness.’ I ask that readers consider the 1979 Bienal as an instance of an interstice where the occluded and silenced ghost of modernist artist Leonard Tshehla Mohapi Matsoso, who represented South Africa at the 1973 edition of the Bienal, garnering a substantial award for his work in drawing, resides. Matsoso was the first and only Black South African artist to receive this accolade. This thesis posits that Matsoso’s absence from the exhibition in 1979, an exhibition where he would rightly have featured, constitutes a curatorial haunting, wedged in the archive of the Bienal’s history, and an opportunity for revision and evaluation of commissioning vis-àvis curating. In reading the exhibition histories’ archive “along the grain” (Stoler 2002), the commissioner emerges as a man of letters, a privileged social category found in the archive; a colonial authority whose status was founded as much on his display of European learning as on his studied ignorance of local knowledge; an implementer of the taxonomic state and modernist art historical canon (in the case of Werth); a cultivator of the fine arts of deference, dissemblance and persuasion. At a later stage and moment of dissonance and disruption, the independent curator emerges to reconsider, question and expand the canon, distancing him/herself from the (South African) State to serve the artist or artists and a wider community. This research aims to contribute, albeit in a small way, to a reappraisal of the position of Leonard Tshehla Mohapi Matsoso in South African modernism, and the distinction between commissioning and curating. , Thesis (PhD)--Rhodes University, Faculty of Humanities, Department of Fine Art, 2021
- Full Text:
- Date Issued: 2021-04
The "other" Africans : re-examining representations of sexuality in the work of Nicholas Hlobo and Zanele Muholi
- Authors: Makhubu, Nomusa
- Date: 2008
- Subjects: Hlobo, Nicholas Muholi, Zanele Women in art Photography, Artistic Homosexuality in art Sex in art Performance art Art, African
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2410 , http://hdl.handle.net/10962/d1002206
- Description: Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality, particularly homosexuality. It is extremely difficult to discuss African sexuality in light of the stain of colonial attitudes that have exoticised and ascribed hypersexuality to African bodies. Moreover, sexuality is often not discussed in the construction of so-called African traditions and this has contributed to rendering African-ness as an exclusive identity. Tensions within and between categories of African-ness are compounded by constituted regulations. For example, Hlobo investigates the obligation of circumcision which seems to contrast the lifestyle and contexts in which he works and resides, and Muholi represents the existence of homosexual and transgender relations, even within conservative categories. The visual imagery of these two artists investigates the boundaries set by different social constructs. These set boundaries have also affected crimes against bisexual, transgender and homosexual individuals, which are reaching an alarming rate. Hlobo questions the validity of structures that marginalise homosexual individuals through drawing attention to the ambivalence of certain statutes. Muholi seeks to publicise the injustices imposed upon homosexual individuals in order to demonstrate the weight of that crisis. Although the South African legal system condones liberated expressions of sexual identity, due to social prejudices homosexual individuals are still treated as if they are not entitled to basic human rights. As a result, hate-crimes are not reported, and when they are they are not taken seriously. Hlobo and Muholi not only bring these issues to light, but also point out the dilemma inscribed in the social and political history of (South) Africa with regards to collective and individual identities. This thesis seeks to provide an analysis of the visual language used by Hlobo and Muholi to subvert the notion that homosexuality is “un-African” and to complicate concepts of gender, sexuality and identity.
- Full Text:
- Date Issued: 2008
- Authors: Makhubu, Nomusa
- Date: 2008
- Subjects: Hlobo, Nicholas Muholi, Zanele Women in art Photography, Artistic Homosexuality in art Sex in art Performance art Art, African
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2410 , http://hdl.handle.net/10962/d1002206
- Description: Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality, particularly homosexuality. It is extremely difficult to discuss African sexuality in light of the stain of colonial attitudes that have exoticised and ascribed hypersexuality to African bodies. Moreover, sexuality is often not discussed in the construction of so-called African traditions and this has contributed to rendering African-ness as an exclusive identity. Tensions within and between categories of African-ness are compounded by constituted regulations. For example, Hlobo investigates the obligation of circumcision which seems to contrast the lifestyle and contexts in which he works and resides, and Muholi represents the existence of homosexual and transgender relations, even within conservative categories. The visual imagery of these two artists investigates the boundaries set by different social constructs. These set boundaries have also affected crimes against bisexual, transgender and homosexual individuals, which are reaching an alarming rate. Hlobo questions the validity of structures that marginalise homosexual individuals through drawing attention to the ambivalence of certain statutes. Muholi seeks to publicise the injustices imposed upon homosexual individuals in order to demonstrate the weight of that crisis. Although the South African legal system condones liberated expressions of sexual identity, due to social prejudices homosexual individuals are still treated as if they are not entitled to basic human rights. As a result, hate-crimes are not reported, and when they are they are not taken seriously. Hlobo and Muholi not only bring these issues to light, but also point out the dilemma inscribed in the social and political history of (South) Africa with regards to collective and individual identities. This thesis seeks to provide an analysis of the visual language used by Hlobo and Muholi to subvert the notion that homosexuality is “un-African” and to complicate concepts of gender, sexuality and identity.
- Full Text:
- Date Issued: 2008
FyaMoneka: exploring the erasure of women within Zambian history
- Authors: Kalichini, Gladys
- Date: 2018
- Subjects: Women -- Zambia -- Historiography , Women -- Zambia -- History , Women -- Political activity -- Zambia , Women -- Zambia -- Social conditions , Collective memory -- Zambia , Death in art , Feminism -- Zambia , Male domination (Social structure) -- Zambia , Sex discrimination against women -- Zambia
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63186 , vital:28371
- Description: This Master of Fine Art submission, comprising of an exhibition and mini-thesis, explores the erasure of women’s narratives from Zambian history and collective memory. As a point of entry into the broader conversation of narratives of women marginalised in certain historicised events, this research analyses the narratives of Julia Chikamoneka and Alice Lenshina that are held in the collective memory of Zambian history. It focuses on the representations of narratives of women during and beyond colonial times, while hinging particularly on these two characters’ encounters with and against British rule in Northern Rhodesia (Zambia). Titled FyaMoneka: Exploring the Erasure of Women Within Zambian History, the mini-thesis examines the representations and positioning of women’s political activities within the liberation narrative that is recorded in the National Archives of Zambia (NAZ) and the United National Independence Party (UNIP) Archives. This mini-thesis highlights the fact that women have been written out of Zambia’s liberation narrative in the NAZ and the UNIP Archives, and remains mindful of the inherent modifications and erasures of women’s accounts over time, including the obfuscation or the absence of certain archival materials. This mini-thesis prospectively reconstructs Chikamoneka’s and Lenshina’s narratives using traces of their histories within collective memory through re/visiting processes of re-archivisation. The exhibition, titled ChaMoneka (It Has Become Visible): UnCasting Shadows, explores death and representations of death, where death is conceptualised as a metaphor for the erasure of women’s historical narratives, whereas the body represents the narrative. Based on an exploration of the relationship and tensions between collective memory and history, death within this exhibition is thematised as the course of fading away and a continuous process in which women’s narratives are erased.
- Full Text:
- Date Issued: 2018
- Authors: Kalichini, Gladys
- Date: 2018
- Subjects: Women -- Zambia -- Historiography , Women -- Zambia -- History , Women -- Political activity -- Zambia , Women -- Zambia -- Social conditions , Collective memory -- Zambia , Death in art , Feminism -- Zambia , Male domination (Social structure) -- Zambia , Sex discrimination against women -- Zambia
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63186 , vital:28371
- Description: This Master of Fine Art submission, comprising of an exhibition and mini-thesis, explores the erasure of women’s narratives from Zambian history and collective memory. As a point of entry into the broader conversation of narratives of women marginalised in certain historicised events, this research analyses the narratives of Julia Chikamoneka and Alice Lenshina that are held in the collective memory of Zambian history. It focuses on the representations of narratives of women during and beyond colonial times, while hinging particularly on these two characters’ encounters with and against British rule in Northern Rhodesia (Zambia). Titled FyaMoneka: Exploring the Erasure of Women Within Zambian History, the mini-thesis examines the representations and positioning of women’s political activities within the liberation narrative that is recorded in the National Archives of Zambia (NAZ) and the United National Independence Party (UNIP) Archives. This mini-thesis highlights the fact that women have been written out of Zambia’s liberation narrative in the NAZ and the UNIP Archives, and remains mindful of the inherent modifications and erasures of women’s accounts over time, including the obfuscation or the absence of certain archival materials. This mini-thesis prospectively reconstructs Chikamoneka’s and Lenshina’s narratives using traces of their histories within collective memory through re/visiting processes of re-archivisation. The exhibition, titled ChaMoneka (It Has Become Visible): UnCasting Shadows, explores death and representations of death, where death is conceptualised as a metaphor for the erasure of women’s historical narratives, whereas the body represents the narrative. Based on an exploration of the relationship and tensions between collective memory and history, death within this exhibition is thematised as the course of fading away and a continuous process in which women’s narratives are erased.
- Full Text:
- Date Issued: 2018
The democratisation of art CAP as an alternative art space in South Africa
- Authors: Lochner, Eben
- Date: 2011
- Subjects: Arts and society -- South Africa Democracy and the arts -- South Africa Art -- Political aspects -- South Africa Apartheid and art -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2409 , http://hdl.handle.net/10962/d1002205
- Description: While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). CAP and other art centres have played an indispensable role in the establishment of black artists and in producing a locally reflective artistic practice in South Africa, even into the 21st century. Through researching the changes the organisation underwent between the 1980s and 1990s, the ways in which such art centres constantly need to respond to the changing sociopolitical landscape around them become clear. Within South Africa these centres were seen to play a significant part in the liberation struggle and then later in nation building. While these centres were well supported by foreign donors in the late 1980s, such funding was withdrawn in 1991 and the majority of art centres collapsed, illustrating to some degree that the training of artist was not valued outside the context of the struggle against apartheid. By interviewing key people and by reading documentation stored at the Manuscripts and Archives department of UCT I have discovered some of the different benefits and hindrances of working in community art centres both during and after Apartheid. This thesis argues that these centres still play a vital role in contributing to the development of South Africa's local art practice and should not be relegated to the sideline.
- Full Text:
- Date Issued: 2011
- Authors: Lochner, Eben
- Date: 2011
- Subjects: Arts and society -- South Africa Democracy and the arts -- South Africa Art -- Political aspects -- South Africa Apartheid and art -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2409 , http://hdl.handle.net/10962/d1002205
- Description: While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). CAP and other art centres have played an indispensable role in the establishment of black artists and in producing a locally reflective artistic practice in South Africa, even into the 21st century. Through researching the changes the organisation underwent between the 1980s and 1990s, the ways in which such art centres constantly need to respond to the changing sociopolitical landscape around them become clear. Within South Africa these centres were seen to play a significant part in the liberation struggle and then later in nation building. While these centres were well supported by foreign donors in the late 1980s, such funding was withdrawn in 1991 and the majority of art centres collapsed, illustrating to some degree that the training of artist was not valued outside the context of the struggle against apartheid. By interviewing key people and by reading documentation stored at the Manuscripts and Archives department of UCT I have discovered some of the different benefits and hindrances of working in community art centres both during and after Apartheid. This thesis argues that these centres still play a vital role in contributing to the development of South Africa's local art practice and should not be relegated to the sideline.
- Full Text:
- Date Issued: 2011
“Forgetting Ntaba kaNdoda”: reciting performative memories at the Ntaba kaNdoda Monument
- Authors: Mama, Luthando Vukile James
- Date: 2018
- Subjects: Memorialization , Collective memory in art , Memorials in art , Memorials -- South Africa -- Dimbaza , Imperialism in art , Ntaba kaNdoda Monument (Dimbaza, South Africa)
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63866 , vital:28499
- Description: “Forgetting Ntaba kaNdoda”: Reciting Performative Memories at the Ntaba kaNdoda Monument serves as a theoretical examination of the Ntaba kaNdoda Monument as a commemorative marker. My mini-thesis unpacks the notions of memory and performative memorialisation at a nationalist memorial in the former Ciskei by examining the concepts of place, memory and memorialisation, which are theoretically integral in my professional practice. This research initiates an investigation into the effects on memory in a situation where the construction of the Monument disrupted an efficacious memorialisation by the communities of Ntaba kaNdoda. In my accompanying MFA exhibition Forgetting Ntaba kaNdoda, I explore notions of place, memory and memorialisation through installations of a variety of photographic processes that are based on what I call ‘de-monumental’ and performative monuments (Widrich2014). The written component of my MFA submission relates directly to my professional art practice, developing and situating it within a relevant context. In my mini-thesis, I consider photographers working with notions of place, memory and memorialisation. Lebohang Kganye and Nassim Rouchiche’s works retrace and recall past memory in the present, while David Goldblatt and Cedric Nunn, who have photographed the Ntaba kaNdoda Monument, point the viewer to the values and histories of the communities most affected by colonialism and apartheid. These photographers’ works operate as mnemonic devices that seek to translate a lived experience at a particular place. I use Widrich’s (2009; 2014) conception of “performative monuments”, Lippard’s (1997) “sense of place” and Nora’s (1989) “lieu[x] de mémoire” and “milieux de mémoire” in approaching my professional art practice and my research into the Ntaba kaNdoda memorial. Using these entwining nodes of theories in formulating what I term ‘demonumentalisation’ in my photography practice at the Ntaba kaNdoda Monument, my photography functions as both performative memorialisation and de-monumentalisation. Remembrance, using photography as a vehicle to represent this notion at Ntaba kaNdoda, transcends the materiality of the Monument. My exhibition, in conjunction with this mini-thesis, therefore reframes and reconfigures theNtaba kaNdoda Monument as a multiplex memory place.
- Full Text:
- Date Issued: 2018
- Authors: Mama, Luthando Vukile James
- Date: 2018
- Subjects: Memorialization , Collective memory in art , Memorials in art , Memorials -- South Africa -- Dimbaza , Imperialism in art , Ntaba kaNdoda Monument (Dimbaza, South Africa)
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63866 , vital:28499
- Description: “Forgetting Ntaba kaNdoda”: Reciting Performative Memories at the Ntaba kaNdoda Monument serves as a theoretical examination of the Ntaba kaNdoda Monument as a commemorative marker. My mini-thesis unpacks the notions of memory and performative memorialisation at a nationalist memorial in the former Ciskei by examining the concepts of place, memory and memorialisation, which are theoretically integral in my professional practice. This research initiates an investigation into the effects on memory in a situation where the construction of the Monument disrupted an efficacious memorialisation by the communities of Ntaba kaNdoda. In my accompanying MFA exhibition Forgetting Ntaba kaNdoda, I explore notions of place, memory and memorialisation through installations of a variety of photographic processes that are based on what I call ‘de-monumental’ and performative monuments (Widrich2014). The written component of my MFA submission relates directly to my professional art practice, developing and situating it within a relevant context. In my mini-thesis, I consider photographers working with notions of place, memory and memorialisation. Lebohang Kganye and Nassim Rouchiche’s works retrace and recall past memory in the present, while David Goldblatt and Cedric Nunn, who have photographed the Ntaba kaNdoda Monument, point the viewer to the values and histories of the communities most affected by colonialism and apartheid. These photographers’ works operate as mnemonic devices that seek to translate a lived experience at a particular place. I use Widrich’s (2009; 2014) conception of “performative monuments”, Lippard’s (1997) “sense of place” and Nora’s (1989) “lieu[x] de mémoire” and “milieux de mémoire” in approaching my professional art practice and my research into the Ntaba kaNdoda memorial. Using these entwining nodes of theories in formulating what I term ‘demonumentalisation’ in my photography practice at the Ntaba kaNdoda Monument, my photography functions as both performative memorialisation and de-monumentalisation. Remembrance, using photography as a vehicle to represent this notion at Ntaba kaNdoda, transcends the materiality of the Monument. My exhibition, in conjunction with this mini-thesis, therefore reframes and reconfigures theNtaba kaNdoda Monument as a multiplex memory place.
- Full Text:
- Date Issued: 2018
The Kinshasa-based Kin ArtStudio in the Democratic Republic of Congo: visual arts spaces and the potential to challenge global art's representative and legitimizing mechanisms
- Tshilumba Mukendi, Jean-Sylvain
- Authors: Tshilumba Mukendi, Jean-Sylvain
- Date: 2019
- Subjects: Space (Art) , Art -- Congo (Democratic Republic) , Art and globalization , Postcolonialism and the arts -- Congo (Democratic Republic) , Arts, Modern -- 21st century , Arts publicity , Arts, Modern -- 21st century -- Economic aspects , Arts, Modern -- 21st century -- Social aspects , Bondo, Vitshois Mwilambwe , Kin ArtStudio , Beauté Congo – 1926-2015 – Congo Kitoko
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/115050 , vital:34073
- Description: The emergence of visual art spaces over the past few decades on the African continent invites art practitioners, historians and critics to re-examine the conditions of production, diffusion and reception of contemporary art of Africa. In this thesis I critically engage with these conditions in relation to artworks and practices of the Democratic Republic of Congo, considering the curatorial logic that has governed the ‘global art world’. I focus on the Kin ArtStudio as my main case study. I undertook research within this art space in 2016, from the 10th of April to the 15th of June, and again from the 16th of July to the 12th of September. My position as a participant observer turned out to be as engaging as informative. The Kin ArtStudio is a Kinshasa-based visual art platform founded in 2011 by the Congolese artist Vitshois Mwilambwe Bondo. It was established out of the will to empower emerging artists in that specific context, and facilitate the negotiation that the legitimization of their creations entails in today’s global art and cultural dynamics. In order to evaluate the stakes of such negotiation, I start with reviewing the existing mechanisms, trends and networks that have legitimized visual art productions of the Democratic Republic of Congo on a global stage, as exemplified by the Beauté Congo – Congo Kitoko exhibition (2015). Then, my enquiry evolves towards specificity, towards the immediacy and the subjectivity that characterize Kinshasa's urban and socio-cultural context, and visual art practices therein. Subjectivity also applies to my four months immersive experience with that art space. Drawing from my observations, setbacks, hopes and recent academic and practical debates around contemporary art practices on the African continent, the role those art spaces can play in the curatorship, circulation, reception and commodification of contemporary art productions cannot be underestimated. While operating in lasting postcolonial settings, they are going through the negotiation of their global and translocal situatedness, which can in turn lead to new legitimizing narratives. These will more appropriately inform understandings of contemporary art practices of Africa, challenging the identifying prism sustained by the ‘global art world’.
- Full Text:
- Date Issued: 2019
- Authors: Tshilumba Mukendi, Jean-Sylvain
- Date: 2019
- Subjects: Space (Art) , Art -- Congo (Democratic Republic) , Art and globalization , Postcolonialism and the arts -- Congo (Democratic Republic) , Arts, Modern -- 21st century , Arts publicity , Arts, Modern -- 21st century -- Economic aspects , Arts, Modern -- 21st century -- Social aspects , Bondo, Vitshois Mwilambwe , Kin ArtStudio , Beauté Congo – 1926-2015 – Congo Kitoko
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/115050 , vital:34073
- Description: The emergence of visual art spaces over the past few decades on the African continent invites art practitioners, historians and critics to re-examine the conditions of production, diffusion and reception of contemporary art of Africa. In this thesis I critically engage with these conditions in relation to artworks and practices of the Democratic Republic of Congo, considering the curatorial logic that has governed the ‘global art world’. I focus on the Kin ArtStudio as my main case study. I undertook research within this art space in 2016, from the 10th of April to the 15th of June, and again from the 16th of July to the 12th of September. My position as a participant observer turned out to be as engaging as informative. The Kin ArtStudio is a Kinshasa-based visual art platform founded in 2011 by the Congolese artist Vitshois Mwilambwe Bondo. It was established out of the will to empower emerging artists in that specific context, and facilitate the negotiation that the legitimization of their creations entails in today’s global art and cultural dynamics. In order to evaluate the stakes of such negotiation, I start with reviewing the existing mechanisms, trends and networks that have legitimized visual art productions of the Democratic Republic of Congo on a global stage, as exemplified by the Beauté Congo – Congo Kitoko exhibition (2015). Then, my enquiry evolves towards specificity, towards the immediacy and the subjectivity that characterize Kinshasa's urban and socio-cultural context, and visual art practices therein. Subjectivity also applies to my four months immersive experience with that art space. Drawing from my observations, setbacks, hopes and recent academic and practical debates around contemporary art practices on the African continent, the role those art spaces can play in the curatorship, circulation, reception and commodification of contemporary art productions cannot be underestimated. While operating in lasting postcolonial settings, they are going through the negotiation of their global and translocal situatedness, which can in turn lead to new legitimizing narratives. These will more appropriately inform understandings of contemporary art practices of Africa, challenging the identifying prism sustained by the ‘global art world’.
- Full Text:
- Date Issued: 2019
Political grey : areas of ambiguity and contradiction
- Authors: Koekemoer, Carmen
- Date: 2014
- Subjects: Politics in art , Art -- Political aspects -- South Africa , Leadership in art , Portraits, African , Portraits, European , Art and revolutions -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2492 , http://hdl.handle.net/10962/d1013136
- Description: This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.
- Full Text:
- Date Issued: 2014
- Authors: Koekemoer, Carmen
- Date: 2014
- Subjects: Politics in art , Art -- Political aspects -- South Africa , Leadership in art , Portraits, African , Portraits, European , Art and revolutions -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2492 , http://hdl.handle.net/10962/d1013136
- Description: This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.
- Full Text:
- Date Issued: 2014
Refugium : an exploration through landscapes of liminality
- Authors: Kaplan, Luke
- Date: 2014
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:20985 , http://hdl.handle.net/10962/5890
- Description: Loosely following a narrative form and structure, this thesis begins, in chapter one, by considering people who occupy a peripheral position in - or on the fringe of - society. In so doing, it analyses the dichotomy created between centre and periphery, the line between qualities or features that are set up as different or opposed. The chapter begins by contextualising my own engagement with the themes and narratives dealt with. It then looks at the representation and significance of historical and cultural characters such as the tramp and the wanderer, the medieval wildman and the outcast, the madman and the prophet, and relates this to some extent to my own narrative. The dichotomy between culture and nature is thus examined here. The paper then moves on, in chapter two, to examine concerns around landscape, and considers how we engage or separate ourselves from it. The theme of walking is examined closely from an experiential, phenomenological standpoint, especially as an activity which allows greater connection to, and engagement with, the landscape. The relationship between landscape, place, and identity is also explored, looking at how identity is interwoven with connection to place, and, broadly, what this might mean for displaced people. These discussions and ideas are then brought to bear again on my personal narrative. In chapter three I explore again the separation between dichotomous concepts as looked at in chapter one; I examine the separations between, and within, people, as well as between people and their environment. Here, however, the line of separation is explored not as an impermeable barrier, but as a liminal space of potential and possibility. With this in mind I look at sacred or liminal places within the landscape, as well as the idea of the sublime. I also consider the camera from this perspective, and finally present my own exhibition and body of work, reviewing it in the light of the narratives and themes explored through the thesis.
- Full Text:
- Date Issued: 2014
- Authors: Kaplan, Luke
- Date: 2014
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:20985 , http://hdl.handle.net/10962/5890
- Description: Loosely following a narrative form and structure, this thesis begins, in chapter one, by considering people who occupy a peripheral position in - or on the fringe of - society. In so doing, it analyses the dichotomy created between centre and periphery, the line between qualities or features that are set up as different or opposed. The chapter begins by contextualising my own engagement with the themes and narratives dealt with. It then looks at the representation and significance of historical and cultural characters such as the tramp and the wanderer, the medieval wildman and the outcast, the madman and the prophet, and relates this to some extent to my own narrative. The dichotomy between culture and nature is thus examined here. The paper then moves on, in chapter two, to examine concerns around landscape, and considers how we engage or separate ourselves from it. The theme of walking is examined closely from an experiential, phenomenological standpoint, especially as an activity which allows greater connection to, and engagement with, the landscape. The relationship between landscape, place, and identity is also explored, looking at how identity is interwoven with connection to place, and, broadly, what this might mean for displaced people. These discussions and ideas are then brought to bear again on my personal narrative. In chapter three I explore again the separation between dichotomous concepts as looked at in chapter one; I examine the separations between, and within, people, as well as between people and their environment. Here, however, the line of separation is explored not as an impermeable barrier, but as a liminal space of potential and possibility. With this in mind I look at sacred or liminal places within the landscape, as well as the idea of the sublime. I also consider the camera from this perspective, and finally present my own exhibition and body of work, reviewing it in the light of the narratives and themes explored through the thesis.
- Full Text:
- Date Issued: 2014
Contemporary Zambian art, conceptualism and the ‘global’ art world
- Authors: Mulenga, Andrew Mukuka
- Date: 2017
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/5187 , vital:20784
- Description: In Zambia, ‘contemporary art’ (as a category constructed by the European-dominated international art world), was introduced by the European settler community and continued within its preserve, remaining largely inaccessible to the indigenous community of Africans until Zambia’s independence in 1964. This thesis traces the integration of Africans into the contemporary art community and attributes the process, in part, to a small group of artists of European descent who played a significant role in engaging with Zambians, working side by side with them, subsequently influencing their art production and implicitly shaping the ways in which ‘Zambian’ art ‘ought to’ look for decades to come. The research traces the early days of contemporary art practice in Zambia to the Lusaka Art Society and Art Centre Foundation that was founded and run by an all-settler group of formally trained artists with a particular inclination towards sculpture and painting. In the wake of the integration however, art production in the formalist manner was further proliferated by the European diplomatic community which would also go as far as dictating artistic subject matter. This thesis argues that the Eurocentric and pre-eminently formalist approach to contemporary art has cost Zambian artists an international presence. I submit that the few instances where contemporary Zambian art practice has penetrated the ‘global art’ scene or caught the attention of international curators is due to artists adopting more radical conceptual approaches to art production, often creating tensions with local viewers. This thesis also examines conceptualism in contemporary Zambian art practice and examines the inequalities of the ‘global art’ world. I argue that conceptual art, although not generally accepted on the Zambian art scene, has played a vital role in helping Zambian artists enter the global art world, albeit modestly.
- Full Text:
- Date Issued: 2017
- Authors: Mulenga, Andrew Mukuka
- Date: 2017
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/5187 , vital:20784
- Description: In Zambia, ‘contemporary art’ (as a category constructed by the European-dominated international art world), was introduced by the European settler community and continued within its preserve, remaining largely inaccessible to the indigenous community of Africans until Zambia’s independence in 1964. This thesis traces the integration of Africans into the contemporary art community and attributes the process, in part, to a small group of artists of European descent who played a significant role in engaging with Zambians, working side by side with them, subsequently influencing their art production and implicitly shaping the ways in which ‘Zambian’ art ‘ought to’ look for decades to come. The research traces the early days of contemporary art practice in Zambia to the Lusaka Art Society and Art Centre Foundation that was founded and run by an all-settler group of formally trained artists with a particular inclination towards sculpture and painting. In the wake of the integration however, art production in the formalist manner was further proliferated by the European diplomatic community which would also go as far as dictating artistic subject matter. This thesis argues that the Eurocentric and pre-eminently formalist approach to contemporary art has cost Zambian artists an international presence. I submit that the few instances where contemporary Zambian art practice has penetrated the ‘global art’ scene or caught the attention of international curators is due to artists adopting more radical conceptual approaches to art production, often creating tensions with local viewers. This thesis also examines conceptualism in contemporary Zambian art practice and examines the inequalities of the ‘global art’ world. I argue that conceptual art, although not generally accepted on the Zambian art scene, has played a vital role in helping Zambian artists enter the global art world, albeit modestly.
- Full Text:
- Date Issued: 2017
Queering boundaries: visual Activism and representations of sexuality in the work of contemporary South African artists
- Authors: Littleford, Lara
- Date: 2017
- Subjects: Homosexuality in art -- South Africa , Photographers, Black -- South Africa , Gay photographers -- South Africa , Lesbian photographers -- South Africa , Transgender people in art -- South Africa , Muholi, Zanele , Mlangeni, Sabelo
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/17816 , vital:22283
- Description: Zanele Muholi, a photographer and visual activist, and Sabelo Mlangeni, a photographer, explore the different ways of representing gender, particularly transgenderism, and sexuality, particularly homosexuality, in their photography. Muholi and Mlangeni document the daily lives and lived realities of people who are black and gay, lesbian, bisexual and transgender (LGBT) in South Africa. African sexuality remains a contested subject that is difficult to discuss in light of the controversies it provokes due to colonial attitudes toward African bodies. In this instance, colonial attitudes toward African sexuality have exoticised African bodies. Moreover, hyper-sexuality is ascribed to bodies that are black and male, whilst fetishising and objectifying black female bodies. Furthermore, representations of homoeroticism in Africa transgress and challenge dominant ideologies of sexuality and gender in an African context. In this sense, Muholi and Mlangeni directly address tension and resistance between individual and community. Such tensions are found within and between categories of African-ness, whereby homosexuality and transgenderism are regarded as being ‘un-African’ and an import from the West. For example, Muholi represents the existence of homosexuality and transgenderism in her photography in order to subvert the notion that homosexuality is ‘un-African’, attempting to complicate the conceptions of identity, gender and sexuality in South Africa. Muholi’s photography is used as a vehicle for her ‘visual activism’, which purports to create socio-political awareness surrounding homophobia, transgenderism, and epistemic injustice in South Africa. The visual imagery of these two artists investigates the boundaries that are set by various social, political and cultural constructs. These boundaries inform existing social, political and cultural attitudes toward homosexuality and transgenderism, and these homophobic and transphobic attitudes result in crimes committed against homosexual and transgender individuals, such as hate crimes, which includes ‘curative/corrective’ rape, the prevalence of which is rising at an alarming rate. Muholi’s photography and visual activism seek to create visibility in order to raise public awareness of hate crimes, victimisation, alienation and stigmatisation that homosexual and transgender South Africans, specifically those individuals living in township areas, face on a daily basis. These two artists represent sexuality as a site of contestation and, as such, heteronormative traditions, hegemonic social structures, and cultural conventions are transgressed and contested in their photography.
- Full Text:
- Date Issued: 2017
- Authors: Littleford, Lara
- Date: 2017
- Subjects: Homosexuality in art -- South Africa , Photographers, Black -- South Africa , Gay photographers -- South Africa , Lesbian photographers -- South Africa , Transgender people in art -- South Africa , Muholi, Zanele , Mlangeni, Sabelo
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/17816 , vital:22283
- Description: Zanele Muholi, a photographer and visual activist, and Sabelo Mlangeni, a photographer, explore the different ways of representing gender, particularly transgenderism, and sexuality, particularly homosexuality, in their photography. Muholi and Mlangeni document the daily lives and lived realities of people who are black and gay, lesbian, bisexual and transgender (LGBT) in South Africa. African sexuality remains a contested subject that is difficult to discuss in light of the controversies it provokes due to colonial attitudes toward African bodies. In this instance, colonial attitudes toward African sexuality have exoticised African bodies. Moreover, hyper-sexuality is ascribed to bodies that are black and male, whilst fetishising and objectifying black female bodies. Furthermore, representations of homoeroticism in Africa transgress and challenge dominant ideologies of sexuality and gender in an African context. In this sense, Muholi and Mlangeni directly address tension and resistance between individual and community. Such tensions are found within and between categories of African-ness, whereby homosexuality and transgenderism are regarded as being ‘un-African’ and an import from the West. For example, Muholi represents the existence of homosexuality and transgenderism in her photography in order to subvert the notion that homosexuality is ‘un-African’, attempting to complicate the conceptions of identity, gender and sexuality in South Africa. Muholi’s photography is used as a vehicle for her ‘visual activism’, which purports to create socio-political awareness surrounding homophobia, transgenderism, and epistemic injustice in South Africa. The visual imagery of these two artists investigates the boundaries that are set by various social, political and cultural constructs. These boundaries inform existing social, political and cultural attitudes toward homosexuality and transgenderism, and these homophobic and transphobic attitudes result in crimes committed against homosexual and transgender individuals, such as hate crimes, which includes ‘curative/corrective’ rape, the prevalence of which is rising at an alarming rate. Muholi’s photography and visual activism seek to create visibility in order to raise public awareness of hate crimes, victimisation, alienation and stigmatisation that homosexual and transgender South Africans, specifically those individuals living in township areas, face on a daily basis. These two artists represent sexuality as a site of contestation and, as such, heteronormative traditions, hegemonic social structures, and cultural conventions are transgressed and contested in their photography.
- Full Text:
- Date Issued: 2017
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
53 stitches : sustainability, ecology and social engagement in contemporary art
- Authors: Salton, Bronwen Lauren
- Date: 2013
- Subjects: Crocheting Community development -- South Africa Ecology in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2390 , http://hdl.handle.net/10962/d1001580
- Description: Through an exploration of both the sculptural and socially-engaged art practices undertaken in creating my Master of Fine Art exhibition, 53 Stitches, I unpack some of the possibilities pertaining to the practice of sustainability, ecology and social engagement in contemporary art. This thesis explores the history and concepts of sustainable development and what the implications are of the far-reaching global consideration of sustainability for contemporary art production. Looking at the writings of Felix Guattari’s (2000 [1989]) and Suzi Gablik’s (1992) on the effects of the economic model of capitalism on our environmental, social and mental ecologies, I discuss the necessary paradigm shift of the artists’ identity from the ‘individual self’ towards the ‘relational self’, affirming our interdependence upon our social and natural environments. With reference to the writings of Maja and Reuben Fowkes (2008), I explore the principles of sustainability in contemporary art and discuss the notion of ‘sustainability of form’ through insight into dematerialisation, recycling and the prospect of artists now becoming knowledge producers/facilitators. This is supportive of my personal exploration and experimentation with recyclable materials as a creative medium, used as a means of knowledge and skills facilitation in socially-engaged arts practice and the process of art-making as research. I refer to the sculptural and ‘painterly’ constructions of Sofi Zezmer and Mbongeni Buthelezi, respectively, as a means to elucidate a practical contextualisation of my practical work, particularly with regard to the use of plastic as a constructive medium. Looking at the works of Linda Weintraub (2006), Marnie Badham (2010) and Miwon Kwon (2002), I expand on the theoretical discourse pertaining to sociallyengaged art practices, and elucidate the reconfiguration of the role of the artist towards now becoming a cultural service administrator, organiser and knowledge facilitator. With reference to Arjen Wals and Johnson et al., I further discuss the role of education in sustainability and explore the necessary reconciliation between university institutions and the social and environmental context in which they are located, in the form of place-based capacity building and service learning. I explore within this thesis the concepts and processbased research of my own sculptures
- Full Text:
- Date Issued: 2013
- Authors: Salton, Bronwen Lauren
- Date: 2013
- Subjects: Crocheting Community development -- South Africa Ecology in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2390 , http://hdl.handle.net/10962/d1001580
- Description: Through an exploration of both the sculptural and socially-engaged art practices undertaken in creating my Master of Fine Art exhibition, 53 Stitches, I unpack some of the possibilities pertaining to the practice of sustainability, ecology and social engagement in contemporary art. This thesis explores the history and concepts of sustainable development and what the implications are of the far-reaching global consideration of sustainability for contemporary art production. Looking at the writings of Felix Guattari’s (2000 [1989]) and Suzi Gablik’s (1992) on the effects of the economic model of capitalism on our environmental, social and mental ecologies, I discuss the necessary paradigm shift of the artists’ identity from the ‘individual self’ towards the ‘relational self’, affirming our interdependence upon our social and natural environments. With reference to the writings of Maja and Reuben Fowkes (2008), I explore the principles of sustainability in contemporary art and discuss the notion of ‘sustainability of form’ through insight into dematerialisation, recycling and the prospect of artists now becoming knowledge producers/facilitators. This is supportive of my personal exploration and experimentation with recyclable materials as a creative medium, used as a means of knowledge and skills facilitation in socially-engaged arts practice and the process of art-making as research. I refer to the sculptural and ‘painterly’ constructions of Sofi Zezmer and Mbongeni Buthelezi, respectively, as a means to elucidate a practical contextualisation of my practical work, particularly with regard to the use of plastic as a constructive medium. Looking at the works of Linda Weintraub (2006), Marnie Badham (2010) and Miwon Kwon (2002), I expand on the theoretical discourse pertaining to sociallyengaged art practices, and elucidate the reconfiguration of the role of the artist towards now becoming a cultural service administrator, organiser and knowledge facilitator. With reference to Arjen Wals and Johnson et al., I further discuss the role of education in sustainability and explore the necessary reconciliation between university institutions and the social and environmental context in which they are located, in the form of place-based capacity building and service learning. I explore within this thesis the concepts and processbased research of my own sculptures
- Full Text:
- Date Issued: 2013
Restitution : seeing past loss and abandonment
- Authors: Greenway, Paul Wayne
- Date: 2013
- Subjects: Digitally printed materials Bereavement in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2389 , http://hdl.handle.net/10962/d1001579
- Description: This dissertation is concerned with loss and abandonment, and together with the practical component, titled Restitution, forms part of a Master of Fine Art degree submission. Both loss and abandonment can take many forms, from the straightforward deterioration, departure or removal of objects to the more complex deterioration of memory, responsibility and dignity. It seems though, that the question, “What has been lost?” is one that is always asked once it is too late. The loss becomes irretrievable and one is left only with fragments and traces. In Chapter 1 issues of liminality and the precariousness of being between states is addressed. Dignity of the ‘other’, in this case the deceased pauper, is interrogated especially with reference to complicity, forensic investigation and the forensic aesthetic. Chapter 2 outlines photographic representation, with attention given to posthumous portraiture, the punctum and memory in the service of permanence and authenticity. Chapter 3 considers the ambition and purpose of the artist through a critique centred on contemporary photographic artist, Sally Mann. Throughout the thesis and exhibition, I am concerned with loss as it relates physically to objects. Metaphorically, I investigate loss and abandonment in relation to dignity and responsibility. In so doing I view death as being the ultimate form of loss, as there is physical loss of the body, as one part of the whole that makes up ‘the person’, as well as the psychological and emotional loss that attends the passing of life. The delayed burial of the deceased therefore is seen to be evidence of abandonment at its extreme. I end by positioning my conclusion around a stop animation series in which I dug a grave and buried a pauper at Mayfield cemetery.
- Full Text:
- Date Issued: 2013
- Authors: Greenway, Paul Wayne
- Date: 2013
- Subjects: Digitally printed materials Bereavement in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2389 , http://hdl.handle.net/10962/d1001579
- Description: This dissertation is concerned with loss and abandonment, and together with the practical component, titled Restitution, forms part of a Master of Fine Art degree submission. Both loss and abandonment can take many forms, from the straightforward deterioration, departure or removal of objects to the more complex deterioration of memory, responsibility and dignity. It seems though, that the question, “What has been lost?” is one that is always asked once it is too late. The loss becomes irretrievable and one is left only with fragments and traces. In Chapter 1 issues of liminality and the precariousness of being between states is addressed. Dignity of the ‘other’, in this case the deceased pauper, is interrogated especially with reference to complicity, forensic investigation and the forensic aesthetic. Chapter 2 outlines photographic representation, with attention given to posthumous portraiture, the punctum and memory in the service of permanence and authenticity. Chapter 3 considers the ambition and purpose of the artist through a critique centred on contemporary photographic artist, Sally Mann. Throughout the thesis and exhibition, I am concerned with loss as it relates physically to objects. Metaphorically, I investigate loss and abandonment in relation to dignity and responsibility. In so doing I view death as being the ultimate form of loss, as there is physical loss of the body, as one part of the whole that makes up ‘the person’, as well as the psychological and emotional loss that attends the passing of life. The delayed burial of the deceased therefore is seen to be evidence of abandonment at its extreme. I end by positioning my conclusion around a stop animation series in which I dug a grave and buried a pauper at Mayfield cemetery.
- Full Text:
- Date Issued: 2013
Abstract art and the contested ground of African modernisms
- Authors: Mumba, Patrick
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2515 , http://hdl.handle.net/10962/d1021165
- Description: This submission for a Masters of Fine Art consists of a thesis titled Abstract Art and the Contested Ground of African Modernisms developed as a document to support the exhibition Time in Between. The exhibition addresses the fact that nothing is permanent in life, and uses abstract paintings that reveal in-between time through an engagement with the processes of ageing and decaying. Life is always a temporary situation, an idea which I develop as Time in Between, the beginning and the ending, the young and the aged, the new and the old. In my painting practice I break down these dichotomies, questioning how abstractions engage with the relative notion of time and how this links to the processes of ageing and decaying in life. I relate this ageing process to the aesthetic process of moving from representational art to semi-abstract art, and to complete abstraction, when the object or material reaches a wholly unrecognisable stage. My practice is concerned not only with the aesthetics of these paintings but also, more importantly, with translating each specific theme into the formal qualities of abstraction. In my thesis I analyse abstraction in relation to ‘African Modernisms’ and critique the notion that African abstraction is not ‘African’ but a mere copy of Western Modernism. In response to this notion, I have used a study of abstraction to interrogate notions of so-called ‘African-ness’ or ‘Zambian-ness’, whilst simultaneously challenging the Western stereotypical view of African modern art. I have also related the theoretical and practical analysis of abstraction to scholarly debates on abstraction and ‘African Modernism’, arguing for multiple African Modernisms.
- Full Text:
- Date Issued: 2016
- Authors: Mumba, Patrick
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2515 , http://hdl.handle.net/10962/d1021165
- Description: This submission for a Masters of Fine Art consists of a thesis titled Abstract Art and the Contested Ground of African Modernisms developed as a document to support the exhibition Time in Between. The exhibition addresses the fact that nothing is permanent in life, and uses abstract paintings that reveal in-between time through an engagement with the processes of ageing and decaying. Life is always a temporary situation, an idea which I develop as Time in Between, the beginning and the ending, the young and the aged, the new and the old. In my painting practice I break down these dichotomies, questioning how abstractions engage with the relative notion of time and how this links to the processes of ageing and decaying in life. I relate this ageing process to the aesthetic process of moving from representational art to semi-abstract art, and to complete abstraction, when the object or material reaches a wholly unrecognisable stage. My practice is concerned not only with the aesthetics of these paintings but also, more importantly, with translating each specific theme into the formal qualities of abstraction. In my thesis I analyse abstraction in relation to ‘African Modernisms’ and critique the notion that African abstraction is not ‘African’ but a mere copy of Western Modernism. In response to this notion, I have used a study of abstraction to interrogate notions of so-called ‘African-ness’ or ‘Zambian-ness’, whilst simultaneously challenging the Western stereotypical view of African modern art. I have also related the theoretical and practical analysis of abstraction to scholarly debates on abstraction and ‘African Modernism’, arguing for multiple African Modernisms.
- Full Text:
- Date Issued: 2016
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