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
Boetie is verlore: the reproduction of militarized white masculinities through the lens of Boetie gaan border toe! (1984)
- Authors: Coetzee, Joseph
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4245 , vital:20638
- Description: My father fought for the South African Defence Force (SADF) from 1983 to 1985. At that time the apartheid regime was involved in extensive military operations in what is now Namibia and Angola. This conflict was aimed at quelling the liberation movements in those countries and, as Gary Baines has noted, supported the United States of America’s Cold War interests (Baines 2007:1). When I was fourteen I found a piece written by my father in which he remembers the first person that he had killed in the aforementioned conflict. This was a child soldier who he compared to me as I was a similar age at the time of his writing. The idea of my father as a killer haunted me. He has carried the trauma of his experiences on the border with him; he has told me how the dead visit him in dreams. On the one hand, these memories, not my own, have been constructed through my interpretation of the events in my father’s stories. On the other hand, homologies may be drawn between his actual experiences and a fantasy representation of the conflict I have encountered, the film Boetie gaan border toe! or Brother goes to the border! (1984). This apartheid propaganda film presents an idealised representation of the conflict from the point of view of the apartheid state. The protagonist of the film, Boetie, is an example of the aspirational and dominant image of militarised masculinity the apartheid state wished young white men to emulate. The racist sexist, patriarchal and materialistic reality created within the film is one I am familiar with. The toys I grew up playing with, television shows, films, advertising and popular culture I consumed, alongside the boys’ school I attended and the University I currently attend are all rooted in and continue to reproduce this reality. I have encountered many similar archetypes to the Boetie character. With this in mind I wish through my art practice to create a work which draws upon my father’s writing and imagery from Boetie gaan border toe! (1984). I have placed these alongside windows into my contemporary context in order to emphasise the continual reproduction of these ideas. In reference to the Boetie film I have decided to create my own film entitled Boetie is verlore or Brother is lost. This is a magic realist documentary film that I have constructed through various interviews and fantasy dream sequences in order to paint a picture of the continual incubation and reproduction of realities similar to that of Boetie. Boetie is a rich white man who is characterised through his material possessions and his compulsive heterosexuality. White women are interchangeable to him whilst blackness in the film is made completely invisible. In South Africa such representations are strongly linked to the question of land and naturalising the white male coloniser’s dominance and privilege.
- Full Text:
- Date Issued: 2016
- Authors: Coetzee, Joseph
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4245 , vital:20638
- Description: My father fought for the South African Defence Force (SADF) from 1983 to 1985. At that time the apartheid regime was involved in extensive military operations in what is now Namibia and Angola. This conflict was aimed at quelling the liberation movements in those countries and, as Gary Baines has noted, supported the United States of America’s Cold War interests (Baines 2007:1). When I was fourteen I found a piece written by my father in which he remembers the first person that he had killed in the aforementioned conflict. This was a child soldier who he compared to me as I was a similar age at the time of his writing. The idea of my father as a killer haunted me. He has carried the trauma of his experiences on the border with him; he has told me how the dead visit him in dreams. On the one hand, these memories, not my own, have been constructed through my interpretation of the events in my father’s stories. On the other hand, homologies may be drawn between his actual experiences and a fantasy representation of the conflict I have encountered, the film Boetie gaan border toe! or Brother goes to the border! (1984). This apartheid propaganda film presents an idealised representation of the conflict from the point of view of the apartheid state. The protagonist of the film, Boetie, is an example of the aspirational and dominant image of militarised masculinity the apartheid state wished young white men to emulate. The racist sexist, patriarchal and materialistic reality created within the film is one I am familiar with. The toys I grew up playing with, television shows, films, advertising and popular culture I consumed, alongside the boys’ school I attended and the University I currently attend are all rooted in and continue to reproduce this reality. I have encountered many similar archetypes to the Boetie character. With this in mind I wish through my art practice to create a work which draws upon my father’s writing and imagery from Boetie gaan border toe! (1984). I have placed these alongside windows into my contemporary context in order to emphasise the continual reproduction of these ideas. In reference to the Boetie film I have decided to create my own film entitled Boetie is verlore or Brother is lost. This is a magic realist documentary film that I have constructed through various interviews and fantasy dream sequences in order to paint a picture of the continual incubation and reproduction of realities similar to that of Boetie. Boetie is a rich white man who is characterised through his material possessions and his compulsive heterosexuality. White women are interchangeable to him whilst blackness in the film is made completely invisible. In South Africa such representations are strongly linked to the question of land and naturalising the white male coloniser’s dominance and privilege.
- Full Text:
- Date Issued: 2016
Dominion: architecture as a symbol of authority in the Eastern Cape Colonial Frontier
- Authors: Mnyila, Desmond
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4256 , vital:20639
- Description: My mini thesis is an exploration of architecture as part of the landscape of Grahamstown and how ideas of dominion and subordination of the non- white citizens of this town were asserted or communicated through space. I concur with theories about architectural buildings as objects that express power and reinforce power relations in any given society. Markus (1993) goes into great lengths to explain how buildings are primarily about power and town planning is a means of control. The area under consideration is very rich in history especially during the period that interested me which is the nineteenth century as this was a period of the establishment of Grahamstown, firstly, as a military establishment and then as a small town serving as a residential area for the British Settlers who arrived in 1820. Throughout the mini thesis I have unpacked the nature of power itself by referring to Njoh (2009) who refers to different categories of the use and especially the abuse or demonstration of power. It wouldn’t do justice to an area as rich in history as the area which is now referred to as the Albany to not dwell into some of the events that were played out here, some of which had consequences and implications for the rest of South Africa. After 1820, the town developed as more buildings of domestic houses, churches, houses of officials, prisons and schools were built. In the thesis I unpack the different architectural styles like the Georgian, Victorian and Cape Dutch styles that formed a significant part of this small town. I draw attention to the ideas of dominion that Njoh elucidates, which were played out in the building of the town architectural structures. Architecture demonstrated British might and power through the imposition of British and European architectural styles on an African landscape. The sheer magnitude of the buildings, I argue, was carefully planned and the use of durable materials, often stones that were imported from abroad, was a carefully orchestrated move to demonstrate British wealth and power through intimidation and seduction. Thomas Baines was one of the artists who spent some time in Grahamstown and made a series of the landscape of this town. My interest in Baines for purposes of this thesis is the manner in which he represented Grahamstown and how he was propagator of British imperialism under the guise of ‘spreading civilisation’ among the ‘back ward’ inhabitants of this continent. My painting practice is influenced by and responds to the vacant land theory especially Baines’ works which were executed to present a Grahamstown as a purely British town ‘emptying’ it of all traces of non- British non- European dwellings or citizens. My practice brings back the layers of history that I have witnessed and the painting surface is slowly built up with water metaphorically destroying the solid structures that were built in the nineteenth century in Grahamstown. As a person who has lived through apartheid and a new dispensation in South Africa, this is reflected in my paintings with a tension between aesthetically pleasing painting styles and disturbing rough surface textures. Anselm Kiefer is the artist who has influenced my work in the manner of working he prefers and also in his tendency to look back at past periods in history.
- Full Text:
- Date Issued: 2016
- Authors: Mnyila, Desmond
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4256 , vital:20639
- Description: My mini thesis is an exploration of architecture as part of the landscape of Grahamstown and how ideas of dominion and subordination of the non- white citizens of this town were asserted or communicated through space. I concur with theories about architectural buildings as objects that express power and reinforce power relations in any given society. Markus (1993) goes into great lengths to explain how buildings are primarily about power and town planning is a means of control. The area under consideration is very rich in history especially during the period that interested me which is the nineteenth century as this was a period of the establishment of Grahamstown, firstly, as a military establishment and then as a small town serving as a residential area for the British Settlers who arrived in 1820. Throughout the mini thesis I have unpacked the nature of power itself by referring to Njoh (2009) who refers to different categories of the use and especially the abuse or demonstration of power. It wouldn’t do justice to an area as rich in history as the area which is now referred to as the Albany to not dwell into some of the events that were played out here, some of which had consequences and implications for the rest of South Africa. After 1820, the town developed as more buildings of domestic houses, churches, houses of officials, prisons and schools were built. In the thesis I unpack the different architectural styles like the Georgian, Victorian and Cape Dutch styles that formed a significant part of this small town. I draw attention to the ideas of dominion that Njoh elucidates, which were played out in the building of the town architectural structures. Architecture demonstrated British might and power through the imposition of British and European architectural styles on an African landscape. The sheer magnitude of the buildings, I argue, was carefully planned and the use of durable materials, often stones that were imported from abroad, was a carefully orchestrated move to demonstrate British wealth and power through intimidation and seduction. Thomas Baines was one of the artists who spent some time in Grahamstown and made a series of the landscape of this town. My interest in Baines for purposes of this thesis is the manner in which he represented Grahamstown and how he was propagator of British imperialism under the guise of ‘spreading civilisation’ among the ‘back ward’ inhabitants of this continent. My painting practice is influenced by and responds to the vacant land theory especially Baines’ works which were executed to present a Grahamstown as a purely British town ‘emptying’ it of all traces of non- British non- European dwellings or citizens. My practice brings back the layers of history that I have witnessed and the painting surface is slowly built up with water metaphorically destroying the solid structures that were built in the nineteenth century in Grahamstown. As a person who has lived through apartheid and a new dispensation in South Africa, this is reflected in my paintings with a tension between aesthetically pleasing painting styles and disturbing rough surface textures. Anselm Kiefer is the artist who has influenced my work in the manner of working he prefers and also in his tendency to look back at past periods in history.
- Full Text:
- Date Issued: 2016
Détournement : the art of troubling
- Authors: Wilby, Mark Owen
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/345 , vital:19950
- Description: Confidence in the form of, for example, commodified debt or the commodification of future value, is an increasingly large part of today’s globalised economy. This was alarmingly illustrated in 2008 by the repercussions of marketing unstable debt in the form of subprime mortgages in the United States leading to a precipitous global financial meltdown. That was a collapse of confidence writ large. At the same time, confidence is also a cornerstone of everyday social and professional life. The non-ZERO-sum project (exhibition title of practical submission in MFA fulfilment) interacts with the notion of confidence, and more particularly economic confidence. At the same time, the project takes the view that engagement from a fine art perspective would have an inherently inadequate vocabulary if restricted to a representative practice, and so a more interactive approach was sought. Research into the radical activism of the Situationists in the 1950s and 1960s, and particularly their tactic of détournement (the deliberate subversion of social or cultural practices), has informed and influenced the development of an interventionist technique summed up in this thesis as: The Art of Troubling. The Situationists had a dichotomous relationship with art. The group was initially made up mostly of artists and is in other instances referred to as an art movement. They saw art as the fulcrum for social and political change, and had their roots in the Dada, Surrealist, and Lettrist movements. As such, they also carried the genes of the notion of an anti-art, which varied in concept between art as a disruptive and propagandistic practice to the subsuming of art into other forms of social activity. This thesis, Détournement: The Art of Troubling, describes non-ZERO-sum as a bespoke methodology designed specifically for engagement with its particular topic. As such, the concept does not necessarily follow a template for situationist intervention. In 1962, a growing rift between the artists and the political theorists within the Situationist International tore the group in two. In conclusion of the non-ZERO-sum project, this thesis offers the observation that perhaps it was the political faction of the Situationists that had a more compelling idea of an art that functions through its very own subsumption.
- Full Text:
- Date Issued: 2016
- Authors: Wilby, Mark Owen
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/345 , vital:19950
- Description: Confidence in the form of, for example, commodified debt or the commodification of future value, is an increasingly large part of today’s globalised economy. This was alarmingly illustrated in 2008 by the repercussions of marketing unstable debt in the form of subprime mortgages in the United States leading to a precipitous global financial meltdown. That was a collapse of confidence writ large. At the same time, confidence is also a cornerstone of everyday social and professional life. The non-ZERO-sum project (exhibition title of practical submission in MFA fulfilment) interacts with the notion of confidence, and more particularly economic confidence. At the same time, the project takes the view that engagement from a fine art perspective would have an inherently inadequate vocabulary if restricted to a representative practice, and so a more interactive approach was sought. Research into the radical activism of the Situationists in the 1950s and 1960s, and particularly their tactic of détournement (the deliberate subversion of social or cultural practices), has informed and influenced the development of an interventionist technique summed up in this thesis as: The Art of Troubling. The Situationists had a dichotomous relationship with art. The group was initially made up mostly of artists and is in other instances referred to as an art movement. They saw art as the fulcrum for social and political change, and had their roots in the Dada, Surrealist, and Lettrist movements. As such, they also carried the genes of the notion of an anti-art, which varied in concept between art as a disruptive and propagandistic practice to the subsuming of art into other forms of social activity. This thesis, Détournement: The Art of Troubling, describes non-ZERO-sum as a bespoke methodology designed specifically for engagement with its particular topic. As such, the concept does not necessarily follow a template for situationist intervention. In 1962, a growing rift between the artists and the political theorists within the Situationist International tore the group in two. In conclusion of the non-ZERO-sum project, this thesis offers the observation that perhaps it was the political faction of the Situationists that had a more compelling idea of an art that functions through its very own subsumption.
- Full Text:
- Date Issued: 2016
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
"I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture
- Authors: Reed, Kesayne
- Date: 2015
- Subjects: Memory in art , Loss (Psychology) in art , Nostalgia in art , Sculpture -- Themes, motives , Art therapy , Sculpture -- Exhibitions
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2513 , http://hdl.handle.net/10962/d1020022
- Description: My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
- Full Text:
- Date Issued: 2015
- Authors: Reed, Kesayne
- Date: 2015
- Subjects: Memory in art , Loss (Psychology) in art , Nostalgia in art , Sculpture -- Themes, motives , Art therapy , Sculpture -- Exhibitions
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2513 , http://hdl.handle.net/10962/d1020022
- Description: My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
- Full Text:
- Date Issued: 2015
'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks
- Authors: Wasserman, Minke
- Date: 2015
- Subjects: Fairy tales -- History and criticism , Liminality in literature , Cultural fusion in literature , Cultural fusion and the arts , Art, Modern -- 21st century -- Themes, motives , Art, Modern -- 21st century -- Exhibitions , Human-animal relationships in art , Human-animal relationships in literature
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2512 , http://hdl.handle.net/10962/d1019759
- Description: ‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.
- Full Text:
- Date Issued: 2015
- Authors: Wasserman, Minke
- Date: 2015
- Subjects: Fairy tales -- History and criticism , Liminality in literature , Cultural fusion in literature , Cultural fusion and the arts , Art, Modern -- 21st century -- Themes, motives , Art, Modern -- 21st century -- Exhibitions , Human-animal relationships in art , Human-animal relationships in literature
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2512 , http://hdl.handle.net/10962/d1019759
- Description: ‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.
- Full Text:
- Date Issued: 2015
(Un)stable architecture as deconstructed meaning
- Authors: Lombard, Lindi
- Date: 2015
- Subjects: Art and architecture , Architecture in art , Proportion (Art) , Vertigo in art , Deconstructivism (Architecture)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/5825 , vital:20980
- Description: How often do we notice the buildings that we work in, play in and live in? The architecture that we construct is specially geared to our human proportions, and shelters and accommodates us. It can be seen as a metaphor for the body, the self, and systems of social control that we have created. When the structure of this architecture is compromised, either literally or metaphorically, we experience instability and vertigo. My practical submission, Vertigo is concerned with architecture, perspective, deconstruction, instability, vertigo, scale and the body. Vertigo consists of paintings, ranging in scale from the size of a brick to the height of a single storey house. Utilizing a highly representational style as well as working with abstract sign systems and technical plan drawings, I destabilize firstly, our sense of certainty in the architecture that surrounds us, and secondly, prompts us to question the assumed fixity of ourselves and our social systems, through the convergence and collision of architecture and painting. This supporting document, (Un)stable Architecture as Deconstructed Meaning, considers the key conceptual concerns informing my practical submission. In chapter one of this mini-thesis: Deconstructivist Architecture, Instability and Impermanence I look at Deconstructivist Architecture which challenges traditional values of order, stability, harmony and unity of architecture. I position my work in relation to architecture projects on the Deconstructivist Architecture show in relation to their intent of undoing, shifting and destabilizing structure and what architecture is traditionally valued for. I also look at the shifting meaning and symbolism of architecture and skyscrapers. In the second chapter: Vertiginous Point of View and Shifted Perspectives I engage with vertigo, perspective, scale and the bodily analogy in architecture. I look at how Julie Mehretu destabilises built space and architecture in a painterly way, depicting multiple perspectives which are subjected to multiple interpretations. In chapter Three: Painting a Building and Building a Painting: Process, Scale and the Body, I discuss and engage with my practical submission, Vertigo, in relation to my process, scale, the body, vertigo, deconstruction, instability and perspective.
- Full Text:
- Date Issued: 2015
- Authors: Lombard, Lindi
- Date: 2015
- Subjects: Art and architecture , Architecture in art , Proportion (Art) , Vertigo in art , Deconstructivism (Architecture)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/5825 , vital:20980
- Description: How often do we notice the buildings that we work in, play in and live in? The architecture that we construct is specially geared to our human proportions, and shelters and accommodates us. It can be seen as a metaphor for the body, the self, and systems of social control that we have created. When the structure of this architecture is compromised, either literally or metaphorically, we experience instability and vertigo. My practical submission, Vertigo is concerned with architecture, perspective, deconstruction, instability, vertigo, scale and the body. Vertigo consists of paintings, ranging in scale from the size of a brick to the height of a single storey house. Utilizing a highly representational style as well as working with abstract sign systems and technical plan drawings, I destabilize firstly, our sense of certainty in the architecture that surrounds us, and secondly, prompts us to question the assumed fixity of ourselves and our social systems, through the convergence and collision of architecture and painting. This supporting document, (Un)stable Architecture as Deconstructed Meaning, considers the key conceptual concerns informing my practical submission. In chapter one of this mini-thesis: Deconstructivist Architecture, Instability and Impermanence I look at Deconstructivist Architecture which challenges traditional values of order, stability, harmony and unity of architecture. I position my work in relation to architecture projects on the Deconstructivist Architecture show in relation to their intent of undoing, shifting and destabilizing structure and what architecture is traditionally valued for. I also look at the shifting meaning and symbolism of architecture and skyscrapers. In the second chapter: Vertiginous Point of View and Shifted Perspectives I engage with vertigo, perspective, scale and the bodily analogy in architecture. I look at how Julie Mehretu destabilises built space and architecture in a painterly way, depicting multiple perspectives which are subjected to multiple interpretations. In chapter Three: Painting a Building and Building a Painting: Process, Scale and the Body, I discuss and engage with my practical submission, Vertigo, in relation to my process, scale, the body, vertigo, deconstruction, instability and perspective.
- Full Text:
- Date Issued: 2015
Adaptive realities : effects of merging physical and virtual entities
- Authors: Fletcher, Lauren Jean
- Date: 2015
- Subjects: Virtual reality in art , Reality in art , Art, Modern -- 21st century , Art, Modern -- 21st century -- Themes, motives , Perception
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2509 , http://hdl.handle.net/10962/d1018557
- Description: In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
- Full Text:
- Date Issued: 2015
- Authors: Fletcher, Lauren Jean
- Date: 2015
- Subjects: Virtual reality in art , Reality in art , Art, Modern -- 21st century , Art, Modern -- 21st century -- Themes, motives , Perception
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2509 , http://hdl.handle.net/10962/d1018557
- Description: In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
- Full Text:
- Date Issued: 2015
Being for others : critical reflections on the stranger, the estranged and the self in participatory art
- Authors: Munro, Samantha Fawn
- Date: 2015
- Subjects: Self , Identity (Philosophical concept) in art , Alienation (Philosophy) , Interactive art , Art appreciation , Art exhibition audiences , Interactive art -- Themes, motives , Social interaction
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2507 , http://hdl.handle.net/10962/d1017771
- Description: By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.
- Full Text:
- Date Issued: 2015
- Authors: Munro, Samantha Fawn
- Date: 2015
- Subjects: Self , Identity (Philosophical concept) in art , Alienation (Philosophy) , Interactive art , Art appreciation , Art exhibition audiences , Interactive art -- Themes, motives , Social interaction
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2507 , http://hdl.handle.net/10962/d1017771
- Description: By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.
- Full Text:
- Date Issued: 2015
Consuming pasts : imaging food as Identity and (post)memory in post-apartheid South Africa
- Authors: Garisch, Margaret Isabel
- Date: 2015
- Subjects: Searle, Berni -- Criticism and interpretation , Madikida, Churchill -- Criticism and interpretation , Food in art , Memory in art , Postcolonialism and the arts , Art -- Themes, motives , Art, Modern -- 21st century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2508 , http://hdl.handle.net/10962/d1018556
- Description: This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work
- Full Text:
- Date Issued: 2015
- Authors: Garisch, Margaret Isabel
- Date: 2015
- Subjects: Searle, Berni -- Criticism and interpretation , Madikida, Churchill -- Criticism and interpretation , Food in art , Memory in art , Postcolonialism and the arts , Art -- Themes, motives , Art, Modern -- 21st century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2508 , http://hdl.handle.net/10962/d1018556
- Description: This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work
- Full Text:
- Date Issued: 2015
Through the Camera Obscura : exploring the voyeuristic gaze through Grahamstown's architecture
- Authors: King, Taryn
- Date: 2015
- Subjects: Architecture -- South Africa -- Grahamstown , Camera obscuras -- South Africa -- Grahamstown , Voyeurism in art , Gaze in art , Architecture and society -- South Africa -- Grahamstown , Human figure in art , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2511 , http://hdl.handle.net/10962/d1018937
- Description: My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.
- Full Text:
- Date Issued: 2015
- Authors: King, Taryn
- Date: 2015
- Subjects: Architecture -- South Africa -- Grahamstown , Camera obscuras -- South Africa -- Grahamstown , Voyeurism in art , Gaze in art , Architecture and society -- South Africa -- Grahamstown , Human figure in art , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2511 , http://hdl.handle.net/10962/d1018937
- Description: My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.
- Full Text:
- Date Issued: 2015
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
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
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
Coming clean: the treatment of traces
- Authors: Wilmot, Cassandra
- Date: 2013 , 2013-09-13
- Subjects: Salcedo, Doris, 1958- Bereavement in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2442 , http://hdl.handle.net/10962/d1006121
- Description: Coming Clean is a mixed media installation which aims to address and express ambivalent feelings or notions of loss arising particularly in the absence of a comprehensive narrative or history by focussing on what remains. By researching the role of indexical signs and strategies, particularly as they are deployed by the artist Doris Salcedo, I explore the capacity for these traces to not only effectively mark and memorialise loss, but to also convey the state of loss as experienced by the bereaved without providing a narrative account of the events which preceded them. The domestic ritual of washing is both alluded to and used as a metaphor in etchings, photographic prints and readymade objects to illustrate my concerns, with particular emphasis on the dialectic between what is revealed or concealed. Using representations or traces of this task of laundry to examine this dialectic between concealment and revelation, I comment on the anxiety of dealing with incomplete narrative inheritances by considering how traces of the past which impose themselves on the present may affect both remembrance and the ritual of loss, while also taking into account the complexities behind the disclosure of sensitive information in families.
- Full Text:
- Date Issued: 2013
- Authors: Wilmot, Cassandra
- Date: 2013 , 2013-09-13
- Subjects: Salcedo, Doris, 1958- Bereavement in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2442 , http://hdl.handle.net/10962/d1006121
- Description: Coming Clean is a mixed media installation which aims to address and express ambivalent feelings or notions of loss arising particularly in the absence of a comprehensive narrative or history by focussing on what remains. By researching the role of indexical signs and strategies, particularly as they are deployed by the artist Doris Salcedo, I explore the capacity for these traces to not only effectively mark and memorialise loss, but to also convey the state of loss as experienced by the bereaved without providing a narrative account of the events which preceded them. The domestic ritual of washing is both alluded to and used as a metaphor in etchings, photographic prints and readymade objects to illustrate my concerns, with particular emphasis on the dialectic between what is revealed or concealed. Using representations or traces of this task of laundry to examine this dialectic between concealment and revelation, I comment on the anxiety of dealing with incomplete narrative inheritances by considering how traces of the past which impose themselves on the present may affect both remembrance and the ritual of loss, while also taking into account the complexities behind the disclosure of sensitive information in families.
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- Date Issued: 2013
Remembering the traumatic past
- Authors: Tarr, Amie
- Date: 2013
- Subjects: Psychic trauma in art , Memory in art -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2431 , http://hdl.handle.net/10962/d1004216 , Psychic trauma in art , Memory in art -- South Africa
- Description: In this thesis, I explore my personal family history in relation to the difficulties and challenges raised when representing a trauma in the past. My focus was the Blaaukraantz Bridge railway disaster of 1911, where my great great grandfather, Paul Tarr, was among the 29 victims. The links between my personal family history and the disaster are explored in my art practice. In the mini thesis, I unpack theoretical concerns surrounding memory, loss, and representation of past trauma by examining selected works by Christian Boltanski, Rachel Whiteread and Doris Salcedo. I do not endeavour to provide new insights about early twentieth-century history but instead to engage with different ways of forming narratives about the past. Memory as an alternative form of history writing is the key concept in this thesis in that personal memory and testimony provides an integral perception of the past and important details that would not appear in history texts or other factual forms of writing the past. In this thesis I unpack this issue in relation to my own art practice.
- Full Text:
- Date Issued: 2013
- Authors: Tarr, Amie
- Date: 2013
- Subjects: Psychic trauma in art , Memory in art -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2431 , http://hdl.handle.net/10962/d1004216 , Psychic trauma in art , Memory in art -- South Africa
- Description: In this thesis, I explore my personal family history in relation to the difficulties and challenges raised when representing a trauma in the past. My focus was the Blaaukraantz Bridge railway disaster of 1911, where my great great grandfather, Paul Tarr, was among the 29 victims. The links between my personal family history and the disaster are explored in my art practice. In the mini thesis, I unpack theoretical concerns surrounding memory, loss, and representation of past trauma by examining selected works by Christian Boltanski, Rachel Whiteread and Doris Salcedo. I do not endeavour to provide new insights about early twentieth-century history but instead to engage with different ways of forming narratives about the past. Memory as an alternative form of history writing is the key concept in this thesis in that personal memory and testimony provides an integral perception of the past and important details that would not appear in history texts or other factual forms of writing the past. In this thesis I unpack this issue in relation to my own art practice.
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- 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
The eyes of the wall : space, narrative and perspective
- Authors: Baasch, Rachel Mary
- Date: 2013
- Subjects: Installations (Art) , Frames (Sociology) , Architecture, Domestic, in art , Narrative art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2388 , http://hdl.handle.net/10962/d1001578
- Description: The Eyes of the Wall and Other Short Stories is concerned with dialectics of seeing and perceiving as they pertain directly to a corporal understanding of interiority and exteriority, architectural framing and notions of dislocation in relation to place. This practical submission is a site-specific installation that engages in a reciprocal dialogue with its environment. The individual sculptural works which demarcate the parameters of the installation are hybrids of domestic architectural forms, (namely the wall, the window and the door) and internal furnishings such as the curtain and the bed. These hybridised metal and resin constructions frame the interior of a site, a tennis court located within my immediate Grahamstown environment. The placement of familiar objects generally associated with the home and notions of security and privacy, within the open, exposed and permeable enclosure of the tennis court evoke a sense of displacement within the viewer. This supporting document, The Eyes of the Wall: Space, Narrative and Perspective, considers the key conceptual concerns informing my installation. In this mini-thesis I address the relationship between domestic architecture and the body, examining the notion of framing as fundamental to the individual comprehension of space. I position my work in relation to that of Mona Hatoum drawing on the similarities that exist between her practice and my own. In the first chapter of this paper: My House/Your House: Walls, Windows, Doors and Skins I address the relationship between domestic architecture, framing and the body, and ‘contamination’. Within Chapter Two: Narratives of Division I engage with the idea of multiple ‘short stories’—personal and collective narratives—and their connection to issues of division and dislocation. Chapter Three: Seeing Blindness discusses the possibility that perspective, or at least one potential approach to perspective is concerned with that which one cannot see, an acknowledgment of the implicit relationship between seeing and not-seeing. Each of the three core concerns expressed in the title of this mini-thesis, The Eyes of The Wall: Space, Narrative and Perspective intersect within the site of The Eyes of The Wall and Other Short Stories. It is at this intersection that the shadows of stories within stories within stories insert themselves, like phantom limbs into the gaps and tensions framed by the forms of the installation.
- Full Text:
- Date Issued: 2013
- Authors: Baasch, Rachel Mary
- Date: 2013
- Subjects: Installations (Art) , Frames (Sociology) , Architecture, Domestic, in art , Narrative art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2388 , http://hdl.handle.net/10962/d1001578
- Description: The Eyes of the Wall and Other Short Stories is concerned with dialectics of seeing and perceiving as they pertain directly to a corporal understanding of interiority and exteriority, architectural framing and notions of dislocation in relation to place. This practical submission is a site-specific installation that engages in a reciprocal dialogue with its environment. The individual sculptural works which demarcate the parameters of the installation are hybrids of domestic architectural forms, (namely the wall, the window and the door) and internal furnishings such as the curtain and the bed. These hybridised metal and resin constructions frame the interior of a site, a tennis court located within my immediate Grahamstown environment. The placement of familiar objects generally associated with the home and notions of security and privacy, within the open, exposed and permeable enclosure of the tennis court evoke a sense of displacement within the viewer. This supporting document, The Eyes of the Wall: Space, Narrative and Perspective, considers the key conceptual concerns informing my installation. In this mini-thesis I address the relationship between domestic architecture and the body, examining the notion of framing as fundamental to the individual comprehension of space. I position my work in relation to that of Mona Hatoum drawing on the similarities that exist between her practice and my own. In the first chapter of this paper: My House/Your House: Walls, Windows, Doors and Skins I address the relationship between domestic architecture, framing and the body, and ‘contamination’. Within Chapter Two: Narratives of Division I engage with the idea of multiple ‘short stories’—personal and collective narratives—and their connection to issues of division and dislocation. Chapter Three: Seeing Blindness discusses the possibility that perspective, or at least one potential approach to perspective is concerned with that which one cannot see, an acknowledgment of the implicit relationship between seeing and not-seeing. Each of the three core concerns expressed in the title of this mini-thesis, The Eyes of The Wall: Space, Narrative and Perspective intersect within the site of The Eyes of The Wall and Other Short Stories. It is at this intersection that the shadows of stories within stories within stories insert themselves, like phantom limbs into the gaps and tensions framed by the forms of the installation.
- Full Text:
- Date Issued: 2013