Bodies in agitation: Wilma Cruise's recent works
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147770 , vital:38670 , https://doi.org/10.1080/00043389.2002.11876996
- Description: Wilma Cruise is probably best known for Strike the Woman Strike the Rock (2000), a public work produced collaboratively with Marcus Holmes which commemorates the march of women on the Union Buildings on 9 August 1956 to protest against the pass laws. This government commission tallies with Cruise's longstanding interest in feminism. Also, through its incorpora tion of sound, the written word and projections of imagery, Strike the Woman Strike the Rock coheres with an interest in combining a diversity of media and art forms that has been evident in her work during the last few years.
- Full Text:
- Date Issued: 2017
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147770 , vital:38670 , https://doi.org/10.1080/00043389.2002.11876996
- Description: Wilma Cruise is probably best known for Strike the Woman Strike the Rock (2000), a public work produced collaboratively with Marcus Holmes which commemorates the march of women on the Union Buildings on 9 August 1956 to protest against the pass laws. This government commission tallies with Cruise's longstanding interest in feminism. Also, through its incorpora tion of sound, the written word and projections of imagery, Strike the Woman Strike the Rock coheres with an interest in combining a diversity of media and art forms that has been evident in her work during the last few years.
- Full Text:
- Date Issued: 2017
Figuring maternity: Christine Dixie's Parturient Prospects
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147748 , vital:38667 , https://doi.org/10.1080/00043389.2007.11877068
- Description: The Interior, Birthing Tray and Parturition are three sub-sections of a project entitled Parturient Prospects that artist Christine Dixie began in 2005, when she was pregnant with her second child, and completed by the end of 2006. In Parturient Prospects, the author reveals, Dixie situates her experiences against Western discourses, especially images from early modern Europe. Focusing on the ways in which visual representations construct woman as ‘other’, Dixie invokes reference to not only representations of birth and maternity but also religious, medical and geographical images.
- Full Text:
- Date Issued: 2017
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147748 , vital:38667 , https://doi.org/10.1080/00043389.2007.11877068
- Description: The Interior, Birthing Tray and Parturition are three sub-sections of a project entitled Parturient Prospects that artist Christine Dixie began in 2005, when she was pregnant with her second child, and completed by the end of 2006. In Parturient Prospects, the author reveals, Dixie situates her experiences against Western discourses, especially images from early modern Europe. Focusing on the ways in which visual representations construct woman as ‘other’, Dixie invokes reference to not only representations of birth and maternity but also religious, medical and geographical images.
- Full Text:
- Date Issued: 2017
Developing images of self: childhood, youth and family photographs in works by three South African women artists
- Authors: Schmahmann, Brenda
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147571 , vital:38650 , https://doi.org/10.1162/AFAR_a_00024
- Description: In 1996, South African artist Bridget Baker (b. 1971), completed So It Goes (Fig. 1), a work comprising four Vicks Vapour Rub containers which each feature the same photograph. A representation of the artist being taught to swim by her father, who died when she was a child, this is the only shot she possesses that shows them together. The photograph is overlaid with progressively increased amounts of the Vapour Rub until, in the last of the four tins, the image is almost entirely obliterated.
- Full Text:
- Date Issued: 2012
- Authors: Schmahmann, Brenda
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147571 , vital:38650 , https://doi.org/10.1162/AFAR_a_00024
- Description: In 1996, South African artist Bridget Baker (b. 1971), completed So It Goes (Fig. 1), a work comprising four Vicks Vapour Rub containers which each feature the same photograph. A representation of the artist being taught to swim by her father, who died when she was a child, this is the only shot she possesses that shows them together. The photograph is overlaid with progressively increased amounts of the Vapour Rub until, in the last of the four tins, the image is almost entirely obliterated.
- Full Text:
- Date Issued: 2012
A framework for recuperation: HIV/AIDS and the Keiskamma Altarpiece
- Authors: Schmahmann, Brenda
- Date: 2010
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147593 , vital:38652 , https://doi.org/10.1162/afar.2010.43.3.34
- Description: South Africa has the largest number of people living with HIV of any nation in the world. While various conditions and circumstances have made South Africa especially susceptible to an HIV/AIDS pandemic, its leadership has not recognized the impact of the disease or found appropriate strategies to address rising rates of infection. Thabo Mbeki's presidency (1999—2008) and the appointment of Manto Tshabalala-Msimang as his health minister were disastrous in terms of the pandemic.
- Full Text:
- Date Issued: 2010
- Authors: Schmahmann, Brenda
- Date: 2010
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147593 , vital:38652 , https://doi.org/10.1162/afar.2010.43.3.34
- Description: South Africa has the largest number of people living with HIV of any nation in the world. While various conditions and circumstances have made South Africa especially susceptible to an HIV/AIDS pandemic, its leadership has not recognized the impact of the disease or found appropriate strategies to address rising rates of infection. Thabo Mbeki's presidency (1999—2008) and the appointment of Manto Tshabalala-Msimang as his health minister were disastrous in terms of the pandemic.
- Full Text:
- Date Issued: 2010
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