Framing realities : a critical analysis of perspectival distortion in the film Alice by Czech Surrealist Jan Švankmajer
- Authors: Soutter, Simone
- Date: 2021-04
- Subjects: Švankmajer, Jan, 1934- -- Criticism and interpretation , Depression, Mental -- Exhibitions , Perception , Frames (Sociology) , Surrealism -- Influence , Cubism -- Influence , Surrealism in motion pictures , Depression, Mental in art
- Language: English
- Type: thesis , text , Masters , MFA
- Identifier: http://hdl.handle.net/10962/178365 , vital:42933
- Description: My MFA exhibition Through the looking glass; altered states of perception, explores my experience of mental distress: Major Depressive Disorder (MDD), through the medium of painting and multimedia collage. Situated in the Main Fine Art building on Rhodes University campus, this practical submission takes the form of a collection of oil paintings accompanied by an immersive wall of collaged experimentations, depicting the perspectival shifts I have experienced in coping with mental distress. The paintings explore concepts of framing and perspective, both literally and metaphorically in unpacking how our perceptions are manipulated by the way in which situations and concepts are framed. I use strategies and techniques drawn from the Surrealist and Cubist movements in order to depict my distorted experience of time and space, but also to tap into my own unconscious. In this mini-thesis: Framing realities; A critical analysis of perspectival distortion in the film Alice by Czech Surrealist Jan Švankmajer, I explore the strategies and concepts developed during the Surrealist and Cubist movements in relation to strategies used by Švankmajer in his disturbing interpretation of Alice’s Adventures into Wonderland. Here, he visually explores the psyche of an imaginative child. His unique interpretation is expressed through the combination of live-action film and stop-motion animation. I position my work in relation to themes proposed by Maurice Merleau-Ponty, Ernst Jentch, Sigmund Freud and Julia Kristeva. In the first Chapter: Framing and Perspectival shifts, I unpack framing and perspectival shifts exhibited in the Cubist (a physical shift), Dadaist (a social shift), and Surrealist (an unconscious shift) movements. In Chapter Two: A critical analysis of Alice by Jan Švankmajer, I engage in an analysis of themes (examined in the above art movements) relative to the film Alice. These are found objects and assemblages, ambiguity, distortion of scale, the Unconscious, the uncanny and multi-sensory modalities. Chapter Three: Through the Looking Glass; Altered states of perception, I discuss how the themes discussed in Chapter Two apply to my own body of work and how these themes are addressed with regards to my lived experience of mental disorder and distress. , Thesis (MFA) -- Faculty of Humanities, Fine Arts, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Soutter, Simone
- Date: 2021-04
- Subjects: Švankmajer, Jan, 1934- -- Criticism and interpretation , Depression, Mental -- Exhibitions , Perception , Frames (Sociology) , Surrealism -- Influence , Cubism -- Influence , Surrealism in motion pictures , Depression, Mental in art
- Language: English
- Type: thesis , text , Masters , MFA
- Identifier: http://hdl.handle.net/10962/178365 , vital:42933
- Description: My MFA exhibition Through the looking glass; altered states of perception, explores my experience of mental distress: Major Depressive Disorder (MDD), through the medium of painting and multimedia collage. Situated in the Main Fine Art building on Rhodes University campus, this practical submission takes the form of a collection of oil paintings accompanied by an immersive wall of collaged experimentations, depicting the perspectival shifts I have experienced in coping with mental distress. The paintings explore concepts of framing and perspective, both literally and metaphorically in unpacking how our perceptions are manipulated by the way in which situations and concepts are framed. I use strategies and techniques drawn from the Surrealist and Cubist movements in order to depict my distorted experience of time and space, but also to tap into my own unconscious. In this mini-thesis: Framing realities; A critical analysis of perspectival distortion in the film Alice by Czech Surrealist Jan Švankmajer, I explore the strategies and concepts developed during the Surrealist and Cubist movements in relation to strategies used by Švankmajer in his disturbing interpretation of Alice’s Adventures into Wonderland. Here, he visually explores the psyche of an imaginative child. His unique interpretation is expressed through the combination of live-action film and stop-motion animation. I position my work in relation to themes proposed by Maurice Merleau-Ponty, Ernst Jentch, Sigmund Freud and Julia Kristeva. In the first Chapter: Framing and Perspectival shifts, I unpack framing and perspectival shifts exhibited in the Cubist (a physical shift), Dadaist (a social shift), and Surrealist (an unconscious shift) movements. In Chapter Two: A critical analysis of Alice by Jan Švankmajer, I engage in an analysis of themes (examined in the above art movements) relative to the film Alice. These are found objects and assemblages, ambiguity, distortion of scale, the Unconscious, the uncanny and multi-sensory modalities. Chapter Three: Through the Looking Glass; Altered states of perception, I discuss how the themes discussed in Chapter Two apply to my own body of work and how these themes are addressed with regards to my lived experience of mental disorder and distress. , Thesis (MFA) -- Faculty of Humanities, Fine Arts, 2021
- Full Text:
- Date Issued: 2021-04
Chirema Chine Mazano Chinotamba Chakazendama Madziro
- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
- Full Text:
- Date Issued: 2020
- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
- Full Text:
- Date Issued: 2020
The use of ritual as physical and spiritual medium and its documentation in Buhlebezwe Siwani’s contemporary visual arts performance
- Authors: Lila, Philiswa
- Date: 2020
- Subjects: Arts and religion , Ritual -- South Africa , Performance art -- Religious aspects -- South Africa , Women performance artists -- South Africa , Siwani, Buhlebezwe, 1987-
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/166160 , vital:41334
- Description: This thesis is motivated by my experience of Inzilo: Ngoba ngihlala kwabafileyo, a live performance by South African visual artist Buhlebezwe Siwani. The performance took place at Michaelis Galleries, University of Cape Town (UCT), as part of a group exhibition Between Subject and Object: human remains at the interface of art and science (2014), which accompanied the Medical Humanities in Africa Conference (from 28 – 29 August 2014). As an entry into my discussion, I describe how Siwani’s performance makes use of death and burial ritual in what seems to be an intention to make art that is (re)presenting an activity of reality to invade and control the sphere of feelings, emotions and a sense of ceremony that is dependent on both ritual and rites of the performance. I grapple with the fact that I experienced a ritual performance in a gallery space. Furthermore, I question how walking out of the performance I thought of the lines between art and/or life. The role of ritual in my thesis explores the symbolic meanings, powers and intentions of ritual rites in Africa. This reflection maps out historical locations that are relevant to the major debates, definitions, themes and the experiences of ritual as part of academic research. From Siwani’s practice as an artist and isangoma to other expressions in the fields of history, sociology, religion, feminism, to mention a few, my thesis is an enquiry that engages ritual and performance art theory and scholarship. Through a qualitative analysis, my methodology rejects a chronological, thematic and discipline centered research. Rather, I use a multidisciplinary approach based on critical visual analysis as knowledge creation in the visual arts, for example archives, documentation, performance, text, video, installation, painting, sculpture, etc. The findings suggests that the role of ritual in performance art is not a singular exploration, nor is it based on separating ritual and performance art. The results further reveal that ritual in performance art is not a reenactment of patterns and human behaviours, nor is the notion of reenactment used to denote the myriad meanings and functions of re-performing historical ritual events into performance art. Throughout, my thesis provides a focus that demonstrates the significance of how ritual in performance art has a profound subjective (personal or individual) and collective holistic way of serving human and spiritual needs, and that of creating an environment that is open to the content and context of art as it relates with traditional African religious practices, beliefs and knowledges. Focus is given to three major themes that make up the three chapters of my research: firstly, I reflect on death as personified by Siwani’s performance Inzilo: Ngoba ii ngihlala kwabafileyo and her role as isangoma. Here death is used to draw specific attention to the body in process of embodied presence and absence of physical and spiritual worlds. Secondly, drawing on Siwani’s concept of secrecy and boundaries of concealing and revealing rituals meanings and powers as isangoma, I question the role of secrets, which highlights the significance of bodies (human and natural sites of ritual) in ritual performance. Finally, the idea of a trace is explored. The intersecting use of a trace as the thinking-making-doing of ritual in performance articulates a connected thread that sets in motion the trace of ritual (installation, image and marked space pf ritual) as an afterlife that offers a continued space of processual ceremony for multiple effective encounters and movements..
- Full Text:
- Date Issued: 2020
- Authors: Lila, Philiswa
- Date: 2020
- Subjects: Arts and religion , Ritual -- South Africa , Performance art -- Religious aspects -- South Africa , Women performance artists -- South Africa , Siwani, Buhlebezwe, 1987-
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/166160 , vital:41334
- Description: This thesis is motivated by my experience of Inzilo: Ngoba ngihlala kwabafileyo, a live performance by South African visual artist Buhlebezwe Siwani. The performance took place at Michaelis Galleries, University of Cape Town (UCT), as part of a group exhibition Between Subject and Object: human remains at the interface of art and science (2014), which accompanied the Medical Humanities in Africa Conference (from 28 – 29 August 2014). As an entry into my discussion, I describe how Siwani’s performance makes use of death and burial ritual in what seems to be an intention to make art that is (re)presenting an activity of reality to invade and control the sphere of feelings, emotions and a sense of ceremony that is dependent on both ritual and rites of the performance. I grapple with the fact that I experienced a ritual performance in a gallery space. Furthermore, I question how walking out of the performance I thought of the lines between art and/or life. The role of ritual in my thesis explores the symbolic meanings, powers and intentions of ritual rites in Africa. This reflection maps out historical locations that are relevant to the major debates, definitions, themes and the experiences of ritual as part of academic research. From Siwani’s practice as an artist and isangoma to other expressions in the fields of history, sociology, religion, feminism, to mention a few, my thesis is an enquiry that engages ritual and performance art theory and scholarship. Through a qualitative analysis, my methodology rejects a chronological, thematic and discipline centered research. Rather, I use a multidisciplinary approach based on critical visual analysis as knowledge creation in the visual arts, for example archives, documentation, performance, text, video, installation, painting, sculpture, etc. The findings suggests that the role of ritual in performance art is not a singular exploration, nor is it based on separating ritual and performance art. The results further reveal that ritual in performance art is not a reenactment of patterns and human behaviours, nor is the notion of reenactment used to denote the myriad meanings and functions of re-performing historical ritual events into performance art. Throughout, my thesis provides a focus that demonstrates the significance of how ritual in performance art has a profound subjective (personal or individual) and collective holistic way of serving human and spiritual needs, and that of creating an environment that is open to the content and context of art as it relates with traditional African religious practices, beliefs and knowledges. Focus is given to three major themes that make up the three chapters of my research: firstly, I reflect on death as personified by Siwani’s performance Inzilo: Ngoba ii ngihlala kwabafileyo and her role as isangoma. Here death is used to draw specific attention to the body in process of embodied presence and absence of physical and spiritual worlds. Secondly, drawing on Siwani’s concept of secrecy and boundaries of concealing and revealing rituals meanings and powers as isangoma, I question the role of secrets, which highlights the significance of bodies (human and natural sites of ritual) in ritual performance. Finally, the idea of a trace is explored. The intersecting use of a trace as the thinking-making-doing of ritual in performance articulates a connected thread that sets in motion the trace of ritual (installation, image and marked space pf ritual) as an afterlife that offers a continued space of processual ceremony for multiple effective encounters and movements..
- Full Text:
- Date Issued: 2020
Visualising the Psyche: Perspectives on mental health in the medium of comics
- Authors: Solomon, Tayla Shan
- Date: 2020
- Subjects: Spiegelman, Art -- Maus , Kelly, Joe, 1971- -- I kill giants , Niimura, J M Ken -- I kill giants , Brosh, Allie -- Hyperbole and a half , Comic books, strips, etc. -- Psychological aspects , Comic books, stripa, etc. -- Therapeutic use
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148413 , vital:38737
- Description: The field of Psychology is constantly shifting in its understanding of mental health. Scholars have been critiquing Psychology’s narrow perspective of what constitutes ‘normal’. Many dealing with mental health issues fear that they will be misunderstood and are confronted with systems and institutions that they find unempathetic. This mini-thesis conceptualises creative empathy as a solution to these problems. It is based on the idea that every experience is unique and therefore cannot be wholly understood without engaging in an imaginative process. The appropriateness of the comics medium as a tool for promoting this strategy is explored with a focus on the use of visual imagery to tell stories of distressing experiences. It looks at Tayla Shan Solomon’s The Adventures of Apparently-Anyone-Can-Do-It-If-TheyJust-Try Bug! (2019), Art Spiegelman’s Maus (I & II) (1986), Joe Kelly and JM Ken Niimura’s I Kill Giants (2011), and Allie Brosh’s Hyperbole and a Half: unfortunate situations, flawed coping mechanisms, mayhem, and other things that happened (2013). This mini-thesis analyses various techniques employed by comics artists to create compelling stories of idiosyncratic experiences, including the use of symbolic imagery and framing.
- Full Text:
- Date Issued: 2020
- Authors: Solomon, Tayla Shan
- Date: 2020
- Subjects: Spiegelman, Art -- Maus , Kelly, Joe, 1971- -- I kill giants , Niimura, J M Ken -- I kill giants , Brosh, Allie -- Hyperbole and a half , Comic books, strips, etc. -- Psychological aspects , Comic books, stripa, etc. -- Therapeutic use
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148413 , vital:38737
- Description: The field of Psychology is constantly shifting in its understanding of mental health. Scholars have been critiquing Psychology’s narrow perspective of what constitutes ‘normal’. Many dealing with mental health issues fear that they will be misunderstood and are confronted with systems and institutions that they find unempathetic. This mini-thesis conceptualises creative empathy as a solution to these problems. It is based on the idea that every experience is unique and therefore cannot be wholly understood without engaging in an imaginative process. The appropriateness of the comics medium as a tool for promoting this strategy is explored with a focus on the use of visual imagery to tell stories of distressing experiences. It looks at Tayla Shan Solomon’s The Adventures of Apparently-Anyone-Can-Do-It-If-TheyJust-Try Bug! (2019), Art Spiegelman’s Maus (I & II) (1986), Joe Kelly and JM Ken Niimura’s I Kill Giants (2011), and Allie Brosh’s Hyperbole and a Half: unfortunate situations, flawed coping mechanisms, mayhem, and other things that happened (2013). This mini-thesis analyses various techniques employed by comics artists to create compelling stories of idiosyncratic experiences, including the use of symbolic imagery and framing.
- Full Text:
- Date Issued: 2020
A counter-narrative analysis of psychological riot in contemporary painting
- Authors: Ng’ok, Ivy Chemutai
- Date: 2018
- Subjects: Painting -- South Africa , Painting -- Psychological aspects , Distress (Psychology) in art , Imperialism in art , Violence in art , Patriarchy in art Political art
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/60458 , vital:27782
- Description: I am rioting against a system of my own beliefs about the world. In my mind, I struggle to overcome these beliefs, hence, I construct the psychological riot as ‘the disturbance of the mind’. In this mini-thesis, I argue that it exists in the psyche too. This definition of psyche becomes painterly. My psychological riot is difficult to trace, let alone paint. The beliefs that I target are patriarchy within a post-colonial context. I use theories that are simultaneously psychological and corporeal. They address violence colonialist system. The psychological riot is an practical submission.
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- Date Issued: 2018
- Authors: Ng’ok, Ivy Chemutai
- Date: 2018
- Subjects: Painting -- South Africa , Painting -- Psychological aspects , Distress (Psychology) in art , Imperialism in art , Violence in art , Patriarchy in art Political art
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/60458 , vital:27782
- Description: I am rioting against a system of my own beliefs about the world. In my mind, I struggle to overcome these beliefs, hence, I construct the psychological riot as ‘the disturbance of the mind’. In this mini-thesis, I argue that it exists in the psyche too. This definition of psyche becomes painterly. My psychological riot is difficult to trace, let alone paint. The beliefs that I target are patriarchy within a post-colonial context. I use theories that are simultaneously psychological and corporeal. They address violence colonialist system. The psychological riot is an practical submission.
- Full Text:
- Date Issued: 2018
FyaMoneka: exploring the erasure of women within Zambian history
- Authors: Kalichini, Gladys
- Date: 2018
- Subjects: Women -- Zambia -- Historiography , Women -- Zambia -- History , Women -- Political activity -- Zambia , Women -- Zambia -- Social conditions , Collective memory -- Zambia , Death in art , Feminism -- Zambia , Male domination (Social structure) -- Zambia , Sex discrimination against women -- Zambia
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63186 , vital:28371
- Description: This Master of Fine Art submission, comprising of an exhibition and mini-thesis, explores the erasure of women’s narratives from Zambian history and collective memory. As a point of entry into the broader conversation of narratives of women marginalised in certain historicised events, this research analyses the narratives of Julia Chikamoneka and Alice Lenshina that are held in the collective memory of Zambian history. It focuses on the representations of narratives of women during and beyond colonial times, while hinging particularly on these two characters’ encounters with and against British rule in Northern Rhodesia (Zambia). Titled FyaMoneka: Exploring the Erasure of Women Within Zambian History, the mini-thesis examines the representations and positioning of women’s political activities within the liberation narrative that is recorded in the National Archives of Zambia (NAZ) and the United National Independence Party (UNIP) Archives. This mini-thesis highlights the fact that women have been written out of Zambia’s liberation narrative in the NAZ and the UNIP Archives, and remains mindful of the inherent modifications and erasures of women’s accounts over time, including the obfuscation or the absence of certain archival materials. This mini-thesis prospectively reconstructs Chikamoneka’s and Lenshina’s narratives using traces of their histories within collective memory through re/visiting processes of re-archivisation. The exhibition, titled ChaMoneka (It Has Become Visible): UnCasting Shadows, explores death and representations of death, where death is conceptualised as a metaphor for the erasure of women’s historical narratives, whereas the body represents the narrative. Based on an exploration of the relationship and tensions between collective memory and history, death within this exhibition is thematised as the course of fading away and a continuous process in which women’s narratives are erased.
- Full Text:
- Date Issued: 2018
- Authors: Kalichini, Gladys
- Date: 2018
- Subjects: Women -- Zambia -- Historiography , Women -- Zambia -- History , Women -- Political activity -- Zambia , Women -- Zambia -- Social conditions , Collective memory -- Zambia , Death in art , Feminism -- Zambia , Male domination (Social structure) -- Zambia , Sex discrimination against women -- Zambia
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63186 , vital:28371
- Description: This Master of Fine Art submission, comprising of an exhibition and mini-thesis, explores the erasure of women’s narratives from Zambian history and collective memory. As a point of entry into the broader conversation of narratives of women marginalised in certain historicised events, this research analyses the narratives of Julia Chikamoneka and Alice Lenshina that are held in the collective memory of Zambian history. It focuses on the representations of narratives of women during and beyond colonial times, while hinging particularly on these two characters’ encounters with and against British rule in Northern Rhodesia (Zambia). Titled FyaMoneka: Exploring the Erasure of Women Within Zambian History, the mini-thesis examines the representations and positioning of women’s political activities within the liberation narrative that is recorded in the National Archives of Zambia (NAZ) and the United National Independence Party (UNIP) Archives. This mini-thesis highlights the fact that women have been written out of Zambia’s liberation narrative in the NAZ and the UNIP Archives, and remains mindful of the inherent modifications and erasures of women’s accounts over time, including the obfuscation or the absence of certain archival materials. This mini-thesis prospectively reconstructs Chikamoneka’s and Lenshina’s narratives using traces of their histories within collective memory through re/visiting processes of re-archivisation. The exhibition, titled ChaMoneka (It Has Become Visible): UnCasting Shadows, explores death and representations of death, where death is conceptualised as a metaphor for the erasure of women’s historical narratives, whereas the body represents the narrative. Based on an exploration of the relationship and tensions between collective memory and history, death within this exhibition is thematised as the course of fading away and a continuous process in which women’s narratives are erased.
- Full Text:
- Date Issued: 2018
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
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.
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- 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.
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- 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
Hippocampus: seahorse; brain-structure; spatial map; concept
- Authors: Armstrong, Beth Diane
- Date: 2010
- Subjects: Hippocampus (Brain) Sea horses -- Symbolic representation Meaning (Philosophy) Deleuze, Gilles, 1925-1995 Escher, M C (Maurits Cornelis), 1898-1972 Visual perception Space perception Optical art Art -- Themes, motives
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2427 , http://hdl.handle.net/10962/d1002224
- Description: Through an exploration of both sculptural and thought processes undertaken in making my Masters exhibition, ‘Hippocampus’, I unpack some possibilities, instabilities, and limitations inherent in representation and visual perception. This thesis explores the Hippocampus as image (seahorse) and concept (brain-structure involved in cognitive mapping of space). Looking at Gilles Deleuze’s writings on representation, I will expand on the notion of the map as being that which does not define and fix a structure or meaning, but rather is open, extendable and experimental. I explore the becoming, rather than the being, of image and concept. The emphasis here is on process, non-representation, and fluidity of meaning. This is supportive of my personal affirmation of the practice and process of art-making as research. I will refer to the graphic prints of Maurits Cornelis Escher as a means to elucidate a visual contextualization of my practical work, particularly with regard to the play with two- and three-dimensional space perception. Through precisely calculated ‘experiments’ that show up the partiality of our visual perception of space, Escher alludes to things that either cannot actually exist as spatial objects or do exist, but resist representation. Similarly I will explore how my own sculptures, although existing in space resist a fixed representation and suggest ideas of other spaces, non-spaces; an in-between space that does not pin itself down and become fixed to any particular image, idea, objector representation.
- Full Text:
- Date Issued: 2010
- Authors: Armstrong, Beth Diane
- Date: 2010
- Subjects: Hippocampus (Brain) Sea horses -- Symbolic representation Meaning (Philosophy) Deleuze, Gilles, 1925-1995 Escher, M C (Maurits Cornelis), 1898-1972 Visual perception Space perception Optical art Art -- Themes, motives
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2427 , http://hdl.handle.net/10962/d1002224
- Description: Through an exploration of both sculptural and thought processes undertaken in making my Masters exhibition, ‘Hippocampus’, I unpack some possibilities, instabilities, and limitations inherent in representation and visual perception. This thesis explores the Hippocampus as image (seahorse) and concept (brain-structure involved in cognitive mapping of space). Looking at Gilles Deleuze’s writings on representation, I will expand on the notion of the map as being that which does not define and fix a structure or meaning, but rather is open, extendable and experimental. I explore the becoming, rather than the being, of image and concept. The emphasis here is on process, non-representation, and fluidity of meaning. This is supportive of my personal affirmation of the practice and process of art-making as research. I will refer to the graphic prints of Maurits Cornelis Escher as a means to elucidate a visual contextualization of my practical work, particularly with regard to the play with two- and three-dimensional space perception. Through precisely calculated ‘experiments’ that show up the partiality of our visual perception of space, Escher alludes to things that either cannot actually exist as spatial objects or do exist, but resist representation. Similarly I will explore how my own sculptures, although existing in space resist a fixed representation and suggest ideas of other spaces, non-spaces; an in-between space that does not pin itself down and become fixed to any particular image, idea, objector representation.
- Full Text:
- Date Issued: 2010
Correction, addition and deletion : memory and its function in creating "visual narratives" (and identity) in photographic art
- Authors: Geyer, Xanthe Amanda
- Date: 2009
- Subjects: Botha, Lien, 1961- Photography -- Social aspects Memory in art Photography -- Philosophy Identity (Philosophical concept)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2402 , http://hdl.handle.net/10962/d1002198
- Description: With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.
- Full Text:
- Date Issued: 2009
- Authors: Geyer, Xanthe Amanda
- Date: 2009
- Subjects: Botha, Lien, 1961- Photography -- Social aspects Memory in art Photography -- Philosophy Identity (Philosophical concept)
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2402 , http://hdl.handle.net/10962/d1002198
- Description: With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.
- Full Text:
- Date Issued: 2009
Forms and techniques of modern painting
- Authors: Ning, Cui
- Date: 1999
- Subjects: Painting, Modern
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2418 , http://hdl.handle.net/10962/d1002214
- Description: In this thesis, I have made an attempt to discuss and comment on oil painting from the "angle of concepts, forms, both traditional as well as more recent techniques of modern painting
- Full Text:
- Date Issued: 1999
- Authors: Ning, Cui
- Date: 1999
- Subjects: Painting, Modern
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2418 , http://hdl.handle.net/10962/d1002214
- Description: In this thesis, I have made an attempt to discuss and comment on oil painting from the "angle of concepts, forms, both traditional as well as more recent techniques of modern painting
- Full Text:
- Date Issued: 1999
Printmaking at the Dakawa Art and Craft Project : the impact of ANC cultural policy and Swedish practical implementation on two printmakers trained during South Africa's transformation years
- Authors: Baillie, Giselle Katherine
- Date: 1999
- Subjects: Prints -- Technique Dakawa art and craft project Printmakers -- South Africa -- Grahamstown Prints -- Technique -- Study and teaching
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2394 , http://hdl.handle.net/10962/d1002190
- Description: In 1998, the national Department of Arts, Culture, Science and Technology published a document aimed at the growth of culture industries in South Africa (DACST, "Creative South Africa", July 1998). Focussing on aspects of economic growth which this development could generate for South Africa, it nonetheless points to issues of cultural understanding which need to be addressed. Projects aimed at the development of arts and culture in South Africa have followed troubled paths. While projects aimed at establishing discourse for this development have succeeded on many levels, the imperatives of showcasing, rather than implementing cultural concepts appropriate to South African contexts, have tended to dominate. When the Dakawa Art and Craft Project was established by the ANC, in 1992, in Grahamstown, as the locus for the deve! opment of an arts and culture discourse in the liberated South Africa, all seemed set for success. Yet, less than four years after opening, the Project was closed. While speculatory reasons for closure tended to focus on financial and administrative problems, the basis for this closure had its roots in problems of cultural understanding manifesting themselves at the Project. These reflected a lack of cultural understanding on the part of the ANC and SIDA, the Swedish administrators sent to the Project, and the lack of clear cultural guidelines on the part of the trainees to the Project itself. These reasons for the Project's failure are integral to an understanding of arts add culture development and needs in South Africa today. As other projects, aimed at the same issues of development grow, an understanding of the history of the Project's failure is essential, for it poses questions still in need of answers. Part One examines the historical significance of the Dakawa Art and Craft Project between 1982 and 1994, recording the reasons for its establishment, the path of implementation it followed, and the cultural misunderstandings it posed to development. Part Two examines the cultural context of the trainees to the Project, followed by an account of the printmaking teaching practice, and the effects of cultural concepts on two printmakers trained during the Project's initial establishment, at the time of South Africa's political transformation.
- Full Text:
- Date Issued: 1999
- Authors: Baillie, Giselle Katherine
- Date: 1999
- Subjects: Prints -- Technique Dakawa art and craft project Printmakers -- South Africa -- Grahamstown Prints -- Technique -- Study and teaching
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2394 , http://hdl.handle.net/10962/d1002190
- Description: In 1998, the national Department of Arts, Culture, Science and Technology published a document aimed at the growth of culture industries in South Africa (DACST, "Creative South Africa", July 1998). Focussing on aspects of economic growth which this development could generate for South Africa, it nonetheless points to issues of cultural understanding which need to be addressed. Projects aimed at the development of arts and culture in South Africa have followed troubled paths. While projects aimed at establishing discourse for this development have succeeded on many levels, the imperatives of showcasing, rather than implementing cultural concepts appropriate to South African contexts, have tended to dominate. When the Dakawa Art and Craft Project was established by the ANC, in 1992, in Grahamstown, as the locus for the deve! opment of an arts and culture discourse in the liberated South Africa, all seemed set for success. Yet, less than four years after opening, the Project was closed. While speculatory reasons for closure tended to focus on financial and administrative problems, the basis for this closure had its roots in problems of cultural understanding manifesting themselves at the Project. These reflected a lack of cultural understanding on the part of the ANC and SIDA, the Swedish administrators sent to the Project, and the lack of clear cultural guidelines on the part of the trainees to the Project itself. These reasons for the Project's failure are integral to an understanding of arts add culture development and needs in South Africa today. As other projects, aimed at the same issues of development grow, an understanding of the history of the Project's failure is essential, for it poses questions still in need of answers. Part One examines the historical significance of the Dakawa Art and Craft Project between 1982 and 1994, recording the reasons for its establishment, the path of implementation it followed, and the cultural misunderstandings it posed to development. Part Two examines the cultural context of the trainees to the Project, followed by an account of the printmaking teaching practice, and the effects of cultural concepts on two printmakers trained during the Project's initial establishment, at the time of South Africa's political transformation.
- Full Text:
- Date Issued: 1999
An investigation into the enlightenment and aspects of Spanish life which may have influenced Los Caprichos (1797-1799) of Francisco de Goya (1746-1828)
- Authors: Ralls, Warren John
- Date: 1997
- Subjects: Goya, Francisco, 1746-1828 -- Criticism and interpretation Goya, Francisco, 1746-1828. Caprichos
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2421 , http://hdl.handle.net/10962/d1002217
- Description: The aim of this mini-thesis was to investigate if the Spanish artist Francisco Jose de Goya y Lucientes (1746-1828) was aware of the progress that enlightened thought brought to Spain during the late eighteenth-century, and to see whether this had any effect on his series Los Caprichos (1797-1799). According to some contemporary historians, such as Dowling (1985, p. 347), the " ... specific subject-matter of the Caprichos came directly from the ideology of the Spanish Enlightenment. " The contemporary historian Jeremy Black (1990, p. 208) described the Enlightenment as a " ... tendency towards critical enquiry and the application of reason." Enlightened thinkers were primarily critics who used reason as a goal and a method to create a better society. Reason was believed to be a characteristic trait of the human species, human development and social organisation. The Enlightenment is not a purely seventeenth and eighteenth century phenomenon, but originated in the ideas of the classical civilizations and also the humanism of the Middle Ages and Renaissance in Europe. Many intellectuals were responsible for this new direction of thinking. The ideas of these scientists and philosophers are discussed in some detail, especially those beliefs which are clearly seen in the subject-matter of Los Caprichos. In addition, consideration is given to the possible effects of some of the historical events on the life and work of Goya, for example, the French Revolution (1789) and the Reign of Terror (1793-1794) which followed the Revolution. In order to understand the background of the environment into which Goya was born and in which he developed, research was done on Spanish life and the monarchs of the eighteenth century. Specific attention is given to two Spanish kings from the House of Bourbon: Charles 3, who began numerous enlightened reforms in Spain and reigned around the time of Goya's early artistic and social development, and Charles 4 who did not continue the reforming policies of his father and ruled Spain when the Caprichos were produced. The extent to which the Enlightenment spread to Spain is investigated, especially during the period in which Goya lived. Notable progressive thinkers of this European country are discussed, and special attention is given to those open-minded people whom Goya met. There appears to be proof that Goya may have been inspired by numerous of these learned Spaniards, and where this has motivated the Caprichos, special mention is made. The general census of the twentieth century, however, seems to be that Goya was not a towering intellectual thinker, but he was most certainly not an illiterate, unintelligent person either. The themes of Los Caprichos strongly suggest that he was influenced by enlightened individuals many of whom were his friends, such as the wealthy businessman and art-collector Sebastian Martinez (17 ?-1800) (with whom Goya stayed during a serious illness in 1792-1793). The letters written by Goya to his childhood friend Martin Zapater (1746-18 ?) and selected prints from the Caprichos provide sufficient proof to indicate that enlightened thought inspired the work of Goya. It must be recognised, however, that there were other events that could have been influential such as: his appointment as Painter to the King in 1786, which provided Goya with a regular salary and released him from the demands of patrons, giving his imagination free reign; the illness that he suffered from 1792 until 1793, which could have caused Goya to view his life in perspective and could have given him the courage to criticise society. On a smaller scale, the possible love affair that Goya had with the Duchess of Alba, which turned sour, was possibly a blow to his self esteem. This is a subject which is seen in a few of the prints from Los Caprichos. The research gathered for this mini-thesis is from the ex post facto source-material available through Rhodes University library, and any other attainable published data connected to Goya. This information consists of secondary sources which include copies of manuscripts dating from the time of Goya as well as first-hand observations of Goya's art.
- Full Text:
- Date Issued: 1997
- Authors: Ralls, Warren John
- Date: 1997
- Subjects: Goya, Francisco, 1746-1828 -- Criticism and interpretation Goya, Francisco, 1746-1828. Caprichos
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2421 , http://hdl.handle.net/10962/d1002217
- Description: The aim of this mini-thesis was to investigate if the Spanish artist Francisco Jose de Goya y Lucientes (1746-1828) was aware of the progress that enlightened thought brought to Spain during the late eighteenth-century, and to see whether this had any effect on his series Los Caprichos (1797-1799). According to some contemporary historians, such as Dowling (1985, p. 347), the " ... specific subject-matter of the Caprichos came directly from the ideology of the Spanish Enlightenment. " The contemporary historian Jeremy Black (1990, p. 208) described the Enlightenment as a " ... tendency towards critical enquiry and the application of reason." Enlightened thinkers were primarily critics who used reason as a goal and a method to create a better society. Reason was believed to be a characteristic trait of the human species, human development and social organisation. The Enlightenment is not a purely seventeenth and eighteenth century phenomenon, but originated in the ideas of the classical civilizations and also the humanism of the Middle Ages and Renaissance in Europe. Many intellectuals were responsible for this new direction of thinking. The ideas of these scientists and philosophers are discussed in some detail, especially those beliefs which are clearly seen in the subject-matter of Los Caprichos. In addition, consideration is given to the possible effects of some of the historical events on the life and work of Goya, for example, the French Revolution (1789) and the Reign of Terror (1793-1794) which followed the Revolution. In order to understand the background of the environment into which Goya was born and in which he developed, research was done on Spanish life and the monarchs of the eighteenth century. Specific attention is given to two Spanish kings from the House of Bourbon: Charles 3, who began numerous enlightened reforms in Spain and reigned around the time of Goya's early artistic and social development, and Charles 4 who did not continue the reforming policies of his father and ruled Spain when the Caprichos were produced. The extent to which the Enlightenment spread to Spain is investigated, especially during the period in which Goya lived. Notable progressive thinkers of this European country are discussed, and special attention is given to those open-minded people whom Goya met. There appears to be proof that Goya may have been inspired by numerous of these learned Spaniards, and where this has motivated the Caprichos, special mention is made. The general census of the twentieth century, however, seems to be that Goya was not a towering intellectual thinker, but he was most certainly not an illiterate, unintelligent person either. The themes of Los Caprichos strongly suggest that he was influenced by enlightened individuals many of whom were his friends, such as the wealthy businessman and art-collector Sebastian Martinez (17 ?-1800) (with whom Goya stayed during a serious illness in 1792-1793). The letters written by Goya to his childhood friend Martin Zapater (1746-18 ?) and selected prints from the Caprichos provide sufficient proof to indicate that enlightened thought inspired the work of Goya. It must be recognised, however, that there were other events that could have been influential such as: his appointment as Painter to the King in 1786, which provided Goya with a regular salary and released him from the demands of patrons, giving his imagination free reign; the illness that he suffered from 1792 until 1793, which could have caused Goya to view his life in perspective and could have given him the courage to criticise society. On a smaller scale, the possible love affair that Goya had with the Duchess of Alba, which turned sour, was possibly a blow to his self esteem. This is a subject which is seen in a few of the prints from Los Caprichos. The research gathered for this mini-thesis is from the ex post facto source-material available through Rhodes University library, and any other attainable published data connected to Goya. This information consists of secondary sources which include copies of manuscripts dating from the time of Goya as well as first-hand observations of Goya's art.
- Full Text:
- Date Issued: 1997
Art marketing and management
- Authors: Anderson, Larna
- Date: 1995
- Subjects: Art -- Marketing Art portfolios Art -- Finance Art -- Economic aspects Community arts projects
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2392 , http://hdl.handle.net/10962/d1002188
- Description: Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.
- Full Text:
- Date Issued: 1995
- Authors: Anderson, Larna
- Date: 1995
- Subjects: Art -- Marketing Art portfolios Art -- Finance Art -- Economic aspects Community arts projects
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2392 , http://hdl.handle.net/10962/d1002188
- Description: Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.
- Full Text:
- Date Issued: 1995
A perspective on the question of the absence or presence of religious beliefs relating to elements of modern artistic endeavour, with special reference to the life and work of Francis Bacon
- Mullins, Nigel Lorraine Griffin
- Authors: Mullins, Nigel Lorraine Griffin
- Date: 1994
- Subjects: Bacon, Francis, 1909-1992 -- Criticism and interpretation Art and religion
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2460 , http://hdl.handle.net/10962/d1007710
- Description: Preface: An awareness of certain contradictory perceptions and assumptions regarding religious beliefs today and their relevance to art prompted a question which led to the research undertaken in this minithesis. The question was: how significant is the absence or presence of religious beliefs to the modern creative process? The writings of some theologians, sociologists, psychologists, and anthropologists seem to indicate that religious beliefs are fundamental to the functioning of society and the individuals who are part of it. Furthermore, even a cursory study of the history of art will demonstrate the strong bond between pre-nineteenth century image making and organised religion. Today, however, this relationship appears uncertain or even non-cxistant. This is a result of processes which began to gain strength in the nineteenth century: these include the industrial revolution, scientism and materialism. Peter Fuller, stated that among the most central questions affecting art is, "the severance of the arts from religious tradition and their existence within an increasingly secular culture." (Fuller, 1990, p. 189). This statement appears to bring the issues together very neatly. Firstly there is the assertion that religion has nourished and been a vital force behind art through the ages, and that, modern art has lost this source of vitality. Secondly, there is the contention tbat society, since the nineteenth century, has become increasingly secular, and that this has had (and is having) a radical effect on modern art. That art has been divorced from religion and that religion is disappearing, or will do so, is the logical conclusion, according to theorists who insist on institutional religion as the only true form. Some artists, for whom the absence or presence or loss of religious beliefs are important issues, may in this situation experience a creative crisis. In order to address these issues it was necessary to investigate whether religious beliefs are important to artistic endeavour and, if so, what the consequences of the absence of beliefs might be. For this reason, research into the nature of religion and the modem religious situation was initiated. The purpose of the extensive discussion on the nature of religion was to establish definitions of, or a view of, religion which could provide a sound basis for this investigation of the issues that have been outlined. In order to demonstrate whether religious beliefs are important to the creative process, Francis Bacon was chosen for discussion because he appeared to be a modern artist who had no religious beliefs and was thus an ideal example by which the consequences of this could be gauged.
- Full Text:
- Date Issued: 1994
- Authors: Mullins, Nigel Lorraine Griffin
- Date: 1994
- Subjects: Bacon, Francis, 1909-1992 -- Criticism and interpretation Art and religion
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2460 , http://hdl.handle.net/10962/d1007710
- Description: Preface: An awareness of certain contradictory perceptions and assumptions regarding religious beliefs today and their relevance to art prompted a question which led to the research undertaken in this minithesis. The question was: how significant is the absence or presence of religious beliefs to the modern creative process? The writings of some theologians, sociologists, psychologists, and anthropologists seem to indicate that religious beliefs are fundamental to the functioning of society and the individuals who are part of it. Furthermore, even a cursory study of the history of art will demonstrate the strong bond between pre-nineteenth century image making and organised religion. Today, however, this relationship appears uncertain or even non-cxistant. This is a result of processes which began to gain strength in the nineteenth century: these include the industrial revolution, scientism and materialism. Peter Fuller, stated that among the most central questions affecting art is, "the severance of the arts from religious tradition and their existence within an increasingly secular culture." (Fuller, 1990, p. 189). This statement appears to bring the issues together very neatly. Firstly there is the assertion that religion has nourished and been a vital force behind art through the ages, and that, modern art has lost this source of vitality. Secondly, there is the contention tbat society, since the nineteenth century, has become increasingly secular, and that this has had (and is having) a radical effect on modern art. That art has been divorced from religion and that religion is disappearing, or will do so, is the logical conclusion, according to theorists who insist on institutional religion as the only true form. Some artists, for whom the absence or presence or loss of religious beliefs are important issues, may in this situation experience a creative crisis. In order to address these issues it was necessary to investigate whether religious beliefs are important to artistic endeavour and, if so, what the consequences of the absence of beliefs might be. For this reason, research into the nature of religion and the modem religious situation was initiated. The purpose of the extensive discussion on the nature of religion was to establish definitions of, or a view of, religion which could provide a sound basis for this investigation of the issues that have been outlined. In order to demonstrate whether religious beliefs are important to the creative process, Francis Bacon was chosen for discussion because he appeared to be a modern artist who had no religious beliefs and was thus an ideal example by which the consequences of this could be gauged.
- Full Text:
- Date Issued: 1994
John N. Muafangejo, 1943-1987 : a perspective on his lino-cuts with special reference to the University of Bophuthatswana Print Collection
- Authors: Cole, Collin
- Date: 1994
- Subjects: Muafangejo, John N., 1943-1987 -- Criticism and interpretation Linoleum block-printing -- Art collections Art, Namibian
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2398 , http://hdl.handle.net/10962/d1002194
- Description: By way of an analysis of the lino-cuts executed by Muafangejo, firstly elements and influences that are evident in terms associated with his works, will be traced, for example 'primitive' and 'traditional' elements. Secondly, the characteristics that are particular to this artist's work will be defined. It is believed that by using this avenue of approach, a clearer understanding of the artist's traditional world and possibly the stylistic placement of the artist can be attained. However, to rely only on historical and cultural influences to give a perspective of his work, will not be sufficient. It will only highlight a portion of the evidence needed to fully understand his work. (From the introduction).
- Full Text:
- Date Issued: 1994
- Authors: Cole, Collin
- Date: 1994
- Subjects: Muafangejo, John N., 1943-1987 -- Criticism and interpretation Linoleum block-printing -- Art collections Art, Namibian
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2398 , http://hdl.handle.net/10962/d1002194
- Description: By way of an analysis of the lino-cuts executed by Muafangejo, firstly elements and influences that are evident in terms associated with his works, will be traced, for example 'primitive' and 'traditional' elements. Secondly, the characteristics that are particular to this artist's work will be defined. It is believed that by using this avenue of approach, a clearer understanding of the artist's traditional world and possibly the stylistic placement of the artist can be attained. However, to rely only on historical and cultural influences to give a perspective of his work, will not be sufficient. It will only highlight a portion of the evidence needed to fully understand his work. (From the introduction).
- Full Text:
- Date Issued: 1994
An investigation into outsider sculpture with special reference to D.C. van der Mescht
- Authors: Cowley, Kerstin
- Date: 1991
- Subjects: Outsider art Art -- South Africa Sculptors -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2477 , http://hdl.handle.net/10962/d1010608
- Description: It was both by luck and by accident that Dirk Charley van der Mescht's creations were discovered as a topic for research ... a recluse who lived out in what seemed to be the middle of nowhere. It was said of this man that he was a strange person who produced even stranger works. On investigation it was discovered that he was an Outsider sculptor by the name of D. C. van der Mescht. He and his family live at a small railway siding, known as Zuney, eighteen kilometres west of Alexandria. Isolated, uneducated and untutored, he had created an environment of sculptures for no apparent reason at all. The only explanation he appeared to be able to offer is that: he just does it. Intro. p. 1.
- Full Text:
- Date Issued: 1991
- Authors: Cowley, Kerstin
- Date: 1991
- Subjects: Outsider art Art -- South Africa Sculptors -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2477 , http://hdl.handle.net/10962/d1010608
- Description: It was both by luck and by accident that Dirk Charley van der Mescht's creations were discovered as a topic for research ... a recluse who lived out in what seemed to be the middle of nowhere. It was said of this man that he was a strange person who produced even stranger works. On investigation it was discovered that he was an Outsider sculptor by the name of D. C. van der Mescht. He and his family live at a small railway siding, known as Zuney, eighteen kilometres west of Alexandria. Isolated, uneducated and untutored, he had created an environment of sculptures for no apparent reason at all. The only explanation he appeared to be able to offer is that: he just does it. Intro. p. 1.
- Full Text:
- Date Issued: 1991
Art and authority : aspects of Russian art since 1917
- Authors: Thompson, Rowan Douglas
- Date: 1991
- Subjects: Authority in art Art, Russian Art, Russian -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2450 , http://hdl.handle.net/10962/d1007298
- Description: From Introduction: The Artist was denied any role in Plato's Republic because of his ability to impair reason by imitating reality through his works. Aristotle, however, welcomed the artist because of his ability to express ideas about society through artistic form. Ernst Fischer agrees with the latter view, "Art enables man to comprehend reality, and not only helps him to bear it but increases his determination to make it more human and more worthy of mankind. Art is itself a social reality, society needs the artist ... and it has a right to demand of him that he should be conscious of his social function" (Fischer: 1963:46). Fischer adds to Aristotle's view by stating that society has a right to demand a social function from the artist. This issue has been the subject of controversial debate throughout the history of art. In a society based on class, the classes try to recruit art to serve their particular purposes. Art is seen by some as a powerful weapon - a means by which people can be swayed towards certain ideals. At the time of the Counter Reformation Italian artists were given strict instructions by the Jesuits on how to persuade and educate the people with their paintings. Napoleon urged his men of letters, painters and architects to refer to the classical ideals of ancient Greece and Rome to shape the emergent French Republic. The French philosopher, Dennis Diderot, stressed the futility of art unless it expressed great prinCiples or lessons for the spectator. Ideals of justice, courage and patriotism were embodied in the Neo-Classical movement. The didactic paintings of Jacques Louis David portray the above ideals. History records several attempts by those in power to coerce artists into conforming to their idea of society, indicating that authoritative manipulation of the arts is not purely a twentieth century phenomenon. This thesis intends to examine aspects of Russian art since 1917. Because Soviet art was dominated by policies which enabled authorities to determine its content, its history raises ideological issues which are relevant to the study of art. The theories of Suprematism, Constructivism and Socialist Realism will be discussed and conclusions will be drawn as to whether these theories succeeded as art movements which were ostensibly designed for the improvement of mankind. Present attitudes toward the visual arts in Russia will also be examined. However, in order to examine the above it is necessary to place the development of art into historical perspective.
- Full Text:
- Date Issued: 1991
- Authors: Thompson, Rowan Douglas
- Date: 1991
- Subjects: Authority in art Art, Russian Art, Russian -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2450 , http://hdl.handle.net/10962/d1007298
- Description: From Introduction: The Artist was denied any role in Plato's Republic because of his ability to impair reason by imitating reality through his works. Aristotle, however, welcomed the artist because of his ability to express ideas about society through artistic form. Ernst Fischer agrees with the latter view, "Art enables man to comprehend reality, and not only helps him to bear it but increases his determination to make it more human and more worthy of mankind. Art is itself a social reality, society needs the artist ... and it has a right to demand of him that he should be conscious of his social function" (Fischer: 1963:46). Fischer adds to Aristotle's view by stating that society has a right to demand a social function from the artist. This issue has been the subject of controversial debate throughout the history of art. In a society based on class, the classes try to recruit art to serve their particular purposes. Art is seen by some as a powerful weapon - a means by which people can be swayed towards certain ideals. At the time of the Counter Reformation Italian artists were given strict instructions by the Jesuits on how to persuade and educate the people with their paintings. Napoleon urged his men of letters, painters and architects to refer to the classical ideals of ancient Greece and Rome to shape the emergent French Republic. The French philosopher, Dennis Diderot, stressed the futility of art unless it expressed great prinCiples or lessons for the spectator. Ideals of justice, courage and patriotism were embodied in the Neo-Classical movement. The didactic paintings of Jacques Louis David portray the above ideals. History records several attempts by those in power to coerce artists into conforming to their idea of society, indicating that authoritative manipulation of the arts is not purely a twentieth century phenomenon. This thesis intends to examine aspects of Russian art since 1917. Because Soviet art was dominated by policies which enabled authorities to determine its content, its history raises ideological issues which are relevant to the study of art. The theories of Suprematism, Constructivism and Socialist Realism will be discussed and conclusions will be drawn as to whether these theories succeeded as art movements which were ostensibly designed for the improvement of mankind. Present attitudes toward the visual arts in Russia will also be examined. However, in order to examine the above it is necessary to place the development of art into historical perspective.
- Full Text:
- Date Issued: 1991