Creative misreadings: allegory in Tracey Rose's Ciao Bella
- Authors: Bateman, Genevieve
- Date: 2007
- Subjects: Rose, Tracey, 1974- Artists -- South Africa Women artists -- South Africa Performance artists -- South Africa Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2473 , http://hdl.handle.net/10962/d1009506
- Description: This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
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- Date Issued: 2007
Hermeneutics and memory in selected works by Willem Boshoff
- Authors: Tryon, Denzil Jordan
- Date: 2007
- Subjects: Boshoff, Willem, 1951- Hermeneutics Memory in art Art, Modern -- 20th century -- South Africa Installations (Art) -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2433 , http://hdl.handle.net/10962/d1004453
- Description: From Introduction: Willem Boshoff was born in Vereeniging, South Africa, in 1951. The son of a carpenter, Boshoff developed an early interest in art. Although never taught formally by his father, he nevertheless acquired a knowledge of the craft of carpentry, a skill which he continues to utilize in much of his art-making today. Boshoff studied at the Johannesburg College of Art, and obtained a Master's Diploma in Technology in Fine Art in 1984. He taught at that institution for twelve years, becoming a full-time art practitioner in 1996. He produced some significant works prior to and during the time of his teaching tenure, including his KykAfrikaans visual poetry in 1979-1980, Bangboek between 1977-1986, and the researching and writing of the Dictionary of Perplexing English in 1986 (ending in 1999). In this study I will discuss Willem Boshoff's careful employment of language and materials, througb which he propagates his "study of ignorance" (Williamson and Jamal 1996:148). I will investigate two major works by Boshoff, namely The Writing in the Sand and The Blind Alphabet in Chapters 1 and 2 respectively. Both of these installations are concerned fundamentally with the subversion of power relationships and elitism. As I will show, both works offer an opportunity to investigate their objectives in relation to discourses surrounding language and hermeneutics. My study includes a third chapter, in which I discuss my own work entitled The Bread of the Presence in relation to Boshoff's own methodologies. As will be demonstrated with particular reference to The Blind Alphabet and my own work, a discussion of memory proves to be of some relevance within this dialogue.
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- Date Issued: 2007
Roles : "I am as intently observed as the people photograph"
- Authors: Pelser, Monique Myren
- Date: 2007
- Subjects: Hugo, Pieter Portrait photography Self-portraits Photography, Artistic -- Philosophy
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2457 , http://hdl.handle.net/10962/d1007647
- Description: With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
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- Date Issued: 2007