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.
- Full Text:
- 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
Imagine/nation : mediating 'xenophobia' through visual and performance art
- Machona, Gerald Ralph Tawanda
- Authors: Machona, Gerald Ralph Tawanda
- Date: 2014
- Subjects: Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2480 , http://hdl.handle.net/10962/d1011106 , Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Description: This half-thesis has developed as a supporting document to an exhibition titled Vabvakure, people from far away, which responds to the growing trends of violence perpetrated against African foreign nationals living in South Africa. This violence which has generally been termed as 'xenophobia' has been framed within this discourse as 'afrophobia', as it is fraught with complexities of race, ethnicity and class. Evidently, not all foreign nationals are at risk but selective targeting of working class black African foreign nationals seems to be the modus operandi. Fanning these flames of prejudice are stereotypes and negative perceptions of Africa and African immigrants that have permeated into the national consciousness of South Africa, which the mainstream media has been complicit in cultivating. My practice is concerned with challenging this politic of representation in relation to the image of the African foreign national within South African society, who have been presented negatively and labelled as the 'Makwerekwere', the 'bogeymen' that have been blamed for the country’s current woes. In response to this, my research adopts the premise that forms of cultural mediation such as visual and performance art can offer further insights and possibly yield solutions that can be used to address these sentiments. As globalisation and neoliberal ideologies reshape the world, there is a growing need in the post-colonial state to revisit and re-construct notions of individual and collective identity, especially that of the nation. Nations, nationalisms and citizenry can no longer be defined solely through indigeneity, for as a result of radical shifts in the flow of migration and immigration policies that allow for naturalisation of aliens and foreign nationals, we are now faced with burgeoning levels of social diversity to the extent that constructions of nationhood that are based on the concept of autochthony have resulted in the persecution of the ‘other’.
- Full Text:
- Date Issued: 2014
- Authors: Machona, Gerald Ralph Tawanda
- Date: 2014
- Subjects: Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2480 , http://hdl.handle.net/10962/d1011106 , Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Description: This half-thesis has developed as a supporting document to an exhibition titled Vabvakure, people from far away, which responds to the growing trends of violence perpetrated against African foreign nationals living in South Africa. This violence which has generally been termed as 'xenophobia' has been framed within this discourse as 'afrophobia', as it is fraught with complexities of race, ethnicity and class. Evidently, not all foreign nationals are at risk but selective targeting of working class black African foreign nationals seems to be the modus operandi. Fanning these flames of prejudice are stereotypes and negative perceptions of Africa and African immigrants that have permeated into the national consciousness of South Africa, which the mainstream media has been complicit in cultivating. My practice is concerned with challenging this politic of representation in relation to the image of the African foreign national within South African society, who have been presented negatively and labelled as the 'Makwerekwere', the 'bogeymen' that have been blamed for the country’s current woes. In response to this, my research adopts the premise that forms of cultural mediation such as visual and performance art can offer further insights and possibly yield solutions that can be used to address these sentiments. As globalisation and neoliberal ideologies reshape the world, there is a growing need in the post-colonial state to revisit and re-construct notions of individual and collective identity, especially that of the nation. Nations, nationalisms and citizenry can no longer be defined solely through indigeneity, for as a result of radical shifts in the flow of migration and immigration policies that allow for naturalisation of aliens and foreign nationals, we are now faced with burgeoning levels of social diversity to the extent that constructions of nationhood that are based on the concept of autochthony have resulted in the persecution of the ‘other’.
- Full Text:
- Date Issued: 2014
Violence and destruction as an important part of artistic action with reference to the two Great Wars
- Hallier, Michael Glen Thomas
- Authors: Hallier, Michael Glen Thomas
- Date: 1971-11
- Subjects: Violence in art , War in art , World War, 1914-1918 Art and the war , World War, 1939-1945 Art and the war
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190329 , vital:44984
- Description: A well known fact about any work of art of any significance is its power to upset current conventions and disturb certain of our normal emotional patterns. The artist frequently achieves this by deliberately expressing emotions that are violent. There is nothing, however, new about the existence of violence in the arts, a large number of works in the history of art being painted with blood. One has only to think of the many battles, rapes, murders, martyrdoms and catastrophes that have been the subjects of many great paintings. Since the beginning of this century, and especially since the work of the Impressionists, in which violence is entirely excluded, violence has taken on a role of great importance and has been used to a greater or lesser extent by artists and group movements. It would appear initially that there are two main reasons in this century for the use of violence: one as a means of using it as a weapon against the academic and avant-garde in the arts, which in turn reflects attitudes found in society, and secondly as a direct reflection of the corrupt society in which we live. This is not to say that the twentieth century is an age in which more violence and sadism is found than in any other era of history, but never has it received so much publicity. I do not believe that man has change so much over the years, but it is my view that the apparent increase in this century is due to the vast changes in communications, it is due to the publicity it receives that violence has in recent times become a focal point, with murders, assassinations and war part of our daily lives. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 1971
- Full Text:
- Date Issued: 1971-11
- Authors: Hallier, Michael Glen Thomas
- Date: 1971-11
- Subjects: Violence in art , War in art , World War, 1914-1918 Art and the war , World War, 1939-1945 Art and the war
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190329 , vital:44984
- Description: A well known fact about any work of art of any significance is its power to upset current conventions and disturb certain of our normal emotional patterns. The artist frequently achieves this by deliberately expressing emotions that are violent. There is nothing, however, new about the existence of violence in the arts, a large number of works in the history of art being painted with blood. One has only to think of the many battles, rapes, murders, martyrdoms and catastrophes that have been the subjects of many great paintings. Since the beginning of this century, and especially since the work of the Impressionists, in which violence is entirely excluded, violence has taken on a role of great importance and has been used to a greater or lesser extent by artists and group movements. It would appear initially that there are two main reasons in this century for the use of violence: one as a means of using it as a weapon against the academic and avant-garde in the arts, which in turn reflects attitudes found in society, and secondly as a direct reflection of the corrupt society in which we live. This is not to say that the twentieth century is an age in which more violence and sadism is found than in any other era of history, but never has it received so much publicity. I do not believe that man has change so much over the years, but it is my view that the apparent increase in this century is due to the vast changes in communications, it is due to the publicity it receives that violence has in recent times become a focal point, with murders, assassinations and war part of our daily lives. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 1971
- Full Text:
- Date Issued: 1971-11
The artistic forms of the image of war
- Authors: Graham, H J
- Date: 1968-03
- Subjects: Violence in art , War in art , Warrior , Ancient warfare
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/191267 , vital:45077
- Description: War is a condition of this world. From man to the smallest insect, all are at strife, yet man has a "quality which makes him overlord of all; for whereas the creatures of the forest and plain kill only to eat, or to lead the herd ... man will kill for no reason at all. This makes him terrible among the creatures, for he is the very God of Destruction. And from man's pride in his weapons that give him power has grown his art." Warfare in its primeval state is a direct result of a natural phenomenon, springing from the discovery that certain grass seeds could be cultivated and that certain grass feeding animals could be domesticated. From these roots sprouted two very differently organised communities, the agricultural and the pastoral, who clashed for the first time in the third millenium B.C. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 1968
- Full Text:
- Date Issued: 1968-03
- Authors: Graham, H J
- Date: 1968-03
- Subjects: Violence in art , War in art , Warrior , Ancient warfare
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/191267 , vital:45077
- Description: War is a condition of this world. From man to the smallest insect, all are at strife, yet man has a "quality which makes him overlord of all; for whereas the creatures of the forest and plain kill only to eat, or to lead the herd ... man will kill for no reason at all. This makes him terrible among the creatures, for he is the very God of Destruction. And from man's pride in his weapons that give him power has grown his art." Warfare in its primeval state is a direct result of a natural phenomenon, springing from the discovery that certain grass seeds could be cultivated and that certain grass feeding animals could be domesticated. From these roots sprouted two very differently organised communities, the agricultural and the pastoral, who clashed for the first time in the third millenium B.C. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 1968
- Full Text:
- Date Issued: 1968-03
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