The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of South African Old Masters and 17 Century Dutch art. On 15 April 1964, about a month before the museum opened officially to the public, the Selection Committee of the Board of Trustees of the Art Museum instituted by the City Council of Pretoria met to deliberate on how the collection of the museum was to be built in order to expand this nucleus collection further.The result was a series of eight resolutions that favoured the acquisition of South African Old Masters and The Hague School (19thcentury Netherlandish art). In the minutes of that meeting no mention was made of the acquisition of 20thcentury South African black artists. By 1994 about 2 404 units of artworks by white artists had been acquired in contrast to about 86 units of artworks by black artists. The eight resolutions tabulated by the board, can be taken as an informal policy thatthe museum adopted during the thirty-year period of its existence from 1964 to 1994 to acquire artworks. No formal acquisition policy existed as a part of the museum’s acquisition strategy during that three decade period. Fortunately, as the collection grew, there were deviations in the ‘acquisition strategy’ because works by black artists, though collected at a far lesser frequency than those by white artists, found their place in the collection. This research paper is a homage to the contributions of 20thcentury South African black artists’ contributions to the history of South African art. / Dissertation (MSocSci)--University of Pretoria, 2020. / Historical and Heritage Studies / MSocSci / Unrestricted

本研究主要探討我國正面臨國營事業民營化過程中可能造成產業文化資產流失，以及因應未來行政院組織法通過後單位之裁併，檔案保存可能面臨潛在之風險與危機，亟需一套完備的國家檔案徵集政策以資遵循，除將提供徵集工作之依據外，並可釐清檔案徵集主題之優先順序，以及控制入藏國家檔案之質與量，使徵集工作得以按部就班，系統化的方式進行，亦可做為我國國家檔案核心館藏建立之最佳指導方針。 本研究使用「文獻分析法」與「深度訪談法」進行研究，除了探討我國國家檔案鑑選與移轉策略，以及擬定國家檔案徵集政策應考慮因素等之外，並對美國、英國、澳洲及加拿大等四國對國家檔案徵集工作推動現況，加以綜合歸納與比較。 本研究以檔案主管機關（檔案管理局）、中央層級機關（國防部、外交部、教育部及內政部）、歷史檔案典藏單位（國史館台灣文獻館、國立故宮博物院、中央研究院近代史研究所檔案館及中央研究院歷史語言研究所）及地方政府檔案管理單位（台北市政府、高雄市政府、嘉義縣政府檔案中心及宜蘭縣史館）等四個層級13個單位為主要訪談研究對象，深入瞭解上述單位檔案管理情形、檔案典藏特色、保存現況及單位具永久保存價值，符合移轉檔案管理局成為國家檔案之統計數量，及對國家檔案徵集政策制定之觀點與建議，並就我國國家檔案徵集內容與優先順序，以及有關國家檔案對於社會價值、功能之看法，並針對研究對象抽樣訪談了26位一般檔案使用者，以瞭解其檔案使用經驗及對國家檔案利用需求、國家檔案徵集內容建議與看法，以期做為我國擬訂國家檔案徵集政策之參考。 根據研究結果，本研究提出六點結論為：（一）國家檔案典藏質量亟待強化；（二）具風險之永久保存價值檔案亟待移轉；（三）國家檔案之定位未明確化；（四）我國目前尚未興建國家檔案館，無法大規模徵集國家檔案入藏；（五）徵集政策及審選標準欠缺，影響國家檔案品質；（六）國家檔案審選耗時費力，降低檔案移轉效率。 根據研究結果，本研究提出十點建議為：（一）訂定國家檔案徵集政策；（二）建立國家檔案委託代管之機制；（三）建立國家檔案審選標準，充實國家檔案典藏內涵；（四）加速國家檔案的徵集，以滿足民眾需求；（五）徵集國家檔案應考量檔案內容之連貫與完整性，避免以主題方式徵集檔案；（六）國家檔案與機關檔案應釐清其定位；（七）重要科技檔案應納入國家檔案徵集策略或計畫，以滿足社會大眾對於科技研究的期望；（八）配合國家檔案之移轉策略，排定國家檔案鑑選之優先順序；（九）設置國家檔案館並儘速辦理國家檔案移轉；（十）加強培養檔案專業管理人員，以因應國家檔案徵集典藏之需求。 / This research is mainly discusses our country to face in the state-operated enterprise privatization process to create the industrial culture property outflow possibly, as well as will organize Fathom in accordance to the future Executive Yuan consolidation of the unit, the archives preservation to face the latent risk and the crisis possibly from now on, will need a set of complete national archives acquisition policy to follow as a means, besides will provide basis of the acquisition work, and may define clearly the file collection subject the order of priority, as well as will control into nature and the quantity of the national archives. In addition, the acquisition work along a prescribed path, systematization's way will carry on for establishment the best directive of our country national archives core collection. This research utilizes “the documentary analysis” and “in-depth interview” to study conducts the research, besides discusses our country national archives appraisal to elect with the shifting strategy, as well as draws up the national archives acquisition policy to take an examination ponders the factor and so on, and to the U.S, British, Australia and Canada four countries to the national archives acquisition work impetus present situation, synthesizes induces and compares. This research take the archives controlling organization (National Archives Administration), the central level institution (Ministry of National Defense, Ministry of Foreign Affairs, Ministry of Education and Ministry of Interior), the historical archives repositories(Taiwan Historical, National Palace Museum, Institute Modern History research archives Academia Sinica and Institute of History and Philology Academia Sinica) and the local authority records management units (Taipei City government, Kaohsiung City government, Chiayi County government records center and Institute of Yilan County Historical) and so on four levels, 13 units as the main interview objects of study. The inquire deeply above unit records management situation, the archive reservation characteristic, preserved present situation and the unit has the permanent preserved value, conforms to the shifting National Archives Administration to become statistics of quantity the national archives, and to national archives viewpoints and the suggestions the acquisition policy formulation, and on our country national archives collection content with the order of priority. In addition, the related national archives regarding the social value, the function view, and aimed at the object of study sampling interview 26 archives users, in order to understood that its archives use experience and to the national archives use demand, the national archives collection content suggestion and the view, did take the time as our country drafts reference of the national archives acquisition policy. According to the findings, this research proposed that six conclusions are: 1. the quality and quantity of national archives are urgently awaits to strengthen; 2. a risk the permanent preserved value archives urgently awaits to transfer; 3. the definition of the national archives has to clarified; 4. our country not yet constructs the national archives at present, is unable to collect the national archives massively; 5. shortage of national archives acquisition policy and affects the national archives quality; 6. the choose of national archives is time-consuming, cuts the archives transfer efficiency. According to the findings, this research proposed that ten suggestions are: 1. schedules the national archives acquisition policy; 2. establishes mechanism of the national archives request substitute management; 3. establishes the standard of national archives examination, substantial national archives collection; 4. accelerates the national archives the collection, meets the populace need; 5. acquisition the national archives to consider linking up of the archives content with the integrity, avoids by the specific subjects; 6. both the national archives and the institution records should define clearly; 7.the important science and technology archives should be included into the national archives acquisition strategy or the plan, satisfies the social populace regarding the technical research expectation; 8. coordinates transfer strategy of the national archives, sets up the national archives appraisal to choose the order of priority; 9. establishes the national archives and as fast as possible handles national archives transferring; 10. strengthens the raise archives professional, by demand in accordance to the national archives acquisition.

Text in English with abstracts in English, Sesotho, isiZulu and Afrikaans. Translated titles in Sesotho, isiZulu and Afrikaans / In the thesis, I critically examine the art acquisition policy of the Unisa Art Gallery (UAG) during and after apartheid in South Africa. The Unisa Art Gallery acquisition policy (UAGAP) is investigated against the transformation imperatives as informed by national policies on arts and culture. I take the view that the process of art acquisition does not exist outside of the sociopolitical discourse. Although the thesis is registered in the subject of Art History, the research adopts a multidisciplinary approach as it straddles the domains of visual art and cultural policy. Therefore, its focus on acquisition policy requires a combination of methodologies that can accommodate the intended research objectives. The study is based on the hypothesis that the collecting of art and acquisition policies are still untransformed from the Eurocentric paradigm of thought. I adopt Afrocentricity and decoloniality as theoretical frames of analysis. University museums are public cultural institutions, and the South African Constitution guarantees the right to culture. Therefore, the reluctance of public institutions to uphold the imperatives demonstrates a level of resistance to transformation. In the study, I investigate circumstances that influence the positive or negative way the UAGAP seemingly responds to the socio-economic and political imperatives of national policies in post-apartheid South Africa. Data analysis shows that there is no explicit relation between the White Paper on Arts, Culture and Heritage (WPACH) (DAC 1996) and the UAGAP. Another finding is that artworks collected in the past were mainly informed by epistemologies which were predominantly Eurocentric, whereby especially the black society has little or no say in the development of university museum policies. Lastly, the perception of arts practitioners is that the pace of transformation of university art collection policies is slow. The findings give rise to a recommendation that government should go beyond “the arms-length approach” (Deacon 2010) in the transformation of arts institutions, and intervene. Another recommendation is that unless the government White Papers are translated into law, they will continue to be ignored by public institutions. / Kule thesisi, ngiphenya ngendlela egxekayo ukutholakala komsebenzi wobuciko. Umgomo omayelana nokutholwa komsebenzi wobuciko kwisikhungo Sombukiso Wobuciko saseNyuvesi yaseNingizimu Africa (Unisa Art Gallery) ngesikhathi sombuso wengcindezelo nangemuva kwesikhathi sombuso wengcindezelo eNingizimu Africa. Umgomo omayelana nokutholakala kwemisebenzi yobuciko yesikhungo Sombukiso Wobuciko eNyuvesi yaseNingizimu Africa uphenywa kubhekwe kwezinto ezinhle ezilethwa yizinguquko njengoba lokhu kugunyazwa yimigomo yezwe kwezobuciko kanye namasiko. Ngithatha umbono othi uhlelo lwezokutholakala kobuciko alwenzeki ngaphandle kwemithelela yezenhlalakahle yabantu kwezepolitiki. Yize ithesisi ibhaliswe kwisifundo soMlando weZobuciko, ucwaningo lwamukela indlela equkethe izifundo eziningi njengoba le thesisi ifinyelela emikhakheni yomsebenzi wobuciko obukwayo kanye nakumgomo wosiko. Ngakho-ke, impokophelo yale thesisi kumgomo wokutholakala komsebenzi wobuciko ifuna inhlanganyela yezindlela zokuhlaziya ezingaxuba phakathi izinhloso zocwaningo eziqondiwe. Ucwaningo lususelwa kwihayiphothesisi/isihlambiselelo esithi imigomo emayelana nokuqoqwa kwemisebenzi yobuciko kanye nokutholakala kwemisebenzi yobuciko ayikaguquki kwizimpande zemibono yaseNtshonalanga/yaseYurophu. Ngamukela imibono egxile kubu-Afrika nemibono eqeda ubukoloni njengezinhlaka zemibono yokuhlaziya. Izikhungo zokugcina amagugu asenyuvesi zingamaziko wamasiko omphakathi, kanti uMthethosisekelo waseNingizimu Afrika unikeza ilungelo lokwenza usiko. Ngakho-ke, ukuba manqikanqika kwamaziko ombuso ukuphakamisa ubuhle bamasiko ngokuhlukahlukana kwawo njengokomgomo kukhombisa izinga lokunqaba ushintsho. Kulolu cwaningo, ngiphenya izimo ezinomthelela phezu kwendlela enhle noma embi uhlelo lwe-UAGAP elibonakala libheka ngayo nezindaba ezimayelana nenhlalakahle yabantu kwezomnotho nakwezepolitiki, ezindabeni zemigomo yezwe esikhathi sangemuva kombuso wengcindezelo eNingizimu Africa. Ukuhlaziywa kwedatha kukhombisa ukuthi abukho ubudlelwane obubonakalayo phakathi kwe-White Paper kwezoBuciko, ezamaSiko kanye nama-Gugu (WPACH) (DAC 1996) kanye nohlelo lwe-UAGAP. Okunye okutholakele ukuthi imisebenzi yobuciko eqoqwe esikhathini esedlule beyincike kakhulu kuma-ephistemoloji ebegxile kwingqubo yase-Yurophu/yaseNtshonalanga, kanti-ke, umphakathi ompisholo ikakhulu akukho nokuncane noma akukho ongakukhuluma mayelana nemigomo yokuthuthukiswa kwezikhungo zokugcina ubuciko bamagugu. Okokugcina, umqondo wabasebenzi kwezobuciko uthi izinhlelo zezinguquko zemigomo yokuqoqwa kwemisebenzi yobuciko emanyuvesi zihamba ngonyawo lonwabu. Ulwazi olutholakele kucwaningo luphakamisa isinqumo sokuthi uhulumeni kufanele asebenze ngomgomo owodwa “the arms-length approach” (Deacon 2010) kuhlelo lwezinguquko kumaziko obuciko, bese angenelele. Esinye isinqumo ukuthi ngaphandle kokuthi ama-White Paper kahulumeni ashicilelwe abe wumthetho, amaziko ombuso azoqhubeka nokuwashaya indiva. / Mo polelotheong eno, ke tlhatlhobile pholisi ya phitlhelelo ya botsweretshi ya Lefelo la Botsweretshi la Unisa (UAG) ka tsela ya tshekatsheko ka nako ya, le morago ga tlhaolele mo Aforikaborwa. Pholisi ya phitlhelelo ya Lefelo la Botsweretshi ya Unisa (UAGAP) e batlisisiwa e bapisitswe le ditlhokego tsa phetogo jaaka di kaelwa ke dipholisi tsa bosetšhaba tsa botsweretshi le setso. Ke akanya gore tirego ya phitlhelelo ya botsweretshi ga e diragale kwa ntle ga puisano ya politiki ya loago. Le fa e le gore polelotheo e kwadisitswe mo setlhogong sa Hisetori ya Botsweretshi, patlisiso e tsaya boitlhagiso jwa melebomentsi jaaka fa e paraletse mo mefameng ya botsweretshi jwa pono le pholisi ya setso. Ka jalo, go tota ga yona pholisi ya phitlhelelo go tlhoka motswako wa mekgwa e e ka amogelang maikemisetso a patlisiso a a lebeletsweng. Thutopatlisiso e ikaegile ka tshitshinyo ya gore dipholisi tsa kokoanyo le phitlhelelo ya botsweretshi di sa ntse di sa fetoga go tswa mo mogopolong wa setso sa Yuropa. Ke tsaya boikaego jwa Aforika le tloso ya bokoloniale jaaka letlhomeso la tiori la tokololo. Dimusiamo tsa diyunibesiti ke ditheo tsa setso tsa setšhaba, mme Molaotheo wa Aforikaborwa o sireletsa tshwanelo ya setso. Ka jalo, go belaela ga ditheo tsa setšhaba go tsweletsa ditlhokego go bontsha go kgaratlha kgatlhanong le diphetogo. Mo thutopatlisisong, ke batlisisa mabaka a a tlhotlheletsang mokgwa o o siameng gongwe o o sa siamang o go lebegang e kete UAGAP e tsibogela ka ona ditlhokego tsa ikonomiloago le sepolitiki tsa dipholisi tsa bosetšhaba tsa Aforikaborwa ya morago ga tlhaolele. Tokololo ya data e bontsha gore ga go na kgolagano e e tlhamaletseng magareng ga Pampiritshweu ya Botsweretshi, Setso le Ngwaoboswa (WPACH) (DAC 1996) le UAGAP. Phitlhelelo e nngwe ke ya gore ditiro tsa botsweretshi tse di kokoantsweng mo nakong e e fetileng di ne di ikaegile bogolosegolo ka diepisetemoloji tse di neng di na le phekeetso e kgolo ya setso sa Yuropa, moo tota setšhaba sa bantsho se nang le tshwaelo e e seng kalo gongwe se se na tshwaelo epe mo go tlhamiweng ga dipholisi tsa dimusiamo tsa diyunibesiti. Kwa bokhutlong, kakanyo ya badiragatsi ba botsweretshi ke gore kgato ya diphetogo ya dipholisi tsa kokoanyo ya botsweretshi jwa diyunibesiti e bonya. Diphitlhelelo di baka katlenegiso ya gore puso e tshwanetse go dira go feta “molebo o o sa gateleleng taolo gongwe tekanyetso” (Deacon 2010) mo diphetogong tsa ditheo tsa botsweretshi, mme e tsereganye. Katlenegiso e nngwe ke ya gore kwa ntle ga gore Dipampiritshweu tsa puso di fetolelwe go nna molao, ditheo tsa setšhaba di tlaa tswelela go di ikgatholosa. / In hierdie tesis ondersoek ek die kunsaankoopbeleid van die Unisa Kunsgalery (UKG) tydens en ná apartheid. Die kunsaankoopbeleid van die Unisa Kunsgalery (KABUKG) word volgens die nasionale transformasiebeleid oor kuns en kultuur beoordeel. Kunsaankope staan na my mening nie los van die sosiopolitieke diskoers nie. Ofskoon hierdie tesis onder die vak Kunsgeskiedenis ingeskryf is, word ʼn multidissiplinêre benadering gevolg aangesien die navorsing die terrein van die visuele kunste en dié van kultuurbeleid bestryk. Om die navorsingsdoelwitte te behaal, is ʼn kombinasie van metodologieë dus nodig. Die studie berus op die hipotese dat die versameling van kunswerke en die aankoopbeleid steeds Eurosentries gerig is en nie getransformeer het nie. Ek neem Afrosentrisiteit en dekolonialiteit as teoretiese ontledingsraamwerke. Universiteitsmuseums is openbare kultuurinstellings en die Suid-Afrikaanse Grondwet waarborg burgers die reg op kultuur. Openbare instellings se onwilligheid om die opdragte uit te voer, dui op ʼn weerstand teen transformasie. Ek verken die omstandighede wat bepaal hoe die KABUKG ná apartheid op die sosioëkonomiese en politieke opdragte reageer. Die dataontleding toon dat daar tussen die Witskrif oor Kuns, Kultuur en Erfenis (WKKE) (DAC 1996) en die KABUKG geen verband bestaan nie. Voorts is bevind dat kunswerke wat in die verlede aangekoop is, oorwegend Eurosentries was. Buitendien het swart mense tans weinig of geen seggenskap in universiteite se museumbeleide. Ten slotte is die tempo waarteen universiteite se aankoopbeleide transformeer volgens kunspraktisyns uiters traag. Daarom word op grond van die bevindings aanbeveel dat die regering sy armlengtebenadering (Deacon 2019) tot die transformasie van kunsinstellings laat vaar, en ingryp. As witskrifte nie wet gemaak word nie, sal openbare instellings aanhou om hulle te ignoreer. / Arts and Music / D. Phil. (Art)