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The influence of the fine art market on the work produced by black artists (post 1994)Shibase, Thembalakhe January 2009 (has links)
Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009. / This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter.
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In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art. / M
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The influence of the fine art market on the work produced by black artists (post 1994)Shibase, Thembalakhe January 2009 (has links)
Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009. / This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter.
iv
In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art.
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Traditional and Christian elements in contemporary pictorial African art in South Africa with special reference to the works of John Muafangejo, Azariah Mbatha and Dan RakgoatheKilian, Julie January 1987 (has links)
Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary African artist's work would display characteristics and elements derived from both of these worlds, since art is not created in a vacuum, but is, invariably, the outward, visible expression and symbol of an artist's environment, culture, emotional and intellectual responses and his beliefs. The study of Contemporary African Art reveals that despite the many divergences from the traditional or classic forms, a great many traditional influences and characteristics still persist in the same. An analysis of Contemporary African Art will also show that a significant body of works bear a marked influence of Christian teachings and biblical themes, as well as the influence of exposure to various forms of Swedish Medieval, Byzantine, Romanesque and Carolingian art.
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Writing white on black : modernism as discursive paradigm in South African writing on modern Black artVan Robbroeck, Lize 03 1900 (has links)
Thesis (PhD (Visual Arts))--University of Stellenbosch, 2006. / In this thesis I deconstruct key concepts, terminologies, and rhetorical conventions employed in white South
African writing on modern black art. I trace the genealogy of the dominant discursive practices of the
apartheid era to the cultural discourses of the colonial era, which in turn had their origins in the
Enlightenment. This genealogical tracing aims to demonstrate that South African art writing of the 20th
century partook of a tradition of Western writing that was primarily intent upon producing the Western
subject as a rational Enlightenment agent via the debased objectification of the colonial Other. In the
process of the deconstruction, I identify the most significant discursive shifts that occurred from the 1930’s,
when the first publications emerged, to the 1990’s, when South Africa’s new political dispensation opened
up a different cultural landscape.
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The iconology of Women's paraphernalia among the Ntwane.Friedman, Hazel Deborah January 1992 (has links)
A dissertation submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg,
for the Degree of Master of Arts. / This dissertation is a study of the iconology of paraphernalia
produced by women, among the Ntwane. It represents the
culmination of primary field research into the matelial
culture of this group, as well as supplementary research
conducted at the Africana Museum in Johannesburg, the South
African Museum in Cape Town, the National Museumin B1u~!mfontein
and the Duggan-Cronin Museumin Kimberley.
My investigative methods consisted of unstructured interviews
with both married and unmarried members of the Ntwane
community at :Kwarrielaagte. Although the focus of my
research was primarily on paraphernaIia produced and worn by
women, I also interviewed Ntwane men in order to obtain a
variety of interpretations and opinions as to the 'meanings'
of the objects and traditions under analysis.
In addition to the above mentioned field work and gallery
research, I consulted a wide range of literature on critical
theories, auch as marxism, structuralism end paststructuralism,
141 order to supplement my methodological approach
to the iconology of women's art among the Ntwane. It
also referred to literature on a number of traditional South.
African groups, such as the Pedi and Ndebele. in order to
identify the cross-cultural influ8nces between these groups
and the Ntwane. The literature on these closely related
However, this definition constitutes a gross oversimplification of the
concept, for it doe) not allow for a shift in aesthetic criteria from
culture to culture. It establishes the concept 'aesthetic' as an absolute,
whereas in actuality, it is a value-laden term, whose problems
of definition are exacerbated '.men attempting cross cultural research.
It is therefore necessary at the outset of this dissertation to formulate
a working definition of 'aesthetics' within the context of the
Ntwane. It is suggeuted that the aesthetic componsnts of Ntwane objects
include style. technique and medium, but extend beyond their formal
qualities into activities such as ritual and custom. The socio-cultural
activities performed by the Ntwane may be regarded as intrinsically significant
to the formal characteristics of their paraphernalia. It may
therefore be argued that their objects are the concrete. tangible
manifestations of a set of underlying constructs. expressed in adherence
to particular conventions of representation; furthermore, that the
reduction of the aesthetic component of Ntwane objects to merely an ase
ssment; of their formal criteria, would constitute an impoverishment
of their levels of meaning. A formalist approach to the art of Ntwane
women also fails to consider issues of change in the form and function
of their paraphernalia and the effects of broader social transformations
on the material culture of the Ntwane.
Chapter One of my dissertation will comprise a brief survey of the
literature on the Ntwane. In addition to identifying the existing information,
methodological gaps in the literature will be mentioned. It is
the partial aim of this dissertation to "fill in" some of the gaps by
groups helped to shed light on signitficant aspects of Ntwane
material culture, which in turn, provided me with greater
insight into the iconology of their paraphernalia. / Andrew Chakane 2018
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