The Johannesburg Art Foundation (JAF), founded in 1982 by Bill Ainslie, maintained a teaching philosophy which opposed any form of discrimination and stressed that art education should be a possibility for everyone. There was no prescribed curriculum and the programme was not dependent on an external educational authority. I argue that particularly in the decade 1982-1992, the South African apartheid government's educational policy towards cultural activities was prescriptive, stifling and potentially paralysing for many artists. Nevertheless, the teaching at the JAF sustained a flexibility and tolerance of ideas combined with an emancipatory ambition that promoted exchange. The philosophy was infused with a social justice and a political activism agenda squarely in opposition to the separatist apartheid education laws. This study contextualizes the impact and efficacy of the teaching approach at the JAF in terms of its intellectual, social and political perspectives during the years 1982-1992. This teaching approach prompted acerbic encounters within the competing systems of formal and informal institutions. It is this controversial anomaly signifying elements of collision in the pursuit of developing modernism that are investigated to some extent. Personal involvement as an artist and teacher, during the period 1982-1992, allowed my contribution and participation in the development of the teaching philosophy. The paucity of available literature on the subject has stimulated a comprehensive preliminary investigation of the way in which the JAF cultivated alternative educational policies. The individual methodologies and personal experiences extracted from interviews with artists, Council Members and members of staff are documented in order to provide a detailed characterisation of the values of the JAF. In addition, original documentation representative of the genealogy of the JAF forms part of the curatorial practice for the exhibition Controversial ways of seeing at the Bag Factory Gallery. The JAF declined from 1992 and finally ceased to exist in 2001.

Bodies, burdened with narratives and inscribed by laws, function as signifiers of the State propaganda and nationalisms that supercede the Individual. The Image Stammers discredits the seamless fusion of the body-politic of the Singapore state with that of the Individual. This paper looks at the State as its singular source of artistic stimulation and seeks to dislodge the ventriloquised voice of that State acting upon the art object and its producer, so as to liberate the image from the singular meaning the State imposes. To do this, the analysis in this paper intervenes in the State and its organ, the media, in their attempt to imprison the reality of the performance image so as to reverse the silence that has been demanded of the artist. By reinstating this voice into the visual work the author has produced in this text, based on theories of 'internalised' Orientalism discussed by Geraldine Heng and Janadas Devan, as well as notions of abjections in the work of Elizabeth Grosz anfd Julia Kristeva, this paper attempts to strip the State of its veneer of 'purity' to expose an underside that subjects female bodies to forms of nationalism which are now more codified than ever. This paper foregrounds textual and visual embodiment as a testimony of lived experience which may further entrench, notions of Singapore as an authoritarian state. The Image Stammers bears no pretension of objectivity nor a 'politically safe and correct' one within the context of this paper, but instead, strewns fragments of subjectivity throughout its textual landscape. It seeks to overturn the 'impurity' of the abject (signified by performance art and contemporary artists) as defined, loathed and expelled by the State, into the power of resistance and maintenance of the integrity of the Individual. The Image Stammers retrieves the abject as markers of the limits of State power to become signifiers of resistance for its reconstitution into allies of the artist / Faculty of Performance, Fine Arts and Design

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Thesis (B.A.(Hons.))--University of Adelaide, Dept. of English, 1994? / Includes bibliographical references (leaves 48-60).

Thesis (Ph. D.)--State University of New York at Binghamton, Philosophy, Interpretation and Culture Graduate Program, 2007. / Includes bibliographical references.

Thesis (Ph. D.)--State University of New York at Binghamton, Philosophy, Interpretation and Culture Graduate Program, 2007. / Includes bibliographical references.

Thesis (doctoral)--Ludwig-Maximilians-Universität, München, 2002/03. / Biography. Includes bibliographical references (p. [541]-583) and index.

Thesis (M.B.A.)--University of Hong Kong, 1998. / Cover title. Includes bibliographical references (leaf 89-90).

Thesis (M. P. A.)--Texas State University-San Marcos, 2009. / "Spring 2009." Includes bibliographical references (leaves 60-63).

Thesis (M.A.)--City University of Hong Kong, 2007. / "A capstone project undertaken in partial fulfillment of the requirements of the M.A. in Public Policy & Management, City University of Hong Kong." "Department of Public and Social Administration, MA in Public Policy and Management, SA 6904 Capstone Project." Title from PDF t.p. (viewed on Oct. 12, 2007) Includes bibliographical references.