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1	Both temple and tomb: difference, desire and death in the sculptures of the Royal museum of central Africa Morris, Wendy Ann 30 November 2003 (has links) Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA. Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators. Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions. / Art History, Visual Arts & Musicology / M.A. (Visual Arts) Ethnographic museums Colonizing space and time Sanctioned eroticism Voyeuristic gaze Benevolence Noble Savages Absent metaphors of violence Cannibal consumption Insurgent aesthetics Critical potential of visual images 709.68 Morris, Wendy Ann Re-Turning the Shadows Art, Colonial -- Africa -- Exhibition Art and society Desire in art Death in art
2	Both temple and tomb: difference, desire and death in the sculptures of the Royal museum of central Africa Morris, Wendy Ann 30 November 2003 (has links) Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA. Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators. Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions. / Art History, Visual Arts and Musicology / M.A. (Visual Arts) Ethnographic museums Colonizing space and time Sanctioned eroticism Voyeuristic gaze Benevolence Noble Savages Absent metaphors of violence Cannibal consumption Insurgent aesthetics Critical potential of visual images 709.68 Morris, Wendy Ann Re-Turning the Shadows Art, Colonial -- Africa -- Exhibition Art and society Desire in art Death in art

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Both temple and tomb: difference, desire and death in the sculptures of the Royal museum of central Africa

Both temple and tomb: difference, desire and death in the sculptures of the Royal museum of central Africa