Thesis (Ph.D.)--Ohio University, August, 2009. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until September 1, 2012. Includes bibliographical references (leaves 185-254)

This study examines the means by which four South African woman artists, namely Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl use memory and history as themes to represent social and political events in South Africa. The foundation of this investigation is a critical study of the meaning of history and memory within the context of the candidate’s contemporary social and political milieu. This investigation is facilitated by a number of published and unpublished works by various authors relating to the issues in visual arts; particularly social and political history as applied to personal memory and history. Chapter one explores these terms particularly in relation to the visual arts. Chapter one identifies terms that are vital to the dissertation and some of the literature and methodologies used in the research. These are divided into the subheadings of: terms; women, politics and art; art and documentary photography; literature review; methodology and conclusion.. Examples of each artist’s work are selected for a comprehensive analysis in chapter two. These examples are methodically studied by media and techniques used to produce the artworks and include a critical analysis of the subject matter of the artwork. The examples were selected primarily for their content in connection with the candidate’s own productions of practical work towards the MAFA degree. Chapter two is divided into four main sections, one dedicated to each artist: Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl. These four sections are divided into three subsections: medium and techniques; subject matter and conclusion. Chapter three points out similarities and differences in the work of the four selected artists in order to conclude the candidate’s findings during the dissertation. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 40-41).

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Accompanying CD-ROM includes JPG versions of the thesis photographs. Includes bibliographical references (leaves 28-29).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 25-26).

Thesis (M.A.)--Brandeis University, 2009. / Title from PDF title page (viewed on June 29, 2009). Includes bibliographical references.

Typescript. Includes bibliographical references (leaves 39-40).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 46-47).

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

From Introduction: Willem Boshoff was born in Vereeniging, South Africa, in 1951. The son of a carpenter, Boshoff developed an early interest in art. Although never taught formally by his father, he nevertheless acquired a knowledge of the craft of carpentry, a skill which he continues to utilize in much of his art-making today. Boshoff studied at the Johannesburg College of Art, and obtained a Master's Diploma in Technology in Fine Art in 1984. He taught at that institution for twelve years, becoming a full-time art practitioner in 1996. He produced some significant works prior to and during the time of his teaching tenure, including his KykAfrikaans visual poetry in 1979-1980, Bangboek between 1977-1986, and the researching and writing of the Dictionary of Perplexing English in 1986 (ending in 1999). In this study I will discuss Willem Boshoff's careful employment of language and materials, througb which he propagates his "study of ignorance" (Williamson and Jamal 1996:148). I will investigate two major works by Boshoff, namely The Writing in the Sand and The Blind Alphabet in Chapters 1 and 2 respectively. Both of these installations are concerned fundamentally with the subversion of power relationships and elitism. As I will show, both works offer an opportunity to investigate their objectives in relation to discourses surrounding language and hermeneutics. My study includes a third chapter, in which I discuss my own work entitled The Bread of the Presence in relation to Boshoff's own methodologies. As will be demonstrated with particular reference to The Blind Alphabet and my own work, a discussion of memory proves to be of some relevance within this dialogue.