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1	A semiotic analysis of selected South African female artists' work from a feminist, post-colonial perspective. Marais, Sophia Aletta January 2015 (has links) M. Tech. Fine Arts / The research aim of the study was to investigate the way that Nandipha Mntambo and Mary Sibande have used the female form in their art to undermine harmful representations/myths of women from a third wave feminist and a post-colonial perspective, using semiotics. Semiotics can be used to establish how meaning is made and reality represented in signs. The impact of signs, codes, myths and ideology of society on the embodiment of the female was investigated using semiotics. Third wave feminism theories can be applied in the analysis of the artworks such as Butler's gender construction and Crash and Pruzinsky's viewpoint on the harmful and stereotypical assumptions about women in visual culture. The post-feminist viewpoints as discussed by Jones about women being portrayed either as housewives and mothers or as sex and consumer objects in visual media were highlighted. Post-colonial perspectives such as the dominant ideology of the colonial period fostering the creation of interrelated, socially constructed, controlling images of black womanhood were discussed. Racial and gender discrimination affected most black women in colonial times. Through the semiotic analysis of Nandipha Mntambo and Mary Sibande, as well as the author's own artwork, an examination of the ideology of patriarchy as well as the ideology of colonialism could be identified. The artists express pride in their heritage and traditions. The ideology of consumerism and the myth of beauty are subverted by the artists in their artwork. The myth of the maid can be observed in the artworks of Sibande and the author. All the artists subvert stereotypical representations of women in society. Feminism in art. Feminist art criticism -- South Africa. Semiotics and the arts -- South Africa.
2	Challenging the hand : critical confrontations of female craft and animal artefact in post-apartheid visual art Whitehead, Johanna Jacoba (Hanje) 12 1900 (has links) Thesis (MA)--Stellenbosch University, 2012. / Please refer to full text for abstract. Irigaray, Luce Mntambo, Nandipha Post-apartheid era Subjectivity in art Dissertations -- Visual arts Theses -- Visual arts Dissertations -- Art Theses -- Art
3	An investigation of excess as symptomatic of Neo-Baroque identified in the work of selected South African artists Greyvenstein, Lisa 22 August 2013 (has links) This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art, and explores reasons for the emergence of this style. It investigates artists who use their bodies as a site of resistance, to contest or reconstruct the dominant social values which establish differences between bodies to place them within the marginal position of ‘Other’. This investigation relates to post-colonial concerns. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the conditions from which the seventeenth century Baroque style evolved. Neo-Baroque aesthetics of excess manifest in a variety of ways, and are particularly evident when artists transgress social boundaries placed on the body through abject and erotic associations. Excess ultimately arises from complexity, as hybrid art forms are created from the combination of media and content found within the art work. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted Body politics Baroque Abject Minette Vari Spectacle Rose Tracey Post-colonialism Other Neo-baroque New media Nandipha Mntambo Hybird Nicholas Hlobo Leora Faber Excess Eroticism Cultural resistance Contemporary south african art Steven Cohen UCTD

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