A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the degree of Masters of Arts in Fine Arts (MAFA) Johannesburg, 2017 / This dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research. / XL2018

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm. / AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.

This thesis is an attempt at understanding South African photography through the lens of Nontsikelelo “Lolo” Veleko, Tracy Rose, David Goldblatt, Jo Ractliffe and Santu Mofokeng. Through the works discussed this thesis intends to unpack photography as a complex medium similar to that of language and text, as well as attempt to understand how exploring South African experiences and spaces through the lens of photography shapes and mediates them. Furthermore it also attempts to understand how these experiences and spaces conversely affect the discourse of photography or at the very least our perception of it. Through these photographers and their works it is hoped that ultimately the interconnected relationship of exchanging codes that takes place between photography and society will be highlighted. The example of connectivity or dialogue I believe exists between the medium of photography and the physical/social and psychological spaces it photographs will be mediated through Deleuze and Guattari‟s conception of “the wasp and the orchid” where “the wasp becomes the orchid, just as the orchid becomes the wasp...an exchanging or capturing of each other‟s codes”. Other theorists I will be looking at include Vilém Flusser, focusing in particular on his book Towards a Philosophy of Photography, as well as Susan Sontag, Roland Barthes and others. The main aims and objectives of this thesis are to understand the veracity of the documentary image and whether or not the image harbours any objective truth, as well as whether truth, if it can truly be said to exist in the world, resides between the camera and the seen world. This dichotomy is further complicated by the matter of subject-hood and technical and philosophical understandings of the camera as an apparatus. At no point do I aim to be conclusive, rather it is hoped that by developing the dynamic tension between the theory and the image world that I will be able to bring fresh insight into the reading of a changing South African condition and the subject position of the photographer in relation to this condition.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study aims to understand the role that 19th century photography can play in the reconstruction of an era and in the conservation of cultural heritage in the 21st century. The photo collection of William Roe, a photographer from Graaff-Reinet, is used as an example. The origin and development of Graaff-Reinet is used as background information and major events such as the Great Trek, the arrival of the railway, the Anglo-Boer War, the First World War and the Great Flu are touched upon. Aspects such as education, churches, the library and the hospital in Graaff-Reinet complement the study. An overview of the development of photography covers several early photo-making processes. These include the daguerreotype process, Talbot's paper negative process, collotype and the popular carte de visite photographs. Photography specifically in South Africa is also conferred, with particular reference to the first photographers working in the country. Reference is made to the important influences major events like the discovery of diamonds and gold as well as the Anglo-Boer War had on photography. The discussion of William Roe as human being and his legacy as a photographer forms an integral part of the study. The Victorian period is discussed since this was the period in which Roe worked and lived. It had a formative influence on his workmanship. An overview of the Victorian period in England is followed by specific focus on South Africa during this time. The rush to the diamond fields, issues with language and the trends of the times are pointed out. Many of these trends are specifically indicated and discussed as they appear in Roe’s photos. The photos have been categorized to clarify analysis of the different cultural phenomena. The architecture and historical background of Graaff-Reinet’s churches and public buildings are discussed. Streetscapes and images of the town as a whole show the development and daily activities that took place. Photos of clothing represent a reconstruction of the fashions of the concurrent Victorian era and those of public events such as sporting events, celebrations, plays and a gathering during the Anglo-Boer War, display the social life of the community. The role of human memory in the writing of cultural history is compared with the “memory” role of photographs. At the same time the ability of photographs to reflect not only physical culture, but also abstract concepts, receives attention. The use of these abilities of photography in the preservation of culture is a challenge for conservationists of the 21th century. / AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die rol wat 19de-eeuse fotografie kan vervul in die rekonstruksie van ’n era en in die bewaring van kultuurgoedere vir die 21ste eeu, aan te spreek. Die fotoversameling van William Roe van Graaff-Reinet word as voorbeeld gebruik. Die ontstaan en ontwikkeling van Graaff-Reinet word as agtergrond behandel en belangrike gebeurtenisse soos onder meer Die Groot Trek, die koms van die spoorlyn, die Anglo- Boereoorlog, die Eerste Wêreldoorlog en die Groot Griep word uitgewys. Aspekte soos opvoeding, kerke, die biblioteek en hospitaal is aanvullend bestudeer om ’n volledige beeld van Graaff-Reinet daar te stel. ’n Oorsig oor die ontwikkeling van fotografie dek verskeie vroeë fotoprosesse soos die daguerreoproses, Talbot se papiernegatief, die calotipe-fotoproses en die gewilde carte-devisite- foto's. Fotografie in Suid-Afrika word bespreek met spesifieke verwysing na die eerste fotograwe wat in die land werksaam was. Daar word verwys na die invloed wat belangrike gebeurtenisse soos die ontdekking van diamante en goud, asook die Anglo-Boereoorlog, op fotografie in Suid-Afrika gehad het. Die ondersoek na William Roe as mens sowel as sy nalatenskap as fotograaf vorm ’n belangrike onderdeel van die studie. Die Victoriaanse era word bespreek aangesien dit die tydperk was waarin Roe geleef en gewerk het, en dus ’n vormende invloed op sy werk gehad het. ’n Oorsig oor die Victoriaanse era in Engeland word gevolg deur ’n beskouing van dié era in Suid-Afrika. Die stormloop na die diamantvelde, taalkwessies en heersende modeneigings word uitgewys. Baie van die modeneigings word tydens die ontleding van die kultuurverskynsels op die Roe-foto’s opgemerk en bespreek. Die foto’s vir die ontleding van kultuurverskynsels is in kategorieë ingedeel. Die argitektuur en historiese agtergrond van kerke en openbare geboue word bespreek. Straat- en dorpsbeelde dui die ontwikkeling van en bedrywighede op die dorp aan. Kleredragfoto’s bied ’n rekonstruksie van die modes van die Victoriaanse era terwyl die foto’s van openbare geleenthede soos sportbyeenkomste, feesvieringe, toneelopvoerings asook ’n samekoms tydens die Anglo-Boereoorlog die sosiale lewe van die inwoners van die dorp aandui. Die rol van die menslike geheue in kultuurgeskiedskrywing word vergelyk met die rol van foto’s as “geheue”. Terselfdertyd word die vermoë van foto’s om nie net fisiese kultuur te weerspieël nie, maar ook abstrakte konsepte te verteenwoordig, behandel. Die aanwending van hierdie eienskappe van fotografie in kultuurbewaring is ’n uitdaging vir bewaringskundiges van die 21ste eeu.

In this research, the role of forensic science with the use of forensic photography in the crime scene reconstruction process was evaluated. The researcher identified how SAPS detectives and Crime Scene Technicians (CST‟S) are currently conducting crime scene reconstructions by adopting forensic photography; furthermore, other methods in which forensic photography could be used to conduct crime scene reconstructions were explored. The researcher made use of an empirical design, as the information available on the research topic was limited. The empirical design, together with a qualitative research approach, allowed for real-life observations. The simple random sampling method was used to select 20:10 partcipants for this research as follows: Ten (10) detectives that investigate murder cases, and another ten (10) CST‟S that conducted crime scene reconstructions in the Durban Policing Area (DPA). Data was obtained using qualitative data collection methods that included a literature study and interviews. The findings of this research provide that the value of forensic science, as well as the use of forensic photography in the crime scene reconstruction process, was established. Evidently, detectives and CST‟S are not doing everything possible to reconstruct murder crime scenes. For recommendation, this research suggests that SAPS detectives and crime scene technicians (CST'S) adopt the fundamentals of forensic science when reconstructing murder crime scenes. / Criminology and Security Science / M. Tech. (Forensic Investigation)