Saartje BaartJnan was a South African woman who signed a contract in 1810 that effectively made her the property of two white men wishing to exhibit her in Europe because of the shape and color of her body. In this text 1 examine two very different categories of representations of Baartman. First, I discuss images that were produced during Baartman's lifetime that discursively transformed her from a black woman with an identity into a pathologized body known as the Hottentot Venus, and second, I discuss the contemporary black female artists who are producing art inspired by Baartman in order to problematize the racist and sexist assumptions that have been inscribed on the black female body. My research encompasses important scholarship done by white feminist art historians, as well as that by black feminist theorists, and my thoughts on this subject have also been informed tremendously by work that has been done on the visual culture of slavery and on racist stereotypes by post-colonial scholars.

No description available.

Thesis (Ph. D.)--Concordia University, 2001. / Includes bibliographical references (p. 138-151). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66691.pdf.

During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet's Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute's black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet's other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. It will then examine the continuing resonance and influence of Manet's Laure across successive generations of artists from Manet's own time to the present moment. The dissertation thereby suggests a continuing iconographic lineage for Manet's Laure, as manifested in iteratively modernizing depictions of the black female figure from 1870 to the present. Artworks discussed include a clarifying homage to Manet by his acolyte Frédéric Bazille; the countertypical portrayal by early modernist Henri Matisse of two principal black models as personifications of cosmopolitan modernity; the presentation by collagist Romare Bearden of a black odalisque defined by cultural, rather than sexual, attributes metaphoric of the cultural hybridity of African American culture; and direct engagement with Manet's depiction of Laure by selected contemporary artists, including Maud Sulter and Mickalene Thomas, often with imagery, materials and processes also influenced by Matisse or Bearden. In each case, the fitfully evolving modernity of the black female figure will be seen to emerge from each artist's fidelity to his or her transformative creative vision regardless of the representational norms of the day. The question of what, if anything, is represented by Manet's idiosyncratic depiction of the prostitute's black maid has seldom been comprehensively addressed by the histories of modern art. The small body of published commentary about Manet's Laure, with a few notable exceptions, generally dismisses the figure as meaning, essentially, nothing -- except as an ancillary intensifier of the connotations of immorality attributed to the prostitute. Manet's earlier portrait of Laure, rich in significations relevant to her portrayal in Olympia, is even more rarely discussed, and typically seen as a study for Olympia, rather than as a stand-alone portrait as this analysis suggests. The image of Laure as Olympia's maid is frequently oversimplified as a racist stereotype, a perspective that belies the metonymic implications of a figure that is simultaneously centered and obscured. It is in the extensive body of response to Laure's Olympia pose by artists, more than by historians, that the full complexity and enduring influence of the figure's problematic nuance can be seen. This dissertation, like the artists, takes its cues from the formal qualities of Manet's images of Laure, in the context of precedent images and the fraught racial interface within Manet's social and artistic milieu, to suggest new and revisionary narratives. It suggests that Manet's Laure can be seen as an early depiction of an evolving cultural hybridity among black Parisians- visible in Laure's placement, affect and attire--that took shape during the early years of the newly built northern areas of Paris that are today home to some of the largest black populations in central Paris. Within this context, an iconographic legacy of ambivalent yet innovative modernity can be asserted for the Laure figure -extending from Delacroix to Matisse, Bearden and beyond. This lineage can be seen as parallel to the long-established pictorial lineage for Manet's figuring of the prostitute Olympia. What is at stake is an art-historical discourse posed as an intervention with the prevailing historical silence about the representation and legacy of Manet's Laure, and by derivation about the significance of the black female muse to the formation of modernism. This analysis suggests that the black female figure is foundational to the evolving aesthetics of modern art. It suggests that Olympia's standing as a progenitor of modern painting can only be enhanced by breaking through the marginalization of Laure's representational legacy. It asserts that it is only when the bi-figural significance of Manet's Olympia is recognized that the extent and influence of Manet's radical modernity can be most fully understood.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 215-226).

M. Tech. (Department of Visual Arts and Design: Fine Art, Faculty of Human Sciences), Vaal University of Technology. / My practice-based research aimed to produce commemorative portraits of black women in key positions who are associated with the Vaal Region. The study was undertaken in order to contribute to the empowering, positive and growing body of creative research on the visual representation of black women in the visual art field. My concern lies in the dearth of artistic representation of black women, particularly from the Vaal Region and with the hegemonic Westernised portrayal of black women in a Visual Arts discipline dominated by prejudiced attitudes towards issues of race and gender. This was accomplished in two steps. Firstly, through the examination of black feminist theories which underpin my theoretical framework, and further challenge and draw attention to the omissions, invisibility, non-recognition and negative portrayal of black women. In addition selected techniques in artworks of Zanele Muholi, Karina Turok, Sue Williamson and Bongi Bengu have been appropriated to create my body of work. Secondly, I utilise commemorative portraiture to produce iconic portraits of advocate Faith Pansy Tlakula, Professor Ntombekayise Irene Moutlana, Professor Kholeka Constance Moloi, Avitha Sooful, Lerato Moloi, Terry Pheto, Lira, Palesa Mokubung and the late mama Adelaide Tambo which were exhibited in the bodutu gallery accompanied by a catalogue and a comment book. Both of these methods are qualitatively explored as creative strategies to portray and award agency positively to black women through Third World readings of gendered perspectives.

M. Tech. (Department of Visual Arts and Design: Fine Arts, Faculty of Human Sciences), Vaal University of Technology. / Problem statement This study investigates black women’s diverse hairstyles through art. The main research question is: How can black women’s diverse hairstyles be understood through art to appreciate the meaning attached to these hairstyles? The research question is informed by a black feminist theory. Objectives of the study Based on the research problem, the objectives of the study were first, to find out how black women’s diverse hairstyles could be understood through art to appreciate the meanings attached to these hairstyles. Secondly, to examine similarities and/or differences between how Lebohang Motaung (hereinafter referred to as Motaung) and Lorna Simpson (hereinafter referred to as Simpson) construct and express meanings of diverse hairstyles in their artworks. This was done by means of analysing the two artists’ artworks. Thirdly, to find out what or who influences Motaung’s choice of hairstyles, which was done by conducting an in-depth individual interview with Motaung. Fourthly, to find out what or who influences Simpson’s choice of hairstyles, which was done by reviewing the literature on Simpson. Fifthly, to explore how Motaung and Simpson interpret their physical appearance based on their hairstyles. Research design and methodology The empirical investigation focused on analysing black women’s diverse hairstyles by means of analysing artworks of Motaung (black South African female artist) and Simpson (black American female artist). This study contextualises black women’s artworks as visual responses to patriarchal, social subjugation and objectification of black women’s hair, by using black feminist epistemology through artistic production. Data collected through visual material were analysed using Barnet’s (2011:37-38) critical analysis of artefacts strategy. Barnet’s steps of critical analysis include description of the artefact, interpretation of the artefact, analysis of the artefact and personal report. The analysis of the artworks enabled the researcher to compare and contrast the artworks of the two selected participants. The researcher first analysed the black South African contemporary female artist, Motaung’s (b.1992), work as a visual form of resistance to masculine control of images of black women’s hairstyle representations and self-definition. The researcher believes that Motaung creates self-defined artworks that appreciate the beauty of black women’s hair and she demystifies the ambiguous meaning attached to black hairstyles. Secondly, Simpson’s (b.1960) artworks were analysed in the study to understand what or who influences her choice of hairstyles. The researcher found it appropriate, for her study, to focus on Simpson, because she is a prominent contemporary black American feminist artist, who explores the concept of black hairstyles, focusing on themes such as race, gender and identity formation. Furthermore, one in-depth, individual interview was conducted with Motaung. The analysis was based on black feminism that enabled the researcher to listen to Motaung’s views and be part of her portrayal of black women’s diverse hairstyles. The qualitative data collection and methodology were guided by ethical considerations of the Vaal University of Technology for undertaking research. Ethical procedures were followed regarding selected participants for both artwork analysis and the interview. Five themes emerged from this analysis, namely Motaung’s personal background, black hair politics, conceptual work, choice of medium and working process, art influencers and artwork clarification. Black women’s diverse hairstyles In contemporary times, black women’s hairstyle representations are highly politicised as black people strive to reclaim their identities. The changing meaning of what is good hair for black women is highly controversial; some black women consider natural hairstyles as good and authentic hair for black women, because they embrace the Afrocentric beauty standard that was degraded by whites since the colonial era. On the other hand, other black women are comfortable with altered hair that is viewed as a European beauty standard, because altered hair has become part of black women’s culture and identity. The literature review suggests that historically, narrow European-centric beauty standards have deemed black women’s natural features as unattractive and unprofessional, especially their textured, curly to kinky hair. These restrictive ideals have left black women in a compromised position, having to adhere to certain societal norms for the sake of upward mobility, whether that is getting ahead professionally or fitting into a myriad of social environments in which they can be accepted. Main findings From the literature review, the study found that there are controversial viewpoints regarding what is or is not suitable for black women in terms of their hairstyles. The controversy led to black women’s hairstyles being discussed constantly in binary opposition of good/ bad hair, natural/ unnatural, Afro-centric/ Eurocentric, authentic/ inauthentic, African/ Western, low/ high self-esteem, amongst others. The literature further indicates that there is a need to conduct a study that embraces diverse (both natural and unnatural) hairstyles to get rid of the politics, oppressions and binary oppositions placed on black women’s hairstyles. From the analysis of the two artists, Simpson’s works were found suitable for this study because her body of work links with that of Motaung’s, in terms of concept, style, theory, content and technique, despite the fact that these artists are located in different geographical contexts and settings. From the individual interview, the study found that Motaung was prompted by black hair politics, such as the politics of exclusion of black hairstyles, such as afros and braids in educational institutions and work places. Such politics inspired her to create artworks on black women’s diverse hairstyles. Motaung focused on natural hairstyles because she wanted black women to see what they can do with their natural hair. By using natural hairstyles, Motaung wanted to challenge the misconception that natural hair is not beautiful. The study also found that Motaung focused on unnatural hairstyles because there is bias against black women who wear synthetic hair. Motaung created artworks using synthetic hair to make a bold statement that synthetic hair is not fake hair but rather extra hair, which black women can use to self-express and self-define. Recommendations ● The study recommends that self-definition is a black feminist strategy that black women can use to self-insert and self-represent using diverse hairstyles. The act of insisting on black women’s self-definition validates black women’s power as human subjects, against structural patriarchal forces and beauty standards that are continuously set for black women. ● The study recommends that it is significant for black women to embrace diverse hairstyles, to get rid of the politics, oppressions and binary oppositions placed on black women’s hairstyles. ● From the artworks of Motaung and Simpson, the study recommends that it is significant for black female artists to produce artworks on diverse hairstyles to diminish oppressive structures that are placed on black women’s hairstyle representations.

Le présent mémoire se veut être une étude critique portant sur un thème qui n’a pas été traité à ce jour : l’œuvre sculptural d’Irma Stern (1894-1966), artiste d’ascendance juive-allemande née en Afrique du Sud. Il s’agit de dégager des perspectives nouvelles sur l’art, la carrière et l’importance historique d’une personnalité qui est d’ordinaire acclamée pour sa contribution à l’essor de la peinture sud-africaine moderne. Notre visée est double. Nous proposons d’abord le premier catalogue exhaustif des sculptures d’Irma Stern : sont présentées environ trente à cinquante œuvres qui furent réalisées entre 1922 et 1955 dans divers média et dont le trait commun est de représenter des femmes africaines. Nous proposons en second lieu une analyse interprétative du corpus, dans son intégralité. Il s’agit de corréler l’œuvre sculptural d’Irma Stern aux méandres de sa vie et de son travail de peintre déterminée à représenter des sujets africains. Notre but est de parvenir à une compréhension fine des désirs, des préoccupations et des angoisses qui animèrent l’artiste dans sa confrontation, longue de trente années, avec des thèmes africains ainsi que des dynamiques de pouvoir qui se dégagent de son œuvre. En portant tour à tour notre attention aux sculptures en argile (1922), en ciment (1936-45) et enfin, en pierre à savon et en verdite (1936-45), et en empruntant aux cadres conceptuels fournis par les théories postcoloniale, phénoménologique et sculpturale, nous mettons en évidence les évolutions qu’a connues le rapport de l’artiste à son sujet et ce qu’elles nous disent sur la relation, mouvante, qu’elle entretenait avec ses modèles. Les analyses que nous proposons sont susceptibles d’ouvrir de nouvelles pistes et de modifier le regard porté à Irma Stern et à sa place dans l’histoire de l’art sud-africain. / This thesis proposes an unprecedented critical study of the sculptural production of the South African-born, German-Jewish artist Irma Stern (1894-1966). It seeks to open new perspectives on the art, the career, and the historical significance of a figure who is commonly celebrated for her pioneering contribution to the development of modern South African painting. This thesis’ contribution is twofold. Firstly, it offers the first comprehensive catalogue of Stern’s sculptural œuvre, bringing into focus a corpus of roughly thirty to fifty works, produced between the years 1922 and 1955 in a variety of different media, which display a consistent focus on the African female subject. Secondly, it analyzes and interprets Stern’s complete sculptural oeuvre. Mapping the narrative of Stern’s sculptural production onto the plot of her life and work as a painter of African subjects, it seeks to offer a richer understanding of the desires, anxieties, and concerns that underpinned Stern’s thirty-year-long engagement with African subject matter as well as an account of the racial power dynamics that are at play in her oeuvre. Through dedicated studies of Stern’s production in clay (1922), cement (1936-1945), and wonderstone and verdite (1936-1945), guided by concepts drawn from postcolonial, phenomenological, and sculptural theory, it tracks the changes in Stern’s sculptural approach to her subject matter and analyzes them in terms of Stern’s changing relationship with her African models. These analyses ultimately offer new directions for approaching Stern and framing her position in the history of South African art.

Le présent mémoire se veut être une étude critique portant sur un thème qui n’a pas été traité à ce jour : l’œuvre sculptural d’Irma Stern (1894-1966), artiste d’ascendance juive-allemande née en Afrique du Sud. Il s’agit de dégager des perspectives nouvelles sur l’art, la carrière et l’importance historique d’une personnalité qui est d’ordinaire acclamée pour sa contribution à l’essor de la peinture sud-africaine moderne. Notre visée est double. Nous proposons d’abord le premier catalogue exhaustif des sculptures d’Irma Stern : sont présentées environ trente à cinquante œuvres qui furent réalisées entre 1922 et 1955 dans divers média et dont le trait commun est de représenter des femmes africaines. Nous proposons en second lieu une analyse interprétative du corpus, dans son intégralité. Il s’agit de corréler l’œuvre sculptural d’Irma Stern aux méandres de sa vie et de son travail de peintre déterminée à représenter des sujets africains. Notre but est de parvenir à une compréhension fine des désirs, des préoccupations et des angoisses qui animèrent l’artiste dans sa confrontation, longue de trente années, avec des thèmes africains ainsi que des dynamiques de pouvoir qui se dégagent de son œuvre. En portant tour à tour notre attention aux sculptures en argile (1922), en ciment (1936-45) et enfin, en pierre à savon et en verdite (1936-45), et en empruntant aux cadres conceptuels fournis par les théories postcoloniale, phénoménologique et sculpturale, nous mettons en évidence les évolutions qu’a connues le rapport de l’artiste à son sujet et ce qu’elles nous disent sur la relation, mouvante, qu’elle entretenait avec ses modèles. Les analyses que nous proposons sont susceptibles d’ouvrir de nouvelles pistes et de modifier le regard porté à Irma Stern et à sa place dans l’histoire de l’art sud-africain. / This thesis proposes an unprecedented critical study of the sculptural production of the South African-born, German-Jewish artist Irma Stern (1894-1966). It seeks to open new perspectives on the art, the career, and the historical significance of a figure who is commonly celebrated for her pioneering contribution to the development of modern South African painting. This thesis’ contribution is twofold. Firstly, it offers the first comprehensive catalogue of Stern’s sculptural œuvre, bringing into focus a corpus of roughly thirty to fifty works, produced between the years 1922 and 1955 in a variety of different media, which display a consistent focus on the African female subject. Secondly, it analyzes and interprets Stern’s complete sculptural oeuvre. Mapping the narrative of Stern’s sculptural production onto the plot of her life and work as a painter of African subjects, it seeks to offer a richer understanding of the desires, anxieties, and concerns that underpinned Stern’s thirty-year-long engagement with African subject matter as well as an account of the racial power dynamics that are at play in her oeuvre. Through dedicated studies of Stern’s production in clay (1922), cement (1936-1945), and wonderstone and verdite (1936-1945), guided by concepts drawn from postcolonial, phenomenological, and sculptural theory, it tracks the changes in Stern’s sculptural approach to her subject matter and analyzes them in terms of Stern’s changing relationship with her African models. These analyses ultimately offer new directions for approaching Stern and framing her position in the history of South African art.