This research investigates formative and definitive lived experiences as two narrative forms - art works and writing. The research seeks to uncover the essential features of these experiences (dominated as they are by my experiences of AIDS and the after effects of war) and bring the two narratives together as a reflexive and reflective dialogue. The 'lens' of my art practice (both written and visual) is predominantly that of a landscape painter -be it 'landscape of faces' (portraits), landscapes of the human form (figurative) or the more traditional descriptions of landscape (especially deserts). Phenomenological research is a particular mode of describing and understanding the contours of lived experience. By a process of self-reflection and critical analysis this research explores various understandings of landscape so as to uncover their structure and meaning and to come to a deeper understanding of how those elements influence my art making.

This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281 / Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009

This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281 / Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009

Thesis (Ph.D.)--Tufts University, 2001. / Adviser: Laurence Senelick. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 177-188). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (doctoral)--Universität, Bayreuth. / Includes bibliographical references (p. 289-315) and index.

Polysémie du genre : il définit le sexe social comme les genres artistiques. Une même logique de classement hiérarchique y serait-elle à l’œuvre ? Les conditions d'exercice des femmes artistes, dont un stéréotype veut qu'elles se cantonnent aux genres dits mineurs, permettent de le penser. Corollaire de cette question logique, celle de la concomitance historique : les genres artistiques sont-ils mis en question aux mêmes moments que ce que l'historiographie féministe nomme les « trois vagues » ? Sept œuvres particulières nous aideront à penser les confrontations aux hiérarchies du genre à l'âge classique et aux moments des trois vagues féministes : Nature morte aux abricots, de Louise Moillon, 1634, Portrait d'une négresse, de Marie-Guillemine Benoist, 1800, Clotho, de Camille Claudel, 1893, Autoportrait de Claude Cahun, 1928, Tir de Niki de Saint Phalle, 1961, Azione sentimentale, de Gina Pane, 1973, Le Régime chromatique, de Sophie Calle, 1997. En dépit de progrès – notion qui est questionnée plutôt que considérée comme acquise – certains traits attribués aux femmes artistes perdurent. Un regard transversal voit émerger les thèmes d'une hiérarchie toujours à l’œuvre. Ils sont de l'ordre du stigmate : elles sont toujours un peu folles, cuisinières, coquettes, médiocres, sorcières, définies et gouvernées par leur sexe. Le genre, tant qu'il n'est pas interrogé en tant que tel, semble être la garantie de la permanence de ces stigmates. Resterait donc à le contourner : par les textes, le corps (corps représentés, corps des images, corps des artistes), et par le cœur même de la pratique plastique, le rapport de l'artiste à la matière : la plasticité. / The French word genre has several meanings, including an artistic genre, but also gender – the social traits associated with one sex. Does it follow that the same hierarchy-based systems are at work in both fields of art genre and social gender? Anyone is allowed to conclude so, who considers the practising conditions of women artists, whom a stereotype accuses of restraining their work to so-called minor genres. As a consequence, the issue of historical simultaneity arises: were artistic genres questioned at the same periods as what feminist historiography calls “the three waves”? This thesis focuses on seven specific art pieces so as to examine how gender-related hierarchy systems were confronted in classicism and during each period concerned by the three feminist waves: Nature morte aux abricots, by Louise Moillon, 1634, Portrait d'une négresse, by Marie-Guillemine Benoist, 1800, Clotho, by Camille Claudel, 1893, Autoportrait by Claude Cahun, 1928, Tir by Niki de Saint Phalle, 1961, Azione sentimentale, by Gina Pane, 1973, and Le régime chromatique, by Sophie Calle, 1997. Despite a number of improvements – a notion which is questioned rather than acknowledged – certain features are persistently attributed to women artists. A crosswise look at their work reveals that the patterns of hierarchy are still operating. These features are a matter of stigma: woman artists are inevitably unhinged creatures, cooks, coquettes, mediocre artists or even witches, and always defined and driven by sex. Gender, as long as it isn’t questioned as such, seems to be serving as a guarantee for the permanence of those stigmas. One could try to get around the gender issue, using texts, bodies (represented bodies, bodies of images, bodies of the artists), and the very core of plastic practice, the relationship between the artist and the material: plasticity.

This dissertation explores the concept of reproduction as it relates to processes, images and materials in contemporary art. The concept embraces collaboration, embroidery, fragmentation, diffusion, multiplicity, inclusivity, decentralisation, copy, pastiche and appropriation. The convergence of these practices and ideas in contemporary theories and contemporary art, my own included, is explored. The concept ofreproduction intersects with traditional structures of knowledge and aesthetics, such as those of the Individual Artist, authenticity and the construct of Woman. In the process, these are questioned and inevitably redefined. A re-weaving of female identity, in particular, emerges. At the same time, the traditional notion of reproduction is itself unravelled in order to reveal the ambiguities and multi-layered meanings inherent in the concept. Reproductive or regenerative practices and ideas, as examined here, become an effective force for unfolding the complexities of a female-specific aesthetic and identity, previously reduced by traditional structures. / Fine Arts / M.A. (Fine Arts)

Over three decades of research has shown that memories have significant effect on the behaviour, attitudes, beliefs, and identities of individuals and collectives, revealing also how experiences of trauma and acts of narrativisation have pertinence to the ways in which memories are stored and reconstructed. In this thesis a link is developed between memory, trauma, narrativisation processes and the interpretation of works by Jane Alexander, a contemporary artist whose work is informed by observations about South African life. Alexander’s sculptures are revealed to be not only important vessels of collective memories and experiences, but also evocations of individuals’ countermemories and traumas that remain unarticulated and invisible. Through an exploration of the workings of memory and its relation to her art, it is revealed how the past continues to exert its influence on many of South Africa’s present sociopolitical concerns and interpersonal dynamics. Indeed constantly changing memories have a significant effect on future generations’ perceptions of, and connectedness to, the past. While theories about memory have been deployed in Art History as well as the Humanities in general, Alexander’s work has not previously been considered in light of the influence of these ideas. This thesis thus contributes a new dimension to literature on the artist.

Orientadores: Anna Paula Silva Gouveia, Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T23:47:50Z (GMT). No. of bitstreams: 1 Rebesco_VanessaLuciadeAssis_M.pdf: 5573291 bytes, checksum: c26cfc06d52978f2e8d3651a8e10693f (MD5) Previous issue date: 2015 / Resumo: A presente pesquisa tem como objetivo analisar as obras de Marina Caram (1925- 2008) e Odilla Mestriner (1928-2009) produzidas nos anos 60 e 70 e que pertencem aos acervos da Pinacoteca do Estado de São Paulo e do Museu de Arte Moderna de São Paulo. Pretende ainda examinar os processos de musealização dessas obras e estabelecer interlocuções entre o trabalho dessas artistas e o de seus contemporâneos. Além disso, interessa-nos investigar as condições de produção de Mestriner e Caram na década de 60 e 70, considerando suas especificidades plásticas, técnicas e poéticas. Para isso, adotaremos uma postura que não concorda com a existência de uma suposta "identidade feminina", pelo contrário, a noção de feminilidade será tomada como uma fala produzida histórica e socialmente / Abstract: This research aims to analyze the works of Marina Caram (1925- 2008) and Odilla Mestriner (1928-2009) that were produced in the 60's and 70's and belong to the collections of the Pinacoteca do Estado de São Paulo and the Museu de Arte Moderna de São Paulo. It also aims to examine the musealization processes of these works and establish dialogues between the work of these artists and their contemporaries. In addition, we are interested in investigating the Mestriner and Caram production conditions in the 60's and 70's considering their plastic, technical and poetic specificities. For this, we will adopt a posture that does not agree with the existence of a supposed "female identity", on the contrary, the notion of femininity will be taken as a speech produced historically and socially / Mestrado / Artes Visuais / Mestra em Artes Visuais

I aim to showcase post-African female identity through the exhibition, The princess in the veld. The exhibition displays selected works produced by South African women artists, underpinned by the proposed curatorial framework. This curatorial approach is feminist, and may allow for a liminal reading of local female identity. I premise my theorised curatorial framework liminally, in-between binary oppositions. This position allows for a feminist position and/or reading of female identities that simultaneously allude to, and reject a so-called local (essentialised) women’s art production within the ambit of global, Western dominated feminism. I argue that, for such a display to be successful, an alternative curatorial space is needed. For this purpose, I introduce the notion of heterotopia, a counter-space, to renegotiate binaries and to render identity formations temporarily in-between prevailing norms. This heterotopic counter-curatorial space is realised through an exhibition that employs the medium of video, rather than conventional exhibition media installed in real space. An exploration of specified key local and international survey exhibitions foregrounding women’s concerns from the 1980s onwards, serves to inform my theorised curatorial framework. The research embarks on an investigation of a recent large-scale exhibition hosted in France, to gain an understanding of the pitfalls prevalent in curating an exhibition of artwork produced by women. From a feminist standpoint, I critically analyse this display to suggest more inclusive alternative curatorial strategies to shift the conventionally Western approach followed by this curator. The revisionist, feminist, re-reading of certain South African curated exhibitions from both the apartheid and post-apartheid periods proposes a feminist trajectory that follows the shaping of local women’s identities, which remain deeply inscribed in this country’s politics and histories. This section of the survey underlines local post- African female identity as liminal and in flux, through the investigation of seminal exhibitions and artworks produced by South African women. I argue that this liminal account allows for an inclusive and extended understanding of women, while explicating the South African multicultural dispensation wherein the post-African woman operates. / Thesis (DPhil)--University of Pretoria, 2017. / National Research Foundation / University of Pretoria / Visual Arts / DPhil / Unrestricted