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Orientador: Luzia Margareth Rago / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013 / Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze / Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze / Doutorado / Historia Cultural / Doutora em História

D. Tech. (Department of Visual Arts and Design: Fine Art, Faculty of Human Sciences), Vaal University of Technology. / Studies on art made by women have been deprived of their place in the history of art, globally, however, within the South African context, white women were placed firmly within the arts while black women were marginalised. This study makes two assertions, that culture was used as a weapon during apartheid in the 1980s, and that black women, as artists, contributed to South African art history through conferences and exhibitions. The process adopted in securing these two stated positions was to use the frameworks of Critical Race Theory (CRT) and grounded theory as methods to elicit personal experiences through interviews with six women involved in the arts and who contributed to the apartheid struggle during the 1980s. The process used to structure the research and collect data, was an argumentative review of selective literature. Exhibition reviews, conference presentations and proceedings, as well as journal publications between 1982 and 1990. The review concentrated on ‘what’ and ‘how’ statements made on black artists, specifically black women, to understand the reasons for the neglecting of black women artists in the construction of South African art history in the 1980s. Culture as a weapon of the struggle constructed a substantial part of this research as the study considered aspects that constituted struggle culture during the 1980s and the role of black women within this culture. Important to the role of black women as cultural activists was the inclusion of the oppressive nature of class, gender and race as experienced by black women during apartheid to expose the complexities that impacted black women’s roles as activists. A discussion of conferences, and festivals (with accompanying exhibitions), and the cultural boycott against South Africa, the official adoption of culture as a weapon of the struggle, and the resolutions taken at these conferences is investigated. Also of importance was the inclusion of women as a point of discussion at these conferences: their poor position in society, and support for the inclusion of more women into the visual arts. In support of black women’s contribution to South African art history, a discussion on black women as cultural activists is included. This includes interviews with six activists who were part of the liberation struggle during the 1980s who shared their experiences. The study asserts that black artists, specifically black women artists, were prejudiced during the 1980s. This did not however serve as a deterrent to their contribution to a South African art history. Anti-apartheid movements such as the African National Congress (ANC) and the anti-apartheid movement (AABN), Amsterdam, played an integral role in creating alternative cultural platforms that supported a ‘people’s culture’, that enabled the use of culture as a ‘weapon of the struggle’ against apartheid.

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)

Dissertation submitted in partial fulfilment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Durban Institute of Technology, 2012. / I believe that the election in 1994 of the first democratic government in South Africa has presented a challenge to all South Africans in different ways. I believe that one of the principal challenges that the 1994 elections presented to my conservative Calvinistic Afrikaner community was to address its personal, family, community, national and international identity/ies. Arising out of this perspective and perception, I have explored my and my family memory/ies to answer questions about my identity. My study is a journey of awareness: a self-study exploring my identity through critical self-reflection and the development of my art practice. My self-study is multi- disciplinary: it employs interchangeable methodologies allowing for various forms of knowledge generation. My journey of awareness is a “living theory” in which I have developed my “living standards of judgement” and addressed my “living contradictions” (Whitehead 1985; 1989; 2008a; b; c; d). My study illustrates the symbiotic research and creative process of developing an understanding of my identity as a white Afrikaans woman through practicing my art. My art practice assisted in the action/reflection process as well acting as a tool for social action and transformation. / M

Thesis (EDD)--University of Montana, 2009. / Contents viewed on December 28, 2009. Title from author supplied metadata. Includes bibliographical references.

This thesis reviews two local collections of ceramics by Nesta Nala between 1985 and 1996. The main text is presented in four chapters. Chapter One outlines the development of Nala's career and discusses the collections of her work outlined in this study. Chapter Two provides a brief overview of Zulu domestic-ware traditions, and outlines the basis of Nala's technology and decorative methods. Chapter Three reviews texts that discuss Nala and her work and then critically examines the application of the term "traditional". Chapter Four interprets Nala's decorative themes of examples in the Durban Art Gallery and University of Natal collections. An attempt is made to contextualize genres of Nala's work represented in these collections on the basis of their intended market destinations. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1997.

In this dissertation I analyse and contextualise stereotypical notions associated with the concept of home, and what that constitutes, in the work of South African artists Antoinette Murdoch, Bronwen Findlay, Doreen Southwood and Penelope Siopis, each of whom displays a different perspective of the concept in their artwork. I further consider how these selected South African artists engage with the dichotomies surrounding issues of home and the gendered position assigned to women in this area. I address the strategies the selected artists use in bringing the realm of the private sphere into the public arena and how they transgress the boundaries of private and public spaces. In addition I consider how concepts of home are reflected in my own work and how they are informed by a feminist perspective. The choice of white female artists as the subject of this research is a conscious one, in that I wish to avoid an investigation into cross-cultural gendered subjectivities which will inevitably become entangled with questions of race, politics and culture. As western feminist thought often tends to ignore the specific experiences of ethnic groups located outside western cultural experience, my focus on artists whose context is in part shared by my own is intended to provide an insider perspective. In the context of this research, 'home' is defined as a traditionally acknowledged place where woman is identified in relation to domesticity and the family unit. The term 'home' is therefore partly applicable to a type of domestic environment regardless of its geographic and cultural associations. Home has been defined as a 'group of persons sharing a home or living space (whereas) most households consist of one person living alone, a nuclear family, an extended family or a group of unrelated people' (Scott and Marshall 2005:276). The home is regarded as a place of security where the most intimate of relationships takes place, but it is also an arena of complex human relationships associated with domestic, family, personal and cultural identity. The home is further regarded as a private space and as being somewhat inaccessible, as opposed to the public domain which is open to scrutiny. The home houses a corridor of emotion, however, and may often become a place of entrophy. A subtle shifting and subverting of the conventions which society places upon women and men to conform to particular behavioural constructs will be deconstructed to reveal the concept of home as a site where the boundaries between reality and illusion become blurred. My own artistic practice is concerned with the deconstruction of the home as an idealised space and the façade that often conceals a dystopian reality that lurks beneath such idealisation. I share assumed cultural and class values with the selected artists and will critique the subject from a personal perspective, in part as a self-narrative. Within the context of this research, the term 'middle class' is defined as 'the class of society between the upper and working classes, including business and professional people' (The Oxford English Dictionary 1994:509). / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.

This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.