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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2018 / This project consists of two parts: a selection of newly commissioned interviews with South African artists, titled Intent and Material: South African art in conversation, and a theoretical reflection on the significance of the artist interview in our local context, titled A Hermeneutics of Empathy: The artist interview in South Africa. Intent and Material contains interviews with Nicholas Hlobo, Zander Blom, Jody Maria Brand, Mikhael Subotzky, Bogosi Sekhukhuni and Ernest Cole. The accompanying thesis proposes the notion of a ‘hermeneutics of empathy’ as a way of thinking about artist interviews. This is a theoretical model, a wonderful phrase that draws together the work of N. Chabani Manganyi and Rita Felski, and suggests why the artist interview might be of interest in South Africa in 2018. At its best, an artist interview, through the push and pull between the two participants, reaches a level of thought about artistic practice that is rarely achieved in art criticism with a single author. The final, edited transcript has the potential to become an autonomous text that aides our understanding of an artist and the world they inhabit. Based on my reading of Manganyi and Felski, as well as Ronald Christ, Stacy Hardy and Ernest Mancoba, a new anthology of interviews with South African artists would be a meaningful contribution to local art criticism. It could achieve two separate but equally valuable goals: serve as an introduction to the local scene for curators and art historians from elsewhere, and contribute to a local literature on art that is of interest to non-specialists. / XL2018

This research surveys ideology and iconology in the presentation of the autobiographical and biographical female nude as envisioned by American women artists in the painting, drawing and printmaking media from 1969 to 1983. Contemporary dialogue by critics, artists and feminists on the definition of feminine content led to the articulation of the undraped nude torso as the central icon of the study. This static icon was pushed through a variety of styles into multi subtleties of iconology. The female nude by women artists is autobiographical even in biography emphasizing self-identification and authenticity. General constraints were placed on the survey the definability or explicit articulation of the female torso as opposed to suggestive imagery, the time frame in which the nude was created, and the chosen media for study. Art historical methodology was employed to descriptively examine image and intent of the nude presentations in references through time as well as visual traditions of symbology. This survey began at the turn of the century for historical background to emphasize the greater proliferation of the nude from 1969 to 1983. There were limitations specifically associated with the earlier time frame (1900-1969)--the lack of art educational opportunities for the female student, the socio-political climate dealing with the acceptability of the nude, and a very general lack of attention from the publishing market towards women artists. Six artists were identified: Lillian Genth, Romaine Brooks, Margarite Zorach, Isobel Bishop, Louise Nevelson and Louise Bourgeois. The coalescence of socio-political circumstances around 1969, allowing for the greater incidence of the female nude occasioned the selection of 1969 as a perimeter of research. Within 19 69-1983 a greater number of artists and a far greater number of works were evident, seventeen in all, including Alice Neel, Marisol, Mary Frank, Nancy Spero, Joan Brown, Sylvia Sleigh, Martha Mayer Erlebacher, Mary Beth Edelson, Joan Seminel, Jillian Denby, Daphne Mumford, Juanita McNeeley, Martha Edelheit, Shirley Gorelick, Janet Culbertson, Anita Steckel, and Pat Steir. The amazing diversification of the work presented is united by the female nude icon which by subtle visual manipulation and compositional placement offers ideology which expands the Twentieth century definition of female.

何思博. / 光碟碟名: 憧憬--何思博繪畫 Aspiration : paintings by Ho Sze Pok. / "2003年6月". / 論文(藝術碩士)--香港中文大學, 2003. / 參考文獻(leaves 25-27). / 附中英文摘要. / Guang die die ming: Chong jing--He Sibo hui hua Aspiration : paintings by Ho Sze Pok. / "2003 nian 6 yue". / He Sibo. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 25-27). / Fu Zhong Ying wen zhai yao. / 摘要 --- p.II / Abstract --- p.III / 致謝詞 --- p.IV / 附圖目錄 --- p.V / 緒論 --- p.1 / Chapter 第一節 --- 論文研究動機 --- p.1 / Chapter 第二節 --- 論文硏究方法與步驟 --- p.2 / Chapter 第一章 --- 女性意象對女性藝術語彙之開拓 --- p.4 / Chapter 第一節 --- 藝術創作中的女性意象 --- p.4 / Chapter 第二節 --- 女性意象在藝術上之形成因素 --- p.6 / Chapter 一、 --- 遠因一一社會建構蘊釀下的女性意象 --- p.6 / Chapter 二、 --- 近因´ؤ´ؤ女性運動對女性藝術語彙的啓發 --- p.8 / Chapter 第二章 --- 從意象走進自我´ؤ´ؤ台灣女性藝術語彙之衝擊 --- p.10 / Chapter 第一節 --- 台灣女性藝術語彙的衝擊 --- p.10 / Chapter 一、 --- 衝擊過程 --- p.10 / Chapter 二、 --- 女性意象在藝術上的推展 --- p.12 / Chapter 第二節 --- 從意象走進自我 --- p.14 / Chapter 一、 --- 文化差異下的轉異 --- p.14 / Chapter 二、 --- 邁向自我探索的創作方向 --- p.15 / Chapter 第三章 --- 個人創作理念之形成與實踐 --- p.18 / 創作理念形成與實踐 --- p.18 / Chapter 一、 --- 女性意象對創作的啓發 --- p.19 / Chapter 二、 --- 從自我探索方向出發 --- p.20 / 結論 --- p.23 / 參考書目 --- p.25 / 附圖 --- p.28

Thesis (Ph.D.)--Pennsylvania State University, 2008. / Includes bibliographical references (leaves [202]-219)

Thesis (D.C.A.)--University of Western Sydney, 2009. / A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Creative Arts. Includes bibliographies.

In this study I interviewed fourteen professional, First Nations women artists who work predominantly in the so-called men's style of Northwest Coast art. I conclude that these artists challenge the rigid dichotomy set forth in the literature between men's and women's art by successfully working as carvers and designers in the formline style.

The intent of the thesis is twofold: interpretive and documentary. Volume 1 focuses on the work John Clark considered to be his mature oeuvre. The general structure is chronological, with the first three chapters devoted to formative influences, and a further chapter to what Clark had to say about meaning in his own work and that of others. The remaining four chapters offer an interpretation of the mature paintings in terms of two concepts: trasformation and the void. Annotated bibliographies and exhibition lists are included. The catalogue raisonne, volume 2, is an ongoing project to provide as complete a chronological record of Clark's known works as is possible: paintings, drawings (including working studies), prints, and reporduction histories are included. Appendices record missing and destroyed works, a bibliography of Clark's personal library, transcripts of three interviews and a lecture. / 29 cm.

This study examines the means by which four South African woman artists, namely Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl use memory and history as themes to represent social and political events in South Africa. The foundation of this investigation is a critical study of the meaning of history and memory within the context of the candidate’s contemporary social and political milieu. This investigation is facilitated by a number of published and unpublished works by various authors relating to the issues in visual arts; particularly social and political history as applied to personal memory and history. Chapter one explores these terms particularly in relation to the visual arts. Chapter one identifies terms that are vital to the dissertation and some of the literature and methodologies used in the research. These are divided into the subheadings of: terms; women, politics and art; art and documentary photography; literature review; methodology and conclusion.. Examples of each artist’s work are selected for a comprehensive analysis in chapter two. These examples are methodically studied by media and techniques used to produce the artworks and include a critical analysis of the subject matter of the artwork. The examples were selected primarily for their content in connection with the candidate’s own productions of practical work towards the MAFA degree. Chapter two is divided into four main sections, one dedicated to each artist: Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl. These four sections are divided into three subsections: medium and techniques; subject matter and conclusion. Chapter three points out similarities and differences in the work of the four selected artists in order to conclude the candidate’s findings during the dissertation. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.