This thesis presents a qualitative case study based on interviews I conducted with contemporary Inuit artist and art educator Andrew Qappik. I traveled to Pangnirtung, Nunavut Territory, Canada in order to ask the 45-year-old "master printmaker" about the art education he received as a child and adult while living in a mostly Inuit town of approximately 1,300 in the eastern Canadian Arctic. Additionally, I interviewed Qappik about the art-teaching activities he has been providing to children and adults, in Pangnirtung and beyond, for the past fifteen years. My research sheds light not only on Qappik's personal experiences, but, by extension, on the nature of the art education models recently and currently operating in his local and regional communities. In this thesis, I present information about the "arctic-adapted" nature of art education within a unique borderland society--a location in which the traditions, values and contemporary practices of the indigenous Inuit culture are intertwined with those of the dominant, mainstream, Canadian culture. / text

This dissertation considers nature imagery in selected South Afiican ceramics and printmaking. The main focus is on ecological issues in recent art productions. The text consists of five chapters. The first examines the ideologies of Fritjof Capra in relation to issues about deep ecology and ecofeminism; this chapter seeks to clarify the scope of the words 'land' and 'landscape' as used in a late 20th century context. The second chapter examines some historical works and ideas that have influenced perceptions of nature imagery in South Afiica. Chapters three, four and five constitute the main body of the thesis, and examine nature imagery in selected examples of contemporary printmaking and ceramics. Chapter three investigates selected landscape images ofceramist Esias Bosch and printmakers Gerda Scholtemeijer and Kim Berman. In chapter four the focus is on the flora as the point of reference. Prints of Gerhard Marx, Douglas Goode, EIsa Pooley and Karel Nel, who were all participants in the Art meets Science: Flowers as Images exhibition, will be examined. Important issues such as the separation ofbotanical and fine art, and art and science will be discussed with reference to their work. This will be followed by discussion of works of Susan Sellschop (a ceramic mural) and Bronwen Jane Heath (a wood engraving) in order to demonstrate the different intentions and outcomes ofthese to artists. Three dimensional works of the three ceramists, Lesley-Anne Hoets, Samantha Read-and Katherine Glenday are discussed in the final section of chapter four. Chapter five examines the interrelationship oflandscape and land. This chapter comprises two main sections. The first deals with aspects of landownership in South Africa reflected in recent ceramics and printmaking. Examples of the work of Marion Arnold and Ellalou O'Meara reinterpret images of early explorers and colonists situating them in a contemporary arena, demonstrating connections between past and present. Landownership is the overt subject in the Fee Halsted Berning, whose ceramic relief panel reflects a different perspective of landownership from the prints ofthe Schmidtsdrift artists. The second section surveys work of four artists whose images draw attention to ecological matters. Wendy Ross, Diana Carmichael, Marion Arnold and Carol Hofrneyr create images that higWight different aspects of the fragile balance of nature. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 2000

Key words: William Hogarth Exhibition; Hogarth in Johannesburg (1987-1988) Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth Caversham Press, KwaZulu-Natal, South Africa Printmaking Printmaking in South Africa Resistance art Narratology, narrative, discourse, story, plot, Transference of narratives Sequential art narrative and comics This dissertation considers the prints by South African artists, William Kentridge, Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in the context of William Hogarth’s historical suites of prints referred to in the title of the exhibition, and contemporary theories about Sequential Art and Narrative. Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal, particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.

The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa through their visual presentations. The work of Siopis and Skotnes reflectects an interest in Postcoloniality. Furthernore, their visual imagery addresses questions of culture and power in South African visual representation. Works such as those created by Siopis and Skotnes can be seen as uncovering some of the contradictions within the process of decolonization. Nederveen, Pieterse and Parekh (1995 ) describe decolonization in the following way: 'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and state. (Nederveen, Pieterse and Parekh 1995: 11)' The focus in this dissertation is on the works of Siopis and Skotnes and their use of specific deconstructive methods to undermine prejudicial historical imagery and question established perceptions within South African history. In other words, the visual presentation of these two artists explores the boundaries or margins of established history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective art works. In the first chapter selected works from Siopis's 'History Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.