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Student Number : 0312766T - MA dissertation - School of Fine Arts - Faculty of Humanities / This dissertation is primarily an investigation into the sculpture of Jeremy Wafer and specifically his oval series, Red Ovals (1995), African Forms (1996), Red Ovals (second series) (1998) and Large White Oval (2004). The aim is to establish how, from a post-structuralist and anthropomorphic position, these non-illusionistic sculptural forms may engage the viewer experientially by evoking the body visually, physically and spatially. Wafer’s reductive articulation of surface, material and form is analysed in terms of notions of secrecy and metaphorical referencing specifically relating to the human form. A ‘sense of disquiet’ is evoked by their ambiguity, and this aspect is confronted by looking at various dichotomies and their transition and hybridisation to form the ‘unifying pattern’ that Wafer’s sculptures present. The role of process, repetition and seriality are researched within this context. The works from my Simulacra exhibition in May 2005 at the Substation on the University of the Witwatersrand Campus are discussed according to the above aspects, as they are relevant to my own sculptures.

While Pablo Picasso internationally exhibited his paintings, he chose to expose his sculptures only through photographs. Picasso’s commitment to the photographic display of his sculpture comes to light through his fifteen year collaboration with Brassaï, the first photographer to collaborate regularly with the artist and the only one to engage thoroughly with Picasso’s sculptural oeuvre. This collaboration culminated in hundreds of images published largely on two occasions – a photo essay published in the avant-garde Journal Minotaure in 1933 and a catalogue covering almost fifty years of Picasso’s sculptural production published in French in 1948 and in English in 1949. These photographs, as well as unpublished prints, uncropped versions of the published photographs, and the contact sheets Brassaï assembled as he was photographing Picasso’s oeuvre are contextualized in light of contemporary theories regarding the presentation, representation, and dissemination of art. This case study sheds light on the way in which strategies of display shape art’s meaning, as well as the artist’s public image, reputation, and legacy.

While Pablo Picasso internationally exhibited his paintings, he chose to expose his sculptures only through photographs. Picasso’s commitment to the photographic display of his sculpture comes to light through his fifteen year collaboration with Brassaï, the first photographer to collaborate regularly with the artist and the only one to engage thoroughly with Picasso’s sculptural oeuvre. This collaboration culminated in hundreds of images published largely on two occasions – a photo essay published in the avant-garde Journal Minotaure in 1933 and a catalogue covering almost fifty years of Picasso’s sculptural production published in French in 1948 and in English in 1949. These photographs, as well as unpublished prints, uncropped versions of the published photographs, and the contact sheets Brassaï assembled as he was photographing Picasso’s oeuvre are contextualized in light of contemporary theories regarding the presentation, representation, and dissemination of art. This case study sheds light on the way in which strategies of display shape art’s meaning, as well as the artist’s public image, reputation, and legacy.

I have an interest in transposing elements of sound, time, and motion into other forms. The thesis exhibition, small Trinity, presents my efforts to capture the essence of an explosion as a sculpture. The resulting objects provide viewers with the chance to examine an explosion in a stilled state, but also to consider the enormous powers we humans wield. Comprising the exhibition are three series: Exploded Vases (2014-15), Cast Explosions (2015) and small Trinity (2016). In each, an experimental methodology is applied to tracing, capturing and then casting the shape of small explosions in a manner that is raw and un-manipulated. For the title series, small Trinity (2016), I set a goal of casting an explosion 1/1,000,000th of the power of the first atomic bomb, Trinity (1945). Through a series of successively larger explosions and casts, the goal was achieved and presented as a series of aluminium, concrete and resin sculptures.

This research and thesis is a response to a particular usage of the Wild Man concept, an archetype with a long history in western and many other societies. In recent times, writers of the mythopoetic/therapeutic wing of the Men's Movement have advanced gender politicised notions of the Wild Man, assigning a role for him as a key to many of the problems men face. This new role intrigued me but their depiction of the Wild Man irritated because I too had a strong belief in him but felt he was being misrepresented. The objective of this thesis is to arrive at my own considered view of the Wild Man through assessment of the relevant data. The primary focus is on recent Men's Movement writing, both those championing the wild Man such as Bly, Keen and Biddulph, and their critics, who deny his existence. Feminist views are also an important area of investigation. The scope of investigation must include historical perspective of the Wild Man and evidence from the physical sciences, anthropology, zoology, psychology, philosophy, literature and sociology. I also examine the connections with my own field, visual arts linked with the Wild Man. During the conduct of the research, the author experimented with some of the methods for 'contacting the Wild Man' such as meditation and bushwalking. The written research was part of a cycle of investigation including the production of drawings and sculptures/installation, with each area nourishing and stimulating others. My assessment discusses and makes suggestions for: the Wild Man as a way for men to refashion themselves; men's 'contact' with the Wild Man; what the Wild Man has to offer; an exploration of the nature of the Wild Man; and his relevance to art. Further work is required in bringing men of differing views together to discuss and research means for positive change in men. / Master of Arts (Hons)

This thesis focuses on the detection of marble sculpture forgery made of cultured marble. Cultured marble is a mixture of marble dust, polyester and accelerators. Thus chemical analysis of cultured marble would give declined levels of calcium when compared to authentic sculptures. Since sample removal is a problem when dealing with archaeological heritage, the instrument used was portable X-Ray Fluorescence device which provides in situ analysis of the samples. Device has been used to analyze six authentic and four forgery sculptures. Seven of the sculptures were provided by Anatolian Civilizations Museum and three of them were provided by a sculpture workshop, Ak

Les recherches sur l'architecture romane en Champagne du Nord, sauf ponctuellement n'ont pas été renouvelées depuis le début des années 1980. Une étude historiographique permet plusieurs constats aujourd'hui : les historiens de l'art et les archéologues ne se sont pas investis dans l'archéologie de la région en dépit du fait que des techniques plus performantes de datation ont été développées, en particulier, l'archéométrie et l'archéologie du bâti; la région n'a guère encore profité de ces nouvelles méthodes d'observation; le chercheur trouve également à sa disposition des ressources analytiques de l'histoire qui permettent d'aborder son propre sujet avec une meilleure connaissance des multiples conditions qui ont régi la création architectural et artistique de l'époque. Ainsi, on prend conscience du fait que le temps est venu de renouveler le regard sur l'image et sur la chronologie des monuments religieux romans champenois. Cette étude revisite, d'abord, les trois grandes églises romanes des diocèses de Reims et de Châlons : Montier-en-Der, Saint-Étienne de Vignory et Saint-Rémi de Reims dont les dates et le phasage des campagnes de construction sont encore discutées. Ensuite, a été analysé un nombre restreint d'églises-types dont les plans, les élévations et le décor monumental sont caractéristiques pour la région. En y appliquant la plus grande acuité de regard possible, il est possible d'infirmer beaucoup des critères de datation employés encore assez récemment et de formuler de nouvelles conclusions sur divers aspects de ces monuments. / Research of Romanesque architecture in the north of the Champagne region, with very few exceptions, has not been renewed since the early 1980s. In the first part of this current study, the historiography of the subject study reveals that: art historians and archaeologists have not been invested in the archaeology of the region despite the fact that there have been many improvements in the methods of observation and dating, in particular with archaeometry and buildings archaeology; the architecture of the region has therefore not benefitted from these new techniques; there are a great many more resources available today that also analyze the history of the period and permit a greater understanding of the multiple contexts that had an impact on architectural and artistic creation during the 10th, 11th and 12th centuries. As such, one is made aware of the need to renew the general comprehension and chronology of the Romanesque religious monuments in Champagne. In the second part of this current study, the three largest churches of the dioceses of Reims and Châlons are revisited : Montier-en-Der, Saint-Étienne de Vignory and Saint-Remi de Reims of which the dates and phases of construction are still a matter of discussion today. Following this monographic study is an analysis of a selected group of church-types of which the plans, elevations and monumental decoration are characteristic of the region. By applying to all of these churches a greater degree of observation than previously done, it is possible to invalidate a certain number of the criteria formerly used to date these monuments and to suggest new conclusions concerning many aspects of their construction.