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Tales They Don't Tell You : Essay on artistic practice around photography, queer theory and multiculturalism.Dhunsi, Aksel-Dev January 2024 (has links)
In this text I retell the story of a close friend of mine that went missing a few years ago. I also dive into world geographies and how they interconnect unexpectedly, for example through water. In the Hindu scripture Shatapatha Brahmana, written between the 6th and 8th centuries BCE, one encounter scientific knowledge of geometry, observational astronomy, and many tales, where time is told in a cyclical, nonlinear way. The book recounts how the sweat dripping down the god Shiva’s head is the water of Ganges River, where the ashes of generations of deceased people travel along the currents like a miniature collection of the past. I depart from a lens-based practice to explore remains of traces of stories, contrasts between inherited cultures and gay love. Through the migratory movement from India to Norway made by my father in the 80’s, the same period as the fathers of my Norwegian cousin’s migrated from, Algeria, Morocco, and Argentina. I came to know about the importance of the permanence as some of them stayed and influenced our cultural microcosmos of diaspora perspective. While some of them departed back again to their birth countries leaving mythical-like aura behind. From the get-go our shared upbringing in the Scandinavian landscape made us witness the ever-shifting kaleidoscope of our human existence and filling a gap between having two cultures. And a question to the difference between being of or having a minority background. The artistic expression can be intricately intertwined with the nuanced language of gestures, transcending linguistic and cultural motifs. Through a local Indian newspaper shipped to my hometown in Norway ever since I was a child, arised a playful game of trying to understand and learn these symbols and cultural motifs.
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The Wall as protagonist - Devices of an architectural narrativeJalal, Tooba 13 September 2019 (has links)
Narratives are there in everyone's lives. They are made up of stories that interest us, stories that we want to share with others. However, narrative is not only limited to the written or spoken word. It is made up of a complex system of units and devices which can be explored in many different genres and media. One such medium is Architecture.
This thesis is an investigation in decoding the elements that are essential for a narrative. Comparing and analyzing the concept using other medium especially the cinematic medium as a point of reference to understand how it can be applied to architecture. Testing out these discoveries to create a visual arts school in Lugano. / Master of Architecture
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Transforming Content for Hybrid Media.Allen, Patrick T. January 2003 (has links)
No
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An elusive archive : three trans men and photographic recollectionVan der Wal, Ruurd Willem Ernst 03 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: The archive as mnemonic device and taxonomic structure plays a significant role in the
visualisation of identity. This thesis draws on the example of the personal photographic
archives of three trans men to suggest ways of understanding archives as discursive and
visual practices through which fluctuating narratives of self can be uncovered, traced,
erased, renegotiated and fictionalised. This thesis considers how these participants
negotiate the roles of author, archivist and photographer in the creation of their personal
photographic archives, and how such archives intersect with discourses on the social,
somatic and political. / AFRIKAANSE OPSOMMING: Die argief speel as beide ‘n mnemoniese apparaat en ‘n taksonomiese struktuur ‘n
beduidende rol in die voorstelling van identiteit. In hierdie tesis word die fotografiese
argiewe van drie trans mans bespreek om maniere voor te stel waarop argiewe as
diskursiewe en visuele praktyke funksioneer waardeur veranderlike narratiewe van self
ontbloot, nagespoor, uitgewis, heroorweeg en verbeel kan word. Hierdie studie oorweeg
die manier waarop hierdie deelnemers die rolle van outeur, argivaris en fotograaf
onderhandel tydens die skep van hul persoonlike fotografiese argiewe, sowel as die wyse
waarop hierdie argiewe as kruispunte dien waar diskoerse rondom die sosiale,
liggaamlike en politiese bymekaarkom.
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The space in-between : psychoanalysis and the imaginary realm of artGrindrod, Josie 03 1900 (has links)
Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This investigation uses an object relations psychoanalytic framework to explore
ways that art embodies both social and personal meaning. The relationship
between the non- verbal experience of art and the pre-verbal realm of infancy is
explored and linked to bodily, perceptual and inner forms of non-discursive
knowledge which are of value for the subject. The study investigates how this inner
experience is related through art to language and representation as aspects of
external experience.
The study argues that these two dimensions, the inner/bodily and the
outer/linguistic, are held together in the art object which, as metaphor, is a
conjoined structure that embodies the maternal and paternal realms in paradoxical
and dynamic interplay. The art object, which elicits imaginary and phantasied
responses from the viewer, serves both the self (through presentational symbols)
and social needs (through representational symbols), thus allowing the creation
and communication of new meanings.
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The ear that you are able to hear me with : theorising art practice through auto/ethnographyFarr, Alisa 12 1900 (has links)
Thesis (MA (VA)(Visual Arts))--Stellenbosch University, 2008. / This thesis investigates social aspects of the production and distribution of artworks,
approaching these from the context of the every-day life of the artist.
Its main aim is to form a theoretical framework and personalised application of auto/
ethnography to enable the artist to study her own practice within a specific context.
The thesis serves as a counterpart to the practical work that is expected of a Master of arts
student at this particular university and in this department, the University of Stellenbosch,
Department of Visual Arts. As such, it works in tandem with the practical component to
posit an understanding of the artworks as they have been formed in a complex postmodern
society. I, as the artist and writer, discuss my work by drawing from autobiographical
experiences and theoretical frameworks as texts. Auto/ethnography, the chosen
methodology, is informed by post-structuralism, Marxist and neo-Marxist theories and
feminist discourses, among others. It calls for researchers to apply self-reflexivity in their practice and, hence, must include the situated position of the ‘I’ of the researcher, as this
inevitably impacts on research findings. My writing on my art-making process becomes a
form of ‘emergent’ research that studies the relationship between the self and the social. This
takes place through the use of autobiographical texts and the above-mentioned theoretical
frameworks, combined with relational and dialogical theories of art, and frameworks that
study art production and distribution from sociological perspectives. I write myself as
constituted within ideology and subject to societal structure, but also possessing agency.
I write on my art as a product determined by my position in society; my intentions and
aims for the artwork and considerations on how its distribution might affect me; and its
function as a text that carries meanings that differ from those which I, at any given time,
might ascribe to it.
The framework in which I write on my art-making process also draws on complexity
theory. Within this framework I approach the self as relational, society and the environment
as a complex self-structuring process, and the meaning of text as created and re-created
in a web of interactions, between the self (of the writer/artist and reader/viewer) and the
society (as built up of different interrelating subsystems).
Writing auto/ethnographically to produce an academic dissertation within this specific
academic community can, I believe, serve as a means through which I can question my
own objectivising claims, or claims that lie in theoretical and personal frameworks that I
draw from.
Implicit in this thesis is the question: how can an artist, working within the confines of an
academic framework, ensure that an ethical component exists between the self and other
in her working practice?
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Drawing near : inscribing urban spacesHoffman, Jeanne 12 1900 (has links)
Thesis (MA (Visual Arts))--Stellenbosch University, 2008.
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Art and book : a commentary on artists' booksEmslie, Anne 03 1900 (has links)
The thesis spans two volumes ... Volume two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component.' -- Abstract. / Thesis (MA)--Stellenbosch University, 2007. / ENGLISH ABSTRACT: The thesis investigates the contemporary practice of book art, examining in particular
the manner in which it fits both into the tradition of the book and the tradition of art
making. The thesis spans two volumes. Volume One discusses the phenomenon of the
artist's book from three vantage points: the attempts to define it, the attempts to
catalogue it and the attempts to interpret it. Volume Two is an artist's book and
although it is part of the project I have set myself, it is not being submitted with the
theoretical component of the MA dissertation, but as part of the practical component.
(Briefly, one of the tasks it embarks upon is an examination of the phenomenon of
thesis writing, as understood and endeavoured by myself in the production of the first
volume - in this sense it is self-reflective. Another is an examination of some aspects
of my attempts to make examples of artist's books, which includes an investigation of
some of the recurrent themes and preoccupations of my work)
Volume One is set out in three chapters. The first chapter pursues a definition of book
art and the artist's book in order to draw some perimeters around the subject, and to
build a picture of its nature. In the course of doing this, the ideas of some book artists
and book art commentators are considered in an attempt to create a richer tapestry of
understanding.
In the next chapter some of the ways in which book art has been categorised are
discussed. This is in order to more finely delineate the nature and scope of book art. It
is also to bring some clarity to bear upon the different components and manifestations
of a vast and sometimes confusing oeuvre. I then suggest a system of classification of
my own which offers an adjacent model for investigating artists' books and the
endeavour of book art.
With the above model in place, I undertake a foray into the arena of interpretation.
Here I suggest the suitability of adopting certain methodologies of interpretation that
come from the field of contemporary literary studies in general, and the interpretation
of poetry in particular. I draw comparisons between the book artist and the poet, and
suggest that they occupy a similar territory of meaning making.
In the course of laying out my arguments in the three chapters, I refer extensively to
examples of artists' books in order to make particular points. Where I consider it apt, I
draw upon my book art as a source of example. In this way, I am able to weave into
the text some information and reflection about my own practice and concerns as a
book artist. / AFRIKAANSE OPSOMMING: Daar word in die tesis ondersoek ingestel na die hedendaagse praktyk van die
boekkuns en in die besonder die wyse waarop dit aansluit by die tradisie van die boek
en die tradisie van die kuns. Die tesis beslaan twee volumes. Volume Een bespreek
die fenomeen van die kunstenaarsboek vanuit drie invalshoeke: pogings om dit te
definieer, pogings om dit te katalogisieer en pogings om dit te interpreteer. Volume
Twee is 'n kunstenaarsboek en, hoewel dit deel uitmaak van die projek wat ek
ondemeem het, word dit nie voorgele saam met die teoretiese komponent van die
MA- dissertasie nie maar as deel van die praktiese komponent. (Een van die take wat
dit ondemeem is, kortliks, 'n ondersoek van die fenomeen tesis-skryf soos ek dit met
die produksie van die eerste volume self verstaan en benader het - in die sin is dit
selfreflektief. 'n Ander taak is 'n ondersoek van sekere aspekte van my pogings om
kunstenaarsboeke te maak, insluitende 'n ondersoek na van die deurlopende temas en
preokupasies van my werk.)
Volume Een bestaan uit drie hoofstukke. Die eerste hoofstuk streef na 'n definisie van
die boekkuns en die kunstenaarsboek met die doel om die onderwerp nader te ornlyn
en 'n beeld daarvan op te bou. In die proses word die idees van 'n aantal
boekkunstenaars en boekkuns-kommentatore oorweeg in die poging om n ryker
begripstapisserie te weef.
In die daaropvolgende hoofstuk word van die wyses waarop die boekkuns
gekategoriseer is, bespreek, om die aard en rykwydte van die boekkuns nog nader te
omlyn. Dit work ook gedoen om lig te werp op die verskillende onderdele en
manifestasies van 'n omvangryke en soms verwarrende oeuvre. Ek stel vervolgens my
eie klassifiseringsisteem voor, wat 'n verdere model hied vir die ondersoek van
kunstenaarsboeke en die boekkunsbedryf.
Aan die hand van hierdie model betree ek dan die arena van interpretasie. Ek stel voor
dat sekere interpretasiemetodes ontleen aan die tydgenootlike literatuurwetenskap, en
spesifiek die interpreteer van poesie, oorweeg word. Ek vergelyk die boekkunstenaar met die digter en stel voor dat hulle op soortgelyke wyses met die skep van betekenis
omgaan.
In die loop van die uiteensetting van my argument in drie hoofstukke, verwys ek
ekstensief na voorbeelde van kunstenaarsboeke om spesifieke punte te maak. Waar ek
dit as gepas beskou, verwys ek, by wyse van illustrasie, na my eie boekkuns. Op
hierdie manier is dit vir my moontlik om inligting en besinning oor my eie praktyk en
pre-okkupasies as boekkunstenaar met die teks te verweef.
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Contemporary avant-garde jewellery in South AfricaBoezaart, Kim 12 1900 (has links)
Thesis (MA)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde
jewellery with specific reference to contemporary South African (neoavant-
garde) jewellery.
In Chapter One defensible working descriptions of the terms "avant-garde"
and "neo-avant-garde" are established in order to establish some
manageable conclusions regarding their application to jewellery design.
These descriptions are derived from a consideration of the concepts in
contemporary aesthetic discourse.
Chapter Two considers the role, justifications and implications of
adornment with a view to isolating the development, influences and nature
of neo-avant-garde jewellery. A distinction is drawn between the
aesthetics, ontology and art-relevant status of such jewellery and
commercial or mainstream jewellery.
Chapter Three analyses specific examples of contemporary South African
avant-garde jewellery in the light of the above-mentioned distinctions.
Works are considered in relation to the transgression of material, the
transgression of taste, the transgression of integrity of form and the
integration of narrative and parochial content and attempts to demonstrate
that an appropriate critical posture in regard to such jewellery is art, rather
than craft-relevant.
In Chapter Four general influences regarding themes and concepts
apparent in the author's body of practical work are discussed. An
annotated catalogue supplements the general discussion. / AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA
Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant-
garde juweliersware, met spesifieke verwysing na kontemporêre
Suid-Afrikaanse neo-avant-garde juweliersware.
In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde"
beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en
definisies van hierdie terme (met betrekking op kontemporêre estetika)
vas te lê.
Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van
fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde
juweliersware word bespreek en gekontrasteer met komersiêle
jeweliersware.
In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na
spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde
juweliersware. Hierdie voorbeelde word oorweeg in terme van hul
oorskryding van tradisionele grense aangaande materiaalgebruik, smaak,
integriteit van vorm en die integrasie van relaas. Die studie poog om die
relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt
te demonstreer.
In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel
van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n
bespreking van invloede, temas en konsepte van die deurlopende
ooreenkomste in die outeur se werke verduidelik.
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The female body as spectacle in nineteenth- and twentieth-century Western artCronje, Karen 03 1900 (has links)
Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: A spectacle denotes an impressive or deplorable sight, and necessarily involves the
power and politics of viewing. The female body exists as a sexualised object of these
processes of looking within Western culture, not only in high art, but also in
discourses such as medicine and science. In both art and medicine the female body
has been treated as a passive object to be studied, analysed and classified. Power
relations and patriarchal ideologies have played a great part in the resulting
objectifying representations, firmly locating images of the female body within the
realm of the spectacle.
Bodily perceptions, in terms of the female body, have changed much, particularly
through the reinterpretation of sexuality through feminist theory. Modem culture and
technology have opened up many new possibilities for the redefinition and
understanding of the body. Modem bodies seem to be under as much close
surveillance and scrutiny as their nineteenth century counterparts. This study explores
these ideas through a wide range of examples from painting, photography and
performance art, and non-art objects such as anatomical objects and medical
illustrations.
Central to the construction of the body as spectacle, are issues of looking and viewing.
Chapter 1 examines ideas around the gaze; the politics and processes of vision,
objectification and fetishisation are explored in relation to the functioning of the
medical and aesthetic gaze. The concept of spectacle is also elaborated upon in terms
of ideas around the nineteenth century carnival and freak show, and in terms of
societal taboos and transgression.
Aspects of aesthetic and medical discourse focus on the display and scrutiny of the
female body. Chapter 2 examines the way in which these discourses attempted to reveal the female body by rendering it in highly visual terms. The dominant
ideologies informing both discourses played an instrumental role and resulted in
representations that defined the female body in normative standards and ideals of
beauty and health. Pornography is considered as a modem discourse in which the
female body is defined and displayed as an object of scrutiny. Feminist theory
challenged exclusively male representations of the female body and the subversion of
traditional forms of representation of women is studied by examining the work of
Annie Sprinkle and Cindy Sherman.
Many representations of the female body by feminist artists are considered highly
disturbing and transgressive, precisely because they traverse traditional and
acceptable representations of it. The idealised nude forms the epitome of contained
ideals of health and beauty, and the work of Orlan and Cindy Sherman is examined
within these terms in Chapter 3. These artists' representations of the female body are
in direct opposition to such norms, rather settling for an open-ended, unconfined and
abject representation. However, such transgressive cultural images produced by
women artists are often regarded as pathological acts, and dismissed in terms of
deplorable spectacle.
The research concludes with a commentary on the candidate's practical work, which
in dealing with the representation of the human body explores some issues of
visuality, spectacle and fragmentation. / AFRIKAANSE OPSOMMING: 'n Spektakel kan op 'n indrukwekkende of betreurenswaardige skouspel dui;
gevolglik betrek dit die politiese en magseienskappe van besigtiging. Die vroulike
liggaam bestaan as 'n seksuele objek van só 'n proses van besigtiging binne die
Westerse kultuur - nie net in kuns nie, maar ook in diskoerse soos geneeskunde en die
wetenskap. In beide kuns en geneeskunde, is die vroulike liggaam beskou as 'n
passiewe objek vir bestudering, analisering en klassifisering. Magsverhoudinge en
ideologieë het gevolglik 'n groot rol gespeel in die uiteindelike objektifiserende
representasies, en gevolglik is die uitbeelding van die vroulike liggaam in terme van
spektakel vasgelê.
Liggaamlike persepsies, veral in terme van die vroulike figuur, het noemenswaardige
veranderinge ondergaan - veral deur die hervertolking van seksualiteit deur
feministiese teorie. Moderne kultuur en tegnologie bied verdere moontlikhede vir die
herdefiniëring en begrip van die liggaam. Die moderne liggaam word onder streng
bewaking en betragting geplaas - net soos sy negentiende-eeuse ewebeeld. Hierdie
studie ondersoek dié idees deur die bestudering van 'n verskeidenheid voorbeelde
vanuit skilderkuns, fotografie en 'performance' -kuns, asook objekte soos anatomiese
objekte en mediese illustrasies.
Kwessies van besigtiging is sentraal tot die konstruksie van die liggaam as spektakel.
Hoofstuk londersoek dus idees rondom besigtiging - onder andere die politiese en
magseienskappe, en die gevolglike objektifiserende effek daarvan - in verhouding tot
die funksionering van die mediese en die estetiese blik. Die konsep van spektakel
word verder uitgebrei in terme van die negentiende-eeuse karnaval, asook in terme
van taboes en sosiale oortreding. Sekere aspekte van estetiese en mediese diskoerse fokus op die vertoning en
besigtiging van die vroulike liggaam. Hoofstuk 2 ondersoek die wyse waarop hierdie
diskoerse die vroulike liggaam in hoogs visuele terme uitgebeeld het. Beide diskoerse
is gemotiveer deur dominante ideologieë, wat gevolglik 'n instrumentele rol gespeel
het in die uitbeelding van die vroulike liggaam. Sulke uitbeeldings is dikwels
gemotiveer deur standaarde en ideale van skoonheid. Gevolglik word pornografie in
hierdie hoofstuk bespreek as 'n moderne diskoers wat georganiseer is rondom die
vertoning en besigtiging van die vroulike liggaam. Feministiese teorie skep 'n
positiewe ruimte waarin sulke eksklusiewe, manlike definisies en uitbeeldings van die
vroulike liggaam uitgedaag kan word. Die omverwerping van tradisionele metodes
van uitbeelding word hier ondersoek deur die werk van Annie Sprinkle en Cindy
Sherman te bespreek.
Die herdefiniëring van die vroulike liggaam deur feministiese kunstenaars word
dikwels beskou as onstellend; waarskynlik omdat dit tradisionele en aanvaarbare
uitbeeldings van die liggaam oortree. Die werk van Orlan en Cindy Sherman word in
terme van sosiale oortreding in Hoofstuk 3 ondersoek. Die klassieke naakfiguur stel
die ideale van skoonheid en stabiliteit voor. Hierdie kunstenaars se uitbeeldings toon
egter 'n doelbewuste verontagsaming van sulke ideale, deurdat hulle eerder 'n oop,
onstabiele en gefragmenteerde figuur uitbeeld. Oortredings van kulturele norme deur
vrouekunstenaars word dikwels beskou as patalogiese aksies; en dit word dus maklik
afgekeur as 'n spektakel.
Die navorsing word afgesluit met 'n bespreking van die kandidaat se praktiese werk,
wat die uitbeelding van die menslike liggaam ondersoek. Gevolglik word kwessies
van besigtiging, spektakel en fragmentasie verder ondersoek.
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