Ce mémoire porte sur les facteurs institutionnels qui ont contribué à l’entrée des femmes artistes dans la collection du Musée d’art contemporain de Montréal, dont le pourcentage d’œuvres d’artistes-femmes, vis-à-vis des œuvres d’artistes-hommes, apparaît élevé en comparaison de ceux des collections d’arts modernes ou contemporains des musées nord-américains et d’Europe de l’Ouest. Selon le calcul effectué en 2016 par la conservatrice responsable de la collection, Marie-Ève Beaupré, la part d’œuvres de femmes artistes conservées au MAC à cette date serait de 33 %. La production de graphiques donnant à voir l’évolution de la quantité d’acquisitions par catégorie de genre s’est fondée sur une reprise des stratégies visuelles et militantes déployées par les Guerrilla Girls dès le milieu des années 1980. Ces visualisations ont été produites en collaboration avec Lena Krause, responsable du laboratoire l’Ouvroir d’histoire de l’art et de muséologie numériques de l’Université de Montréal. Le premier chapitre vise alors à expliciter l’intégration de ce mémoire au champ d’études d’histoire de l’art féministes d’après lesquelles les données statistiques représentent les points de départ d’analyses des modalités et des processus de reconnaissance institutionnelle des artistes (White 1965, Nochlin 1971, Arbour 2000, Dumont 2008, Zemans et Wallace 2013, Christensen 2016, Dymond 2019, Greenwald 2021). La majorité des pics d’acquisition d’œuvres d’artistes-femmes au MAC, repérés au deuxième chapitre, correspond à des stratégies d’attraction de donations, de même qu’à des acquisitions multiples et massives d’œuvres provenant de collections de marchand.e.s d’art et d’entreprises. Au troisième chapitre, nos repérages sont intégrés à des analyses transversales dans lesquelles plusieurs secteurs de l’institution sont mis en relation. Nous analysons en particulier l’impact de directeur.rice.s et de conservateur.rice.s sur la mise en place d’orientations favorables à l’amélioration de la représentation des femmes artistes dans la programmation ainsi que dans la collection. Finalement, la prévalence de médiums au sein du corpus d’œuvres d’artistes-femmes conservées s’avère refléter la valorisation, au musée, de mouvements qui ont émergé sur le devant de la scène artistique québécoise et auxquels a participé un certain nombre de femmes. / This thesis examines the institutional factors that have contributed to the Musée d’art contemporain de Montréal’s acquisition of works of art by women artists. In this collection, the percentage of works of arts by women artists, related to works of arts by men artists, appears high in comparison with those of modern or contemporary art collections in North American and Western European museums. According to a calculation made in 2016 by Marie-Ève Beaupré, the curator in charge of the collection, the proportion of works by women artists held by the Musée d'art contemporain de Montréal at that time would be 33%. The production of graphs showing the evolution of the number of acquisitions by gender category was founded on the visual and activist strategies deployed by the Guerrilla Girls since the mid-1980s. These data visualizations were produced in collaboration with Lena Krause, head of laboratory l’Ouvroir d'histoire de l'art et de muséologie numériques at Université de Montréal. The first chapter then aims to situate this thesis into the field of feminist art history studies, according to which statistical data represent the starting point for analyses on the modalities and processes of artists' institutional recognition (White 1965, Nochlin 1971, Arbour 2000, Dumont 2008, Zemans and Wallace 2013, Christensen 2016, Dymond 2019, Greenwald 2021). In the second chapter, most of the identified peaks in the acquisition of works by women artists correspond to strategies for attracting donations, as well as to multiple and massive acquisitions of works from corporate and art dealers’ collections. In the third chapter, our findings are integrated into cross-cutting analyses that link several sectors of the institution. In particular, the impact of female directors and curators on the implementation of strategies conducive to improving the representation of women artists in programming and within the collection. Finally, the prevalence of some mediums within the corpus of works by women artists in the museum's collection reflects the museum's emphasis on movements that emerged at the forefront of Québec’s art scene in which a large number of women took part.

This dissertation explores the impact of Bushman images, and the writings of Lucy Lloyd and Wilhelm Bleek (working with the Breakwater Bushmen) on three art works of Pippa Skotnes. They are The Return III (1988), For //Kunn (1993) and Heaven’s Things (1999). It is argued that Bushman imagery, being the result of shamanic trance activities is characterised by imagery, which mammals universally share. The use of the same imagery by the Surrealists in the twentieth century arises not from an intimate interaction with the spirit realm/dream world but from the European longing for an altered reality. Skotnes appropriates Bushman imagery in her prints, narrating the tragic fate of the Bushman. She laments the loss of the transcendental relationship between Man and the Universe. The exploitation, adoption and marketing of Bushman imagery by the tourist industry marks the distinction between her respectful treatment and the materialism of South Africans. / Visual Arts / M.A. (Visual Arts)

Dissertation is presented in partial fulfilment of the requirements for the award of Masters Degree of Technology: Fine Art, Durban University of Technology, 2009. / This dissertation was researched in two main parts. The first enquiry was to establish whether the Afrikaner women practised any form of craft during their time of interment in the Anglo-Boer War concentration camps, during 1899-1902. The second part explores the appropriation of craft within the Post-Modern context by five South African artists. During this research into the craft practises of Afrikaner women in the concentration camps, I discovered that this particular issue has not been satisfactorily documented. The reasons for this are directly connected to the patriarchal system of the Calvinist Afrikaner. The impact which this system had on the craft practices of Afrikaner women and the lack of documentation thereof, are discussed. The paucity of information on Afrikaner women‟s history led to primary research where I gained the information I needed from the descendents of interned women. The findings of this research includes various forms of needlecraft such as embroidery, quilting, crocheting, and dress and bonnet making. Amongst the artefacts found were two ceramic dogs made in the camp. Various forms of tin and wire artefacts were also found. The contribution to the impoverished Afrikaner women by Hobhouse, the South African Agricultural Association and the South African Women‟s Federation is explained in relation to this dissertation. The freedom that Post-Modern thought created amongst artists enabled them to explore exciting ways of executing their art. The five South African artists whose work I chose to explore are Billy Zangewa, Sue Pam-Grant, Gina Waldman, Antionette Murdoch and Nirmi Ziegler. Their art practices are varied but the common denominator is the incorporation of various forms of traditional feminine craft into their work. They subvert the patriarchal order, draw attention to land issues, explore women‟s fragility and raise awareness concerning the abuse of the environment. I conducted an interview with Ziegler and relied on written documentation for the research concerning the other artists. I also made use of my own analysis and instinct as a woman and mother to interpret some works. As an Afrikaner woman I execute my work by using traditional feminine craft and specific motives found during my research. I deliver commentary on the lack of vi documentation of all of Afrikaner women‟s history. I use myself as an example of an Afrikaner woman and document my own history within the greater Afrikaner history which is contained and embedded within the history of South Africa. My research into and documentation of the craft practises of Afrikaner women during and directly after the Anglo-Boer War adds to the body of knowledge concerning the history of Afrikaner women. The same applies to the work of the five artists I explored. The diversity of material, concept and execution of their work will add some knowledge to the existing body of knowledge about their work, but more so to the documentation of women's history. / M

Thesis (Ph. D.)--Indiana University, Dept. of Curriculum and Instruction, 2006. / "October 2006." "UMI number: 3232583"--T.p. verso. Includes bibliographical references (p. 218-231) Also available online (fee-based).

"'The Burden of the Image:' Jane Morris in Art and Life" examines the work and life of Pre-Raphaelite model Jane Burden Morris (1839-1914). Burden Morris, an embroiderer and wife of the arts and crafts designer William Morris (1834-96), became famous in her own lifetime as the model for a number of Pre-Raphaelite works, particularly the paintings of Dante Gabriel Rossetti (1828-82). Although she was not considered conventionally beautiful by Victorian standards, artists drew heavily upon Burden Morris’s appearance, particularly her striking features and unusual artistic dress, in order to heighten the exoticism of their works and to suggest moments outside contemporary Victorian time and place. Burden Morris’s features became synonymous with the Pre-Raphaelite ideal in female beauty and several contemporaries reflected upon the surreal experience of meeting the enigmatic woman thought only to exist in paintings. Borrowing from a material culture approach which views images as both reflective and formative of identity, this work considers the relationship between Jane Burden Morris and her painted representation, and focuses in particular on the works produced through Burden Morris’s long-standing collaboration with Rossetti. Through an examination of Burden Morris’s appearance, activities, and demeanour, this dissertation considers the aspects of Burden Morris’s identity which contributed to her use in numerous Pre-Raphaelite images, and further explores the way in which these paintings may have altered how Burden Morris conceived of her own identity. “The Burden of the Image” examines three dominant modes of representing Burden Morris, including depictions of Burden Morris as medieval damsel, myth, and monster. It also considers Jane Burden Morris’s role within the broader context of aestheticism, and explores her relationship to the artistic dress movement and the aesthetic interior. / Thesis (Ph.D, Art History) -- Queen's University, 2014-03-31 13:33:52.106

Art as an expression of spirituality and theology has the artist as a potential visionary and mediator of the spiritual. All over the world and in South Africa, the visual has been used to illustrate thought patterns, religious themes, religiousity, and to draw people closer to God. However, questions arise about how the visual images depicted by visionaries/artists express social movements, and more deeply, spiritual longings of God for liberation and life. This dissertation explores the question of representation of women's spirituality and theology for liberation and life in contemporary South Africa through visual arts. With a particular look at the lives and work of two women artists of KwaZulu Natal- Dina Cormick and Bonnie Ntshalintshali, I map the interface between religion, art, spirituality and theology, and expressions of reality of those who are dominated people. I look at women's spirituality in South Africa, art as theology, creative expressions as ways to hide and reveal, and at the specific artists in whose lives and work these questions intersect. I argue that visual art is a powerful means of both shaping and expressing spirituality and theology, and if 'read' with attention and discipline, reveals incipient movements of the Spirit. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

This thesis is constructed between a double argument. The first is a feminist argument that the female body may be viewed as a tool for cultural reinscription against dominant structures of subjectivity and representation that have rendered women the common flesh of art, without recourse to their own representational economy. Secondly, it is argued that the female body can never be recuperated as an essential, original form. That is, there is no essential female body or nature to be represented. In this sense, the body is artificial, or not natural, and so can be re-presented, specifically in feminist performance art, in order to rework radically the relationship between language, subjectivity and desire. The research undertaken is genealogical and also looks towards the future: deconstructing the historical imperatives that have produced 'the female body' and suggesting ways in which feminist performance art may redefine the ways in which female flesh is represented. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

This dissertation is a study of selected works of the South African landscape painter Amy Bertha Everard (l 873-1965) with the emphasis on discovering relevant means of interpreting her use of landscape as metaphor. In Chapter One Bertha 's family history and background is traced. This includes developments in her work from the earliest known sketches and paintings, her travels, experiences and artistic training. Chapter Two examines Bertha 's relationships with family and friends, with a section at the end that discusses the candidate 's interpretation of some of the letters that have been made available for this research by the Tatham Art Gallery. This is in order to establish some character traits that may be relevant to the subsequent interpretation of landscape as metaphor in the final chapter. Chapter Three discusses selected paintings with reference to the analysis of their subject matter, composition and technique. Criticism of selected work is made with some reference to Frieda Harmsen 's observations in The Women of Bonnefoi (1980), while some references are made to what appears to be previously undocumented works, discovered during this research. Exhibitions and reception of much of Bertha's work is also covered in this chapter. This is done in order to trace the development of her work within the context of her life experience with regard to her travels and relationships. Chapter Four examines the influences of faith and religion on her life and possibly her art. As a self-appointed Anglican missionary and teacher to labourers on her farms, a great deal of time and energy was spent in this practice. Reference is made to some prevailing religious and social ideologies in southern Africa that may have influenced her activities or that may have been motivating factors in her desire to participate in this field. Chapter Five discusses some of the possible discourses that may have affected Bertha's perception ofart and her decision to pursue this as a career. In the absence of much factual knowledge about the early period of her life in England, it is acknowledged that this interpretation is speculative. A survey of art practices and art institutions in Victorian England is made in an attempt to establish the prevailing conditions in the art world during her youth. Some reference is made to conditions in South Africa that may have influenced Bertha 's perception of art and her decision to pursue this as a career. Chapter Six discusses, in greater detail, aspects of the South African context in which Bertha Everard lived for the greater part of her adult life. A survey is made of the establishment and development of some early art institutions and the people who constituted the art world at that time in South Africa This is in order to discover possible influences on her work and its reception as well as the socio-political and historical context that may have affected her life. As a counterpoint, the work of three of Bertha's contemporary female South African artists - Allerly Glossop, Maggie Laubser and Irma Stem - is discussed. Chapter Seven discusses possible interpretations of landscape as metaphor related to specific paintings. In this chapter, nationalistic and imperialistic ideologies in South Africa are discussed, comparing Bertha's painting with that of R Pierneef, and some possible interpretations of their use of landscape as metaphor. Appendix I comprises two sections . The Summary of Letters is an overview of the letters that were studied for the purpose of this research. Their contents have been divided into sub-headings , related to areas of interest to this research, namely: Bertha's relationship with Edith, Charles, her children and motherhood, relationships (in general) and issues of gender, politics and racism , mission work and faith, landscape and weather, illness, exhibitions and criticism , work and painting. The Everard Letters gives selected quotations from the letters researched, under the same sub-headings. Appendix 2 records an interview with Leonora Everard Haden, by the candidate, in which Everard Haden's written responses are recorded. Volume 2 contains illustrations of most of Bertha 's work that are referred to in the dissertation. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.

In this dissertation the tracing of a personal shift in consciousness is evidenced in my art production and through self-interrogation. Investigations into feminist theology proved resonant with a personal apostasy and provided a base for a feminine identity and language. The schism perpetrated by this pivotal thesis in the revisioning of women, its subsequent antithesis, motivated a search for synthesis. A scientific enlightenment in the field of quantum physics promotes the notion of a unified consciousness. Psychology investigates the realities of mysticism and exposes commonalities within eastern and western religions revealing a thread of unified metaphysical thought. The twentieth century has witnessed a radical in the art expression of the spiritual, some coincident with the revival of an interest in oriental art, and some as a manifestation of zeitgeist or collective consciousness. This past century of rapid technological change, clearly has its attendant spiritual shifting patterns. The process of creativity in art-making has proved to be a conduit for an evolving consciousness. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.

Thesis (MA)--Macquarie University, Institute of Early Childhood. / Includes bibliographical references. / Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion. / Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent. / Mode of access: World Wide Web. / 265, [48] p