Pub Date : 2024-04-22DOI: 10.1080/00043389.2024.2317496
Bea Gassmann de Sousa
Euro-modern colonisation produced many truths, which, despite having been recognised as false information, continue to shape the social order of today. Artist Emma Wolukau-Wanambwa’s lifelong quest...
欧洲现代殖民主义产生了许多真理，尽管这些真理被认为是虚假的信息，但却继续塑造着当今的社会秩序。艺术家 Emma Wolukau-Wanambwa 毕生都在探索...
{"title":"I’ll Be Your Mirror: Emma Wolukau-Wanambwa’s Science Fiction of Truth","authors":"Bea Gassmann de Sousa","doi":"10.1080/00043389.2024.2317496","DOIUrl":"https://doi.org/10.1080/00043389.2024.2317496","url":null,"abstract":"Euro-modern colonisation produced many truths, which, despite having been recognised as false information, continue to shape the social order of today. Artist Emma Wolukau-Wanambwa’s lifelong quest...","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140634638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-22DOI: 10.1080/00043389.2024.2311504
Leana van der Merwe
This article examines how the sublime, as a form, operates in landscape from the post-apartheid period. Starting from the traditional view of landscape as genre at the turn of the twentieth century...
{"title":"The Horizontal Sublime in Post-apartheid Gothic Landscape","authors":"Leana van der Merwe","doi":"10.1080/00043389.2024.2311504","DOIUrl":"https://doi.org/10.1080/00043389.2024.2311504","url":null,"abstract":"This article examines how the sublime, as a form, operates in landscape from the post-apartheid period. Starting from the traditional view of landscape as genre at the turn of the twentieth century...","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140634631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-22DOI: 10.1080/00043389.2024.2311958
Sharlene Khan
This article examines the artwork series Queering the Archive: Brown Bodies in Ecstasy (2011–2016) by South African Indian film studies scholar Jordache A. Ellapen. Ellapen’s work stages intimate p...
本文探讨了南非印度电影研究学者乔尔达奇-A-埃拉彭（Jordache A. Ellapen）的艺术作品系列《档案中的同性恋》（Queering the Archive：棕色身体的狂喜》（2011-2016 年）。Ellapen的作品将亲密的身体关系和...
{"title":"DisOrientations: Thinking through Lines of Desire in the Visual Artwork of Jordache A. Ellapen","authors":"Sharlene Khan","doi":"10.1080/00043389.2024.2311958","DOIUrl":"https://doi.org/10.1080/00043389.2024.2311958","url":null,"abstract":"This article examines the artwork series Queering the Archive: Brown Bodies in Ecstasy (2011–2016) by South African Indian film studies scholar Jordache A. Ellapen. Ellapen’s work stages intimate p...","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140634755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-13DOI: 10.1080/00043389.2023.2281851
Ronnie Watt
It has been claimed that the oeuvre of stoneware studio pottery by Esias Bosch (1923–2010), the country’s pioneering figure of that discipline, conveys an Africanness in the look and feel of the wo...
{"title":"“Africanness” in the Oeuvre of the Ceramist Esias Bosch (1923–2010)","authors":"Ronnie Watt","doi":"10.1080/00043389.2023.2281851","DOIUrl":"https://doi.org/10.1080/00043389.2023.2281851","url":null,"abstract":"It has been claimed that the oeuvre of stoneware studio pottery by Esias Bosch (1923–2010), the country’s pioneering figure of that discipline, conveys an Africanness in the look and feel of the wo...","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138681754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-10DOI: 10.1080/00043389.2023.2273650
Deléne Human
{"title":"Diane Victor: Estampes, Dessins, Suie / Prints, Drawings, Smoke <i>Diane Victor: Estampes, Dessins, Suie / Prints, Drawings, Smoke</i> , With contributions by Stéphane Laurent, Renaud Faroux, Karen von Veh, and Francis van der Riet, Mare et Martin. 2022. pp. 244, ISBN: 9782362220807","authors":"Deléne Human","doi":"10.1080/00043389.2023.2273650","DOIUrl":"https://doi.org/10.1080/00043389.2023.2273650","url":null,"abstract":"","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135137753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-24DOI: 10.1080/00043389.2023.2226989
Nicola Cloete
Abstract Decolonised curricula in higher education continue to be a significant issue in the South African context following the student-led protests of 2015–2016. These protests revealed the urgent need for real transformation in the sector and the wide-ranging issues students encountered, including demands for decolonised curricula. In this article I focus on one postgraduate art history course and its curriculum to discuss how postcolonial and decolonial theories both advanced opportunities and presented limitations for students in the programme. The insights are presented as potentially illustrative of some of the challenges in the sector. The article draws on findings from an analysis of one course, titled Post/Decolonial Art History (PDCAH), offered in 2015, which revealed that the course was not sufficiently able to respond to political calls for pedagogical decolonisation at the time. These findings are positioned in relation to subsequent developments in the course. I argue that a more responsive and dynamic approach to pedagogical requirements and changing student contexts is necessary in order to more robustly decolonise the art history curriculum. The article concludes by suggesting that this responsiveness and dynamism remain difficult to navigate within the existing structures of curriculum design, course outcomes, and the complex range of student expectations.
{"title":"Curriculum Change in the Postcolonial Art History Classroom: A Case Study","authors":"Nicola Cloete","doi":"10.1080/00043389.2023.2226989","DOIUrl":"https://doi.org/10.1080/00043389.2023.2226989","url":null,"abstract":"Abstract Decolonised curricula in higher education continue to be a significant issue in the South African context following the student-led protests of 2015–2016. These protests revealed the urgent need for real transformation in the sector and the wide-ranging issues students encountered, including demands for decolonised curricula. In this article I focus on one postgraduate art history course and its curriculum to discuss how postcolonial and decolonial theories both advanced opportunities and presented limitations for students in the programme. The insights are presented as potentially illustrative of some of the challenges in the sector. The article draws on findings from an analysis of one course, titled Post/Decolonial Art History (PDCAH), offered in 2015, which revealed that the course was not sufficiently able to respond to political calls for pedagogical decolonisation at the time. These findings are positioned in relation to subsequent developments in the course. I argue that a more responsive and dynamic approach to pedagogical requirements and changing student contexts is necessary in order to more robustly decolonise the art history curriculum. The article concludes by suggesting that this responsiveness and dynamism remain difficult to navigate within the existing structures of curriculum design, course outcomes, and the complex range of student expectations.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49492702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-18DOI: 10.1080/00043389.2023.2248787
C. Kros
{"title":"Inherited Obsessions: Conversations with an Exhibition, edited by Laura de Harde","authors":"C. Kros","doi":"10.1080/00043389.2023.2248787","DOIUrl":"https://doi.org/10.1080/00043389.2023.2248787","url":null,"abstract":"","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46475501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-15DOI: 10.1080/00043389.2022.2145005
Meghan Judge
Abstract At the shoreline, human and ocean activities often act in unproductive tension with one another. This article draws from encounters between the modernist architecture in the port city of Toamasina in Madagascar and the activities of the Indian Ocean at that location to sense how human–ocean binary lines might become more porous. The first part of the article sketches a material-discursive theory of the weathered hole in modernist architectural surfaces. It explores the hole as a vital collective of queer otherings to the specific land-centred individualistic subject-hood of modernist Man, a specific figuration of a human who draws binary lines to separate itself out from the “natural world”. The second part of the article argues that artistic inquiry is well positioned to sense into the activities of the hole. It looks to how the hole at the surface of modernist Man can co-shape the specific human–ocean relationship that forms at this shoreline. Such inquiry is explored through my solo exhibition titled Static Drift, held at the Wits Art Museum in Johannesburg in 2021. Sensing, the exhibition reveals, has the potential for listening to binary lines as they erect a surface that both pushes away yet also receives what has been pushed. In Static Drift, being vulnerable through human perceptions was highlighted as a critical mode for sensory attunement to the relationships that form at such surfaces. This article argues that the sonic is a useful sensory mode for opening perceptions toward what is not yet perceived in surface–hole relationships. The sonic opens sites for ontological thinking into human–ocean relations by sensing into the re-orienting potentials that noise offers for thinking about disrupting binaried surfaces.
{"title":"Noisy Surfaces: Vulnerability and Art in Human–Ocean Relations","authors":"Meghan Judge","doi":"10.1080/00043389.2022.2145005","DOIUrl":"https://doi.org/10.1080/00043389.2022.2145005","url":null,"abstract":"Abstract At the shoreline, human and ocean activities often act in unproductive tension with one another. This article draws from encounters between the modernist architecture in the port city of Toamasina in Madagascar and the activities of the Indian Ocean at that location to sense how human–ocean binary lines might become more porous. The first part of the article sketches a material-discursive theory of the weathered hole in modernist architectural surfaces. It explores the hole as a vital collective of queer otherings to the specific land-centred individualistic subject-hood of modernist Man, a specific figuration of a human who draws binary lines to separate itself out from the “natural world”. The second part of the article argues that artistic inquiry is well positioned to sense into the activities of the hole. It looks to how the hole at the surface of modernist Man can co-shape the specific human–ocean relationship that forms at this shoreline. Such inquiry is explored through my solo exhibition titled Static Drift, held at the Wits Art Museum in Johannesburg in 2021. Sensing, the exhibition reveals, has the potential for listening to binary lines as they erect a surface that both pushes away yet also receives what has been pushed. In Static Drift, being vulnerable through human perceptions was highlighted as a critical mode for sensory attunement to the relationships that form at such surfaces. This article argues that the sonic is a useful sensory mode for opening perceptions toward what is not yet perceived in surface–hole relationships. The sonic opens sites for ontological thinking into human–ocean relations by sensing into the re-orienting potentials that noise offers for thinking about disrupting binaried surfaces.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43100850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/00043389.2023.2250693
Lois A. Anguria
AbstractThis is a study of the way Senzeni Marasela, a South African artist, uses dress to subvert the invisibility of Black South African women, who have previously been marginalised and restricted to the context of the home and domestic work. This article studies several works across Marasela’s career, with a focus on the immersive performance titled Waiting (October 2013 to October 2019) and Theodorah Comes to Johannesburg (2005). The works are read in terms of their presentation on social media and in their art context. In particular, social media posts made during the six-year performance period of Waiting are studied to ascertain how the act of posting content online is used to further make visible Black South African women living through the effects of apartheid. The purpose of this study is to explore how Marasela narrates a lived experience of Black womanhood in ways that are distinctly layered and intersectional in their adoption of discourse and complex in their presentation to the audience.Keywords: Senzeni Maraselavisibilityseshoeshoesocial mediablack feminismintersectionality
{"title":"An Intersectional Reading of Senzeni Marasela’s Work: Making Visible the Marginalised Lived Experiences of Black South African Women in States of Perpetual Waiting","authors":"Lois A. Anguria","doi":"10.1080/00043389.2023.2250693","DOIUrl":"https://doi.org/10.1080/00043389.2023.2250693","url":null,"abstract":"AbstractThis is a study of the way Senzeni Marasela, a South African artist, uses dress to subvert the invisibility of Black South African women, who have previously been marginalised and restricted to the context of the home and domestic work. This article studies several works across Marasela’s career, with a focus on the immersive performance titled Waiting (October 2013 to October 2019) and Theodorah Comes to Johannesburg (2005). The works are read in terms of their presentation on social media and in their art context. In particular, social media posts made during the six-year performance period of Waiting are studied to ascertain how the act of posting content online is used to further make visible Black South African women living through the effects of apartheid. The purpose of this study is to explore how Marasela narrates a lived experience of Black womanhood in ways that are distinctly layered and intersectional in their adoption of discourse and complex in their presentation to the audience.Keywords: Senzeni Maraselavisibilityseshoeshoesocial mediablack feminismintersectionality","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135798737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/00043389.2022.2152965
Catharina de Klerk
Abstract Various contemporary artists have explored people’s relationships with the natural world through artworks based on the book format, including artist’s books and book sculptures. This study contributes to the discussion on the ways visual storytelling can work towards re-visualising narratives, making untold stories visible, with specific reference to Book of Play I and Book of Play II (2017) by contemporary South African artist Guy du Toit. The aim of this article is to explore narrative suggestions of stories that remain untold, as felt through the empty spaces between the book covers. I argue that Du Toit’s book sculptures evoke experiences of loss and transience through his representation of the impact of the passage of time and the effects of the elements on the medium of bronze. Building on David Macauley’s environmental philosophy (Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas. New York: SUNY Press, 2010), and specifically his suggestion to re-evaluate how to relate to the natural world by viewing ecological considerations as a form of “re-story-ation”, I suggest that Du Toit’s book sculptures offer a starting point for an exploration of our fragile relationship with the natural world.
摘要许多当代艺术家通过以书籍形式为基础的艺术品，包括艺术家的书籍和书籍雕塑，探索了人们与自然世界的关系。这项研究有助于讨论视觉讲故事如何使叙事重新可视化，使不为人知的故事变得可见，具体参考了当代南非艺术家Guy du Toit的《游戏之书I》和《游戏之物II》（2017）。这篇文章的目的是探索那些不为人知的故事的叙事建议，就像通过书封面之间的空白空间感受到的那样。我认为，杜的书中雕塑通过表现时间流逝的影响和元素对青铜媒介的影响，唤起了失落和短暂的体验。基于David Macauley的环境哲学（Elemental philosophy:Earth，Air，Fire，and Water as environmental Ideas。纽约：纽约州立大学出版社，2010），特别是他提出的通过将生态考虑视为一种“重新讲述”的形式来重新评估如何与自然世界建立联系的建议，我认为杜托伊特的书籍雕塑为探索我们与自然世界脆弱的关系提供了一个起点。
{"title":"Between the Pages: Human Fragility and the Patina of Time in Guy du Toit’s Book of Play I and Book of Play II","authors":"Catharina de Klerk","doi":"10.1080/00043389.2022.2152965","DOIUrl":"https://doi.org/10.1080/00043389.2022.2152965","url":null,"abstract":"Abstract Various contemporary artists have explored people’s relationships with the natural world through artworks based on the book format, including artist’s books and book sculptures. This study contributes to the discussion on the ways visual storytelling can work towards re-visualising narratives, making untold stories visible, with specific reference to Book of Play I and Book of Play II (2017) by contemporary South African artist Guy du Toit. The aim of this article is to explore narrative suggestions of stories that remain untold, as felt through the empty spaces between the book covers. I argue that Du Toit’s book sculptures evoke experiences of loss and transience through his representation of the impact of the passage of time and the effects of the elements on the medium of bronze. Building on David Macauley’s environmental philosophy (Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas. New York: SUNY Press, 2010), and specifically his suggestion to re-evaluate how to relate to the natural world by viewing ecological considerations as a form of “re-story-ation”, I suggest that Du Toit’s book sculptures offer a starting point for an exploration of our fragile relationship with the natural world.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46921482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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