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":"7 1","pages":""},"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":"233 1","pages":""},"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":"38 1","pages":""},"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":"115 1","pages":""},"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":"113 29","pages":"0"},"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":" ","pages":""},"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":" ","pages":""},"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":"1 1","pages":""},"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":"59 1","pages":"0"},"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: 10.1080/00043389.2022.2152968
A. Kearney, Annemi Conradie-Chetty
This is the second guest-edited, themed issue emerging from papers that were presented at the 35th Annual South African Visual Arts Historians (SAVAH) Conference, hosted by the research entity Visual Narratives and Creative Outputs (ViNCO) in the Faculty of Humanities, North-West University, Potchefstroom Campus, from September 29 to October 2, 2021. The first themed issue, titled Untold Stories: (Re-)narrativising the Past in the Present through Visual Artmaking ( de arte volume 57, issue 2), focused on the ways in which visual narratives bring the past into the present, to tell previously untold stories. The articles in this issue engage with local and global stories; the authors focus on human conceptions and experiences of time, space, and place as told in and through film, video, installation, photography, and found and fashioned objects. The articles in this themed issue explore visual storytelling as a method of coming to terms with grief, loss, and bereavement, with contemporary mourners adapting new technologies and merging these with older rituals and traditions. Among the narrative themes shared by the articles are methods of storytelling; notions of narrativity, historicity, and temporalities; and the blurring of past and present, fact and fiction. Concepts of time and narrative time are central to visual accounts of grief, collective memory, and memorialisation, although the trauma of losing a loved one or experiencing violence throws sequential time out of joint. Themes of absence and presence—the present
{"title":"Untold Stories: Material Narratives of Fragility, Grief, and Healing","authors":"A. Kearney, Annemi Conradie-Chetty","doi":"10.1080/00043389.2022.2152968","DOIUrl":"https://doi.org/10.1080/00043389.2022.2152968","url":null,"abstract":"This is the second guest-edited, themed issue emerging from papers that were presented at the 35th Annual South African Visual Arts Historians (SAVAH) Conference, hosted by the research entity Visual Narratives and Creative Outputs (ViNCO) in the Faculty of Humanities, North-West University, Potchefstroom Campus, from September 29 to October 2, 2021. The first themed issue, titled Untold Stories: (Re-)narrativising the Past in the Present through Visual Artmaking ( de arte volume 57, issue 2), focused on the ways in which visual narratives bring the past into the present, to tell previously untold stories. The articles in this issue engage with local and global stories; the authors focus on human conceptions and experiences of time, space, and place as told in and through film, video, installation, photography, and found and fashioned objects. The articles in this themed issue explore visual storytelling as a method of coming to terms with grief, loss, and bereavement, with contemporary mourners adapting new technologies and merging these with older rituals and traditions. Among the narrative themes shared by the articles are methods of storytelling; notions of narrativity, historicity, and temporalities; and the blurring of past and present, fact and fiction. Concepts of time and narrative time are central to visual accounts of grief, collective memory, and memorialisation, although the trauma of losing a loved one or experiencing violence throws sequential time out of joint. Themes of absence and presence—the present","PeriodicalId":40908,"journal":{"name":"De Arte","volume":" ","pages":"1 - 3"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48837186","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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