Pub Date : 2018-01-02DOI: 10.1080/00043389.2017.1372071
Malcolm Corrigall
Abstract The Chinese Camera Club of South Africa was formed in 1952 by members of Johannesburg’s small Chinese community who found themselves excluded from local circuits of photography on the grounds of race. The membership of the Chinese Camera Club sought international recognition as well as local visibility by engaging with transnational networks of photography. In so doing, they became agents in the global dissemination of photographic practices and technologies and asserted a cultural cosmopolitanism that subverted the parochialism of apartheid’s racial hierarchy. Alongside their cosmopolitan patterns of association, they also convened and sustained racially exclusive communities of photographic practice. They staged two international photographic salons in Johannesburg in 1956 and 1964 that were open to photographers from across the worldwide Chinese diaspora and thereby helped forge an imagined community of overseas Chinese photographers. In so doing, the Club and its members established a proprietorial connection with so-called “Chinese” approaches to photography and stressed their enduring connection to idealised and ahistorical notions of Chinese culture and civilisation. This paper explores both of these globally articulated identities—the cosmopolitan and the diasporic—as the result of transnational strategies that fostered autonomy and pride in the face of local racial discrimination.
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Pub Date : 2018-01-02DOI: 10.1080/00043389.2017.1402571
Bronwyn Law-Viljoen
Abstract The large painting, South Africa 1958–1959 (Deposition) (1959) and four small etchings, all 1955, on the Deposition of Christ, form the basis of a discussion of the place of Albert Adams in the canon of South African art and of this artist’s re-interpretation of a key image in Christian iconography and Western painting. In particular, the paper focuses on Adams’s Deposition images as particular instantiations of his concern with the formal and philosophical challenges encountered by the artist in renditions of psychological and physical torment.
{"title":"Albert Adams and the Deposition of Christ","authors":"Bronwyn Law-Viljoen","doi":"10.1080/00043389.2017.1402571","DOIUrl":"https://doi.org/10.1080/00043389.2017.1402571","url":null,"abstract":"Abstract The large painting, South Africa 1958–1959 (Deposition) (1959) and four small etchings, all 1955, on the Deposition of Christ, form the basis of a discussion of the place of Albert Adams in the canon of South African art and of this artist’s re-interpretation of a key image in Christian iconography and Western painting. In particular, the paper focuses on Adams’s Deposition images as particular instantiations of his concern with the formal and philosophical challenges encountered by the artist in renditions of psychological and physical torment.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2017.1402571","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46483532","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 : 2018-01-02DOI: 10.1080/00043389.2018.1459107
R. Watt
Abstract South African studio pottery of the later twentieth century has consistently been described as “Anglo-Oriental” because it was perceived to adhere to the standard forms of utilitarian wares as promoted by the Anglo-Oriental tradition of studio pottery. This article investigates the validity of such an epithet, based on evidence that the pioneer South African studio potters and their successors were exposed to broader pottery influences, and that their oeuvres reflected what they borrowed, adapted and re-interpreted from such influences. The careers of South Africa's pioneer studio potters and some of the second generation of studio potters are investigated. The finding is that South African studio pottery of that period was an expression of mostly utilitarian pottery forms reflecting many influences but not dominated by any single pottery tradition. The term “Anglo-Oriental” is useful if used judiciously to describe the aesthetics and ethics of some, but not all, South African studio potters of the later twentieth century. The article further explores whether the era's studio potters contributed towards the creation of a distinctive South African pottery identity and presents the finding that at best, the collective character of the studio pottery can be considered expansive rather than geographic- or culture-specific.
{"title":"South African Studio Pottery of the Later Twentieth Century and Its Anglo-Oriental Epithet","authors":"R. Watt","doi":"10.1080/00043389.2018.1459107","DOIUrl":"https://doi.org/10.1080/00043389.2018.1459107","url":null,"abstract":"Abstract South African studio pottery of the later twentieth century has consistently been described as “Anglo-Oriental” because it was perceived to adhere to the standard forms of utilitarian wares as promoted by the Anglo-Oriental tradition of studio pottery. This article investigates the validity of such an epithet, based on evidence that the pioneer South African studio potters and their successors were exposed to broader pottery influences, and that their oeuvres reflected what they borrowed, adapted and re-interpreted from such influences. The careers of South Africa's pioneer studio potters and some of the second generation of studio potters are investigated. The finding is that South African studio pottery of that period was an expression of mostly utilitarian pottery forms reflecting many influences but not dominated by any single pottery tradition. The term “Anglo-Oriental” is useful if used judiciously to describe the aesthetics and ethics of some, but not all, South African studio potters of the later twentieth century. The article further explores whether the era's studio potters contributed towards the creation of a distinctive South African pottery identity and presents the finding that at best, the collective character of the studio pottery can be considered expansive rather than geographic- or culture-specific.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1459107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42163804","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 : 2018-01-02DOI: 10.1080/00043389.2018.1466494
L. Kriel
{"title":"Tribing and Untribing the Archive: Identity and the Material Record in Southern KwaZulu-Natal in the Late Independent and Colonial Periods, edited by Carolyn Hamilton and Nessa Leibhammer","authors":"L. Kriel","doi":"10.1080/00043389.2018.1466494","DOIUrl":"https://doi.org/10.1080/00043389.2018.1466494","url":null,"abstract":"","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1466494","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45899463","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 : 2018-01-02DOI: 10.1080/00043389.2018.1440708
Khulekani Madlela
Abstract This article focuses on how the black body, particularly black women’s hair, is represented in advertisements for hair relaxers published in True Love, a South African magazine directed at black women. Using qualitative visual semiotic analysis, this article focuses on the process of dehumanisation through visual representation by paying attention to hair, a highly politicised subject in South Africa. In addition, using pre-group questionnaires and focus-group interviews, the article examines to what extent the images possibly shape hair styling practices of black female readers, aged between 18 and 45, who live in urban areas in South Africa.
{"title":"Visual Representations of Black Hair in Relaxer Advertisements: The Extent to Which It Shapes Black Women’s Hair Preferences and Attitudes towards Hair Alteration","authors":"Khulekani Madlela","doi":"10.1080/00043389.2018.1440708","DOIUrl":"https://doi.org/10.1080/00043389.2018.1440708","url":null,"abstract":"Abstract This article focuses on how the black body, particularly black women’s hair, is represented in advertisements for hair relaxers published in True Love, a South African magazine directed at black women. Using qualitative visual semiotic analysis, this article focuses on the process of dehumanisation through visual representation by paying attention to hair, a highly politicised subject in South Africa. In addition, using pre-group questionnaires and focus-group interviews, the article examines to what extent the images possibly shape hair styling practices of black female readers, aged between 18 and 45, who live in urban areas in South Africa.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1440708","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47591493","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 : 2018-01-02DOI: 10.1080/00043389.2018.1459095
J. Carman
Towards the end of her book, Anna Tietze comments that “a prescriptive stress on nation building” (as required by the 2013 Revised White Paper on Arts, Culture and Heritage) should be balanced by “a concern with what has already been built, in the near or distant past, and especially a concern with those pasts that do not harmonise with current orthodoxy” (p. 202). An accurate, detailed documentation of those pasts is indeed essential for our understanding of the present and future. This is what Tietze sets out to do in her book. Her impeccable archival research, arrangement of the text, and handling of contentious issues make this an important contribution to the history of public institutions in South Africa, and to reflections on art and national identity in general. Tietze constructs the body of her text in accordance with the tenures of different directors (or governance structures) and their impact on the development of the collections and policies. She bookends her five chapters with a lengthy introduction and conclusion in which she discusses issues which are often controversial but need to be voiced. One could quibble with how she discusses classificatory boundaries (fine art versus design, fine art versus craft),1 her overview of western art galleries (or museums),2
Anna Tietze在书的最后评论道，“对国家建设的规定性强调”（正如2013年修订的《艺术、文化和遗产白皮书》所要求的那样）应该与“对近期或远期已经建成的东西的关注，特别是对那些与当前正统观念不一致的过去的关注”相平衡（第202页）。准确、详细地记录这些过去对于我们理解现在和未来确实至关重要。这就是蒂切在她的书中所要做的。她无可挑剔的档案研究、文本安排和对争议问题的处理，使这对南非公共机构的历史，以及对艺术和民族认同的思考做出了重要贡献。蒂切根据不同董事（或治理结构）的任期及其对藏品和政策发展的影响构建了她的文本主体。她在五章的结尾写了一个冗长的引言和结论，讨论了一些经常有争议但需要表达的问题。人们可能会质疑她如何讨论分类界限（美术与设计、美术与工艺），1她对西方美术馆（或博物馆）的概述，2
{"title":"A History of the Iziko South African National Gallery: Reflections on Art and National Identity, by Anna Tietze","authors":"J. Carman","doi":"10.1080/00043389.2018.1459095","DOIUrl":"https://doi.org/10.1080/00043389.2018.1459095","url":null,"abstract":"Towards the end of her book, Anna Tietze comments that “a prescriptive stress on nation building” (as required by the 2013 Revised White Paper on Arts, Culture and Heritage) should be balanced by “a concern with what has already been built, in the near or distant past, and especially a concern with those pasts that do not harmonise with current orthodoxy” (p. 202). An accurate, detailed documentation of those pasts is indeed essential for our understanding of the present and future. This is what Tietze sets out to do in her book. Her impeccable archival research, arrangement of the text, and handling of contentious issues make this an important contribution to the history of public institutions in South Africa, and to reflections on art and national identity in general. Tietze constructs the body of her text in accordance with the tenures of different directors (or governance structures) and their impact on the development of the collections and policies. She bookends her five chapters with a lengthy introduction and conclusion in which she discusses issues which are often controversial but need to be voiced. One could quibble with how she discusses classificatory boundaries (fine art versus design, fine art versus craft),1 her overview of western art galleries (or museums),2","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1459095","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41782714","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 : 2017-09-02DOI: 10.1080/00043389.2017.1366096
A. Kearney
Abstract The # RhodesMustFall campaign that began at the University of Cape Town in early 2015, called for the decolonisation of South African university curricula, among other transformations. As a result, many South African academics are questioning the epistemologies that underpin their disciplines. What does the decolonisation of university curricula imply for disciplines in the humanities, art history among them, which were born at the time of colonial expansion and the categorising of knowledge that came with the enlightenment? In this paper I explore some implications of the decolonisation of art history for the ways in which we practise and write art history today. I begin by briefly exploring the origins of the discipline, in order to create a platform from which to consider contemporary art history writing. I then consider the ways in which the decolonisation of the discipline could be understood as the end of art history. A reflection of some of the affordances and limitations of the postcolonial rhetoric in which calls for decolonisation are framed, leads me to consider methods of writing art history that could be construed as acts of decolonisation. I conclude by suggesting that one way to decolonise the discipline is to foreground the author’s subjective voice when writing arts histories.
{"title":"Art History Is Dead; Long Live Art History!","authors":"A. Kearney","doi":"10.1080/00043389.2017.1366096","DOIUrl":"https://doi.org/10.1080/00043389.2017.1366096","url":null,"abstract":"Abstract The # RhodesMustFall campaign that began at the University of Cape Town in early 2015, called for the decolonisation of South African university curricula, among other transformations. As a result, many South African academics are questioning the epistemologies that underpin their disciplines. What does the decolonisation of university curricula imply for disciplines in the humanities, art history among them, which were born at the time of colonial expansion and the categorising of knowledge that came with the enlightenment? In this paper I explore some implications of the decolonisation of art history for the ways in which we practise and write art history today. I begin by briefly exploring the origins of the discipline, in order to create a platform from which to consider contemporary art history writing. I then consider the ways in which the decolonisation of the discipline could be understood as the end of art history. A reflection of some of the affordances and limitations of the postcolonial rhetoric in which calls for decolonisation are framed, leads me to consider methods of writing art history that could be construed as acts of decolonisation. I conclude by suggesting that one way to decolonise the discipline is to foreground the author’s subjective voice when writing arts histories.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2017.1366096","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"58735750","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 : 2017-09-02DOI: 10.1080/00043389.2017.1403079
B. Schmahmann
{"title":"Sue Williamson: Life and Work","authors":"B. Schmahmann","doi":"10.1080/00043389.2017.1403079","DOIUrl":"https://doi.org/10.1080/00043389.2017.1403079","url":null,"abstract":"","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2017.1403079","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43217984","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 : 2017-09-02DOI: 10.1080/00043389.2017.1332503
Anne Scheffer, I. Stevens, Amanda Du Preez
Abstract The character, Sophie, a domestic worker who is invariably deeply immersed in fantasy, appears throughout Mary Sibande’s oeuvre (ranging from Long Live the Dead Queen (2009), to the series, The Purple Shall Govern (2013, 2014)). Sophie is employed by the artist in order to engage with patriarchal and apartheid representations of black femininity, where it is particularly Sophie’s body which registers the traumatic impact of these systems. We contend that Sibande’s portrayal of Sophie, where she is continually engaged in fantasy and articulates trauma at the site of the body, is consistent with hysterical representation. Our interpretation of hysteria is derived from the feminist understanding thereof, where it is not understood as a form of pathology, but rather as a mode of representation which allows the subject to articulate repressed traumatic knowledge and repressed desire in a negotiated manner, from within the confines of an oppressive system. Hysteria is understood as involving the representation of repressed traumatic knowledge and repressed desire through fantasy and the body.
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