subject:(Fine Art)

University of Saskatchewan

1. Peat, Nicholas 1988-. Not4Profit.

Degree: 2019, University of Saskatchewan

Not4Profit is a thesis pertaining to the art exhibition "Not4Profit" for fulfillment of M.F.A. requirements, which was held at the Kenderdine Art Gallery, Aug 19-30, 2019. Advisors/Committee Members: Graham, John David, Norlen, Alison, Birke, Lisa, Miller, Marcus, Bradford, Lori.

Subjects/Keywords: Art; Fine art

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APA (6^th Edition):

Peat, N. 1. (2019). Not4Profit. (Thesis). University of Saskatchewan. Retrieved from http://hdl.handle.net/10388/12347

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Peat, Nicholas 1988-. “Not4Profit.” 2019. Thesis, University of Saskatchewan. Accessed February 27, 2021. http://hdl.handle.net/10388/12347.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Peat, Nicholas 1988-. “Not4Profit.” 2019. Web. 27 Feb 2021.

Vancouver:

Peat N1. Not4Profit. [Internet] [Thesis]. University of Saskatchewan; 2019. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10388/12347.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Peat N1. Not4Profit. [Thesis]. University of Saskatchewan; 2019. Available from: http://hdl.handle.net/10388/12347

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of KwaZulu-Natal

2. Hall, Louise Gillian. Drawing as a generative medium in art making.

Degree: PhD, Fine art, 2013, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/9225

► The research of a practice led PhD in Fine Arts consists of interrelated artwork and writing (Macleod and Holdridge 2005:197). In the dual practical and… (more)

▼ The research of a practice led PhD in Fine Arts consists of interrelated artwork and writing (Macleod and Holdridge 2005:197). In the dual practical and theoretical research for this PhD I examined drawing as a generative medium in art making. This thesis constitutes the theoretical aspect of such research, which is rooted primarily in artistic practice and not in theory. As the other, practical aspect of this PhD I have produced and exhibited original art works, namely works in paint and drawing media. The thesis presented here is an integrative text supporting this practical aspect. It examines the role and process of drawing as a contemporary medium of artistic expression, and pays special attention to its generative nature. The focus on drawing stems from the fact that drawing plays a seminal role in all aspects of my art-making. The thesis examines the body of art works produced during this research as well as the artistic process and methodology used to produce it. It also contextualises the research within the contemporary Fine Art field where drawing has become an ascendant, primary and legitimate medium of artistic expression. In the history of mainly Western art since Classical Antiquity, drawing served an essential and predominantly, though not exclusively, preparatory function. In the last fifty years the status of drawing has shifted, so that it has become a legitimate primary medium of expression for many contemporary artists. The historical function of preparation is consequently no longer the primary guiding rationale for drawing. The status of drawing as secondary and incomplete is now also obsolete. As a consequence of this recent radical function and status shift, current drawing discourse and practice is continually open to question and exploration. Moreover, there is little consensus about the nature of drawing among key players in the Fine Art field. This, as well as the ambiguous nature of drawing which allows it to be a constituent of other media as well as an independent medium, complicates any attempt to define drawing strictly. Having given an outline of the parameters of my specific research topic and my rationale for choosing it, the text proffers a working definition of drawing. Notwithstanding the challenging nature of this task a working definition is necessary to discuss the focus of the research—drawing. The thesis next examines my idiosyncratic use of drawing. Lastly, I address the central question of the thesis, namely, what accounts for the generative nature of drawing? The title of the research, Drawing as a Generative Medium in Art Making, may seem to suggest that the generative potential of drawing is peculiar to the medium as a discrete entity. This research concluded that while drawing is indeed eminently suited to such a function, this exploratory and innovative capacity is the likely outcome of a complex of factors. These factors span artistic approach, drawing process and medium. These inextricably connected factors are difficult to treat discretely. Each of them plays… Advisors/Committee Members: Gouws, Andries Stefanus. (advisor), Armstrong, Juliet. (advisor).

Subjects/Keywords: Fine art.

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APA (6^th Edition):

Hall, L. G. (2013). Drawing as a generative medium in art making. (Doctoral Dissertation). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/9225

Chicago Manual of Style (16^th Edition):

Hall, Louise Gillian. “Drawing as a generative medium in art making.” 2013. Doctoral Dissertation, University of KwaZulu-Natal. Accessed February 27, 2021. http://hdl.handle.net/10413/9225.

MLA Handbook (7^th Edition):

Hall, Louise Gillian. “Drawing as a generative medium in art making.” 2013. Web. 27 Feb 2021.

Vancouver:

Hall LG. Drawing as a generative medium in art making. [Internet] [Doctoral dissertation]. University of KwaZulu-Natal; 2013. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10413/9225.

Council of Science Editors:

Hall LG. Drawing as a generative medium in art making. [Doctoral Dissertation]. University of KwaZulu-Natal; 2013. Available from: http://hdl.handle.net/10413/9225

University of KwaZulu-Natal

3. Frisinger, Leanne April. Paperclay in recent South African ceramics : continuity and change in studio works.

Degree: MA, Fine art, 2012, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/8727

► This dissertation comprises the documentation and theoretical component of a practice-led Master of Arts in Fine Art. The illustrated text focuses in four chapters on… (more)

Subjects/Keywords: Fine art.

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APA (6^th Edition):

Frisinger, L. A. (2012). Paperclay in recent South African ceramics : continuity and change in studio works. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/8727

Chicago Manual of Style (16^th Edition):

Frisinger, Leanne April. “Paperclay in recent South African ceramics : continuity and change in studio works.” 2012. Masters Thesis, University of KwaZulu-Natal. Accessed February 27, 2021. http://hdl.handle.net/10413/8727.

MLA Handbook (7^th Edition):

Frisinger, Leanne April. “Paperclay in recent South African ceramics : continuity and change in studio works.” 2012. Web. 27 Feb 2021.

Vancouver:

Frisinger LA. Paperclay in recent South African ceramics : continuity and change in studio works. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2012. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10413/8727.

Council of Science Editors:

Frisinger LA. Paperclay in recent South African ceramics : continuity and change in studio works. [Masters Thesis]. University of KwaZulu-Natal; 2012. Available from: http://hdl.handle.net/10413/8727

University of KwaZulu-Natal

4. Weaving, Sharon. Ceramic narrative : storytelling and Ardmore Ceramic Studio.

Degree: MA, Fine art, 2011, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/8793

► This dissertation explores the importance of narrative in Ardmore ceramic ware and determines how and to what effect ceramic narrative is used by Ardmore Ceramic… (more)

Subjects/Keywords: Fine art.

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Weaving, S. (2011). Ceramic narrative : storytelling and Ardmore Ceramic Studio. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/8793

Chicago Manual of Style (16^th Edition):

Weaving, Sharon. “Ceramic narrative : storytelling and Ardmore Ceramic Studio.” 2011. Masters Thesis, University of KwaZulu-Natal. Accessed February 27, 2021. http://hdl.handle.net/10413/8793.

MLA Handbook (7^th Edition):

Weaving, Sharon. “Ceramic narrative : storytelling and Ardmore Ceramic Studio.” 2011. Web. 27 Feb 2021.

Vancouver:

Weaving S. Ceramic narrative : storytelling and Ardmore Ceramic Studio. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2011. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10413/8793.

Council of Science Editors:

Weaving S. Ceramic narrative : storytelling and Ardmore Ceramic Studio. [Masters Thesis]. University of KwaZulu-Natal; 2011. Available from: http://hdl.handle.net/10413/8793

University of Cape Town

5. Bloch, Joanne. Letting things speak: a case study in the reconfiguring of a South African institutional object collection.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20272

► In this thesis I examine the University of Cape Town (UCT) Manuscripts and Archives Department object collection, providing insights into the origins of the collection… (more)

▼ In this thesis I examine the University of Cape Town (UCT) Manuscripts and Archives Department object collection, providing insights into the origins of the collection and its status within the archive. Central to the project was my application of a set of creative and affective strategies as a response to the collection, that culminated in a body of artwork entitled Slantways, shown at the Centre for African Studies (CAS) Gallery at UCT in 2014.The collection of about 200 slightly shabby, mismatched artefacts was assembled by R.F.M. Immelman, University Librarian from 1940 until 1970, who welcomed donations of any material he felt would be of value to future scholars. Since subsequent custodians have accorded these things, with their taint of South Africa's colonial past, rather less status, for many years they held an anomalous position within the archive, devalued and marginalised, yet still well-cared for. The thesis explores the ways in which an interlinked series of oblique or slantways conceptual and methodological strategies can unsettle conventional understandings of these archival things, the history with which they are associated, and the archive that houses them. I show how such an unsettling facilitates a complex and subtle range of understandings of the artefacts themselves, and reveals the constructed and contingent nature of the archive, as well as its biases, lacunae and limitations in ways that conventional approaches focusing on its evidentiary function allow to remain hidden. This set of slantways strategies includes the use of a cross-medial creative approach, and my focus on an a-typical, marginalised and taxonomy-free collection. Also important is the incorporation of my visual impairment as avital influence on my artwork, leading to an emphasis both on unusual forms of seeing and on the senses of smell, touch and hearing. Furthermore, my choice to follow a resolutely thing-centred approach led me to engage very closely with the artefacts' materiality, and subsequently with their actancy as archival things, which in turn influenced my conceptual and creative choices. Advisors/Committee Members: Skotnes, Philippa (advisor), Hamilton, Carolyn (advisor).

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Bloch, J. (2016). Letting things speak: a case study in the reconfiguring of a South African institutional object collection. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20272

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Bloch, Joanne. “Letting things speak: a case study in the reconfiguring of a South African institutional object collection.” 2016. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/20272.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Bloch, Joanne. “Letting things speak: a case study in the reconfiguring of a South African institutional object collection.” 2016. Web. 27 Feb 2021.

Vancouver:

Bloch J. Letting things speak: a case study in the reconfiguring of a South African institutional object collection. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/20272.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Bloch J. Letting things speak: a case study in the reconfiguring of a South African institutional object collection. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20272

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

6. Von Solms, Charlayn Imogen. A catalogue of shapes: a composite object portrait of an oral-formulaic Homer.

Degree: Image, Michaelis School of Fine Art, 2015, University of Cape Town

URL: http://hdl.handle.net/11427/15765

► The thesis identifies an equivalence between two seemingly disparate art-forms - Homeric poetry (the Iliad and the Odyssey) and sculptural assemblage. The synthesis of form… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Von Solms, C. I. (2015). A catalogue of shapes: a composite object portrait of an oral-formulaic Homer. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/15765

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Von Solms, Charlayn Imogen. “A catalogue of shapes: a composite object portrait of an oral-formulaic Homer.” 2015. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/15765.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Von Solms, Charlayn Imogen. “A catalogue of shapes: a composite object portrait of an oral-formulaic Homer.” 2015. Web. 27 Feb 2021.

Vancouver:

Von Solms CI. A catalogue of shapes: a composite object portrait of an oral-formulaic Homer. [Internet] [Thesis]. University of Cape Town; 2015. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/15765.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Von Solms CI. A catalogue of shapes: a composite object portrait of an oral-formulaic Homer. [Thesis]. University of Cape Town; 2015. Available from: http://hdl.handle.net/11427/15765

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

7. Zaayman, Carine. Seeing what is not there: figuring the anarchive.

Degree: PhD, Michaelis School of Fine Art, 2019, University of Cape Town

URL: http://hdl.handle.net/11427/31019

► Absences in archives render as impossible access to the fullness of the past. Yet, within the post-apartheid sociopolitical milieu, demands are made of the slivers… (more)

▼ Absences in archives render as impossible access to the fullness of the past. Yet, within the post-apartheid sociopolitical milieu, demands are made of the slivers of evidence in colonial archives to yield more than they contain, to provide material from which counter-colonial narratives may be fashioned. I understand these demands as pressure exerted on archives. In this thesis, I consider this pressure in relation to historical narrations of the lives of two women from the colonial period of the Cape: Krotoa and Anne. Krotoa was a Goringhaicona woman who acted as an interpreter between the Dutch and the Khoekhoe in the early colonial period at the Cape (from 1652). I examine extant literature on Krotoa to show the various ways in which authors have responded to the pressure on the archives in which she appears and how they have dealt with absences within them. I then discuss a number of instances in the archives to demonstrate that the imprint of absence is clearly visible in these archives. Anne was a Scottish noblewoman who lived at the Cape from 1797 to 1802. I investigate the literature about Anne to show how scholars have responded to the pressure on her archive primarily by overlooking the absences within it. I then consider two aspects of Anne’s archive to demonstrate that it, too, bears the imprint of absence. In contrast to approaches to absence that seek to fill in the gaps in archives, I argue that paying attention to the imprints of absence enables us to begin to grasp something of absence in its own right, that is, the negative space of an archive that constitutes a form of absolute absence. I have named this absolute absence in archives the “anarchive”. Identifying the imprints of absences as indicative of the anarchive has led me to instantiate the anarchive through figuration. This is achieved via visual art methodologies in which I systematically avoid reconstruction and instead convene an archive of photographs whose subject, and the curatorial rationale behind their display, is emptiness and transience. My figuring situates the anarchive centre stage and proposes engagement with it as a means of escaping the constraints of archives. When the full extent of the anarchive is brought into view, the limitations of archives are sharply delineated and their ability to control our understanding of the past is rendered absurd. Advisors/Committee Members: Skotnes, Philippa (advisor).

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Zaayman, C. (2019). Seeing what is not there: figuring the anarchive. (Doctoral Dissertation). University of Cape Town. Retrieved from http://hdl.handle.net/11427/31019

Chicago Manual of Style (16^th Edition):

Zaayman, Carine. “Seeing what is not there: figuring the anarchive.” 2019. Doctoral Dissertation, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/31019.

MLA Handbook (7^th Edition):

Zaayman, Carine. “Seeing what is not there: figuring the anarchive.” 2019. Web. 27 Feb 2021.

Vancouver:

Zaayman C. Seeing what is not there: figuring the anarchive. [Internet] [Doctoral dissertation]. University of Cape Town; 2019. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/31019.

Council of Science Editors:

Zaayman C. Seeing what is not there: figuring the anarchive. [Doctoral Dissertation]. University of Cape Town; 2019. Available from: http://hdl.handle.net/11427/31019

University of the Arts London

8. Papadopoulos, Theokritos. The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma.

Degree: 2013, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/6470/

► This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage… (more)

▼ This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage in order to produce art installations for investigating trauma, especially in moments of social crisis. My art practice is informed by Sigmund Freud’s notion of the ‘death drive’ in his book Beyond the Pleasure Principle. Freud’s story about his grandson’s fort-da game provided the context in my research for examining the use of ephemeral everyday materials and historical archive footage within this psychoanalytical interpretation. Freud’s concept of the death drive provided my enquiry with a reflective methodology for addressing my own installation practice. I was able to combine this with reflection upon traumatic situations in Greek history, especially the Greek Civil War. As a result of completing the above procedure, I realised the importance of everyday ephemeral materials and archive footage in the creation of an object or installation to which artists attach their subjectivity in moments when society is in crisis. In my own installations using historical archives from Greek Civil War, through the method of cut and paste, I have tried to create new images reusing photographic archives laden with historical, social and political meaning. This action was my subjective way to deal with collective trauma and loss, to create my own version of Freud’s fort-da game by turning installations into a theatrical space in which this action was presented and communicated with the viewers. In addressing research through practice, connections between trauma, the use of heterogeneous materials and the development of the avant-garde movement, particularly in Greece, have become paramount. Despite the research undertaken by Greek academics on the Greek Civil War (1944–1949), little is known about the importance of this period in relation to the development of avant-garde in Greece. My research concludes that the study of the history of the Greek avant-garde provides a new understanding of the development of collage, assemblage and the use of found objects after the Second World War by Greek artists. During my investigation, I realised that these techniques were first used by exiled artists in 1948 during the Greek Civil War, and later developed in the mid-1950s by Greek artists to become one of their main methods of producing art. During this period, Greek artists began to produce works that reflected a fragmentary vision in contrast to the hitherto classic aesthetics of the whole. Ostensibly, this was a reflection of the impossibility of a whole that war had created; the relationship of the individual within society had crumbled as civil war raged and society’s values, which had been based on the Orthodox Christian tradition, disintegrated. The use of found objects by Greek artists during this period expressed transgression as a way to deal with the main concerns of Greek culture.

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Papadopoulos, T. (2013). The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma. (Thesis). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/6470/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Papadopoulos, Theokritos. “The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma.” 2013. Thesis, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/6470/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Papadopoulos, Theokritos. “The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma.” 2013. Web. 27 Feb 2021.

Vancouver:

Papadopoulos T. The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma. [Internet] [Thesis]. University of the Arts London; 2013. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/6470/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Papadopoulos T. The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma. [Thesis]. University of the Arts London; 2013. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/6470/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of the Arts London

9. Hart, Emma. How To Do Things With Cameras.

Degree: 2013, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/8744/

► The primary site for this research is artistic production, through exhibitions and performances presented in galleries between 2008-2012. The written thesis closely examines the large… (more)

▼ The primary site for this research is artistic production, through exhibitions and performances presented in galleries between 2008-2012. The written thesis closely examines the large body of practical work I have made through discussions with Dean Kenning, a viewer to all the artworks submitted. This is combined with a contextual analysis reflecting on the research behind and ideas provoked by this practical work. The research aims to create an encounter with the photograph or video where the lens-based image, still or moving, is not a window onto a world but operates as a presence sharing the viewer’s time and space. I name this changed manner of encounter a live mode of address. I begin the thesis by describing video and films I feel go beyond providing a description and are experienced as a presence. Through looking at the work of Spartacus Chetwynd, John Smith, Laure Provoust, and Ryan Trecartin, I locate reasons for why my concept of a live mode of address happens. I then bring together the different ways it works and greatly expand its limits and possibilities through my own art making. The thesis operates within the field of fine art yet I am challenging the consumption of lens-based images within wider visual culture. This enquiry does not set out to change how the camera works, or question our conventional understanding of what a camera does; its mission is to change how we encounter what it produces. How can I, as an artist operating with a camera - a machine that can only repeat, describe and represent things from the past - engender a live mode of address between a viewer and a lens-based artwork? It is through the production of artwork that this question is explored. In this thesis the artworks are examined in the order they were made, as each one evaluates and takes forward research and ideas present in the previous work. They build on each other to form a cohesive and staged investigation, culminating with my exhibition TO DO (2011) Matt’s Gallery. J.L. Austin’s theory of performative speech is an important theoretical tool for this thesis. In his series of lectures How To Do Things With Words, Austin asked whether words can produce a reality rather than describe one? I pitch this question not to words, but to the lens-based image and the title of my thesis How To Do Things With Cameras reflects this performative investigation. I go on to examine how the performative use of the camera impacts on a live mode of address and, through considering work by artists including Vito Acconci and John Baldessari,how this must stretch beyond the making of the work to incorporate the artwork’s installation. The major element of this PhD submission is the exhibition TO DO (2011) at Matt’s Gallery, London. Bertolt Brecht’s ‘Learning Plays’ are considered alongside production for this exhibition. TO DO (2011) produces a live mode of address and my examination of how this operates reveals a complicated exchange between the artwork and viewer. The experience of the lens-based images within TO DO (2011) are…

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hart, E. (2013). How To Do Things With Cameras. (Thesis). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/8744/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hart, Emma. “How To Do Things With Cameras.” 2013. Thesis, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/8744/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hart, Emma. “How To Do Things With Cameras.” 2013. Web. 27 Feb 2021.

Vancouver:

Hart E. How To Do Things With Cameras. [Internet] [Thesis]. University of the Arts London; 2013. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/8744/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Hart E. How To Do Things With Cameras. [Thesis]. University of the Arts London; 2013. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/8744/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of the Arts London

10. Edwardes, Christian. Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art.

Degree: 2016, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/9192/

► For some art historians the notion of geography has never had as much importance in art as in recent years. At the same time numerous… (more)

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Edwardes, C. (2016). Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art. (Thesis). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/9192/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Edwardes, Christian. “Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art.” 2016. Thesis, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/9192/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Edwardes, Christian. “Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art.” 2016. Web. 27 Feb 2021.

Vancouver:

Edwardes C. Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art. [Internet] [Thesis]. University of the Arts London; 2016. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/9192/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Edwardes C. Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art. [Thesis]. University of the Arts London; 2016. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/9192/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of the Arts London

11. Hartley, John. The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse.

Degree: 2015, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/13332/

► The sea changes in many ways and on many levels. These changes are complex and highly connected and as a result are hard to predict… (more)

▼ The sea changes in many ways and on many levels. These changes are complex and highly connected and as a result are hard to predict Connected, changing systems of different scale are found in many areas of life. As well as physical systems such as the sea, they are apparent in emerging and collapsing ecological systems (Gunderson, Holling 2002), in systems of human ideas such as the philosophy of Deleuze and Guattari and, as I argue, in arts practice. Although attempts to know the sea are inherently difficult, they also offer opportunities. For example, if we were better able to perceive the changes of the sea, we might better approach other pressing problems that categorise our current age, such as climate change and the threat of collapse within other socio-ecological systems. A sea-centred form of ecological thinking could promote awareness of change and connection on different scales in varied realms. I demonstrate how forms of change, initially familiar through the movements of the sea, can be understood through arts practice. I refer to this sea-centred, ecological perception as ‘thalassocentric', (from the Greek thalassa, sea). This term denotes an outlook that (in some way) originates within the sea, even if it then addresses land, social arrangements or human imagination. Although thalassocentric understanding is derived from the movement of waves, I show that the concept can be developed as a useful tool for understanding changes beyond the oceans. Having analysed a number of key creative practices that engage with the contexts described, I develop an arts-centred use of the term 'apparatus'. I show that art apparatuses can be considered to move and change in ways that are also thalassocentric. This model is tested and applied through a series of creative projects which suggest that changes within art apparatuses can help us understand changes elsewhere. It therefore offers a valuable model that can contribute to our knowledge and understanding of other complex systems.

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hartley, J. (2015). The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse. (Thesis). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/13332/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hartley, John. “The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse.” 2015. Thesis, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/13332/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hartley, John. “The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse.” 2015. Web. 27 Feb 2021.

Vancouver:

Hartley J. The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse. [Internet] [Thesis]. University of the Arts London; 2015. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/13332/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Hartley J. The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse. [Thesis]. University of the Arts London; 2015. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/13332/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of the Arts London

12. Locke, Lana. The Feral, the Art Object and the Social.

Degree: 2017, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/13476/

► This practice-based research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and… (more)

▼ This practice-based research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where heterogeneous elements meet: different voices expressed through the writing and images of my practice. In claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral underclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres. Mother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall. The feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless mass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover. The feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Locke, L. (2017). The Feral, the Art Object and the Social. (Thesis). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/13476/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Locke, Lana. “The Feral, the Art Object and the Social.” 2017. Thesis, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/13476/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Locke, Lana. “The Feral, the Art Object and the Social.” 2017. Web. 27 Feb 2021.

Vancouver:

Locke L. The Feral, the Art Object and the Social. [Internet] [Thesis]. University of the Arts London; 2017. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/13476/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Locke L. The Feral, the Art Object and the Social. [Thesis]. University of the Arts London; 2017. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/13476/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of the Arts London

13. Guarino-Huet, Marianne. If we make it, we can change it.

Degree: PhD, 2019, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/14790/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782020

► For the art critic Claire Bishop 'collectivity and collaboration have been some of the most persistent themes of advanced art and exhibition-making of the last… (more)

▼ For the art critic Claire Bishop 'collectivity and collaboration have been some of the most persistent themes of advanced art and exhibition-making of the last decade' (2012, p.12). I will bring with this thesis a new contribution to this discourse by reflecting on the specificity and potential of the notion of 'common' through the production of art with non-artists. This practice-led research is based on the practice of microsillons, the artists collective I founded with Olivier Desvoignes in 2005. The experiential dimension of the practice is entangled with an investigation that integrates recent approaches to the concept of 'common' by theorists and cultural workers as a framework to reflect, critique, resist and overcome the effects of the neo-liberal transformation of all spheres of human activity. I will describe the common as an 'already-there' (Hardt and Negri, 2009) but also as a 'to come' (Dardot and Laval, 2015a) and, furthermore, as a critical tool. These theoretical underpinnings form the conceptual background for the different experimentations developed by microsillons with common modes of thinking, organizing and producing. I will analyse the way microsillons developed its art practice in common with non-artists. Each of these analyses articulates a series of dual central concepts, namely: authorship/common production, banking education/commonly generated knowledge and cultural participation/agonistic mediation, terminology that I will outline in the body of the thesis. Together with these case studies from microsillons' practice, I discuss contemporary examples of comparable practices developed by artists such as Copenhagen Free University, Ultra-Red or Suzanne Lacy. In this way, I explore how Olivier and I have been able to build, with people outside the worlds of contemporary art, unique and complex experiences, condensed in common forms. The geographical anchoring of this practice in Geneva, a French-speaking city in Switzerland, brings a specific testimony. The text describes how the activity of common, acknowledging the importance of divergences or conflicts, can challenge forms of exclusion or oppression, which I will discuss as being more prevalent, yet also more hidden, due to the fact that this city is one of the world capitals of finance.

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Guarino-Huet, M. (2019). If we make it, we can change it. (Doctoral Dissertation). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/14790/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782020

Chicago Manual of Style (16^th Edition):

Guarino-Huet, Marianne. “If we make it, we can change it.” 2019. Doctoral Dissertation, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/14790/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782020.

MLA Handbook (7^th Edition):

Guarino-Huet, Marianne. “If we make it, we can change it.” 2019. Web. 27 Feb 2021.

Vancouver:

Guarino-Huet M. If we make it, we can change it. [Internet] [Doctoral dissertation]. University of the Arts London; 2019. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/14790/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782020.

Council of Science Editors:

Guarino-Huet M. If we make it, we can change it. [Doctoral Dissertation]. University of the Arts London; 2019. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/14790/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782020

University of the Arts London

14. Hackemann, Rebecca. Not on The Plaza : critical strategies for object-based public art in New York.

Degree: PhD, 2019, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/14159/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.774103

► This thesis addresses the research questions - why is public art concentrated in certain zones of New York? What is the publicness of public art?… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Hackemann, R. (2019). Not on The Plaza : critical strategies for object-based public art in New York. (Doctoral Dissertation). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/14159/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.774103

Chicago Manual of Style (16^th Edition):

Hackemann, Rebecca. “Not on The Plaza : critical strategies for object-based public art in New York.” 2019. Doctoral Dissertation, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/14159/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.774103.

MLA Handbook (7^th Edition):

Hackemann, Rebecca. “Not on The Plaza : critical strategies for object-based public art in New York.” 2019. Web. 27 Feb 2021.

Vancouver:

Hackemann R. Not on The Plaza : critical strategies for object-based public art in New York. [Internet] [Doctoral dissertation]. University of the Arts London; 2019. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/14159/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.774103.

Council of Science Editors:

Hackemann R. Not on The Plaza : critical strategies for object-based public art in New York. [Doctoral Dissertation]. University of the Arts London; 2019. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/14159/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.774103

University of the Arts London

15. Christouli, Vasiliki. Site-specific art as an exploration of spatial and temporal limitations.

Degree: PhD, 2016, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010

► This practice-based thesis examines the relationship between space, time and the human presence. It is concerned with the dialectic exchanges between my work and the… (more)

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Christouli, V. (2016). Site-specific art as an exploration of spatial and temporal limitations. (Doctoral Dissertation). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010

Chicago Manual of Style (16^th Edition):

Christouli, Vasiliki. “Site-specific art as an exploration of spatial and temporal limitations.” 2016. Doctoral Dissertation, University of the Arts London. Accessed February 27, 2021. http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010.

MLA Handbook (7^th Edition):

Christouli, Vasiliki. “Site-specific art as an exploration of spatial and temporal limitations.” 2016. Web. 27 Feb 2021.

Vancouver:

Christouli V. Site-specific art as an exploration of spatial and temporal limitations. [Internet] [Doctoral dissertation]. University of the Arts London; 2016. [cited 2021 Feb 27]. Available from: http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010.

Council of Science Editors:

Christouli V. Site-specific art as an exploration of spatial and temporal limitations. [Doctoral Dissertation]. University of the Arts London; 2016. Available from: http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010

University of the Arts London

16. Capeto, Carla. Space dramaturgy : exploring the perfomativity of space in interactive art.

Degree: PhD, 2016, University of the Arts London

URL: https://ualresearchonline.arts.ac.uk/id/eprint/14623/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782010

► This thesis proposes the reframing of dramaturgy into interactive art with a focus on spatial relationships rather than textual. The thesis original contribution to knowledge… (more)

▼ This thesis proposes the reframing of dramaturgy into interactive art with a focus on spatial relationships rather than textual. The thesis original contribution to knowledge is the creation of a new type of dramaturgy - space dramaturgy - as an artistic methodology that examines the performativity of interactive art installations, taking as key the compositional elements of space, body, and technology. The thesis investigates the relationship of these compositional elements through a combination of theoretical and practice-based methods in order to explore the performativity of interactive installations and participatory spectatorships. The theoretical investigation provides a critical historical and contemporary analysis of dramaturgy, contextualising space dramaturgy within a non-textual dramaturgical practice. It is supported by theories of postdramatic theatre (Lehmann, 2006), and new dramaturgy (Van Kerkhoven, 2009a). The theory also develops the compositional element for a space dramaturgy. The elements of body and space are conceptually connected through the phenomenological theories of Gaston Bachelard (1969), and Maurice Merleau-Ponty (1962). Additionally, the research includes the concept of sitespecificity (Kwon, 2002), and theories related to social and collective space (Lefebvre, 1991). The third element, technology, is defined according to the concept of machine aesthetics, emphasising the aesthetic value of technological components. The thesis aims to integrate technology in an artwork as both a functional and aesthetic element. The transition from theory to practice is supported by observational work, generating a database of interactive art projects. The database establishes the bridge between theory and practice-based investigation, informing the research on spatial narratives, sensory perception, interactivity, and the public's participation. 2 The practice-based investigation's point of departure is the narrative of the maze as a method, to develop a performative interactive installation that inhabits a shared space, thus emphasising both collective and individual experience. The final result is an interactive installation titled Space machine. The installation combines the materiality of space through haptic interaction and visibility of the technological elements, and juxtaposes the individual with collective experience of space by staging playful, provocative and performative situations with the public. This thesis presents the main stages of development of the concept space dramaturgy, culminating with the establishment of dramaturgical principles. These principles evolve according to stages of divergence and convergence that build up the connection between theory and practice, and the creation of a performative interactive installation. During the stages of divergence, the research broadens its theoretical and conceptual scope; whilst the stages of convergence narrow down concept and establishes connections between the elements space, body, and technology.

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Capeto, C. (2016). Space dramaturgy : exploring the perfomativity of space in interactive art. (Doctoral Dissertation). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/14623/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782010

Chicago Manual of Style (16^th Edition):

Capeto, Carla. “Space dramaturgy : exploring the perfomativity of space in interactive art.” 2016. Doctoral Dissertation, University of the Arts London. Accessed February 27, 2021. https://ualresearchonline.arts.ac.uk/id/eprint/14623/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782010.

MLA Handbook (7^th Edition):

Capeto, Carla. “Space dramaturgy : exploring the perfomativity of space in interactive art.” 2016. Web. 27 Feb 2021.

Vancouver:

Capeto C. Space dramaturgy : exploring the perfomativity of space in interactive art. [Internet] [Doctoral dissertation]. University of the Arts London; 2016. [cited 2021 Feb 27]. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/14623/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782010.

Council of Science Editors:

Capeto C. Space dramaturgy : exploring the perfomativity of space in interactive art. [Doctoral Dissertation]. University of the Arts London; 2016. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/14623/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782010

University of Cape Town

17. Brown, Jessica Natasha. Ethics of the dust: on the care of a university art collection.

Degree: Image, Michaelis School of Fine Art, 2015, University of Cape Town

URL: http://hdl.handle.net/11427/13651

► This thesis examines the University of Cape Town (UCT) Permanent Works of Art Collection in order to determine its relevance to, and status within, the… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Brown, J. N. (2015). Ethics of the dust: on the care of a university art collection. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13651

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Brown, Jessica Natasha. “Ethics of the dust: on the care of a university art collection.” 2015. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/13651.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Brown, Jessica Natasha. “Ethics of the dust: on the care of a university art collection.” 2015. Web. 27 Feb 2021.

Vancouver:

Brown JN. Ethics of the dust: on the care of a university art collection. [Internet] [Thesis]. University of Cape Town; 2015. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/13651.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Brown JN. Ethics of the dust: on the care of a university art collection. [Thesis]. University of Cape Town; 2015. Available from: http://hdl.handle.net/11427/13651

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

18. Siwani, Buhlebezwe. Imfihlo.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20623

► The discourses of ritual, culture and ethics has, over the years, been a primarily ethnographic, philosophical and dramaturgical concern. Secrecy seems central in setting boundaries.… (more)

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Siwani, B. (2016). Imfihlo. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20623

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Siwani, Buhlebezwe. “Imfihlo.” 2016. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/20623.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Siwani, Buhlebezwe. “Imfihlo.” 2016. Web. 27 Feb 2021.

Vancouver:

Siwani B. Imfihlo. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/20623.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Siwani B. Imfihlo. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20623

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

19. Bolton, Ingrid. Crossing the Ecoline: a visual response to increasing levels of ocean acidification.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20654

► This text is presented in conjunction with my exhibition Crossing the Ecoline and is a visual response to changing levels of ocean acidification. My art… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Bolton, I. (2016). Crossing the Ecoline: a visual response to increasing levels of ocean acidification. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20654

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Bolton, Ingrid. “Crossing the Ecoline: a visual response to increasing levels of ocean acidification.” 2016. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/20654.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Bolton, Ingrid. “Crossing the Ecoline: a visual response to increasing levels of ocean acidification.” 2016. Web. 27 Feb 2021.

Vancouver:

Bolton I. Crossing the Ecoline: a visual response to increasing levels of ocean acidification. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/20654.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Bolton I. Crossing the Ecoline: a visual response to increasing levels of ocean acidification. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20654

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

20. Gauld, Quanta. Desperate whispers : empathy in the context of an ecological crisis.

Degree: Image, Michaelis School of Fine Art, 2015, University of Cape Town

URL: http://hdl.handle.net/11427/13696

► In his text Invisible Cities, Italo Calvino (1974) describes the fictional city of Baucis, a land suspended in the clouds, in which humans maintain a… (more)

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Gauld, Q. (2015). Desperate whispers : empathy in the context of an ecological crisis. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13696

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Gauld, Quanta. “Desperate whispers : empathy in the context of an ecological crisis.” 2015. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/13696.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Gauld, Quanta. “Desperate whispers : empathy in the context of an ecological crisis.” 2015. Web. 27 Feb 2021.

Vancouver:

Gauld Q. Desperate whispers : empathy in the context of an ecological crisis. [Internet] [Thesis]. University of Cape Town; 2015. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/13696.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Gauld Q. Desperate whispers : empathy in the context of an ecological crisis. [Thesis]. University of Cape Town; 2015. Available from: http://hdl.handle.net/11427/13696

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

21. Stielau, Anna. Double agents : queer citizenship(s) in contemporary South African visual culture.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20625

► South Africa claims the most progressive constitution on the African continent, extending protections to all citizens regardless of race, gender, ability or sexual orientation. Much… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Stielau, A. (2016). Double agents : queer citizenship(s) in contemporary South African visual culture. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20625

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Stielau, Anna. “Double agents : queer citizenship(s) in contemporary South African visual culture.” 2016. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/20625.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Stielau, Anna. “Double agents : queer citizenship(s) in contemporary South African visual culture.” 2016. Web. 27 Feb 2021.

Vancouver:

Stielau A. Double agents : queer citizenship(s) in contemporary South African visual culture. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/20625.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Stielau A. Double agents : queer citizenship(s) in contemporary South African visual culture. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20625

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

22. Joubert, Jill. Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance.

Degree: Image, Michaelis School of Fine Art, 2013, University of Cape Town

URL: http://hdl.handle.net/11427/13098

► The submission for my Master of Fine Art degree, which is devoted to the interpretation and transformation of the Italian fairy tale, Apple Girl, into… (more)

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Joubert, J. (2013). Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13098

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Joubert, Jill. “Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance.” 2013. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/13098.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Joubert, Jill. “Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance.” 2013. Web. 27 Feb 2021.

Vancouver:

Joubert J. Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance. [Internet] [Thesis]. University of Cape Town; 2013. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/13098.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Joubert J. Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance. [Thesis]. University of Cape Town; 2013. Available from: http://hdl.handle.net/11427/13098

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

23. Bezuidenhout, Vincent. Separate amenities : topographics of recreational spaces in South Africa.

Degree: Image, Michaelis School of Fine Art, 2011, University of Cape Town

URL: http://hdl.handle.net/11427/10152

► The body of photographs discussed in this document examine the way in which the landscape was constructed to enforce separation, in the form of separate… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Bezuidenhout, V. (2011). Separate amenities : topographics of recreational spaces in South Africa. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/10152

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Bezuidenhout, Vincent. “Separate amenities : topographics of recreational spaces in South Africa.” 2011. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/10152.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Bezuidenhout, Vincent. “Separate amenities : topographics of recreational spaces in South Africa.” 2011. Web. 27 Feb 2021.

Vancouver:

Bezuidenhout V. Separate amenities : topographics of recreational spaces in South Africa. [Internet] [Thesis]. University of Cape Town; 2011. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/10152.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Bezuidenhout V. Separate amenities : topographics of recreational spaces in South Africa. [Thesis]. University of Cape Town; 2011. Available from: http://hdl.handle.net/11427/10152

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

24. Simons, Bridget Anne. An irreal realm: painting as a means of reflecting on oneirism.

Degree: Image, Michaelis School of Fine Art, 2013, University of Cape Town

URL: http://hdl.handle.net/11427/13995

► My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project,… (more)

▼ My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi. Advisors/Committee Members: Siopis, Penny (advisor).

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Simons, B. A. (2013). An irreal realm: painting as a means of reflecting on oneirism. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13995

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Simons, Bridget Anne. “An irreal realm: painting as a means of reflecting on oneirism.” 2013. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/13995.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Simons, Bridget Anne. “An irreal realm: painting as a means of reflecting on oneirism.” 2013. Web. 27 Feb 2021.

Vancouver:

Simons BA. An irreal realm: painting as a means of reflecting on oneirism. [Internet] [Thesis]. University of Cape Town; 2013. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/13995.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Simons BA. An irreal realm: painting as a means of reflecting on oneirism. [Thesis]. University of Cape Town; 2013. Available from: http://hdl.handle.net/11427/13995

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

25. Roussouw, Chad. A history of failure.

Degree: Image, Michaelis School of Fine Art, 2011, University of Cape Town

URL: http://hdl.handle.net/11427/10653

► A history of failure implies several things. It can point to a chronology of the concept of failure, like so many contemporary history books that… (more)

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Roussouw, C. (2011). A history of failure. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/10653

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Roussouw, Chad. “A history of failure.” 2011. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/10653.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Roussouw, Chad. “A history of failure.” 2011. Web. 27 Feb 2021.

Vancouver:

Roussouw C. A history of failure. [Internet] [Thesis]. University of Cape Town; 2011. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/10653.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Roussouw C. A history of failure. [Thesis]. University of Cape Town; 2011. Available from: http://hdl.handle.net/11427/10653

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

26. Robins, Kathy. Through the garden fence.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20653

► This project attempts to tie together different threads of my experience. It begins with the memory of looking through the garden fence and hedge of… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Robins, K. (2016). Through the garden fence. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20653

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Robins, Kathy. “Through the garden fence.” 2016. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/20653.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Robins, Kathy. “Through the garden fence.” 2016. Web. 27 Feb 2021.

Vancouver:

Robins K. Through the garden fence. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/20653.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Robins K. Through the garden fence. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20653

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

27. Gauntlett, Alice. Out-of-Place.

Degree: Image, Michaelis School of Fine Art, 2013, University of Cape Town

URL: http://hdl.handle.net/11427/10555

► This series of photographs were the initial process works for my project. I began photographing my body, predominately my legs, in personal spaces. These spaces… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Gauntlett, A. (2013). Out-of-Place. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/10555

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Gauntlett, Alice. “Out-of-Place.” 2013. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/10555.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Gauntlett, Alice. “Out-of-Place.” 2013. Web. 27 Feb 2021.

Vancouver:

Gauntlett A. Out-of-Place. [Internet] [Thesis]. University of Cape Town; 2013. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/10555.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Gauntlett A. Out-of-Place. [Thesis]. University of Cape Town; 2013. Available from: http://hdl.handle.net/11427/10555

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

28. Prinsloo, Monique. Falling into gentle ruin.

Degree: Image, Michaelis School of Fine Art, 2012, University of Cape Town

URL: http://hdl.handle.net/11427/12465

► Through this research I have endeavoured to unpack the ‘whys’ and ‘hows’ of my own obsession with collecting photographs, by relating it to a theoretical… (more)

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Prinsloo, M. (2012). Falling into gentle ruin. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/12465

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Prinsloo, Monique. “Falling into gentle ruin.” 2012. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/12465.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Prinsloo, Monique. “Falling into gentle ruin.” 2012. Web. 27 Feb 2021.

Vancouver:

Prinsloo M. Falling into gentle ruin. [Internet] [Thesis]. University of Cape Town; 2012. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/12465.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Prinsloo M. Falling into gentle ruin. [Thesis]. University of Cape Town; 2012. Available from: http://hdl.handle.net/11427/12465

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

29. Dooley, Jeffrey. Revisiting the future.

Degree: Image, Michaelis School of Fine Art, 2013, University of Cape Town

URL: http://hdl.handle.net/11427/14151

► Revisiting the future re-examines some ideas of the Italian Futurist painters Boccioni, Balla, Carra, Russolo and Severini. These ideas included multiplied sensations and states of… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Dooley, J. (2013). Revisiting the future. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/14151

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Dooley, Jeffrey. “Revisiting the future.” 2013. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/14151.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Dooley, Jeffrey. “Revisiting the future.” 2013. Web. 27 Feb 2021.

Vancouver:

Dooley J. Revisiting the future. [Internet] [Thesis]. University of Cape Town; 2013. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/14151.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Dooley J. Revisiting the future. [Thesis]. University of Cape Town; 2013. Available from: http://hdl.handle.net/11427/14151

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cape Town

30. Macdonald, James. Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/23452

► In this research I consider ways in which black South African artists working during and after apartheid have both revised and symbolically redeployed the Stations… (more)

▼ In this research I consider ways in which black South African artists working during and after apartheid have both revised and symbolically redeployed the Stations of the Cross - and more broadly, the iconographic tradition of the Passion cycle. In so doing, I demonstrate the strategic application of Christ's episodic sufferings as a means of both analogously chronicling situations of historical trauma, as well as articulating more aspirant narratives of political resistance, selfliberation and reconciliation. Concentrating initially on church-commissioned projects realised in the late 1950s and early 1960s, I trace the reinterpretation (or 'Africanisation') of the Stations of the Cross by artists such as Bernard Gcwensa, Ruben Xulu and Sydney Kumalo. Noting the emergence of a black Christ and a localised Passion, I emphasise the complex cultural and political implications of this iconographic transformation - arguing that its hybrid realisation undermined the cultural bias of a European-styled Christianity, and the racial hierarchies of colonialism and apartheid. Following this, considered in more detail are the secular reimaginings of Sokhaya Charles Nkosi's Crucifixion (1976) and Azaria Mbatha's Stations of the Cross for Africa (1995) - as series wherein the episodes of Christ's Passion are consciously and symbolically redeployed. In the case of Nkosi's Crucifixion, I show as covertly documented in a black Christ's sufferings the incarceration and torture of political activists in apartheid South Africa. On a more ideological level, I demonstrate also, as embodied in the series, the aspirant directives of Black Consciousness and Black Theology. Turning to Mbatha's Stations of the Cross for Africa, I present its visual narrative as analogously envisioning, as well as critically rethinking, the mutually embedded traumas of slavery, colonialism and apartheid. Significant to my analysis is the future vision of reconciliation posited by Mbatha, and the extent to which it both reflects and challenges that maintained within the 'transformative' programme of the South African Truth and Reconciliation Commission. Demonstrated in my evaluation of these appropriative projects is the way in which a traditionally European iconographic tradition is critically redeployed - in chronicling situations of historical trauma, as well as in the envisioning of alternative futures. As such, I hope to afford a more nuanced and challenging appreciation of these reimagined Passion narratives, as significant projects of cultural and postcolonial memory. In keeping with this, I advance in conclusion a 'rethinking of pilgrimage'. Recalling the culture of participative witness associated with devotional programmes like the Stations of the Cross, I propose that in the case of both Nkosi's Crucifixion and Mbatha's Stations of the Cross for Africa, extended to viewers is a certain imperative: to imaginatively revisit, and rethink within the present, traumatic histories of black suffering and resistance. Advisors/Committee Members: Skotnes, Pippa (advisor), MacKenny, Virginia (advisor), Bogues, Anthony (advisor).

Subjects/Keywords: Fine Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Macdonald, J. (2016). Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/23452

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Macdonald, James. “Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha.” 2016. Thesis, University of Cape Town. Accessed February 27, 2021. http://hdl.handle.net/11427/23452.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Macdonald, James. “Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha.” 2016. Web. 27 Feb 2021.

Vancouver:

Macdonald J. Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/11427/23452.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Macdonald J. Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/23452

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Open Access Theses and Dissertations