De Arte - Volume 2001, Issue 63, 2001
Volumes & issues
Volume 2001, Issue 63, 2001
Source: De Arte 2001 (2001)More Less
This issue of de Arte contains a range of articles on a variety of issues. The very fact that no obvious link is to be found between them is to be welcomed. They reflect, we believe, the range of interests of academics, writers and artists in the field of arts in South Africa, and, moreover, the diversification and extensions of definitions of both 'art, and 'art history'.
Source: De Arte 2001, pp 5 –25 (2001)More Less
Leora Farber (born 1964) is a South African artist working within a feminist theoretical framework. The imagery and textures of Farber's works are suggestive of skin and, in many instances, raw flesh and dismembered body parts, but created with such intricate beauty and sensuousness that they often evoke in viewers a simultaneous reaction of both allure and revulsion.
Source: De Arte 2001, pp 26 –48 (2001)More Less
The connection between art and mathematics is well established and ancient. Recent research has revealed that correlations existed well before the earliest written ac counts and appear even in art from the Ice Age. An astronomical painting showing the phases of the moon in the Canchal de Mahona cave in Spain has been dated to ca 7000 BC (Hawkins 1973:230, 231).
Author G. HaggSource: De Arte 2001, pp 49 –75 (2001)More Less
Community arts centres have served the social, educational, economic and political needs of a number of African artists and communities in South Africa since the 1950s. Examples are the Polly Street Art Centre, Katlehong Art Centre, Dorkay House, FUBA, Funda, Afrika Cultural Centre, and Alexandra Arts Centre (all seven in the Witwatersrand area), Rorke's Drift in KwaZulu-Natal, Ditike near Thohoyandou, Mmabana Arts Centre in Mmabatho, the Community Arts Project in Cape Town, the Community Arts Workshop and BAT Centre in Durban and Arts for all in Pretoria.
Author F. HarmsenSource: De Arte 2001, pp 76 –86 (2001)More Less
When Muffin Stevens reviewed an exhibition of paintings by Maud Sumner in the Pretoria Art Museum, she wrote : A complaint to be levelled at the museum is that no dates are available either on labels or in a catalogue. So the viewer is not able to form a complete picture of the chronology of the works. Thus an understanding of the artist's development is frustrated.
Author B. SchmahmannSource: De Arte 2001, pp 87 –89 (2001)More Less
Marc Chagall : The Light of Origins at the Standard Bank Gallery in Johannesburg and the South African National Gallery in Cape Town focused on works by Chagall made during about the last three and a half decades in his life when he was living in the south of France. The Standard Bank Gallery provided a venue for the exhibition of a wide selection of oil paintings and works on paper, and the National Gallery showed the artist's lithographs from this period.
Author K. PrellerSource: De Arte 2001, pp 90 –92 (2001)More Less
For the majority of South Africans art exhibitions do not feature anywhere near the top of their list of favourite things to do. Exhibition openings may be relatively well attended, depending on the venue and (to a lesser extent it sometimes seems) on the artist. But openings usually attract more or less the same crowd, all forming part of South Africa's small 'art world'. And yet the recent Leonardo da Vinci and Marc Chagall exhibitions drew unprecedented crowds.
Source: De Arte 2001, pp 93 –95 (2001)More Less
The Corobrik Collection is a collection of contemporary South African ceramics acquired with the sponsorship of the brick manufacturers, Corobrik. No other private or public organisation in South Africa has had a dedicated policy for collecting contemporary ceramics. As such the Corobrik Collection is unique. Its value is inestimable representing as it does a collection that is of both historic and aesthetic worth.
Source: De Arte 2001, pp 97 –99 (2001)More Less
The collection of Melrose House, and indeed the garden too, cannot be separated from the house itself. Melrose House is situated on four erven, which together with the house and all the outbuildings, are declared a National Monument. The implication is that the terrain and buildings should be seen as a unit. Initially Melrose House was a residence and only much later became a museum. This fact is reflected in the collection. Approximately 80% of the items in the collection of Melrose House belonged to the original owners, George Jesse and Emma Jane Heys.
Marc Chagall : The Light of Origins, H. Smuts (text), P. Emmanuel (design) and J. Gordin (editing) : book reviewAuthor J. BrennerSource: De Arte 2001, pp 104 –105 (2001)More Less
The educational resource is an interactive exploration of the world of Chagall. It has a broad and adaptable target audience - children, parents, learners and teachers. It is interactive in that it constantly asks participants what they think, what they respond to, what the images remind them of and what connections they can make between the stories and ideas contained in the images and their own private worlds. The resource book offers methods for locating oneself in relation to the works - methods that promote some kind of personal understanding of the work.
David III Ryckaert : A Seventeenth-Century Flemish Painter of Peasant Scenes, Bernadette van Haute : book reviewAuthor J. CarmanSource: De Arte 2001, pp 105 –113 (2001)More Less
Source: De Arte 2001, pp 113 –116 (2001)More Less
The Oxford University Press advertising for this volume touts it as 'The most important new art history for 50 years'. To substantiate this statement, the advantages over other art histories are listed as (among other things) 'innovative way[s] of looking at art in context by social historical periods rather than the traditional stylistic categories ... [the examination of] key issues of interpretation such as patronage, physical contexts, viewing and reception, gender and race...exceptionally wide coverage of Western visual culture, including the applied arts, design, and photography as well as cross-fertilizations with non-Western traditions such as Latin American, African, and Afro-Caribbean art'.