De Arte - Volume 2001, Issue 64, 2001
Volumes & issues
Volume 2001, Issue 64, 2001
Author Valerie BesterSource: De Arte 2001, pp 3 –4 (2001)More Less
We cannot deny our past, yet there are occurrences that we would like to forget or cast into oblivion. The recent collapse of Strydom Square, adjacent to the State Theatre in Pretoria, vividly brought to mind the controversy that surrounded the Strydom monument at the time of its unveiling. In an article in the Rapport (4 June 1972) entitled So 'n fout moet ons tog nooit weer maak nie (A mistake like this should never be repeated), an anonymous author argued that a grotesque monument of this nature would have been more suited to the Hitler and Mussolini, or even the Peron, era.
Laubser, land and labour : image-making and Afrikaner nationalism in the late 1920s and early 1930s : researchAuthor Elizabeth DelmontSource: De Arte 2001, pp 5 –34 (2001)More Less
Like all nationalisms, Afrikaner nationalism was invented: before the mobilization of Afrikaner ethnic consciousness in the early twentieth century, Afrikaners were a disparate group of people with no real common sense of national identity. The invention of Afrikaner identity was historically contingent and needs to be seen against the background of British imperialist policies and economic and social changes of the late nineteenth and early twentieth centuries.
From Baudelaire to Beardsley : some thoughts on Poe's beast as an indicator of the tastes and fears of nineteenth-century Europe : researchAuthor Margot BeardSource: De Arte 2001, pp 35 –42 (2001)More Less
Charles Baudelaire (1821-1867) was one of the major influences on the French Decadent poets of the late nineteenth century whose aesthetic principles were shared, to a large extent, by a group of English poets and artists, among whom was Aubrey Beardsley (1872- 1898). One of the major influences on Baudelaire had been the American, Edgar Allan Poe (1809-1849), in whose short stories and poems Baudelaire had recognised a kindred spirit. Some intriguing aspects of changing nineteenth- century attitudes emerge from a study of Baudelaire's 1856 translation of Poe's 'The Murders in the Rue Morgue' and Beardsley's 1893 illustration to this story.
Developing art projects via a public commission : needlework in the Mpumalanga legislature : researchAuthor Brenda SchmahmannSource: De Arte 2001, pp 43 –62 (2001)More Less
In early 1999, a large-scale artwork comprised of twenty-four needlework panels was commissioned for the assembly chamber of the new legislative buildings in Riverside Government Complex in Nelspruit, the capital of Mpumalanga. Apart from including embroidery and appliques, all the panels contain beadwork and most some element of wirework.
Author Sabine MarschallSource: De Arte 2001, pp 63 –74 (2001)More Less
Almost immediately after the 1994 First General Elections in South Africa, a range of new policies designed to alleviate the plight of the majority black population were initiated and new value systems aimed at anti-racism, a human rights culture and the need for equity propagated. From the beginning, terminology played an important role in this process. Even the international community became conversant with the term 'Rainbow Nation', while nationally an extensive body of new politically correct jargon was established and widely disseminated through government documents and the media.
Source: De Arte 2001, pp 75 –78 (2001)More Less
In a previous editorial in De Arte (April 2000, 61) the question was raised as to why there was so little writing from black academics in de Arte. With this criticism in mind Views and (Re)Views asked a black academic and two black students at UNISA to give their views. In addition we asked them to record their personal experiences as to how they function in still predominantly white institutions. By airing their opinions we hope to encourage debate on this issue. We would welcome further comment from readers particularly those who work at the interface of the cultures.
Author Justice MalalaSource: De Arte 2001, pp 79 –80 (2001)More Less
South Africa House was opened in 1933, the year that Adolf Hitler rose to power in Germany. It literally rose from the ashes: built over four years on the site of a torched hotel, the Sir Herbert Baker-designed building was the insecure South African state's signal that it considered itself not just a colonial outpost, but an international player in world affairs. The motto 'Eendracht maak magt' still stands sentinel on the ceiling above the entrance.
Author Muffin StevensSource: De Arte 2001 (2001)More Less
Art collections are dynamic. They change to reflect changes in art, but also in response to social, political and economic circumstances. Collections in South Africa are in a particular state of flux. One reason for this is a changing pattern of funding to public as well as corporate collections. As Wilma Cruise (2001:94) wrote "There is a crisis in public museums. There is virtually no funding for the arts ... . In post-apartheid South Africa big business has become the new custodian of visual culture.'' Some collections are so critically underfunded that they are in danger of neglecting valuable works, and of closure. Other collections have changed radically in the post-apartheid era, or are in the process of repositioning themselves. They are buying different art by different artists, to fill gaps caused by skewed collecting policies of apartheid South Africa. Others, associated in the public mind with the former apartheid era, have become politically incorrect, engendering debate about how to preserve our history as reflected in our art, while changing our collections to better reflect new realities. At the same time, there are opportunities and funding available for new collections which have no connections to the past and are associated entirely with the new South Africa.
South-East African beadwork 1850-1910 : from adornment to artefact to art : Michael Stevenson and Michael Graham-Stewart (with an essay by Sandra Klopper) : book reviewAuthor Anitra NettletonSource: De Arte 2001, pp 84 –88 (2001)More Less
Beadwork from Africa has been severely neglected in the scholarly literature on African art. The now large corpus of literature in the area of aesthetics and visual culture from Africa has seen very few publications devoted to beadwork even though beadwork is a major form of aesthetic expression in West, Central and East Africa.
Author Elizabeth RankinSource: De Arte 2001, pp 89 –95 (2001)More Less
At a time when South Africa is attracting attention world-wide, her artists too, long excluded by cultural boycotts from the international scene, have attracted a great deal of interest. This should ensure attention for a substantial and well-presented publication like this one, which includes the work of a range of South African artists, some well-known, some little-known, with essays by diverse writers, as well as numerous high-quality coloured illustrations.
Art routes : a guide to South African art collections, Rayda Becker and Rochelle Keene : book reviewAuthor Nessa LeibhammerSource: De Arte 2001, pp 96 –100 (2001)More Less
The publication Art Routes: A Guide to South African Art Collections, is filled with a wonderful diversity of objects and images from South Africa including the Linton Panel (a San rock painting - an art form dating back 27 000 years), a work by Marcel Duchamp (a European artist affiliated with the Dada and Surrealist movements), an oil painting by Gerard Sekoto (one of South Africa's pioneer black painters) and a Sotho sekoana (beaker/ vessel) sporting two neat feet wearing a pair of ladies shoes. While its primary focus is clearly art, as is evident from the title, the editors have incorporated archaeological and so-called 'ethnographic' material from cultural history and other museums. These have been included because, as the editors point out, 'the conventional definition of art needed to be expanded.'
Author Juliette Leeb-Du ToitSource: De Arte 2001, pp 101 –103 (2001)More Less
Art historians are increasingly focusing attention on the art produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke's Drift, which was pivotal to both idiomatic and stylistic developments in the art of black South Africans from the late 1960s to the early 1980s. While previous research tended to consider the Rorke's Drift enterprise as whole, rarely isolating individuals or the various creative practices developed there, current research has focused on particular artists or creative traditions.
Material Matters : appliques by the Weya women of Zimbabwe and needlework by South African collectives, Brenda Schmahmann : book reviewAuthor Robyn SassenSource: De Arte 2001, pp 104 –109 (2001)More Less
Traditionally, under the hegemony of apartheid or any other patriarchal system of rule, the black woman has been considered the lowest form of human common denominator. In the broader history of visual culture and from the second half of the twentieth century, many changes were made redressing the value structures according to which art could be made, marketed and interpreted. The average black woman in Africa remained quietly in the background doing what was necessary in her role as wife, mother or domestic, and basically, being taken for granted in this capacity and any other.