De Arte - Volume 2002, Issue 65, 2002
Volumes & issues
Volume 2002, Issue 65, 2002
Author E. BassonSource: De Arte 2002, pp 2 –3 (2002)More Less
The Co-editor of de arte was on sabbatical leave during the first part of 2002 and I was assigned to this post for the first issue of this year. We regret to inform our subscribers of the passing away at the end of last year of our esteemed colleague, friend and former editor of de arte, Valerie Bester. Right up to the end Valerie worked actively on the finalisation of copy for the previous issue and also attended the last editorial meeting, a mere week before she passed away. We honour and cherish her memory.
Author E. DreyerSource: De Arte 2002, pp 4 –6 (2002)More Less
On 13 December 2001, our very dear colleague, Valerie Bester, passed away after a courageous but traumatic battle with cancer. Thirteen December was also her birthday and, as such, Valerie completed a full cycle of life as measured in the temporal terms of human beings on this earth, symbolic to many of the unique person that she was. Valerie will be remembered for her long professional alliance with the University of South Africa (Unisa) and the devotion and loyalty with which she maintained this relationship.
Author J. SteeleSource: De Arte 2002, pp 7 –21 (2002)More Less
It is a good time for art historians interested in the deep past to take notice of southern African ceramics. There is a remarkable absence of art historical literature exploring local prehistoric ceramics technology, artefacts and such indigenous knowledge systems as may have been expressed by prehistoric potters. Assessments of ceramics have long been central to archaeological investigations, but ceramics praxis has thus far largely been deemed peripheral to accounts of rock art, movements of peoples and general reviews of prehistory.
Re-presenting America : Edward Kienholz's Portable War Memorial , Vietnam and Cold War politics : researchAuthor R. LipschitzSource: De Arte 2002, pp 22 –41 (2002)More Less
Film critic and historian Gilbert Adair, in his study of representations of the Vietnam War, (1981:10) suggests that American attempts to 'deal with' Vietnam in visual narratives either failed to fit neatly into the dominant strategies of narrative closure, or were simply too crudely resolved to signify any real coherence or understanding.
Author I StevensSource: De Arte 2002, pp 42 –57 (2002)More Less
Art criticism can be said to differ from art history, particularly as regards the processes employed in the two disciplines. Whereas art history is generally an academic, institutional discipline, entailing specialised and professional methodologies, criticism - or writing about new art - is seldom bound to academic requirements. Individual critics may use methodologies virtually indistinguishable from those of the art historian, but may also, and legitimately, eschew them. However, certain common methods or tools can be said to underlie art criticism.
Author B. Van HauteSource: De Arte 2002, pp 58 –87 (2002)More Less
My interest in seventeenth-century Flemish paintings led me to research such works in South African public, private and corporate collections. As a starting point, I used Jillian Carman's 1994 publication on Seventeenth-century Dutch and Flemish paintings in South Africa, compiled in collaboration with the Rijksbureau voor Kunsthistorische Documentatie (RKD), which offers an overview, in terms of empirical data, of what is available in public collections.
Source: De Arte 2002, pp 88 –97 (2002)More Less
Wilma Cruise, Lucia Burger and Willem Boshoff discuss the significance of international omnibus exhibitions From Venice to Cuba, from São Paolo to Germany, international omnibus exhibitions seem to provide nodal moments in the definition of contemporary art. These giant curated exhibitions are attempts to identify unifying threads in world art. They hold up a mirror to reflect the status of contemporary art at that moment. Or do they? The director of the Florence Biennale, John T. Spike, has a different view.
Author S. CramptonSource: De Arte 2002, pp 98 –101 (2002)More Less
Oliewenhuis, a neo-Dutch-style mansion, was designed by William Mollison, Head Architect of the Department of Public Works and his assistant, John Stockwing Cleland in 1935. This mansion, completed in 1941, served as residence for the Governor General of the Union of South Africa from 1942. After the establishment of the Republic of South Africa in 1961, Oliewenhuis became the official Bloemfontein residence for the State Presidents of South Africa. The residence was used approximately every four years for this purpose.
Opportunities for relevance : Architecture in the new South Africa, S. Marschall and B. Kearney : book reviewAuthor J. NobleSource: De Arte 2002, pp 102 –106 (2002)More Less
Sabine Marschall and Brian Kearney's book fulfils a need that is long overdue. Published in a near A4 format, the book is richly illustrated with colorful photographs of contemporary architecture. This friendly 'coffee table' format ought to attract a wide readership and, in so doing, has the potential to engage the general public in important concerns.
Author Y. GresleSource: De Arte 2002, pp 106 –109 (2002)More Less
Author I. StevensSource: De Arte 2002, pp 109 –114 (2002)More Less