De Arte - Volume 2003, Issue 67, 2003
Volumes & issues
Volume 2003, Issue 67, 2003
Author Muffin StevensSource: De Arte 2003, pp 2 –3 (2003)More Less
In this issue of de arte, Jeanne van Eeden considers the gendered and feminised space of South African theme parks, particularly The Lost City. She argues that Africa is being 'feminised' for consumption by tourists, and that this act of neo-colonialism, postmodernism and post-industrial capitalism perpetuates and mirrors the colonial construction of Africa. So something as seemingly frivolous as a theme park becomes the subject of critical interrogation. Leisure spaces are seen as highly coded environments and are, furthermore, sites of ideological struggle, with capitalist, racist and sexist sub-texts.
Author Jeanne Van EedenSource: De Arte 2003, pp 4 –21 (2003)More Less
This article considers some aspects of the gendering of space and persistent feminisation of Africa at the South African theme park, The Lost City. The approach followed is mainly speculative, and points out some of the visual and textual mechanisms that metaphorically reinscribe the notion of a feminised Africa that is objectified for (visual) consumption.
Author Karen Von VehSource: De Arte 2003, pp 22 –46 (2003)More Less
On 27 April 2002 at 19:00 a group of people gathered at the PREMISES Gallery at the Civic Theatre in Johannesburg to witness the first stage of a work entitled Corpa Delicata (meaning 'delicate, delicious bodies'). Part one of Corpa Delicata was a performance, a melting of 750 wax 'chocolates' held in front of a live audience and filmed by four video cameras.
Author Frikkie PotgieterSource: De Arte 2003, pp 47 –63 (2003)More Less
In Memoirs of the Blind, Derrida (1993:43) quotes the following passage: It has been much disputed which is the most excellent of the two arts, sculpture, or painting, and there is a story of its having been left to the determination of a blind man, who gave it in favour of the Latter, being told that what by feeling seemed to him to be flat, appeared to the eye as round as its competitor (Richardson 1972:23-4).
Billboards, beautiful things and crafts in context : the World Summit on Sustainable Development, 2002 : views and (re)viewsSource: De Arte 2003, pp 64 –73 (2003)More Less
Look up! Billboards have become as ubiquitous as human suffering, as difficult to ignore as a beggar's outstretched fist. Every time you leave your couch or cubicle, momentarily severing the electronic umbilicus, you enter the realm of their impressions. Larger than life, subtle as war, they assault your sense with a complex coda of commercial instructions ... Every time you get into a car or ride a bus or witness a sporting event you receive their instructions.
Author Ann PretoriusSource: De Arte 2003, pp 74 –78 (2003)More Less
The William Humphreys Art Gallery, situated in Kimberley's Civic Centre, is considered one of the finest art museums in South Africa and owes much of its reputation to its principle benefactor William Benbow Humphreys (1889- 1965). William Humphreys was an avid collector of European and British paintings, furniture and objects d'art. His collection was housed at his home in Carrington Road, Kimberley, where he had an art gallery.
Author Lize Van RobbroeckSource: De Arte 2003, pp 79 –82 (2003)More Less
Sabine Marschall's Community Mural Art in South Africa constitutes a comprehensive genealogy of mural painting from the 1980s to the present day. Marschall collected and collated an astonishing amount of material for this project: the text is densely packed (and, as I will discuss later, possibly a bit too cluttered) with photographic records, interviews and contextual background information.
My Eland's heart : a collection of stories and art. !Xun and Khwe San art and cultural project, Marlene Sullivan Winberg : book reviewAuthor Elizabeth RankinSource: De Arte 2003, pp 82 –87 (2003)More Less
The title of this book seems to sum up its intentions with considerable accuracy. It is indeed a collection of stories and art by the artists of the !Xun and Khwe San Art and Cultural Project, an enterprise that has been operative among the !Xun and Khwe peoples in the Northern Cape for about a decade.
Male identities - two exhibition catalogues
Male order catalogue, Carol Brown et al. : book review
White like me : Brett Murray, Standard Bank Young Artist 2002, Brett Murray and Ivor Powell : book reviewAuthor Maureen De JagerSource: De Arte 2003, pp 87 –92 (2003)More Less
The relationship between exhibitions and their catalogues is necessarily complex and fraught. As Mieke Bal argues in Double Exposures, the discourse surrounding (and, in some respects, constitutive of) an exhibition is hardly neutral commentary or disengaged reflection; instead it is an act of exposition, and '[e]xposition is always also an argument [...] an act of producing meaning, a performance' (Bal 1996:2) This is apracticable perspective from which to consider two recent exhibition catalogues, both produced to accompany shows that opened in Grahamstown during the National Festival of the Arts in 2002.
The South African handbook on arts and culture 2002-2003, Mike van Graan and Tammy Ballantyne (Eds.) : book reviewAuthor Julia CharltonSource: De Arte 2003, pp 93 –96 (2003)More Less
In this review, I focus on evaluating the accuracy of the information presented in the Gauteng visual arts, heritage and craft sectors. My work at the Gertrude Posel and University of the Witwatersrand (Wits) Art galleries, and therefore my area of familiarity, overlaps these particular areas. I also examine the user-friendliness of the book in terms of design and layout, and, critically, the presentation of the information so that its value for the intended user group is apparent.
Christo Coetzee : Paintings from London and Paris 1954-1964, Michael Stevenson and Deon Viljoen : book reviewAuthor Eunice BassonSource: De Arte 2003, pp 96 –99 (2003)More Less
This book, which forms part of the series Fernwood Art and Artists, was published to coincide with a travelling exhibition of Coetzee's work at the Irma Stern Museum in Cape Town in September/October, and at the Sandton Art Gallery from October to November 2001. This collection of 49 canvases, which was stored away for years by the Paris-based art dealer Rodolphe Stadler and by the widow of London photographer and collector, Anthony Denney, was brought back to SouthAfrica by the Cape Town art dealers Michael Stevenson and Deon Viljoen who curated the exhibition.