De Arte - Volume 2003, Issue 68, 2003
Volumes & issues
Volume 2003, Issue 68, 2003
Author Bernadette Van HauteSource: De Arte 2003, pp 2 –3 (2003)More Less
In de arte 57 (April 1998) the look of the journal as updated in line with technological advancement. Five years later, the editorial committee decided it was time for a redesign. I lie choice was for a minimalist layout and uncluttered look that enhance clarity and readibility and that underscore the seriousness of the journal. We thank Andre Nel, graphic designer at Unisa Press, for his creative input and hard work, and trust that you will read your de arte with more enjoyment.
Source: De Arte 2003, pp 4 –23 (2003)More Less
In Hogarth's engraved series Industry and Idleness two young men from lower-class backgrounds are apprenticed to Mr West, a weaver. The first plate lays bare the two apprentices' marked difference in temperament: Francis Godchild works contentedly at his well-lit loom with his 'Prentice's Guide - a standard manual of instruction and advice for London apprentices in various trades - open on the floor below him. In the gloomy foreground Thomas Idle snores crassly at his loom, oblivious of his 'Prentice's Guide, which has apparently been reduced to tatters by the cat that now toys with the abandoned shuttle.
Author Alan LipmanSource: De Arte 2003, pp 24 –35 (2003)More Less
The rolling green landscape of the Mpukunyoni district, northern KwaZulu Natal is, in Alan Paton's felicitous phrase, 'lovely beyond the singing of it'. And when the sky is its compelling blue, one delights in merely being there. One even bears with stoicism the cloying humidity that pushes inland from the Indian ocean. Here, in this prototypically rustic setting, the new state of the art Africa Centre for Health and Population Studies has recently opened.
Author Bert OlivierSource: De Arte 2003, pp 36 –49 (2003)More Less
In distinctive ways, Lyotard and Heidegger enable one to understand the unusual interplay between texts and images, or language and iconography, encountered in installation art. In this article, Lyotard's notion of figure and Heidegger's figure of the fourfold are employed to come to grips with the multi-installation, Body 11: Sublimation, presented at the 2002 Klein Karoo National Arts Festival (KKNK) in Oudtshoorn.
William Kentridge at the National Gallery in Cape Town : a retrospective exhibition : views and (re)viewsAuthor Elfriede DreyerSource: De Arte 2003, pp 50 –51 (2003)More Less
Much has been said and written.about the art of William Kentridge, most of it complimentary. More comments might seem like a case of carrying coals to New Castle. However, after I had visited Kentridge's exhibition at the National Gallery in Cape Town (30 November 2002 to 1 March 2003, thought more discourse was warranted. In the context of his oeuvre (two decades of which was on show) I position Zeno Writing (2002) as a kind of watershed work. To me Kentridge has taken a new stylistic and conceptual direction this work.
Author Gwenneth MillerSource: De Arte 2003, pp 52 –56 (2003)More Less
Overlay: woven roots took place during September 2002 in Plettenberg Bay within the Roots and Rhythm: Eco and Sport Festival. The festival included a wide diversity of sport, cultural activities, musical performances, various art projects and a five-day Spring School. Our project focussed on the public context of land art.
Author Wilma CruiseSource: De Arte 2003, pp 57 –58 (2003)More Less
In the world of international exhibitions - one immediately thinks of Documenta (held in Kassel, Germany every four years) and the Venice Biennale - it is the convention for the curators to spin complex webs of curatorial intent. Within the conceptual frameworks articulated by the curators, the exhibited works of art achieve their significance. The selected artworks thus form part of a complex whole and, as such, are meant to reveal an overall verity, which it has been the privilege of the curator (the uber artist?) to have foreseen. However, to approach a curatorial situation without such an articulated conceptual vantage point is like standing on the edge of an abyss.
Source: De Arte 2003, pp 59 –64 (2003)More Less
The wide-ranging nature of the selection process underlying the Taxi project is attested to by the fact that a book on an artist as internationally established as David Koloane should appear simultaneously with one on the less-known Cape Town-based artist Lien Botha. Such pleasing breadth of scope promises that in the future the Taxi books will form a comprehensive local resource for artists, scholars and interested members of the public.
Craft art in South Africa, Elbé Coetsee
Craft South Africa, Susan Sellschop, Wendy Goldblatt and Doreen Hemp : book reviewsAuthor Melanie HillebrandSource: De Arte 2003, pp 65 –67 (2003)More Less
If either of these two volumes had lived up to their titles I would have expected the following: a substantial overview of current craft in South Africa; some well-researched historical background; a choice selection of outstanding examples as represented in public art museums, private collections and the artists' studios; biographical material on the authors' well-substantiated choice of leading exponents and some in-depth writing on the artists' intentions and philosophy. This would have been nicely rounded off by a well-expressed critique of the on-going debate concerning the relationship between art -'application of skill to production of beauty ... and works of creative imagination' - and craft - 'creative artistic activity involving construction, carving, weaving, sewing, etc. as opposed to drawing' (both definitions taken from The Chambers dictionary, 1994).
Author Gerhard SchoernanSource: De Arte 2003, pp 68 –69 (2003)More Less
Frances Colpitt writes in the conclusion of 'Systems of opinion ', the last and lengthiest in this collection of 12 essays: 'As the chapters in this book demonstrate, the transformation and evolution of the issues of contemporary abstract painting reflect the prevailing spirit of the times. In retrospect, the times themselves can be summarized by the major philosophical paradigms - the systems of opinion -that inform each period's critical trajectory.'
Author Ingrid StevensSource: De Arte 2003, pp 70 –72 (2003)More Less
The above two publications were written to accompany the exhibition of paintings, works on paper, such as etchings and lithographs, and sculptures by the Catalan artist Joan Miró, which was held at the Standard Bank Gallery, Johannesburg, in 2002. This venture followed the format of the very successful exhibition of work by Marc Chagall, which was held at the same venue in 2000, and which also had a dedicated catalogue, largely written by South African academics, and an educational resource aimed at South African scholars and students.
Author Nessa LeibhammerSource: De Arte 2003, pp 73 –76 (2003)More Less
The exhibition catalogue Nigerian art: The Meneghelli collection, published to coincide with an exhibition of the same name, features a breathtaking range of objects including terracottas from Nok and Owo, brass heads from Ife, plaques from Benin, Yoruba Ogboni figures, Egungun masks, lgbo shrine figures, Ere lbedji twin figures and lgala ancestral masks. These are notable, not only in their diversity, but because they span a time frame from the sixth century BCE to the twentieth century CE, indicating a long and dynamic history of African culture and civilisation. What is equally impressive is that one man, Vittorino Meneghelli, assembled these approximately 235 pieces, which are but a small selection of a much larger collection.