De Arte - Volume 2004, Issue 70, 2004
Volumes & issues
Volume 2004, Issue 70, 2004
Author Bernadette Van HauteSource: De Arte 2004 (2004)More Less
It is de arte policy to accommodate a variety of viewpoints and hence emphasise its interdisciplinary approach. This issue demonstrates moreover the diversity within the visual arts, ranging from the more traditional forms to performance art and music video. In the article 'Do bodies matter? Performance versus performativity', Liese van der Watt questions the relation between performance and performativity with reference to one of the main theorists of performativity, Judith Butler. Although the article is primarily concerned with a critical reading of theoretical constructs, it is elucidated by a brief discussion of the work of South African performance and visual artists Steven Cohen and Peet Pienaar.
Author Liese Van der WattSource: De Arte 2004, pp 3 –10 (2004)More Less
What is the relation between performance and performativity? Is there a difference between these two seemingly similar words, used interchangeably, to the irritation of a variety of scholars who have tried to articulate in far more precise terms what the relation between these concepts is? What is at stake in the precise delineation of these two terms, and in discussions of gender and performance/performativity?
Author Martina ViljoenSource: De Arte 2004, pp 11 –21 (2004)More Less
This article focuses on the pre-occupation with the figure of the angel evident in numerous visual mass-cultural texts of which City of Angels, The Matrix, Meet Joe Black, No News from God and Angels in America are but a few well-known examples. Similarly, the topic of angels has emerged in popular songs such as U2's 'If God Will Send His Angels', Sarah McLachlan's 'Angel', Gabriel Yared's 'An Angel Falls' and 'Spreading Wings', as well as Laurie Anderson's 'Strange Angels'.
Strategies of veiling same-sex desire and its public consumption : Aubrey Beardsley's illustration of Oscar Wilde's 1894 Salome : researchAuthor Yvette GresleSource: De Arte 2004, pp 22 –41 (2004)More Less
In 1893 Aubrey Beardsley was commissioned to illustrate the 1894 English edition of Oscar Wilde's notorious play Salome, which Wilde had originally written in French during his stay in Paris in 1891. Both text and illustrations have provoked a great deal of public controversy and while this article does not present a comprehensive account of public reception of the Salome, it will focus on critical debates generated by the responses of state censor, publisher, critics and scholars.
Source: De Arte 2004, pp 42 –49 (2004)More Less
In this issue of de arte, we publish the views of three people who are involved in the publication of art books in South Africa: David Krut, Philippa Hobbs and Michael Stevenson. The South African market for books on art is small, few texts are marketed outside South Africa and added to all of this South African art publishing is bedevilled by few writers and fewer editors who are prepared to commit themselves to the financial uncertainty of publishing. As Michael Stevenson observes, art publishers are a strange breed indeed; their efforts are financially compromised from the outset. Yet, it is ideas that get things going.
Author Andrew LamprechtSource: De Arte 2004, pp 50 –54 (2004)More Less
As Wilma Cruise recently observed in these pages, 'it is the convention of [international] curators to spin complex webs of curatorial intent.' I tried to spin such a web for a much more modest undertaking than that to which she alluded, namely Contra Mundi. Held at the Association for Visual Arts (AVA), in Cape Town from 31 May until 19 June, it showcased the work of younger Cape Town-based artists who were working in what I evasively described as a 'contemporary' mode of production. In many ways evasion was the order of the day for the exhibition.
The Mlungu in Africa : Art from the colonial period, 1840-1940, Michael Stevenson and Michael Graham Stewart : book reviewAuthor Julia CharltonSource: De Arte 2004, pp 55 –57 (2004)More Less
The Mlungu in Africa: Art from the colonial period is a very welcome addition to the growing number of publications produced by South African art dealers. The publisher, Michael Stevenson Contemporary, must be one of the most prolific art publishers in the country, with a significant number of books produced since 2003 when the gallery was launched in Green Point, Cape Town. The Mlungu in Africa was published to coincide with the opening of the gallery and an exhibition that included all the items reproduced in the book.
Author Pieter SwanepoelSource: De Arte 2004, pp 58 –61 (2004)More Less
Here is a catalogue that is at least a true reflection of the spirit of the exhibition it represents. Rather than reveal what might previously have been concealed, it omits. With every work shown we cannot help but wonder about those excluded and with many facts in most texts we may feel similarly cheated by the absence of matters that crave recognition. What is moreover obvious is that such missing qualities seem to have been deliberately ignored - in order for it to perhaps be 'best forgotten'.
Author Graeme ReidSource: De Arte 2004, pp 62 –64 (2004)More Less
There is something curiously discordant about suggested lesson plans based on the work of Steven Cohen. In the Educational Supplement aimed at Grade 12 learners, we find helpful suggestions for teachers on silkscreen, montage and printmaking techniques. There is also a comprehension based on his performance piece, Taste (1999). It is highly commendable that the writers have not shied away from some of his most challenging work, and here Taste is a good example.
Author Wilma CruiseSource: De Arte 2004, pp 65 –67 (2004)More Less
It has become axiomatic to sing the praises of the TAXI book series. In the absence of any other consistent publication of art books (excluding that one or two published by the Goodman Gallery and Tafelberg, and more recently Michael Stevenson in Cape Town), the TAXI series and their educational supplements are as welcomed as rain on parched earth.
Author Ingrid StevensSource: De Arte 2004, pp 68 –70 (2004)More Less
It has become something of a cliché to greet the arrival of each new TAXI art book (of which this is the tenth) with noises of welcome, approval for the diversity of artists covered and comments on the need for such books to fill huge historical gaps in the market and to provide an educational resource while raising the profile of South African artists. Take all that, then, as read, and know that I am as eager as anyone to see each successive publication. Each one has been somewhat different, as if trying out different juxtapositions of artworks and written texts. This approach has meant that each publication is fresh and something of a surprise, yet each one has opened itself to different criticisms.