De Arte - Volume 2006, Issue 73, 2006
Volumes & issues
Volume 2006, Issue 73, 2006
Author Ingrid StevensSource: De Arte 2006 (2006)More Less
South African Visual Arts Historians (SAVAH) became the official new name for the South African Association of Art and Architectural Historians (SAAAH) in September 2005. The name change is one of a series of transformation initiatives, namely: changing and enhancing the image of the association to reflect a greater participation in interdisciplinary activities, changing the demographics of its membership, reviving regional branches, ensuring successful high-level conferences, strengthening the association's financial base, and promoting 'South- South' external links with Africa, Asia, South America and Australasia.
Author Ania KrajewskaSource: De Arte 2006, pp 3 –16 (2006)More Less
This article proposes that the process of interpretation can be liberating for the object interpreted and for the interpreter. This idea should be understood against the backdrop of a public which increasingly takes up attitudes that reflect a lack of interest in examining or explaining the context and background of products on offer in the marketplace.
Corporeality and the transgression of boundaries in Dumile Feni's art and Maurice Merleau-Ponty's philosophy : researchAuthor M.E.S. Van den BergSource: De Arte 2006, pp 17 –27 (2006)More Less
In this article I bring a philosophical analysis to bear upon Mslaba Dumile Feni's art. In line with commentators, such as Steven Sack, Lionel Ngakane and E. J. de Jager, I perceive Feni's art as the portrayal of the agony, suffering and anger of black people under apartheid oppression in South Africa. However, as I will point out, Feni's art cannot be classified merely as resistance art because this would be an injustice to the deeper meaning and ambiguity of his work. In this article I focus on the phenomenological meaning of Feni's art, that is, I interpret it as a means of bringing the viewer into direct contact with the lived experience and perception of our worlds.
Author Karen Von VehSource: De Arte 2006, pp 28 –42 (2006)More Less
Recently there have been several forums dedicated to the analysis of feminism as an artrelated practice, and questioning its role and relevance in contemporary art in both America and Europe. The issue of Artforum published in October 2003, for example, asked a group of nine artists, theorists and art historians to comment on the question 'How might we assess feminism's initial impacts on art, its subsequent historicisation, and its continuing influence?' (p. 140). Responses were diverse and inconclusive and one could say that they asked more questions than they answered.
Author Sally GauleSource: De Arte 2006, pp 43 –50 (2006)More Less
'Johannesburg,' John Matshikiza (2004, 482) writes, 'is an ever-changing movie that no one has quite managed to produce'. More notable for its energy than its beauty, its architecture represents a compendium of architectural styles and its terrain, Charles van Onselen (2001, ix) notes is without 'fertile soil, striking natural vegetation, a lake, a mountain, a valley, a river or even an attractive perennial stream'. Its character is raw, hard and unrelieved, and its wayward population, since the first decade of its existence, Clive Chipkin (1993, 9) explains, 'is seemingly indifferent to everything except the pursuit of money'.
Author Annali Cabano-DempseySource: De Arte 2006, pp 51 –53 (2006)More Less
The new University of Johannesburg Arts Centre, designed and built under the dynamic and inspired vision of Justus van der Hooven of ARC Architects and Jeremy Rose of Mashabane/ Rose Architects and inaugurated on 5 October 2005, realised a long-held dream by numerous people who have worked towards this over a period of six years.
Author Alan LipmanSource: De Arte 2006, pp 54 –55 (2006)More Less
Jeremy Rose - of Mashabane, Rose and Associates, Architects - has once more designed a gem. With his colleagues at the allied firm ARC Architects, he has placed a further jewel on the sparkling coronet which he and his immediate MRA associates wear; a tiara that includes, among others, Soweto's Apartheid and Hector Pieterson museums. At his hands, we in Jozi now have a new Arts Centre: a glittering art gallery and, in close, neighbourly conjunction, an intimate theatre for the recently constituted University of Johannesburg. Each of which buildings directly faces the busy Kingsway thoroughfare in Auckland Park.
Author Lize Van RobbroeckSource: De Arte 2006, pp 56 –58 (2006)More Less
I have felt for some time now that no one in the field of art history deserves an honorary doctorate more than Elsa Miles. This independent researcher spent the past few decades quietly and painstakingly scouring archives and conducting interviews to piece together ever-more comprehensive histories of modern black art practice in South Africa. Most in the know would agree that this heritage historically received short shrift from art historians. Since the 1930s, when the first white responses to the emerging phenomenon of modern black art appeared in newspapers and magazines, writing on this topic was inclined to reveal more about the presuppositions of the authors than it did about the practice of the artists.
Between Union and Liberation : Women artists in South Africa 1910-1994, Marion Arnold and Brenda Schmahmann : book reviewAuthor Jeanne Van EedenSource: De Arte 2006, pp 59 –63 (2006)More Less
This volume makes a solid contribution to the issues surrounding women and visual culture in South Africa, building on the foundations laid by the two editors in books such as Arnold's Women and art in South Africa and Schmahmann's Through the looking glass: Representations of self by South African women artists.
Author Elfriede DreyerSource: De Arte 2006, pp 64 –65 (2006)More Less
In his Dictionary of perplexing English, Willem Boshoff, or shall we say in spoonerist fashion, Melliw Ffohsob, maintains that there is nonsense and that there is bonsense. With the best will in the world, he writes, without training in writing there can only be the latter, nonsense.
Author Michael HerbstSource: De Arte 2006, pp 66 –69 (2006)More Less
Though they remain difficult to characterise as a whole, the Taxi books - not monographs but 'titles' that often accord the contributing writers as much presence as the featured artists - are growing in credibility. Taxi book 12, Sandile Zulu, can be set apart from many of its predecessors on the grounds of its visual appeal, sophisticated lay-out, and the essay on Zulu by Colin Richards, which carries considerable historical and theoretical weight.