Browsing South African Journal of Art History Volume 16 (2001) by Title

Browsing South African Journal of Art History Volume 16 (2001) by Title

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  • An analysis of an Omani house in Stone Town, Zanzibar 
    Steyn, Gerald (Art Historical Work Group of South Africa, 2001)
    The Omani houses of Zanzibar are the tangible legacy of ancient trade links and 19th century political domination. These elegant houses are climatically effective, and offer private outdoor living space in a dense urban ...
  • Art as material culture 
    Van den Berg, Dirk Johannes (Art Historical Work Group of South Africa, 2001)
    With questions concerning the physical basis and the material substructure of works of art as topic, the article surveys a number of related problem areas. These include the objecthood of art, art products as physical ...
  • The concepts of art in Aristotle's "Nicomachean ethics" : from "mimesis" to communication 
    Proimos, Constantinos V. (Art Historical Work Group of South Africa, 2001)
    In his Friedrich Nietzsche lectures, Martin Heidegger's attempt to define art with terms such as technical knowledge, care, carefulness of concern, poetry, seems to be directly inspired by Aristotle's "Nicomachean ethics". ...
  • Dating the manufacture of the Shroud of Turin : An exercise in basic iconography 
    Allen, N.P.L. (Nicholas P.L.) (Art Historical Work Group of South Africa, 2001)
    This paper refutes the recent spate of attempts to invalidate the 1988 carbon dating results which indicated with a 95% certainty, that the Shroud of Lirey-Chambery-Turin was manufactured from flax plants that grew sometime ...
  • Invisible cities and primed spectators 
    Van den Berg, Dirk Johannes (Art Historical Work Group of South Africa, 2001)
    This essay discusses the extraordinary travelling exhibition mounted by Alan Alborough as Standard Bank Young Artist of 2000. Reviewing its interaction with the art world's museum and art systems, an attempt is also made ...
  • Merleau-Ponty and painting 
    Olivier, Bert (Art Historical Work Group of South Africa, 2001)
    This article takes as its point of departure the question whether, in an age when "artforms" such as multimedia "installations" - which combine visual motifs of all kinds with written texts - seem to be an adequate reflection ...
  • The "Mine" metaphor in the work of William Kentridge 
    Oppermann, Johann (Art Historical Work Group of South Africa, 2001)
    This article discusses how Kentridge's drawings for his film "Mime" ["Mine"], explore the borders between memory and amnesia, drawing and erasure. His drawings reflect a rich record and leave traces of the animation ...
  • Norman Catherine and the art of terror 
    Jamal, A. (Ashraf) (Art Historical Work Group of South Africa, 2001)
    This essay was originally commissioned by Linda Givon of the Goodman Gallery in Johannesburg. The first movement - "Escape and Resolution" - served as the preface for the first major retrospective on the artist, published ...
  • The origins of art : an archaeological or a philosophical problem? 
    Avital, Tsion (Art Historical Work Group of South Africa, 2001)
    During our century the demarcation lines between art and non-art have become vague to the extent that the continuation of art as a valuable component of culture is questionable. The history of art and aesthetics has so ...
  • The room as the place of the mind 
    Mare, Estelle Alma (Art Historical Work Group of South Africa, 2001)
    The purpose of the article is to decode the meaning and evaluate the architectural relationships of the Erdman Hall Dormitories at Bryn Mawr College, designed by Louis Kahn in collaboration with architects in his office ...
  • South African Journal of Art History, volume 16, 2001 
    Allen, N.P.L. (Nicholas P.L.); Mare, Estelle Alma (Art Historical Work Group of South Africa, 2001)
    This cover of SAJAH features Norman Catherine's "Red Rubber Man", 1991, oil on canvas.
  • "Ut pictura poesis" : Vergil's Laocoön and beyond 
    Shaw, R.W. (Art Historical Work Group of South Africa, 2001)
    The liberal arts are not contained by specific boundaries, and with this assertion the artist is free to extract material from other idioms and reap inspirations from literary antecedents outside his immediate domain. Such ...