Paradigmatiese verskuiwings in die Suid-Afrikaanse kunsgeskiedskrywing

Abstract

Twee kunshistoriese metodes word bespreek. "Kanonisering" beklemtoon die kunstenaar as geisoleerd van sy omgewing en as 'n voorbeeld van ideologiese of estetiese voorkeure van groepe wat strewe na dominansie. Coert Steynberg word getoon as verteenwoordigend van die Afrikaner-nasionalisme en Edoardo Villa as verteenwoordiger van die moderne kunswereld. "Kontekstualisering" wat die verband tussen die kunstenaar, die kunswerk en die samelewing waarbinne die werk gemaak en ontvang is, beklemtoon, word as 'n moontlike alternatief aangebied. Dit impliseer 'n rekonstruksie van paradigmas en normsisteme wat gemeenskaplik is aan beide die kunswerk en die samelewing.

Two art-historical methods are discussed. "Canonisation" emphasising the artist as isolated from his context and as an example of either ideological or aesthetic preferences of groups striving for dominance. Coert Steynberg is shown as a representative of Afrikaner nationalism, Edoardo Villa as representing the modern art establishment. "Contextualisation", emphasising the relationship between the artist, artwork and the society in which the work is produced and received, is offered as a possible alternative. This implies a reconstruction of paradigms and normative systems that are common to both the artwork and the society.