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South African Journal of Art History Volume 23 (2008): Recent submissions
Now showing items 21-40 of 45
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(Art Historical Work Group of South Africa, 2008)Intangible heritage has become a discourse both in the institutionalised heritage domain and in the academic world. This article dismantles the concept, deconstructs existing mythologies, and illuminates some of the core ...
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(Art Historical Work Group of South Africa, 2008)The term ‘utopia’ originated in 1516, when Thomas More christened his imaginary perfect society ‘Utopia’. The name combines the Greek terms eutopia (‘good place’) and outopia (‘perfect place’ or ’no place’). In this article, ...
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(Art Historical Work Group of South Africa, 2008)This essay attempts to interrogate the notion of the female as ‘other’ in the abstract compositions of early twentieth century Dutch painter Piet Mondrian, notions also addressed in his writings. The existing (Freudian and ...
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(Art Historical Work Group of South Africa, 2008)The book entitled Beautiful Ugly. African and Diaspora Aesthetics (2006) was heralded by its editor as a beautiful book. ‘Beautiful’ it certainly is, in a manner of speaking. The correspondence set up between its description ...
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(Art Historical Work Group of South Africa, 2008)This paper deals with early cartographic representations (both cosmographic and chorographic) of the presence of Khoikhoi at the Cape of Good Hope. While the boundaries of the Dutch settlement at Table Bay and the land ...
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(Art Historical Work Group of South Africa, 2008)At some stage or other, nearly all artistic productions of modernism have been criticized as being arid, vacuous and unappealing to the lay-public. Undoubtedly, scholars have successfully analyzed, defended and presented ...
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(Art Historical Work Group of South Africa, 2008)The African market street is unquestionably one of the most contested spaces in the built environment. It is a busy, crowded place shared by traders, pedestrians and vehicles, mostly minibus taxis. This phenomenon is ...
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(Art Historical Work Group of South Africa, 2008)There is an incongruity between the inherent changeability of both landscapes and memories, and the conventional, formal strategies of commemoration that typify the constructed landscape memorial. This paper will examine ...
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(Art Historical Work Group of South Africa, 2008)It is not widely known that South Africa’s most important pioneer sculptor, Anton van Wouw (1862-1945), received his initial training as an architectural sculptor. At an early stage in his career he worked for a concrete ...
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(Art Historical Work Group of South Africa, 2008)An abandoned landscape at the heart of historic Kliptown was the site for the 1955 ‘Congress of the People,’ (COP) an anti-apartheid gathering of people from across the entire country which inaugurated the declaration of ...
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(Art Historical Work Group of South Africa, 2008)International interest in and encounters between Europeans and the “Hottentots” (Khoikhoi) of South Africa date back and span many centuries. Recurrent colonial encounters influenced the way in which artists, engravers, ...
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(Art Historical Work Group of South Africa, 2008)This article explores the work of Sally Mann, Berni Searle, Ana Mendieta, and Shirin Neshat in relation to the trace-like emblem of the corpse. The corpse or corpse-like body is here read as allegorical of the body’s ...
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(Art Historical Work Group of South Africa, 2008)This article, taking as its point of departure the validity of Laclau and Mouffe’s perspectives on radical democracy, focuses, in particular, on whether or not neo-Marxist cultural criticism could, conceivably, have recourse ...
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Exploring ‘place-making,’ city squares & other places : Cape Town’s pre-apartheid spatial politics (Art Historical Work Group of South Africa, 2008)This paper explores the theoretical problems, contradictions and limits that architecturally-oriented ‘place-making,’ and the ‘city square’ typological thrust of place-making, evokes. The first part of this paper is a ...
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(Art Historical Work Group of South Africa, 2008)This article consists of two parts: the first looks back and the second moves sideways. In the first part, the author considers the background for her current research focus on contemporary drawing. In the second part, ...
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(Art Historical Work Group of South Africa, 2008)The thought of Merleau-Ponty, Silverman, Marx and Marcuse is a valuable repository of insights that may function as guidelines for ascertaining what would count as truly ‘human’ space – that is, a space that does not ...
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(Art Historical Work Group of South Africa, 2008)Environmental degradation, pollution and poverty are said to be destroying most countries worldwide. This article responds to the need for the recognition of the role that ecologically-concerned art can play in environmental ...
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(Art Historical Work Group of South Africa, 2008)In 1924 Walter Benjamin and Asja Lacis described the environs and architecture of Naples as “porous”, explaining that its built environment resists any fixed or designated functionality. Their description reminds one of ...
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(Art Historical Work Group of South Africa, 2008)When the notion of empathy (Greek: em-pathos), which in its broadest sense may be defined as the ability to have compassion for and an understanding of the thoughts, feelings, and situation of another being and humanity ...
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(Art Historical Work Group of South Africa, 2008)In this paper it is argued that contemporary architectural and urban space has become impoverished through the hegemony of a formalistic approach in architecture and urban design, and Modernism’s separation of subject and ...
Now showing items 21-40 of 45