Relevant bibliographies by topics / South African women artists

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  1. Journal articles

Academic literature on the topic 'South African women artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "South African women artists"

1

Klassen, Teri. "Quilts: Conscience of the Human Spirit: The Life of Nelson Mandela: Tributes by Quilt Artists from South Africa and the United States (MacDowell and Mazloomi)." Museum Anthropology Review 11, no. 1-2 (2017): 26–28. http://dx.doi.org/10.14434/mar.v11i1.23500.

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This work is a book review considering the title Quilts: Conscience of the Human Spirit: The Life of Nelson Mandela: Tributes by Quilt Artists from South Africa and the United States: A Collaborative Project of Michigan State University Museum, Women of Color Quilters Network, and South African Quilt Artists by Marsha MacDowell and Carolyn L. Mazloomi.
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2

MESKIMMON, MARSHA. "THROUGH THE LOOKING GLASS: REPRESENTATIONS OF SELF BY SOUTH AFRICAN WOMEN ARTISTS." Art Book 13, no. 1 (2006): 31–33. http://dx.doi.org/10.1111/j.1467-8357.2006.00631.x.

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3

Coombes, Annie E. "Gender, ‘Race’, Ethnicity in Art Practice in Post-Apartheid South Africa: Annie E. Coombes and Penny Siopis in Conversation." Feminist Review 55, no. 1 (1997): 110–29. http://dx.doi.org/10.1057/fr.1997.7.

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Siopis has always engaged in a critical and controversial way with the concepts of ‘race’ and ‘ethnicity’ in South Africa. For politically sensitive artists whose work has involved confronting the injustices of apartheid, the current post-apartheid situation has forced a reassessment of their practice and the terms on which they might engage with the fundamental changes which are now affecting all of South African society. Where mythologies of race and ethnicity have been strategically foregrounded in the art of any engaged artist, to the exclusion of many other concerns, the demise of apartheid offers the possibility of exploring other dimensions of lived experience in South Africa. For feminists, this is potentially a very positive moment when questions of gender – so long subordinated to the structural issue of ‘race’ under apartheid – can now be explored. Penny Siopis’ work has long been concerned with the lived and historical relations between black and white women in South Africa. The discussion focuses on the ambivalent and dependent relationships formed between white middle-class women and black domestic labour during apartheid. Siopis’ work engages with how the appropriation of black women's time, lives, labour and bodies has shaped her ‘own’ history.
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4

Burmann, Pauline. "The Thread of the Story: Two South African Women Artists Talk about Their Work:." Research in African Literatures 31, no. 4 (2000): 155–65. http://dx.doi.org/10.2979/ral.2000.31.4.155.

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Burmann, Pauline. "The Thread of the Story: Two South African Women Artists Talk about Their Work." Research in African Literatures 31, no. 4 (2000): 155–65. http://dx.doi.org/10.1353/ral.2000.0102.

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6

Blumberg, Marcia. "Domestic Place as Contestatory Space: the Kitchen as Catalyst and Crucible." New Theatre Quarterly 14, no. 55 (1998): 195–201. http://dx.doi.org/10.1017/s0266464x00012148.

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‘Kitchen-sink’ drama was a term used (in the main by its detractors) of the drama of the late 'fifties and 'sixties located outside the drawing-room milieu then preferred by conventional West End playwrights. It was always an inaccurate term, in that many of the plays so described neither took place in domestic kitchens nor – more to Marcia Blumberg's point – addressed the issue of the place's usual attendant: a woman. Recognizing the dominance of the kitchen as an icon, and of its related domestic chores as traditionally the tasks of women, two performance artists have recently, and in very different ways, explored the actuality of ‘Kitchen’ occupations and preoccupations. Bobby Baker's Kitchen Show (1991) used ‘found’ environments of actual kitchens, including her own, to produce ‘new and often subversive significations’, while in Kitchen Blues (1990) the South African dramatist Jeanne Goosen constructed a ‘complex feminist bricolage’ through the voices and actions of a quartet of women, embodying ‘the multiple intersections of gender in a shocking tragi-comic evocation of personal upheaval during a period of flux in South Africa’. Marcia Blumberg, herself a South African, has recently been teaching in Britain with the Open University.
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7

Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.

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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.
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8

Schmahmann, Brenda. "Developing Images of Self: Childhood, Youth and Family Photographs in Works by Three South African Women Artists." African Arts 45, no. 4 (2012): 8–21. http://dx.doi.org/10.1162/afar_a_00024.

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9

Pawłowska, Aneta. "Gender and Eroticism in Contemporary Art from South Africa." Werkwinkel 12, no. 1 (2017): 85–106. http://dx.doi.org/10.1515/werk-2017-0006.

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Abstract The aim of this article is to present the interaction between the history of lesbian and gay culture and its identity on the one hand, and the connection between the visual art or visual culture on the other hand. This essay endeavors to interpret the different meanings attached to sexual identities by examining the diverse artistic activities of a variety of artists: both men and women (e.g. Steven Cohen, Clive van den Berg, Andrew Verster, Nicolas Hlobo, Jean Brundrit, Zanele Muholi). Employing an intersectional analytical approach, the article shows that the identity of art is constructed alongside a person’s multiple identities, such as race, gender, family ties, religion and class. The main research question is whether in today’s visual art originating from South Africa, which is characterized by a hegemony of heterosexual stereotypes, there is a significant place for gender oriented art?
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10

Nel, A. "Die kleur van vers en verf: Antjie Krog in gesprek met Marlene Dumas." Literator 22, no. 3 (2001): 21–38. http://dx.doi.org/10.4102/lit.v22i3.1054.

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The colours of poem and paint: Antjie Krog in conversation with Marlene Dumas Antjie Krog engages South African born painter Marlene Dumas in an intertextual dialogue in her most recent anthology Kleur kom nooit alleen nie. This series of poems is titled “skilderysonnette” (sonnets of a painting). Six of the nine of Krog’s “word paintings” are eponymous with Dumas’s paintings and therefore almost require an examination of the interplay of the respective texts. This article examines the relationship between the relevant poems and paintings. The specific conversation between Krog’s word texts and Dumas’s paintings within the context of Krog’s anthology ultimately indicates intriguing similarities. It includes, inter alia, the struggle of both artists with the problem of “belonging” – Krog from an African perspective and Dumas from a European angle. Both are also concerned with the politics of colour. The politics of sex also figures in both their oeuvres in the third instance. The complexity of sexuality, eroticism and love is examined in the work of both these artists and is ultimately expressed in the voice/vision of the emancipated woman.
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