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Bibliografie tematiche / South African Art pottery

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Letteratura scientifica selezionata sul tema "South African Art pottery"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 19 luglio 2025

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Articoli di riviste sul tema "South African Art pottery"

1

Watt, Ronnie. "Legacy — The studio pottery of Ian Glenny (1952–2023)." Indago 41 (December 5, 2024): 51–64. https://doi.org/10.5281/zenodo.14254266.

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Abstract (sommario):

Scholarly attention to South African studio pottery of the later twentieth century has been negligible, succeeding at best to provide an overview of its rise in the 1960s, the emergence of a fraternity of studio pottery practitioners, and the development of individual expressions. There is a lack of in-depth scholarly accounts of the lives and oeuvres of the more eminent studio pottery figures of that era. The posthumous disclosure of his own works in the personal collection of the studio potter Ian Glenny (1952–2023) presents not only the opportunity to illustrate the development over t

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2

Fuller, Dorian Q. "Ceramics, seeds and culinary change in prehistoric India." Antiquity 79, no. 306 (2005): 761–77. http://dx.doi.org/10.1017/s0003598x00114917.

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Cuisine, argues the author, is like language – it can be adopted, adapted or modified through time. The evidence from actual words for food is also used, together with seed assemblages and types of pottery to chronicle changing food cultures in Neolithic and later India. While some new food ideas (like African millets) were incorporated into existing agricultural practice as substitute crops, others such as the horsegram and mungbean appear to have moved from south to north with their pots (and probably the appropriate recipes) as a social as well as a dietary innovation.

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3

Pinto, Hugo, Will Archer, David Witelson, et al. "The Matatiele Archaeology and Rock Art (MARA) Program Excavations: The Archaeology of Mafusing 1 Rock Shelter, Eastern Cape, South Africa." Journal of African Archaeology 16, no. 2 (2018): 145–67. http://dx.doi.org/10.1163/21915784-20180009.

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AbstractThe rock shelter Mafusing 1 was excavated in 2011 as part of the Matatiele Archaeology and Rock Art orMARAresearch programme initiated in the same year. This programme endeavours to redress the much-neglected history of this region of South Africa, which until 1994 formed part of the wider ‘Transkei’ apartheid homeland. Derricourt’s 1977Prehistoric Man in the Ciskei and Transkeiconstituted the last archaeological survey in this area. However, the coverage for the Matatiele region was limited, and relied largely on van Riet Lowe’s site list of the 1930s. Thus far, theMARAprogramme has d

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4

Watt, Ronnie. "The agency, references and contexts in the oeuvre of the ceramist Henriette Ngako (1943-2021)." Image & Text, no. 39 (April 4, 2025): 1–23. https://doi.org/10.17159/2617-3255/2025/n39a1.

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A significant part of the South African ceramic art history is not the outcome of original scholarly research and writing but, for lack of primary sources, derived from published material in craft publications, the press, and books of public interest. The latter texts typically reflect personal observations rather than citing and contextualising explanatory statements by the ceramists. In this absence of the ceramists' own voices, observations by others tend to assume the status of being definitive of the ceramist's output. This article illustrates the hackneyed earlier observations on the lif

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Henshilwood, Christopher. "A revised chronology for pastoralism in southernmost Africa: new evidence of sheep atc.2000 b.p. from Blombos Cave, South Africa." Antiquity 70, no. 270 (1996): 945–49. http://dx.doi.org/10.1017/s0003598x00084210.

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Abstract (sommario):

New excavation at Blombos Cave, in the southern Cape of South Africa, and new radiocarbon dates for its sequence further illuminate the chronology of pastoralism in southern Africa, and the relations between pottery-using and shepherding.

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Deacon, Janette. "South African rock art." Evolutionary Anthropology: Issues, News, and Reviews 8, no. 2 (1999): 48–64. http://dx.doi.org/10.1002/(sici)1520-6505(1999)8:2<48::aid-evan4>3.0.co;2-9.

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7

Erickson, Kirstin C. "Pottery of the U.S. South: A Living Tradition." Museum Anthropology Review 9, no. 1-2 (2015): 106–8. http://dx.doi.org/10.14434/mar.v9i1-2.13719.

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8

Aronson, Lisa. "Gender and South African Art." African Arts 45, no. 4 (2012): 1–5. http://dx.doi.org/10.1162/afar_e_00022.

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9

Lochner, Eben. "The South African Art Centre." Third Text 27, no. 3 (2013): 315–26. http://dx.doi.org/10.1080/09528822.2013.795697.

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10

Sealy, Judith, and Royden Yates. "The chronology of the introduction of pastoralism to the Cape, South Africa." Antiquity 68, no. 258 (1994): 58–67. http://dx.doi.org/10.1017/s0003598x00046196.

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Abstract (sommario):

A careful survey of reports of early sheep in southernmost Africa combines with new radiocarbon dates to revise our knowledge of early pastoralism in the Cape. The new chronology shows the keeping of domestic stock and the making of pottery are not simultaneous and intertwined but separate events in a more complex history.

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Tesi sul tema "South African Art pottery"

1

Stevenson, Michael. "The South African art index, 1971–1988." Thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/23488.

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2

Ifejika-Obukwelu, Kate Omuluzua. "Igbo pottery in Nigeria : issues of form, style and technique /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10939362.

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3

Von, Veh Karen Elaine. "Transgressive Christian iconography in post-apartheid South African art." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002220.

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In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how

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4

Worth, Janet. "The distinctive fish motif on a 14th century Iranian bowl in the Art Gallery of South Australia's William Bowmore Collection of Islamic ceramics /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmw932.pdf.

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5

Becker, Danielle Loraine. "South African art history: the possibility of decolonising a discourse." Doctoral thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/26883.

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Abstract (sommario):

In light of recent calls to decolonise curricula at South African universities there has been a renewed interest in what decolonisation might specifically imply for particular academic disciplines. Art history in South Africa has long struggled to move away from its settler colonial origins towards a more Afrocentric focus and its art world has frequently been criticised for being elitist and dominated by white practitioners. To this end, one of the primary questions that this dissertation seeks to answer is to what extent indigenous, African art and African epistemology has been included in S

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Bereng, Lerato. "Featuring simplicity: jargon and access in contemporary South African art." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/60479.

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The focus of this paper is an exploration of curating and its various forms as understood in a South African art context. In order to understand this context I examine definitions of South African publics as well as different curatorial models. I raise questions around art and accessibility as well as the functions of language as a gate keeper within the visual arts. Through a practical exploration of curatorial methods of engagement, I assess the curator's role as disseminator of information. My final project Conversations at Morija that was held in Morija, Lesotho faces the challenge of cura

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7

Dodd, Alexandra Jane. "Secular séance: Post-Victorian embodiment in contemporary South African art." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12814.

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Includes bibliographical references.<br>In this thesis I explore selected bodies of work by five contemporary South African artists that resuscitate nineteenth - century aesthetic tropes in ways that productively reimagine South Africa’s traumatic colonial inheritance. I investigate the aesthetic strategies and thematic concerns employed by Mary Sibande, Nicholas Hlobo, Mwenya Kabwe, Kathryn Smith and Santu Mofokeng, and argue that the common tactic of engagement is a focus on the body as the prime site of cognition and "the aesthetic as a form of embodiment, mode of being-in-the-world" (Merle

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8

Meewes, Sarah Jessica. "South African Ballet : a Performing Art during and after Apartheid." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/76715.

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Abstract (sommario):

Literature on the topic of ballet in South Africa is growing. However, there are still gaps as a result of the fragmentation of sources. This dissertation draws on primary and secondary sources to try to provide a coherent discussion of the history of ballet in South Africa from a fresh perspective. The research demonstrates that ballet has been in constant engagement with South African history and society since its arrival on African shores. Through secondary and primary literature, the research starts by engaging with South African balletic history by looking at an overview of ballet’s journ

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Stielau, Anna. "Double agents : queer citizenship(s) in contemporary South African visual culture." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20625.

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Abstract (sommario):

South Africa claims the most progressive constitution on the African continent, extending protections to all citizens regardless of race, gender, ability or sexual orientation. Much has been published in recent years about the induction of LGBTIQ persons into this inclusive post-1994 human rights framework, often with a particular focus on the role of the state in instituting non-discrimination legislation and promoting equality. This document reflects my belief that South African sexuality scholarship too often presents incorporation into a unified nation-state as the only desirable outcome f

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Ruiters, Mellaney Bualin. "The development of a translucent low fired porcelain casting slip using South African raw materials." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/20004.

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The purpose of the research was to develop a translucent low fired porcelain casting slip using South African raw materials, due to the ever increasing electricity tariffs in South Africa as well as the physical deterioration put on the elements and brickwork in electric kilns when fired to traditional porcelain temperatures. Traditional porcelain bodies that can be purchased from South African suppliers are required to be fired to between 12000C and 13000C. The commercially prepared porcelains when tested produced white vitrified bodies but were lacking in translucency. Local ceramic artists

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Libri sul tema "South African Art pottery"

1

University of Pretoria Museums. African Ceramics Gallery, ed. Letsopa: Clay : Mapungubwe. African Ceramics Gallery, University of Pretoria Museums, Department of Arts, 2017.

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2

Roger, De la Harpe, ed. Ardmore: We are because of others : the story of Fée Halsted and Ardmore ceramic art. Fernwood Press, 2012.

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Scott, Gillian. Ardmore: An African discovery. Fernwood Press, 1998.

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4

Sampson, C. Garth. Stylistic boundaries among mobile hunter-foragers. Smithsonian Institution Press, 1988.

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5

Indiana University, Bloomington. Art Museum, ed. Ukucwebezela: To shine : contemporary Zulu ceramics. Indiana University Art Museum, 2008.

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6

Thornton, Kathryn Louise. South African pottery. Derbyshire College of Higher Education, 1990.

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7

Ill.) Douglas Dawson Gallery (Chicago. First art: Historic African ceramics. Douglas Dawson, 2009.

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8

Thompson, Barbara. The art of African clay: Ancient and historic African ceramics. Douglas Dawson Gallery, 2003.

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9

J, Andersen, Goliath A. R, and South African National Gallery, eds. South African art news index. South African National Gallery, 1989.

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10

Stevenson, Michael. South African art, 1850-2002. Goodman Gallery, 2002.

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Capitoli di libri sul tema "South African Art pottery"

1

van Klinken, Adriaan. "In/decent black theology in South African poetry." In Blasphemous Art? Routledge, 2024. http://dx.doi.org/10.4324/9781032623887-4.

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Valley, Greer. "South Africa." In The Routledge Companion to African Diaspora Art History. Routledge, 2024. http://dx.doi.org/10.4324/9781003295129-9.

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3

Correia, Alice. "East African, South Asian, British Artists." In The Routledge Companion to African Diaspora Art History. Routledge, 2024. http://dx.doi.org/10.4324/9781003295129-23.

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4

Poyner, Jane. "Art and Visual Culture in Ivan Vladislavić’s Portrait with Keys." In The Worlding of the South African Novel. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41937-0_8.

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Matebeni, Zintombizethu. "Art-activism in Decolonizing a South African University Space." In Art and Activism in the Age of Systemic Crisis. Routledge, 2020. http://dx.doi.org/10.4324/9780429269189-10.

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Fenyvesi, Kristóf, Christopher Brownell, Pamela Burnard, et al. "Mathematics and Art Connections Expressed in Artworks by South African Students." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_19.

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Freschi, Federico. "Art Deco, modernity, and the politics of ornament in South African architecture, 1930–1940." In The Routledge Companion to Art Deco. Routledge, 2019. http://dx.doi.org/10.4324/9780429032165-14.

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Salley, Raél Jero. "Coda." In The Visual Dynamics of Art, Black Care, and Ethics in South African Art. Routledge, 2025. https://doi.org/10.4324/9781003001102-10.

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Salley, Raél Jero. "Touching Insights." In The Visual Dynamics of Art, Black Care, and Ethics in South African Art. Routledge, 2025. https://doi.org/10.4324/9781003001102-2.

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Salley, Raél Jero. "Citizenship, Performance, Potential (Machona, Kukama, Mbongwa)." In The Visual Dynamics of Art, Black Care, and Ethics in South African Art. Routledge, 2025. https://doi.org/10.4324/9781003001102-9.

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Atti di convegni sul tema "South African Art pottery"

1

"Blue Energy from Southern African Water Bodies : State -of-the-art, Challenges and Opportunities." In Mar. 17-18, 2022 Johannesburg (South Africa). International Institute of Chemical, Biological & Environmental Engineering, 2022. http://dx.doi.org/10.17758/iicbe3.c0322269.

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2

Ludude, Ezile, Kwanele Booi, and Alletia Chisin. "EXPLORING THE EFFICACY OF USING KNOWLEDGE INTEGRATION IN THE TEACHING AND LEARNING OF ART AND DESIGN DISCIPLINES AT A SOUTH AFRICAN UNIVERSITY." In 16th International Conference on Education and New Learning Technologies. IATED, 2024. http://dx.doi.org/10.21125/edulearn.2024.2607.

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3

Dutkiewicz, E., and C. Bentz. "SIGNBASE: A DATA-DRIVEN APPROACH TO ABSTRACT SIGNS IN THE PALEOLITHIC." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.13-14.

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In the Paleolithic around 100,000 to 10,000 years ago, abstract motives also referred to as signs, patterns, or marks are abundant in parietal art as well as on mobile objects. In the case of parietal art, several studies have been dealing with such abstract signs. However, studies scrutinizing signs on mobile objects, such as figurines, tools, or personal ornaments, are rare and mostly limited to either single objects, or to particular assemblages. Our project SignBase aims to enable large-scale comparisons by collecting abstract motives on mobile objects from all over the European Paleolithi

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Pedreirinho, José Manuel, Michel Toussaint, and Pancho Guedes. "The Porteguese Perspective." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.4.

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ose Manuel Pedreirinho was born and educated in Lisbon, and has operated his own practice there since 1984. In addition to teaching the history of modern architecture and the theory of architecture at the universities of Lisbon, Coimbra, and Porto, Prof: Pedreirinho is also completing a PhD at the University of Bath (UK). The author of several articles and two books on Portuguese architecture and the teaching process, Prof: Pedreirinho is currently preparing a guide on the architecture of Porto. Michel Toussaint is an architect and educator in Lisbon, where he teaches the theory of architectur

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Segalo, Puleng, and Veronica Mitchell. "Visuals Speaking the Unspoken as a Tool for Future Care." In 8th International Visual Methods Conference. AIJR Publisher, 2024. http://dx.doi.org/10.21467/proceedings.168.24.

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In this article we describe the creation and usefulness of an art-making community initiative that has become a visual teaching tool to help rethink and challenge normalized practices in Obstetrics. The visuals are promoting more caring spaces and relationships. An unexpected online introduction with the two authors during the COVID pandemic resulted in a funded project in which a group of 17 women embroidered their difficult lived experiences in public birthing facilities in South Africa. The unexpected and abusive events they recalled and depicted resonated with what has been witnessed and s

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Roland, Stephanie, and Quentin Stevens. "North Korean Aesthetics within a Colonial Urban Form: Monuments to Independence and Democracy in Windhoek, Namibia." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2023. http://dx.doi.org/10.55939/a5038pxdax.

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This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and Nor

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