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Tesi sul tema "South African Art pottery"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2025

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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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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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6

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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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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9

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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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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10

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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11

Blake, Tamlin. "South African botanical art : a study of nineteenth- and twentieth-century imagery." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52458.

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Thesis (MA)--Stellenbosch University, 2001.<br>ENGLISH ABSTRACT: Botanical art consists of a complex combination of scientific fact and aesthetic awareness, and is concerned with more than the realistic representation of a plant and its flowers. It goes beyond the visual description of scientific information and speaks about the contributions artists have made through history to the conventions of both art and science. It contains a unique visual language, conventions which we read intelligently and an evolved tradition, and it is this language and the development of these conventions wi

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12

Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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13

Lauwrens, Jennifer. "The contested relationship between art history and visual culture studies A South African perspective /." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-05222007-133343.

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14

Becker, Carl. "South African art institutions : their formation and strategy with particular reference to the question of legitimacy." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1007622.

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I have examined the relationship between the art institution and its social base, and the way in which legitimacy is sought and maintained under changing social circumstances. The social pattern of 'avante garde artist' vs. 'philistine public' has tended to be the context within which 20th century art has developed. The consequent disjuncture between the public art institution and its social base was subsequently accepted as the natural condition of Fine Art production. During the 1980's, two significant factors were to influence this 'natural' condition: i) The demise of 'modernism' internati

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15

Van, Zyl Marelize. "Constructing the value of art : a sociological perspective on value creation at South African art auctions." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20053.

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Thesis (MA)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: The value of art is a critical concept in theoretical discourse. As a result, the high prices of artworks on auctions pose questions about the various processes of value construction and the status of art in these processes. This thesis adopts a sociological approach to the construction of value of art on South African auctions. This approach is situated within a socio-historical perspective, which introduces the various social structures and conditions of cultural production. The main premise of this approach is that a mul

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16

Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.

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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum,

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17

De, Beer Esther. "Spicing South Africa: representations of food and culinary traditions in South African contemporary art and literature." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20027.

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Thesis (MA)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: Francoise Vergés comments in her essay Let’s Cook! that “one could write the history of a people, of a country, of a continent by writing the history of its culinary habits” (250 ). Vergés here refers to the extent to which food can be seen to document and record certain events or subjectivities. Exploring a wide range of texts spanning the late 1800s up to the post-apartheid present, this thesis focuses in particular on the ways in which “spice” as commodity, ingredient or symbol is employed to articulate and/or embed creo

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18

Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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19

Josephy, Svea Valeska. "The development of a critical practice in post-apartheid South African photography." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.

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Thesis (MA)--Stellenbosch University, 2001.<br>ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills

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20

Cosser, Marijke. "Images of a changing frontier worldview in Eastern Cape art from Bushman rock art to 1875." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002196.

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A discussion of the concept of worldview shows that how an artist conceives the world in his images is governed by his worldview - an amalgam of the worldview of the group of which he is a part modified by his own ideas, beliefs, attitudes, perceptions and upbringing. The author proposes that studying an artist's work can reveal his, and hence his group's, worldview and thus the attitudes prevalent when the work was produced. A brief historical sketch of the Eastern Cape to 1834 introduces the various settlers in the area. Though no known examples of Black, Boer or Khoi pictorial art are extan

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21

Schwartz, Erin M. "Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South AfricanColoured Identity." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1399305465.

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22

Mannering, Hildegard Kirsten. "European stylistic influence on early twentieth century South African painters." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002207.

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South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjun

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23

Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.

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Includes bibliographical references (pages 125-138).<br>This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the m

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24

Adendorff, Delaida Adéle. "The princess in the veld : curating liminality in contemporary South African female art production." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63007.

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I aim to showcase post-African female identity through the exhibition, The princess in the veld. The exhibition displays selected works produced by South African women artists, underpinned by the proposed curatorial framework. This curatorial approach is feminist, and may allow for a liminal reading of local female identity. I premise my theorised curatorial framework liminally, in-between binary oppositions. This position allows for a feminist position and/or reading of female identities that simultaneously allude to, and reject a so-called local (essentialised) women’s art production w

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25

Rankin, Carin. "Development by design - an example in the South African craft industry the Due-South travel guide /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10082008-094907.

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26

Bloch, Joanne. "Letting things speak: a case study in the reconfiguring of a South African institutional object collection." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20272.

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In this thesis I examine the University of Cape Town (UCT) Manuscripts and Archives Department object collection, providing insights into the origins of the collection and its status within the archive. Central to the project was my application of a set of creative and affective strategies as a response to the collection, that culminated in a body of artwork entitled Slantways, shown at the Centre for African Studies (CAS) Gallery at UCT in 2014.The collection of about 200 slightly shabby, mismatched artefacts was assembled by R.F.M. Immelman, University Librarian from 1940 until 1970, who wel

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27

Bristow, Tegan Mary. "Post African futures : decoloniality and actional methodologies in art and cultural practices in African cultures of technology." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/10848.

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This thesis addresses the presence and role of critical aesthetic practices by cultural practitioners and creative technologists in addressing cultures of technology in contemporary African societies. Nairobi and Johannesburg are used as primary case studies through which a closer understanding of these unique cultures of technology are unpacked. The learning established from the findings of the cases is applied to understanding the concerns of cultures of technology within these and other African contexts. In this, attention is placed on latent neo-colonialism found in the relationship betwee

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28

Nieuwoudt, Leanri. "An investigation of critical citizenship education : exploring art making processes in the South African context." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86214.

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Thesis (MA(VA))--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: The notion of critical citizenship has become a diverse phenomenon in both South African and global contemporary societies. The purpose of this study is to investigate how the teaching and learning of critical citizenship can be improved in the South African context through participation in art-making processes. This was done by following a qualitative approach and a case study design. The following themes were explored in this study: conceptual abilities; the technicalities of practice; art and emotional development; and col

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29

Verschoor, Jenni. "Why do companies invest in art? The purpose and composition of art collections in the South African financial sector." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/59797.

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Companies around the world invest in art, be it through sponsorship activities or in the establishment of corporate art collections. This study explores the primary reasons why companies choose to invest in art collections, examining the South African financial sector from the perspective of a developing country. It then assesses the possibility of linking the purpose of an art collection with the type of art collected, to identify trends and create guidelines for businesses and arts organisations respectively. Finally, it examines the impact that leadership has on the implementation and

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30

Baholo, Keresemose Richard. "A pictorial response to certain witchcraft beliefs within Northern Sotho communities." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/21197.

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Bibliography: pages 58-62.<br>This study focuses on stories of witchcraft within the Batlokwa - a sub-group of the Northern Sotho community living in the northern Transvaal. Having grown up in this society where witchcraft beliefs are predominant, my fears, as a child, of witches were very real. In later life I have attempted to ignore these fears. However, I do not think they will ever disappear entirely, as I will never be able to extricate myself from my origins. This experience of the dangerous witch is one of the reasons that compelled me to respond pictorially to some of these perception

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31

Van, Wyk Josly. "A practice-led exploration of the aesthetics of household waste in selected South African visual artworks." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60437.

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In this practice-led exploration, I investigate the aesthetic potential of household waste. With household waste as the object of investigation, I explore the cultural signification of waste in terms of the role it plays in art practice. I look into the found object, bricoleur culture and the sculptural process of assemblage. By considering how assemblage allows for the inclusion of waste materials, the lowly status of household waste leads my art practice to a do-it-yourself approach. This approach of incorporating waste materials into artworks shifts the focus from the physical state to the

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32

Ross, Dusty K. "Readings of Zwelethu Mthethwa's South African Photographs: Postcolonialsim, Abjection, and Cultural Studies." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/140.

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South African painter turned photographer, Zwelethu Mthethwa, was born in Durban during Apartheid. In 1980 Mthethwa began taking his photographs in the shanty towns on the outskirts of Cape Town and later took pictures in Mozambique and New Orleans. His work has global significance. Using art and literary theory and criticism, I expand upon the significance of his photographs in the contemporary world. I do “readings” of eight photographs from eight different series of Zwelethu Mthethwa’s work using postcolonial theory, abjection, and cultural studies as theoretical constructs to provide three

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33

Steyn, Pieter Andrew. "The relationship between the concept 'art' and its institutionalisation during the period 1850-1871 in South Africa." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005626.

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This research evolved as part of a personal struggle to understand my role as 'art' student. As such the essay is concerned with both the theory and practice of 'art', and the relationship between the two. It is, however, my experience of the lack of an analysis of the concept 'art' as a social and historical phenomenon, and the suppression of the politics of culture in most fine art courses, that has led me to concentrate on theoretical and political issues, rather than the formal aspects of painting. This essay is therefore not concerned with individual 'works of art', but with the general c

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34

Hirst, Manton Myatt. "The healer's art : Cape Nguni diviners in the townships of Grahamstown." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1001601.

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This is a study of Cape Nguni diviners practising in the townships of Grahamstown where, during the 1970s, there was a large and active concentration of diviners treating clients from the locality, the rural areas and even the large urban centres further afield. The study situates local diviners in the socio-economic, cultural and religious context of contemporary township Iife during the 1970s (see chapter 1 and section 2.1). The personalities and socio-economic circumstances of diviners (and herbalists) are described as well as their case-loads, the various problems they treat, the relations

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35

Draper, Jessica Lindiwe. "Being white : Part I: A self-portrait in the third person; Part II: Whiteness in South African visual culture." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aa3689b2-6d6f-4cc0-8599-9db96a56611d.

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This thesis is concerned with the ways in which whiteness and authenticity are manifested within contemporary visual culture in South Africa. The project begins as an artistic inquiry grounded in autobiography, which becomes an elaborate self-portrait narrated from the distance of the third person. My practice aims to address the trajectories that I am unable to articulate through my theoretical analysis. Through a process of solvent release printing, I explore the dualities of my own identity as African and white in an attempt to counteract the view that one negates the other. Part I attempts

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36

Yoshie, Yoshiara. "Art museums in a diverse society : a visitor study at the South African National Gallery." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498502.

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37

De, Bruto Petro C. "ART-related body composition changes in adult women in a semi-rural South African context." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17445.

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Assignment (MPhil)--University of Stellenbosch, 2006.<br>ENGLISH ABSTRACT: The aim of this study was to investigate practical methods of monitoring AIDS related wasting and lipodystrophy in a resource-poor clinical setting with HIV infected women as the population group of interest. Measurement of body composition changes using anthropometry is both cost- and time-efficient. Various different skinfolds were taken and two different equations (the equations of Pollock et al. (1975) and Durnin and Womersley (1974) for calculating body fat were used to determine the most promising method or

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Gibson, N. Jade. "Making art to make identity : shifting perceptions of self amongst historically disadvantaged South African artists." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/10508.

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Bibliography: p. 159-177.<br>This study examines how historically disadvantaged artists shift self-identities through artmaking beyond previously racialised, hierarchised and essentialist constructs in a transforming New South Africa. Fieldwork research involved direct observation, working with artists on art projects, and interviews with visual artists and other arts practitioners in Cape Town, 1998-2001. Artworks are examined as events incorporating social change, and thus as a focal point between unconscious praxis and the cognitive coming-to-awareness of self within-the-world. Using a non-

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39

Kgokong, Arthur. "South African black artists : in the permanent collection of the Pretoria Art Museum (1964 –1994)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78619.

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The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of

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40

Mulder, Annelize. "Attenuated Memories and South African Migration: Remnants of Everyday Violence in a Visual Art Practice." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/414585.

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Migration is a complex experience that brings many challenges. This research explores how the mourning of the past and the deep emotion caused by migration are amplified and impacted by a history of enduring exposure to violence. It focuses on South African migrants and the lure of safety abroad to escape direct or vicarious encounters with violence. As a practice-led project, these ideas have been investigated through sculpture, installation, and multimedia approaches. This research argues that memories remain connected, sometimes only faintly, but motioning closer when remembered. In respons

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41

Murray, Brett. "A group of satirical sculptures examining social and political paradoxes in the South African context." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/15885.

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Bibliography: pages 99-101.<br>My proposal was to produce a group of satirical sculptures thematically embracing paradoxes within the broad South African context. My intention was to work within the tradition of social and political satire. Strict definitions of satire were to be expanded to include both comedy and tragedy. By satirising particular stupidities, abuses and "evils of all kind" within South African society, I hoped to address the same in a broader context by implication. By discussing some artists who have worked within this tradition my intention was to determine an art-historic

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42

Bauer, Vanessa M. "The inception of cross-cultural dimensions in the ceramics of the late 1970s onwards, as reflected in the work of Maggie Mikula and her adherents." Thesis, 2004. http://hdl.handle.net/10413/2607.

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In this dissertation the incorporation of cross-cultural imagery and its assimilation is focused on the work of Maggie Mikula, a ceramist from KwaZulu-Natal. Producing within the 1970's and 1980's. her work is investigated within the historical context of the socio-political background of South Africa. Syncretism in the visual arts reflects problems associated with identity and authenticity and this dissertation analyses these issues. A reference is made to select artists and ceramists in South Africa who approach their work in this manner, in particular with reference to the influence that Ma

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Garrett, Ian William. "Nesta Nala : ceramics, 1985-1995." Thesis, 1997. http://hdl.handle.net/10413/5979.

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This thesis reviews two local collections of ceramics by Nesta Nala between 1985 and 1996. The main text is presented in four chapters. Chapter One outlines the development of Nala's career and discusses the collections of her work outlined in this study. Chapter Two provides a brief overview of Zulu domestic-ware traditions, and outlines the basis of Nala's technology and decorative methods. Chapter Three reviews texts that discuss Nala and her work and then critically examines the application of the term "traditional". Chapter Four interprets Nala's decorative themes of examples in the Durba

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Gers, Wendy A. "South African studio ceramics, c.1950s : the Kalahari Studio, Drostdy Ware and Crescent Potteries." Thesis, 2000. http://hdl.handle.net/10413/4370.

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Abstract (sommario):

The oeuvre of the Kalahari Studio (Cape Town), Drostdy Ware (a division of Grahamstown Pottery, Grahamstown) and Crescent Potteries (Krugersdorp) is investigated within the historical context of the 1950s, a watershed period that witnessed crucial developments in South African cultural and political history. This dissertation elucidates the historical development, key personnel, the ceramics, as well as relevant technical information related to the Kalahari Studio, Drostdy Ware and Crescent Potteries. This dissertation analyses the broader socio-political and ideological paradigms that framed

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Watt, Ronald. "South African studio pottery of the later Twentieth century and its Anglo-Oriental epithet." Diss., 2016. http://hdl.handle.net/10500/22167.

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Abstract (sommario):

South African studio pottery of the later twentieth century has consistently been described as ‘Anglo-Oriental’, because it was perceived to adhere to the standard forms of utilitarian wares in plain or subdued colours and decorations, as promoted by the Anglo-Oriental tradition of studio pottery. This dissertation investigates the validity of such an epithet, based on evidence that the pioneer South African studio potters and their successors were exposed to broader pottery influences, and that the oeuvres which they developed reflect what they borrowed, adapted and re-interpreted from such i

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Rall, Michelle. "Images of nature in recent South African printmaking and ceramics." Thesis, 2000. http://hdl.handle.net/10413/3883.

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Abstract (sommario):

This dissertation considers nature imagery in selected South Afiican ceramics and printmaking. The main focus is on ecological issues in recent art productions. The text consists of five chapters. The first examines the ideologies of Fritjof Capra in relation to issues about deep ecology and ecofeminism; this chapter seeks to clarify the scope of the words 'land' and 'landscape' as used in a late 20th century context. The second chapter examines some historical works and ideas that have influenced perceptions of nature imagery in South Afiica. Chapters three, four and five constitute the main

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Watt, Ronald. "A contextual history of South African ceramics of the twentieth and twenty-first centuries." Thesis, 2020. http://hdl.handle.net/10500/27015.

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Abstract (sommario):

Text in English with summaries and keywords in English, Afrikaans and Zulu<br>Presented in two volumes. Volume 2 contains colour photographs<br>Bibliography: (volume 1: leaves 181-219)<br>The history of South African ceramics of the twentieth and twenty-first centuries tends to be presented in a compartmentalised manner in that it focuses on the leading exponents within genres and is limited to an investigation of the contexts that have an immediate bearing on their oeuvres. The result is a fragmented (and sometimes biased) view of the role players, circumstances, influences and incentive

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Du, Plessis Lara. "Marietjie van der Merwe : ceramics 1960-1988." Thesis, 2007. http://hdl.handle.net/10413/732.

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Abstract (sommario):

This dissertation will contextualize and analyse selected works of the South African ceramist Marietjie van der Merwe (bl935 dl992; known professionally as Marietjie, aka Mariki, Marikie) between 1960-1988. The text consists of three chapters. The first chapter will outline the life of Marietjie van der Merwe, discuss her political and religious affiliations and ends with a chronological outline of her ceramics. This introductory chapter will help the reader to gain an insight into her character and personality which influenced the work she produced. The second chapter comprises two main secti

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Baker, Siobhan. "Interpretations of the garden in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1695.

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Abstract (sommario):

Submitted in partial fulfillment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.<br>This dissertation sets out to investigate the interpretation of the garden in the work of Marianne North (1840-1926), Claude Monet (1840-1926) and Ian Hamilton Finlay (1925-2006) and my art practice. The garden has historically been a site for man’s interaction with nature and has been the subject of interpretation by Fine Art and Botanic artists throughout history. Marianne North’s (1830-1890) interpretation of the garden

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Omar, Fahmeeda. "Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg." Thesis, 2012. http://hdl.handle.net/10413/10622.

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Abstract (sommario):

The aim of this dissertation is to contextualise the use of porcelain by the South African ceramist Thelma Marcuson (1919-2009). This paper focuses on her ceramics in the Tatham Art Gallery’s Permanent Collection in Pietermaritzburg. I hope to give recognition to Marcuson as she is considered one of the pioneer South African studio potters by Garth Clark and Lynne Wagner’s in Potters of Southern Africa as she is ranked amongst the top fifteen in that distinct group (appendix 4: Potters’ art demo). This dissertation is divided into three chapters. Chapter one primarily focuses on the influence

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