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Articoli di riviste sul tema "South African Art pottery"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2025

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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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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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5

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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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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6

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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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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11

Legodi, M. A., and D. de Waal. "Raman spectroscopic study of ancient South African domestic clay pottery." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 66, no. 1 (2007): 135–42. http://dx.doi.org/10.1016/j.saa.2006.02.059.

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12

Ouzman, Sven. "South African Conference on Rock Art." Before Farming 2006, no. 1 (2006): 1–7. http://dx.doi.org/10.3828/bfarm.2006.1.7.

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13

McShane, Megan C. "Teaching South African Contemporary Political Art." Safundi 5, no. 4 (2004): 1–5. http://dx.doi.org/10.1080/17533170400905409.

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14

Pike, Charles Ben, and Gavin Younge. "Art of the South African Townships." African Arts 22, no. 4 (1989): 83. http://dx.doi.org/10.2307/3336676.

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15

Danilowitz, Brenda. "Exhibitions of Contemporary South African Art." African Arts 24, no. 3 (1991): 12. http://dx.doi.org/10.2307/3336919.

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16

Givens, David B. "New: African Art at South Florida." Anthropology News 35, no. 4 (1994): 7. http://dx.doi.org/10.1111/an.1994.35.4.7.1.

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17

Nolte, Jacqueline. "Contemporary South African Art 1985–1995." Third Text 11, no. 39 (1997): 95–103. http://dx.doi.org/10.1080/09528829708576676.

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18

Kerkham, Ruth. "Contemporary South African Art 1985–1995." Third Text 13, no. 45 (1998): 104–6. http://dx.doi.org/10.1080/09528829808576773.

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19

A., Fatuyi O. "Technological Shift and Consequences for Pottery Practices in South-Western Nigeria." International Journal of Sciences Volume 7, no. 2018-06 (2018): 93–102. https://doi.org/10.5281/zenodo.3350340.

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Art and crafts including pottery from early times have played significant roles that are characterized by striking clarity, distinctness or truth to life. Nigerian traditional pottery has flourished as a viable occupation, especially among Nigerian women. Pottery were produced to satisfy domestic, ceremonial, religious and ritual purposes as evidenced in Nok, Gwari, Osun, Ekiti and Akoko Edo areas. It is observed that the traditional pottery industry suffered a major setback due to technological advancement and styles of production. The industry is now on the verge of decline in many places du

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20

Jafaruddin, Muhammad Rifai Arib, Andi Rini Tri Wahyuni, et al. "Etnomatematika pada Gerabah Hias Tradisional Kampiri: Perspektif Geometri, Topologi, dan Pembelajaran dalam Kalkulus Integral." Issues in Mathematics Education (IMED) 8, no. 2 (2024): 173–87. https://doi.org/10.35580/imed.v8i2.5194.

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The decorative pottery of Kampiri from Kampiri Village, Wajo Regency, South Sulawesi, is tangible evidence of Indonesia's rich cultural heritage and local wisdom. This study explores the hidden meanings behind the beauty of Kampiri pottery through a geometric and topological approach. By analyzing the shapes, structures, and ornaments of the pottery, this research aims to understand the application of geometric and topological principles in the design of Kampiri's traditional artwork. Additionally, this study integrates concepts from integral calculus to assess and measure the curvature and co

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21

Koloane, David. "South African Art in the Global Context." Présence Africaine 167-168, no. 1 (2003): 114. http://dx.doi.org/10.3917/presa.167.0114.

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22

Rezaire, Tabita. "Afro cyber resistance: South African Internet art." Technoetic Arts 12, no. 2 (2014): 185–96. http://dx.doi.org/10.1386/tear.12.2-3.185_1.

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23

Bristowe, A. "CONTEMPORARY SOUTH AFRICAN ART: THE GENCOR COLLECTION." Nka Journal of Contemporary African Art 1998, no. 8 (1998): 64. http://dx.doi.org/10.1215/10757163-8-1-64.

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24

Adjei, Kofi, Kwabena Asubonteng, and Isaac Kwabena Agyei. "Advancing Indigenous Pottery for Modern Application: An Appraisal of a Ghanaian Modernist Ceramist-James Kwame Amoah." Journal of Science and Technology (Ghana) 41, no. 2 (2023): 102–13. https://doi.org/10.4314/just.v41i2.8.

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To critique by the content of African art texts and current trends in the region’s curatorial work, it seems safe to say that the use of indigenous aesthetics for modern ceramic art expression has not been given much prominence in Ghanaian ceramic practice. A notable personality who has championed the used of indigenous designs for modern ceramic expression is James Kwame Amoah, a Ghanaian ceramist with a sustained practice, and whose works have evolved in a harmonious interplay between indigenous artistic insight and modernist expression. This study examined James Kwame Amoah’s ceramic practi

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25

Jacobson, L., F. C. de Beer, and R. Nshimirimana. "Tomography imaging of South African archaeological and heritage stone and pottery objects." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 651, no. 1 (2011): 240–43. http://dx.doi.org/10.1016/j.nima.2011.02.093.

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26

Juma, Abdurahman M. "The Swahili and the Mediterranean worlds: pottery of the late Roman period from Zanzibar." Antiquity 70, no. 267 (1996): 148–54. http://dx.doi.org/10.1017/s0003598x00083009.

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Mortimer Wheeler famously tied together the worlds of ancient Rome and ancient India by finding Roman ceramics stratified into levels at Arikamedu, in south India. Late Roman pottery from far down the East African coast now permits the same kind of matching link from the Mediterranean to a distant shore, this one in the Swahili world.

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27

Danilowitz, Brenda, and Matsemela Manaka. "Echoes of African Art: A Century of Art in South Africa." African Arts 21, no. 4 (1988): 84. http://dx.doi.org/10.2307/3336759.

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28

Lamprecht, Andrew. "Evading the obvious: Curating new South African art." de arte 39, no. 70 (2004): 50–54. http://dx.doi.org/10.1080/00043389.2004.11877030.

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29

von Veh, Karen. "The Politics of Memory in South African Art." de arte 54, no. 1 (2019): 3–24. http://dx.doi.org/10.1080/00043389.2018.1464732.

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30

Sey, James Alexander. "The trauma of conceptualism for South African art." Critical Arts 24, no. 3 (2010): 438–56. http://dx.doi.org/10.1080/02560046.2010.511878.

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31

Jenkins, Elwyn. "Showcasing South African rock art on postage stamps." Critical Arts 26, no. 4 (2012): 466–83. http://dx.doi.org/10.1080/02560046.2012.723801.

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32

Botha, Ferdi, Jen Snowball, and Brett Scott. "Art investment in South Africa: Portfolio diversification and art market efficiency." South African Journal of Economic and Management Sciences 19, no. 3 (2016): 358–68. http://dx.doi.org/10.4102/sajems.v19i3.1397.

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Art has been suggested as a good way to diversify investment portfolios during times of financial uncertainty. The argument is that art exhibits different risk and return characteristics to conventional investments in other asset classes. The new Citadel art price index offered the opportunity to test this theory in the South African context. Moreover, this paper tests whether art prices are efficient. The Citadel index uses the hedonic regression method with observations drawn from the top 100, 50 and 20 artists by sales volume, giving approximately 29 503 total auction observations. The Inde

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33

Muller, Stephanus. "MICHAEL BLAKE'S STRING QUARTETS AND THE IDEA OF AFRICAN ART MUSIC." Tempo 76, no. 300 (2022): 6–17. http://dx.doi.org/10.1017/s0040298221000887.

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AbstractThis article considers if and how the five string quartets of the South African composer Michael Blake, written between 2001 and 2014, could be considered as contributing to the compositional and discursive construct that is ‘African art music’. ‘African art music’ has often been evoked in connection with the compositional practices of West African composers especially but has received little consideration and scrutiny of its possible applications to South African composition. The political and artistic isolation of South Africa from the rest of Africa during much of the twentieth cent

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34

Rozwadowski, Andrzej. "From Central Asia to South Africa: In Search of Inspiration in Rock Art Studies." Werkwinkel 12, no. 1 (2017): 19–33. http://dx.doi.org/10.1515/werk-2017-0002.

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Abstract The paper describes the story of discovering South African rock art as an inspiration for research in completely different part of the globe, namely in Central Asia and Siberia. It refers to those aspect of African research which proved to importantly develop the understanding of rock art in Asia. Several aspects are addressed. First, it points to importance of rethinking of relationship between art, myth and ethnography, which in South Africa additionally resulted in reconsidering the ontology of rock images and the very idea of reading of rock art. From the latter viewpoint particul

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35

Lentfer, Carol J., Matthew W. Felgate, Robynne A. Mills, and Jim Specht. "Human history and palaeoenvironmental change at Site 17, Freshwater Beach, Lizard Island, northeast Queensland, Australia." Queensland Archaeological Research 16 (February 12, 2013): 141. http://dx.doi.org/10.25120/qar.16.2013.227.

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Late Holocene patterns of change in occupation and use of islands along the eastern coast of Queensland have long been debated in terms of various drivers, though much of this discussion relates to regions south of Cairns, with comparatively little study of the far northern Great Barrier Reef islands. The numerous middens, stone arrangements and art sites on Lizard Island suggest long-term use by Indigenous people, but recent discoveries of pottery give tantalising glimpses of a prehistoric past that may have included a prehistoric economy involving pottery. Here we review previous archaeologi

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36

Nkeh-Chungag, Benedicta N., Nandu Goswami, Godwill A. Engwa, et al. "Relationship between Endothelial Function, Antiretroviral Treatment and Cardiovascular Risk Factors in HIV Patients of African Descent in South Africa: A Cross-Sectional Study." Journal of Clinical Medicine 10, no. 3 (2021): 392. http://dx.doi.org/10.3390/jcm10030392.

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Limited information on the effect of antiretroviral treatment (ART) on vascular function in South Africans of African descent living with human immunodeficiency virus (HIV) is available. The relationship between ART, vascular function and cardiovascular risk factors in South Africans of African ancestry with HIV was therefore studied. This cross-sectional study recruited 146 HIV-positive individuals on ART (HIV+ART+), 163 HIV-positive individuals not on ART (HIV+ART−) and 171 individuals without HIV (HIV−) in Mthatha, Eastern Cape Province of South Africa. Flow-mediated dilation (FMD) test was

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37

Klein, Melanie. "Creating the Authentic? Art Teaching in South Africa as Transcultural Phenomenon." Culture Unbound 6, no. 7 (2014): 1347–65. http://dx.doi.org/10.3384/cu.2000.1525.1461347.

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The question about what art and craft from Black individuals in South Africa should look like as well as how and for what purposes it could be created was of prominent importance within the contact zone of educational institutions from the 1930s onwards. Art teachers of mostly European origin established provisional art educational venues for African students first, within the curricula of mission schools and then as workshops and art schools in their own right. They transferred modernistic concepts from Europe into the South African context, yet were also confronted with divergent expectation

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38

Watt, Ronnie. "South African Studio Pottery of the Later Twentieth Century and Its Anglo-Oriental Epithet." de arte 53, no. 1 (2018): 75–101. http://dx.doi.org/10.1080/00043389.2018.1459107.

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39

Dreyer, Elfriede. "Stigma, Crime and Money in South African Art Exhibition." International Journal of the Inclusive Museum 1, no. 3 (2008): 107–18. http://dx.doi.org/10.18848/1835-2014/cgp/v01i03/44525.

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40

Coombes, Annie E. "Visual century: South African art in context 1907–2007." Journal of African Cultural Studies 26, no. 3 (2014): 366–69. http://dx.doi.org/10.1080/13696815.2014.929003.

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41

Sidogi, Pfunzo, and Caitlin Greenberg. "The myth of/in South African Studio Glass Art." South African Journal of Art History 39, no. 2 (2024): 24–39. https://doi.org/10.58978/sajah.2024.39.2.2.

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42

von Veh, Karen. "‘Deconstructing Dogma’: Transgressive religious iconography in South African art." de arte 49, no. 89 (2014): 39–65. http://dx.doi.org/10.1080/00043389.2014.11877198.

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43

Clottes, Jean, and David Lewis-Williams. "Upper Palaeolithic Cave Art: French and South African Collaboration." Cambridge Archaeological Journal 6, no. 1 (1996): 137–39. http://dx.doi.org/10.1017/s0959774300001633.

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44

Donald, D. G. M. "South African Nursery Practice—The State of the Art." South African Forestry Journal 139, no. 1 (1986): 36–47. http://dx.doi.org/10.1080/00382167.1986.9630055.

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45

de Villiers, Nico. "On Migration, Exile, and Cosmopolitanism: A Brief Survey of South African Art Song." Journal of Singing 80, no. 2 (2023): 145–56. http://dx.doi.org/10.53830/srri3101.

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One of the genres that comprise the different musics of South Africa is that of the art song. Imported through its European heritage, the art song has found a place in the portfolios of South African composers throughout the twentieth century. However, against the backdrop of its complicated history, South Africa’s art songs often seem to reflect themes of exile, inner struggle and nostalgia. This article contemplates how these themes resonate through South Africa’s complex history, and how they have subsequently been reflected in the genre of art song, with specific reference to songs by comp

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46

Saratovskaya, Larisa. "South African literature in Russia." African Research & Documentation 58 (1992): 11–15. http://dx.doi.org/10.1017/s0305862x00012577.

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The African continent and South Africa in particular have always interested Russians. It may be interesting to note that as early as the 18th century the Russian tzar and reformist Peter 1st, ordered the compilation of a description of Africa, which was made in 1710 in Moscow. In the 18th and especially in the 19th centuries there were many Russian sailors and explorers who went as far as the Cape of Good Hope. Among them was a famous Russian writer and sailor Ivan Goncharov who spent two months in South Africa in 1853 and devoted more than 150 pages of his travelling book “Frigate Pallada” to

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47

Machavaram Surendra. "Traditional Pottery Making System and Sustainable Practice: A Study among Oman and India." Journal of Information Systems Engineering and Management 10, no. 50s (2025): 230–38. https://doi.org/10.52783/jisem.v10i50s.10154.

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Pottery is an eco-friendly small scale cottage base industry of India and Omen countries. And there is much evidence that potters were recognized as the first engineers in human civilization. Both nations has great history about the traditional pottery. These pots have been made since ancient times and although many alternative have come into the market, but no one has been able to replace this ancient art. Historical evidence suggests that pottery making has been around since 4000 years in Oman. Omani artists has also shown interest in pottery because of it multiple source of development, and

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Pawłowska, Aneta. "The Art of Miss Irma Stern: Ugliness as a Cult." Roczniki Humanistyczne 70, no. 4 (2022): 99–121. http://dx.doi.org/10.18290/rh22704.4.

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The purpose of this article is to present the life and work of a well-known and celebrated South African painter of German-Jewish origin – Irma Stern (1894-1966). The artist was one of the first painters from South Africa whose works fitted well into the expressionist trend. Irma Stern’s artistic development was influenced by numerous trips to Europe and her studies at German art schools and academies. Her African roots were another important source of inspiration for her. Stern, who travelled all over Africa (including South Africa, Zanzibar and Congo) created numerous portraits of its indige

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49

Battles, Natalie, and Kathi King. "Because the movement, it’s never done." Journal of American Folklore 134, no. 534 (2021): 492–500. http://dx.doi.org/10.5406/jamerfolk.134.534.0492.

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Abstract The South Side Community Art Center (SSCAC) is a cultural hub, meeting place, and gallery on the South Side of Chicago. The only surviving Works Progress Administration (WPA) community art center, it functions as a space for African American art, intergenerational dialogue, and as an institution for community education in the arts. In this interview with Natalie Battles, artist, activist, and former employee at the SSCAC, we learn about the center’s history and its connections with social and cultural movements, her work there, and what it is like to be a young artist involved with a

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50

Reid, Andrew, and Ceri Z. Ashley. "A context for the Luzira Head." Antiquity 82, no. 315 (2008): 99–112. http://dx.doi.org/10.1017/s0003598x00096472.

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The Luzira head, a pottery figure discovered in a Ugandan prison compound in 1929, has remained curiously anonymous ever since. New archaeological work on the northern shores of (Lake) Victoria Nyanza has defined a formative period of political centralisation at the end of the first millennium AD. The authors show that this period of early to late Iron Age transition is where this remarkable object and related figurative material belongs. This has implications both for the formation of kingdoms in Uganda and for the story of African art more generally.

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