De Arte最新文献_第5页

Civilising Grass: The Art of the Lawn on the South African Highveld 《文明草地:南非高原草坪的艺术》

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De Arte Pub Date : 2020-09-01 DOI: 10.1080/00043389.2020.1840769

L. V. D. van der Merwe

引用次数: 1

Editorial 编辑

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De Arte Pub Date : 2020-09-01 DOI: 10.1080/00043389.2020.1859218

Estelle McDowall

引用次数: 0

The Lifecycle of Pottery Art Processes and Production in Mpraeso, Ghana 加纳Mpraeso陶艺工艺和生产的生命周期

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De Arte Pub Date : 2020-09-01 DOI: 10.1080/00043389.2020.1805849

B. A. Kusimi, A. Donkor, J. Ayivor, K. Kyeremeh, J. Kusimi

{"title":"The Lifecycle of Pottery Art Processes and Production in Mpraeso, Ghana","authors":"B. A. Kusimi, A. Donkor, J. Ayivor, K. Kyeremeh, J. Kusimi","doi":"10.1080/00043389.2020.1805849","DOIUrl":"https://doi.org/10.1080/00043389.2020.1805849","url":null,"abstract":"Abstract The production of traditional earthenware is a prehistorical/archaeological and historical practice among women in Mpraeso, in the Eastern Region of Ghana. Although pottery has been a vibrant industry in Mpraeso since prehistorical and historical times, there is little known research or published literature regarding the raw materials used, the lifecycle of the production process, the tools of potting, and the socio-cultural and economic importance of the art. This study investigated the raw materials used, production techniques, and the socio-cultural and economic significance of pottery in Mpraeso to elucidate knowledge on pottery production by women and the symbolism and taboos around making pottery in Mpraeso. The cross-sectional study utilised qualitative techniques to collect data from women potters. The results are presented based on themes related to production processes. Production tools are local rudimentary objects, mostly of wood and metal, and production materials are of two kinds: clay materials and grog extracted from the locality. Pots are formed by the coiling method and open-fired. The pots are used for many domestic chores and for funerals, among other uses. Potting is a primary economic activity for women in Mpraeso. The industry needs to be developed in view of the role it plays in Mpraeso, as it promotes the transmission of culture and the art of pottery production and stimulates the local economy of Ghana.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"55 1","pages":"70 - 94"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2020.1805849","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49134460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Censoring the Visual Arts: Banning Aidron Duckworth's Work during Apartheid in South Africa 审查视觉艺术:禁止Aidron Duckworth在南非种族隔离时期的作品

IF 0.1

De Arte Pub Date : 2020-07-02 DOI: 10.1080/00043389.2019.1637578

Deléne Human

{"title":"Censoring the Visual Arts: Banning Aidron Duckworth's Work during Apartheid in South Africa","authors":"Deléne Human","doi":"10.1080/00043389.2019.1637578","DOIUrl":"https://doi.org/10.1080/00043389.2019.1637578","url":null,"abstract":"Abstract Censorship became increasingly acute in South Africa during the 1960s. Influenced by Dutch Reformed Church leaders, the apartheid government sought to proscribe artistic works that expressed opposition to the politics and ideologies of the time. This article explores the Aidron Duckworth case of 1971 as part of an anti-censorship campaign organised by the Pasquino Society. Duckworth exhibited at the Durban Art Gallery in 1971, at which point eight paintings were banned by the Publications Control Board and deemed “undesirable” because of their “sexually suggestive” nature. In response, to appeal the board's decision, a fund to cover the artist's legal costs was established. Engaging with the Publications Control Board's reasoning, I consider how the government was in fact controlling the board and enforcing a specific kind of moral ideology that served the ends of those in power. Relying on archival materials, the law, and censorship literature on music, publications, film productions, and popular magazine circulations during apartheid in South Africa, my research addresses the literature gap regarding censorship of visual arts. I reflect on controversies surrounding the suppression of Duckworth's works and conclude by explaining why Duckworth's work was an obvious target for censorship.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"55 1","pages":"3 - 25"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2019.1637578","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47649803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Redress at Higher Education Institutions in South Africa: Mapping a Way Forward 南非高等教育机构的补救措施：规划前进道路

IF 0.1

De Arte Pub Date : 2020-05-22 DOI: 10.1080/00043389.2020.1728874

M. Clark, E. Costandius

{"title":"Redress at Higher Education Institutions in South Africa: Mapping a Way Forward","authors":"M. Clark, E. Costandius","doi":"10.1080/00043389.2020.1728874","DOIUrl":"https://doi.org/10.1080/00043389.2020.1728874","url":null,"abstract":"Abstract While higher education (HE) institutions in South Africa have become demographically ever more diverse, transcultural contact among students and staff members has seemingly failed to mend race-based prejudices and structural inequality. By acknowledging the embeddedness of symbolic violence in physical space and lived experience, this article proposes an experimental and embodied approach to critically engage with ongoing structural and symbolic prejudice. The argument is made that the physical landscape of HE institutions, as well as the lived experience of marginalised students and staff members, must be seen as the first port of call if transformation is to occur. The article argues that visual redress in the form of removing, contextualising, or adding new visual symbols is not sufficient to address the complexities of the issues involved. Embodied learning experiences using visual arts and performance processes could be included to enhance redress. The article therefore draws on the writings and thought of Nancy Fraser, Henri Lefebvre, Achille Mbembe, and various others in an attempt to sketch a theoretical framework to think through the need for and possibilities of visual, invisible, subtle, and relational redress.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"55 1","pages":"26 - 48"},"PeriodicalIF":0.1,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2020.1728874","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47172406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Between Dreams and Realities: A History of the South African National Gallery, 1871–2017 梦想与现实之间:南非国家美术馆历史，1871-2017

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De Arte Pub Date : 2020-05-21 DOI: 10.1080/00043389.2020.1731653

J. Crawshay-Hall

引用次数: 0

South African Ceramicists Inspired by Trade Ceramics 受贸易陶瓷启发的南非陶艺家

IF 0.1

De Arte Pub Date : 2020-05-03 DOI: 10.1080/00043389.2020.1832381

Esther Esmyol

{"title":"South African Ceramicists Inspired by Trade Ceramics","authors":"Esther Esmyol","doi":"10.1080/00043389.2020.1832381","DOIUrl":"https://doi.org/10.1080/00043389.2020.1832381","url":null,"abstract":"Abstract Africa has a legacy of ceramic making spanning thousands of years, yet the continent has also been the recipient of ceramics made elsewhere, which arrived along various trade networks. This article refers to historical Asian trade ceramics that reached eastern and southern Africa on well-established Indian Ocean trade networks long before the arrival of European maritime trading companies. The importation of foreign ceramics, particularly to southern Africa, increased during later periods of Dutch and British colonial rule, and a brief overview is provided of the most important kinds of trade ceramics that arrived at the Cape of Good Hope. The article mainly explores the influence of historical trade ceramics on the identity and character of contemporary South African ceramics. It focuses on a number of South African ceramic artists who have an affinity with inherited ceramic traditions or materials, among others Hylton Nel, Nico Masemolo, Ellalou O’Meara, Nicolene Swanepoel, John Newdigate, Ian Calder, Lisa Ringwood, Mervyn Gers, Michael Chandler, Jo-Anne Kuter, Marietjie van der Merwe, Thelma Marcusson, Esias Bosch, Christo Giles, Sarah Walters, David Walters, Louise Jennings, Katherine Glenday, Lynnley Watson, Lynette Morris-Hale, John Bauer, Lisa Firer, Juliet Armstrong, John Shirley, Martha Zettler, Fahmeeda Omar, and Eugene Hön. Many of these ceramicists find inspiration in Asian and European decorative design elements, are drawn to production and decoration techniques used for historical ceramics, or work in imported clay bodies such as porcelain or bone china. They continuously push the boundaries of their mediums to devise new ways to express creativity.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"55 1","pages":"46 - 92"},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2020.1832381","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48017102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Arch Meets the Line: Geometries of Innovation and Conveyance 拱门与线条相遇：创新与传达的几何图形

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De Arte Pub Date : 2020-05-03 DOI: 10.1080/00043389.2020.1818512

Elizabeth Perrill

引用次数: 0

Vessels Pulsing with Energies and Stories to Tell 充满活力的船只和故事

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De Arte Pub Date : 2020-05-03 DOI: 10.1080/00043389.2020.1728873

J. Steele

{"title":"Vessels Pulsing with Energies and Stories to Tell","authors":"J. Steele","doi":"10.1080/00043389.2020.1728873","DOIUrl":"https://doi.org/10.1080/00043389.2020.1728873","url":null,"abstract":"Abstract In this article, attention is drawn to stories arising from some southern African contemporary everyday ceramics utilityware created by selected local South African eastern seaboard potters, with an eye to identifying certain characteristics that result in works by these potters being most regularly used in the writer's household and studio. This conversation then takes a prehistoric turn, via a fingerprint on a fired lump of clay, to a brief discussion around potters of our southern African eastern seaboard Precolonial Farmer era, and some main characteristics of Kalundu Tradition utilityware ceramics. One particularly interesting characteristic is that excavations have revealed that some perfectly serviceable utilityware items were repurposed by means of post-firing partial or full piercing on the shoulder, belly, or base. Attention then moves towards the flame-firing techniques of Nesiwe Nongebeza and Lindsay Scott, as well as of woodburners Nina Shand and Paul de Jongh. Finally, it is lightly speculated that one of the reasons many potters enjoy working with clay and have certain favourite ceramic items in daily use is because they bestow some of their own energies into the works and recognise that others have also done so, thereby adding something special that users and collectors appreciate.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"55 1","pages":"127 - 152"},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2020.1728873","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49380728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Correction 校正

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De Arte Pub Date : 2020-05-03 DOI: 10.1080/00043389.2020.1823091

引用次数: 0