IF 0.1

De Arte Pub Date : 2019-07-19 DOI: 10.1080/00043389.2019.1612540

Matthias Pauwels

引用次数: 1

A Double-Edged Sword: The Modernist Dutch Reformed Church of Op-die-Berg 一把双刃剑:Op-die-Berg的现代荷兰归正教会

IF 0.1

De Arte Pub Date : 2019-07-19 DOI: 10.1080/00043389.2019.1603892

Marijke Andrea Tymbios

引用次数: 0

“Post-conflict Curating”: The Arts and Politics of Belfast’s Peace Walls “冲突后策展”:贝尔法斯特和平墙的艺术与政治

IF 0.1

De Arte Pub Date : 2019-05-04 DOI: 10.1080/00043389.2019.1613747

S. Kappler, A. McKane

引用次数: 3

Troubling Histories: Public Art and Prejudice, Vol 2—An Introduction 纠结的历史：公共艺术与偏见，第2卷——导论

IF 0.1

De Arte Pub Date : 2019-05-04 DOI: 10.1080/00043389.2019.1658052

Kim Miller, B. Schmahmann

引用次数: 0

Patients, Power and Representation: Clinical Photographs in Focus 患者、权力和代表：聚焦临床照片

IF 0.1

De Arte Pub Date : 2019-03-17 DOI: 10.1080/00043389.2019.1580415

M. Clark

引用次数: 0

Take a Hike: Fostering Environmental Values by Walking with Ecological Art 徒步旅行:通过生态艺术散步来培养环境价值

IF 0.1

De Arte Pub Date : 2019-01-02 DOI: 10.1080/00043389.2019.1611023

Jenni Lauwrens

引用次数: 0

The “Big Man” as Fictional Archetype in the Work of Robert Hodgins and William Kentridge 罗伯特·哈金斯和威廉·肯特里奇作品中的虚构原型——“大人物”

IF 0.1

De Arte Pub Date : 2019-01-02 DOI: 10.1080/00043389.2018.1558535

Michelle Stewart

{"title":"The “Big Man” as Fictional Archetype in the Work of Robert Hodgins and William Kentridge","authors":"Michelle Stewart","doi":"10.1080/00043389.2018.1558535","DOIUrl":"https://doi.org/10.1080/00043389.2018.1558535","url":null,"abstract":"ABSTRACT The “Big Man” phenomenon is often associated with the African dictator. However, with the rise of modern “strongman” leaders such as Trump, Putin, and Xi, it is not surprising that the notion of the Big Man has come to represent a global condition, one that not only characterises African dictatorship but that also has a precedent in Western tradition. A potent visual and conceptual fictional archetype for the Big Man can be found in Alfred Jarry's Père Ubu, the central character for his play Ubu Roi (1896). While the tyrannical Père Ubu is an evocation of the European psyche of the late 19th century, he is equally compelling today as an archetype and symbol of the contemporary tyrant. This article seeks to investigate this claim by engaging with works by Robert Hodgins and William Kentridge inspired by Père Ubu. The Jarry-inspired Ubu theme is well known throughout Hodgins's and Kentridge's work. However, this article asserts the relevance of their work featuring this theme, given the evocation of an archetypal tyrant figure that has global significance and is pertinent to notions of tyranny in Africa (including South Africa).","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"54 1","pages":"25 - 59"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1558535","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47025045","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

Editorial 社论

IF 0.1

De Arte Pub Date : 2019-01-02 DOI: 10.1080/00043389.2019.1628463

Estelle McDowall

引用次数: 0

William Kentridge’s Triumphs and Laments: The Challenges and Pleasures of Collaboration 威廉·肯里奇的胜利与哀歌：合作的挑战与乐趣

IF 0.1

De Arte Pub Date : 2019-01-02 DOI: 10.1080/00043389.2019.1619972

Pamela Allara

{"title":"William Kentridge’s Triumphs and Laments: The Challenges and Pleasures of Collaboration","authors":"Pamela Allara","doi":"10.1080/00043389.2019.1619972","DOIUrl":"https://doi.org/10.1080/00043389.2019.1619972","url":null,"abstract":"ABSTRACT This essay traces the artistic collaborations between William Kentridge and two Johannesburg-based printmaking studios: Artist Proof Studio (APS) and the David Krut Print Workshop (DKW). It is intentionally descriptive, in order to document the process of collaboration between the artist and master printers in the making of a series of composite prints based on Kentridge’s 2016 Tiber River frieze, Triumphs and Laments. Although video documentation exists of the rehearsals of Kentridge’s performance works, little attention has been paid to the nature of his collaborations in the making of his prints. Whereas artists will often make a plate and then leave the printing entirely up to the master printers, in this instance, the technical and aesthetic complexity of each of the ten prints in the Triumphs and Laments series required intensive interaction between artist and printer. Although the two studios have different missions—APS trains and educates printmakers and DKW prints the work of the gallery’s artists—both are committed to the creative processes involved in artistic collaboration. The premise that printmaking is a collaborative medium is thus confirmed. Finally, all of the prints’ subjects are taken from different sections of the frieze, but the content of each echoes Kentridge’s assertion that “it’s not just to say history is problematic and complicated, but that inside one person’s triumph is someone else’s disaster” (in Triumphs and Laments: William Kentridge. Edited by Carlos Basualdo. Cologne: Walter Koenig, 2018, 51).","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"54 1","pages":"60 - 85"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2019.1619972","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47048938","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 Politics of Memory in South African Art 南非艺术中的记忆政治

IF 0.1

De Arte Pub Date : 2019-01-02 DOI: 10.1080/00043389.2018.1464732

Karen von Veh

{"title":"The Politics of Memory in South African Art","authors":"Karen von Veh","doi":"10.1080/00043389.2018.1464732","DOIUrl":"https://doi.org/10.1080/00043389.2018.1464732","url":null,"abstract":"ABSTRACT There is a saying attributed to Winston Churchill that goes, “History is written by the victors,” indicating that all histories are subjective and biased in some way. This was certainly true for South Africa under the Nationalist regime where the exploits of Afrikaner colonialism were glorified, and the majority of the population were mere “bit players” at best and vilified as savages at worst. Such traumatic histories have been interrogated by Penny Siopis in her “History Paintings” made in the early post-apartheid era which consider the residual effects of a dominant patriarchal and colonial discourse on the lives of black women in South Africa. Like Siopis, Paul Emmanuel and Diane Victor engage with the biased nature of history and memory in the light of post-apartheid dispensation in South Africa and the continuing after effects of our fraught past. This article considers the way these three artists engage with the inherent fragility and bias of memory through the materials they employ as much as the content of their works. I consider selected works by these artists and investigate how they engage with the politics of memory to expose fabrications and redress lacunae in the continuum of contested South African histories. I suggest that their works demonstrate how memories have been manipulated in service to a dominant ideology; in other words, they expose the “politics” of memory by using reconstituted/reworked memories to revisit and restore histories that might otherwise be lost.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"54 1","pages":"24 - 3"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1464732","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47423382","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: 1

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