Thematische Bibliographien / Johannesburg Art Gallery (South Africa)

Auswahl der wissenschaftlichen Literatur zum Thema „Johannesburg Art Gallery (South Africa)“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Johannesburg Art Gallery (South Africa)"

1

Frost, Jonathan. „The Michaelis Art Library: Thirty Years in a Changing City“. Art Libraries Journal 20, Nr. 4 (1995): 13–15. http://dx.doi.org/10.1017/s0307472200009561.

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The Michaelis Art Library, part of the Reference Division of the Johannesburg Public Library Service, originated with a collection of books purchased for the planned Johannesburg Art Gallery in the 1920s. Temporarily and then permanently housed in the Public Library, the collection became the nucleus of a growing art library, the largest public art library in South Africa. In recent years usage of the library declined as a result of political tensions, but then increased in parallel with a surge of vitality in the arts which heralded the end of apartheid and the emergence of democracy. During 1995 the Michaelis Art Library was due to move into Johannesburg’s central library building.
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2

Neethling, Lynnda. „The Johannesburg Art Gallery Library: Looking to the Future“. Art Libraries Journal 20, Nr. 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library was given a major art slide collection by the Rand Afrikaans University; in the same year, it received funding for the computerisation of its catalogue, which will be accessible through SABINET. Work is in progress on an index of South African art.
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3

Cooney, Lynne. „The Boston-Jo'Burg Connection: Collaboration and Exchange at Artist Proof Studio, 1983–2012 Tufts University Art Gallery, Medford, Massachusetts June 1–July 29, 2012 Coming of Age: 21 Years of Artist Proof Studio Johannesburg Art Gallery, Johannesburg, South Africa May 6–July 6, 2012“. African Arts 48, Nr. 1 (Mai 2015): 83–85. http://dx.doi.org/10.1162/afar_r_00201.

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4

Mukora, Rachel, Helene J. Smith, Michael E. Herce, Lucy Chimoyi, Harry Hausler, Katherine L. Fielding, Salome Charalambous und Christopher J. Hoffmann. „Costs of implementing universal test and treat in three correctional facilities in South Africa and Zambia“. PLOS ONE 17, Nr. 8 (25.08.2022): e0272595. http://dx.doi.org/10.1371/journal.pone.0272595.

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Introduction Universal test and treat (UTT) is a population-based strategy that aims to ensure widespread HIV testing and rapid antiretroviral therapy (ART) for all who have tested positive regardless of CD4 count to decrease HIV incidence and improve health outcomes. Little is known about the specific resources required to implement UTT in correctional facilities for incarcerated people. The primary aim of this study was to describe the resources used to implement UTT and to provide detailed costing to inform UTT scale-up in similar settings. Methods The costing study was a cross-sectional descriptive study conducted in three correctional complexes, Johannesburg Correctional Facility in Johannesburg (>4000 inmates) South Africa, and Brandvlei (~3000 inmates), South Africa and Lusaka Central (~1400 inmates), Zambia. Costing was determined through a survey conducted between September and December 2017 that identified materials and labour used for three separate components of UTT: HIV testing services (HTS), ART initiation, and ART maintenance. Our study participants were staff working in the correctional facilities involved in any activity related to UTT implementation. Unit costs were reported as cost per client served while total costs were reported for all clients seen over a 12-month period. Results The cost of HIV testing services (HTS) per client was $ 92.12 at Brandvlei, $ 73.82 at Johannesburg, and $ 65.15 at Lusaka. The largest cost driver for HIV testing at Brandvlei were staff costs at 55.6% of the total cost, while at Johannesburg (56.5%) and Lusaka (86.6%) supplies were the largest contributor. The cost per client initiated on ART was $917 for Brandvlei, $421.8 for Johannesburg, and $252.1 for Lusaka. The activity cost drivers were adherence counselling at Brandvlei (59%), and at Johannesburg and Lusaka it was the actual ART initiation at 75.6% and 75.8%, respectively. The annual unit cost for ART maintenance was $2,640.6 for Brandvlei, $710 for Johannesburg, and $385.5 for Lusaka. The activity cost drivers for all three facilities were side effect monitoring, and initiation of isoniazid preventive treatment (IPT), cotrimoxazole, and fluconazole, with this comprising 44.7% of the total cost at Brandvlei, 88.9% at Johannesburg, and 50.5% at Lusaka. Conclusion Given the needs of this population, the opportunity to reach inmates at high risk for HIV, and overall national and global 95-95-95 goals, the UTT policies for incarcerated individuals are of vital importance. Our findings provide comparator costing data and highlight key drivers of UTT cost by facility.
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Morgan, Trevor. „Visualizing the discourse in Material Thinking: Conversations between China and South Africa, Chen Qingqing, Feng Jiali, Gu Lin, Liu Liguo, Qi Zhilong, Qing Taimao, Wang Xiaojin and Zhong Biao (China); William Kentridge, Diane Victor, Colbert Mashile, Kristin NG-Yang and Rory Klopper (South Africa), curated by Zhang Siyong“. Journal of Arts & Communities 12, Nr. 1 (01.06.2021): 119–25. http://dx.doi.org/10.1386/jaac_00026_7.

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Visualizing the discourse in Material Thinking: Conversations between China and South Africa, Chen Qingqing, Feng Jiali, Gu Lin, Liu Liguo, Qi Zhilong, Qing Taimao, Wang Xiaojin and Zhong Biao (China); William Kentridge, Diane Victor, Colbert Mashile, Kristin NG-Yang and Rory Klopper (South Africa), curated by Zhang SiyongDurban Art Gallery, South Africa, 12 September‐10 November 2019
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Botha, Ferdi, Jen Snowball und Brett Scott. „Art investment in South Africa: Portfolio diversification and art market efficiency“. South African Journal of Economic and Management Sciences 19, Nr. 3 (05.09.2016): 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 Index consists of quarterly data from the period 2000Q1 to 2013Q3. A vector autoregression of the art price index, Johannesburg stock exchange all-share index, house price index, and South African government bond index were used. Results show that, when there are increased returns on the stock market in a preceding period and wealth increases, there is a change in the Citadel art price index in the same direction. No significant difference was found between the house price index and the art price index, or between the art and government bond price indices. The art market is also found to be inefficient, thereby exacerbating the risk of investing in art. Overall, the South African art market does not offer the opportunity to diversify portfolios dominated by either property, bonds, or shares.
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Speiser, Vivien Marcow, und Phillip Speiser. „There Are No Silos When We Are All Suffering: Interviews and Reflections on Ubuntu and the Arts in South Africa during COVID-19“. Creative Arts in Education and Therapy 8, Nr. 1 (23.08.2022): 71–88. http://dx.doi.org/10.15212/caet/2022/8/2.

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This article will draw upon some of the creative work being done in South Africa from March 2020 through December 2021, during the time of the coronavirus disease 2019 (COVID-19) worldwide pandemic, by artists working across disciplines in education, community, health, and mental health. The authors had been located in Johannesburg, South Africa, in early 2020, when their stay was cut short by the spread of the COVID-19 virus and the worldwide border shutdowns that followed as they were recalled to the USA in March 2020. They have remained in communication and contact with their colleagues in South Africa, and this article is based upon these observations and interactions. This article will describe some of the initiatives and programs developed by artists in the country as well as by the faculty in the Drama for Life program at the University of the Witwatersrand and the Art Therapy program at the University of Johannesburg. These initiatives have been used toward survival and healing in this liminal space of the COVID-19 crises.
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Berman, Kim. „Editorial“. South African Journal of Arts Therapies 1, Nr. 1 (13.07.2023): 1–6. http://dx.doi.org/10.36615/sajat.v1i1.2585.

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The pending graduation of the ten pioneering South African art therapists from the Department of Visual Art (DOVA) at the University of Johannesburg (UJ) is a case for celebration and a long-nurtured dream for many involved in this training. I am not an art therapist and am not familiar enough with the field of practice and literature. I consider myself an artist, art activist, and educator. As the professor in charge of postgraduate studies in our department, as well as a fierce advocate for enhancing arts education for social impact, I found myself holding and facilitating the first visual art therapy training in South Africa, which is also, as I understand, a first for the continent.
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Moses, Serubiri. „Why Exhibit Trauma?“ Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, Nr. 1 (März 2024): 31–66. http://dx.doi.org/10.56159/sen.2024.a924615.

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Abstract: This article takes seriously the artistic, intellectual, literary, and curatorial approaches to curation that frame, display, and make meaning out of what is unrepresentable, such as the empty pedestal on which had sat a colonial and/or Confederate monument. By momentarily stepping away from the traditional role of museums to preserve and protect art objects, the article points out the ways exhibitions can produce and affect moods and emotions. If traditionally, museums can account for ownership and custodianship, can an account, therefore, of exhibitions consider spiritual, emotional, or psychic phenomena? In a post-conflict setting such as South Africa, exhibitions like the 2nd Johannesburg Biennale, which centred works about traumatic events like genocide in Rwanda and violent subjugation under apartheid in South Africa, led inevitably to privatisation and art market expansion. The article points to curator Okwui Enwezor’s interest in Africa and Asia.
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Andersen, Josephine. „Redressing past cultural biases and imbalances in South Africa: a contribution by the Library of the South African National Gallery“. Art Libraries Journal 23, Nr. 1 (1998): 4–7. http://dx.doi.org/10.1017/s0307472200010749.

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Legislation in South Africa now provides for the inclusion of arts and culture and adult literacy in the education system and art libraries can help promote this Government initiative by distributing their resources widely. The Library of the South African National Gallery is playing an unusual and non-traditional role in helping redress past inequities. It uses visual art, with its concern with expression and communication, to encourage adult learning and stimulate articulacy by encouraging learners to ‘read’ texts from the mass media and visual artworks in order to develop skills in all kinds of literacy. SANG’s project shows how language and artworks can be linked together productively, contributing to the basic education and training of adults.
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Dissertationen zum Thema "Johannesburg Art Gallery (South Africa)"

1

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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Brown, Carol. „"Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study“. Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Franzoni, Mariella. „The Economy of the Curatorial and the Fields of the Contemporary Art World: Curatorial instances and the market of contemporary art in and from (South) Africa“. Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667674.

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This dissertation analyzes the relationship between curating and the contemporary art market, inscribing its enquiry in the realm of curatorial theory. Contributing to epistemological discussions on the notion of the curatorial, this study frames itself as an “economy of the curatorial”, an expression with which we define the sphere of economic relations of production and mediation engendered by curatorial practice and discourse in the contemporary art field. This field is considered increasingly dominated by market imperatives, since market players (commercial galleries, art fairs, and auction houses) have acquired an increasing authority in consecrating artists and, hence, in establishing both the economic and the symbolic value of art. Adopting a situated approach, this thesis is based on qualitative field research carried out in South Africa, and on the analysis of several instances that disclose the role of curators in the market of contemporary African art since 1989. The main case study is the analysis of curators’ role at the Goodman Gallery, which illustrates the performing of the curatorial within the marketplace.
Esta tesis propone un análisis de la relación entre la curaduría y el mercado del arte contemporáneo, inscribiéndose en el ámbito de la teoría curatorial. A la vez que contribuye a las discusiones epistemológicas sobre la noción de lo curatorial, este estudio propone pensar estas relaciones como parte de una “economía de lo curatorial”, expresión con la que definimos el ámbito de las relaciones económicas de producción y mediación generadas por la práctica y el discurso curatoriales en el campo del arte contemporáneo. Este campo se considera como cada vez más dominado por los imperativos del mercado, siendo que las galerías comerciales, las ferias de arte y las casas de subastas han adquirido autoridad a la hora de consagrar a los artistas y, por ende, de establecer tanto el valor simbólico como económico del arte. Adoptando un enfoque situado, esta tesis se basa principalmente en una investigación de campo llevada a cabo en Sudáfrica, y en el análisis de varios casos y coyunturas que revelan el papel de los curadores en el mercado del arte africano contemporáneo desde 1989. El caso de estudio clave consiste en el análisis del papel de los curadores en la galería Goodman, las cual ilustra como la curaduría opera en un contexto de mercado.
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Chivonivoni, Tamuka. „Antimycobacterial treatment among children at start of antiretroviral treatment and antimycobacterial treatment after starting antiretroviral treatment among those who started antiretroviral treatment without antimycobacterial treatment at a tertiary antiretroviral paediatric clinic in Johannesburg, South Africa“. Thesis, University of the Western Cape, 2010. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_3784_1360929496.

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Background: Although clinicians encounter antimycobacterial treatment in Human mmunodeficiency (HIV)-infected children as one of the most common treatments coadministered with antiretroviral treatment (ART), quantitative data on the extent of antimycobacterial treatment among HIV-infected children at the time of commencement of ART and at different times during ART is scarce. The baseline risk factors associated with being on both ART and antimycobacterial treatments are not known and it remains to be elucidated how the different exposure factors impact on the antimycobacterial treatment-free survival of children who begin ART without antimycobacterial treatment.Objectives: To describe the prevalence of antimycobacterial treatment among children at the time of starting ART and the antimycobacterial treatment-free survival after starting ART. Design: A retrospective cohort study based on record reviews at the Harriet Shezi children&lsquo
s clinic (HSCC).Population: HIV-infected children less than fifteen years of age presumed ART naï
ve started on ART at HSCC.Analysis: A descriptive analysis of the prevalence of antimycobacterial treatment at time of start of ART was done. Kaplan Meier (KM) survival curves were used to determine the antimycobacterial treatment-free survival and logistic regression was used to analyze the association between baseline factors and future antimycobacterial treatment among children who had no antimycobacterial treatment at time of start of ART. Results: The prevalence of antimycobacterial treatment at the time of starting ART was 518/1941 (26.7%, 95% confidence interval (CI): 24.7-28.7). Among children who started ART without antimycobacterial treatment, the KM cumulative probability of antiretroviral and antimycobacterial (ART/antimycobacterial) co-treatment in the first 3 months of starting ART was 4.6% (95% CI: 4.1- 5.2), in the first 12 months it was 18.1% (95% CI: 17.0-19.2) and in the first 24 months of starting ART it was 24% (95% CI: 21.9-25.1). Survival analysis suggested that children with high baseline viral load, advanced World Health Organization (WHO) stage of disease, very low normalized weight for age (waz) and very young age (less than one year) at start of ART had significantly reduced antimycobacterial treatment-free survival (log rank p <
0.05) in the first two years of starting ART. In the logistic regression model, age less than one year {Odds ratio (OR): 3.7 (95% CI: 2.2-6.0
p <
0.0001)} and very low weight for age Z-score (waz <
-3) {OR
2.2 (95% CI: 1.4-3.6
p = 0.0015)} were the two critical risk factors independently associated with future antimycobacterial treatment. Conclusions: Antimycobacterial treatment is extremely common among HIV-infected children at the time of starting ART and early after starting ART and the incremental risk of being on ART/antimycobacterial co-treatment decreases with time on ART. The results emphasize the need for a heightened and careful alertness for mycobacterial events especially among children starting ART with severe malnutrition and those who start ART at age less than one year. The results further suggest that it is probably optimal to start ART in children before their nutritional status has deteriorated severely in the course of the HIV disease so that they get protection against mycobacterial events by early ART.

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Sippel, Elizabeth. „The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies“. Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.

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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.
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Radebe, Sizwe Cecil. „How much is the community of Joubert Park involved in the Johannesburg Art Gallery today?“ Thesis, 2016. http://hdl.handle.net/10539/20769.

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A research report submitted to the Wits School of Arts in the Faculty of Humanities at the University of the Witwatersrand, in fulfilment of the requirements for the Masters Degree in Coursework and Research in Arts, Culture and Heritage studies. Johannesburg, 2015
One of the principal purposes of the Johannesburg Art Gallery (JAG), one of Johannesburg’s public institutions, is to educate the public through the arts. The many changes, including political changes, in South Africa that caused the movement of people from one area to another have affected the audience participation at this museum. The Johannesburg Art Gallery is located in Joubert Park, the southern part of Hillbrow, which has been affected by the changes that have taken place from the time of the museum’s inception to the present day, when the area is inhabited by black people from all over Africa. The concern is therefore to understand the relationship between these two. I plan to interrogate the mission of JAG, to find out if it is relevant to the community that it is located in, and if the community is aware and supportive of JAG’s activities. The purpose of this investigation is to challenge the methods that are used by JAG to obtain and maintain visitors to the museum, and to expand the target market group by shifting focus from the people that used to live within this community to the present-day inhabitants. This is done by finding out from the Joubert Park community what is it that they wish to see in this museum. By observing their everyday life and interviewing them, I explore why or how much the people of Joubert Park are involved in the Johannesburg Art Gallery today. To reach the conclusion of this research, observing the area and interviewing the community will be followed by interviewing the co-ordinators of the Joubert Park Project (started in 2000) that was designed for the purpose of involving this community in the public spaces and institutions around them, and finally the employees of the Johannesburg Art Gallery. In addition, studying recent successful exhibitions would possibly reveal the explanation of what people want to see. In this world of ever-changing technology and culture of cyber space, can a museum attract new audiences by using methods that are contemporary and interactive?
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Plaskocinska, Patrycja. „Between hair and the Johannesburg art gallery: a hair museum mediating the disjointed context by inspiring public ownership through the celebration of an African Art Form“. Thesis, 2015. http://hdl.handle.net/10539/17581.

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Master of Architecture [Professional] at the University of the Witwatersrand, Johannesburg, South Africa, in the year 2014.
In the case of Johannesburg, unlike cities around the world that experienced inner city decline, its city centre was never entirely abandoned. It experienced rapid social change. As Johannesburg was beginning to change, the Johannesburg Art Gallery (JAG) was experiencing a declining number of visitors. Unable to engage with the changing social structure, a fence was built around it and JAG turned itself inwards. This thesis explores the intention to take advantage of the rich and dynamic informal industry of hair that has emerged around JAG. Hair is loaded with social, sexual and political undercurrents. In an African city that has been colonized and becoming increasingly globalised, hair’s relevance in terms of politics must be brought to the forefront. By acknowledging the thriving inner workings and its contributors and by engaging in a critical discussion that people can relate to, JAG will be embraced by the community again. An intervention of mediation through architecture is proposed. A Hair Museum perched on the opposite side of the railway that weaves JAG closer into its current context by opening and improving dialogue between the disjointed surroundings. A new museum as a mediator explores the idea of museum-asurban system. The question is asked whether a public institution is capable of assisting a society through a museum by looking at the concept of the Greek ideal of kalokagathia, which means the perfection of the body and city based on balance, justice and proportion. This thesis essentially explores Julian Carman’s idea of a museum1; that the key to JAG’s survival and upliftment lies only if it inspires public ownership. This thesis will explore the significance of celebrating hair in an African city with visible impacts of an imperialist past. By celebrating hair, thereby beginning the discourse of it’s connotations, will allow for a transgression into where society and its’ perception of itself stands in a globalizating world. Museum’s play a key role in society to not only preserve memories but also re-ordering them and making sense of them for later generations (Watson, 2007: 4). The proposed Hair Museum as mediator is not so much about saving a contested and feared city- as much as it is about embracing the new spirit of the city and encouraging the potential held within. 1 Julian Carman, Author of ‘Uplifting The Colonial Philistine: Florence Phillips And The Making Of The Johannesburg Art Gallery’. See References.
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Lovelace, Julie. „Expressions of liminality in selected examples of unsanctioned public art in Johannesburg“. Thesis, 2014. http://hdl.handle.net/10210/12158.

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M.Tech. (Fine Art)
The focus of this research is an exploration of aspects of liminality and how it manifests in selected unsanctioned public art interventions in ‘urban places’, specifically, the Johannesburg Central Business District. Liminality informs my own art work and to contextualise my practice I investigate Steven Cohen’s performance/intervention entitled Chandelier (2001-2002), and Alison Kearney’s The Portable Hawkers Museum (2003). I argue that unsanctioned public art maintains a liminal identity, a fluidity of ‘repurposing a space’ that is in constant shift between different dimensions of liminality. Such works create a zone between physical and conceptual space, challenging the relationships between people and places, the artist and the audience. Liminal spaces (such as the underside of bridges for example) provide the platform for new mediation to happen outside of the normal social structures. Homi Bhabha (1994:54) refers to this as a “third space” where transformation may occur, and it is this transformation of space and experience that I aim to explore in my work. In my practical component I present a body of unsanctioned public art interventions consisting of ceramic sculptures placed in urban liminal spaces in Johannesburg. I populate the chosen spaces with imaginative objects that playfully reflect my own cultural hybridity, and resultant liminal existence, in a post-colonial urban society. My practical work thus draws on analyses of the liminal aspects of Cohen and Kearney’s works as well as on aspects of my hybrid existence arising from my status as an immigrant in Johannesburg. Through my art works I attempt to engage with the local inhabitants without the restrictions of institutionalised arenas, allowing for a new experience of both the space and the artwork. Finally I record my own interventions in detail and compile an annotated photographic catalogue to document the sculptures in situ and the ephemeral life span of these unsanctioned public art interventions.
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Allen, Siemon D. „The FLAT Gallery : a documentation and critical examination of an informal art organisation in Durban“. Thesis, 1999. http://hdl.handle.net/10321/2057.

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This Dissertation is submitted in partial compliance with the requirements for the Masters Degree in Technology: Fine Art, Technikon Natal, 1999.
In this research paper I will examine the Durban based 'alternative/informal' art space, the FLAT Gallery, which operated from October 1993 to January 1995. I will begin by first defining what is meant by an 'alternative space' and by looking at the historical development of such spaces both in South Africa and the United States of America. This will include an investigation into the ideological motivations and socio-political influences behind such spaces, as well as an exploration of what is meant by 'alternative practice', which I will show as being inseparable from the mission of the 'alternative space.' This will by no means be a comprehensive survey of alternative spaces in South Africa or the United States, but rather a tracing of the phenomenon with relevant examples. Here, I will explore the similarities that existed between the FLAT and other contemporary artist initiatives in South Africa and the United States, drawing comparisons between the FLAT and other similar venues. I will examine the particular circumstances that catalyzed the FLAT Gallery in the specific cultural and historical context of Durban, South Africa in 1993 and 1994. I will then construct a chronological documentation of the FLAT Gallery' s programme including interviews and extensive visual and audio archives. With this archival information and with detailed descriptions of each event, exhibition or performance, I will create a comprehensive record of the FLAT Gallery's activities. This will include an investigation into the historical influences, with specific examples of linkages to other artist-motivated projects in the past. In this way, I will both identify important precedents for many of the FLAT projects. I will conclude with those 'FLAT activities' that continued beyond the operation of the 'alternative/informal' space. It is my intention to create a document that not only offers a comprehensive study of the FLAT Gallery's programme, but also offers students, recent graduates and emerging artists useful practical information. This document is an affirmation of the possibilities for working and exhibiting once one has left the 'comforts' of faculty guidance, peer support, studio facilities and venues for showing work that the institutional environment provides. My claim is that there rests in the artist the responsibility to actively build a place where his/her development as a creative individual can flourish; that one must not wait for 'permission' or for 'someone' to offer validation of one's work. With this document I intend to demonstrate that it is indeed possible here in Durban to do Something!.
M
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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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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 of contemporary European studio potters on Marcuson’s work, in particular that of Lucie Rie, Mary Rogers and Ruth Duckworth. This chapter also examines the development of ceramics from industrial ceramics, involving mass productions in factories, to the modernist revival of studio ceramics by Bernard Leach, where each piece was handmade and often regarded as an art form, as in the work of the twentieth century British ceramist William Staite-Murray. Chapter two focuses on Marcuson and South African studio ceramics and considers South African potters who had an influence on Marcuson’s early training, and also looks at her involvement with the Association of Potters of Southern Africa (APSA) founded in 1972. In the last section of this chapter I will discuss ceramic practices and technical issues about porcelain and high-firing glazes, specifying how they are made and used, with particular reference to South African developments and local studio potters. As Marcuson was particularly interested in porcelain, this chapter also outlines glaze applications with specific reference to porcelain and firing methods. Chapter three focuses on Marcuson’s ceramics and offers in particular an analysis of the nine pieces of her work in the Permanent Collection of the Tatham Art Gallery in Pietermaritzburg. Through my research I was able to acquire photographic documentation from other South African museums for comparative purposes, such as the Durban Art Gallery and the William Humphreys Art Gallery in Kimberley, as well as some private collections (see appendix 1).
Thesis (M.A)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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Bücher zum Thema "Johannesburg Art Gallery (South Africa)"

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Mnyele, Thami. Thami Mnyele + Medu Art Ensemble retrospective: Johannesburg Art Gallery. Sunnyside, South Africa: Jacana, 2009.

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Carman, Jillian. Uplifting the colonial Philistine: Florence Phillips and the making of the Johannesburg Art Gallery. Johannesburg: Wits University Press, 2006.

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David, Brodie, Maart Brenton, Johannesburg Art Gallery und World Summit on Sustainable Development (2002 : Johannesburg, South Africa), Hrsg. New strategies. Johannesburg: Johannesburg Art Gallery, 2002.

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4

Britz, Graham, und Sandy Shoolman. The modern palimpsest: Envisioning South African modernity. Johannesburg: Graham's Fine Art Gallery, 2008.

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Gallery, Johannesburg Art. Making links: A resource book on the traditional southern African collection at the Johannesburg Art Gallery. Joubert Park: Johannesburg Art Gallery, 1996.

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Elizabeth, Rankin, Dell Elizabeth, Meintjes Julia und Johannesburg Art Gallery, Hrsg. Images of wood: Aspects of the history of sculpture in 20th-century South Africa : Johannesburg Art Gallery, 1989. [Johannesburg]: The Gallery, 1989.

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7

Steven, Sack, und Johannesburg Art Gallery, Hrsg. The Neglected tradition: Towards a new history of South African art (1930-1988), Johannesburg Art Gallery, 23 November 1988-8 January 1989. Johannesburg: The Gallery, 1988.

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8

M, Ginsberg Jack, Paton David M und Johannesburg Art Gallery, Hrsg. Artists' books in the Ginsberg collection: An exhibition at the Johannesburg Art Gallery from 25th August to 27th October, 1996 : (with some South African books from other collections). Johannesburg: J. Ginsberg, 1996.

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Gallery, South African National, und Stigting vir die Skeppende Kunste (Cape Town, South Africa), Hrsg. Picturing our world: Contemporary images of the Western Cape : Dakawa Art & Craft Project, Grahamstown (Standard Bank National Arts Festival) 1.7.1993-11.7.1993, Standard Bank Centre Gallery, Johannesburg, 3.8.1993-26.8.1993, South African National Gallery, Cape Town, 23.9.1993-31.10.1993. Cape Town: South African National Gallery, 1993.

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United States. Department of State, Hrsg. Art collection of the United States Consulate General, Johannesburg, South Africa. Washington, D.C.]: [Art in Embassies], 2010.

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Buchteile zum Thema "Johannesburg Art Gallery (South Africa)"

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Hlongwane, Ali Khangela, und Sifiso Mxolisi Ndlovu. „Workers’ History in the Post-Apartheid Memory/Heritage Complex: Public Art and the Workers’ Museum in Johannesburg“. In Public History and Culture in South Africa, 43–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14749-5_2.

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KRITZINGER, NICOLA. „HIDDEN OBJECTS AT THE JOHANNESBURG ART GALLERY:“. In Visualising China in Southern Africa, 140–53. Wits University Press, 2023. http://dx.doi.org/10.18772/22022127670.10.

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Woodward, C. Vann. „The Man on the Cliff“. In The Strange Career of Jim Crow, 111–47. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195146899.003.0005.

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Abstract In the second year of the First World War, Maurice S. Evans, an Englishman who made his home in South Africa, wrote a book on race relations in the South that, according to the subtitle, was written ‘From a South African Point of View.’ He found conditions in the South ‘strikingly similar’ to those he had left behind at home. ‘The separation of the races in all social matters,’ he wrote, ‘is as distinct in South Africa as in the South¬ern States. There are separate railway cars . . . and no black man enters hotel, theatre, public library or art gallery.’
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Egner, Hanno. „Culture in Another South Africa, eds. Willem Campschreur and Joost Divendal. (London: Zed Books, 1989), 288 pages, £ 9.95 Sue Williamson: Resistance Art in South Africa. (Claremont: David Philip, 1989) 159 pages.; Rendering Things Visible. Essays on South African Literary Culture, ed. Martin Trump. (Johannesburg: Ravan, 1990), 401 pages, R 49.95“. In African Literatures in the Eighties, 238–41. BRILL, 1993. http://dx.doi.org/10.1163/9789004655997_027.

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Konferenzberichte zum Thema "Johannesburg Art Gallery (South Africa)"

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„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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