Bibliografías temáticas / South African National Gallery. Friends

Literatura académica sobre el tema "South African National Gallery. Friends"

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Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "South African National Gallery. Friends"

1

Andersen, Josephine. "The South African National Gallery Library News Collection". de arte 26, n.º 44 (septiembre de 1991): 40–43. http://dx.doi.org/10.1080/00043389.1991.11761135.

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Kerkham, R. "FRESH: ARTIST'S RESIDENCY PROGRAM: South African National Gallery". Nka Journal of Contemporary African Art 2007, n.º 21 (1 de septiembre de 2007): 122–23. http://dx.doi.org/10.1215/10757163-21-1-122.

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Lodge, Tom y Milan Oralek. "FRATERNAL FRIENDS: SOUTH AFRICAN COMMUNISTS AND CZECHOSLOVAKIA, 1945–89". Journal of African History 61, n.º 2 (julio de 2020): 219–39. http://dx.doi.org/10.1017/s0021853720000353.

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AbstractCzechoslovak ‘people's democracy’ supplied a model for the development of a South African notion of a ‘national democratic’ revolution as well as providing key skills and resources. Czechoslovak support for this project in the 1960s and 1970s was both a source of confidence and fragility for South African Communists, boosting morale but confirming their subordinate status in their partnership with African nationalism. Drawing upon Czech archival materials as well as memoirs and interviews, this paper explores encounters and connections between South African Communists and the Czechs against the backdrop of the broader strategic concerns that shaped Soviet and Eastern European support for South African liberatory politics.
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Andersen, Josephine y Nozuko Mjoli. "Beyond the walls: taking the art library to the community". Art Libraries Journal 20, n.º 4 (1995): 22–24. http://dx.doi.org/10.1017/s0307472200009597.

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The South African National Gallery (SANG) Library has been making its resources available to school teachers since 1992. Now a new outreach project, which has been in a planning stage for some months, has been started with the loan of material to libraries situated at some distance from the centre of Cape Town.
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5

Crawshay-Hall, Jayne Kelly. "Between Dreams and Realities: A History of the South African National Gallery, 1871–2017". de arte 55, n.º 3 (21 de mayo de 2020): 95–101. http://dx.doi.org/10.1080/00043389.2020.1731653.

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6

Crampton, Andrew. "The art of nation-building: (re)presenting political transition at the South African National Gallery". cultural geographies 10, n.º 2 (abril de 2003): 218–42. http://dx.doi.org/10.1191/1474474003eu270oa.

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7

Carman, Jillian. "A History of the Iziko South African National Gallery: Reflections on Art and National Identity, by Anna Tietze". de arte 53, n.º 1 (2 de enero de 2018): 102–8. http://dx.doi.org/10.1080/00043389.2018.1459095.

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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, n.º 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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9

Nwafor, Okechukwu. "A Nomad's Harvest, Iziko South African National Gallery (ISANG), Cape Town March 5–July 9, 2014". African Arts 48, n.º 2 (junio de 2015): 80–82. http://dx.doi.org/10.1162/afar_r_00223.

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10

Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery". Art Libraries Journal 20, n.º 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.

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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.
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Tesis sobre el tema "South African National Gallery. Friends"

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

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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum, namely a sacred space in which power has been obscured through the ‘art for art’s sake’ model. Instead, the thesis finds at SANG invisible symbolic capital resided alongside the more muscular capital of the colony, which derived its strength from an overt relationship with commerce, politics and race. The thesis further finds that SANG developed a close relationship with its white audience through its construction as a ‘homely space’. As a consequence, I argue SANG developed museological conventions that better fit the analogy of the political house than the temple. Taking new museum ethics into consideration, the thesis examines how SANG’s distinctive heritage impacted on its ability to be inclusive. My fieldwork on recent representational practice at SANG reveals strategies congruent with the post-museum, including performative political exhibitions, diversification of the collection and active dialogue with the communities it seeks to serve. At the same time embedded modes of white cultural representation were identified that restricted its capacity to ‘move-on’. The thesis contributes to the field of museum studies by drawing attention to the significance of the individual histories of art institutions in determining their ability to make change. The thesis also contributes to the field of visual sociology by presenting images and ‘map-making’ as an integral feature of the research design.
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2

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

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

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This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth was replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreased autonomy for the Director and increased government imposition of Afrikaner Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime.
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5

Becker, Natasha. "Inside and outside the family album: Making, exhibiting and archiving the photograph in the South African National Gallery and the National Library of South Africa". University of the Western Cape, 2018. http://hdl.handle.net/11394/6046.

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Magister Artium - MA (History)
One of the first things that reached me about photography was how a photograph tells a story or stories. This experience is perhaps most common when viewing personal photographs. A few years ago I was looking through a vast number of personal photographs, of a family I knew well, and was struck by how all the photographs (in albums, framed or lying loosely about) were part of a particular family narrative. Even without the storytelling, which accompanied my viewing of the photographs, I could still 'read' bits and pieces of the family history (and the broader social, political and cultural histories) in their photographs.
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6

Moruthane, Sepadi. "The digital classification of “unknown maker(s)” of cultural objects: A case study of Iziko South African National Gallery". Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/32884.

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Throughout history, cultural institutions like the Iziko Museums of South Africa have preserved, catalogued, researched and displayed a diverse collection of cultural objects. The renewed interest in digital media has revived the move to reclaim cultural identities, bringing with it the associated challenges regarding the veracity of historical accounts. With the transition to digitisation, and the adoption of digital curatorship for knowledge production in museum environments, it has become necessary to examine the historical accuracy, reliability and trustworthiness of the digital information being provided. Digitisation is an important priority for most cultural institutions. This study contributes to the colonial debate about museum classification and the challenges that these institutions face regarding what is referred to as the “unknown maker”. The use of the term “unknown maker(s)” to denote creators of cultural objects housed in the Iziko South African National Art Gallery collections was crucial to this investigation into the digital cataloguing of objects whose creators could not be determined. The findings show that a national museum is a space where identities are contested, and that museum professionals are repeatedly faced with difficult curatorial and ethical decisions when it comes to classifying cultural objects. As a result, the problems encountered with the digitsation and cataloguing of cultural objects are extensive. Inaccurate classification processes, including the use of the term “unknown maker(s)”, affects how digital heritage objects are recorded, the servicesthat museums offer, how exhibitions are presented, the research that is undertaken, and the skills required to manage cultural objects.
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7

Barben, Marc Walter. "What does it mean to be a 'national' gallery when the notions of 'nation' transform radically?: An analysis of the Iziko South African National Gallery's practices and policies in historical contexts". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13650.

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While much has been written on the European display of non - western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its form and its function, the SANG has reflected the redefined nationalisms that accompanied these historical moments. In light of the global history of national galleries and more recent theoretical discussions about cultural institutions, this study probes the complex layering of histories evidenced in collection and exhibition practices at the SANG in its historical contexts. Historically South African galleries have reflected colonial and later apartheid ideologies. With the transition to a democratic society in 1994, the ‘new’ South Africa ushered in a radically redefined national identity. If national collections reflect the nations to which they belong, this study questions the SANG’s ability in reflecting successive redefinitions of South African nationhood, and its adaptability in meeting shifting social and political requirements. By examining shifts in collections and display practices and policies, in the SANG’s historical contexts, this paper ultimately asks the question: What does it mean to be a ‘national’ gallery when the notions of ‘nation’ transform radically?
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Libros sobre el tema "South African National Gallery. Friends"

1

Dolby, Joe. Strat Caldecott: Retrospective, South African National Gallery, 7.5.1986-15.6.1986. [Cape Town]: South African National Gallery, 1986.

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2

Katz, Hanns Ludwig. Hanns Ludwig Katz: South African National Gallery : 24.11.1993-27.2.1994. Cape Town: South African National Gallery, 1994.

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3

Contemporary South African art: 85-95, from the South African National Gallery permanent collection. [Cape Town: The Gallery], 1997.

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4

Gallery, South African National. Guide to the manuscripts in the South African National Gallery. Pretoria: The Service, 1993.

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5

Pemba, George Mnyalaza Milwa. George Milwa Mnyaluza Pemba: South African National Gallery, 27.4.1996-28.7.1996. [Bellville]: Mayibuye Books, 1996.

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6

Gallery, South African National, ed. The Abe Bailey collection in the South African National Gallery. [Cape Town]: Abe Bailey Trust, 2008.

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7

Alexander, Jane. Jane Alexander: DaimlerChrysler Award for South African sculpture 2002. Ostfildern-Ruit: Hatje Cantz, 2002.

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8

Gallery, South African National y District Six Museum Foundation, eds. District Six: Image and representation : South African National Gallery : 28.10.1995- 25.2.1996. [Cape Town]: District Six Museum Foundation, 1995.

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9

1955-, Bedford Emma y South African National Gallery, eds. A decade of democracy: South African art, 1994-2004 : from the permanent collection of Iziko : South African National Gallery. Wetton, Cape Town: Double Storey Books, 2004.

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10

Delmont, Elizabeth. Maggie Laubser: Early works from the Silberberg Collection : South African National Gallery, 2 December 1987-31 January 1988 = Maggie Laubser : vroeë werke uit die Silberberg-versameling, Suid-Afrikaanse Nasionale Kunsmuseum, 2 Desember 1987-31 Januarie 1988. Cape Town: South African National Gallery, 1987.

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Capítulos de libros sobre el tema "South African National Gallery. Friends"

1

"Classical Impressions, Modernist Aspirations: Shaping a Field of Contention at the South African National Gallery (1895–1947)". En Images of the Art Museum, 191–214. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110341362-010.

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