Masters Degrees (Media, Visual Arts and Drama)

Permanent URI for this collectionhttps://hdl.handle.net/10413/7276

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The art of dying : depictions of death in the work of Andres Serrano, Joel-Peter Witkin and David Buchler.
(2010) Buchler, David.; Calder, Ian Meredith Shepstone.
This dissertation explored visual representations of death in the photographic work of Andres Serrano and Joel-Peter Witkin, as well as the MAFA candidate's (David Buchler) own art practice. It looked at historical overviews of representations of death from the Middle Ages to present, as a means of contextualising and locating the reasons as to how images came to be the way they are in the present. Selected artworks were examined with particular theoretical reference to Phillipe Ariès' investigation into the changing attitudes towards death in Western society and Julia Kristeva's abjection theory. This dissertation focuses on the abjection of death and more specifically the corpse and the treatment of it in the work of Serrano and Witkin. This project explored some of the reasons why the images in this dissertation may be seen as disturbing and confrontational.
The Bernstein Collection of Rorke's Drift ceramics at the University of KwaZulu-Natal : a catalogue raisonne.
(2012) Motsamayi, Mathodi Freddie.; Calder, Ian Meredith Shepstone.
The thesis will focus on documenting, analysing and interpreting the motifs for the ceramics of Rorke’s Drift Art and Craft Centre Ecumenical (Evangelical) Lutheran Church (RDACC ELC, often called ELC Art and Craft Centre, hereinafter referred to as ‘Rorke’s Drift’) which were donated to the University of KwaZulu-Natal by Mark Bernstein. It is hoped that local indigenous narratives and visual designs in relation to Basotho and Zulu cultural identity will be outlined in the form of a catalogue. All vessel forms in the Bernstein Collection (as it will be referred to in this thesis) will focus on the figurative works and iconographic signifiers that represent local cultures. Ceramic works by the following ceramists will form the main argument of my thesis: Gordon Mbatha, Dinah Molefe, Ivy Molefe, Ephraim Ziqubu, Lindumusa Mabaso and Joel Sibisi of the Pottery Workshop.
Ceramic narrative : storytelling and Ardmore Ceramic Studio.
(2011) Weaving, Sharon.; Calder, Ian Meredith Shepstone.
This dissertation explores the importance of narrative in Ardmore ceramic ware and determines how and to what effect ceramic narrative is used by Ardmore Ceramic Studio. It gives a historical overview of narrative in ceramic wares of English potteries from the eighteenth century to date, as a means of contextualising and locating the influences of Ardmore narrative ceramics. This paper examines selected narrative works, by artists such as Andrew Sokhela and Wonderboy Nxumalo, with reference to Noverino N. Canonici’s writings regarding Zulu oral literature. One of the intentions of this paper is to illustrate how the fundamental elements of Zulu storytelling play an influential role in Ardmore ceramic narratives. Narrative as a means of communication, education and entertainment is assessed with reference to Ardmore examples. This dissertation investigates the potential to use ceramic narratives as anthropological research tools. The focus of this paper is to investigate the use of ceramic narrative in disseminating information and creating social awareness.
Clay-earth-skin : an exegesis of material and process in Kim Bagley's ceramics.
(2010) Bagley, Kim.; Armstrong, Juliet Yvonne.; Calder, Ian Meredith Shepstone.
This study is a practice-led research project in the field of studio ceramics. It focuses on the materials and processes of making vessels and hollow sculptural forms by Kim Bagley, in partial fulfilment of the MAFA degree. The study is an examination of an intuitive approach to ceramic production expressing the chosen theme: clay-earth-skin. This theme is metaphorically linked to the physical origin (the earth) and skin-like quality of plastic clay and some hollow ceramic forms. The theme is also linked to the concept of materiality and the ideas of Claude Lévi-Strauss, concerning nature and culture, and Philip Rawson’s ‘potter’s space’. These theoretical ideas are explored in terms of an intuitive, empirical approach to ceramic materials. The working process and finished works are contextualised in terms of the historical production of Peter Voulkos and the contemporary practice of Gareth Mason and Yo Akiyama whose work can be read as related to the researcher’s through a common use of the clay-earth-skin theme in some form. This dissertation posits and elucidates the relationship between theory and studio practice. It takes the form of an exegesis, that is, a contextual translation, which seeks to both record and reflect on the making process, and what it reveals, using digital photographs and reflective writings. These tools facilitated the recognition that conceptual, theoretical ideas reoccur in the moments of making, within the studio context, which results in an integrated relationship between theory and practice.
Concept-material-process : exegesis in the creative practice of Jessica Steytler.
(2016) Steyler, Jessica Merle.; Calder, Ian Meredith Shepstone.; Rall, Michelle Marie.
This practice-based research project incorporates practical and theoretical components which consider the relationships between the concepts, media and processes of the creative practice of the researcher, Jessica Steytler. The studio-based research focuses on combining needlework, textiles and porcelain as the key media of the study, which are used to make mixed-media artworks. The main concepts of the practice include literal and metaphorical interpretations of metamorphosis, catharsis and healing, and issues of gender-based violence in South Africa. A theoretical framework integrating feminist art, art/craft debates and materiality theory locates the study. In-depth examinations of the gendered histories of needlework, textiles and porcelain provide insight into the historical materiality of the media. This interrogation is bolstered with the studio-based research that reflects on the contributions of the physical qualities and processes of the key media. The implications of these media as ‘craft’ materials are considered in the fine art context of this degree. Judy Chicago’s feminist artwork The Dinner Party provides a precedent for the combining of the key, ‘craft’, media in a fine art context. Janice Lester’s Personal Space and Faith Wilding’s Crocheted Environment in the exhibition Womanhouse are referenced as installations that make use of the domestic, home environment as exhibition space. Louise Bourgeois’ practice contributes metaphors of cellular structures and the symbolism of sewing as repair. The studio practice of this research is discussed using a reflective approach that accounts for the insider knowledge of the researcher. This discussion pays careful attention to what the physical and historical materiality of the key media and their processes contribute to the enquiry. Thumbnail images are included alongside textual discussion to illustrate the close relationships between the media and processes and the concepts of the practice. Issues that arose during the set up of the final exhibition installation are additionally examined to highlight the importance of practitioners developing display tactics that are appropriate for their work. It is concluded that the approach taken in this research could be used by practitioners in any creative field.
The Didima Rock Art Centre : a critical evaluation of the intersections of tourism, heritage conservation, and visual communication.
(2006) Storey, Amanda Eileen Maria.; Calder, Ian Meredith Shepstone.
This dissertation critically evaluates the intersections of tourism, heritage conservation, and visual communication by exploring the display materials and Museology within the Didima Rock Art Centre, at Cathedral Peak, southern Drakensberg, KwaZulu-Natal. The text consists of three chapters. The first chapter introduces rock art and current research and conservation concerns in relation to heritage and rock art. The second chapter serves as an introduction to the Didima Rock Art Centre. A discussion raises important issues about visual communication in regard to the representation of the Southern San and rock art as material culture both in this museum context. Chapter three investigates and analyses the museum practices that have been used as a visual communication within the Centre by discussing methods that have been used in the museum and its auditorium. A conclusion follows that summarizes the candidate's findings regarding museum display within the Centre, and its impact on tourism and heritage conservation in relation to the Southern San and rock art.
Evaluation and critical analysis of the Chinese porcelains in the Whitwell collection Tatham Art Gallery: Pietermaritzburg.
(2002-11-27) Shao, Leigh-Lin Ning.; Calder, Ian Meredith Shepstone.
The first chapter is a broad review of the recent history of Chinese porcelain from the Ming period to the present day. It includes remarks on the ceramics town of Jingdezhen and on aspects of materials, construction techniques, glazing and enamelling as well as a brief summary of the types of wares. The second chapter is divided into two parts. The first part introduces the formation of the Tatham Art Gallery and the Whitwell Collection. The second part focuses, firstly, on the blue and white porcelain, secondly, on the enamelled porcelain. The pieces are individually physically examined and catalogued under these headings: General description, rim, foot ring, construction, iconography and motifs, glazes, marks and date. The last chapter compares the blue and white pieces, the enamelled pieces and both pieces. This chapter suggests the qualities and special attributes of the wares such as brush marks.
Marietjie van der Merwe : ceramics 1960-1988.
(2007) Du Plessis, Lara.; Calder, Ian Meredith Shepstone.
This dissertation will contextualize and analyse selected works of the South African ceramist Marietjie van der Merwe (bl935 dl992; known professionally as Marietjie, aka Mariki, Marikie) between 1960-1988. The text consists of three chapters. The first chapter will outline the life of Marietjie van der Merwe, discuss her political and religious affiliations and ends with a chronological outline of her ceramics. This introductory chapter will help the reader to gain an insight into her character and personality which influenced the work she produced. The second chapter comprises two main sections. The first deals with the ceramists who influenced Marietjie's work. In her early art training years Laura Andreson, her teacher, played a key role in inspiring and influencing Marietjie's work. The Natzlers influenced Marietjie indirectly through Laura Andreson who in turn had been taught by them. Rudolf Staffel manipulated aspects in porcelain inspired Marietjie's later works of the 1980s. The second half of this chapter deals with the influence that Marietjie had on institutions and her students. The works of Katherine Glenday, a student and later colleague, are discussed and comparisons made. Marietjie van der Merwe's contributed significantly to the modernist foundations of South African studio ceramics, was mentor and studio advisor to the ceramists of Rorke's Drift Art and Craft Centre and was a lecturer at the former Department of Fine Art and History of Art, University of Natal. Links with Nordic countries and Malin Lundbohm (now Sellmann) are drawn. Throughout this chapter the artist's work is compared and discussed with that of Marietjie's. This dissertation concludes with a documentary study of six selected pieces. Original photographs facilitate visually what is been discussed in the text. These samples are found in Iziko South African National Gallery, Tatham Art Gallery and from the private collection of Lara Du Plessis.
Paperclay in recent South African ceramics : continuity and change in studio works.
(2012) Frisinger, Leanne April.; Calder, Ian Meredith Shepstone.
This dissertation comprises the documentation and theoretical component of a practice-led Master of Arts in Fine Art. The illustrated text focuses in four chapters on a critical explication of contemporary South African ceramists namely, Juliet Armstrong, Betsy Nield, Liza Firer and Leanne Frisinger. The dissertation includes significant discoveries about the creative use of paperclay in contemporary South African ceramics and provides documentary record of the candidate’s materials and processes. A conclusion briefly compares productions referred to in the text.
Personal history and collective memory : images of social and political history in the art of four South African women artists.
(2010) Kühl, Tania.; Calder, Ian Meredith Shepstone.
This study examines the means by which four South African woman artists, namely Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl use memory and history as themes to represent social and political events in South Africa. The foundation of this investigation is a critical study of the meaning of history and memory within the context of the candidate’s contemporary social and political milieu. This investigation is facilitated by a number of published and unpublished works by various authors relating to the issues in visual arts; particularly social and political history as applied to personal memory and history. Chapter one explores these terms particularly in relation to the visual arts. Chapter one identifies terms that are vital to the dissertation and some of the literature and methodologies used in the research. These are divided into the subheadings of: terms; women, politics and art; art and documentary photography; literature review; methodology and conclusion.. Examples of each artist’s work are selected for a comprehensive analysis in chapter two. These examples are methodically studied by media and techniques used to produce the artworks and include a critical analysis of the subject matter of the artwork. The examples were selected primarily for their content in connection with the candidate’s own productions of practical work towards the MAFA degree. Chapter two is divided into four main sections, one dedicated to each artist: Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl. These four sections are divided into three subsections: medium and techniques; subject matter and conclusion. Chapter three points out similarities and differences in the work of the four selected artists in order to conclude the candidate’s findings during the dissertation.
Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge.
(2012) Fossey, Natalie.; Calder, Ian Meredith Shepstone.
Key words: William Hogarth Exhibition; Hogarth in Johannesburg (1987-1988) Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth Caversham Press, KwaZulu-Natal, South Africa Printmaking Printmaking in South Africa Resistance art Narratology, narrative, discourse, story, plot, Transference of narratives Sequential art narrative and comics This dissertation considers the prints by South African artists, William Kentridge, Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in the context of William Hogarth’s historical suites of prints referred to in the title of the exhibition, and contemporary theories about Sequential Art and Narrative. Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal, particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987.
The South African contemporary ceramic collection at the William Humphreys Art Gallery, 1984-2009 : volume 1.
Stockenström, Rika.; Calder, Ian Meredith Shepstone.
This thesis catalogues and contextualises the South African contemporary ceramics collected during 1984 – 2009 at the William Humphreys Art Gallery, Kimberley, South Africa. The study contextualises this museum’s motivations for acquisitions of contemporary South African ceramics during this period, describes the original motivations for collecting as well as subsequent historical developments up to 2009 in evaluating various ceramic media of the contemporary ceramic collection. The ceramic media includes unfired clay, raku, smoke fired, earthenware, stoneware, porcelain, bone china and paper clay.
South African studio ceramics, c.1950s : the Kalahari Studio, Drostdy Ware and Crescent Potteries.
(2000) Gers, Wendy A.; Leeb-du Toit, Juliette Cecile.; Calder, Ian Meredith Shepstone.
The oeuvre of the Kalahari Studio (Cape Town), Drostdy Ware (a division of Grahamstown Pottery, Grahamstown) and Crescent Potteries (Krugersdorp) is investigated within the historical context of the 1950s, a watershed period that witnessed crucial developments in South African cultural and political history. This dissertation elucidates the historical development, key personnel, the ceramics, as well as relevant technical information related to the Kalahari Studio, Drostdy Ware and Crescent Potteries. This dissertation analyses the broader socio-political and ideological paradigms that framed South African art-making, as well as the international design trends that influenced the local studio ceramics sector. The establishment and demise of the South African studio ceramics industry and requests for tariff protection were considered within this context. Significant primary research was conducted into the present status of South African studio ceramics from the 1950s in the collections of our heritage institutions. Wares of all three of the studios reveal a predilection for figurative imagery, especially images of indigenous African women and iconography derived from reproductions of Southern San parietal art. Imagery of African women is considered within the framework of the native study genre in South African painting, sculpture and photography from 1800-1950 and Africana ceramics from 1910-1950. Images of San parietal art are investigated within their historical context of a growing public and academic interest in the Bushmen and a surge in publications containing reproductions of San parietal art. Some images of African women and San parietal art conform to pejorative and theoretically problematic modernist cannons of the'other', while some are subversive and undermine the dominant pictorial and ideological artistic conventions.
A study of the Eritrean art and material culture in the collections of the National Museum of Eritrea.
(2006) Ghebrehiwot, Petros Kahsai.; Calder, Ian Meredith Shepstone.
Eritrean art and material culture has not been accorded its rightful pace, neither has it been sufficiently isolated from its Ethiopian counterparts. Like the other reconstruction challenges facing Eritrea, following the 30 years' war for independence, the field of art and culture is in need of reconstruction. This study aimed to contextualize selected Eritrean material culture in terms of social, cultural, historical, art-historical and iconographic values. The selected artefacts have been studied in terms of construction, tactility of materials, iconography and functionality of the objects' form and surface. This dissertation provides a photographic documentation of the study samples. Results of this study indicate that makers of Eritrean material culture primarily aimed at the functional values of most of the objects instead of the aesthetic values. This is clearly shown on the form of the objects which describe the function. The makers produced the material culture to their own taste, reflecting the culture or religion they represent. The study samples are taken from the Ethnographic Section of the National Museum of Eritrea (NME). This study investigated museum practices, including challenges and limitations, as well as future plans of the NME. Information was elicited from knowledgeable individuals, fieldwork data collection, secondary sources and visual analysis of the study sample. The study recommended that this young institution (NME) needs to be empowered by the Government and solve its problems, so as to play a major role in reconstructing Eritrean cultural identity and preserving cultural heritage. In addition, research centres should be established to work on the process of the documentation and construction of Eritrean art history. Besides training individuals, the research centre should organize national and international conferences, conduct workshops and organize, recognize and encourage artists.
Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg.
(2012) Omar, Fahmeeda.; Calder, Ian Meredith Shepstone.
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).

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