Diane Victor
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Annual Research Report 2012
RU Research Layout COVER 2FA 11/20/13 1:02 PM Page 1 C M Y CM MY CY CMY K Composite RU Research Introduction 11/20/13 6:28 PM Page 1 C M Y CM MY CY CMY K A publication of the Rhodes Research Office, compiled and edited by Jaine Roberts, Verna Connan, Thumeka Mantolo, Jill Macgregor and Patricia Jacob. Design & Layout: Sally Dore Research Office Director: Jaine Roberts [email protected] | [email protected] Tel: 27 - 46 - 603 8756/7572 www.ru.ac.za Cover Photo: An artists’s impression of the SKA Meerkat array in the Karoo. Credit: SKA South Africa Composite RU Research Introduction 11/20/13 6:28 PM Page 2 C M Y CM MY CY CMY K Rhodes Research Report 2012 CONTENTS Foreword from Vice-Chancellor - Botany 51 Sociology 183 Dr Saleem Badat 02 Chemistry 55 Statistics 187 Introduction from the Deputy Vice-Chancellor: Computer Science 65 Zoology & Entomology 190 Research & Development - Dr Peter Clayton 04 Drama 71 Top Researchers: Acknowledgements 05 Economics 78 Affiliates, Institutes, Centres Education 83 PhD Graduates 06 and Units English 92 Albany Museum 200 The Vice-Chancellor’s English Language & Linguistics 94 Centre for Higher Education, Research, Research Awards Environmental Science 96 Teaching and Learning (CHERTL) 203 Fine Art 100 Cory Library for Humanities Research 207 Distinguished Senior Research Award Geography 104 The Institute for Environmental Professor Denis Hughes 09 Geology 109 Biotechnology (EBRU) 210 Book Award History 114 Electron Microscope Unit 213 Professor Catriona Macleod 12 Human Kinetics & Ergonomics 117 Institute -
Name Karen Elaine Von Veh Residential Address 2 First Avenue
CURRICULUM VITAE OF PROFFESSOR KAREN VON VEH Personal Details: Name Karen Elaine von Veh Residential Address 2 First Avenue Auckland Park. 2092 Telephone (011) 559 1113 (work) (011) 559 1136 (work fax) 082 456 6099 (mobile phone) E-Mail [email protected] (work) [email protected] (home) Education: Tertiary Education: 2008 - 2012 Completed PhD studies at Rhodes University, Grahamstown. Title of Thesis: Transgressive Christian Iconography in Post-apartheid South African Art. 1998 – 2000 Completed a Master of Arts Degree in History of Art (cum laude), at the University of the Witwatersrand. As partial requirement for this degree a dissertation was submitted entitled: Female Bodies – Male Control: Works from Leora Farber’s Skinless and Instrumental Exhibitions. 1991 – 1993 Completed a Bachelor of Arts Honours Degree in History of Art at the University of the Witwatersrand). Work Experience: Organisation University of Johannesburg Faculty of Art, Design and Architecture. Period 2017 - 2020 Position Full Professor and Head of the Visual Art Department Organisation University of Johannesburg Faculty of Art, Design and Architecture. Period 2012 – 2016 Position Associate Professor (History/Theory of Art) in the Visual Art Department. Organisation University of Johannesburg Faculty of Art, Design and Architecture. Period 1995 – 2012 Position Senior Lecturer (History/Theory of Art) in the Visual Art Department. Professional Affiliations: 2016-20 Appointed to the international board of AICA – the International Association of Art Critics. 2016-20 Appointed to the Editorial board of Jazdec / Rider, Slovak/ Central European art journal. 2008-20 Member of De Arte Editorial Board. 2012-2016 Member of the Board of Directors for ACASA (Arts Council of the African Studies Association) U.S.A. -
Transgressive Christian Iconography in Post-Apartheid South African Art
TRANSGRESSIVE CHRISTIAN ICONOGRAPHY IN POST-APARTHEID SOUTH AFRICAN ART VOLUME I Submitted in fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY at RHODES UNIVERSITY by KAREN VON VEH September 2011 DECLARATION I declare that this thesis is my own unaided work. It is being submitted in fulfilment of the requirements for the degree of Doctor of Philosophy at Rhodes University, Grahamstown. It has not been submitted before for any degree or examination at any other University. ____________________________________ Karen Elaine von Veh On _______day of_______________________2011. ii ABSTRACT In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in post- apartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. -
Setting Art Apart: Inside and Outside the South African National Gallery (1895-2016)
Setting Art Apart: Inside and Outside the South African National Gallery (1895-2016) Qanita Lilla Dissertation presented for the degree of Visual Arts, at the Stellenbosch University. Supervisor: Prof. Elizabeth Gunter Co-Supervisor: Dr. Andrea Meyer March 2018 Stellenbosch University https://scholar.sun.ac.za Declaration I declare that the entirety of the work contained herein, is my own original work. I am the sole author thereof (save to the extent explicitly otherwise stated) that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights. I have not previously in its entirety or in part submitted it for obtaining any qualification. Qanita Lilla Copyright © 2018 Stellenbosch University All rights reserved I Stellenbosch University https://scholar.sun.ac.za Abstract Setting Art Apart explores practices of exclusion and erasure in the white art world in South Africa. It looks at how art and art spaces, such as the art museum and the art academy were part of a project of reinforcing difference. The South African National Gallery in Cape Town is the historical reference of the study. The time frame spans the colonial beginnings of the museum through apartheid to the democratic present. After a long period of bureaucratic uncertainty the South African National Gallery was opened in 1930 as a monument to white art and culture. Excluding those who did not belong was part of the process of white self- affirmation. State art museums served to make black people invisible by portraying them as marginal while denying their art. Furthermore, the art museum played a role in the way powerful white constituencies imagined themselves. -
Who Is the Beast? Navigating Representational and Social Complexities Through the Use of Animal Forms in Selected Works by Diane Victor
Who is the Beast? Navigating Representational and Social Complexities through the Use of Animal Forms in Selected Works by Diane Victor By LAURA DE HARDE Submitted in fulfillment of the requirements for the degree MASTER OF THE ARTS BY COURSE WORK in the History of Art Department Wits School of Arts UNIVERSITY OF THE WITWATERSRAND Johannesburg Supervisor: Rory Bester March 2014 DECLARATION I, the undersigned, hereby declare that the work contained in this dissertation is my own original work and that I have not previously, in its entirety or in part, submitted it to any other university for a degree. All quotes are indicated and acknowledged by means of a comprehensive list of references. LAURA DE HARDE ACKNOWLEDGEMENTS First, I wish to express my sincere gratitude towards Diane Victor. Her willingness to share her extensive knowledge and insight in many hours of interviews and discussions, without which I would have been infinitely poorer in knowledge and without which I would have been unable to embark upon this path; it has been a privilege getting to know her. I wish to thank my supervisor for this study, Rory Bester, for his valuable suggestions during the planning of this research work and for encouraging me to pursue such an unorthodox hypothesis. I wish to express my deep gratitude to Dr Justine Wintjes who assisted me in the final stages of this process, offering her time over and above anything that could ever have been asked for or expected, providing valuable insight and editing suggestions. My grateful thanks are also extended to Professor Anitra Nettleton and Professor Gerrit Olivier.