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ON the SERIOUS SOCIAL IMPLICATIONS of HUMOROUS ART by ANNA MAGRIETA VAN TONDER Submitted in Fulfilment of the Requirements

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ON the SERIOUS SOCIAL IMPLICATIONS of HUMOROUS ART by ANNA MAGRIETA VAN TONDER Submitted in Fulfilment of the Requirements ON THE SERIOUS SOCIAL IMPLICATIONS OF HUMOROUS ART by ANNA MAGRIETA VAN TONDER Submitted in fulfilment of the requirements for the degree of MASTER IN VISUAL ARTS at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: MR JP VAN DER WATT JOINT SUPERVISOR: DR FJ POTGIETER JANUARY 2007 DECLARATION Student number 0628-473-6 I declare that ON THE SERIOUS SOCIAL IMPLICATIONS OF HUMOROUS ART is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. ……………………… …………….. SIGNATURE DATE (MRS AM VAN TONDER) SUMMARY Title: On the serious social implications of humorous art Summary: Modern humour appears to initiate the deconstruction of modern correspondence thinking. A close examination shows the opposite, namely that modern humour forms part of correspondence thought in a complicated reciprocal relationship of disruption and support. Ironically, humour is particularly suited to explicating the deconstruction of correspondence thinking in poststructuralist language theories by being prone to refute cornerstone principles of modernism such as truth, rationality, reliability and permanence. This dissertation focuses on the exceptional suitability of humour to adapt to the loss of the centre and to demonstrate the shift from the modernist ontological approach to the postmodernist creative metaphorical approach to art. Humour, like metaphor, reinvents meaning rather than discovers it; it remains open-ended instead of offering closure. It becomes a valid creative option and enters a new dynamic into a postmodern culture of play where truth and meaning remain infinitely suspended in an ungrounded state of possibility. List of key terms: Artistic ontology, artistic teleology, becoming, correspondence thinking, humour, logocentrism, loss of centre, metonymy, non-logical, open-ended, play, possibility, wandering TABLE OF CONTENTS Page Preface i List of illustrations ii List of abbreviations ix Introduction 1-11 CHAPTER 1: Modern theories of humour 12-35 CHAPTER 2: How Hogarth typifies modern theories of humour 36-59 ILLUSTRATIONS FOR CHAPTER TWO 60-73 CHAPTER 3: Deconstruction, humour and creative metaphor 74-104 CHAPTER 4: Humour and creative metaphor in postmodern art 105-128 ILLUSTRATIONS FOR CHAPTER FOUR 129-143 CHAPTER 5: A postmodern creative option: Art as play 144-176 ILLUSTRATIONS FOR CHAPTER FIVE 177- 210 Conclusion 211-219 Glossary of terms 220-225 Bibliography 226-241 Appendices: 1) DVD documentation of the following works (a) Die Vervelige Lewe van Hermanus Henning (1994) and Die Preek van Dominee Jacob Rudolph Jacobus Bosch (1995) (not for evaluation as part of this submission) and (b) Bennie’s Games (2003-2006) (the practical component submitted for this degree) (2) Catalogue for an exhibition entitled Bennie’s Games held at the Bell Roberts Art Gallery, Cape Town, 19 July to 12 August 2006. PREFACE As a woman sculptor who creates huge environmental pieces, I have always found humour an exceptional device to deal with the tribulations and consequences of my tendency to undertake the impossible. I am, in other words, constantly chasing windmills or trying to empty the ocean with a spoon. I have always felt that art can take itself too seriously. This does not mean that I am not serious about my art; only that art should not remain remote and aloof in an elevated sphere which ordinary mortals, uninitiated into the complexities of aesthetics, cannot enter. My own humorous art is thus an extension of this viewpoint. This dissertation examines postmodern humorous art. This area of study is undertaken, firstly, because certain critical assumptions concerning the artistic value of humorous art have even today not been fully resolved. Secondly, it is an invaluable discipline in contextualising my art within the broader scope of a postmodern artistic milieu where many boundaries have been shifted in a playful attitude of irony that is encapsulated by the following Zen saying: "Eat a love toad every morning and nothing worse will happen to you for the rest of the day." I wish to thank my supervisors, Mr JP van der Watt and Dr FJ Potgieter, for their faith in me and for their support. I am deeply indebted to my models and many individuals who played a part in the making of my work, most of all to Alan Parker for his constant support and Reginald Lewies (my assistant of the past 17 years). I wish to thank my friends for their unfailing patience with me and my studies. I especially want to thank my life-partner Gerome for his enthusiasm, patience and financial support; and my three children Yancke, Romy and Kristian for loving a mother who makes art. Lastly, I wish to thank my Heavenly Father. i LIST OF ILLUSTRATIONS Fig 1: William Hogarth. A Harlot’s Progress, Plate 1 (1732). Title unknown. Engraving, 30.5 x 38 cm.British Museum, London. (Source: http://cqfa.sunsite.dk/hogarth/p- Hogarth6.htm; data: Uglow 1997:200). Fig 2: William Hogarth. A Harlot’s Progress, Plate 2 (1732). "The Quarrel with her Jew Protector". Engraving, 30.5 x 38 cm. British Museum, London. (Source: http://cqfa.sunsite.dk/hogarth/p-Hogarth6.htm; data: Uglow 1997:200). Fig 3: William Hogarth. A Harlot’s Progress, Plate 3 (1732). "Apprehended by a Magistrate". Engraving, 30.5 x 38 cm. British Museum, London. (Source: http://cqfa.sunsite.dk/hogarth/p-Hogarth6.htm; data: Uglow 1997:203). Fig 4: William Hogarth. A Harlot’s Progress, Plate 4 (1732). "Scene in Bridewell". Engraving, 30.5 x 38 cm. British Museum, London. (Source: http://cqfa.sunsite.dk/hogarth/p-Hogarth6.htm; data: Uglow 1997:205). Fig 5: William Hogarth. A Harlot’s Progress, Plate 5 (1732). "She expires, while the doctors are quarreling". Engraving, 30.5 x 38 cm. British Museum, London. (Source: http://cqfa.sunsite.dk/hogarth/p-Hogarth6.htm; data: Uglow 1997:207). Fig 6: William Hogarth. A Harlot’s Progress, Plate 6 (1732). "The Funeral". Engraving, 30.5 x 38 cm. British Museum, London. (Source: http://cqfa.sunsite.dk/hogarth/p- Hogarth6.htm; data: Uglow 1997:208, Fig 62). Fig 7: William Hogarth. A Rake’s Progress, Plate 1 (1735). "The Young Heir Takes Possession". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source:http://Artoftheprint.com/artistpages/Hogarth_williamrakesprogresscompl etesetofeight.htm;data: Uglow 1997:245). Fig 8: William Hogarth. A Rake’s Progress, Plate 2 (1735). "Surrounded by Artists and Professors". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source: http://Artoftheprint.com/artistpages/Hogarth_william _rakesprogresscompletesetofeight.htm; data: Uglow: 1997:247). Fig 9: William Hogarth. A Rake’s Progress, Plate 3 (1735). "The Tavern Scene". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source: http://Artoftheprint.com/artistpages/Hogarth_william_rakesprogresscompletesetofeight.htm ; data: Uglow 1997:250). Fig 10: William Hogarth. A Rake’s Progress, Plate 4 (1735). "Arrested for Debt". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source: http://Artoftheprint.com/artistpages/Hogarth_william_rakesprogresscompletesetofeight.htm ; data: Uglow 1997:251). Fig 11: William Hogarth. A Rake’s Progress, Plate 5 (1735). "Married to an Old Maid". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source: http://Artoftheprint.com/artistpages/Hogarth_william_rakesprogresscompletesetofeight.htm ; data: Uglow 1997:252). ii Fig 12: William Hogarth. A Rake’s Progress, Plate 6 (1735). "Scene in a Gambling House". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source: http://Artoftheprint.com/artistpages/Hogarth_william_rakesprogresscompletesetofeight.htm ; data: Uglow 1997:253). Fig 13: William Hogarth. A Rake’s Progress, Plate 7 (1735). "The Prison Scene". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source: http://Artoftheprint.com/artistpages/Hogarth_william_rakesprogresscompletesetofeight.htm ; data: Uglow 1997:254). Fig 14: William Hogarth. A Rake’s Progress, Plate 8 (1735). "Scene in a Madhouse". Original engraving, 35.6 x 40.6 cm. Heath Edition, London. (Source: http://Artoftheprint.com/artistpages/Hogarth_william_rakesprogresscompletesetofeIght.htm ; data: Uglow 1997:256, Fig 79). Fig 15: William Hogarth. A Rake’s Progress, (1735). "Bedlam". Oil on canvas, 62.5 x 75 cm. Sir John Sloane Museum, London. (Source: http://arthistory.about.com/cs/nameshh/p/Hogarth.htm). Fig 16: William Hogarth. The Painter and his Pug (1745). Oil on canvas. Support: 90 x 69.9 cm; frame: 1080 x 875 x 78 cm. Tate Gallery, London. (Source: http//www.tate.org.uk/servlet/viewwork?cgroupid=999999618workid=6612&searched=850 3). Fig 17: William Hogarth. Marriage a la Mode, Plate 1 (1743). "The Marriage Settlement". Oil on canvas, 90.8 x 69.9 cm. National Gallery, London. (Source: http://www.nationalgallery.org.uk/cgibin/webobjects.dll/CollectionPublisher.woa/wa/loadA pplet?worknumber=NGI). Fig 18: William Hogarth. Marriage a la Mode, Plate 6 (1743). "The Lady’s Death". Oil on canvas, 69.9 x 90.8 cm. National Gallery, London. (Source: http://www.nationalgallery.org.uk/cgibin/webobjects.dll/CollectionPublisher.woa/wa/loadA pplet?worknumber=NGI). Fig 19: William Hogarth. Industry and Idleness, Plate 1 (1747). "The Fellow Apprentices at their Looms". Engraving, 26 x 34 cm. British Museum, London. (Source: http://victorianweb.org/painting/18c/hogarth/8.htm; data: Lindsay 1979:248). Fig 20: William Hogarth. Industry and Idleness, Plate 11 (1747). "The Idle Prentice Executed at Tyburn". Etching and line engraving, 27.3 x 40.6 cm. British Museum, London. (Source: http://www.artoftheprint.com/artistpages/hogarth_william_industires_ 11executed.htm; data: Lindsay 1979:248). Fig 21: William Hogarth. Industry and Idleness, Plate 12 (1747). "The Industrious Prentice Lord Mayor of London". Etching and line engraving, 27.3 x 40.6 cm. British Museum, London. (Source: http://www.artoftheprint.com/artistpages/ hogarth_william_industrious_12mayor.htm; data: Lindsay 1979:249). Fig 22: William Hogarth, The Four Stages of Cruelty, Plate 1 (1750-1751). "The First Stage". Original engraving and etching, 38.7 x 30.5 cm. Heath Edition (1822), London.(Source: http://www.artoftheprint.com/artistpages/hogarth_william_crueltyfirst.htm).
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