Visual graphics for human rights : an art education approach
- Authors: Nanackchand, Vedant
- Date: 2012-05-30
- Subjects: South African prints , Human rights in art , Art and morals , Prints - Technique - Study and teaching
- Type: Thesis
- Identifier: uj:2291 , http://hdl.handle.net/10210/4751
- Description: M.Tech. , This research study examines ways in which the use of graphic imagery and printmaking in visual art may help to create social awareness and responsiveness to human rights. My study examines how a critical level of social awareness at higher education level, can lead to an ability to make choices as responsible citizens in terms of redress and social justice. My research focuses on two curricular interventions for first and second year Visual Art printmaking students who are introduced to issues of human rights through projects that require both personal and public engagement. This study is grounded in the history of printmaking as a democratic medium that proposes a function for inculcating social consciousness. The contextual framework for this study includes recent countrywide political developments and human rights abuses (such as the xenophobic attacks) as well as HIV/AIDS issues, which contrast with the lack of visibility of social-awareness campaigns at a higher education institution. Issues of human rights are introduced to incoming university Visual art students as part of the curriculum. I focus my research on a specific educational programme-intervention engaging social injustices as human rights violations. I use a mixed-method approach as well as aspects of Action research as methodologies to explore the curricular interventions and analyse visual solutions as a process to create awareness about these issues. I examine the extent to which a curriculum-based visual graphics programme may be used as a means to advocate human rights and social justice. In an educational environment, the means of addressing these social injustices are that these have to be participatory, non-invasive and empowering. These values should subscribe to a system of ethical standards which promote agency among respondents initially and thereafter, in the community at large. Human rights awareness also addresses the lack of social and political acumen and criticality among visual art students. Individual change impacts on citizenship by means of inculcating a broader social awareness through individual acts of civic engagement.
- Full Text:
- Authors: Nanackchand, Vedant
- Date: 2012-05-30
- Subjects: South African prints , Human rights in art , Art and morals , Prints - Technique - Study and teaching
- Type: Thesis
- Identifier: uj:2291 , http://hdl.handle.net/10210/4751
- Description: M.Tech. , This research study examines ways in which the use of graphic imagery and printmaking in visual art may help to create social awareness and responsiveness to human rights. My study examines how a critical level of social awareness at higher education level, can lead to an ability to make choices as responsible citizens in terms of redress and social justice. My research focuses on two curricular interventions for first and second year Visual Art printmaking students who are introduced to issues of human rights through projects that require both personal and public engagement. This study is grounded in the history of printmaking as a democratic medium that proposes a function for inculcating social consciousness. The contextual framework for this study includes recent countrywide political developments and human rights abuses (such as the xenophobic attacks) as well as HIV/AIDS issues, which contrast with the lack of visibility of social-awareness campaigns at a higher education institution. Issues of human rights are introduced to incoming university Visual art students as part of the curriculum. I focus my research on a specific educational programme-intervention engaging social injustices as human rights violations. I use a mixed-method approach as well as aspects of Action research as methodologies to explore the curricular interventions and analyse visual solutions as a process to create awareness about these issues. I examine the extent to which a curriculum-based visual graphics programme may be used as a means to advocate human rights and social justice. In an educational environment, the means of addressing these social injustices are that these have to be participatory, non-invasive and empowering. These values should subscribe to a system of ethical standards which promote agency among respondents initially and thereafter, in the community at large. Human rights awareness also addresses the lack of social and political acumen and criticality among visual art students. Individual change impacts on citizenship by means of inculcating a broader social awareness through individual acts of civic engagement.
- Full Text:
Symbols of death and violence in contemporary South African art with reference to seventeenth-century Dutch vanitas art
- Authors: Vos, Loreal
- Date: 2015
- Subjects: Art, South African - 21st century - Themes, motives, etc. , Art, Dutch - 17th century - Themes, motives, etc. , Art and morals , Art and society , Death in art , Violence in art
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/55751 , uj:16308
- Description: Abstract: From my observation, contemporary South African society is experiencing increasing levels of violence. I attribute these violent acts to an erosion of ethical values within South African society. In this dissertation, I analyse the way in which selected contemporary South African artists respond to this perceived social decay. My analyses consider the use of symbols of death and violence as a symptom of moral or ethical decay in society. These symbols are in turn analysed in the context of seventeenth-century Dutch still life conventions, which use symbols of death and transience in a similar manner. My exploration of both the seventeenth-century Dutch still life paintings and the imagery used in the selected contemporary artworks are framed by iconographic and iconological analyses of the specific symbols used, to ascertain their social implications. For the purpose of my own artmaking practice, I make links between the approaches of seventeenth-century artists and contemporary artists in order to compare how symbols and imagery of death and violence are used, as well as why those specific symbols/images are used within their own historical and contemporary context. The visual findings are framed by discourse analysis of postcolonial and post-apartheid theory, which demonstrates the basis of social decay within contemporary society in South Africa. Much like the visual responses of the selected contemporary South African artists, my own work is a response to this perception of a moral erosion in South Africa embedded in the visual language of seventeenth-century Dutch still life paintings. , M.Tech. (Fine Art)
- Full Text:
- Authors: Vos, Loreal
- Date: 2015
- Subjects: Art, South African - 21st century - Themes, motives, etc. , Art, Dutch - 17th century - Themes, motives, etc. , Art and morals , Art and society , Death in art , Violence in art
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/55751 , uj:16308
- Description: Abstract: From my observation, contemporary South African society is experiencing increasing levels of violence. I attribute these violent acts to an erosion of ethical values within South African society. In this dissertation, I analyse the way in which selected contemporary South African artists respond to this perceived social decay. My analyses consider the use of symbols of death and violence as a symptom of moral or ethical decay in society. These symbols are in turn analysed in the context of seventeenth-century Dutch still life conventions, which use symbols of death and transience in a similar manner. My exploration of both the seventeenth-century Dutch still life paintings and the imagery used in the selected contemporary artworks are framed by iconographic and iconological analyses of the specific symbols used, to ascertain their social implications. For the purpose of my own artmaking practice, I make links between the approaches of seventeenth-century artists and contemporary artists in order to compare how symbols and imagery of death and violence are used, as well as why those specific symbols/images are used within their own historical and contemporary context. The visual findings are framed by discourse analysis of postcolonial and post-apartheid theory, which demonstrates the basis of social decay within contemporary society in South Africa. Much like the visual responses of the selected contemporary South African artists, my own work is a response to this perception of a moral erosion in South Africa embedded in the visual language of seventeenth-century Dutch still life paintings. , M.Tech. (Fine Art)
- Full Text:
Concepts of dystopia in contemporary South African Art
- Authors: Thumbiran, Kiveshan
- Date: 2019
- Subjects: Art and morals , Art and society , Art, Modern - 20th century - South Africa
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/411576 , uj:34593
- Description: Abstract: Please refer to full text to view abstract. , M.Tech. (Fine Art)
- Full Text:
- Authors: Thumbiran, Kiveshan
- Date: 2019
- Subjects: Art and morals , Art and society , Art, Modern - 20th century - South Africa
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/411576 , uj:34593
- Description: Abstract: Please refer to full text to view abstract. , M.Tech. (Fine Art)
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