Visual Art: Dissertations & Theses

This thesis reviews two local collections of ceramics by Nesta Nala between 1985 and 1996.
The main text is presented in four chapters.
Chapter One outlines the development ofNala's career and discusses the collections of her work outlined in this study. Chapter Two provides a brief overview of Zulu domestic-ware traditions, and outlines the basis ofNala's technology and decorative methods. Chapter Three reviews texts that discuss Nala and her work and then critically examines the application of the term "traditional". Chapter Four interprets Nala's decorative themes of examples in the Durban Art Gallery and University ofNatal collections. An attempt is made to contextualize genres of Nala's work represented in these collections on the basis of their intended market destinations.

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.

Drawing in the Visual Arts has been subject of scrutiny, fragmentation, and interpretation. Whether viewed as an objective academic pursuit or subjective experimental and explorative act, drawing can be perceived as largely changeable and mutable. In reflection on art history and art practice, it would seem drawing has been relegated to an unseen space in Visual Art, its role defined by purposes other than those that lead to drawing for drawing’s sake. The aim of this dissertation is to reaffirm the notion that drawing, with all its breadth and influence, is pivotal to the understanding of art-making. This dissertation examines drawing employed by artists following a historically Western discourse of art-making. From an initial look at Renaissance art practice around drawing, this examination tracks the characterisation of drawing to where its newfound status emerges in the 21st century. As a background to this research is established, reference is made to contemporary artists who have enlisted drawing as a contributing factor in their art practice. I then analyse my own art practice in relation to these artists and themes which I have discussed. Drawing has rarely been subjected to theoretical discourse. This dissertation, through an inherent narrative, aims to acknowledge and identify hidden discourses around drawing with reference to authors such as Phillip Rawson, John Elderfield, and Johanna Burton.

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.