Unsettling the Canon Some thoughts on the design of Visual Century: South African Art in Context (original) (raw)

Abstract

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This paper explores the design and implications of the Visual Century exhibition which aims to address the historical exclusion and marginalization of black artists within the discourse of South African art history. It critiques the established canon that has largely been shaped by dominant narratives promulgated by the nation-state, emphasizing the consequences of these select histories in educational settings and art institutions. Through an analysis of past publications and exhibitions, it advocates for a more inclusive understanding of South African art that accurately represents its diverse cultural contributions.

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References (4)

  1. See Walter Benjamin, 'On the Concept of History,' Walter Benjamin: Selected Writings, Volume 4: 1938-1940, Harvard University Press, Cambridge, 2003.
  2. It is worth noting that white women artists always have featured prominently in the South African canon. It can be argued, however, that this prominence speaks of the low status and value afforded the visual arts in colonial and apartheid South Africa.
  3. See Marion Arnold, Women and Art in South Africa, David Philip, Cape Town and Johannesburg, 1996 and 2005; Between Union and Liberation: Women artists in South Africa 1910-1994, Eds. Marion Arnold and Brenda Schmahmann, Aldershot, Ashgate Publishing, Hampshire, UK, 2005; and Brenda Schmahmann, Through the Looking Glass: Representations of self by South African women artists, David Krut Publishing, Johannesburg, 2004.
  4. See Marion Arnold's and Karen von Veh's respective reviews of volumes one and three in De Arte, 86, 2012, pp 77-80 and 73-74.