http://hdl.handle.net/10500/177 2013-05-25T17:47:37Z 2013-05-25T17:47:37Z Tumusiime, Amanda Evassy http://hdl.handle.net/10500/9036 2013-04-22T08:30:51Z 2012-04-01T00:00:00Z

Art and gender : imag[in]ing the new woman in contemporary Ugandan art Tumusiime, Amanda Evassy This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies.

2012-04-01T00:00:00Z Van Haute, Bernadette http://hdl.handle.net/10500/7024 2012-11-03T22:01:12Z 2001-09-20T00:00:00Z

David I Ryckaert: A late sixteenth-century stoffeerder. Presented at the Medieval-Renaissance Conference XV. The University of Virginia’s College at Wise, 20 – 22 September 2001. Van Haute, Bernadette Until today, David I Ryckaert (Antwerp, 15602 - 1607, Antwerp) has been considered the patriarch of three generations of painters living and working in Antwerp. Except for Manteuffel3, most authors4 agree that he was the first painter in the Ryckaert lineage. I have come to the conclusion that David I Ryckaert was not a painter of pictures — in the context of this paper, the term painter is used to designate one who paints pictures, unless indicated otherwise — but that he was a decorator of woodwork and sculptures. I would like to offer an explanation for my point of view, based on a re-examination of the meaning of the term stoffeerder current at the time of Ryckaert's registration which differs from the modern meaning of the term "staffage". To enhance the credibility of my proposition, I will demonstrate the doubtfulness of some alleged attributions of paintings to David I Ryckaert.

2001-09-20T00:00:00Z Van Haute, Bernadette http://hdl.handle.net/10500/6991 2012-10-27T22:00:19Z 2008-01-01T00:00:00Z

Willem Bartsius and the art of Dutch history painting Van Haute, Bernadette Willem Bartsius (c.1612 – in or after 1639) is a seventeenth-century Dutch painter whose artistic output has puzzled art historians. Only six signed works have survived and on the basis of stylistic analogy, another ten paintings have been attributed to him. The scarcity of his paintings has been explained in the light of his being active for less than a decade during the 1630s, his career being cut short prematurely by his presumed death in or after 1639. The existence of a drawing, signed and dated ‘BARTIVS f. / 1657’, in Cologne1 at first made me anticipate the possibility that he lived much longer, but the authorship of the drawing proves to be questionable. In this article I will present the known facts of the artist’s life and try to reconstruct his movements. This is followed by a discussion of works by or attributed to Willem Bartsius in an attempt to establish his extant oeuvre and define his strengths and preferences in terms of style and iconography. His output will be considered in the context of Dutch history painting at that time in order to arrive at a plausible reconstruction of his artistic achievement.

2008-01-01T00:00:00Z Van Haute, Bernadette http://hdl.handle.net/10500/6979 2012-10-27T22:00:19Z 2011-01-12T00:00:00Z

Post-Africanism and contemporary art in South African townships Van Haute, Bernadette The aim of this paper is to investigate the possibilities offered by Post-Africanism – a new perspective coined by Denis Ekpo and proposed as an alternative to postcolonialism. He defines Post-Africanism as an attempt „to seek newer, fresher conditions for a more performative African intellectual engagement with Africa, modernity and the West‟ (Ekpo 2010:182). In this paper I use the Post-Africanist approach to reconsider contemporary art produced in South African townships. In line with Ekpo‟s deconstruction of Africanism I investigate parallel notions identifiable in selected works. By diagnosing certain characteristics as symptoms of Africanism and realising their crippling effects, it is possible to suggest a way forward in the form of Post-Africanism. Ekpo postulates that, if artists are no longer weighed down by the historical burdens of the past (i.e. decolonisation), they become enabled to promote Africa‟s new cultural health by embracing all of modernity‟s cultural resources. Paper presented at the Colloquium organised by SAVAH under the aegis of CIHA, University of the Witwatersrand, Johannesburg, 12 – 15 January 2011

2011-01-12T00:00:00Z