Seeing Beneath and Beyond the Red: Exploring the layers and folds in the Atlas I and Atlas II paintings of Penny Siopis through an understanding of affect theory and a pondering of the affective aesthetic experience

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dc.contributor.authorMarakalala, Mamelodi Dolly
dc.contributor.supervisorValley, Greer
dc.date.accessioned2024-08-06T19:29:14Z
dc.date.available2024-08-06T19:29:14Z
dc.date.issued2023-08
dc.departmentDepartment of History
dc.descriptionA research report submitted in fulfillment of requirements for the degree of Master of Arts in History of Art Coursework and Research Report, to the Faculty of Humanities, in the Wits School of Arts, at the University of the Witwatersrand, Johannesburg, 2023.
dc.description.abstractEmotion has always held a significant role in the creation and then the experience of objects of art. Artists have life experiences that eventually seep into their works through the use of interesting materials and techniques, engaging with a range of mediums, and going as far as their imagination takes them. In turn, under varying contexts, viewers get to relate to the feelings emitted from the paintings. Grounded in art historical and visual cultural theorisations of affect, this study explores the Atlas I and Atlas II (2020) paintings of Penny Siopis (b. 1953) from Stevenson Gallery’s In The Air (2020-2021) exhibition. It is based on the reading that their formal characteristics, especially the scenes, shapes and red colour appearing in a single painting represent specific emotions, which are to be articulated properly through symbols found in the realms of other media, including music, literature, and film. Additionally, research on the aesthetic experience is also explored, including fanatic responses from digital social media platform Instagram, a book on the emotional expression of crying in front of paintings, an empirical study that focuses on emotional content in paintings and the emotional experiences that follow, as well as a look at the contexts that situate affect in a real and diverse world. I make use of a qualitative conceptual research method to ensure that all present information on the facets and depths of this study are assessed and illuminated meaningfully, to produce a well-rounded and nuanced understanding of Siopis’ art as well as the art experience.
dc.description.sponsorshipNational Research Foundation (NRF).
dc.description.submitterMM2024
dc.facultyFaculty of Humanities
dc.identifierhttps://orcid.org/0000-0003-4811-6929
dc.identifier.citationMarakalala, Mamelodi Dolly. (2023). Seeing Beneath and Beyond the Red: Exploring the layers and folds in the Atlas I and Atlas II paintings of Penny Siopis through an understanding of affect theory and a pondering of the affective aesthetic experience. [Master's dissertation, University of the Witwatersrand, Johannesburg]. WIReDSpace. https://hdl.handle.net/10539/40005
dc.identifier.urihttps://hdl.handle.net/10539/40005
dc.language.isoen
dc.publisherUniversity of the Witwatersrand, Johannesburg
dc.rights©2023 University of the Witwatersrand, Johannesburg. All rights reserved. The copyright in this work vests in the University of the Witwatersrand, Johannesburg. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of University of the Witwatersrand, Johannesburg.
dc.rights.holderUniversity of the Witwatersrand, Johannesburg
dc.schoolSchool of Social Sciences
dc.subjectPenny Siopis
dc.subjectAffect Theory
dc.subjectVisual Studies
dc.subjectAesthetic Experiences
dc.subjectUCTD
dc.subject.otherSDG-4: Quality education
dc.titleSeeing Beneath and Beyond the Red: Exploring the layers and folds in the Atlas I and Atlas II paintings of Penny Siopis through an understanding of affect theory and a pondering of the affective aesthetic experience
dc.typeDissertation
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