Critical possibilities for painting after neo-expressionism
| dc.contributor.author | Burgener, Andrea | |
| dc.date.accessioned | 2017-01-30T12:28:20Z | |
| dc.date.available | 2017-01-30T12:28:20Z | |
| dc.date.issued | 2017-01-30 | |
| dc.description | A Dissertation submitted to the Faculty of Arts. University of the Witwatersrand. Johannesburg, in partial fulfillment of the requirements for degree of Master 0f Arts in Fine Arts. Johannesburg 1996, | en_ZA |
| dc.description.abstract | Painting as a practice has been probk-matlsed in postmodern discourse in many ways. Neo-expressionism painting has been seen by certain Inf'luental critics as standing for a particularly regressive form of painting. These critics argue- that Neo-expressionism painting perpetuates dominant (mascullnlst) values. This dissertation examines how these critiques of Neo-expressionisrn might open up a space for a re-arttculatlon of painting. More specifically, it proposes that painting may hp re-InscrIbed with critical potential. This re-Inscr-iption is proposed as operating by way of the adoption of cer-taln formal and conceptual strategies, these being parody, metonymy and readvrnades. Whilst these strategies have wider relevance in contemporary debates many of which emanate from critiques of Neo-expressionism - they are of also of primary importance to a re-artlculatlon of painting within my own practice. | en_ZA |
| dc.description.librarian | MT2017 | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/10539/21785 | |
| dc.language.iso | en | en_ZA |
| dc.title | Critical possibilities for painting after neo-expressionism | en_ZA |
| dc.type | Thesis | en_ZA |
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