Anda di halaman 1dari 17

Example 3

EXHIBITA:
APLACEIN
THESUNBY
BRETTBAILEY
2010

Comparative study
Student C (HL)

THEMANWHO
SANGANDTHE
WOMANWHO
KEPTSILENT
(TRIPTYCH)
1998BYJUDITH
MASON

COMPARATIVESTUDY
HL

Visual arts teacher support material

Example 3

EXHIBITA:APLACEINTHESUN

Motivation:Therearetwobodiesofworksthathavemovedand
inspiredmeforthisComparativeStudy:ExhibitA:APlaceIn
TheSun(MathildaJoseph)(2010)aninstallationbyBrettBailey
andTheManWhoSangandTheWomanWhoKeptSilent
(Triptych)1998byJudithMason.BothBaileyandMasonare
contemporarySouthAfricanartistsfromdifferenttimeframes;
Baileyisessentiallyconsidered tohaveworkedduringthepost

Visual arts teacher support material

Apartheidperiodasmostofhisworkshavebeen
madeafter1990.Masonhowever,painted
duringtheperiodinSouthAfricanhistoryknown
asApartheidandalsoduringthepostApartheid
period.1990wastheyearthatNelsonMandela
andotherleaderswerereleasedandallpolitical
partiessuchastheAfricanNationalCongress
(ANC)andtheSouthAfricanCommunistParty
(SACP)wereunbanned.Duringthepost
Apartheidperiod,numerousSouthAfrican
artistsincludingBaileyandMasonfinallybegan
tousetheirfreedomofvisualexpression.I
experiencedBaileysinstallationsentitledExhibit
A:APlaceInTheSun(MathildaJoseph)(2010)
duringmyvisittotheannualSouthAfrican
NationalFestivaloftheArtsinGrahamstown.It
isappropriatetosayexperiencedasthatis
exactlyBaileysintentionforhisviewers.Iwas
alsoveryfortunatetoseeMasonspowerful
worksTheManWhoSangandTheWoman
WhoKeptSilent(Triptych)1998exhibitedatthe
SouthAfricanConstitutionalCourtduringa
VisualArtsfieldtriptoJohannesburg.Firstly,I
havechosentoanalyseAPlaceintheSunfrom
aseriesofinstallationsbyBrettBaileythatform
ExhibitA.

Example 3

CRITICALANDCONTEXTUALANALYSIS OF
EXHIBITA:APLACEINTHESUN(2010)BYBRETTBAILEY

Baileyestablishesastrongemotionalrelationshipbetweenthe
installationandtheviewer.ExhibitAwasfirstshowninEuropein2010
andreceivedverycriticalreviewsasheusedliveactors.Tofully
understandBaileysintention,itisimportanttoplacetheworkina
historicalandpoliticalcontextandthecolonizationofSouthWestAfrica
byGermanyduringtheearly20thCentury.WhilstthenamesofHitlers
concentrationcampssuchasAuschwitz,Dachauandcountlessothersare
associatedwiththeNaziholocaustalmosthiddenfromEuropeanhistory
istheperiodofsystematicexterminationoftheHereroandNamapeople
atthebeginningofthe20thCenturyinGermanSouthWestAfrica,now
Namibia.

TheexterminationwasinstigatedbytheorderoftheGermanGeneral
StaffandtheKaiser.OnceestablishedinSouthWestAfrica,theGermans
soughttogainspaceandwealthfortheirkindofcivilisationandthus
began,stronglydrivenbyideologiesandracialclassifications,toeradicate
whattheycalledsubhumanspecies,(Lindqvist,S.1992).
Furthermore,fromthe19thCenturyuntiltheSecondWorldWar,
EuropeansdisplayedpeoplewhodidnotfittheMasterRaceprofilein
humanzoosinordertodemonstratetheirinferiorityandreinforcehow
theydidnotfittheperfectspeciesthatexistedintheWest.

TheinstallationExhibitA:APlacein
TheSunisbasedonaphotograph
fromtheestateofHermannSchlter
heldbytheBraunschweigisches
Landesmuseum.Awoman(playedby
MathildaJoseph)sitswithherfleshy,
nakedbacktouschainedtoabedpost
inthequartersofanofficerofthe
GermanColonialForces,Windhoek,
1906.(Meersman,B.2010).

Visual arts teacher support material

Example 3

Onesuchexampleofahumanzooisthefamouscaseofa
SanwomannamedSaartjieBaartmanwhowasadvertised
astheHottentotVenus.ShewasbroughtovertoEurope
in1810andwasparadedinacageinPiccadillyCircusand
lateroninParistoexcitedonlookerswhowantedtosee
hergiganticbuttocksandgenitalia.SaartjieBaartmanwas
subjectedtodehumanisingtreatmentbyVictorianBritain,
shewasmadetodanceandsingseminakedforthe
audiencewhowereencouragedtotouchhershapely
bottom,(Holmes,R.2007).

Scientistsduringthisperiodbelievedthatinvestigating
physicaldifferencesbetweenEuropeansandthesocalled
savages,theycouldconcludethatthesetwogroupscould
notbepartofthesamespecies.CharlesDarwinswritings
TheOriginofSpecies(1859)andTheDescentofMan
(1871)wereusedbythesescientiststofurthersupport
theirtheories.Theyfoundjustificationforthe
exterminationofthesepeople,(Lindquvist.S.1992).

ILLUSTRATION:HOLMES,R.2007

SAARTJIEBAARTMAN

Visual arts teacher support material

However,Darwinassumedthatallhumansarefromthe
samespeciesbutpredictedinhisbookTheDescentofMan
thatatsomefuturepointthecivilizedracesofmankind
willalmostcertainlyexterminateandreplacethesavage
racesthroughouttheworld,(Darwin,C.1871).

Example 3

Baileycombinesextremeelements
oftwoatrocitiesinhisinstallation,
entitledExhibitA:APlaceinThe
Sun.Inordertorecreatea
VictoriantypehumanzooBailey
usedthetechniquesofinstallation
asthemostappropriatemedium.
Heusedaliveblackactorto
confronttheviewerinascenethat
depictsthetreatmentexperienced
byherancestorsunderthe
GermancolonialruleinSouth
WestAfrica.
Mutedfleshytonesandlive
exhibitsbecomesakeyfactorin
ExhibitA:APlaceinTheSunthus
forcingtheviewertothinkabout
theirownexperienceswithracism.
InasenseBaileyisattemptingto
givehisviewersahistorylessonas
inhisopinionthereisstillalotof
prejudiceintheWesternmind,
(Kehe,J.2012).

Thechainedwomanwithherbacktouswatchesusinamirror.Whatis
helduptousisnotourreflectionbutthewaytheotherseesuswhileshe
sitstherewearinganeckironchaininghertothebedpostwithanexhibition
serialnumberattachedtoherlowerback.Issheanartistsmuseoffering
usagaze?

Acaptionfortheexhibitstates:Ihaveseenwomenandchildrenwithmy
owneyesdyingofstarvationandoverwork,nothingbutskinandbone,
gettingfloggedeverytimetheyfellundertheirheavyloads.Ihavenever
heardonecry,evenwhentheirfleshwasbeingcuttopieceswiththewhip.
Allfeelingseemedtohavegoneoutofthem.(CapeArgus,September28
1905).

Visual arts teacher support material

Example 3

revealsabilaterallineofsymmetry.Acircleand
anisoscelestriangleriseabovethewomans
headwhenvieweddirectlyfromthefront.Does
Baileywantustomakeassociationswiththe
HolyTrinity,perhapsareferencetothestrong
ChristianbeliefoftheGermanofficer?Oftenthe
atrocitiesthatwerecommittedbyEuropeansin
colonieswereinthenameofGodandforKing
andCountry.Thewomansitsinacentral

Ouronlyeyecontactwiththe
womanisthroughamirror;isshe
ashamedtolookatusdirectly?
Thetwophotographsabovethe
mirrormaybetheofficerswife
backinGermany.Somemenin
colonialAfricaledtwolives.The
vieweronlyseesherthroughthe
officerseyes,asanobject.
ManyRenaissanceartistsused
geometricformatsintheir
compositions.Baileyhas
constructedaninstallationthat

symmetryimpliesthestructured
lifeoftheofficer;perhapsin
contrastalludingtothechaos
createdbycolonialism.The
womanishelpless,sittingchained
byhernecktothebedpost,a
sexualobjectfortheofficer,inhis
room,withallhisobjects;apart
ofhiscollection.Baileywantsus
toquestiontheroleoftherifleon
thebedthatcreatesarightangle
tothewoman:itiswithinreach,
whydoesshenotpickitupand
useittofreeherself?

positionbelowthelargesttrophyonthewall;is
shealsoatrophy?Wasshealsocapturedlikethe
animal?Themuseumserialnumberatthebase
ofherspinefurtherconfirmssheisanobjectto
beviewedinamuseum.The bilateral

Visual arts teacher support material

Example 3

BaileyinitiallydevelopedtheideasforhisExhibitA
seriesthrougharecognitionofparallelsbetweenthe
humanzoosofthe19thCenturyandhisownworkasa
DirectorwhotoursagreatdealinEuropeusingablack
cast.Baileyexplained,Myworkmightbeprovocative
andchallengesEuropeanaudiencestothinkabout
certainissues,butImstillawhiteguytakingblack
artistsacrosstoentertainwhitepeople(Smith,T.
2012).ThepromotersofthehumanzoosintheWest
offeredtheiraudiencesagazeintosuchanewworld
fabulousmythsandtravellerstalltalesaboutwild
Africatoemphasisetheirstrangeness,(Holmes,R.
2007).ExhibitA:AplaceinTheSunshowshowblack
womenwereoftenobjectsofdesireforEuropeanmen;
theyweretheexoticother.Theyoftenbecamevictims
ofownershipandsexualabusebymeninpowerduring
colonialperiods,enslavedwithoftenverylittle
opportunityofescape.

ItisironicthatBaileyplacestheriflewithinreachofthe
woman.Perhapshewantsustoquestionwhetherher
enslavementprobablymeantfreedomfromstarvation
andthatshewouldbelessfreeifsheweretouseitto
freeherself.ThusBaileyaimstocreateanemotional
relationshipbetweentheinstallationandtheviewer.
Hebelievescreatingtheexhibitionwasawayofcoping
withthepasttoexplorewhathewasfed,hisancestors
werefedinordertoperpetuatethemyththatoneis
betterthentheother,(Kehe,J.2012).

AccordingtoBailey,theseriesofworksinExhibitAis
notaclearnarrativebutsomethingthatexploresissues
ratherthentellingastory.Someoftheworkstransport
youbackintimeenablingyoutoexperienceamoment
inourcolonialpastonaveryemotionallevel;itis
EuropeshistorythroughAfrica,(Smith,T.2012).

Visual arts teacher support material

Example 3

CRITICALANDCONTEXTUALANALYISOF
THEMANWHOSANGANDTHEWOMANWHOKEPTSILENT(TRIPTYCH)1998 BYJUDITHMASON

TheManWhoSangandThe
WomanWhoKeptSilent(Triptych)
(1998)wasinspiredbytwostories
JudithMasonheardontheradioat
thetimeoftheTruthand
ReconciliationCommission(TRC)
hearings.Theytoldoftheexecution
oftwoliberationmovementcadres
bythesecuritypolice.Onewas
HeraldSefola,whoasMasonrelates,
"askedpermissiontosingNkosi
Sikelel'iAfricabeforehewasshot;
theotherPhilaNdwandwe,"who
wastorturedandkeptnakedforten
daysandthenassassinatedina
kneelingposition,(Mason,J.2004).

Visual arts teacher support material

MasoncreatedTheManWhoSang
andTheWomanWhoKeptSilentto
commemoratethecourageofPhila
NdwandweandHaraldSefolawhose
deathsduringtheApartheidstruggle

periodweredescribedtotheTRCby
theirkillers.TheTRCwasestablished
withArchbishopDesmondTutuas
thechair,touncoverthetruthabout

theatrocitiescommittedduringthe
darkdaysofApartheidinSouth
Africa.Thekillersweregivena
chancetomaketheirsubmissionsto
theTRCandthencomeforwardto
revealthetruth;oftenfamiliesof
thedeceasedwantedtoknowwhat
happenedtothebodyoftheir
relatives.Somefamilieswereable
togivethedeceasedadecent
burial;onemotherwhosesons
handswerecutoffwantedtoknow
wherethepartswere.Whenthe
severedhandswerefound,shesaid,
Nowmysoniswholeagain,(TRC,
online.1998).

THEMANWHOSANGANDTHEWOMANWHOKEPT
SILENT(TRIPTYCH),1995
(1)SCULPTURE(DRESS)200X70X45CMOILON
CANVAS,(2)166X122CM(3)OILONCANVAS190X
160CM.
PHOTOS&COLLECTION:THECONSTITUTIONALCOURT,
JOHANNESBURG,SOUTHAFRICA

Example 3

Furthermore,theTRCwasconceptulisedbyMandela
andotherleaderswhilsttheywerestillonRobben
Island;theybelievedthatsettingupsuchacommission
wouldpreventNurembergtypetrialsinthepost
Apartheidperiod.Thewomanwhokeptsilent,Phila
Ndwandwe,wasshotbythesecuritypoliceafterbeing
keptnakedfortendaysinanattempttomakeher
informonhercomrades.Shepreservedherdignityby
makingpantiesoutofablueplasticbag.Whenshewas
exhumed,thegarmentwasfoundwrappedaroundher
pelvis.

Shesimplywouldnottalk,oneofthepolicemen
involvedinherdeathtestified.Godshewasbrave,
(TRC,online.1998).

Masonrecalledhowsheweptwhensheheardthestory
ofPhilaNdwandweandsaidtoherselfIwishIcould
makeyouadress.Actingonthischildlikeresponse,
shecollecteddiscardedblueplasticbagsthatshesewed
intoadress.OnitsskirtMasonwroteanapologyto
PhilaNdwandwe.

Si st er , a pl ast i c bag may n ot be t h e wh ol e


ar mou r of God, bu t you wer e wr est l i n g wi t h
f l esh an d bl ood, an d agai n st power s, agai n st
t h e r u l er s of dar kn ess, agai n st spi r i t u al
wi ckedn ess i n sor di d pl aces. You r weapon s
wer e you r si l en ce an d a pi ece of r u bbi sh .
Fi n di n g t h at bag an d wear i n g i t u n t i l you wer e
di si n t er r ed i s su ch a f r u gal , common sen si cal ,
h ou se-wi f el y t h i n g t o do, an or di n ar y act At
some l evel you sh amed you r capt or s, an d t h ey
di d n ot compou n d t h ei r abu se of you by
st r i ppi n g you a secon d t i me. Yet t h ey ki l l ed
you .
We on l y kn ow you r st or y becau se a
sn i gger i n g man r emember ed h ow br ave you
wer e.
Memor i al s t o you r cou r age ar e
ever ywh er e; t h ey bl ow abou t i n t h e st r eet s an d
dr i f t on t h e t i de an d cl i n g i n t h or n -bu sh es.
Th i s dr ess i s made f r om some of t h em. Hamba
kah l e, Umkh on t o .

Visual arts teacher support material

Example 3

Thedress,swingingonitshangerinthebreeze,
remindedmeofthedraperyontheWingedVictoryof

WINGEDVICTORYOFSAMOTHRACE(CIRCA220185BC)
MUSEDULOUVRE,PARIS

SamothraceintheLouvre.SoIpaintedalocalVictory
figuremovingthroughimprisoninggridsofwire
accompaniedbyahyenaapredatorandascavenger
inasensetorepresentthestatebutcherswhowere
responsibleforthedeathsofcountlessothersaswellas
PhilaNdwandweandHeraldSefola,(Mason,J.2004).
PhilaNdwandwesbodywasneverfounduntiloneof
theofficersthatkilledherledthefamilytothegrave

afterbeinggrantedamnestybytheTRC.Theofficeronly
rememberedherbecauseofhercourage.Hesaid,No
matterwhattheydidtohershenevertoldthem
anything.Shenevergavethemanyinformationorgave
upanyone.ShediedbeingloyaltotheANCandgaveup
herlifeforthecause,(Mason,J.2004).
Mason'sdresswithtextformsthecenterpieceofthe
triptych,flankedoneithersidebyapaintinginwhich
thebluedresshangssuspended.Inoneofthem,a
predator,clearlyrepresenting"therulersofdarkness",

andpartiallyheldbackbyahoneycomblikegrid,isseen
withapieceofthedressinitsmouth.

Visual arts teacher support material

10

Example 3

Themanwhosang,HeraldSefola,
waselectrocutedtogetherwithtwo
comrades.Whilewaitingtodiehe
requestedpermissiontosingNkosi
SikeleliAfrikathebannedhymnof
theANC.Hiskillerrecalled,Hewas
averybravemanwhobelieved
stronglyinwhathewasdoing,
(TRC,1995,online).Inthepainting
dedicatedtoHeraldSefolathe
predatorisalsodepicted,thistime
withoutthepieceofdressinits
mouth,andagaincaughtinthe
honeycomblikegrid.Masonhas
usedalmostanequalcombinationof

coldandhotcolours.Thebottom
thirdofthecompositionradiates
heatandlightfromthethree
braziersthatareaglow.Placedina

curve,threetorepresentthedead
men,thelightfromthebraziers
illuminatesthefloatingbluedresson
theright.Thepredatorisever
presentinthecentrebutsomewhat
diffused.Thehoneycombgrid
shieldstheviewerfromtheobjects
andcreatesadistance.Thefloating
mugmaybeareferencetothelast
drinkHeraldSefolamayhavebeen
granted.Theuppertwothirdsof
thepaintingisdominatedbyadeep
brilliantbluesky,perhapsan
indicationofanendtothedayas
wellasanendtothedarkperiodin
SouthAfricanhistory.JusticeAlbie
Sachs,lookingforappropriatepieces
forthebrilliantlydesignednew
ConstitutionalCourtbuildingsaw

thefirstpaintingandsaidtoMason,
Judith,itissohardtoputthisin
theCourt.Itwillmakepeople
deeplydepressedanddistressed...
makeitjustalittlesofter,alittle
morereconciled,(Sachs,A.2004).
Masonmadeathirdpainting,this
timewithoutthepieceofdressin
thepredatorsmouthbutextended
byamugandthreebraziersaglow;
thetriptychwascompleted.

Visual arts teacher support material

11

Example 3

WhenJusticeSachssawthepaintingMasonhad
completed,hefelt"awarmglow,thesenseof
reconciliation,ofcomingtotermswiththeterriblepain
ofthepast.Thepredatortrappedinthefence,keeping
itatbay,thedresssoaring."But,saysSachs,itwas"too
soft...tookind...tooreconciled."WhatMasonand
Sachsagreeduponwastocombinethedressandthe
twopaintings,sothatitformedacompositework.
"Theybelongedtogether,"saysSachs."Thereisastory
inthevisualobjectsthemselves,inthewayshe
producedthem."SachsconsidersTheManWho
SangandTheWomanWhoKeptSilenttobe"oneofthe
greatpiecesofartintheworldofthelate20thcentury,
thatemergedoutofourartisticimagination,oursocial
experience,oursensibility,"(Sachs,A.2009).

CONSTITUTIONCOURTOFSOUTHAFRICA,JOHANNESBURG.
PHOTO:Courtesyoffromagieflickr

MasonstriptychisexhibitedintheSouthAfrican
ConstitutionalCourtinJohannesburgwherehundreds
ofvisitorshaveaccesstoseeacollectionofartthat
mirrorstheApartheidhistoryofSouthAfrica.TheMan
WhoSangandTheWomanWhoKeptSilentisa
reminderofthecrimesofApartheidandtheviolationof
humanrights.Theyalsoremindusthatnotallvictimsof
ApartheidwerefoundthroughtheTRC;somefamilies
continuetowaitinvain.JusticeSachsusedabluedress
imageforthecoverofhisbookaboutcasesthatreally
movedhimandmadehimcry.

INTERIOROFTHECONSTITUTIONALCOURT.JOHANNESBURG
PHOTOFROM:http://www.joburg.org.za

Visual arts teacher support material

12

Example 3

COMPARISONBETWEENEXHIBITA:APLACEINTHESUNBYBRETTBAILEY(2010)&
THEMANWHOSANGANDTHEWOMANWHOKEPTSILENTBYJUDITHMASON(1998)

EXHIBITA:APLACEINTHESUNBY
BRETTBAILEY(2010)

Baileyusedthetechniqueofinstallation
todepictaconceptofthe19thCentury
typehumanzoo.Heusedliveactorsto
inhabittheinstallations.APlaceinThe
SunwaspartofExhibitAseriesthat
dealtwithaddressingpostcolonial
questionsdealingwiththetreatmentof
blackpeopleinAfrica.Baileyaimedto
changeperceptions,totaketheviewers
outoftheircomfortzoneandto
communicatehisconcernsaboutthe
treatmentofblackpeopleincolonial
Africaonanemotionallevel.

ForExhibitA:APlaceintheSunhechose
Namibianswhowerewillingtoconfront
theviewerandsharetheirstoriesof
racismintheirdailylife.Bailey
employedauniqueapproachto
communicatehistorythroughthe
techniqueofinstallationsandmost
visitorswereprofoundlyaffectedbythe
experienceofseeingaBrettBailey
installation,(Meersman,B.2010).

Visual arts teacher support material

SOMECOMMONELEMENTS

BothBaileyandMasonstrivetoachievean
emotionalresponseandahistorical
awarenessfromtheviewer.Botharecritical
ofsystemsofinjustice.
Baileyemphasisedthatcolonialpowers
shouldbeblamedandnottheviewer
personally.Itisnotaclearnarrative,its
somethingthatexploresissuesratherthan
tellingastory.Someoftheworkstakeyou
backintimeandletyouexperiencea
momentinourcolonialpastonavery
emotionallevel,(Smith,T.2012).

BothBaileyandMasonusedconceptual
methodstocommunicate.Baileyusedmore
readymadestocreatehisinteriorand
Masonfashionedagarmentfromblue
plasticbagstodepictametaphor.Therefore,
Masonsworkalsoelicitsacombinationof
emotionalresponseandahistorical
awarenessoftheApartheidera.Through
thetriptych,wearemadeawareofthedark
daysofApartheidandthecourageofthe
torturedvictims.Masonconcluded,Having
theopportunitytohonourTheManWho
SangandTheWomanWhoKeptSilenthas
beenaprivilege,butitleavesmewithan
abidingsenseofshame.(Mason,J.2009).

THEMANWHOSANGANDTHEWOMAN
WHOKEPTSILENTBY
JUDITHMASON(1998)

Masoncreatedathreedimensional
objectusingblueplasticbags.Theblue
dressismadeasanofferingtoPhila
Ndwandwewhowasleftnakedafter
beingtortured.Masonusedthesurface
oftheplasticdresstowriteanapologyto
thedeadactivist.Theothertwopieces
thatformthetriptycharepaintingsthat
aredirectlyrelatedtothedressandonce
againMasonusedmetaphorsto
composethenarrativesofTheManWho
SangandTheWomanwhoKeptSilent;
bothpiecesincludeanimageofthe
floatingbluedressontherighthandside.
PerhapsMasonwantsustowillthedress
tofloatoutofthecomposition;perhaps
infuturetherewontbeanotherdark
periodinthehistoryofSouthAfrica.For
thepresentitisatimelyreminderofthe
pastastheworksareexhibitedinthe
ConstitutionalCourtofSouthAfricathat
upholdsthenewconstitutionofa
democraticsystemofgovernance.

13

Example 3

STUDENTARTIST
USINGJUDITHMASONSBLUEDRESSFORINSPIRATION

TheSouthAfricanartistJudithMasoninspiredmyseriesof
drawings.Masonsbluedressshowstheunseenpresenceofa
personandnotonlyrevealstheatrocitiescommittedduring
ApartheidinSouthAfrica,italsoresonateshope.Asayoung
SouthAfricanIambecomingmoreawareofthehistoryofmy
country,particularlythroughtheworksofSouthAfricanartists
suchasJudithMasonandmorerecentlyCandiceBreitz.Mason
madethebluedressasanapologytoPhilaNdwandwe,anactivist
whowastortured,leftnakedfor10daysandthenkilled.She
madeherselfapairofpantiesusingablueplasticbagtomaintain
herdignityandwhenherbodywasdiscoveredthisisallshewas
wearing.MasonwasverymovedbythisstoryandItoofound
thatIwasdeeplyaffected.Ialsofounditdifficulttocomprehend
thatsuchatrocitiestookplaceinSouthAfrica.Thestoryshows
courageandstrengthofthehumanspiritandthebluedressisa
timelyremindertotheyoungpeoplesuchasmyselfofthedark
historyofSouthAfrica.

Ibeganmyexperimentsbyhangingmyownbluedressona
washinglineinthegardenandmadestudiesusingpencil,black
penandwatercolours.AtfirstIwantedtocapturetheshapeof
thedressagainstastarkbackdrop,todepictthepresenceofa
personusingthebluedress.Imadeseveralsketchesandeven
triedtoshowthedressinfrontofametalfenceincontrastto
Masonspainting,shehadplacedthebluedressbehindthefence
inoneofherpaintingsthatformsthetriptych.

Experimentingwithpencil,blackpen andwatercolours.

Iusedwatercolourstotry
andintroduceasubtleblue
forthedress.Irealisedthat
althoughthebluebeganto
reallydefinetheinfluence
ofMasonsbluedress;I
neededtoreturntothis
subjectmatteratalater
stageandmakealarger
drawing.

Visual arts teacher support material

14

Example 3

STUDENTARTIST
EXPERIMENTINGWITHBLACKANDWHITEPHOTOGRAPHY
USINGMYBLUEDRESS

WehadaprojectusingblackandwhitefilmandSLRcamerato
takephotosandtodevelopandprinttheminthedarkroom.I
chosetousemybluedress.OnceagainIusedmybluedressto
seeifIcouldachievedifferenteffects,thistimeusing
photographs.Ialsowantedtomakeasocialcommentbyshowing
theemptinessofthespacesurroundingthedressbutatthesame
timealludetothepresenceofaperson.

Experimentingwithadigitalcamera

Ihungupmybluedressinthegardentocapturesomeimages,
initiallyincolourusingadigitalcameratopractice.Itooksome
shotsofthedresswrappedaroundabranchofatreetoshowthe
contrastingtexturesoffabricandtheruggednessofthebark.

IrealisedthatIpreferredtheeffectsofthedressdrapedonthe
branchasitsuccessfullyrevealedcontrastingtexturesandmade
thedressappearmoreasashapeagainstthebranches.
Process:Thefilmwasunloadedinadarkbagandplacedintoa
container.Nextthedeveloperandwaterwerepouredinfora
settime,dependentonthetemperatureoftheliquid.Thefilm
wasagitatedeveryminute.Thedeveloperwaspouredoutand
thefilmwasrinsedinrunningwater.

Ateststripwasmadetodeterminetheexposuretime.

Iamverypleasedwithmyfirstprintusingthesespecifications:
F50mm,Enl4,Exp4.5secs.

Visual arts teacher support material

15

Example 3

STUDENTARTIST

TITLE:BLUEDRESS#1
MEDIUM:PENCIL
SIZE:102x76cm
JULY2012

Overayearaftercompletingmylarge
pencildrawingentitledBlueDress#1
basedonMasonsbluedress,Idecided
tomakeanoilpainting.Bluedress#2
isacontinuationintheseriesofblue
dresses.Iwantedtoincludemore
detailsandtocontinuethestoryby

BLUEDRESS2

addingmoredimensiontotheseries.My
startingpointwasaphotographofafriend
wearingthebluedressnotrevealingher
identitybutmakingthedressthemainfocus
ofthecomposition.LikeMasonIwantedto
representthebluedressasanactofheroism.

Symbolismofthelily
Insomecultureswhiteliliesareassociated
withdeathsandareoftenplacedongraves.
Whitealsorepresentspurityofthesouland
eternallife.Sometimespeopleplacelilieson
gravesofpeoplewronglyexecuted,(online,
2013).InmypaintingIdecidednottogive
thelilytoomuchdetailbecausethedresswas
stillthefocus.Idepictedthelilypiercingthe
dresstorepresentthesymbolofunjustdeath,
takingholdofthedress,thesymbolof
heroism.Thispaintingconcludestheseriesof
thebluedressandshowsthatalthoughPhila
Ndwandwewassubjectedtoanunjustdeath;
Masonhasensuredthatherstorywillbe
remembered.Iwantmylilytorepresentan
innerpeaceforPhilaNdwandwe.

TITLE:BLUEDRESS#2
MEDIUM:OILPAINT
SIZE:110x50cm
AUGUST2013

Visual arts teacher support material

16

Example 3

REFERENCES

DARWIN,C.R.1871.Thedescentofmanandselectioninrelationtosex.London:JohnMurray.Volume1.1stedition.
HOLMES,R.2007.TheHottentotVenusTheLifeandDeathofSaartjieBaartman.Jeppestown:BloomsburyPublishingPlc.
KROG,A.1998.TheCountryofmySkull.Johannesburg:RandomHouse.
LAWVILJOEN,B.2008.ArtandJustice.Parkwood:DavidKrutPublishing
LAWVILJOEN,B.2009.LightonaHill.Parkwood:DavidKrutPublishing
LINDQVIST,S.1992.ExterminateAllTheBrutes(transl.J.Tate.)NewYork:TheNewPress.
SACHS,A.2009.TheStrangeAlchemyofLifeandLaw.NewYork:OUP
SMITH,T.(2012)ExhibitAtouchesNationsPain.PretoriaNews,3July,p.3

PRIMARYSOURCES
ExhibitA:APlaceintheSun,NationalFestivaloftheArts,Grahamstown,SouthAfrica,June2012
VisittoConstitutionalCourtofSouthAfrica,Johannesburg,Nov2012.

WEBSITES:

JudithMasonarchives:http://www.artprintsa.com/judithmason.html(accessedNov2013)

http://mg.co.za/article/20130217concourtartshapessouthafricanstories(accessedNov2013)

http://www.ehow.com/list_7512521_flowerssymbolizedeath.html(accessedJuly2013)

Kehe,J.(2012)CulturalExchange:'ExhibitA'atNationalArtsFestivalstirsemotionthroughracism,LATimes,28July.(AccessedNov
2013)
Mason,J(2009)Assemblage[online],http://www.judithmason.com/assemblage/5.html(AccessedDec2010)
www.justice.gov.za/trc/report/(accessedNov2013)

Visual arts teacher support material

17