In depth, comprehensive summaries on all artists and artworks relevant to the South African Resistance Art section of the IEB Visual Arts examination. This includes Jane Alexander - "Butcher Boys", Willie Bester - "Forced Removals", Kevin Brand - "19 Boys Running", Penny Siopis - "Patience On A Mon...
RESISTANCE ART: JANE ALEXANDER
“THE BUTCHER BOYS” (1986)
MODE/MOVEMENT: Resistance Art – Installation
DESCRIPTION: Three figures are seated upon a bench. Very masculine, their gender is unknown because their genitalia
are covered (or sealed) by the same sort of protection that cricketers wear - fused into the flesh.
INFLUENCE & CONTEXT: Alexander captures a mixture of emotions -shows the violent, aggressive and powerful
characteristics in the same body that reveals helplessness. Alexander has said that the alter ego of aggression is
vulnerability.
INTERPRETATION & SYMBOLISM: Their faces are distorted: they have no mouths and can neither speak nor roar nor
eat. Their eyes are dark and glassy, nearly slimy. They seem hollow and haunting. They have no ears. They have little
connection to what is around them- -they have lost their senses and seem completely cut o from the world. The figures
are naked with a very pale white skin making them seem vulnerable. Symbiotic relationship between oppressor and
victim. Title – figures are both the butcher and the butchered; “Boys” alluded to diminutive term used for black men
“Garden Boy” and the fact that they have no visible sex – emasculated.
HUMAN PSYCHOLOGY & BEHAVIOUR: Spectator’s role is of utmost importance, as it will determine the meaning of a
work. Spectators bring all their prejudices, fears and emotional responses to the confrontation between artwork and
onlookers. Unsettling and disturbing.
ART AS A REFLECTION OF SOCIETY -- SOCIAL/ POLITICAL/ HISTORICAL/ ECONOMICAL / GENDER/
GLOBALISATION: Alexander's work is read as protest art because it was made during that time. Her work was very
much influenced by the reality of the disrupted society and therefore it seems to fall under socio-political art. For her,
her work has no specific story, besides the one the viewer creates. Her aim is to try and make people question, react to
and recognize their emotions regarding the work.
TECHNOLOGY / NEW MEDIA + MEANING IN MEDIA: Sculptures: A variety of materials are used: plaster, bone, horns,
wood, wax and paint. Primary reference is the human anatomy. Bone has been inserted into the flesh and the human
figures take a form of both man and beast. To enhance this feature, horns grow out of the skulls. She bestializes the
human form. Installation: Alexander uses space - by placing a figure or figures in this space, creates a feeling of
alienation, aloneness and loneliness. Her figures seem to be alive and watching us, ready to move at any moment -
conveyed through careful study of posture. Passiveness in their position as if they are waiting for something,
simultaneously they seem to be nervous and aware.
AFRICAN IDENTITY: Monster of Apartheid which is still carried with so many people. Haunting and lingering.
, RESISTANCE ART: NORMAN CATHERINE
“DOG OF WAR” (1988)
MODE/MOVEMENT: Resistance Art. Drypoint etching. Monochromatic (also created hand-coloured prints)
DESCRIPTION: A large beast-like dog takes centre stage and leaves death and destruction in his path. Figures in the
background are decapitated and maimed. The dog creature is wearing a police cap and has a snake for a tongue. Rough
texture created with cross hatching and filled with mark making.
INFLUENCE & CONTEXT: Directly talks to police brutality during apartheid.
INTERPRETATION & SYMBOLISM: Dog – aggressive human nature (dogs used as weapons of torture and control by
police). People losing their humanity during this violent time. Snake tongue – lies and false accusations – talks to
corruption and untruths. Black and white (stripes on the dog) = danger. Harsh. Exposing the truth (in black and white).
Black and white – also talks to serious/morbid topics (no colour= no joy). Police cap – police force.
HUMAN PSYCHOLOGY & BEHAVIOUR: Police losing their humanity – becoming animals like in their violence and
brutality. The entire scene presents a horrific truth in a palatable comic – style format. Helps the viewer digest the
gruesome truth.
ART AS A REFLECTION OF SOCIETY -- SOCIAL/ POLITICAL/ HISTORICAL/ ECONOMICAL / GENDER/
GLOBALISATION: Political and historical. Directly talks to the brutality, laws, protests and unrest of the 1980s in SA.
Still relevant today – look at police brutality in the USA with BLM.
TECHNOLOGY / NEW MEDIA + MEANING IN MEDIA: The physical process of creating a dry point etching is
demanding. The repeated slicing and “brutalising” of the metal surface become symbolic of the brutality in real life.
Multiple prints = greater exposure and sharing of the truth (printmaking often thought of as the most democratic
medium as it is more accessible to more people)
AFRICAN IDENTITY/ PROTEST: This artwork makes the viewer question how much they are controlled by their
government or police force and whether they are actually free. In this case, the police force which are intended to
protect the people, are the perpetrators of violence. This urges the viewer to question who they trust to protect them is
society.
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