2 Alison Kearney, Put something in to get something out, 2006. Mixed media, interactive installation. Detail. The Premises Gallery, Johannesburg.

Contexts in source publication

Context 1

... that the objects are also active agents within this process, in chapter six I explore the manner in which the materiality of found objects contributes to the meaning of the artworks, and by extension, I consider what new possibilities of meaning a focus on the materiality yields. In the final chapter, I use the concept of the everyday to draw the themes that have emerged throughout this study More recently I created an interactive artwork titled Put something in to get something out (2006) ( fig.1.2), in which I invited visitors to the exhibition to swop objects with me in the gallery for the duration of the exhibition. ...

Context 2

... of Afrikaans poems that are arranged to form images on the page turn the written words into an image, thereby enabling viewers to look at 'Afrikaans'. Fig. 2.1 Kendall Geers, Brick, 1988. Found object and text. Dimensions variable. Johannesburg Art Gallery collection. Image courtesy of the Johannesburg Art Gallery. Kendall Geers's Brick, (1988) (fig. 2.1), exhibited as part of the exhibition Inside/ Outside (1995) curated by Julia Charlton for the Africus Biennale, Johannesburg Art Gallery, is an interesting example of Geers's use of narrative to construct meaning for found objects. The artwork consisted of a brick on to which Geer's stuck a piece of paper, with text printed on it. The ...

Context 3

... African artists, and the dubious sub-categories under which artists are classified in the book (see Pissarra 2006), it remains one of the few books, which attempts to represent South African artists of all races published before 1990. In the introduction Williamson (1989, 8) states: of their sculptures on Ngezinyawo-migrant journeys (2014) 38 ( fig. 2.2), an exhibition at Wits Art Museum 39 , curated by Fiona Rankin-Smith, in collaboration with Peter Delius and Laura Philips, which explored the effects of the migrant labour system that built the South African economy. …this book concerns the ways the artists of [her] generation responded to the truths made clear by the events of 1976, ...

Context 4

... sculptures, for example Hostel monument for the migrant worker (1978) (fig. 2.3), were characterised by the use of provocative objects in sculptural assemblages that commented on social and political issues at the time they were made. Hostel monument for the migrant worker (1978) was made from metal bedframes, grey flannel blankets, and clocks evocative of the prison-like regime of living imposed on migrant ...

Context 5

... monument for the migrant worker (1978) was made from metal bedframes, grey flannel blankets, and clocks evocative of the prison-like regime of living imposed on migrant mineworkers residing in hostels. The stacked bedframes, with such a small sleeping area, reinforce the image of a claustrophobic, regimented life that was the reality for many mine workers as photographs of mine workers' sleeping quarters such as Eli Weinberg's photograph in fig 2.2 reveals. The horns of cattle are included as they are signifiers of wealth in most Southern African cultures and wood and grass are materials relation to a rural life that many of the migrant labourers who travelled to work on the mines, left behind. ...

Context 6

... was to these underlying, hidden layers which form the physical characteristics of an artwork, (which Benjamin (1973) The x-ray reveals the underlying layers of paint that make up the painted surface and which are usually hidden from view. The hidden layers, though usually invisible, are necessary for building up a surface, for optical colour mixing, and to create the illusion of depth (fig 4.2). ...

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... space in this series of installations where the specificity of objects was foregrounded was in the installation of the on-going artwork Will, 1997-( fig 5.12). Sympathetic magic (2002) seems to be the one exhibition in which Siopis focuses on the ontological status of the objects she uses, as well as the manner in which objects are presented communicates the different values that are attached to objects. ...

Context 8

... title implies that the differences in the appearance of these brooms could be understood as a metaphor for the family-which is thought of as a unit, and yet made up of individuals who are idiosyncratic and different. Three sisters in law (2012) (Fig. 6.12) explores the relationship between women who are united by marriage into a family. The bangles that Seejarim used are customarily worn by, and therefore signify, married Indian women. I read the brooms as bodies of the married women, and the bangles as the bangles that these women would wear to show their married status. In this ...

Context 9

... the installation moved to from gallery to gallery, at the start of each new exhibition, new batteries, paper, and coils were attached to the corrosion devices; beginning the process again. All the materials, including the used coils of fabric, spent batteries and 'corrosion drawings' from previous exhibitions were exhibited as part of the next installation ( fig 6.20). Everything that was used to create the 'corrosion drawings' was exhibited; nothing was wasted. ...