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- W1488352283 abstract "Interkuns praktyke : die rol van die tekening; en implikasies vir die Kunsgeskiedenis:Hierdie artikel is gebaseer op die ervaring van 'n kunshistorikus-teoretikus binne die konteks van 'n tersiere kunsskool vir die skone kunste toegewy aan die integrasie tussen ateljeepraktyk en die kunsgeskiedenis-teorie. So 'n integrasie vorm die hoeksteen vir nagraadse studie in die konteks. Daar word byvoorbeeld van meestersgraadkandidate in die skone kunste verwag om hul werk vir publieke tentoonstelling in noue verwantskap te bring met die historiese en teoretiese analise en kontekstualisering binne hul vakkundige verhandelings. Hierdie verwagting is in lyn met eietydse denke met betrekking tot navorsing in die visuele kunste, met onlangse inisiatiewe vanuit die dissipline van die Kunsgeskiedenis-teorie asook met tendense in kontemporere kunspraktyke. Die artikel bestaan uit vyf afdelings : 1) 'n inleiding, kontekstualisering en argument waarin die outeur se oorskakeling vanaf 'n interdissiplinariteit van inhoud na een van metodologie genoem word en waarin hierdie verandering gelokaliseer word binne oorweging van die verhoudinge tussen die Kunsgeskiedenis en die Kunsteorie, met verwysing na twee tekste, respektiewelik gepubliseer in 1994 - die jaar waarin die outeur geimmigreer het vanaf Suid-Afrika na Nieu-Seeland - en 2006 - die jaar waarin die onderstaande artikel geskryf is; 2) verbandhoudelike inligting oor spesifieke kurrikula toegewy aan die integrasie tussen ateljeepraktyke en die kunsgeskiedenis-teorie; en 'n skets van die verwantskap met onlangse denke, inisiatiewe en kunspraktyke; 3) 'n kort bespreking van die funksies van die tekenkuns in hierdie verwantskap; 4) die aanbieding van 'n gevallestudie as voorbeeld; 5) en as samevatting, 'n kort nota oor die begrip interkunspraktyke en hul implikasies vir die Kunsgeskiedenis-teorie as een, alhoewel, twisterige dissipline.This article is based on the experience of an art historian-theorist working within the context of a tertiary school of fine arts dedicated to the integration of studio practice and art history-theory. Such integration is the cornerstone of postgraduate studies in this context. Master of Fine Arts candidates are, for example, expected to closely align their work for public exhibition with the historical and theoretical analysis and contextualisation contained in their scholarly dissertations. This expectation is in line with current thinking on research in the visual arts, with recent initiatives from within the discipline of History-Theory, as well as with tendencies in contemporary arts practices. The article is divided into five sections: 1) an introduction, contextualisation and argument mentioning the author's shift from an interdisciplinarity of content to one of methodology; and which locates this change within reflection on the relationships between Art History and Art Theory, with reference to two texts, respectively published in 1994 - the year in which the author immigrated from South Africa to New Zealand - and in 2006 - the year in which the article below was written; 2) relevant information about particular curriculae which insist on the integration between studio practice and art history-theory and an outline of their alignment with recent thinking, initiatives and arts practices; 3) a brief discussion of the roles of drawing in this alignment; 4) a presentation of a case study as an example of this alignment; and 5) in conclusion, a brief note on interarts practices and their implications for History-Theory as one, albeit fractious, discipline." @default.
- W1488352283 created "2016-06-24" @default.
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- W1488352283 date "2006-01-01" @default.
- W1488352283 modified "2023-10-08" @default.
- W1488352283 title "Interarts practices ; the roles of drawing ; and implications for Art History" @default.
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