Sandra Klopper
Biographic Data
| ID | 210135 |
|---|---|
| NAME | Sandra Klopper |
| GIVEN NAMES | Sandra |
| FAMILY NAME | Klopper |
| SIGNATURE | KLOPPER S |
| AFFILIATIONS | University of Cape Town |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 2 |
I Could Be Happy with You, if You Could Be Happy with Me: The Playful Inventions of a Visionary Headrest Artist from the Msinga Region of Kwazulu-Natal
Reinventing Zulu Tradition: The Modernism of Zizwezenyanga Qwabe’s Figurative Relief Panels
The Artist as Agent: Noria Mabasa and the Book
This article traces the multiple ways in which Noria Mabasa reaffirmed her creative agency after the publication on her in 2003 of a Taxi Art Book monograph without her knowledge. In support of the artist’s efforts to reclaim control over the ways in which her works have circulated in the urban art world, it pays careful attention to Mabasa’s own voice, effectively challenging the widespread tendency to ignore the idiosyncratic interpretative str…
Art and culture in contemporary South Africa: The present future
This article focuses on the complex ways in which artistic innovation and creativity have been fostered by the experience of living in late apartheid and post-apartheid society. It argues that contemporary South African artists, film-makers and performers have developed highly inventive formal and conceptual vocabularies in their effort to negotiate the ever-changing landscape of contradictory and sometimes irreconcilable realities they encounter…
The Double Agent: Humanism, History, and Allegory in the Art of Durant Sihlali (1939–2004): [With Commentary]
Re-dressing the past: The Africanisation of sartorial style in contemporary South Africa
Following the unbanning of the African National Congress (ANC) and other political organisations in 1990, South Africa’s formerly disenfranchised black majority began to reap the rewards of their painful but ultimately victorious struggle for freedom. Gradually attaining greater control over the country’s economic and, more especially, its political future, those who led and supported this struggle against the Apartheid state’s violent disregard …
South Africa's Culture of Collecting: The Unofficial History
Sacred Fragments: Looking Back at the Art of Paul Stopforth
I Respect Custom, but I am not a Tribalist’: The Anc-Contralesa Alliance and ‘Designer Tradition’ in 1990s South Africa
(1998). ‘I Respect Custom, but I am not a Tribalist’: The ANC-CONTRALESA Alliance and ‘Designer Tradition’ in 1990s South Africa. South African Historical Journal: Vol. 39, No. 1, pp. 129-142
He is my king, but he is also my child: Inkatha, the African National Congress and the Struggle for Control over Zulu Cultural Symbols
Journal Article ‘He is my king, but he is also my child’: Inkatha, the African National Congress and the Struggle for Control over Zulu Cultural Symbols Get access S. KLOPPER S. KLOPPER Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 19, Issue 1, 1996, Pages 53–66, https://doi.org/10.1093/oxartj/19.1.53 Published: 01 March 1996
The Art of Willie Bester
Tom Phillips and Norman Rosenthal's voyage of discovery at the Royal Academy
Willie Bester: Recent Work
A man of splendid appearance: Angas'sUtimuni, nephew of Chaka the late Zulu King
This article addresses a number of issues raised by one of the so‐called Zulu prints in The Kafirs Illustrated (1849), a folio volume produced by the British artist George French Angas, following his visit to South Africa in 1847. In particular, it demonstrates that Angas relied on the assistance of missionaries from the American Board of Commissioners for Foreign Missions throughout his stay in south‐east Africa and that, with very few exception…
The carver in Africa: Individually acclaimed artist or anonymous Artisan
This paper explores a number of issues raised by William Burton's annotated photographs of professional artists (or craft specialists) taken at his mission station in Katanga province in the 1930s. It focuses, in particular, on why Burton recorded the names of two carvers, one a chief, the other a court sculptor attached to the Nkulu chieftainship. The questions raised by this decision leads me to consider the relationship between indigenous cons…
Speculations on Lega Figurines
The ritual context of art of Lega has become widely known through Daniel Biebuyck's numerous studies (see bibliography), yet possible interactions between form and meaning in their figurative carvings have remained relatively unexplored. Although Biebuyck accepts need for a consideration of style-what he calls textual as opposed to contextual analysis in African art (1975)-he maintains that serious methodological problems may be encountered if fo…
Latent or Blatant? The Visualization of Desire in Surrealist Objects of the 1930s
Books
South Africa's Culture of Collecting: The Unofficial History
He is my king, but he is also my child: Inkatha, the African National Congress and the Struggle for Control over Zulu Cultural Symbols
Journal Article ‘He is my king, but he is also my child’: Inkatha, the African National Congress and the Struggle for Control over Zulu Cultural Symbols Get access S. KLOPPER S. KLOPPER Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 19, Issue 1, 1996, Pages 53–66, https://doi.org/10.1093/oxartj/19.1.53 Published: 01 March 1996
The Double Agent: Humanism, History, and Allegory in the Art of Durant Sihlali (1939–2004): [With Commentary]
I Respect Custom, but I am not a Tribalist’: The Anc-Contralesa Alliance and ‘Designer Tradition’ in 1990s South Africa
(1998). ‘I Respect Custom, but I am not a Tribalist’: The ANC-CONTRALESA Alliance and ‘Designer Tradition’ in 1990s South Africa. South African Historical Journal: Vol. 39, No. 1, pp. 129-142
The Art of Willie Bester
Tom Phillips and Norman Rosenthal's voyage of discovery at the Royal Academy
A man of splendid appearance: Angas'sUtimuni, nephew of Chaka the late Zulu King
This article addresses a number of issues raised by one of the so‐called Zulu prints in The Kafirs Illustrated (1849), a folio volume produced by the British artist George French Angas, following his visit to South Africa in 1847. In particular, it demonstrates that Angas relied on the assistance of missionaries from the American Board of Commissioners for Foreign Missions throughout his stay in south‐east Africa and that, with very few exception…
The carver in Africa: Individually acclaimed artist or anonymous Artisan
This paper explores a number of issues raised by William Burton's annotated photographs of professional artists (or craft specialists) taken at his mission station in Katanga province in the 1930s. It focuses, in particular, on why Burton recorded the names of two carvers, one a chief, the other a court sculptor attached to the Nkulu chieftainship. The questions raised by this decision leads me to consider the relationship between indigenous cons…
Books
Latent or Blatant? The Visualization of Desire in Surrealist Objects of the 1930s
Speculations on Lega Figurines
The ritual context of art of Lega has become widely known through Daniel Biebuyck's numerous studies (see bibliography), yet possible interactions between form and meaning in their figurative carvings have remained relatively unexplored. Although Biebuyck accepts need for a consideration of style-what he calls textual as opposed to contextual analysis in African art (1975)-he maintains that serious methodological problems may be encountered if fo…
The carver in Africa: Individually acclaimed artist or anonymous Artisan
This paper explores a number of issues raised by William Burton's annotated photographs of professional artists (or craft specialists) taken at his mission station in Katanga province in the 1930s. It focuses, in particular, on why Burton recorded the names of two carvers, one a chief, the other a court sculptor attached to the Nkulu chieftainship. The questions raised by this decision leads me to consider the relationship between indigenous cons…
Willie Bester: Recent Work
A man of splendid appearance: Angas'sUtimuni, nephew of Chaka the late Zulu King
This article addresses a number of issues raised by one of the so‐called Zulu prints in The Kafirs Illustrated (1849), a folio volume produced by the British artist George French Angas, following his visit to South Africa in 1847. In particular, it demonstrates that Angas relied on the assistance of missionaries from the American Board of Commissioners for Foreign Missions throughout his stay in south‐east Africa and that, with very few exception…
Tom Phillips and Norman Rosenthal's voyage of discovery at the Royal Academy
He is my king, but he is also my child: Inkatha, the African National Congress and the Struggle for Control over Zulu Cultural Symbols
Journal Article ‘He is my king, but he is also my child’: Inkatha, the African National Congress and the Struggle for Control over Zulu Cultural Symbols Get access S. KLOPPER S. KLOPPER Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 19, Issue 1, 1996, Pages 53–66, https://doi.org/10.1093/oxartj/19.1.53 Published: 01 March 1996
The Art of Willie Bester
I Respect Custom, but I am not a Tribalist’: The Anc-Contralesa Alliance and ‘Designer Tradition’ in 1990s South Africa
(1998). ‘I Respect Custom, but I am not a Tribalist’: The ANC-CONTRALESA Alliance and ‘Designer Tradition’ in 1990s South Africa. South African Historical Journal: Vol. 39, No. 1, pp. 129-142
South Africa's Culture of Collecting: The Unofficial History
Sacred Fragments: Looking Back at the Art of Paul Stopforth
Re-dressing the past: The Africanisation of sartorial style in contemporary South Africa
Following the unbanning of the African National Congress (ANC) and other political organisations in 1990, South Africa’s formerly disenfranchised black majority began to reap the rewards of their painful but ultimately victorious struggle for freedom. Gradually attaining greater control over the country’s economic and, more especially, its political future, those who led and supported this struggle against the Apartheid state’s violent disregard …
The Double Agent: Humanism, History, and Allegory in the Art of Durant Sihlali (1939–2004): [With Commentary]
Art and culture in contemporary South Africa: The present future
This article focuses on the complex ways in which artistic innovation and creativity have been fostered by the experience of living in late apartheid and post-apartheid society. It argues that contemporary South African artists, film-makers and performers have developed highly inventive formal and conceptual vocabularies in their effort to negotiate the ever-changing landscape of contradictory and sometimes irreconcilable realities they encounter…
The Artist as Agent: Noria Mabasa and the Book
This article traces the multiple ways in which Noria Mabasa reaffirmed her creative agency after the publication on her in 2003 of a Taxi Art Book monograph without her knowledge. In support of the artist’s efforts to reclaim control over the ways in which her works have circulated in the urban art world, it pays careful attention to Mabasa’s own voice, effectively challenging the widespread tendency to ignore the idiosyncratic interpretative str…
Reinventing Zulu Tradition: The Modernism of Zizwezenyanga Qwabe’s Figurative Relief Panels
I Could Be Happy with You, if You Could Be Happy with Me: The Playful Inventions of a Visionary Headrest Artist from the Msinga Region of Kwazulu-Natal
Art (12 works) · History (7 works) · South African History and Culture (6 works) · Visual arts (6 works) · Art history (5 works) · Philosophy (5 works) · Sociology (5 works) · African history and culture studies (4 works) · Aesthetics (3 works) · Ancient history (3 works)