Liese van der Watt
Biographic Data
| ID | 5227046 |
|---|---|
| NAME | Liese van der Watt |
| GIVEN NAMES | Liese |
| FAMILY NAME | van der Watt |
| SIGNATURE | VAN DER WATT L |
| AFFILIATIONS | University of Cape Town |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 20 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 3 |
We Don't Need Another Hero: 10Th Berlin Biennial for Contemporary Art
In contrast to most biennials that are born from the vision and concept of a single artistic director, the Tenth Berlin Biennial was a collaborative effort by five curators, under the guidance of South African-born Gabi Ngcobo. Entitled We Don't Need Another Hero, it is a biennial that centers the voices of artists that are perhaps less well known in an art world increasingly validated by art fairs and capital, but one where artists expect viewer…
A space for landscape: The work of J.H. Pierneef
The story of Pierneef is really the story of the reception of Pierneef's art; that is to say, his story reveals as much about South African art history as it does about his work. This is made abundantly clear in the accompanying catalogue to an extensive exhibition entitled 'A Space for Landscape: The Work of J.H. Pierneef', held at the Standard Bank Gallery in Johannesburg in 2015, and curated by Wilhelm van Rensburg
Reframing the Afrikaner Subject: The Visual Grammar of David Goldblatt and Roelof van Wyk
This article examines the notion of a monolithic Afrikaner identity by comparing two bodies of South African photography: David Goldblatt’s Some Afrikaners Photographed (1975, reprinted in 2007 as Some Afrikaners Revisited) and Roelof van Wyk’s Young Afrikaner (2009–2011). It argues that Goldblatt, by framing a series of carefully selected photographs under an overdetermined title, does not simply reflect what he finds nor does he reveal an alleg…
Part III: Ask no questions, hear no lies: Staying on Die Antwoord's surface
“Next time you ask me is it real, I'm gonna punch you in the face” (Ninja in “Fokjullenaaiers”). Despite Die Antwoord's certainty that they have found the answer to something, most responses to the
The Opposite of Everyday: Wim Botha's Acts of Translation
Research Article| May 01 2008 THE OPPOSITE OF EVERYDAY: Wim Botha's Acts of Translation Liese van der Watt Liese van der Watt Liese van der Watt is Professor of African Art History at the University of Cape Town Search for other works by this author on: This Site Google Nka (2008) 2008 (22-23): 122–129. https://doi.org/10.1215/10757163-22-23-1-122 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Liese van der Watt; THE OPP…
Witnessing Trauma in Post-Apartheid South Africa: The Question of Generational Responsibility
Exiting whiteness: Unthinking race, imagining different paradigms
Departing from Paul Gilroy's suggestion that we need to start thinking of identity as “a noun of process,” this article considers arguments by Gilroy, Kalpana Seshadri‐Crooks, Vron Ware and Les Back to “unthink” race in the twenty‐first century. With Seshadri‐Crooks's reminder that race is “a practice of visibility rather than a scientific, anthropological or cultural theory” in mind, I speculate about the role visual culture could play in giving…
Reports on Colloquium Sessions
Since the late 1980s the environmental trope in South African history has been gradually elevated to a field of enquiry in its own right. The impetus to this transformation has been varied, the blossoming of environmental history in the North American academy and green politics and agrarian social history in South Africa being among the more influential
Tracing: Berni Searle
The story of South Africa's liberation is most often told in the grand narrative of the struggle and liberation of an oppressed people. But what follows that moment of freedom? How do we measure democracy or gauge our transformation over the last ten years? Quantifying new houses that were built, electricity supplied, and water pipes laid, or assessing black equity and political representation are reliable ways to survey our democracy and its fai…
Do bodies matter? Performance versus performativity
(2004). Do bodies matter? Performance versus performativity. de arte: Vol. 39, No. 70, pp. 3-10
Making whiteness strange’: White identity in post‐apartheid South African art
The Comradely Ideal and the Volksmoeder Ideal: Uncovering Gender Ideology in the Voortrekker Tapestry
Savagery and civilisation’: Race as a signifier of difference in Afrikaner nationalist art
(1997). ‘Savagery and civilisation’: race as a signifier of difference in Afrikaner nationalist art. de arte: Vol. 32, No. 55, pp. 36-47
Thomas Baines and the Colonisation of Space
Witnessing Trauma in Post-Apartheid South Africa: The Question of Generational Responsibility
The Comradely Ideal and the Volksmoeder Ideal: Uncovering Gender Ideology in the Voortrekker Tapestry
Making whiteness strange’: White identity in post‐apartheid South African art
Savagery and civilisation’: Race as a signifier of difference in Afrikaner nationalist art
(1997). ‘Savagery and civilisation’: race as a signifier of difference in Afrikaner nationalist art. de arte: Vol. 32, No. 55, pp. 36-47
Tracing: Berni Searle
The story of South Africa's liberation is most often told in the grand narrative of the struggle and liberation of an oppressed people. But what follows that moment of freedom? How do we measure democracy or gauge our transformation over the last ten years? Quantifying new houses that were built, electricity supplied, and water pipes laid, or assessing black equity and political representation are reliable ways to survey our democracy and its fai…
A space for landscape: The work of J.H. Pierneef
The story of Pierneef is really the story of the reception of Pierneef's art; that is to say, his story reveals as much about South African art history as it does about his work. This is made abundantly clear in the accompanying catalogue to an extensive exhibition entitled 'A Space for Landscape: The Work of J.H. Pierneef', held at the Standard Bank Gallery in Johannesburg in 2015, and curated by Wilhelm van Rensburg
Reframing the Afrikaner Subject: The Visual Grammar of David Goldblatt and Roelof van Wyk
This article examines the notion of a monolithic Afrikaner identity by comparing two bodies of South African photography: David Goldblatt’s Some Afrikaners Photographed (1975, reprinted in 2007 as Some Afrikaners Revisited) and Roelof van Wyk’s Young Afrikaner (2009–2011). It argues that Goldblatt, by framing a series of carefully selected photographs under an overdetermined title, does not simply reflect what he finds nor does he reveal an alleg…
Do bodies matter? Performance versus performativity
(2004). Do bodies matter? Performance versus performativity. de arte: Vol. 39, No. 70, pp. 3-10
Thomas Baines and the Colonisation of Space
Thomas Baines and the Colonisation of Space
Savagery and civilisation’: Race as a signifier of difference in Afrikaner nationalist art
(1997). ‘Savagery and civilisation’: race as a signifier of difference in Afrikaner nationalist art. de arte: Vol. 32, No. 55, pp. 36-47
The Comradely Ideal and the Volksmoeder Ideal: Uncovering Gender Ideology in the Voortrekker Tapestry
Making whiteness strange’: White identity in post‐apartheid South African art
Exiting whiteness: Unthinking race, imagining different paradigms
Departing from Paul Gilroy's suggestion that we need to start thinking of identity as “a noun of process,” this article considers arguments by Gilroy, Kalpana Seshadri‐Crooks, Vron Ware and Les Back to “unthink” race in the twenty‐first century. With Seshadri‐Crooks's reminder that race is “a practice of visibility rather than a scientific, anthropological or cultural theory” in mind, I speculate about the role visual culture could play in giving…
Reports on Colloquium Sessions
Since the late 1980s the environmental trope in South African history has been gradually elevated to a field of enquiry in its own right. The impetus to this transformation has been varied, the blossoming of environmental history in the North American academy and green politics and agrarian social history in South Africa being among the more influential
Tracing: Berni Searle
The story of South Africa's liberation is most often told in the grand narrative of the struggle and liberation of an oppressed people. But what follows that moment of freedom? How do we measure democracy or gauge our transformation over the last ten years? Quantifying new houses that were built, electricity supplied, and water pipes laid, or assessing black equity and political representation are reliable ways to survey our democracy and its fai…
Do bodies matter? Performance versus performativity
(2004). Do bodies matter? Performance versus performativity. de arte: Vol. 39, No. 70, pp. 3-10
Witnessing Trauma in Post-Apartheid South Africa: The Question of Generational Responsibility
The Opposite of Everyday: Wim Botha's Acts of Translation
Research Article| May 01 2008 THE OPPOSITE OF EVERYDAY: Wim Botha's Acts of Translation Liese van der Watt Liese van der Watt Liese van der Watt is Professor of African Art History at the University of Cape Town Search for other works by this author on: This Site Google Nka (2008) 2008 (22-23): 122–129. https://doi.org/10.1215/10757163-22-23-1-122 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Liese van der Watt; THE OPP…
Part III: Ask no questions, hear no lies: Staying on Die Antwoord's surface
“Next time you ask me is it real, I'm gonna punch you in the face” (Ninja in “Fokjullenaaiers”). Despite Die Antwoord's certainty that they have found the answer to something, most responses to the
Reframing the Afrikaner Subject: The Visual Grammar of David Goldblatt and Roelof van Wyk
This article examines the notion of a monolithic Afrikaner identity by comparing two bodies of South African photography: David Goldblatt’s Some Afrikaners Photographed (1975, reprinted in 2007 as Some Afrikaners Revisited) and Roelof van Wyk’s Young Afrikaner (2009–2011). It argues that Goldblatt, by framing a series of carefully selected photographs under an overdetermined title, does not simply reflect what he finds nor does he reveal an alleg…
A space for landscape: The work of J.H. Pierneef
The story of Pierneef is really the story of the reception of Pierneef's art; that is to say, his story reveals as much about South African art history as it does about his work. This is made abundantly clear in the accompanying catalogue to an extensive exhibition entitled 'A Space for Landscape: The Work of J.H. Pierneef', held at the Standard Bank Gallery in Johannesburg in 2015, and curated by Wilhelm van Rensburg
We Don't Need Another Hero: 10Th Berlin Biennial for Contemporary Art
In contrast to most biennials that are born from the vision and concept of a single artistic director, the Tenth Berlin Biennial was a collaborative effort by five curators, under the guidance of South African-born Gabi Ngcobo. Entitled We Don't Need Another Hero, it is a biennial that centers the voices of artists that are perhaps less well known in an art world increasingly validated by art fairs and capital, but one where artists expect viewer…
Art (9 works) · Sociology (7 works) · South African History and Culture (7 works) · Philosophy (6 works) · Aesthetics (5 works) · History (5 works) · History (5 works) · African history and culture studies (4 works) · Gender Studies (4 works) · Linguistics (4 works)