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How does collective practice function as an artistic strategy
This research interrogates the different strategies and methodologies employed by collectives (with a focus on South African collectives in the past two decades) to raise fundamental questions about art; the nature of artistic work, forms of production, authorship, autonomy and collaboration as an a...
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| Format: | Thesis |
| Language: | English |
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Michaelis School of Fine Art
2020
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| _version_ | 1867613167896494080 |
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| access_status_str | Open Access |
| author | Weber, Deborah |
| author2 | Lamprecht, Andrew |
| author_browse | Lamprecht, Andrew Weber, Deborah |
| author_facet | Lamprecht, Andrew Weber, Deborah |
| author_sort | Weber, Deborah |
| collection | Thesis |
| description | This research interrogates the different strategies and methodologies employed by collectives (with a focus on South African collectives in the past two decades) to raise fundamental questions about art; the nature of artistic work, forms of production, authorship, autonomy and collaboration as an artistic strategy. The research sets out to explore collaboration as a field of art practice. The criteria for selection of the collectives in the research was each collective needed to comprise of three or more artists who have produced and authored work together under an umbrella name, they also needed to use multi-disciplinary practices. The selection included: Galerie Puta (2003), Avant Car Guard (2004), Doing it for Daddy (2006), Gugulective (2006), Centre for Historical Enactments (2010), Burning Museum (2013) and iQhiya (2015), Guerilla Girls (1985), Laboratoire Agit’Art (1975), Raqs Media Collective (1992), Ubulungiswa/Justice and Karoo Disclosure (2014). The idea of shared authorship is the central tenet around which all collective practice revolves. This thesis looks at the collective authorial voice as a strategic artistic practice in contemporary art that enables reappraisals of artistic production. Furthermore it interrogates the decentralization of authorship, as an artistic strategy to shift paradigms of thinking in relation to power structures, be it institutional, political or ideological. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/31776 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:31:50.330Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2020 |
| publishDateRange | 2020 |
| publishDateSort | 2020 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/31776 How does collective practice function as an artistic strategy Weber, Deborah Lamprecht, Andrew Josephy, Svea Fine Art This research interrogates the different strategies and methodologies employed by collectives (with a focus on South African collectives in the past two decades) to raise fundamental questions about art; the nature of artistic work, forms of production, authorship, autonomy and collaboration as an artistic strategy. The research sets out to explore collaboration as a field of art practice. The criteria for selection of the collectives in the research was each collective needed to comprise of three or more artists who have produced and authored work together under an umbrella name, they also needed to use multi-disciplinary practices. The selection included: Galerie Puta (2003), Avant Car Guard (2004), Doing it for Daddy (2006), Gugulective (2006), Centre for Historical Enactments (2010), Burning Museum (2013) and iQhiya (2015), Guerilla Girls (1985), Laboratoire Agit’Art (1975), Raqs Media Collective (1992), Ubulungiswa/Justice and Karoo Disclosure (2014). The idea of shared authorship is the central tenet around which all collective practice revolves. This thesis looks at the collective authorial voice as a strategic artistic practice in contemporary art that enables reappraisals of artistic production. Furthermore it interrogates the decentralization of authorship, as an artistic strategy to shift paradigms of thinking in relation to power structures, be it institutional, political or ideological. 2020-05-06T01:59:22Z 2020-05-06T01:59:22Z 2019 2020-05-06T01:49:53Z Master Thesis Masters MA (FA) https://hdl.handle.net/11427/31776 eng application/pdf Michaelis School of Fine Art Faculty of Humanities |
| spellingShingle | Fine Art Weber, Deborah How does collective practice function as an artistic strategy |
| thesis_degree_str | Master's |
| title | How does collective practice function as an artistic strategy |
| title_full | How does collective practice function as an artistic strategy |
| title_fullStr | How does collective practice function as an artistic strategy |
| title_full_unstemmed | How does collective practice function as an artistic strategy |
| title_short | How does collective practice function as an artistic strategy |
| title_sort | how does collective practice function as an artistic strategy |
| topic | Fine Art |
| url | https://hdl.handle.net/11427/31776 |
| work_keys_str_mv | AT weberdeborah howdoescollectivepracticefunctionasanartisticstrategy |