Mars Mag - Issue 4 by Marsmag

ISSUE 004

CONTENTS 6

The Write Stuff

Colour of the Month

What is sculpture

STAEDTLER Ambassador Tshepo Parence Masipa

Top 10 Modern Sculptors

STAEDTLER FIMO video tutorials

10 Most famous sculptures in the world

STAEDTLER Ambassador Krishan Govender

Anton Smit

Art Therapy

Elements of art

Tutorial Decorative Easter Egg Cups

Damien Hirst

STAEDTLER Ambassador Aubrey Mathebula

The Write Stuff

How to become a sculptor

Where to study Fine Art in South Africa

EDITORâ&#x20AC;&#x2122;S NOTE Welcome to our fourth edition of the exceptionally popular Mars Mag. Welcome to our fourth edition of the exceptionally popular Mars Mag. 2019 has started with a bang and STAEDTLER is taking the art world by storm. Mars Mag was published in You, Huisgenoot as well as Move magazine in December 2018 and the response we have had was phenomenal. Thank you to each and every reader for your support. If you would like anything specific in the Mars Mag, please let us know. We also had a great response to the competitions we ran with a record number of entries. Watch out for our new competition in this issue. STAEDTLER is launching a new art range this year and we are very excited to introduce some of the products in this issue. FIMO has been around for a few years, but we are launching a brand-new line of FIMO products in South Africa as well as FIMO accessories. We are also introducing our ranges of art pencils, paints and more to the South African market.We thought it only apt to focus this issue on sculpture and the opportunities it presents. We hope you thoroughly enjoy this issue and look forward to all your valued feedback. Best regards Editor

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COLOUR OF THE MONTH

TIMELESS

RICHNESS

ENDLESS

WHAT IS SCULPTURE?

Sculpture is an art form in which hard or plastic materials are worked into three-dimensional art objects. The designs may be embodied in freestanding objects, in reliefs on surfaces, or in environments ranging from tableaux to contexts that envelop the spectator. An enormous variety of media may be used, including clay, wax, stone, metal, fabric, glass, wood, plaster, rubber, and random “found” objects. Materials may be carved, modelled, moulded, cast, wrought, welded, sewn, assembled, or otherwise shaped and combined. A sculpture is not a fixed term that applies to a permanently circumscribed category of objects or sets of activities. It is, rather, the name of an art that grows and changes and is continually extending the range of its activities and evolving new kinds of objects. The scope of the term was much wider in the second half of the 20th century than it had been only two or three decades before, and in the fluid state of the visual arts at the turn of the 21st century, nobody can predict what its future extensions are likely to be. Certain features which in previous centuries were considered essential to the art of sculpture are not present in a great deal of modern sculpture and can no longer form part of its definition. One of the most important of these is representation. Before the 20th century, a sculpture was considered a representational art, one that imitated forms in life, most often human figures but also inanimate objects, such as game, utensils, and books. Since the turn of the 20th century, however, the sculpture has also included nonrepresentational forms. It has long been accepted that the forms of such functional three-dimensional objects as furniture, pots, and buildings may be expressive and beautiful without being in any way representational; but it was only in the 20th century that nonfunctional, nonrepresentational, three-dimensional works of art began to be produced. Before the 20th century, the sculpture was considered primarily an art of solid form or mass. It is true that the negative elements of sculpture—the voids and hollows within and between its solid forms—have always been to some extent an integral part of its design, but their role was a secondary one. In a great deal of modern sculpture, however, the focus of attention has shifted, and the spatial aspects have become dominant. The spatial sculpture is now a generally accepted branch of the art of sculpture.

It was also taken for granted in the sculpture of the past that its components were of constant shape and size and, with the exception of items such as Augustus Saint-Gaudensâ&#x20AC;&#x2122;s Diana (a monumental weather vane), did not move. With the recent development of kinetic sculpture, neither the immobility nor immutability of its form can any longer be considered essential to the art of sculpture. Finally, sculpture since the 20th century has not been confined to the two traditional forming processes of carving and modelling or to such traditional natural materials as stone, metal, wood, ivory, bone, and clay. Because present-day sculptors use any materials and methods of manufacture that will serve their purposes, the art of sculpture can no longer be identified with any special materials or techniques. Through all these changes, there is probably only one thing that has remained constant in the art of sculpture, and it is this that emerges as the central and abiding concern of sculptors: the art of sculpture is the branch of the visual arts that is especially concerned with the creation of form in three dimensions. Sculpture may be either in the round or in relief. A sculpture in the round is a separate, detached object in its own right, leading the same kind of independent existence in space as a human body or a chair. Relief does not have this kind of independence. It projects from and is attached to, or is an integral part of something else that serves either as a background against which it is set or a matrix from which it emerges. The actual three-dimensionality of sculpture in the round limits its scope in certain respects in comparison with the scope of painting. Sculpture cannot conjure the illusion of space by purely optical means or invest its forms with atmosphere and light as painting can. It does have a kind of reality, a vivid physical presence that is denied to the pictorial arts. The forms of sculpture are tangible as well as visible, and they can appeal strongly and directly to both tactile and visual sensibilities. Even the visually impaired, including those who are congenitally blind, can produce and appreciate certain kinds of sculpture. It was, in fact, argued by the 20th-century art critic Sir Herbert Read that sculpture should be regarded as primarily an art of touch and that the roots of sculptural sensibility can be traced to the pleasure one experiences in fondling things.

All three-dimensional forms are perceived as having an expressive character as well as purely geometric properties. They strike the observer as delicate, aggressive, flowing, taut, relaxed, dynamic, soft, and so on. By exploiting the expressive qualities of form, a sculptor is able to create images in which subject matter and expressiveness of form are mutually reinforcing. Such images go beyond the mere presentation of fact and communicate a wide range of subtle and powerful feelings. The aesthetic raw material of sculpture is, so to speak, the whole realm of expressive three-dimensional form. A sculpture may draw upon what already exists in the endless variety of natural and man-made form, or it may be an act of pure invention. It has been used to express a vast range of human emotions and feelings from the most tender and delicate to the most violent and ecstatic. All human beings, intimately involved from birth with the world of three-dimensional form, learn something of its structural and expressive properties and develop emotional responses to them. This combination of understanding and sensitive response, often called a sense of form, can be cultivated and refined. It is to this sense of form that the art of sculpture primarily appeals. www.britannica.com/art/sculpture

STAEDTLER AMBASSADOR

I am an African striving to tell untold stories ofAfricans. I am born Tshepo Parence Masipa in Johannesburg. I am a visual artist although versatile in my works of art, visual art has always been my most preferred form of art, it was well nurtured in my primary school years in Limpopo, my history teacher Mr Simon Moshapo championed and oiled my skills in most forms of art, from using clay, wire, pencil and creating sculptures.

Tshepo Parence Masipa Why do you do what you do? I am trying to do nothing other than to simply fulfill my purpose, which is to tell authentic stories without the fear of seeing a reaction of joy or tears. I try to capture the essence of African history and the struggles of black people through the telling of untold or unknown everyday realities of life. Mostly I try to capture the attention of the audience because art speaks. My art is about the understanding that we need to find an equilibrium of our own emotions. In reality we all suffer from internal and external challenges which affect our daily emotions. This can be seen in the portraits I have created and in all my themed artwork. Art speaks without words being uttered, it forces us to listen through our eyes rather than just our ears. It is destructive in the most constructive form and I believe my gift is in creating visuals, as it allows me to be controversial in the most creative way. Through visual art I am able to express and communicate without fear. I make photography and drawing appear seamless.

With what style of art do you most identify? Artwork that seeks to change lives. Artwork that seeks to tell untold stories or unheard stories, Afrocentric artwork because it has been sidelined so much from the mainstream. Art which seeks to capture and expose the truth about our continent which has been painted dark by the so-called developed countries. It is important for me to familiarize the world with authentic stories from suppressed voices.

What is your strongest childhood memory? There are lots of childhood memories but living in different provinces and connecting with different people has created my memories. My art is influenced by different geographical spaces and how politics has been the greatest contribution to that.

I pursue African stories, history and realities. I am all about telling simple stories.

What do you dislike about the art world? It is the lack of media coverage by the mainstream media. A blind eye is turned from those who are telling genuine stories compared to those who only do commercial arts. Galleries in South Africa are biased and only focus on well-established artists. There is too much bias in the art world. What do you dislike about your work? It is sometimes too deep, and people say it is a dark art, but I do not dislike my work. â&#x20AC;&#x153;Dislikeâ&#x20AC;? is just inappropriate. Should art be funded? The question is too broad, but I do not think art can be funded, but the artists can be supplied with financial resources and assistance especially when it comes to spaces such as studios. To rent out a space is too expensive. A bit of assistance until artists are established in their particular field is most critical in order to empower them.

SCULPTURE IS THE ART OF INTELLIGENCE. PABLO

PICASSO

AGAPE EFFERVESCENT

– THE STREAM OF CONSCIOUSNESS ASSERTS TRANSPARENCY – Transcending the incomprehensible darkness, a silent bridge leading from the shore of life fed on dreams, corroded by air the tardy sun flung at the face of hushed expectancy - ANTON SMIT 20

TOP 10 MODERN SCULPTORS

10. DAMIÁN ORTEGA. Having begun his career as a political cartoonist, Damián Ortega brings a honed wit and intellectual rigour to his sculptures, installations, and videos. Composed of everyday objects and materials—from bricks and glass to tortillas— Ortega’s works are punning commentaries on politics, consumer culture, and the process of perception, exploring his proclaimed interest in the “mix of inside and outside, individual and group of society, open and closed.” © New Yorker

9. ANTONY GORMLEY In his sculptures, installations, and public artworks, Antony Gormley explores the relation of the human body to space and moments in time. He is well known for his sculptures that use a cast of his own body as their starting point and for his large-scale, outdoor installations such as Angel of the North (1998) and Another Place (1997). In Event Horizon (2007), which has been shown in London, Rotterdam, and New York, Gormley sited 31 body forms atop rooftops, riverbanks, and sidewalks within the dense urban environment.

LYNDA BENGLIS

Lynda Benglis moved to New York at the apex of Minimalism in the 1960s. Using brightly coloured polyurethane foam and incorporating wide-ranging influences, such as Abstract Expressionism, Process Art, Minimalism, Feminist art, geological forms, and ceremonial totems, Benglis developed her instantly recognizable sculptural language of undulating, oozing biomorphic forms. © Google Images

ANISH KAPOOR

Turner Prize winner Anish Kapoor creates elegant sculptures that combine simple materials, geometric shape, and organic form. After first establishing his reputation in the 1980s with biomorphic sculptures in limestone and other natural materials, Kapoor began to explore the theme of “the void” in largescale stone works, some with defined insides and outsides and others that clearly delineate empty spaces. © Wikipedia

TARA DONOVAN

Tara Donovan fabricates site-specific installations using banal materials such as Styrofoam cups, paper plates, and No. 2 pencils. Donovan cites the unique material properties of the chosen material, such as the translucency of Scotch tape, as the driving force behind her sculptural compositions, which are often reminiscent of organic or molecular structures.

MARC QUINN

Young British Artist Marc Quinn creates provocative sculptural portraits composed of organic materials, such as in his ongoing series of “Blood Head” self-portraits, in which a cast of his head is made with over nine pints of his own frozen blood. Quinn also fabricates sculptures using more traditional media such as bronze, often depicting contorted bodies or people with unusual physical characteristics—amputees, or those who have undergone sex-change surgery. © Marcquinn.com

RACHEL WHITEREAD

Rachel Whiteread became the first woman to receive the Turner Prize with her sculpture House (1993), a replica of the interior of a condemned London house created by filling a house with concrete and stripping away the mould. Her sculptures examine the negative space surrounding or contained by objects, such as casts of the area beneath chairs, suggesting how human contact becomes embedded in our environment. © Dailymail.co.uk

KIKI SMITH

Using a multitude of mediums and materials, Kiki Smith’s collections are meditations on life and spirituality, often featuring narratives about origins and endings. For the installation Pilgrim (2007-2010), Smith created nearly 30 panels of black and white stained glass supported by steel frames, each representing a stage in a woman’s life and evoking the stations of a pilgrimage. © Pacegallery.com

RICHARD SERRA

The monumental sculptures of Richard Serra, one of the preeminent sculptors of the 20th century, emphasize or alter viewers’ perceptions of space and proportion. “It’s all about centralizing the space in different ways. How people move in relation to space, that’s essentially what I’m up to,” he has said.

JEFF KOONS

Jeff Koons plays with ideas of taste, pleasure, celebrity, and commerce. “I believe in advertisement and media completely,” he says. “My art and my personal life are based in it.” Working with seductive commercial materials (such as the high chromium stainless steel of his “Balloon Dog” sculptures or his vinyl “Inflatables”), shifts of scale, and an elaborate studio system involving many technicians, Koons turns banal objects into high art icons. © Theguardian.com © article by: artsy.net

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Among the oldest sculptures discovered to date is the Lion-man, which was found in 1939 in a German cave. It is between 35,000 and 40,000 years old and belongs to the prehistoric period or the period before the invention of writing. Another iconic prehistoric sculpture is Venus of Willendorf, a 4.4-inch figurine portraying a woman. It was found in Austria and is estimated to have been carved between 24,000 and 22,000 BCE. The earliest sculpture on our list is, however, the Great Sphinx of Giza, the oldest known monumental sculpture from ancient Egypt. In ancient Greece and Rome, sculptures were often made to honour the various Gods or to show the greatness of the kings. Venus de Milo, portraying the Greek goddess of love and beauty, is perhaps the most famous work of ancient Greek sculpture. During the reign of the Roman Emperor Constantine (AD 306 – 337), Christianity began to transition to the dominant religion of the Roman Empire and, with time, European sculpture began to depict Biblical characters and stories. Among the most famous of such artworks are the statues of David by Renaissance artists Donatello and Michelangelo. The most famous piece of modern sculpture is perhaps The Thinker, created by the French artist Auguste Rodin. Here are the 10 most famous sculptures in the world.

1. ECSTASY OF SAINT TERESA Saint Teresa of Avila was a Spanish nun who claimed to have experienced divine visions in which she would suddenly feel consumed by the love of God, feel the bodily presence of Christ or of angels, and be lifted to an exalted state of ecstasy. She described these visions in her writings. In 1622, forty years after her death, Teresa was canonized by Pope Gregory XV. This sculpture depicts one of the visions described by her in her spiritual autobiography. In it, an angel carrying a fire-tipped spear appears before her. He pierces her heart repeatedly with the spear, an act that sends her into a state of spiritual rapture. Gian Lorenzo Bernini is regarded as a pioneer of Baroque sculpture, a style the flourished in Europe from the early 17th to late 18th century. In this masterpiece, Bernini takes the principles of the Baroque; drama, emotion and theatricality; to unparalleled heights. Ecstasy of Saint Teresa is the most renowned work of one of the most influential sculptors of all time.

2. PIETA Michelangelo, active during the Renaissance, is widely regarded as the most influential sculptor of all time. He was just 24 at the time of completion of the Pieta, which was soon regarded as one of the world’s great masterpieces of sculpture. Pieta, as a theme in Christian art, depicts Virgin Mary supporting the body of the dead Christ after the Crucifixion. Though the subject is not a part of the Biblical narrative of the Crucifixion, it has been widely represented in both European painting and sculpture. This famous work depicts Virgin Mary grieving over the body of Jesus who is lying on her lap after the Crucifixion. At the time of its completion, some observers criticized Michelangelo for showing Mary too youthful to have a son who was 33 years old. Michelangelo defended himself by saying that her youth symbolizes her incorruptible purity. Pieta is the only sculpture ever signed by Michelangelo. The sculptor’s signature can be seen across Mary’s chest. 27

3. THE BRONZE DAVID The Bronze David is renowned for being the first large-scale free-standing nude statue since antiquity. It is also the first unsupported standing work of bronze cast during the Renaissance. It depicts David, of the story of David and Goliath, holding the sword of his defeated enemy and with his foot on Goliath’s severed head. David is completely naked, apart from a laurel topped hat and boots. The well-proportioned and delicate figure of David bears contrast with the giant sword in his hand, perhaps indicating the assistance of God in his achieving the incredible feat. Donatello is regarded as one of the founding fathers of the Renaissance and he was the leading sculptor of its early period. Among other things, he gave a different direction to Western sculpture taking it away from the prevalent Gothic style to the Classical style.

4. THE GREAT SPHINX One of the most famous monuments in the world, the Great Sphinx of Giza is a giant limestone statue of a sphinx, a mythical creature with the body of a lion and the head of a human. It is 240 feet (73 m) long from paw to tail; stands 66 feet (20 m) high from the base to the top of the head, and is 62 feet (19 m) wide at its rear haunches. The Great Sphinx is the oldest known monumental sculpture in Egypt and, for centuries, it was the largest sculpture in the world. However, not much is known about the monument. Scholars remain in disagreement over when the Great Sphinx was constructed and for whom. The most popular view is that it represents the Pharaoh Khafre of the 4th dynasty during the Old Kingdom and thus it was constructed during his reign which lasted from 2558 BCE to 2532 BCE.

5. MANNEKEN PIS The name of this statue literally means “peeing little man” or “peeing boy”. It is a small bronze sculpture depicting a naked little boy urinating into a fountain’s basin. It is located in the center of Brussels at the junction of the road Rue du Chene and the pedestrian Rue de l’Etuve. The Manneken Pis is considered an emblem of the rebellious spirit of Brussels and it is one of the most famous attractions in the city. The statue gained in importance by the end of the 17th century and its popularity has grown since then making it “an object of glory appreciated by all and renowned throughout the world”.

6. CHRIST THE REDEEMER In 1921, the Roman Catholic Circle of Rio de Janeiro proposed the construction of a statue of Jesus Christ on Mount Corcovado. The commanding height of the summit, 2,310 feet (704 m), would make the statue visible from anywhere in Rio. Brazilian engineer Heitor da Silva Costa was chosen to design the statue while French sculptor Paul Landowski created the work. Silva Costa worked in collaboration with French engineer Albert Caquot while Romanian sculptor Gheorghe Leonida fashioned the face of the statue. 28

7. THE THINKER Auguste Rodin was a towering figure in the field of sculpture who is widely considered the father of modern sculpture. He originally conceived this statue as part of a large commission, begun in 1880, for a doorway surround called The Gates of Hell. Rodin based this commission on The Divine Comedy of Dante and some critics believe that The Thinker originally intended to depict Dante. Many marble and bronze editions of The Thinker in several sizes were executed during the lifetime of Rodin and even after his death. However, the most famous version is the 6 feet (1.8 m) tall bronze statue that was cast in 1904 and that sits in the gardens of the Rodin Museum in Paris. This image of a man lost in thought, but whose powerful body suggests a great capacity for action, has become one of the most celebrated sculptures ever known.

8. VENUS DE MILO It is generally believed that this statue was discovered on 8th April 1820 by a peasant named Yorgos Kentrotas. He found it in pieces on Milos, a Greek island in the Aegean Sea. The sculpture was subsequently presented to King Louis XVIII of France who then gave it to the Louvre, where it is on display to this very day. Also known as Aphrodite of Milos, Venus de Milo is thought to represent Aphrodite, the ancient Greek goddess of love, beauty, pleasure and procreation. The Roman goddess counterpart to Aphrodite was Venus. The statue is believed to have been carved by Alexandros of Antioch, a sculptor of the Hellenistic period. Apart from the much-discussed mystery about its missing arms, it was originally draped in jewellery including a bracelet, earrings and a headband.

9. DAVID In 1501, the city government of Florence commissioned Michelangelo to create this statue as part of a series to adorn the roof-line of Florenceâ&#x20AC;&#x2122;s cathedral dome. However, upon its completion, they were so overwhelmed by its beauty that it was decided to place it in wide-view next to the entrance to the Palazzo Vecchio, the town hall of Florence. The marble sculpture was moved in 1873 to the Gallery of the Academy, an art museum in Florence. A replica was placed at its original location in 1910. It is one of the best-known artworks in the world.

10. STATUE OF LIBERTY It was designed by French sculptor Frederic Auguste Bartholdi and built by renowned French civil engineer Gustave Eiffel. The Statue of Liberty depicts the Roman goddess Libertas holding a torch above her head with her right hand and in her left hand, she is carrying a tablet on which is inscribed in Roman numerals the date of the U.S. Declaration of Independence. As an American icon, the Statue of Liberty has been depicted on the countryâ&#x20AC;&#x2122;s coinage and stamps. It has also become an international icon of freedom. 29

STAEDTLER AMBASSADOR

KRISHNAN GOVENDER What is your background? My background entailed completing my matric at Protea Secondary school located in Bayview, Chatsworth, and thereafter enrolling at the Durban University of Technology to pursue my career in the Fine Arts field. Prior to this, I was employed at Toyota South Africa as a quality controller in the vehicle interior department. What is integral to the work of an artist? Being an artist brings out my creative side as well as my inner emotions. I express my feelings through the work which I produce. Art can be very political, and it gives me the opportunity to express full freedom of speech through my artwork. As a visual artist, I have an amazing lens whereby I view the world critically. What role does the artist have in society? The Artistâ&#x20AC;&#x2122;s role in society is to think critically about issues pertaining to the way they want the public to view their art. My role as an artist is to educate young children about the different aspects of art so that one day they can produce their own self-portraits, as well as create ceramic busts of people who are important in their lives. I emphasise the importance of using recyclable materials in order to create an object or artefact.

I am Krishnan Govender a third year fine Arts student at Durban University of Technology.

Why do you do what you do? Personally, as time went by, I have managed to acquire the skills and knowledge through the assistance and mentoring of my dedicated lecturers. They were able to critique the pieces of artwork produced and give me feedback accordingly. The mentors gave me a sense of direction regarding my future and how to establish myself in the workforce, in order for me to become a productive entrepreneur and a successful individual. With what form of art do you most identify? My body of work consists of portraiture, ceramic work, drawing and painting. I identify myself with the traditional landscapes of South Africa and enjoy painting caricatures of well-known individuals, having obtained their prior permission. What kind of work do you most enjoy doing? I treat traditional landscapes as a priority and have a passion for painting still life. I find peace, calm and harmony prevailing when I tend to paint scenery and landscapes as it, gives me an immense amount of joy by allowing my imagination to flow.

Art brings out my personal side as an individual. My feelings and emotions show through the various forms of art that I create. Art is a form of expression.

What is your strongest childhood memory? As a child, I grew up from humble beginnings and I was not fortunate enough to have the luxuries in life but rather the necessities which were important to me at that time. I loved drawing and playing with the kids from my neighbourhood. We played various sports together such as cricket and soccer. I played with die-cast toy cars which have ended up as part of my current collection of approximately 300 classic model cars which go back 35 years. What themes do you pursue? At this point in time my focus revolves around the male metrosexual masculinity. For hundreds of years the male nude was far more prevalent in art forms than the female nude was until the early 19th century. Men’s grooming and presentation practices are, of course, nothing new and can be dated back to the Victorian era, but it was then in the main relatively invisible due to the societal perceptions of a “Feminine” realm of consumption and a masculine realm of production. At this point in time my focus revolves around the male metrosexual masculinity. For hundreds of years the male nude was far more prevalent in art forms than the female nude was until the early 19th century. Men’s grooming and presentation practices are, of course, nothing new and can be dated back to the Victorian era, but it was then in the main relatively invisible due to the societal perceptions of a “Feminine” realm of consumption and a masculine realm of production.

T O

ANTON SMIT The Life and Times of a South African Sculptor Widely revered for his overwhelming heads and monumental sculptures, evoking themes of suffering, reconciliation, glory and sublimation, his works grace public and private collections countrywide and internationally. Widely revered for his overwhelming heads and monumental sculptures, evoking themes of suffering, reconciliation, glory and sublimation, his works grace public and private collections countrywide and internationally.

©antonsmit.co.za

“Spoken verse, the echoes of emotive lyrics and the rasping of sculptures in progress are customary sounds emitted from his studio. Larger than life, Anton Smit is the embodiment of poetry, an apt term for this sculptor, derived from the term “making”. Anton forms his own language through sculpture, the manifestation of his passion for expression and his profound faith.” - Kathleen Thomas, Art Curator “What distinguishes the creative person is his persistence and determination to excel.” – Rhoma Ochse

©antonsmit.co.za

“A human being consists of the choices he makes.”

Anton collects sayings about the relationship between art and the individual artist’s experience of reality. “ Art is not to render the visible but to render visible,” he asserts, and his art achieves this in many ways. An inspiring raconteur, Anton enjoys relating tales of his struggles as a young artist. The secret to his success could be attributed to his courage and determination to forge ahead in the face of great difficulty. “Take big risks. Don’t fret about what others think. Do the most difficult thing on earth for you – do it for yourself.”

©antonsmit.co.za

CENTRAL SQUARE | MENLYN MAINE PUBLIC ART EXHIBITION History & exhibitions Anton achieved his first artistic breakthroughs in 1977, he received special mention in the South African Art Association’s New Signatures competition in Pretoria. Two years later he had a great boost when he won first prize in the New Signatures competition. He was the “Artist of the month” in 1982 at the Pretoria Art Museum this was followed in 1987 with his first one-man exhibition in the Beuster Skolimowski Gallery in Pretoria and in 1989 another one-man exhibition at the SAAA. Since then he has held numerous exhibitions of his sculptures throughout South Africa, in Witrivier, Nelspruit, Pietersburg, Johannesburg, Potchefstroom, Durban, Cape Town, in leading galleries such as the Crake, Kraft, Olivetti, Michael Matos, Beuster Skolimowski, Everard Read and many others. His work has been exhibited in Rome and Milan, Italy. The M-Net Head Office bought large sculptures, and he completed commissioned works for BMW’s head office in Midrand In 1994 he put 35 sculptures on exhibition in New York at the Grand Central Station as part of the Strengthening the Link initiative to boost trade between South Africa and The United States, organized by SATOUR in conjunction with the Department of Trade and Industry, represented by former president Nelson Mandela. He considers one of the highlights of his career: The Age of Grace, an eight-foot high bronze sculpture at the Grand Central Station, which celebrated South African Heritage and was displayed on the front page of The New York Times.

CENTRAL SQUARE | MENLYN MAINE PUBLIC ART EXHIBITION ‘Walkability’ is an aspect of new urbanism that’s being built into Menlyn Maine, where residents and tenants will be encouraged to walk from one location to another within the Precinct. By introducing art in different forms, Anton wants to motivate, enrich and enlighten the people of Tshwane to elevate their spirit, echo the enthusiasm displayed by the developers – Thus embracing the symbolism of the main feature sculpture “ The Spirit of Tshwane”. I believe we can make a positive contribution, by introducing art on a large scale to Menlyn Maine and invite different art-forms to follow soon to join me to come on board this exciting new flagship project! Someone once said: “The only kingdom that makes any man a king is the kingdom of his own soul… The only earthly power that has any real meaning is the power to better the world “ Showcasing art in and outside the mall – An art exhibition with a difference Smit identified specific pieces, plotting them in and outside the mall at dedicated points – see the art route map Anton is exhibiting a total of 34 pieces – All of these works form part of limited editions, artwork that is well sought after by local – and international art collectors. The selected pieces are presented in such a way that they not only compliment the architecture and spirit of the tenants in the mall but set a new and different standard to art presentation by introducing the latest technology by using the – 3d barcode “I hope to create a totally new experience to residents, retailers and shoppers alike and hope to be an inspiration for future artists to participate and introduce their artwork in a similar way, making MM the art hub in Tshwane – “ This concept will be the first of its kind.

SCULPTURE PARK | GALLERY

Anton Smit’s work has been shown and lauded internationally in places as diverse as Rome and Milan, Italy (1991), the Sweeguan Art Gallery in Singapore (1993), Bonn and Wolfsburg in Germany (1994), the SA Embassy in Bonn (1998), Amsterdam (2004) and Cologne (2014). In 2003 Smit opened his own sculpture garden, at the spectacular Anton Smit Sculpture Park in Aqua Vista, with a breathtaking view of Bronkhorstspruit Dam. The Anton Smit Sculpture Park, a unique outdoor exhibition which is a mere 40 minutes drive from Pretoria and 60 minutes from Johannesburg, is a destination of creativity attracting tourists and art buyers locally and internationally? The Sculpture Park’s three-hectare grounds are situated on the northern side of the Bronkhorstspruit Dam, on a plateau overlooking the water. Amongst the backdrop of natural stone formations, manicured lawns and succulent gardens, the garden provides a lovely environment to view the expansive collection of monumental sculptures and exhibitions, it includes Imagine Café, a full-service coffee shop. The Park expands the traditional concept of an art venue, ensuring a truly unique and inspiring experience. The sculpture park is open to the public, it can be accessed anytime, however, the art gallery is only open during office hours Monday – Friday | 9 am – 5 pm, Saturday / Sunday | 9 am – 1 pm. For more info: office.antonsmit@gmail.com

â&#x20AC;&#x153;Man emulates and assimilates nature, producing poetry in word and form.â&#x20AC;?

ART THERAPY History and Development of Art Therapy

Art has been used as a means of communication, self-expression, group interaction, diagnosis, and conflict resolution throughout history. For thousands of years, cultures and religions around the world have incorporated the use of carved idols and charms, as well as sacred paintings and symbols, in the healing process. The establishment of art therapy as a unique and publicly accepted therapeutic approach only took place recently, in the mid-20th century. The emergence of art therapy as a profession arose independently and simultaneously in the United States and Europe. The term “art therapy” was coined in 1942 by British artist Adrian Hill, who discovered the healthful benefits of painting and drawing while recovering from tuberculosis. In the 1940s, several writers in the mental health field began to describe their work with people in treatment as “art therapy.” As there were no formal art therapy courses or training programs available at that time, these care providers were often educated in other disciplines and supervised by psychiatrists, psychologists, or other mental health care professionals.

Contributors to the Field Margaret Naumburg, Hanna Kwiatkowski, Florence Cane, Edith Kramer, and Elinor Ulman were five influential writers of the 1940s who made significant contributions toward the development of art therapy as a recognized field. Margaret Naumburg often described as the “mother of art therapy,” established the Walden School in her home city of New York in 1915. She is widely viewed as the primary founder of the American art therapy movement. Naumburg believed children who were allowed to express themselves creatively and pursue subjects of interest to them would experience healthier development. Influenced by the psychoanalytic movement prevalent at the time, Naumburg began to view the creative process as a methodology similar to verbal expression—a means of unearthing repressed, unconscious thoughts and emotions. She believed once the symbolic expression of a person’s state of mind was combined with the cognitive and verbal aspects of experience, healing could take place. Both this expression and healing were believed to be able to occur in an art therapy session. She wrote several influential books on art therapy, including Studies of the “Free” Expression of Behavior Problem Children as a Means of Diagnosis and Therapy (1947), Schizophrenic Art: It’s Meaning in Psychotherapy (1950), and Dynamically Oriented Art Therapy: Its Principles and Practice (1966). These and other publications by leading contributors in the field are still used and referenced today as original sources in art therapy literature.

ART THERAPY HAS BEEN SHOWN TO BENEFIT PEOPLE OF ALL AGES 42

Hanna Kwiatkowski, another major contributor, was born in Poland and educated throughout eastern Europe. A talented sculptor and artist, Kwiatkowski eventually moved to the United States and began working at the National Institutes of Mental Health, where she bridged the gap between her passion and her profession by introducing art into the therapy sessions she conducted with families. As a result of these sessions, Kwiatkowska found the creative expression of drawing to allow family members to better identify their roles and status within the family. She also saw the significant therapeutic benefits of the drawing process. Although she had originally hoped to use her art therapy to help treat individuals facing intellectual challenges, Kwiatkowska discovered her technique also provided relief to families and individuals who faced moderate psychological issues and dysfunctions. Other contributors include Florence Cane, an art educator who utilized teaching methods emphasizing the importance of free artistic expression and encouraging emotional creativity, and Edith Kramer, who proposed the more process-oriented art-as-therapy approach that defined goals of supporting the ego, helping the development of identity, and fostering growth. Finally, Elinor Ulman established the first art therapy journal in the United States and initiated one of the earliest training programs in the field. Health Issues Treated by Art Therapy Art therapy has been shown to benefit people of all ages. Research indicates art therapy can improve communication and concentration and can help reduce feelings of isolation. This type of therapy has also been shown to lead to increases in self-esteem, confidence, and self-awareness.

Positive results in art therapy may often be achieved by those facing issues such as: Anxiety Depression Substance dependency Stress Posttraumatic stress Attention deficit hyperactivity Ageing and geriatric issues Cancer Compassion fatigue Heart disease Anorexia Bulimia Other eating disorders Cognitive impairments Family or relationship issues 43

Because art therapy allows people to express feelings on any subject through creative work rather than with speech, it is believed to be particularly helpful for those who feel out of touch with their emotions or feelings. Individuals experiencing difficulty discussing or remembering painful experiences may also find art therapy especially beneficial. Recent research suggests art therapy may help individuals diagnosed with schizophrenia see improvement of some of their symptoms, although trials are still being conducted.

Certified art therapists will typically have a comprehensive understanding of the powerful effect that the creative process can have on those in therapy. Common techniques used in therapy include: Painting Finger painting Doodling Scribbling Sculpting Drawing Using moulding clay Carving Making pottery Making cards Using textiles Making collages

A study in which women with cancer were encouraged to engage in various visual arts exercises and techniques found that the participants benefited in four key ways. While the women initially experienced a number of illness related challenges such as loss of confidence, loss of sleep, and altered social relationships, after the study they reported an increased focus on positive life experiences, increased self-worth, maintenance of social identity (as opposed to being defined by cancer), and an increased ability to express their feelings in a symbolic manner.

Art therapists work to help individuals, families, groups, and communities become more in touch with their emotions. Art therapy has become an integral part of many rehabilitation centres, mental health facilities, crisis centres, private practices, schools, and various other social and community institutions that strive to promote health, wellness, and growth. www.goodtherapy.org/learn-about-therapy/types/art-therapy

PAINTING IS SO POETIC, WHILE SCULPTURE IS MORE LOGICAL AND SCIENTIFIC AND MAKES YOU WORRY ABOUT GRAVITY. 46

DAMIEN HIRST

ELEMENTS OF ART The visual components of colour, form, line, shape, space, texture, and value.

LINE

An element of art defined by a point moving in space. A line may be two or three-dimensional, descriptive, implied, or abstract.

An element of art that is twodimensional, flat, or limited to height and width.

FORM

SHAPE

An element of art that is threedimensional and encloses volume; includes height, width AND depth (as in a cube, a sphere, a pyramid, or a cylinder). The form may also be free-flowing.

VALUE

The lightness or darkness of tones or colours. White is the lightest value; black is the darkest. The value halfway between these extremes is called middle grey.

An element of art by which positive and negative areas are defined or a sense of depth achieved in a work of art.

COLOUR

An element of art made up of three properties: hue, value, and intensity. • Hue: name of a colour • Value: hue’s lightness and darkness (a colour’s value changes when white or black is added) • Intensity: quality of brightness and purity (high intensity= colour is strong and bright; low intensity = colour is faint and dull)

An element of art that refers to the way things feel, or look as if they might feel if touched.

SPACE

TEXTURE

Decorative Easter Egg Cups. PROJECT

WHAT YOU WILL NEED: A pack of STAEDTLER 18 Twin-tip permanent markers. White egg cups or small white bowls. Some small Easter Eggs

STEP 1 Start drawing some stripes on the top lip of the bowl. This is decorative so this can be circles or any other shape.

STEP 2 You will be having so much fun when you get the hang of this, that it is a good idea to do more than one bowl at a time.

STEP 3 Turn the bowls upside down and colour in the contours of the bowl to add a great design effect.

STEP 4 For our flower theme, we draw verticle lines from the base, which would act as the stems for the flowers.

STEP 5 It is important to try get these equally spaced so that the bowls look great from any angle.

STEP 5 Now add in the flower centres as well as the petals.

STEP 6 The brighter the better so try use as many colours as you can. You really want this to make a statement.

STEP 7 Go over your existing lines to make them thicker and bolder. 50

STEP 8 Now that see the overall look. add more details into the rim and any other empty space.

STEP 9 AND VOILA! Now you just need to add the Easter Egss and you have created a wonderful gift for those special people this Easter. 51

have been the launching point not only for Hirst but for a generation of British artists. For its final phase, he painted two series of coloured spots on to the warehouse walls. Hirst describes the spot paintings as a means of “pinning down the joy of colour”, and explains they provided a solution to all problems he’d previously had with colour. It has become one of the artist’s most prolific and recognisable series, and in January 2012 the works were exhibited in a show of unprecedented scale across eleven Gagosian Gallery locations worldwide.

Damien Hirst was born in 1965 in Bristol and grew up in Leeds. In 1984 he moved to London, where he worked in construction before studying for a BA in Fine Art at Goldsmiths college from 1986 to 1989. He was awarded the Turner Prize in 1995. Since the late 1980s, Hirst has used a varied practice of installation, sculpture, painting and drawing to explore the complex relationship between art, life and death. Explaining: “Art’s about life and it can’t really be about anything else there isn’t anything else, ”Hirst’s work investigates and challenges contemporary belief systems, and dissects the tensions and uncertainties at the heart of human experience.

In 1991 Hirst began work on ‘Natural History’, arguably his most famous series. Through preserving creatures in minimalist steel and glass tanks filled with formaldehyde solution, he intended to create a “zoo of dead animals”.In 1992, the shark piece, ‘The Physical Impossibility of Death in the Mind of Someone Living’ (1991) was unveiled at the Saatchi Gallery’s ‘Young British Artists I’ exhibition. The shark, described by the artist as a “thing to describe a feeling”, remains one of the most iconic symbols of modern British art and popular culture in the ’90s. The series typifies Hirst’s interest in display mechanisms. The glass boxes he employs both in ‘Natural History’ works and in vitrines, such as ‘The Acquired Inability to Escape’ (1991), an act to define the artwork’s space, whilst simultaneously commenting on the “fragility of existence”.

Hirst developed his interest in exploring the “unacceptable idea” of death as a teenager in Leeds. From the age of sixteen, he made regular visits to the anatomy department of Leeds Medical School in order to make life drawings (‘With Dead Head’ (1991)). The experiences served to establish the difficulties he perceived in reconciling the idea of death in life. Of the prominence of death in his work (‘A Thousand Years’ (1990)) he has explained: “You can frighten people with death or an idea of their own mortality, or it can actually give them vigour.”[2] At Goldsmiths, Hirst’s understanding of the distinction between painting and sculpture changed significantly, and he began work on some of his most important series. The ‘Medicine Cabinets’ created in his second year combined the aesthetics of minimalism with Hirst’s observation that “science is the new religion for many people. It’s as simple and as complicated as that really.”[3] This is one of his most enduring themes, and was most powerfully manifested in the installation work, ‘Pharmacy’ (1992). Whilst in his second year, Hirst conceived and curated ‘Freeze’ – a group exhibition in three phases. The exhibition of Goldsmiths students is commonly acknowledged to

Since his involvement in ‘Freeze’ in 1988, curatorial projects have remained important to the artist. In 1994 he organised the international group exhibition ‘Some Went Mad, Some Ran Away’ at the Serpentine Gallery. Over a decade later, and explaining that he considers collections to constitute a “map of a man’s life”, he curated an award-winning exhibition of work from his ‘Murderme’ collection ‘In the darkest hour, there may be light’ (2006, Serpentine Gallery). Stating: “I am absolutely not interested in tying things down”, Hirst has continued over the last decade to explore the “big issues” of “death, life, religion, beauty, science.” In 2007, he unveiled the spectacular, ‘For the Love of God’ (2007) a platinum cast of a skull set with 8,601 flawless pavé-set diamonds, at the White Cube exhibition ‘Beyond Belief’. The following year, he took the unprecedented step of bypassing gallery involvement in selling 244 new works at Sotheby’s auction house in London. Describing the sale as a means of democratising the art market, the ‘Beautiful Inside My Head Forever’ auction followed Hirst’s Sotheby’s event in 2004, in which the entire contents of the artist’s restaurant venture, Pharmacy, were sold. Since 1987, over 80 solo Damien Hirst exhibitions have taken place worldwide and his work has been included in over 260 group shows. Hirst’s first major retrospective ‘The Agony and the Ecstasy’ was held in the Museo Archeologico Nazionale in Naples in 2004. His contribution to British art over the last two and a half decades was recognised in 2012 with a major retrospective of his work staged at Tate Modern. 55

STAEDTLER AMBASSADOR I am a young and ambitious, versatile natural born fine art artist, I am a self- taught artist by birth and I do art for a living. My name is Aubrey Mathebula

Aubrey Mathebula

What is your strongest childhood memory? With being the youngest Captain in our soccer team, the respect I was given was over-whelming and since that day I knew I had the potential to be great. Why do you do what you do? Art is a form which speaks volumes through inanimate objects. With poetry, poets use words to tell their stories whereas I use art to speak about my emotions and feelings through every paint brush or pencils strokes. What has been a seminal experience? t was attending one of the art events hosted by the Gameâ&#x20AC;&#x2122;s On organization which empowers and teaches our youth about the importance of art and culture in our country. Does your art reflect your personal life? My art identifies who I am and where I am from as well as where I am heading next, it identifies the everyday life problems as well as nature and who we are as human beings.

Why did you choose art? I believe that art is life and it is part of who we are. Art is what I breathe, eat and sleep, for I myself am a product of art. Art portrays so many things which we ignore and pay no attention to. Art speaks more than one can ever imagine. What do you dislike about your work? I dislike it when I have to work under pressure just because I have to meet a certain deadline, or a client is in a hurry to get his or her portrait done in a short period of time. What superpower would you have and why Teleporting is one of the superpowers I wish I could have. I like to travel so with it I could get anywhere I want in a short space of time without spending too much money.

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Learn the Basics of Sculpture A branch of the visual arts, sculpting is three-dimensional art made from moulding, casting, welding, and carving a variety of mediums, including stone, metal, wood, clay, and other materials. This art form has been around for thousands of years but is just as relevant today in the form of digital sculpting as are the pieces created in 230,000 BCE or earlier, like the Venus of Berekhat Ram (oldest known Stone Age sculpture). Today, contemporary artists work with a number of non-traditional forms of sculpture, including light, sound, ice, and kinetic sculpture, as well as 3-D modelling. 3D modelling, and more specifically, digital sculpting, is a new form of sculpture where users interact with a digital model, much like when modelling clay. Users pull, pinch, push, and twist “virtual clay” to create a sculpture. Precious materials like gold, jade, and silver are typically used to craft expensive, often smaller sculpture, while more common and less expensive materials, such as hardwoods, ceramics, and wax are used for wider purposes. Many sculptors, while carving out their own niche, have found new ways to use everyday materials, such as Pablo Picasso who used bicycle parts in his famous sculpture entitled, “Bull’s Head”, or Nathan Sawaya, who builds larger-than-life sculptures out of Legos; exhibiting them in museums around the world..

HOW TO BECOME A SCULPTOR It takes more than talent and enthusiasm to make it as a sculptor. It takes the kind of individual who recognises (and can tolerate) the ups and downs of the job. As in most art fields, a career as a sculptor can be fulfilling, fun, and frustrating all at the same time. You must be tough-skinned and able to take criticism and rejection while maintaining the drive necessary to forge your own career path.

Pursue a Degree or Formal Training Sculptors are highly-creative fine artists who create three-dimensional art in a wide variety of mediums. The term three-dimensional refers to the three dimensions of space – depth, breadth, and length, and is distinguished from other art, such as drawing and painting, which are two-dimensional. The sculptures artists create can be large, as the seated figure of Abraham Lincoln enshrined forever within the Lincoln Memorial in Washington, DC, or they can be small, like Jonty Hurwitz’s tiny human sculpture that is so tiny it cannot be seen by the naked eye. A sculptor can sculpt, chisel, carve, and cast with a variety of mediums, or choose to specialize in just one. It goes without saying that the main requirement for being a sculptor is artistic ability. But, as sculptors function as both the designer and craftsman, you will be carving or chiselling and modelling pieces with your hands, you will also need manual dexterity. You may operate hand tools, chisels, pliers, or scissors. You may need to know how to weld metals and assemble and cut more pliant materials. Sculptors might specialize in the design of one specific kind of sculpture, such as freestanding sculpture or relief. You may have a modern eye, or want to design pieces like the old masters. You may be known for sculpting pieces that involve lighting or flowing water, or for making intricate smaller bronze or silver pieces, or larger-than-life statues for display as landmarks. And, because you may also be in the business of selfpromotion, you may need business and marketing skills in order to sell your work. The ability to communicate ideas creatively, flexibility and adaptability, organizational skills and the ability to work in groups or independently are also skills a sculptor needs to have to succeed. The ability to make keep observations, sometimes quick decisions, and accept criticism are also essential skills. Sculptors must have an appreciation of aesthetics and have a keen eye for even the smallest details. Form, expressiveness and imaginative content are all concerns of a sculptor and should be honed and practised to perfect, cultivate, and improve their craft. Other than earning a high school diploma, a college degree is not required to succeed as a sculptor. In fact, many famous sculptors have no formal training. Take, for instance, John Martini, whose work is shown in galleries and museums throughout the US, or Michelle Post, who apprenticed with printmaker Stefan Martin to learn the detailed techniques of wood engraving and has worked alongside other artists who, over the years, have assisted in her artistic growth. So, before entering this field, aspiring sculptors should do their research and explore all their options to determine if formal education is worth the time and money, or if chiselling out a living as a self-taught artist is realistic.

Self-Taught vs. Formal Education Self-taught sculptors are not confined by the constraints of formal art training and education but are normal, everyday people who chisel, carve and mould great art. In that way, they are just like, and can possibly better relate to those who purchase their art. Conversely, college can leave individuals with mounting student debt. Especially when some four-year programs at top fine arts colleges can cost upwards of $100,000. Today, the Internet can be a self-taught artist’s greatest ally. It has never been easier for sculptors to establish themselves and attract a fan base that now, regardless of education. And, a greater number of artists are making it on their own using the power of a personal website and social networking. By posting photographs of your work online, a word about your art can spread very quickly. Likewise, an apprenticeship can increase an artist’s marketability, and although positions with professional sculptors may be hard to find, artists can search for opportunities through local community centres or cultural centres. A growing following of your art can also give your selfesteem a boost. After all, you determine what your sculpture should look like or represent, and how you present yourself, instead of what the art world teaches it should be. Plus, there are no rules governing what you sell your art form, where you sell your art, and what it should look like. That’s pretty liberating for most artists. In addition, just because you haven’t obtained a formal education, doesn’t’ mean your art can’t garner high prices. Many artists without formal training experience high levels of success, including hosting their own shows and participating in museum exhibitions. During a show, you may ask people what they think about a particular piece, what they are looking for, or if they would consider commissioning your work. Use any feedback to hone your craft or explore new techniques. Developing a plan to attract new collectors, establishing an online presence (Pinterest and Instagram are great venues), and cultivating relationships in the field can all help a sculptor’s business. Asking for referrals to show your work in a public place or business and attending art shows or joining arts organizations are also great

avenues for self-taught sculptors to explore. Earning a Degree Although a degree from a college, university or private art school is not required, many sculptors complete a formal education, and most agree a degree outweighs the cost and time it takes to complete. Some sculptors even go on to earn a master’s degree in fine arts, with a concentration in sculpting. During school, sculptors can gain practical experience by shadowing professionals in the field or completing internships. Many schools also offer portfolio classes; providing instruction on how to create a professional portfolio. A portfolio is typically what employers look at first when deciding to hire a sculptor or show their work in a gallery. Coursework in a bachelor’s of fine arts (BFA) program includes art, art history, sculpting techniques, stone carving, mouldmaking, figure modelling, casting and more. In the final two years of a BFA program, student’s have the opportunity to choose electives, which expose them to other methods of sculpting, such as the use of fabric, metal, wire, glass, or a combination of materials. Students are also advised to take business and marketing classes they will likely need when promoting and selling their art. Many students will also participate in training sessions and complete continuing education classes to stay in tune with the newest advancements in the world of sculpture. Students who wish to teach sculpture (or any art course) in a public school will also need to obtain a teaching certificate in addition to their bachelor’s degree. Some graduates will go on to earn a master’s in fine arts (MFA), with a concentration in sculpture. Although the curriculum varies by school, most MFA programs last two years, with a focus on the theory and practice of modern sculpture. MFA programs also include many hours of studio work. Many programs require students to complete a thesis in the form of a student exhibition of his or her sculpture(s).

There are many other reasons to attend art school, among them •Personal mentors and alumni that give students the opportunity to connect outside of the classroom. .Access to equipment. No doubt, attending school gives students a big advantage when it comes to using state-of-the-art equipment. • The structured environment of college helps students stay focused and motivated. • Studio space. Many art schools and universities have individual studio space for students to produce their artwork. • Exposure to art shows and exhibitions give students the opportunity to showcase their work on a regular basis. Some shows are open to the public, which gives their art an even greater opportunity to be seen by art collectors, critics, and potential employers. • Community. Having peers critique your work is invaluable to an individual’s growth as a sculptor. Surrounding yourself with like-minded individuals can lead to new ideas and techniques. • Networking opportunities are there for the taking as students participate in workshops and lectures and meet local artists, which can lead to job opportunities and career advancement. Many art schools also teach skills that can be used to further a sculptor’s career, such as how to market and price their work, or even run a small business. Students need to know how to speak in public, and they need writing skills for presenting their work and critical thinking skills. They provide an environment conducive to producing great art. That said, students should research different programs offered by colleges and universities, or private art schools to find the one that offers them the best program in sculpture and fits their career goals.

Where to study Fine Art in South Africa

University of Witwatersrand, Johannesburg (Wits) Fine Arts The BA Fine Arts degree combines fine art studio practice with academic study in Art History, Theory, and Criticism.

University of Cape Town (UCT) The BAFA degree programme is one of full-time and specialist study. Students who register for this programme will be required to take studio work and academic courses which are taught on Hiddingh and Upper Campus. Over the four-year degree students are introduced to the studio work disciplines of Painting, Sculpture, Photography, Printmaking and New Media, and work towards an increased area of studio work specialisation.

University of Pretoria (Tuks) This Fine Arts, B.A. programme focuses on the main disciplines in fine arts, ie painting, sculpture, graphic printmaking, drawing and new media, as well as on the theories and concepts of art. Graduates qualify as professional artists. 66

Vaal University of Technology This course will equip the graduate to operate as a practising professional artist and craftsperson in the national and international arenas. Given the diversity of academic and technical skills the graduate will have, he/she would be able to make an academic and economic contribution to the arts. The graduate will be equipped to operate as an entrepreneur and set up their own workshop or studio and negotiate the art world effectively. The graduate would be able to find employment in the art industries, such as educational institutions, museums, art galleries, publishing houses, ceramic industries, advertising agencies, film companies and TV production houses, working ÂŠShutterstock with architects in decoration of buildings (mosaics, murals) or doing University of the Free State commissioned works such as portrait The BA Fine Arts degree focusses on paintings, drawings or monuments developing the technical, conceptual of materials to deserving Visual Arts and creative problem-solving skills & Design students. which prepare you for a lifetime of careers in a changing professional world. You will explore a wide range of artistic practices which vary from traditional to contemporary. These would include installation, digital arts, animation, video, land art, painting, sculpture, printmaking and drawing.

ÂŠDaily Maverick Rhodes University ÂŠTimesLIVE Nelson Mandela Metropolitan University The National Diploma in Fine Art is designed to give students training in photography, digital technologies, painting, multimedia, sculpture, printmaking, stained glass, glassforming and ceramics

The Department of Fine Art, which is part of the Faculty of Humanities, provides comprehensive tuition in studio practice as well as theoretical and historical aspects of the visual arts. Rhodes Fine Art aims to empower students by developing their creative and intellectual potential through exposure to a rich and challenging range of contemporary teaching and learning experiences.

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Mars Mag - Issue 4

Articles inside

How to become a sculptor

Art Therapy

Colour trends and sculpture