DOCSLIB.ORG

Southern Guild Catalogue 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Southern Guild Catalogue 2011 The Future of South African Design Southern Guild 2011 ANATOMY DESIGN GREYMETA NICO MASEMULA ANGUS TAYLOR GUY DU TOIT NKHENSANI NKOSI ARDMORE HALDANE MARTIN OKHA BRETT MURRAY HEATH NASH ONGARO BRONZE AGE HOUSE ON FIRE PACO CERAMIC MATTERS IMISO PEDERSEN & LENNARD CONRAD BOTES JAMES MUDGE PHILIPPE BOUSQUET DAHLA HULME JOHN VOGEL PIERRE CRONJE DAVID MANANDO KOOP PORKY HEFER DOKTER & MISSES LADUMA NGXOKOLO SILVIO RECH & LESLEY CARSTENS DYLAN LEWIS LIFE STUDIOMAS EGG LYALL SPRONG TONIC ENOCK NGWENYA MARCHAND VAN TONDER WANGA NGWANE FLY-PITCHER MICHAELLA JANSE VAN VUUREN WAYNE BARKER GOET MUD WILLOWLAMP GREGOR JENKIN NIC BLADEN XANDRE KRIEL ForewordNku Nyembezi-Heita, CEO Arcelor Mittal South Africa We have all come to take it is equally adept and rewards the various industrial and hand detailing as well. commercial applications of Supporting the use of steel as an unremarkable part steel beyond industrial and We are proud of our of everyday life. The versatility commercial applications is of steel makes it suitable for the reason we have chosen a wide variety of applications to partner with Southern association with spanning construction, Guild. We are proud of the packaging, transport and ground-breaking work that manufacturing, to name but a artists under its umbrella Southern Guild in few. It is only over the course produce and what it means of the last 50 years that steel for how steel will be perceived has become more commonly for generations to come. the drive to further used as an art medium. We are also excited at having Its advantages - primarily works of art crafted out of steel durability and malleability exhibited at the FNB Art Fair develop the use of - have caused many artists this year. Our association with to make it their material of Southern Guild will showcase choice. Not only does steel steel in its most alluring and steel in the arts. lend itself to large-scale work, artistic form, and we are also ...we are also thrilled thrilled that Trevyn and Julian extend our brand into this that Trevyn and Julian McGowan, who founded new and vibrant market as Southern Guild, have taken a result of our relationship the initiative to help budding with Southern Guild. McGowan, who young artists find their feet We wish Southern Guild and reach new markets. and all its artists the best of ArcelorMittal has taken luck in the year ahead and founded Southern Guild, the lead in developing the use hope that our association of steel beyond traditional will be mutually beneficial. industrial use. A recent have taken the initiative example is the ArcelorMittal Orbit, which will be a centre piece of the 2012 London to help budding young Olympics. The sculpture - constructed from a continuous looping lattice of tubular steel artists find their feet and - will stand 115m high and consume 1,500 tons of steel. We are pleased that in reach new markets. South Africa, we are able to Some of the world’s iconic architectural and design projects are made of steel; the Sydney Harbour bridge in Australia, the Nelson Mandela bridge in Johannesburg, the San Franscisco bridge in the USA, the Eiffel Tower in Paris, the beautiful gigantic clock at Big Ben in London and the gangly giraffe-like structures that epitomise the Mbombela Stadium in Nelspruit are but a few of such examples. ArcelorMittal South Africa – a subsidiary of ArcelorMittal, the global leader in steel production – is the leading steel producer on the African continent and plays a critical role in making sure that the manufacturing industry has continuous access to steel to enable it to fulfil its obligations, some of which spawns the projects listed above. ArcelorMittal South Africa has been in existence since the early 1900’s and its oldest plant, Vereeniging Works, will be celebrating its centenary in November 2011. Of the two African operations out of the 66 across the world, ArcelorMittal South Africa is the largest operation, with another operation based in Liberia. In South Africa alone, the company accounts for Approximately 85% of the the production of approximately 70% of steel in the market. ArcelorMittal South Africa also exports steel into It is only when you stop and think about it that you realise markets in East Africa, SADC and the Middle East. world’s wind turbines are just how pervasive steel is in our lives. From the cutlery you ArcelorMittal has played a major role in the development use at home, the casings of tinned food, beverages and other programme in preparation for the 2010 FIFA World products, burglar proofing and other home and office security Cup, as steel was a major component in the building made of steel and one in devices to door handles, book cases and hockey poles, it is of stadia, roads, the Gautrain and other infrastructure literally in every part of our day-to day life. There is also projects. This is closely followed by the automotive state-of-the-art industrial machinery, big steel beams that sector which accounts for 14% of local revenue. three of the turbines use are a feature of big ticket construction projects such as stadia, The steel giant is headquartered in Vanderbijlpark in the dams and avant-garde architectural buildings. Not forgetting Vaal Triangle, also the site of its largest operation locally. Its the beautiful steel garden furniture of the seventies that other plants are based in Vereeniging in the Vaal, Newcastle ArcelorMittal steel. bring memories of family days in the garden in summer. in Kwazulu-Natal, and its youngest, state-of-the-art plant The 115 metre artwork will be a feature of the Olympics and later the London Skyline. The Orbit has been built using steel from all continents where ArcelorMittal has operations, including Africa. in Saldanha, on the west coast of the Western Cape. orbit, a world-class project/first for the 2012 London Market segmentation for the global company Olympics. The 115 metre artwork, by Turner Prize makes for interesting reading, particularly in Europe winning artist Anish Kapoor, will be a feature of the where steel products from ArcelorMittal are used in a Olympics and later the London Skyline. The Orbit third of all automotive products produced. European has been built using steel from all continents where car manufactures are by far the second largest, after ArcelorMittal has operations, including South. Secondly, construction, consumers of the steel giant’s products. the company has just announced a major sponsorship for Southern Guild, an organisation aimed at helping foster and market steel based art. Southern Guild is home to The art of steel some of South Africa’s pre-eminent art talent, some As mentioned earlier, steel is an integral part of the of whom already producing notable steel art pieces. design and architectural world. The next time you It is also a fitting coincidence that some of the steel art take a ride in the Gautrain, the gleaming steel, the that artists from Southern Guild uses for their signature rails and most of the features are made of steel. pieces comes from scrap metal. Scrap metal is an Perhaps the most iconic use of steel in our lives is integral part, and most importantly very sustainable and in its use for Nelson Mandela’s towering statue environmental friendly way of making steel. The Southern at the Nelson Mandela Square, Sandton City. Guild partnership will also ensure that ArcelorMittal In its support of steel use across diverse products, South Africa is involved in the discovery and development ArcelorMittal has been involved in two distinct projects. of new artists in South Africa through the Southern The first is the commissioning of the ArcelorMittal Guild Foundation which is being launched this year. Southern GuildForeword by Trevyn McGowan On arriving back in South coming of age with a independently of any global Africa in 2002, after twenty tangible sense of identity. zeitgeist or movement. two years in Britain, we A new crop of designers We were tangibly moved were touched by a strong were emerging with – by the importance of it sense of something about to totally unique voices and all, the possibilities ahead, unfold, a new pulse beating standpoints, each positioned the thrilling, satisfying and a coming together of a clan, or tribe, on the threshold of a new era. A new crop of designers In this place of the birth of humanity, only recently reborn as a Nation, we were emerging with were acutely aware of the ancestral lineage of the craftsmen: of ceramic artists, totally unique voices and weavers, carvers and makers, who having undertaken years of dedication, were standpoints 11 ...we were touched by a strong sense of something about to unfold, a new pulse beating and a coming together of a clan, or tribe, on the threshold of a new era. experience of working with had hitherto been working show alongside their risk-taking pieces of fellow minds and talents that in somewhat isolation. peers, with a brief that was participants, meant that each excited and challenged us. In 2008 Southern Guild simply: produce brand new designer pushed themselves After several years of was founded, for the first two work, don’t consider price, just that much harder and exploring the South African years working in partnership materials, production run the industry was galvanized Design Industry and working with Artlogic, the directors requirements or commercial to explore new territory. with a wide array of talents of the FNB Joburg Art Fair. viability but simply give us Over 150 new products and disciplines, and numerous We set out to invite the what you have always wanted have been launched by international retail giants, it people who energized us, to make, that elusive dream Southern Guild over the last became clear that a platform by the way they worked and piece that is more about three years, some of these was needed to showcase the thought, to belong to the who you are, and your heart, are one-off items or limited very best, the pinnacle of Guild each year.
Load more

Recommended publications
  • 99! Throughout His Many Decades of Struggle and Imprisonment, Nelson
    HUMAN DIGNITY AND FREEDOM OF SPEECH IN THE POST APARTHEID STATE SPENCER WOLFF* Throughout his many decades of struggle and imprisonment, Nelson Mandela clung to a demand for human dignity for all South Africans. In the wake of his passing, it might seem pertinent to ask what human dignity represents in South Africa today. Many of us would be surprised by the answer. Focusing on three recent controversies, The Citizen 1978 Pty Ltd v McBride,1 Le Roux v Dey2 and Zuma v Goodman Gallery,3 this article analyses how South Africa’s courts and politicians have begun to promote a notion of human dignity that privileges ‘Personality Rights’ — the protection of reputation, honour and privacy — over freedom of expression. If human dignity was invoked under apartheid to demand the right to publicly denounce an oppressive political system, over the last decade South Africa’s jurists have drawn on a line of German constitutional jurisprudence to repurpose the dignity principle to shield public figures from criticism. Even more worrying, this sudden enthusiasm for ‘Personality Rights’ has gone hand in hand with efforts by the government to undermine constitutional protections for an independent press and judiciary. For the moment, however, South Africa’s Constitutional Court (‘SACC’) has yet to embrace the full rigour of ‘Personality’ protections embodied in German law. This article contends that the towering legacy of South Africa’s Truth and Reconciliation Commission (‘TRC’) has restrained the Court. As a body tasked with ‘restor[ing] the human and civil dignity of victims “by granting them an opportunity to relate their own accounts of the violations of which they are the victim”’,4 the TRC articulated an interpretation of human dignity that was speech-empowering instead of speech-restrictive.
    [Show full text]
  • South African Festivals in the United States: an Expression of Policies
    South African Festivals in the United States: An Expression of Policies, Power and Networks DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Akhona Ndzuta, MA Graduate Program in Arts Administration, Education and Policy The Ohio State University 2019 Dissertation Committee: Karen E. Hutzel, Ph.D. Wayne P. Lawson, Ph.D. Margaret J. Wyszomirski, Ph.D., Advisor Copyright by Akhona Ndzuta 2019 Abstract This research is a qualitative case study of two festivals that showcased South African music in the USA: the South African Arts Festival which took place in downtown Los Angeles in 2013, and the Ubuntu Festival which was staged at Carnegie Hall in New York in 2014. At both festivals, South African government entities such as the Department of Arts and Culture (DAC), as well as the Department of International Relations and Cooperation (DIRCO) were involved. Due to the cultural, economic and other mandates of these departments, broader South African government policy interests were inadvertently represented on foreign soil. The other implication is that since South African culture was central to these events, it was also key to promoting these acultural policy interests. What this research sets out to do is to explore how these festivals promote the interests of South African musicians while furthering South African government interests, and how policy was an enabler of such an execution. ii Acknowledgements I would like to thank the Oppenheimer Memorial Trust and the National Arts Council of South Africa for their generous funding in the first two years of my studies.
    [Show full text]
  • Africa-Lite: Cultural Appropriation and Commodification of Historic Blackness in Post- Apartheid Fabric and Décor Design
    Africa-Lite: Cultural appropriation and commodification of historic blackness in post- apartheid fabric and décor design By Annemi Conradie Dissertation presented for the degree of Doctor of Visual Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Lize van Robbroeck Department: Visual Arts April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. April 2019 Copyright © 2019 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract Over the past few years, cultural appropriation has gained a degree of notoriety as a buzzword, after emerging into the wider public arena from academic, legal and political discourses. Internationally and in South Africa, debates arise predominantly around cases where historically asymmetric power relations are symbolically or materially re-enacted when dominant groups appropriate from economic or political minorities. This study examines the appropriation of colonial images of black individuals and bodies for commodification in twenty- first century South African décor and fabric design. A prominent trend in post-apartheid visual design, the re- purposing and commodification of archival photographs, and its circulation within local and global image economies and design markets demand further research and comprehensive theorising.
    [Show full text]
  • South African Seduction Nearly 20 Years After the Fall of Apartheid, the Country’S Art Scene Is Poised to Move Onto the World Stage 80
    SOUTH AFRICAN SEDUCTION Nearly 20 years after the fall of apartheid, the country’s art scene is poised to move onto the world stage 80 to many outsiders, the south african art world may seem to have produced no more than a few major talents—most notably William Kentridge. Their work further suffers by being narrowly perceived as inextricably associated with apartheid, still the lodestone of South African identity. This oversimplification persists largely because even decades after the global boycott of South Africa’s economy and culture came to an end, the country’s art scene remains small. And while a few galleries are starting to reach out internationally, the arts still lack the broad popular audience at home that they enjoy in the Americas, Europe, and, increasingly, Asia. Exacerbating the problem, the ruling African National Congress seems more interested in exploiting the divide than in broadening support for the arts, as evidenced by the party’s attempt last year to censor a painting of polygamist president Jacob Zuma as Lenin with his penis exposed. Intended by artist Brett Murray as a denunciation of corruption among ANC leadership, the government moved to suppress the work, BY JASON EDWARD KAUFMAN launching a lawsuit against Johannesburg’s Goodman Gallery and calling on party members to boycott a newspaper that published the image. A tribunal ruled that no action be taken, but the firestorm left the impression that South Africa’s government was more interested in culture wars than cultural development. Yet a closer look reveals an art economy beginning to emerge from colonial provincialism.
    [Show full text]
  • Brett Murray
    Goodman Gallery Brett Murray Biography Brett Murray studied at the University of Cape Town where he was awarded his Master’s of Fine Arts degree in 1988 with distinction. The title of his dissertation is ‘A Group of Satirical Sculptures Examining Social and Political Paradoxes in the South African Context’. As an undergraduate he won Irma Stern Scholarships in both 1981 and 1982. He won the Simon Garson Prize for the most Promising student in 1982 and was awarded the Michaelis Prize in 1983. As a postgraduate student he received a Human Sciences Research Council bursary, a University of Cape Town Research Scholarship, the Jules Kramer Grant and an Irma Stern Scholarship. He has exhibited extensively in South Africa and abroad. From 1991 to 1994 he established the sculpture department at the University of Stellenbosch, where he curated the show ‘Thirty Sculptors from the Western Cape’ in 1992. In 1995 he curated, with Kevin Brand, ‘Scurvy’, at the Castle of Good Hope in Cape Town. That year he co- curated ‘Junge Kunst Aus Zud Afrika’ for the Hänel Gallery in Frankfurt, Germany. In 1999, Brett co-founded, with artists and cultural practitioners Lisa Brice, Kevin Brand, Bruce Gordon, Andrew Putter, Sue Williamson, Robert Weinek and Lizza Littlewort, ‘Public Eye’, a Section 27 company that manage and initiate art projects in the public arena with the aims to develop a greater profile for public art in Cape Town. They have initiated projects on Robben Island, worked with the cities health officials on aids awareness campaigns and initiated outdoor sculpture projects including ‘The Spier Sculpture Biennale’.
    [Show full text]
  • A Critical Discourse Analysis (Cda) of the Contesting Discourses Articulated by the Anc and the News Media in the City Press Coverage of the Spear
    A CRITICAL DISCOURSE ANALYSIS (CDA) OF THE CONTESTING DISCOURSES ARTICULATED BY THE ANC AND THE NEWS MEDIA IN THE CITY PRESS COVERAGE OF THE SPEAR. A mini-thesis submitted in partial fulfillment of the requirements for the degree of: MASTERS OF ARTS SCHOOL OF JOURNALISM AND MEDIA STUDIES of RHODES UNIVERSITY Grahamstown, South Africa by TIA A. EGGLESTONE January 2014 ABSTRACT A critical discourse analysis (CDA) of the contesting discourses articulated by ANC and the news media in the City Press coverage of The Spear. This research focuses on the controversy surrounding the exhibition and media publication of Brett Murray’s painting, The Spear of the Nation (May 2012). It takes the form of a qualitative Critical Discourse Analysis (CDA), underpinned by Fairclough’s (1995) three-dimensional approach, to investigate how the contesting discourses articulated by the ruling political party (the ANC) and the news media have been negotiated in the City Press coverage in response to the painting. While the contestation was fought ostensibly on constitutional grounds, it arguably serves as an illustrative moment of the deeply ideological debate occurring in South Africa between the government and the national media industry regarding media diversity, transformation and democracy. It points to the lines of fracture in the broader political and social space. Informed by Foucault’s conceptualisation of discourse and the role of power in the production of knowledge and ‘truth’, this study aims to expose the discourses articulated and contested in order to make inferences about the various ‘truths’ the ANC and the media make of the democratic role of the press in a contemporary South Africa.
    [Show full text]
  • The Power of Hair the Politics of Hair in a (South) African Context
    The power of Hair The politics of Hair in a (South) African context Shonisani Netshia Lecturer Visual Art Department University of Johannesburg Email: [email protected] About two years ago South African musician Hugh Masekela made a public announcement that he would not take pictures with women who wear weaves or do not wear their hair in its natural state, which caused an uproar from women across the country. Local celebrity Dineo Ranaka had to wrap her head with a towel to hide her weave so she could take a picture with legendary musician ‘Bra Hugh’ stating that he could not let it kill her joy, adding she refused to let her ego rob her of a moment to smile and laugh with this “lovely” man. Ask almost any black woman and she will probably tell you that her relationship with her hair is similar to a love affair. Whether it’s the long hours spent waiting at the hair salon, the pain endured from relaxing or braiding, or the amount of money spent—hair is truly an obsession. TV and Radio personality Dineo Ranaka and legendary musician Hugh Masekela Within Black culture in South Africa hair is important, and it is synonymous with identity, many individuals use their hair to make a statement. For the longest time, black women have been made to feel ugly, insecure and ashamed because of their natural hair, while at the same time scrutinised for their choice to wear extensions, weaves or braids. In a column in one of the local newspapers Masekela explores the history behind what has influenced our ideas about 'good hair' and 'bad hair'.
    [Show full text]
  • Exhibitions of Resistance Posters: Contested Values Between Art and the Archive
    Exhibitions of Resistance Posters: Contested Values Between Art and The Archive Nomcebo Cindy Sithole Student number: 967203 1 A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand Supervisor: Nontobeko Ntombela 2017 2 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously, in its entirety or in part, Submitted it at any university for a degree _________________________ Date: ___________________________ 3 Acknowledgements Special thanks goes to my supervisor, Nontobko Ntombela, for his continuing support throughout this degree. Without your guidance this project would never have been envisaged or completed. The Springs Art Gallery and the City of Ekurhuleni (SRAC) are also thanked for supporting my studies. Last but not least would like to thank my family for being so supportive and acting as constant motivators – thank you to my mother Nokuthula Sithole, Thabiso Bhengu, Yandisa Sithole and the Sithole family. 4 Table of Contents Introduction 7-9 Thesis Structure 9-10 Research Methodology 10- 11 Chapter 1: State of emergency 11- 15 Chapter 2: Poster, Archive Institution and Art Museums 15 2. Introduction 15-16 2.1. Resistance poster 16-17 2.2. Archive house and the Museum 17-19 2.2.1 African Museums 19- 21 2.2.2 South African History Archive (SAHA) 21-23 2.3.1 Posters from the Community Arts Project Archive exhibition 23-24 2.3.2 ‘Images of Defiance’ 24-26 Chapter 3: Reconstruction of Neglected Contributions 26 3. Introduction 26-27 3.1 Johannesburg Art Gallery and policies of collection 28-29 3.2.1 Thami Mnyele and Medu Art Ensemble Retrospective (2008) 29-32 3.2.2 Medu Art Ensemble 33-36 3.3.
    [Show full text]
  • A Critical Analysis of Masquerading Strategies in the Artworks of Contemporary South African Visual A
    POSTCOLONIAL MASQUERADING: A CRITICAL ANALYSIS OF MASQUERADING STRATEGIES IN THE ARTWORKS OF CONTEMPORARY SOUTH AFRICAN VISUAL ARTISTS ANTON KANNEMEYER, TRACEY ROSE, MARY SIBANDE, SENZENI MARASELA AND NANDIPHA MNTAMBO SHARLENE KHAN Goldsmiths, University of London PhD in Art 2014 DECLARATION I declare and undertake that all material presented for examination is my own work and has not been written for me, in whole or in part, by any other person(s). I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: …………………………… Date: ……………………………… 2 DEDICATION For Gule, Asfour and myself 3 ACKNOWLEDGEMENTS The Commonwealth Scholarship Commission and Canon Collins Trust for the Commonwealth scholarship that allowed me three years of uninterrupted study time. Sandy Balfour, you’re an amazing person and part of the wonderful memories we have of London. My sincere thanks for copy-editing this thesis. Thanks to the National Arts Council of South Africa for funding towards this PhD. Thank you to my supervisor, Andrea Phillips, for challenging my thoughts, for encouraging me, and efficiently dealing with all scholarship requirements. My partner Fouad Asfour – editor, uncredited camera-man, researcher, chef, counsellor, comedian. My sojourn to London was made all the better for having him share it with me. Thank you to artists Ayana Vellisia Jackson, Mary Sibande, Senzeni Marasela, Nandipha Mntambo and Tracey Rose for giving me time out of their hectic schedules in different parts of the world and answering my questions generously. I am grateful to the written contributors of my artist's catalogue: Fouad for layout of the catalogue as well, Peace Kiguwa (who directed me to articles on Critical Whiteness Studies), Nicola Lauré al-Samarai, Yvette Greslé and, especially Betty Govinden, the woman who introduced me to black feminism, and still engages and challenges my thoughts around it.
    [Show full text]
  • Theatre in a Post-Mandela South Africa by Nathanael M. Vlachos a TH
    RICE UNIVERSITY Ethics of Freedom, Pragmatics of Constraint: Theatre in a Post-Mandela South Africa by Nathanael M. Vlachos A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Philosophy APPROVED, THESIS COMMITTEE h Janies D. Faubifon, Chair Professor of Anthropology Dominic Boyer Professor of Anthropology yq~^- J^ Elias Bongmba Professor of Religion HOUSTON, TEXAS April 2017 ABSTRACT Ethics of Freedom, Pragmatics of Constraint: Theatre in a Post-Mandela South Africa By Nathanael M. Vlachos This dissertation, an ethnography of South African theatre artists, traces the moral and ethical contours of a “post-Mandela” South Africa. While “post-apartheid” South Africa is marked by ethical nation-building projects like racial reconciliation and the push for a nonracial “rainbow nation,” post-Mandela South Africa is characterized by a growing skepticism of these projects and a sense that many South Africans have yet to enjoy the freedoms promised by Mandela and others. In dialogue with the anthropology of ethics and Foucauldian ethical frameworks in particular, I examine the implications of a post-Mandela South Africa with regard to processes of shaping and forming self and community. What moral and ethical resources are available for imagining and enacting a good life when moral nation-building projects collapse? What new moral exemplars and pedagogues emerge from a context where former icons of struggle are now seen as collaborators with a colonial past and an insidious neoliberal present? How has this moment mutated those things most integral to understandings of self, like race, class, kinship, and politics? What forms do freedom and constraint currently take in this context? These questions and others are answered through an ethnographic study of South African theatre, drawing on fieldwork from Johannesburg, Soweto, and Grahamstown.
    [Show full text]
  • In the Shadow of the Rainbow in the Shadow of the Rainbow in the Shadow of the Rainbow
    In the Shadow of the Rainbow In the Shadow of the Rainbow In the Shadow of the Rainbow FNB JOBURG ART FAIR 2013 27 to 29 September johans borman FINE ART www.johansborman.co.za Written by Johans Borman and Zach Taljaard Proof reading Amy Catchpole Photography Contents Zach Taljaard and Amy Catchpole Colour editing, design and layout Foreword 6 Nicholas Hlobo 54 Amy Catchpole Gerard Sekoto 8, 20 Marc Stanes 56 Printing George Pemba 14, 38 Jaco Sieberhagen 58, 94 Fairstep Graphic Design & Print Jurgen Schadeberg 18 Robert Hodgins 60 Edition 500 Copies Ephraim Ngatane 22 Warrick Kemp 62, 84 Dumile Feni 26 Brett Murray 64 Published by Johans Borman Fine Art, Cape Town, 2013 ISBN 978-0-620-58034-2 Ezrom Legae 30 David Brown 68 © Johans Borman Fine Art 16 Kildare Road, Newlands, 7700 Sam Nhlengethwa 32 Guy Tillim 72 Tel: +27 (0) 21 683 6863 Sydney Kumalo 34 Anton Kannemeyer 76 E-mail: [email protected] Peter Clarke 36 Trevor Makhoba 78 All rights reserved. No part of this publication may be reproduced, stored in retrieval system or transmitted an any form without the Willie Bester 42 Richard Mudariki 80, 86 prior permission in writing of the publisher. William Kentridge 44, 50, 66 Khaya Witbooi 88 Johann Louw 46 Johannes Segogela 96 Walter Meyer 48 Pieter Hugo 98 COVER Gerard Sekoto David Goldblatt 52 Kyle Weeks 100 'Street musician in District Six' (detail) BACK COVER Richard Mudariki 'Chinese Tailor' In the Shadow of the Rainbow FNB JOBURG ART FAIR 2013 Early European explorers and missionaries to Africa postcolonial era and the redressing of the oppression Umkhonto weSizwe (MK) or the 'Spear of the Nation' was It is in the wake of incidents such as the Marikana massacre, described it as the Dark Continent, populated by primitive, suffered under colonialism in Africa.
    [Show full text]
  • The Case of the Spear / David Freedberg
    FEATURES / THE CASE OF THE SPEAR / DAVID FREEDBERG THE CASE OF THE SPEAR The events around Brett Murray’s painting are part of a long history of iconoclasm writes DaviD FreeDberg Censorship and iconoclasm are two of the most Things moved swiftly. No one could have powerful expressions of contempt for images. doubted the satirical intention of the painting. They testify – graphically and eloquently – to As every South African knew, its title alluded the power of the very effects they seek to to the military wing of the ANC, Umkhonto we annul. Throughout history people have sought Sizwe (‘Spear of the Nation’). It was bound to to suppress, mutilate or destroy images. In be incendiary, and was immediately perceived some cases the assaults have been political, in as such. The ANC reacted by seeking a court others pathological. Often a current of concern injunction to have the picture removed from about the sensual and sexual power of images display at the Goodman Gallery and from underlies the efforts at their elimination or the website of City Press. While politicians, suppression of an image. The recent events political spokespersons and ministers, both of surrounding Brett Murray’s The Spear, his government and religion, insisted that art should satirical portrait of President Jacob Zuma, form not be allowed to insult people with impunity, part of this long history – though rarely has an most artists – of all colours – felt that the ANC’s effort at official censorship been followed so action went too far. The basis of the lawsuit was predictably by an act of iconoclasm.
    [Show full text]