DOCSLIB.ORG

Unsettling Segregation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Unsettling Segregation Unsettling segregation: The representation of urbanisation in black artists’ work from the 1920s to the 1990s By Pfunzo Sidogi Dissertation presented for the degree of Doctor of Visual Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Professor Lize van Robbroeck March 2021 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. March 2021 Copyright © 2021 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Abstract In this study I explore artistic representations of urbanisation produced by black South African artists throughout the twentieth century. Successive colonial and apartheid governments denied black people full rights to the city through, amongst other strategies, the systematic creation of black urbanisms or ‘black cities’. Commonly known as townships, ‘black cities’ were built to house reservoirs of black labour beyond the major cities and industrial hubs. This forced separation resulted in selective and ambiguous integration for the urbanised black populace. The influx of black people into the peri-urban sphere led to an unprecedented proliferation of artists recording the black experience of living and working in segregated urbanisms. Regrettably, much of the discourses on urbanisation produced by white scholars constructed black urbanisation specifically as a ‘problem’, and the diverse artistic annals showcasing urban black life were classified as ‘Township Art’, a category that could not fully capture the multi- dimensional, complex, and layered experiences of the urban black. A Social-Darwinist teleology that rural-based African traditions necessarily had to make way for urban-based western modernity informed the way black artists’ works were interpreted. Contesting these discoures, I use Afropolitanism, and the associated notions of multi-locality and New Africanism, to reframe depictions of twentieth-century urbanisation by black artists in order to redress the sweeping and essentialising binaries that characterised white writing on the phenomenon. Through a thick description of the major forces that shaped urban black life, I use the redeeming qualities of Afropolitanism to arrive at alternate interpretations of the artistic representations of black urbanisation created by black artists, which ultimately unsettle the rural-urban and tradition-modernity dichotomies. iii Stellenbosch University https://scholar.sun.ac.za Opsomming Hierdie tesis ondersoek swart Suid-Afrikaanse kunstenaars se uitbeeldings van verstedeliking in die loop van die twintigste eeu. Opeenvolgende koloniale en apartheidsadministrasies het swartmense toegang tot die stad ontken, onder andere deur die sistematiese vestiging van ‘swart stede’. Hierdie swart stede, algemeen bekend as ‘townships’, is gevestig om swart werkers buite die groot stede en industriële spilpunte te huisves, wat gelei het tot ’n dubbelsinnige en selektiewe integrasie vir die stedelike swart bevolking. Die instroming van mense na die stedelike sfeer het gelei tot ’n ongekende groei in kunstenaars wat die swart lewenservaring van apartheid-era stedelikheid ondersoek het in hulle werk. Wit skrywers het swart verstedeliking as ’n ‘probleem’ benader en die etiket ‘Township Kuns’ geskep om die verskynsel van stedelike swart kuns te beskryf, maar dié kategorie vang nie die kompleksiteit en veelvoudigheid van die swart stedelike ervaring volledig vas nie. Sosiale Darwinisme het ’n groot invloed uitgeoefen op interpretasies van swart kunstenaars se werk en gelei tot interpretasies van swart kuns wat gebaseer was op die teleologiese begrip dat landelike Afrika-tradisies noodwendig moes plek maak vir Westerse moderniteit. In hierdie studie pas ek egter die konsep van Afropolitanisme en gepaardgaande begrippe van multi-lokaliteit en Nuwe-Afrikaniteit toe om kunstenaars se ervaring van swart 20ste-eeuse verstedeliking vas te vang, en sodoende wit veralgemenings en essensialistiese binêre interpretasies aan te spreek. Deur middel van ’n ‘digte beskrywing’ van die kernfaktore wat swart stedelike lewens beïnvloed het, gebruik ek die verlossende potensiaal van Afropolitanisme om ’n alternatiewe interpretasie van swart uitbeeldings van stedelike ervaring voor te lê, en sodoende die problematiese diskursiewe polarisasie van tradisie/moderniteit en platteland/stad aan te spreek. iv Stellenbosch University https://scholar.sun.ac.za Acknowledgements To Lize van Robbroeck, who nurtured this research project from its infancy, ndo livhuwa nga maanda! Without you, this study would not have been. The financial assistance of the National Institute for the Humanities and Social Sciences (NIHSS), in collaboration with the South African Humanities Deans Association (SAHUDA) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at are those of the author and are not necessarily to be attributed to the NIHSS and SAHUDA. I also acknowledge the additional financial support received from The Arts and Culture Trust, and the Department of Higher Education and Training’s University Capacity Development Grant (disbursed via the Tshwane University of Technology). I am extremely grateful to the Javett Foundation for giving me priceless insider access to their Bongi Dhlomo Collection. Finally, a special thanks to Bongi (MaBongi) Dhlomo for the incredible insight and knowledge you have deposited into me. You are the true ‘dokotela’. v Stellenbosch University https://scholar.sun.ac.za Contents Declaration .......................................................................................................................... ii Abstract .............................................................................................................................. iii Opsomming ........................................................................................................................ iv Acknowledgements ............................................................................................................ v Contents ............................................................................................................................. vi List of illustrations ............................................................................................................. ix CHAPTER 1: Introduction ................................................................................................... 1 1.1 Background and rationale ........................................................................................ 1 1.1.1 Urbanisation and western modernity in Africa .............................................. 1 1.1.2 Blackness in twentieth-century South Africa ................................................. 4 1.1.3 (Re)presenting the black experience through art .......................................... 6 1.2 Research questions and aims ................................................................................. 7 1.3 Literature review ...................................................................................................... 8 1.4 Problem statement and focus ................................................................................ 11 1.5 Theoretical framework ........................................................................................... 13 1.6 Research design and methodology ....................................................................... 15 1.7 Significance of the study ........................................................................................ 17 1.8 Outline of chapters ................................................................................................ 18 CHAPTER 2: Designing urban segregation in South Africa .......................................... 19 2.1 Introduction to chapter ........................................................................................... 19 2.2 The beginnings of westernised urbanisms ............................................................. 20 2.3 The rise of inland urbanisms, 1830 to 1900 ........................................................... 27 2.4 Twentieth-century urbanisation: Constructing the ‘white city’ ................................. 31 2.5 Dealing with the swart gevaar ................................................................................ 37 2.5.1 The fear of the swart gevaar ...................................................................... 37 2.5.2 Cleansing the city of the swart gevaar ........................................................ 40 2.6 Black urbanisation as a ‘necessary evil’ ................................................................ 46 2.6.1 The urban black person as a non-being ..................................................... 46 2.6.2 Controlling urban black people ................................................................... 48 2.7 Constructing the rural-urban dichotomy ................................................................. 51 2.8 Segregation through Bantu homeland urbanisation ............................................... 53 2.9 Urban segregation at
Load more

Recommended publications
  • NELSON MAKAMO (B
    NELSON MAKAMO (b. 1982, Limpopo, South Africa) In my work, I reflect on the movement of culture amongst the youth living in and around the city. My observation is that there is an exchange between people where we adopt each other’s cultures that are relevant to our respective ages. I am greatly fascinated by this, and how we in turn manage our identity with different personas. Therefore, my work aims to show that we are always changing and moving in a path of self discovery. My work does not represent a certain group of people, it moves across cultures and generations. Known for his vibrant portraits set in pulsating African urbanized landscapes, Nelson Makamo is a celebrated, young South African artist. Observing with astute sensitivity the chaotic energy of the city, Makamo strives to capture everyday people going about their ordinary lives as the contemporary world accelerates around them. Joining the Artist Proof Studio (Johannesburg) in 2003, Makamo was the recipient of the Johnson & Johnson International bursary. He exhibited alongside fellow South African artists William Kentridge, Deborah Bell and David Koloane in Ten Years of Printmaking at the David Krut Print Studio in 2006. Makamo has exhibited in America, France, Italy, the Netherlands and Scotland, and is included in various international public and private collections. His solo exhibition, A New Lease on Life, recently ran at CIRCA Gallery, Johannesburg and major exhibitions of his work will take place at Everard Read, Cape Town and CIRCA Gallery London in 2016/17. SOLO
    [Show full text]
  • The Influence of the Fine Art Market on the Work
    THE INFLUENCE OF THE FINE ART MARKET ON THE WORK PRODUCED BY BLACK SOUTH AFRICAN ARTISTS (POST 1994) THEMBALAKHE SHIBASE DURBAN UNIVERSITY OF TECHNOLOGY DURBAN SOUTH AFRICA JANUARY 2009 THE INFLUENCE OF THE FINE ART MARKET ON THE WORK PRODUCED BY BLACK ARTISTS (POST 1994) THEMBALAKHE SHIBASE DISSERTATION SUBMITTED IN PARTIAL FULFILMENT IN COMPLIANCE WITH THE REQUIREMENTS FOR THE MASTERS DEGREE IN TECHNOLOGY: FINE ART IN THE DEPARTMENT OF FINE ART, DURBAN UNIVERSITY OF TECHNOLOGY I declare that this dissertation is my own work and has not been submitted for any degrees or examination at any other institution. Thembalakhe Shibase APPROVED FOR FINAL SUBMISSION Mr. J. Roome Date: January 2009 MAFA (Rhodes University) ii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the following people for their valued assistance in making this dissertation a reality: John Roome for his passionate guidance; Anthony Starkey in his capacity as the Head of Department - Fine Art, for his understanding and patience with me as a post graduate student and member of staff; and finally, the Durban University of Technology Library - City Campus staff, for their helpfulness in sourcing research material, patience and tolerance. ii ABSTRACT This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein.
    [Show full text]
  • ACASA Newsletter 113, Fall 2019 Welcome to ACASA
    Volume 113 | Fall 2019 ACASA Newsletter 113, Fall 2019 Welcome to ACASA President's Welcome Dear ACASA Members, We are moving into the final months of 2019 and our triennial organizing and programming committees are busy planning and preparing for the many guests who will join us in Chicago next June. Now is the time to visit our ACASA website to register for the conference, book your hotel, submit an award’s application, and send your ideas for papers and panels. Deadlines for all are fast approaching so don’t delay. In addition to our book, dissertation, curatorial, and leadership awards, we will be recognizing outstanding teaching with our new Award for Teaching Excellence. If you haven’t already, please help support our triennial fund and travel endowment. ACASA relies on your donations and membership to create unforgettable conferences. You can reach out to me or Silvia Forni, past ACASA president and our fundraising committee chair. Wishing you a bountiful October. Peri Klemm, President ACASA website From the Editor Dear ACASA members, As usual, the fall issue of our newsletter turns out more voluminous than in the rest of the year - you will find many exciting award, fellowship and job opportunities as well as news from the African art and art scholarship world. Most importantly, we introduce a new section dedicated exclusively to the ACASA Triennial 2020. You will find it immediately after these editorial notes. There, we will keep you updated on the run-up to the triennial in this and the next two newsletters.Note that deadlines are fast a p p r o a c h i n g and don't wait to check o u r webs ite for important information on Tri20 and our triennial awards (see Opportunities section).
    [Show full text]
  • 15 November 2019
    JUST JUNIOR NEWS 15 NOVEMBER 2019 Tel: 011 531 1880 | [email protected] | www.stmarysschool.co.za David Koloane and Pat Mautloa: “It is within every artist […] to enliven and revive what most “All children draw. I just didn’t stop.” William Kentridge people see as nothing.” FROM THE HEADMISTRESS’ DESK Dear parents One way to understand the daily significance of what we do in schools is the answering of an ignorance in ourselves, a far more delicate, dialectical November is a busy month, made even busier at schools with year-end rites process than the simple provision of information that some imagine of passage, including academic assessments and valedictory ceremonies. happening in classrooms – to truly answer an ignorance, instead of shutting Nationally, we celebrated the last of the Springboks’ victory parades on it down, one first has to recognise it and engage with its contours. Monday 11 November when the 2019 Trophy Tour made its way through the streets of Cape Town. Various posts about the Boks have been doing I became aware of the girls’ ignorance of Kentridge in a Senior Primary the rounds, including one describing an outing by members of the winning assembly a few months ago when I referred to his retrospective exhibition squad to Johannesburg tattoo parlour Fallen Heroes to commission indelible, at the Zeitz MOCAA: some of the girls knew about the museum; only two wearable memories of the Rugby World Cup. Internationally, Remembrance had heard of the artist. This lacuna told me less about Kentridge specifically, Sunday brought to mind other fallen heroes – those who died in wars.
    [Show full text]
  • Encounters with the Controversial Teaching Philosophy of the Johannesburg Art Foundation in the Development of South African Art During 1982 - 1992
    MASTER OF ARTS IN FINE ARTS ELIZABETH CASTLE Encounters With the Controversial Teaching Philosophy of the Johannesburg Art Foundation in the Development of South African Art During 1982 - 1992 Student number 739110 COPYRIGHT © E CASTLE 0 DECLARATION I Elizabeth Castle hereby declare that all the research is my own and to my knowledge has not been done before in this format. I also declare that all the interviews with artists and Council Members of the Johannesburg Art Foundation have been conducted by me. The work on the exhibition Controversial ways of seeing had written consent from the artists and owners. Finally the display of original archive material and the inserts in the paper have written consent from the custodian of the archive. Signed by Candidate Elizabeth Castle …………………………………. Signed by Supervisor David Andrew……………………………………. 1 TABLE OF CONTENTS DECLARATION 1 ABSTRACT 3 INTRODUCTION 4 CHAPTER 1: CONTEXTUALISING THE JAF WITHIN A DISLOCATED SOCIETY 6 CHAPTER 2: ANOMALIES IN THE TEACHING PHILOSOPHY 21 CHAPTER 3: VISIONS FOR A DIVIDED SOCIETY 35 CHAPTER 4: REFLECTIONS ON THE EXHIBITION 46 Controversial ways of seeing CONCLUSION 68 BIBLIOGRAPHY 71 INTERVIEWS 74 ABBREVIATIONS 75 LIST OF ILLUSTRATIONS 75 APPENDIX A: Questions for interviews 76 APPENDIX B: Key newspaper articles (Insert) APPENDIX C: Ainslie’s personal notes and correspondence (Insert) APPENDIX D: Interview transcripts 77 APPENDIX E: Catalogue (Insert) APPENDIX F Attached: Video of interviews and artists works 2 Abstract The Johannesburg Art Foundation (JAF), founded in 1982 by Bill Ainslie, maintained a teaching philosophy which opposed any form of discrimination and stressed that art education should be a possibility for everyone.
    [Show full text]
  • THE TRIANGLE ARTS NETWORK – Contemporary Art and Transnational Production
    THE TRIANGLE ARTS NETWORK – Contemporary Art and Transnational Production by Miriam Aronowicz A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto © Copyright by Miriam Aronowicz 2016 The Triangle Arts Network: Contemporary Art and Transnational Production Miriam Aronowicz Doctor of Philosophy Department of Art University of Toronto 2016 Abstract This dissertation presents a historical overview and contemporary analysis of the Triangle Arts Network, an international network of artists and arts organizations that promotes the exchange of ideas and innovation within the contemporary arts. It was established in 1982 through a workshop held in Pine Plains, New York and quickly grew into an international network of artist led workshops around the world. More than twenty years later the network continues to grow and includes a roster of ongoing workshops as well as artist led organizations and centres. This dissertation situates Triangle as a major global phenomenon, yet one that operates outside the mainstream artscapes. My research follows the network’s historical links from Saskatchewan, Canada, to New York and onto South Africa. This web-like evolution demonstrates the complexity of global art networks and the fluidity of boundaries needed for contemporary art discourse. This research explores how the movement of ideas, artists and infrastructures complicate our understanding of clearly defined boundaries within contemporary ii art and globalization. Using Actor-Network Theory (ANT) as a metaphor for the Triangle Network, I attempt to unpack the complexities of an art system without objects, a process without product and the entangled relationships between artists, workshops and grassroots models of production.
    [Show full text]
  • David-Koloane.Pdf
    Goodman Gallery David Koloane Biography David Koloane (1938 – 2019) was born in Alexandra, Johannesburg, South Africa. Koloane spent his career making the world a more hospitable place for black artists during and after apartheid. Koloane achieved this through his pioneering work as an artist, writer, curator, teacher and mentor to young and established artists at a time when such vocations were restricted to white people in South Africa. A large part of this effort involved the initiatives Koloane helped establish, from the first Black Art Gallery in 1977, the Thupelo experimental workshop in 1985 and the Bag Factory Artists’ Studios in 1991, where he served as director for many years. Koloane also tutored at the Federated Union of Black Artists (FUBA) in 1979 and became the head of the fine art section and gallery from 1985 to 1990. Through his expressive, evocative and poetic artwork, Koloane interrogated the socio-political and existential human condition, using Johannesburg as his primary subject matter. Koloane’s representations of Johannesburg are populated with images of cityscapes, townships, street life, jazz musicians, traffic jams, migration, refugees, dogs, and birds among others. Imaginatively treated, through the medium of painting, drawing, assemblage, printmaking and mixed media, Koloane’s scenes are a blend of exuberant and sombre, discernible and opaque pictorial narratives. Koloane’s work has been widely exhibited locally and internationally. In 1999 he was part of the group exhibition _Liberated Voices_ at the National Museum of African Art in Washington DC. In 2013, Koloane’s work was shown on the South African pavilion at the 55th la Biennale di Venezia and on the group exhibition _My Joburg_ at La Maison Rouge in Paris.
    [Show full text]
  • William Kentridge the Colander Introduction
    William Kentridge The Colander Introduction As we emerge from a long winter and the lifting of recent COVID-19 health re- strictions this spring, there is much to celebrate as the summer season begins. First, we launch William Kentridge: The Colander, the culmination of the fortuitous meeting between myself and Jillian Ross, William Kentridge’s Master Printer in Saskatoon, Saskatchewan in 2012. Over the past several years, we have dreamed of a Canadian project and The Colander represents the realization of that wish. We are indebted to the knowledge and expertise of Jillian Ross, who was our guest res- ident this past February, at Griffin for sharing her collaborative work with William Kentridge, and her own collection with our audiences, and for her research and curatorial assistance through the development of this project. We are also indebted to the many private lenders to the project, for sharing their collections with us: Julian Liknaitzky of Knight Galleries (Toronto), Liz Ingram and Bernd Hildebrandt (Edmonton), David and Jane Arthur (Regina), the Griffin Foundation (Vancouver) and additional private collections in the city. We are grateful for the assistance of Brendan Copestake of Parts and Labour, in planning the design of this complex set of installations within our 3000 square floor space. We are also deeply grate- ful to Viviane Mehr, of VivianeArt, in collaborating with us to bring the major print work, Refugees, to Vancouver, along with the ongoing support of David Krut Projects, Johannesburg. We hope you will join us for our free international online conference, titled, World- ings, presented in collaboration with Urban Shaman, Winnipeg, and with presenta- tions from the Centre for the Less Good Idea and The Bag Factory, Johannesburg, as well panels organized by artist/curators, David Garneau (Regina), Dr.
    [Show full text]
  • Allied with Power: African and African Diaspora Art from the Jorge M
    Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection Featuring Influential African and African Diaspora Artists Firelei Báez, Tomás Esson, Nicholas Hlobo, Rashid Johnson, David Koloane, Zanele Muholi, Deborah Roberts, Chéri Samba, Yinka Shonibare, Mickalene Thomas, Hank Willis Thomas, Kara Walker, Stanley Whitney, and More On View April 24, 2020 – July 26, 2020 Zanele Muholi. Faniswa, Seapoint, Cape Town, 2018. Wallpaper. 137 8/10 inches. © Zanele Muholi. Courtesy of Stevenson, Cape ​ ​ Town/Johannesburg, and Yancey Richardson, New York (MIAMI, FL — February 14, 2020) — Pérez Art Museum Miami (PAMM) is pleased to present Allied ​ ​ ​ ​ with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, an exhibition of ​ over 30 works by international African and African Diaspora artists on view from the collection of Jorge M. Pérez, opening on April 24, 2020. This exhibition presents a provocative group of artists, representing ​ ​ some of the best art practices hailing from Africa, Latin America and the Caribbean, Europe, and the US. Addressing themes of identity, colonialism, spirituality, everyday life, and abstraction, the exhibition highlights artists whose works embody the vast complexities of the contemporary moment. Collapsing national borders, the artists in the exhibition ally with power, and each other, embodying a kaleidoscope of voices that declare their artistic authority. Exhibition highlights include artists such as William Kentridge, whose theatrical animations deal with the legacies of colonialism and Apartheid in South Africa, and Zanele Muholi, represented by two large-scale self-portraits, asserting the power and beauty of her skin and gender. Allied with Power provides a conceptual framework through which we understand the legacy ​ ​ and prowess of artists of color in the world.
    [Show full text]
  • 'National' Gallery When the Notions Of
    0 WHAT DOES IT MEAN TO BE A ‘NATIONAL’ GALLERY WHEN THE NOTIONS OF ‘NATION’ TRANSFORM RADICALLY? An analysis of the Iziko South African National Gallery’s practices and policies In historical contexts Marc Barben BRBMAR005 Thesis presented for the degree of Masters in Art Historical Studies Department of Art History UniversityUniversity of of Cape Cape Town Town Supervised by Anna Tietze and Marilyn Martin February 2015 I know the meaning of plagiarism and declare that all the work in the document, save for which is properly acknowledged, is my own. 0 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town 1 Abstract While much has been written on the European display of non-western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its form and its function, the SANG has reflected the redefined nationalisms that accompanied these historical moments. In light of the global history of national galleries and more recent theoretical discussions about cultural institutions, this study probes the complex layering of histories evidenced in collection and exhibition practices at the SANG in its historical contexts.
    [Show full text]
  • Robert Hodgins
    Goodman Gallery Robert Hodgins Films 2014 It Began with a Walk Screening at the Pavilion, Goodman Gallery, Cape Town Art Fair Collections VODACOM, Cape Town, South Africa Anglo American, Johannesburg, South Africa Johannesburg Art Gallery, Johannesburg, South Africa Sandton Art Gallery, Johannesburg, South Africa Pretoria Art Museum, Pretoria, South Africa South African National Gallery, Cape Town, South Africa University of South Africa (UNISA), Pretoria, South Africa University of the Witwatersrand Art Galleries, Johannesburg, South Africa William Humphries Art Gallery, Kimberley, South Africa Teaching, Lectureships and Workshop 1966-83 Senior Lecturer in painting, University of Witwatersrand, Johannesburg, South Africa 1954-62 Lecturer, School of Art, Pretoria Technical College, Pretoria, South Africa Solo Exhibitions 2009 Robert Hodgins Goodman Gallery, Cape Town, South Africa 2004 Hodgins at Goodman, Goodman Gallery, Johannesburg, South Africa www.goodman-gallery.com Page: 1 of 4 Goodman Gallery 2003 Robert Hodgins Simon Mee Fine Art, London, UK 2002 50 Years a Painter, Retrospective exhibition, Gertrude Posel Gallery, University of Witwatersrand, Johannesburg South Africa 2002 50 Years a Painter, Retrospective exhibition, Tatham Art Gallery, Pietermaritzburg, South Africa 2002 Robert Hodgins Goodman Gallery, Johannesburg, South Africa 2001-2 50 years a Painter, Retrospective exhibition,SASOL Art Museum, University of Stellenbosch, Stellenbosch, South Africa 2001 Robert Hodgins Joao Ferreira Gallery, Cape Town, South Africa 2001 50
    [Show full text]
  • Worldings a Virtual Conference
    Worldings A Virtual Conference July 4, 9, 10 and 11, 2021 Live Over Zoom Presented by Griffin Art Projects and Urban Shaman Worldings Program Schedule A Virtual Conference Sunday, July 4, 2021 July 4, 9, 10 and 11, 2021 | Live Over Zoom 8:00 - 8:10 PM SAST SPOTLIGHT FEATURE Presented by Griffin Art Projects and Urban Shaman, Worldings: A Virtual Conference brings together a weekend of collaborative 8:10 - 9:25 PM SAST panels and presentations facilitated live over Zoom exploring the PREVIEW EVENT: IMPERFECT CONSTELLATIONS unique artistic perspectives and histories that exist in Canadian and South African experience as seen through the eyes of artists, MODERATOR: KAREN TAM | SPEAKERS: DR. MARISSA LARGO, PAMILA MATHARU, MORIDJA KITENGE BANZA, JEN SUNGSHINE AND DAVID NG OF LOVE writers, curators and activists. Coinciding with the presentation INTERSECTIONS | RESPONDANT: USHA SEEJARIM of the solo exhibition William Kentridge: The Colander, curated by Lisa Baldissera, this virtual gathering reflects on the concept of Adjunct curator and moderator at Griffin Art Projects, Karen Tam, will be host- ‘the colander’ and how the global events of 2020 expose, through ing an informal conversation that brings together an intimate group of artists the experiences that have unfolded in each place, unique histo- and cultural producers engaging with key themes of resilience and resistance from a BIPOC settler perspective. From institutional critiques to explorations ries of precarity, globalization and colonization, to focus on resil- into the politics of archives and the effects of colonialism on diasporic com- ience and resistance. munities in Canada, this panel explores ways that art and artists address the gaps in dominant discourse and narratives by creating and sharing space for Collaborative supporters include the BAG Factory, a non-profit underrepresented voices to tell their stories.
    [Show full text]