MONOGRAPHS: SA Artists & Africana
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Grade 12 Visual Culture Studies Summaries
GRADE 12 VISUAL CULTURE STUDIES SUMMARIES 1 Artists discussed QUESTION 1 Emerging artists of South Gerard Sekoto, The song of the Pick Africa Gerard Sekoto, Prison Yard George Pemba, Portrait of a young Xhosa woman George Pemba, Eviction – Woman and Child QUESTION 2 South African artists Irma Stern, Pondo Woman influenced by African and/or Irma Stern, The Hunt indigenous art forms Walter Battiss, Fishermen Drawing Nets Walter Battiss, Symbols of Life QUESTION 3 Socio-political – including Jane Alexander, Butcher Boys Resistance art of the ’70s and Jane Alexander, Bom Boys ’80s Manfred Zylla, Bullets and Sweets Manfred Zylla, Death Trap QUESTION 4 Art, craft and spiritual works John Muafangejo. Judas Iscariot betrayed our Lord Jesus for R3.00 mainly from rural South Africa John Muafangejo. New archbishop Desmond Tutu Enthroned Jackson Hlungwani. Large Crucifix and star Jackson Hlungwani, Leaping Fish QUESTION 5 Multimedia and New media – William Kentridge, Johannesburg, 2nd Greatest City after Paris alternative contemporary and William Kentridge. Shadow Procession popular art forms in South Van der Merwe, Biegbak/Confessional Africa Jan van der Merwe, Waiting QUESTION 6 Post-1994 democratic identity Churchill Madikida, Struggles of the heart in South Africa Churchill Madikida,Status Hasan and Husain Essop, Thornton Road Hasan and Husain Essop, Pit Bull Training QUESTION 7 Gender issues Penelope Siopis, Patience on a monument (Choose two artists) Penelope Siopis, Shame Mary Sibande, ‘They don’t make them like they used to do’ Mary Sibande, Conversation with Madame C.J. Walker Lisa Brice, Sex Show Works Lisa Brice, Plastic makes perfect Jane Alexander, Stripped (“Oh Yes” Girl) QUESTION 8 Architecture in South Africa Not included in these summaries. -
The South African Sale London Wednesday 19 March 2014 W1S 1SR
Bonhams 101 New Bond Street the south african sale London Wednesday 19 March 2014 W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax the south african sale Ӏ New Bond Street, London Ӏ Wednesday March 19 2014 21431 International Auctioneers and Valuers – bonhams.com lot 15 Irma Stern Zanzibar Woman the South afrIcan Sale Wednesday 19 March at 2pm New Bond Street, London PhyI S cal condItIon of Vw Ie Ing enquIrIeS lotS In thIS auctIon Sunday 16 March Giles Peppiatt MRICS 11.00 to 15.00 +44 (0) 20 7468 8355 PLEASE NOTE THAT THERE IS Monday 17 March NO REFERENCE IN THIS 9.00 to 16.30 Hannah O’Leary CATALOGUE TO THE PHYSICAL Tuesday 18 March +44 (0) 20 7468 8213 CONDITION OF ANY LOT. 9.00 to 16.30 INTENDING BIDDERS MUST Wednesday 19 March Elizabeth Callinicos SATISFY THEMSELVES AS TO 9.00 to 12 noon +44 (0) 20 7468 8216 THE CONDITION OF ANY LOT AS SPECIFIED IN CLAUSE 14 PreVIew of hIghlIghtS [email protected] OF THE NOTICE TO BIDDERS 580 Madison Avenue, New York CONTAINED AT THE END OF 19 - 21 February Jonathan Horwich THIS CATALOGUE. 10.00 to 17.00 Global Director, Picture Sales +44 (0) 20 7468 8280 As a courtesy to intending Sale number [email protected] bidders, Bonhams will provide a 21431 written Indication of the physical South Africa condition of lots in this sale if a catalogue Penny Culverwell request is received up to 24 £25.00 +27 71 342 2670 hours before the auction starts. -
IN THIS ISSUE Drama for Life • Sculptures at Wits • Danny K Heritage
April 2012 Volume 20 The magazine for ALUMNI and friends of the University of the Witwatersrand IN THIS ISSUE Drama for Life • Sculptures at Wits • Danny K Heritage Convocation War Memorial by Moses Kottler Through the years Wits has installed or acquired many sculptures in public spaces on its campuses. Medical School memorial sculpture by Laurence Chait By Katherine Munro and Natalie Knight Photos: Peter Maher 24 WITSReview April 2012 The Miners by Ernest Ullmann ProfileProfofiille Mindshapes Sculptures at Wits Stone bird-bath in memory of Man and His Soul by Herman Wald Raymond Dart by Marco Cianfanelli Photo: EYEscape The Unknown Miner by Herman Wald Aprilril 20122012 WITSWITSRRevieweview 25 From top to bottom: The Pioneer and The Family Group by Ernest Ullmann Relief panel by Edoardo Villa Guardian Angel by John Baloyi he University recently received a major donation of two large bronze sculptures T created by the late Herman Wald - the Unknown Miner and Man and His Soul. The donation was made by the artist’s son Louis Wald, a Wits alumnus, and throws the spotlight on the public sculptures in the Wits collection. These works include freestanding three- dimensional outdoor sculptures, incised relief panels on exterior buildings, and indoor wooden art benches for use by students. A diversity of materials is in evidence in the Wits sculptures – bronze, stainless steel, travertine, clay, concrete, and wood have all been used. The East Campus has the Convocation War Memorial sculpture by Moses Kottler. This is per- haps the most dominantly visible and meaningful to Wits. The sculpture consists of three linked bronze nudes larger than life, male and female figures with the left figure raising a hand to the heavens. -
Art at La Residence Contents
ART AT LA RESIDENCE CONTENTS CONTENTS 1 LEON MORROCCO 24 INTRODUCTION 2 FRANCOIS MOUTON 25 - 27 HENNIE NIEMANN JNR 28 PAINTINGS 3 HENNIE NIEMANN SNR 29 MICHAEL AUSTIN 4 MARC POISSON 30 BEEZY BAILEY 5 GEORGE ROWLETT 31 KENNETH BAKER 6 CARYN SCRIMGEOUR 32 CLAIRE BERLEIN 7 WILLIAM SLEBY 33 GEORGE DEVLIN 8 RICHARD SMITH 34 NORMAN EDGAR 9 DEZIREE SWANEPOEL 35 RICKY DYALOYI 10 SHANY VAN DEN BERG 36 PHILIP ERSKINE 11 - 13 JUDY WOODBORNE 37 - 38 SASHA HARTSLIEF 14 - 16 SARA-J 39 - 40 KEN HOWARD 17 CLAUDE JAMMET 18 SCULPTURE 41 CHARLES KAMANGWANA 19 GUY DU TOIT 42 NORMAN KIRKHAM 20 DYLAN LEWIS 43 AYANDA MABULU 21 KEVIN ROBERTS 44 SIBLEY MCADAM 22 NEIL RODGER 45 DENBY MEYER 23 FLORIAN WOZNIAK 46 1 F ounding owners of The Royal Portfolio, Liz and Phil Biden, have always had a passionate relationship with art. This appreciation is shown in the beautiful collection of art and interior ornaments across The Royal Portfolio properties. Art is deeply ingrained into each property’s character, reflecting Liz and Phil Biden’s keen and adventurous eye for the beautiful. Drawing inspiration from her travels around the world, Liz has acquired a unique and varied collection of art and interior artifacts. Local artists are often commissioned, giving up-and-coming African artists exposure to the international guests staying at each property. The Silo Hotel, the latest addition to The Royal Portfolio, is one of the first hotels in the world to be situated directly above a prestigious art museum, Zeitz MOCAA. Liz Biden explains: “I have always included wonderful art at each of The Royal Portfolio properties. -
Karina Simonson Žydų Fotografai Pietų Afrikos Respublikoje XX A. 4–8 Deš
LIETUVOS KULTŪROS TYRIMŲ INSTITUTAS VILNIAUS DAILĖS AKADEMIJA LIETUVOS MUZIKOS IR TEATRO AKADEMIJA Karina Simonson Žydų fotografai Pietų Afrikos Respublikoje XX a. 4–8 deš.: LEONAS LEVSONAS ir ELI WEINBERGAS Daktaro disertacija Humanitariniai mokslai Menotyra (03H) Vilnius 2018 Disertacija rengta 2013–2017 metais Lietuvos kultūros tyrimų institute. MOKSLINĖ VADOVĖ – prof. dr. (hp) Aleksandra Aleksandravičiūtė Lietuvos kultūros tyrimų institutas, Vilniaus dailės akademija, humanitariniai mokslai, menotyra, 03H Disertacija ginama Lietuvos kultūros tyrimo instituto, Vilniaus dailės akademijos ir Lietuvos muzikos ir teatro akademijos jungtinėje Menotyros mokslo krypties taryboje: PIRMININKĖ – doc. dr. Agnė Narušytė Vilniaus dailės akademija, humanitariniai mokslai, menotyra, 03H NARIAI: dr. Vilma Gradinskaitė Valstybinis Vilniaus Gaono žydų muziejus, humanitariniai mokslai, menotyra, 03H prof. dr. Giedrė Mickūnaitė Vilniaus dailės akademija, humanitariniai mokslai, menotyra, 03H dr. Odeta Žukauskienė Lietuvos kultūros tyrimų institutas, humanitariniai mokslai, menotyra, 03H prof. dr. Deborah Posel University College London, socialiniai mokslai, sociologija, 05S Disertacija ginama viešame Lietuvos kultūros tyrimo instituto, Vilniaus dailės akademijos ir Lietuvos muzikos ir teatro akademijos jungtinės Menotyros mokslo krypties tarybos posėdyje 2018 m. lapkričio 30 d. 11 val. Lietuvos kultūros tyrimų instituto salėje (216 kab.), Saltoniškių g. 58, Vilnius. Disertacijos santrauka išsiųsta 2018 m. spalio 30 d. Su disertacija galima susipažinti Lietuvos nacionalinėje Martyno Mažvydo, Lietuvos kultūros tyrimų instituto, Vilniaus dailės akademijos, Lietuvos muzikos ir teatro akademijos bibliotekose. © Karina Simonson, 2018 © Lietuvos kultūros tyrimų institutas, 2018 TURINYS ĮVADAS / 5 I. LEONO LEVSONO IR ELI WEINBERGO KŪRYBOS KONTEKSTAI / 23 I.1. Lietuvos ir Latvijos žydų imigracija ir integracija į PAR žydų bendruomenę / 23 I.2. XX a. politinių procesų įtaka fotografų gyvenimui ir kūrybai / 31 I.2.1. -
Gerard Sekoto – Resistance Artist Posted on October 19, 2012
From the art archive: Gerard Sekoto – resistance artist Posted on October 19, 2012 Gerard Sekoto. Photographer unknown. Source: Proud (ed), 2006: 102 When I think about figures from the art world who might qualify as heritage icons and cultural treasures, the artist who immediately comes to mind is Gerard Sekoto (1913- 1993), followed by Dumile Feni (1942-1991) and then perhaps Cecil Skotnes (1926- 2009). In all likelihood, many would agree with me here, particularly in respect of Sekoto, as he is fêted by just about everyone involved with the South African art world. Gerard Sekoto, ‘The artist’s mother and stepfather’, undated. Oil on canvasboard. 30 x 40 cm. The Campbell Smith Collection. Source: Proud (ed), 2006: 103 Thanks to some excellent research by Barbara Lindop and Chabani Manganyi, the details of Sekoto’s biography are relatively well known, especially to the cultural intelligentsia. In brief, Sekoto, a pioneer of African modernism and a highly skilled social realist painter, was born at the Lutheran Mission Station at Botshabelo (‘place of refuge’) in what is now Mpumalanga. Educated at the mission school there, he was reared according to the missionaries’ axiom that “to be Christian was to be civilised and to be civilised was to be Christian.” He studied at the Diocesan Teachers Training College in Pietersburg (now Polokwane), graduating to become a member of the growing black professional class of his time. In 1939, just a year after becoming a full-time artist, he forsook his rural roots for the bright lights of Johannesburg, where he benefited from the assistance, training and patronage of white liberal benefactors and collectors, without whom he probably would not have become such a significant figure in history. -
Senong on Seriti
Third Text Africa, No. 12, August 2020, 86-103 Comparative readings of seritiin the art of George Pemba, Gerard Sekoto, Nhlanhla Xaba and Zwelethu Mthethwa Kolodi Senong This essay presents the argument that conceptions of seriti can be read into works produced by black South African artists such as George Pemba (1912-2001), Gerard Sekoto (1913- 1993), Nhlanhla Xaba (1960-2003) and Zwelethu Mthethwa (b.1960).1 Dignity is called seriti in Sepedi, isidima in isiXhosa and isithunzi in isiZulu. Individually, people are imbued with seriti as an aura of respectability and equality, irrespective of personal standing within the hierarchy of life and society. Sekoto and Pemba were among the first black South African modernists, whereas Xaba and Mthethwa’s careers emerged in the years when the country transitioned to democracy. I discuss aesthetic techniques in selected works by these artists as a point of interrogation into modes of representation, interpretation and the subject of seriti. Among the four artists discussed in the essay, Mthethwa is the only one who talks explicitly about exploring a sense of dignity in his images. This reading of his work has been deeply compromised following his conviction for the brutal killing of Nokuphila Kumalo, a twenty- three-year-old sex worker. My intention, then, is to not only considerseriti as an aesthetic quality, but also as an idea impacting on the reading of particular works of art. Early expressions of seriti:Sekoto in Eastwood and Pembaʼs dramatic observations Several authors claim that both Sekoto and Pemba interpret people within their surroundings in a dignified manner.2 The two artists’ subject matter includes depictions of daily life, such as people reading books, riding on a bus or interacting socially. -
SA Art Times May 2009
THE SOUTH AFRICAN Issue : May 2009 Full free edition available at www.arttimes.co.za 1 Years subscription R 180 E-mail subs@arttimes for details TIMES ART Cecil Skotnes in his studio 1967 Photo: courtesy Pippa Skotnes Cecil Skotnes 1926 – 2009 As a tribute to this great man The Art Times has commissioned an artist’s profile on Cecil Skotnes. Also see Hayden Proud’s Obituary in SA Business Art . Art life renews itself through recession ‘What we’re going through is not unique,’ says Siebrits. ‘Sadly, no one is immune.’ Lim-Fat and Roger Signer of global wealth and putting their demand for morphosed from a hazy projection ‘phenomenally successful Art Fair’, This is no flash-in-the-pan, financial services company Credit art on ice. into an uncomfortable reality. the gallery’s doors will only be open fly-by-night gallery, but one of Alex Dodd Suisse. ‘Nowadays, deals are Still, all this nasty weather seemed until the end of May. Johannesburg’s most exacting taking longer to close. Buyers are quite distant and academic to us I tiptoed into January with a and scholarly minded contem- more prudent and taking more time down here in the sun-drenched dreaded sense is that our land- porary art institutions. Warren to get to know the paintings before South – until sales figures from the scape was going to be morphing Siebrits has been responsible for We started out the year on tenter- reaching a final decision.’ recent Joburg Art Fair came home quite irrevocably over the next few reviving the reputations of many hooks, not knowing how the global to roost. -
University of Cape Town (UCT) in Terms of the Non-Exclusive License Granted to UCT by the Author
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 "The Advancement of Art" Policy and Practice at the South African National Gallery 1940-1962 Qanita Lilla LLLQANOOI A dissertation submitted in fulfillment of the requirements for the award of the degree of Master of Arts in Art History UniversityFaculty of the of Humanities Cape Town University of Cape Town 2004 This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: 3 May 2004 Contents Abstract Acknowledgements ii List of Illustrations iii Introduction 1 Chapter One 11 The South African National Gallery: the establishment of a colonial museum 187 1- 1940 Chapter Two 26 Edward Roworth's Directorship: Art and rhetoric at the South African National Gallery 1940-1947 Chapter Three 49 Debate and Debacle at the South African National Gallery 1947 Chapter Four 77 Painting a nation: the emerging discourse of South African art in 1948 Chapter Five 101 Innovation and intervention at the South African National Gallery: John Paris' Directorship 1949-1962 Conclusion Town 121 Bibliography 125 Figures Cape 1-22 Appendices Appendix A: Letter from the South Africanof National Gallery denying access to archives Appendix B: List of works sold from the South African National Gallery, from the 1947 Stratford Report University Abstract This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. -
South African Architectural Recorr
SOUTH AFRICAN ARCHITECTURAL RECORR THE JOURNAL OF THE CAPE, NATAL, ORANGE FREE STATE AND TRANSVAAL PROVINCIAL INSTITUTES OF SOUTH AFRICAN ARCHITECTS AND THE CHAPTER OF SOUTH AFRICAN QUANTITY SURVEYORS OPENING CEREMONY SOUTH AFRICA AND ART NOW, by John Paris, M.A., B.Litt., Director of the National Gallery 16 BOOK REVIEWS 22 NOTES AND NEWS 22 EDITOR VOLUM E 35 The Editor will be glad to consider any MSS., photographs or sketches submitted to him, but they should be accompanied by stamped addressed envelopes for return if W. DUNCAN HOWIE unsuitable. In case of loss or injury he cannot hold himself responsible for MSS., photographs or sketches, and publication in the Journal can alone be taken as evidence ASSISTANT EDITORS of acceptance. The name and address of the owner should be placed on the back of all pictures ond MSS. The Institute does not hold itself responsible for the opinions UGO T O M A S E L LI 1 expressed by contributors. Annual subscription £1 10s. direct to the Secretary, GILBERT HERBERT 612, KELVIN HOUSE, 75, MARSHALL STREET, JOHANNESBURG. PHONE 34-2921. BUSINESS MANAGEMENT: G. J. McHARRY (PTY.), LTD., 43, BECKETT’S BUILDINGS, JOHANNESBURG, P.O. BOX 1409. ’PHONE 33-7505. I V GENERAL J. C. SMUTS — Bronie. Mose* Koltler, Academy Gold Medalist, 1949 “ITS u n i v e r s e library 2 J C 1 6 3 9 9 9 THE SOUTH AFRICAN ACADEMY THIRTIETH ANNUAL EXHIBITION. 1949 INTRODUCTION The Report of the Jury for Painting and Sculpture The Thirtieth South African Academy Exhibition was submitted to the Committee after selecting the work to held in the Municipal Art Gallery, Joubert Park, Johannes be hung is as follows: burg, from October 7th to October 23rd, 1949. -
Alexis Preller and the Mapogga Lots 191 and 192
Tuesday 18 May 2021 Session 3 at 7.00 pm Modern, Post-War and Contemporary Art Lots 171–219 Lot 192 Alexis Preller Mapogga Terrace (detail) © The Estate of Peter Clarke | DALRO 171 Although circumstances prevented Peter Clarke from extensive travel abroad, he was Peter Clarke always acutely aware of international trends. 172 SOUTH AFRICAN 1929–2014 He was drawn to German Expressionism Train Passing through and Japanese woodcuts, for instance, Peter Clarke the Karoo and he often leant heavily on the stylistic SOUTH AFRICAN 1929–2014 innovations of Diego Rivera and David Boy under the Palms signed and dated 28.10.1963; Siqueiros. Looking at the present lot, a inscribed with the title on dreamy Karoo scene foregrounded by signed and dated 10.11.1967 the reverse of the paper entangled, twinkling and wickedly sharp on the reverse of the paper mixed media on paper mixed media on paper thorns, one might assume the influence of Fig. 1: Graham Sutherland’s 27 by 38 cm 26 by 19,5 cm the great British visionaries, Samuel Palmer Thorn Head (1944), sold at R150 000 – 200 000 and Graham Sutherland (fig. 1). Christie’s, London, 2020. R80 000 – 120 000 © The Estate of Peter Clarke | DALRO 174 Dumile Feni SOUTH AFRICAN 1942–1991 Anguished Woman bronze with a dark brown patina height: 29 cm; width: 20 cm; depth: 16 cm R200 000 – 300 000 173 PROVENANCE Moving bronzes by the gifted and impulsive Dumile Feni, he received increasing international attention: his work Ephraim Ngatane Bernard Janks, and thence by particularly those cast in the artist’s lifetime, are increasingly was selected for the São Paulo Biennale in 1967, as well as descent. -
THE SOUTH AFRICAN SALE Wednesday 9 September 2015
THE SOUTH AFRICAN SALE Wednesday 9 September 2015 THE SOUTH AFRICAN SALE Wednesday 9 September 2015 at 14:00 New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Sunday 6 September +44 (0) 20 7447 7448 Giles Peppiatt MRICS LOTS IN THIS AUCTION 11.00 to 15.00 +44 (0) 20 7447 4401 fax +44 (0) 20 7468 8355 Monday 7 September To bid via the internet please PLEASE NOTE THAT THERE IS 9.00 to 16.30 visit bonhams.com Hannah O’Leary NO REFERENCE IN THIS Tuesday 8 September +44 (0) 20 7468 8213 CATALOGUE TO THE PHYSICAL 9.00 to 16.30 TELEPHONE BIDDING CONDITION OF ANY LOT. Wednesday 9 September Bidding on telephone will only Alice Thomson INTENDING BIDDERS MUST 9.00 to 12 noon be accepted on lots with a lower +44 (0) 20 7468 8365 SATISFY THEMSELVES AS TO estimate in excess of £1,000. THE CONDITION OF ANY LOT SALE NUMBER Eliza Sawyer AS SPECIFIED IN CLAUSE 14 22364 Please note that bids should be +44 (0) 20 7468 5881 OF THE NOTICE TO BIDDERS submitted no later than 16:00 on [email protected] CONTAINED AT THE END OF the day prior to the sale. New THIS CATALOGUE. CATALOGUE bidders must also provide proof Jonathan Horwich £25.00 of identity when submitting bids. Global Director, Picture Sales As a courtesy to intending Failure to do this may result in +44 (0) 20 7468 8280 bidders, Bonhams will provide a ILLUSTRATIONS your bid not being processed. [email protected] written Indication of the physical Front cover: Lot 12 condition of lots in this sale if a Back cover: Lot 60 Live online bidding is available South Africa request is received up to 24 Inside front cover: Lot 56 for this sale Penny Culverwell hours before the auction starts.