Marian Goodman Gallery David Goldblatt
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I Am a Miner
EARCH 1. Mine Try finding this artwork and fill in the missing SPOT THE DIFFERENCE! S CAN YOU READ D 2. Photograph details by looking at the LABEL. The label tells us Find the 5 ways the image on the le has been changed! R 3. Label more information about the artwork, such as the O S A M B S O U C T M 4. Museum AN ARTWORK? TITLE THE NAME of the work, the year it was W 5. Camera made and the MEDIUM (what was used to make T D G J Y A N A G I the artwork): H J M U S E U M W N Y G C U L A B E L E I was made by David Goldbla K N L B Z T R R O I P H O T O G R A P H My title is Miner, Consolidated J H B F K M E L O T Mine Reef, Roodepoort I am a ______________________ (medium) I was made in the year ______________ HELP VINCENT FIND THE GOLD! Photographs like the ones Goldbla made were taken with a film camera, and the images are stored on a roll of film rather than a memory card! Can you complete this image this complete you Can half?the second drawing by MIRROR–MIRROR E? ON MY WAY HOME DAVID GOLDBLATT: I SE O Draw some memorable things in the circles below! ON THE MINES I AM A MINER D T Write down all the things you Name Age School A The best thing I saw at My guide looked H can name in this photograph! Norval Foundation: like this: Hard hat W WHAT DO I SEE? This type of artwork is called a PHOTOGRAPH. -
© 2017 SUNHEE JANG All Rights Reserved
© 2017 SUNHEE JANG All Rights Reserved CONTEMPORARY ART AND THE SEARCH FOR HISTORY —THE EMERGENCE OF THE ARTIST-HISTORIAN— BY SUNHEE JANG DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Associate Professor Terri Weissman, Chair Associate Professor David O’Brien Assistant Professor Sandy Prita Meier Associate Professor Kevin Hamilton ABSTRACT Focusing on the concept of the artist-as-historian, this dissertation examines the work of four contemporary artists in a transnational context. In chapter one, I examine the representations of economic inequality and globalization (Allan Sekula, the United States); in chapter two, the racial memory and remnants of colonialism (Santu Mofokeng, South Africa); and in chapter three, the trauma of civil war and subsequent conflicts (Akram Zaatari, Lebanon and Chan- kyong Park, South Korea). My focus is on photographic projects—a photobook (Sekula), a private album (Mofokeng), and archives and films (Zaatari and Park)—that address key issues of underrepresented history at the end of the twentieth century. Chapter one concentrates on how to make sense of the complex structure of Sekula’s Fish Story (1995) and suggests the concept of surface reading as an alternative to traditional, symptomatic reading and posits that some historical truths can be found by closely examining the surface of events or images. In Fish Story, photographs represent the surface of our globe, while the text reveals the narratives that have been complicated beneath that surface. I then analyze how three types of text—caption, description, and essay—interact with images. -
Goldblatt 1830 Metres (5000 to 6000 Feet) Elevation, on Which Lies South Africa’S Largest Conurbation
ons after 1834 to escape British domination. Also the Afrikaner youth movement. Whites A collective term for light-skinned people predomi- David nantly of European stock. Witwatersrand Afrikaans Wit = white + waters = waters + rand = ridge. Geographical east-west formation at between 1500 and Goldblatt 1830 metres (5000 to 6000 feet) elevation, on which lies South Africa’s largest conurbation. See Reef. Fifty-one years Xhosas An Nguni African people who live mainly along the southeastern rain belt. Zulus An Nguni African people who live mainly in KwaZulu- 8 February - 14 April 2002 Natal. ACTIVITIES AROUND THE EXHIBITION ROUNDTABLE DISCUSSION FRIDAY 8 FEBRUARY AT 7.30 PM The photographer David Goldblatt, Pepe Baeza, journalist and lecturer at the Universitat Autònoma de Barcelona, and Alfred Bosch, professor of African History at the Universitat Pompeu Fabra, will discuss Goldblatt’s work and the South African historical and cultural context. Auditorium. Limited number of seats. For further information: Tel. 93 412 14 13 [email protected] The provincial and homeland names and borders used in this exhibition are those that applied during most of the years of Goldblatt's photography and before South Africa's transition to democratic government in 1994. © Courtesy of Edicions Bellaterra ing the National Party to power in 1948 and keeping it there Soweto From “South Western Townships”, Johannesburg’s for more than 40 years. “location”, the extensive series of townships in which African 2 pass laws Laws controlling the movements and residential rights residents of Johannesburg were required to live in terms of seg- of Africans, principally by means of a “pass” or pass book, signed regation laws regulating African access to urban areas. -
Photographer David Goldblatt Chronicled Apartheid in Profoundly Intimate Images - Artsy
07/09/2020 Photographer David Goldblatt Chronicled Apartheid in Profoundly Intimate Images - Artsy Search by artist, gallery, style, theme, tag, etc. Advertisement Art Photographer David Goldblatt Chronicled Apartheid in Profoundly Intimate Images Charlotte Jansen Sep 4, 2020 2:18pm David Goldblatt, Self-portrait at Consolidated Main Reef David Goldblatt Mines, Roodepoort, 1967. Courtesy of Goodman Gallery. Shop assistant, Orlando West, 1972 Goodman Gallery How can we understand violence? Over six decades and an extraordinary body of work, the legendary late photographer David Goldblatt sought to understand forms of violence—structural and primordial, visible and invisible—inicted not only human bodies and culture, but on the Earth itself. Goldblatt was born in 1930 in the gold-mining town of Randfontein; his grandparents had ed persecution of Jews in Lithuania and settled in South Africa in the late 19th century. He began taking photographs, Skip to Main Conatlebent it as an amateur, in 1948; that same year, South Africa’s right-wing https://www.artsy.net/article/artsy-editorial-photographer-david-goldblatt-chronicled-apartheid-profoundly-intimate-images 1/15 07/09/2020 Photographer David Goldblatt Chronicled Apartheid in Profoundly Intimate Images - Artsy SearchN bya atritoisnt, agla llPerayr, styty lew, tahse meele, tcatge, edtc. .It was the beginning of nearly 50 years of apartheid. David Goldblatt David Goldblatt Rochelle and Samantha Adkins, Hillbrow, 1972 Anna Lebako, a washerwoman from Goodman Gallery Soweto carrying the week's laundry to a … Goodman Gallery By the time Goldblatt began his professional career in photography in 1962, South Africa was segregated in every sense—80% of the land was legally claimed for white people, forcing millions of Black South Africans from their homes. -
Recent Histories Contemporary African Photography and Video Art in Dialogue with African Photography from Huis Marseille’S Collection
date/16.10.2018 Press release 1/4 Recent Histories Contemporary African photography and video art in dialogue with African photography from Huis Marseille’s collection 8 September – 2 December 2018 • A unique collaboration between Huis Marseille and The Walther Collection • Work by rising African photographers exhibited for the first time in the Netherlands • Stories of identity, migration, and the legacy of colonialism and apartheid • An ode to the recently deceased South African photographer David Goldblatt For the exhibition Recent Histories, Huis Marseille and The Walther Collection (New York/Neu-Ulm) have joined forces to present a unique collection of African photography and video art. African photography is at the heart of the collection policies of both institutes, and for this exhibition Huis Marseille has been able to make a broad selection from The Walther Collection’s exhibition of the same name that was shown in 2017 in Neu-Ulm. In Amsterdam, Recent Histories combines the recent work of young African photographers with the work of several generations of African photographers in the Huis Marseille collection and the Han Nefkens H+F Collection – from David Goldblatt (1930– 2018), the ‘grand old man’ of South African photography, to Lebohang Kganye (1990), who finished her training in Johannesburg as recently as 2011. The exhibition brings together these photographers’ different perspectives on their countries and their continent. The themes that link their work are concerned with identity, migration, origins, and the legacy of colonialism, in relation to their own personal experiences. 2/4 Stories The title of the exhibition refers to the narratives and histories that meet in the work of these photographers and artists, now overlapping and then going in different directions. -
Steidl WWP SS18.Pdf
Steidl Spring/Summer 2018 3 Index Contents Artists/Editors Titles Adams, Shelby Lee 63 1968 99 Paris Reconnaissance 113 3 Editorial 81 Orhan Pamuk Balkon Adams, Bryan 93 200 m 123 Paris, Novembre 95 4 Index 85 Christer Strömholm Lido Adolph, Jörg 14-15 42nd Street, 1979 61 Park/Sleep 49 5 Contents 87 Guido MocaficoLeopold & Rudolf Blaschka, The Bailey, David 103-109 8 Minutes 107 Partida 51 6 How to contact us Marine Invertebrates Baltz, Lewis 159 Abandoned Moments 133 Pictures that Mark Can Do 105 Press enquiries 89 Timm Rautert Germans in Uniform Bolofo, Koto 135-139 Abstrakt 75 Pilgrim 121 How to contact our imprint partners 91 Sory Sanlé Volta Photo Burkhard, Balthasar 71 Andreas Gursky 69 Poolscapes 131 93 Bryan Adams Homeless Callahan, Harry 151 Asia Highway 167 Printing 137 95 Sze Tsung, Nicolás Leong Paris, Novembre Clay, Langdon 61 B, drawings of abstract forms 25 Proving Ground 169 DISTRIBUTION 97 Shelley Niro Cole, Ernest 157 Bailey’s Democracy 104 Reconstruction. Shibuya, 2014–2017 19 99 Robert Lebeck 1968 7 Germany, Austria, Switzerland Collins, Hannah 149 Bailey’s East End 108 Regard 127 101 Andy Summers The Bones of Chuang Tzu 8 USA and Canada Davidson, Bruce 165 Bailey’s Naga Hills 109 Seeing the Unseen 153 103 David Bailey’s 80th Birthday 9 France Devlin, Lucinda 147 Balkon 81 Shelley Niro 97 104 David Bailey Bailey’s Democracy All other territories Dine, Jim 113 Ballet 145 Stories 5–7, Soweto—Dukathole—Johannesburg David Bailey Havana Edgerton, Harold 153 Balthasar Burkhard 71 129 105 David Bailey NY JS DB 62 11 Steidl Bookshops Eggleston, William 37-41 Binding 139 Structures of Dominion and Democracy 73 David Bailey Pictures that Mark Can Do 13 Book Awards 2017 Elgort, Arthur 145 Bones of Chuang Tzu, The 101 Synchrony and Diachrony, Photographs of the 106 David Bailey Is That So Kid Fougeron, Martine 119 Book of Life, The 63 J. -
The International Center of Photography Announces Appointment of David E
THE INTERNATIONAL CENTER OF PHOTOGRAPHY ANNOUNCES APPOINTMENT OF DAVID E. LITTLE AS NEW EXECUTIVE DIRECTOR New York, NY—August 10, 2021—The Board of Trustees of the International Center of Photography (ICP) announced today the selection of David E. Little as its new Executive Director, following an international search. Little will join ICP in mid-September 2021, after six years as director and chief curator of the Mead Art Museum at Amherst College, and will succeed Mark Lubell, who announced his departure in March 2021. “David brings to ICP an outstanding mix of skills and experiences, between his work as an educator, curator, fundraiser, and manager, and we are thrilled that he will be joining us,” said Jeffrey Rosen, ICP’s Board President. “His wide-ranging roles at leading institutions both within and outside of New York City make clear that he understands the different but interrelated elements of exhibitions, education, and community engagement that make ICP unique, which in turn made him the clear choice for our new Executive Director.” Little’s tenure at the Mead Art Museum at Amherst was marked by a record of successful fundraising, collection growth and diversification, and institutional planning that has strengthened the Mead’s curatorial program and its educational role within Amherst’s liberal arts curriculum. Little’s prior positions include time as the Curator and Department Head of Photography and New Media at the Minneapolis Institute of Art, Associate Director and Head of Education at the Whitney Museum of American Art, and Director of Adult and Academic Programs at the Museum of Modern Art. -
South African Photography of the HIV Epidemic
Strategies of Representation: South African Photography of the HIV Epidemic Annabelle Wienand Supervisor: Professor Michael GodbyTown Co-supervisor: Professor Nicoli Nattrass Cape Thesis presentedof for the degree of Doctor of Philosophy in the Department of Visual and Art History Michaelis School of Fine Art University of Cape Town University February 2014 University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University This thesis is dedicated to Michael Godby and Nicoli Nattrass Abstract This thesis is concerned with how South African photographers have responded to the HIV epidemic. The focus is on the different visual, political and intellectual strategies that photographers have used to document the disease and the complex issues that surround it. The study considers the work of all South African photographers who have produced a comprehensive body of work on HIV and AIDS. This includes both published and unpublished work. The analysis of the photographic work is situated in relation to other histories including the history of photography in Africa, the documentation of the HIV epidemic since the 1980s, and the political and social experience of the epidemic in South Africa. The reading of the photographs is also informed by the contexts where they are published or exhibited, including the media, non-governmental organisations (NGOs) and aid organisations, and the fine art gallery and attendant publications. -
David Goldblatt Ex Offenders at the Scene of Crime
david goldblatt Ex Offenders at the Scene of Crime September - October 2012 opening: thursday, September 20th, According to David Goldblatt, his recent photographic project Ex Offenders at the Scene of Crime – a series of por- traits of individuals convicted of having committed crimes in South Africa, where crime rates are among the highest in the world, and the threat of crime an inescapable part of daily life for every stratum of society -- began as a question: My interest in ex-offenders arises from a wish to know who are the people who are doing the crimes and to get a sense of their life and how they came to crime. Could these people be my children? Could they be you? Or me? I have no ‘agenda’. Perhaps that is why very often ex-offenders talk very openly to me. I am not a magistrate or a judge or a lawyer or a social worker or an activist. I think that for some, this has been the first opportunity they have had to tell their story without being judged. The answer to Goldblatt’s questioning is Ex Offenders at the Scene of Crime, a gripping series of photograph-and-text portraits currently on view at the Elba Benitez Gallery. The photographs in Ex Offenders follow a basic format. Each is a medium-size black-and-white photographic portrait taken at the site where a crime was committed. All are accompanied by ‘statements’ about the crimes based on the words of their perpetrators – petty shoplifters, celebri- ty bank robbers, rapists, thieves, jealous lovers, police torturers and murderers. -
Bibliography
Bibliography Artists exhibited & represented Alberto Diaz Korda Aleksandras Macijauskas Alfred Gregory Alfred Hind Robinson Antonio Reynoso Arno Rafael Minkkinen Ashvin Gatha Atsushi Tani Ava Vargas Borje Almquist Bruce Rae Carl Warner Charles Henri Ford and Pavel Tchelitchew Charlie Phillips China Hamilton Chris Nash Christine Rendina Constantino Arias Miranda Cristobal Herrera Ulashkevich Daniel Blaufuks David Goldblatt David Lurie Edith Macklin Emma Parker Emily Anderson Eva Rubinstein Evelyn Hofer George Holz Gilles Berquet Giovanni Zuin Graham Ovenden Helen Lyon Hubert Grooteclaes Jamie Hodgson Jan Saudek Jerry Berndt Jesus Sanches Uribe John Claridge John Donut John Haynes John Stewart Jose Alberto Figueroa Jose Julian Marti Josephine Sacabo Juliet Van Otteren Karen Maloof Karin Rosenthal Keith Cardwell Klanger & Boink Kyo Nakamura 1 Lazaro Miranda Vera Lewis Morley Lewis Wickes Hine Lilo Raymond Margaret Casson (nee McDonald) Marie Andersson Mario Diaz Leyva Martin H.M. Schreiber Mick Lindberg Michael Woods Mike Roles Masaaki Toyoura Michel Hanique Morel Derfler Omar Badsha Paul Caffell Paul Kilsby Pedro Abascal Peter Bromley Phil Stern Phillip Trager Pierre Louys Pilar Macias Ralph Eugene Meatyard Raul Canibano Ercilla Raul Corrales Fornos Richard K Diran Richard Lancelyn Green Collection Richard Sawdon Smith Robin Hanbury-Tenison Russ Karel Sean Hillen Taneli Eskola Tansy Spinks Terry King Trevor Watson Vee Speers Veronica Sive Victor Sloan Wallace Wilson Wilhelm Moser William Carter William Ingram Willy Ronis Wolfgang Suschitzky -
David Goldblatt's Intimate Portrait of Domestic Life Under Apartheid
19/08/2020 David Goldblatt’s Intimate Portrait of Domestic Life Under Apartheid - ELEPHANT MENU 19 Aug SNAPSHOT 2020 David Goldblatt’s Intimate Portrait of Domestic Life Under Apartheid The photographer created a nuanced chronicle of South Africa from the dawn of apartheid through its collapse and up to today. One enlightening image from his long-running Soweto series shows a side of life that might be unfamiliar to an international audience. Words by Amah- Rose Abrams David Goldblatt, Makana Tshabalala and Ntsiki Kabane, Rockville, Dube, Soweto, 1970 © David Goldblatt, courtesy Goodman Gallery Snapshot is a new weekly series that zooms in on a single photograph to explore the context of an image, the conditions it is created within and its wider cultural impact. Photographer David Goldblatt created a document of his native South Africa that spanned his lifetime. The photographs he has left behind provide a nuanced chronicle of the country from the dawn of apartheid, through its collapse, and up to today. “I do have a sense https://elephant.art/david-goldblatt-soweto-snapshot-portrait-photography-19082020/ 1/7 19/08/2020 David Goldblatt’s Intimate Portrait of Domestic Life Under Apartheid - ELEPHANT when I’m photographing… tha t I’m recognising what MENU has been largely overlooked or not seen, and I have a sense both of its past and its weight,” he says in the book The Last Interview, published by Steidl in 2019. In 1948, a 17-year-old Goldblatt would hitchhike from Randfontein, the West Rand gold mining city he grew up in, to nearby Johannesburg and Soweto. -
"The Camera Is Not a Machine Gun"
Fred Ritchin | Reviews "The Camera Is Not a Machine Gun" At Kevin Kwanele’s Takwaito Barber, Lansdowne Road, Khayelitsha, Cape Town, in the time of AIDS, 16 May 2007. All photos courtesy New Museum I often wished during those years that I could be a lyricist with a camera. I would look at Edward Weston’s work and envy the freedom to be lyrical. I took great delight in his and many other photographers’ work. I envied them the freedom to photograph a landscape apparently without concern for the implications of its possession. —David Goldblatt, Interview with Okwui Enwezor, 1998 For most of David Goldblatt’s career, which began in the early 1960s, nearly everything that he saw was contextualized by the distorting prism of apartheid. The ownership and use of land, as well as housing, jobs, marriage, schooling and countless other facets of everyday life, were all powerfully linked to the color of one’s skin. Partially as a result, Goldblatt chose to photograph the manifestations of apartheid in shades of gray until, after Nelson Mandela’s ascension, his medium evolved into color. “During those years color seemed too sweet a medium to express the anger, disgust and fear that apartheid inspired,” the photographer told photo historian Mark Haworth-Booth in the beautifully produced 2005 book Intersections, a volume that precedes the exhibition “Intersections Intersected: The Photography of David Goldblatt,” on view at New York’s New Museum through October 11. Suburban garden and Table Mountain, Bloubergstrand, Cape Town, 9 January 1986 A member of a Lithuanian Jewish family that had come to South Africa to escape religious persecution, Goldblatt described himself as a “self-appointed observer and critic of the society into which I was born.” And he was, choosing a probing, dispassionate style of photography that sought complexity and nuance, rather than an overtly activist stance.