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A JOURNAL of LIBERAL and RADICAL OPINION Vol
«~*~»^, %!.:•,'./* WMI^MSffm Kiiil :maimm V::^W' ...\'.^' • ^WV-W^:& a z A JOURNAL OF LIBERAL AND RADICAL OPINION Vol. 21 No. 6 ISSN 0034 0979 November 1989 in this issue... EDITORIALS BEGINNING OF THE END OF THE BANTUSTANS 2 DE KLERK'S FIRST DAYS 3 UNDER THE RED FLAG 3 BILL AINSLIE - A Tribute 4 THE BATTLE FOR TUYNHUYS AND ALL THAT by Ralph Lawrence 6 THE METEORITE AT THE END OF THE LENSby Dorian Haarhoff 9 POPULARISING THE PAST: A review of Edgar's Because they chose the plan of God and Witz's Write your own History by Ruth Edgecombe 12 THE CURRENT MACRO ECONOMIC CRISIS by Gordon Smith 15 CAN THE TRUE EXODUS STOP AT DAMASCUS: A review of The Road to Damascus by Martin Prozesky COVER PICTURES: Aron Maze!. Articles printed in Reality do not necessarily reflect the opinion of the Editorial Board EDITORIALS 1. Beginning of the end of the Bantustans? It is not often that a military coup brings much good to even discover what threats and what bribes those were those upon whom it is inflicted, but it begins to look as if that first brought the Matanzimas to power. For it could the Transkei might be different. Since General Holomisa hardly be coincidence that, at the Transkei Legislative took over that sad state he has had most of his time taken Assembly's first session, after Sabata's anti-indepen up with exposing and rooting out the corruption of the dence Democratic Party had swept the board in all but two Matanzima's. -
Africa 2010 X Brasil 2014
OS ONZE FUTEBOL E ARTE – AFRICA 2010 X BRASIL 2014 THE ELEVEN FOOTBALL AND ART - AFRICA 2010 X BRAZIL 2014 “O que conta mesmo é a bola e o moleque, o moleque e a bola, e por bola pode-se entender um coco, uma laranja ou um ovo, pois já vi fazerem embaixada com ovo. Se a bola de futebol pode ser considerada a sublimação do coco, ou a reabilitação do ovo, o campo oficial às vezes não passa de um retângulo chato. Por isso mesmo, nas horas de folga, nossos profissionais correm atrás dos rachas e do futevôlei, como Garrincha largava as chuteiras no Maracanã para bater bola em Pau Grande. É a bola e o moleque, o moleque e a bola.” Chico Buarque de Holanda Pele Photo: Ricardo Apparicio Realização | Productor Patrocínio | Sponsor Associação para o Progresso e Desenvolvimento da Arte e da Cultura Apoio | Supporter Ministério da Cultura Produção na Africa do Sul | Production in South Africa ANTONIO HÉLIO CABRAL ANTONIO PETICOV CLÁUDIO TOZZI 11 GREGÓRIO GRUBER IVALD GRANATO OS ONZE FUTEBOL E ARTE AFRICA 2010 X BRASIL 2014 JOSÉ ROBERTO AGUILAR JOSÉ ZARAGOZA De 01 de junho a 31 de julho de 2010, das 9h às 16h30 LUIZ ÁQUILA Espaço Cultural Commerzbank LUIZ BARAVELLI 5 Keyes Avenue 2196 - Rosebank + RUBENS GERCHMAN Johannesburg – South Africa TOMOSHIGE KUSUNO ZÉLIO ALVES PINTO E QUE GOOOOOOOOL, TORCIDA BRASILEIRA! Nossos grandes artistas são craques de bola, ou os nossos craques de bola são grandes artistas? Isto cá sendo o Brasil, as duas alter- bola que joga bem até de olhos fechados, ele que retrata como ninguém as cenas e personagens do jogo. -
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hilda bernstein 'IM AG ES OF T O D A Y ' you <sr& inv/{e.cf -/o a PRIVATE VIEW /$g^>^uncWV7 April ,W 7 W 5pm+o7pm OLD MAYOR’S PARLOUR GALLERY j0 ^ 0 .3 CHURCH ST: i / L HHRHFOPX) gXH lBlTiO M OP EH DAILY 18-13 APRIL IO aw\ - ^-p rr - f o r sale- R-S-V-P PART PROCEEDS JUDY DIKOH io OXFAfA HEREFORD S outherh African Zfe9 9 9 8 PROJECTS 15 KUNSTLERINNEN in der . f . ^ GALERIE Hohe StraGe DIEBURG 16. Januar - 6. Februar 1987 Zu der Eroffnung der Ausstellung am Freitag, dem 16. Januarl987, um 20.00 Uhr laden wir Sie und Ihre Freunde hwrzlich ein. HILDA BERNSTEIN G ALERIE HoheStraBe DIEBURG 15 KUNSTLERINNEN i n d e r GALERIE Hohe StroBe DIEBURG HILDA BERNSTEIN Radierungen I terefoid/Englarid V ER O N IK A EMENDORFER Aquarelle Gottingen CLAIRE KILBER-BROSSOW Zeichnungen, Gouochen Frankfurt MARUS KRAUSE Mischfecbniken, Collagen Kloin-Zimmem LUCIA MAKEIIS Zeichnung&vMalerialbilder Frankfurt b a r b e l g . mcjhlschlegel Aquarelle Taunussteit> JULIA ROSELER Paslelle, Kleinplastiken Dieburg HEIDI SCHIMPKE Acryl quf Papier, Collagen Juqmiheim DOROTHEA-SCHNEIDER Olbllcler W ie n MARIANNE SCHRADER-BODI Aquarelle Otfenboch ERIKA SCHREITER Aquarelle, Mischiecliniken RoBdorf HEIDI STIEGLER Aquarellejusche MOnslhgen MARIA STIEHL Sandbilder, Obiekte Kroriberg MARIANNE WAGNER Bildhauerorbeiten Geofgenhouasn JA N IT H WIELER Mischtechnlken D a trm io d t Hohe Strafie 11 (gegertuber der Fachhochschule der DBP) GALERIE 6110 Dieburg HoheSlraBe DIEBURG *06071/1515 OflnyngsjeiK’ n. frwicgs und sonntags 16.00— 1900 Uhr Heiner Berflmcinn, * 06073/4349 Reinhurd Icillemann. S 06151/148538 06151/146634 CA GALLERIES William Wegman Retrospective Lower and There is a dog whose handsome yet dolorous features hang on Concourse the walls of numerous museums, have graced the covers of a Galleries variety of art magazines, and appeared on the Johnny Carson W ed 18 July show. -
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). -
Thupelo Cape Town Assembly
ThupeloThupelo Cape Cape Town Town Assembly Assembly forfor TriangleMembers Network of Triangle Network Contact us: [email protected] / www.thupelo.com Thupelo – Cape Town Trust P O Box 250 Woodstock Cape Town 7915 This publication is made possible through the generous support of The Bertha Foundation, The Swiss Arts Council and many private donors. We are grateful for the assistance which enabled us to arrange the Thupelo Assembly and production of this resource. Table of Contents Table Introduction by Jill Trappler Page1 Essay by Lionel Davis Page 5 Essay byTembinkosi Goniwe Page 9 Essay by Pamella Dlungwana Page 12 Organizational Profiles 32° East, Ugandan Arts Trust Page 14 Thupelo Cape Town Trust, South Africa Page 17 Triangle Arts, New York Page 20 Njelele Art Station, Zimbabwe Page23 IS’ Art, Madagascar Page 27 Triangle Canada Page 30 Britto Arts Trust, Bangladesh Page34 National Art Gallery of Zimbabwe, Bulawayo Page 36 Gasworks & Triangle UK Page 38 Nafasi Art Space, Tanzania Page 41 Thapong Visual Arts, Botswana Page 44 Triangle Bolivia Page 47 Vasl Arts Collective, Karachi Pakistan Page 50 Insaka Arts Trust, Zambia Page 53 Triangle France Page 56 Greatmore Studios, South Africa Page 61 Kuona Trust, Centre for Visual Arts, Kenya Page 64 Lugar a Dudas, Colombia Page 67 Village Unhu, Zimbabwe Page 70 Bag Factory, South Africa Page 73 pARTage Workshop, Mauritius Page 76 Popty, Wales Page 79 Art In The House, Namibia Page 82 Overview by Commitee Page 84 & Conclusion Mindmap Page 87 Above, right - Thupelo Assembly delegates artist, project administrators and directors as it is THUPELO ASSEMBLY FOR TRIANGLE our way to learn/teach by working together and in PARTICIPANTS conversation. -
The Democratisation of Art: Cap As an Alternative Art Space In
THE DEMOCRATISATION OF ART: CAP AS AN ALTERNATIVE ART SPACE IN SOUTH AFRICA BY EBEN LOCHNER SUBMITTED IN FULFILMENT OF THE REQUIREMENT FOR MASTER OF ARTS AT RHODES UNIVERSITY. 02 JUNE 2011 SUPERVISOR: PROF. RUTH SIMBAO. Declaration of originality. I declare that this thesis is my own work and that all the sources I have used have been acknowledged by complete references. This thesis is being submitted in fulfilment of the requirement for Master of Art at Rhodes University. I declare that it has not been submitted before for any degree or examination at another university. __________________ __________________ Signature Date This thesis is dedicated to the late Dr. Michael Herbst who made me enthusiastic about Art History during my 1st year at university. He supported me with his time and his advice and his presence is sorely missed. Abstract While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). -
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. -
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. -
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. -
Maids and Madams: a Study in the Politics of Exploitation
Maids and madams: a study in the politics of exploitation http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.crp2b20021 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org Maids and madams: a study in the politics of exploitation Author/Creator Cock, Jacklyn Publisher Ravan Press (Johannesburg) Date 1980 Resource type Books Language English Subject Coverage (spatial) South Africa Coverage (temporal) 1770 - 1979 Source Northwestern University Libraries, Melville J. Herskovits Library of African Studies, 968.06 C664m Rights By kind permission of Jacklyn Cock and Ravan Press (Pan Macmillan SA) Description This research on the roles of domestic workers and their "madams" is based on extensive archival research as well as interviews with workers and employers in South Africa's Eastern Cape. -
Peter Bradley
Oral History Center University of California The Bancroft Library Berkeley, California Peter Bradley Peter Bradley: A Life in Paint Getty Trust Oral History Project African American Art History Initiative, Getty Research Institute Interviews conducted by Andrianna Campbell and Shanna Farrell In 2019 Interviews sponsored by the J. Paul Getty Trust Copyright © 2020 by J. Paul Getty Trust Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, -
Designing Knowledge in Postcolonial Africa: a South African Abroad
Designing Knowledge in Postcolonial Africa: A South African Abroad DANIEL MAGAZINER Department of History, Yale University In 1958 the young artist Selby Mvusi left South Africa to study in the United States. Over the next decade Mvusi travelled the byways of the international art history and African Studies communities presenting papers, arguing against convention and plot- ting a new path for postcolonial African creativity. This article considers Mvusi’s tra- jectory from teacher to painter to instructor and theorist of industrial design. Mvusi rejected both conventional art historical trends that condemned African modernism and the conservatism that inhered under the guise of national culture across the continent. He sought instead to reinterpret ‘tradition’ as an open and flexible chain of connection to the past, which extended into an unknown future; Mvusi saw indus- trial design as the best way forward for African creativity. The article concludes by examining his role in the founding of the University of Nairobi industrial design pro- gramme in the mid-1960s. Keywords Selby Mvusi, Pan-Africanism, postcolonialism, intellectual history, design, art, education In August 1962, the Rhodesian National Gallery hosted what organisers optimisti- cally declared to be the First International Congress of African Culture.1 It was essen- tially an art history conference. Experts on African art and culture from around the world descended on Salisbury to delight in the recently constructed gallery; to hear papers on tribalism, architecture, ritual and other subjects; to consider how Western artists and others had responded to ‘ancient’ African production; and to view what was billed as the largest exhibition of traditional African sculpture ever staged on the continent.