DOCSLIB.ORG

PUBLICATIONS the Constitution of Public Intellectual Life Research Project

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PUBLICATIONS the Constitution of Public Intellectual Life Research Project PUBLICATIONS The Constitution of Public Intellectual Life Research Project According to the University of the Witwatersrand Research Office figures for 2004, the Graduate School for the Humanities (which comprised the Constitution of Public Intellectual Life Project, the Graduate Programme in Journalism and Media Studies, and the Forced Migration graduate and research programme) had the highest relative publication figures, viz 2.453 (pubs/ftes) and 2.404 (pubs/sles). The next highest in the university was the School of Public Health on 1.758 (pubs/ ftes) and 2.033 (pubs/sles). The University average was 0.629(pubs/ftes) and 0.647 (pubs/sles). Accredited publications only. Platform for Public Deliberation Constitution of Public Intellectual Life Research Project Publications *Designates DNE accredited publications. Please note that as the Public Intellectual Life Project we are committed to publishing in public interest media as well as accredited academic publications. Platform for Public Deliberation Constitution of Public Intellectual Life Research Project Barstow, O. & Law-Viljoen, B. (eds) Fire Walker: William Kentridge and Gerhard Marx Fourthwall Books: Johannesburg, 2011. Barstow, O. “The Thinking Machine / Digging in the Rubbish Heap”, Itch Magazine: The Theme is Dead 1(5):76-79, 2005. Bester, R.M. “David Goldblatt’s Making Visible: Photographic Strategies of Rumination, Orchestration and Circulation” Social Dynamics 36(1): 153-165, 2010. Bester, R.M. “2009 Joburg Art Fair”, Art South Africa 7(4):81, 2009. Bester, R.M. “The Bride Stripped Bare for Her Bachelors”, Art South Africa 8(1): 44- 49, 2009. Bester, R.M. “Between the Wars and Walls”, Art South Africa 8(2): 64-69, 2009. Bester, R.M. Knight, N. and Koloane, D. “A Setting Apart” in Ephraim Ngatane: A Setting Apart Rory Bester (ed) Johannesburg: Blank Books, pp.6-11, 2009. Bester, R.M. “An Unwavering Moral Compass”, Art South Africa 7(1):70-74, 2008. Bester, R.M. “Africa Remix: An Immigrant, to be Looked at from the Other Side of Reinforced Glass”, Nka: Journal of Contemporary African Art 22/23:80-87, 2008. Bester, R.M. “Cities in Crisis: Cities, Photography and Research” in Representation and Spatial Practices in Urban South Africa Leora Farber (ed) Johannesburg: Visual Identities in Art and Design Research Centre, pp.250 - 253, 2008. Bester, R.M. “The Curatorial Moment”, Art South Africa 7(2):90-92, 2008. Bester, R.M. “Luxury in Bound Format”, Art South Africa 6(3): 40-42, 2008. Bester, R.M. “Made New, Made Better”, Art South Africa 6(3): 54-57, 2008. Bester, R.M. “Thando Mama’s Televisions”, in Flow Kim, C.Y (ed) New York: The Studio Museum in Harlem, pp.82-83, 2008. Bester, R.M. “Joburg Art Fair: Well Done, But…”, Art South Africa 6(4): 43, 2008. Bester, R.M. “Digging in a Sheet of Paper” in Francki Burger: Belonging Johannesburg: Eveard Read, pp.8-10, 2008. Bester, R.M. “Reflections on Cities in Crisis”, FADA Research Newsletter 10, June, pp.4-5, 2008. Bester, R.M. “From Joburg: David Goldblatt, Pieter Hugo and Santu Mofokeng”, Camera Austria 103-104:113-114, 2008. Bester, R.M. “Journeys into Strangeness”, Art South Africa 7(1):26-27, 2008. Bester, R.M. “David Goldblatt – Buch für Buch” in David Goldblatt: Südafrikanische Fotografi en 1952-2006, Christoph Merian Verlag und Fotomuseum Winterhur, pp.11- 24, 2007. Bester, R.M. “Berni Searle: Showing Here, Showing There”, Art South Africa 5(3):23- 25, 2007.* Bester, R.M. “Down Mahlatini Street”, Art South Africa 5(3):60, 2007.* Bester, R.M. “Guy Tillim: Congo Democratic”, Art South Africa 5(3):76, 2007.* Bester, R.M. “In Perspective: Recent Exhibitions of South African Photography”, Art South Africa 6(1):40-42, 2007.* Bester, R.M. “Africa Remix”, Art South Africa 6(1):86, 2007.* Bester, R.M. “Deborah Poynton: The Grip of Circumstance”, Art South Africa p.94, 2007.* Bester, R.M. (ed) Figure/Ground: Reflections on the South African Reserve Bank Art Collection Pretoria: South African Reserve Bank, 252 pp, 2007. Bester, R.M “Claudette Schreuders: After the Pleasure of Carving”, Claudette Schreuders Pretoria: Modern Art Projects, 2007. Bester, R.M. “The Market Photo Workshop”, Camera Austria 100, 2007. Bester, R.M “Lolo Veleko: Mute!Scream!Mute!”, Art South Africa 6(2), 2007. Bester, R.M. “Candice Breitz”, Art South Africa 5(1):88, 2006.* Platform for Public Deliberation Constitution of Public Intellectual Life Research Project Bester, R.M. “Pieter Hugo: Outsider/Outsiders”, Portfolio: Contemporary Photography in Britain, 2006. Bester, R.M. “Hentie van der Merwe: Trappings”, Portfolio: Contemporary Photography in Britain, 2006. Bester, R.M. “Greg Marinovich: Scars”, Art South Africa 5(2), 2006.* Bester, R.M. “Jodi Bieber: Between Dogs and Wolves”, Art South Africa 5(2),2006.* Bester, R.M. “Manuel Alvarez Bravo to Pieter Hugo”, Art South Africa 5(2), 2006.* Bester, R.M. “Moving and Settling” in Contemporary Commonwealth Green, C. (ed) Melbourne: National Gallery of Victoria, pp.108, 2006. Bester, R.M. “David Goldblatt, One Book at a Time” in David Goldblatt Parr, M. (ed) Milan: Contrasto, pp.11-24, 2006. Bester, R.M. “Sessions eKapa: Revoking the Ethnographic Mode”, Art South Africa 4(3): 24, 2006.* Bester, R.M. “Lolo Veleko: Archive Against Loneliness”, Art South Africa 4(4): 42-45, 2006.* Bester, R.M. “Deborah Weber: Art/Media – Media Art”, Art South Africa 4(4): 82-84, 2006.* Bester, R.M. “Joachim Schonfeldt: Roar”, Art South Africa 5(1):13-15, 2006.* Bester, R.M. “A Moving City” in Johannesburg Circa Now: Photography and the City Kurgan, T. and Ractliffe, J.(eds) Johannesburg: Terry Kurgan and Jo Ractliffe, pp.10-15, 2005. Bester, R.M. “Conrad Botes”, Art South Africa 3(4): 78-79, 2005.* Bester, R.M. “Alison Kearney”, Art South Africa 3(4): 80-84, 2005.* Bester, R.M. “Goldblatt, Magubane, Ruselo and Schabeberg”, Art South Africa 4(2):64-67, 2005.* Bester, R.M. “Show Me the Money, Show Me the Media”, Art South Africa 4(1): 44- 45, 2005.* Bester, R.M. “Sue Williamson”, Art South Africa 3(4): 72-74, 2005.* Bester, R.M. “Sokoto to Sihlali”, Art South Africa 3(4): 60, 2005.* Bester, R.M. “Hotels and Better Lives”, Art South Africa 3(4): 72, 2005.* Bester, R.M. “Portable Hawker’s Museum”, Art South Africa 3(4): 80-81, 2005.* Bester, R.M. “Candice Breitz”, Art South Africa 4(2): 77-78, 2005.* Bester, R.M. Berni Searle: Float Cape Town: Bell-Roberts Publishing House 72pp, 2004. Bester, R.M. “Photographer Now”, in Guy Tillim: DaimlerChrysler Award for South African Photography South Africa: DaimlerChrysler pp.101-107, 2004. Bester, R.M. “Living in Linden”, Art South Africa 2(3): 24-30, 2004.* Bester, R.M. “Nadir to Zenith”, Art South Africa 3(1): 26-31, 2004.* Bester, R.M. “Arbrie Fourie”, Art South Africa 3(2): 61, 2004.* Bester, R.M. “Anton Karstel”, Art South Africa 3(2): 70, 2004.* Bester, R.M. “It’s Sporting Life”, Art South Africa 3(2): 36-40, 2004.* Bester, R.M. “Performances of Masculinity”, Art South Africa 3(2): 42-47, 2004.* Bester, R.M. “Spaces to Stay” in A Decade of Democracy: South African Art 1994- 2004 Bedford, E. (ed) Cape Town: Double Storey Books and Iziko Museums, pp.24-33, 2004. Cowling, L. and Hamilton, C. “The Public Life of Reason” in African Intellectuals and Decolonisation Creary, N. (ed) Athens, OH: Ohio University Press, 2011.* Cowling, L. “Framing essay: The Media and the Production of Public Debate”, Social Dynamics 36(1): 78-84, 2010.* Cowling, L. “The SABC and the ‘Blacklist’ Controversy: Debate about Debate”, Rhodes Journalism Review 27(62), 2007. Platform for Public Deliberation Constitution of Public Intellectual Life Research Project Cowling, L. “The Beloved South African: Alan Paton in America”, Scrutiny 2(10):81- 92, 2005.* Dramat, N. “The SABC and the ‘Blacklist’ Controversy: Professionalism and Resistance”, Rhodes Journalism Review 27:62-3, 2007. Finlay, A. (ed) Global Information Society Watch: The Internet, Human Rights and Social Resistance – Focus on Freedom of Expression and Association. Association for Progressive Communications, Humanist Institute for Cooperation with Developing Countries, Montevideo: Hivos. Pending, 2011. Finlay, A. “Staging Performance: Race, Authenticity, and the Right to Speak in Media Debate in the Mbeki Era”, Ecquid Novi: African Journalism Studies, 32(3): 34-44, 2011. Finlay, A. “Making Space: The Counterpublics of Post-apartheid Independent Literary Journals, 1994-2004”, Social Dynamics,36( 1):166-178, 2010. Finlay, A. Pushing from the Riverbank Johannesburg: Dye Hard Press, 2010. Finlay, A. “Shaping the Conflict: Factors Influencing the Coverage of Conflict around HIV/Aids Policy in the South African Press” Book Chapter. Johannesburg: Jacana, 2010. Finlay, A. “Guinea Pigs and the Frantic Search for the AIDS Vaccine Gel!!” Media Monitoring Africa; Book Chapter. Johannesburg: Jacana, 2010. Finlay, A. (ed) Global Information Society Watch. Focus on ICTs and Environmental Sustainability. Association for Progressive Communications, Humanist Institute for Cooperation with Developing Countries, Montevideo: Hivos, 2010. Finlay, A. “Introduction: (Re)claiming the Environment” in Global Information Society Watch Association for Progressive Communications, Humanist Institute for Cooperation with Developing Countries, Montevideo: Hivos, pp. 59-60, 2010. Finlay, A. (ed) Global Information Society Watch: Access to online information and knowledge – advancing human rights and democracy Association for Progressive Communications, Humanist Institute for Cooperation with Developing Countries, Montevideo: Hivos, 2009. Finlay, A. “Introduction: Unsettling the ‘information society’…..” Global Information Society Watch Association for Progressive Communications, Humanist Institute for Cooperation with Developing Countries, Montevideo: Hivos, pp. 61-62, 2009. Finlay, A. “Review: The Beat Hotel exhibition” in Who was Sinclair Beiles? Cummiskey, G. and Kowalska, E. (eds) Dye Hard Press: Johannesburg, pp. 101- 105, 2009. Finlay, A.
Load more

Recommended publications
  • Monuments and Museums for Post-Apartheid South Africa
    Humanities 2013, 2, 72–98; doi:10.3390/h2010072 OPEN ACCESS humanities ISSN 2076-0787 www.mdpi.com/journal/humanities Article Creating/Curating Cultural Capital: Monuments and Museums for Post-Apartheid South Africa Elizabeth Rankin Department of Art History, University of Auckland, Private Bag 92019, Auckland 1142, New Zealand; E-Mail: [email protected] Received: 5 February 2013; in revised form: 14 March 2013 / Accepted: 21 March 2013 / Published: 21 March 2013 Abstract: Since the first democratic elections in 1994, South Africa has faced the challenge of creating new cultural capital to replace old racist paradigms, and monuments and museums have been deployed as part of this agenda of transformation. Monuments have been inscribed with new meanings, and acquisition and collecting policies have changed at existing museums to embrace a wider definition of culture. In addition, a series of new museums, often with a memorial purpose, has provided opportunities to acknowledge previously marginalized histories, and honor those who opposed apartheid, many of whom died in the Struggle. Lacking extensive collections, these museums have relied on innovative concepts, not only the use of audio-visual materials, but also the metaphoric deployment of sites and the architecture itself, to create affective audience experiences and recount South Africa’s tragic history under apartheid. Keywords: South African museums; South African monuments; cultural capital; transformation; Apartheid Museum; Freedom Park 1. Introduction This paper considers some of the problems to be faced in the arena of culture when a country undergoes massive political change that involves a shift of power from one cultural group to another, taking South Africa as a case study.
    [Show full text]
  • African Arts African Studies Center
    Surname Name Year Title Publisher Note African Studies Center University of California, Los Proehl, Paul O & Povey, John (founding eds). [Various] [Periodical] 1967- African Arts Angeles Data not yet entered Bell-Roberts, Brendon (founding ed.). Data not [Various] [Periodical] 2015- Art Africa Art Africa Magazine, Cape Town yet entered [Various] [Periodical] 2002-2015 Art South Africa Bell Roberts, Cape Town Data not yet entered [Various] [Periodical] 1966-1976 Artlook Johannesburg Data not yet entered [Various] [Periodical] 1989- Artworks in Progress Michaelis School of Fine Art, Cape Town Data not yet entered [Various] [Periodical] 1970-1994 Bulletin Pretoria Art Museum, Pretoria Data not yet entered University of Pretoria Department of Art and [Various] [Periodical] 1934-1938 Castalia Data not yet entered Culture, Pretoria Critical Interventions: Journal of African Art history Ogbechie, Sylvester Okwunodu (founding ed.). [Various] [Periodical] 2007- Aachron Editions; Taylor & Francis and culture Data not yet entered University of South Africa Department of Art [Various] [Periodical] 1967- De Arte Data not yet entered History and Fine Arts, Pretoria Walker, Garth & Gunning, Siobhan (founding [Various] [Periodical] 1995- i-Jusi Magazine Orange Juice Design, Durban eds). Data not yet entered University of Pretoria Department of Visual Arts Sauthoff, Marian (founding ed.). Data not yet [Various] [Periodical] 1992- Image & Text: A Journal for Design and Art History, Pretoria entered Adult Education Division Union Education [Various] [Periodical] 1949-1995 Lantern Department; The Foundation for Education, Data not yet entered Science & Technology, Pretoria Krause, Otto (founding ed.). Data not yet [Various] [Periodical] 1962-1963 NEWS/CHECK on South Africa and Africa entered Duke University Press, Durham; NKA Publications, Hassan, Sallah (founding eds).
    [Show full text]
  • Paul Ndema, Uganda Ndema Paul Was Born in Uganda in 1979
    Paul Ndema, Uganda Ndema Paul was born in Uganda in 1979. He studied at the Margaret Trowell School of Industrial and Fine Arts, Makerere University from 1999-2002 where he obtained a Bachelors degree in Fine Arts. In this latest series of work, Paul Ndema’s technical proficiency together with his satirical interpretations of religious moral order gives his paintings a unique and playful insight into the meeting of tradition and modernity. His final pieces are the result of his experiences growing up in a Catholic family together with his questioning of the ethics of those in positions of power and influence. His subjects, often self-portraits, are elevated to an iconic status yet compromised by the artist’s use of irony. Ndema places his subjects on colourful, patterned and symbolic backgrounds and his use of light suggests that his subjects are both literally and figuratively in the spotlight. Most recently he has participated in FNB Joburg Art Fair (2016); Circle Modern and Contemporary Art Auction in Nairobi (2015, 2014); Cape Town Art Fair (2015); Kampala Art Biennale (2014) and East African Encounters Exhibition, Circle Art Gallery (2014). His work is also housed in many international private collections. Ato Malinda, Kenya Ato Malinda (born 1981, Kenya), lives and works in Rotterdam. She has a Master of Fine Arts (MFA) from Transart Institute, New York. Her works consist of performance, drawing, painting, installation, video, and ceramic object-making. Through her diverse practice, Malinda investigates the hybrid nature of African identity, contesting notions of authenticity. She has worked with western museums to dispel notions of a Unitarian Africa, so often seen in ethnographic exhibitions.
    [Show full text]
  • Photography at Auctions
    AFRICAN CONTEMPORARY PHOTOGRAPHY AT AUCTIONS CONFIDENCE IN THE INTERNATIONAL MARKET REACHES AN ALL-TIME HIGH CAPE TOWN ART FAIR’S RISING PROFILE ART 14 LONDON, SETTING NEW HEIGHTS HASSAN HAJJAJ DAVID GOLDBLATT SIMON OTTENBERG JOACHIM MELCHERS UGOCHUKWU - SMOOTH C. NZEWI PAUL SIKA JOHN FLEETWOOD ARTUR WALTHER THE PHOTOGRAPHY ISSUE II OMENKA MAGAZINE 2 3 4 6 7 0 8 8 1 0 0 0 0 VOLUME 1 ISSUE 2 Ben (Benedict Chukwukadibia) Contact Enwonwu, M.B.E +44 (0) 20 7468 8355 (Nigerian, 1917 - 1994) [email protected] ‘Snake Dance’ carved wood 141 x 20 x 20cm (55 1/2 x 7 7/8 x 7 7/8in) (including base) £50,000 - 80,000 US$83,000 - 133,000 Africa Now New Bond Street bonhams.com/africanow 2014 Sandton Convention Centre, Johannesburg 22-24 August To submit your application, please visit www.artlogic.co.za/fairs The deadline for applications is the 28th of February 2014. Decoration or Asset? The Art Exchange’s Products and Services include... Advisory Services Acquisition Financing Custodian & Insurance Services www.theartexchangelimited.com [email protected] +234 706 590 4800 VOLUME 1 ISSUE 3 118 99 FEATURES Spot Lighting The Sanlam Food Wine Design Fair 2013 100 John Fleetwood: The Market Photo Workshop 106 Peer Conversation 114 Jude Anogwih and Adejoke Tugbiyele Art 14 London, Setting New Heights 118 Cape Town Art Fair’s Rising Profile 124 5 OMENKA MAGAZINE VOLUME 1 ISSUE 3 COLUMNS 81 ArtTactic 82 Confidence in the International Photography Market Reaches an All-time High Ask the Curator 84 Ugochukwu-Smooth Nzewi Letter to the Editor
    [Show full text]
  • DANNY MYBURGH DATE of BIRTH 20 June 1962 ID NUMBER 620620
    DANNY MYBURGH DATE OF BIRTH 20 June 1962 ID NUMBER 620620 0144 084 ADDRESS 10 Armagh Road Parkview Johannesburg 2193 South Africa CELLPHONE +27 82 881 7516 EMAIL [email protected] WEBSITE www.dannymyburgh.co.za MARITAL STATUS married to Craig Watt-Pringle with 2 sons, Simon 25 and Thomas 22 MATRICULATED 1980 St Mary’s School for Girls Waverly Johannesburg South Africa UNIVERSITY OF STELLENBOSCH South Africa 1981-1985 BA (Law) UNISA South Africa 1995-1996 History of Art THE ART THERAPY CENTRE – LEFIKA LA PHODISA Johannesburg South Africa 1998-2002, Certificate in Community Art Therapy 2002-2004 Project manager, The Art Therapy Centre – Lefika la Phodisa, Rosebank Johannesburg South Africa 2004-2007 Art therapist, Johannesburg Parent and Child Counselling Centre, Berea Johannesburg South Africa 2007-2012 Head of Art Department, The Ridge School, Westcliff Johannesburg South Africa 2012 - present Artist in residence at The Bag Factory, Fordsburg Johannesburg 2016 - present founded Editions art gallery EXHIBITIONS 2014 Turbine Art Fair, Newtown, Johannesburg 2014 Joburg Art Fair, Sandton, Johannesburg 2014 Solo exhibition Container/Contained, The Bag Factory, Fordsburg, Johannesburg 2014 Salon 1 group exhibition, Bamboo Centre, Melville, Johannesburg 2015 In Toto art gallery group exhibition, Birdhaven, Johannesburg South Africa 2015 Turbine Art Fair Newtown Johannesburg 2015 Johannesburg Art Fair Sandton Johannesburg 2015 Transitions at the Post Office group exhibition, Vrededorp ,Johannesburg South Africa 2016 Cape Town Art Fair 2016 The Bag Factory Salon Sale Fordsburg Johannesburg South Africa 2016 Hermanus FynArts festival South Africa, joint show with Terry Kobus 2016 Joburg Fringe at August House, Doornfontein, Johannesburg, group show COLLECTIONS Michaelis Art Library Johannesburg CURATOR 2015 Transitions at the Post Office Vrededorp Johannesburg 2016 Joburg Fringe at August House, Doornfontein, Johannesburg RESIDENCY 2015 Vallauris AIR Vallauris Alpes Maritime France .
    [Show full text]
  • N O M a D G a L L E R Y B R U S S E L S
    N O M A D G A L L E R Y B R U S S E L S HELEN TEELE Artist Statement / Bio / CV ARTIST STATEMENT: My paintings are grounded in the idea of “staying with the trouble.”1 They open up an exploration of abject bodies and monstrous shadows that we have to learn to live with and make kin with in a time characterised by ecological and humanitarian crisis. I am neither searching for polemic truths, nor pretending that the trouble isn’t there, but rather trying to find a visual way of sitting with it and learning how to be with it. For me painting is an intersectional medium that offers a peculiar, non-binary logic which the rigidities of language and positivism preclude. It doesn’t try to make the world transparent, but rather allows it to exist in the thickness of being that makes the world worldly.2 It is the most direct way for me to explore multi-layered meanings, not-knowing and uncertainty, and of translating the ways in which the body – conflicted, gendered, cultural, political, sexual and social as it is – comes to know the world by literally being in the world, as a human body in a multi-species environment, and learning how to live with its thickness, its contrariness, its opacity, its mystery and its trouble. BIO: Helen Teede is a painter born in 1988 in Zimbabwe. CV: EXHIBITIONS AND ART FAIRS 2020 “Body Language”, a two person show at Nomad Gallery, Brussels 2019 - “Bare Limbs”, solo show at First Floor Gallery Harare: Harare, Zimbabwe - “Home Affairs”, group show at Daor Contemporary: Cape Town, South Africa - “The Harare Fauves”,
    [Show full text]
  • Africa Market Reporttm
    AFRICA ART MARKET REPORTTM MODERN / CONTEMPORARY / DESIGN 2015 TaBLE OF CONTENTS INTRODUCTION R ECENT INITIATIVES RANKING DESIGN MARKET & INVESTMENTS HIGHLIGHTS CORPORATE COLLECTIONS FOCUS 2015 TEACH THE FUTURE 3 Why did you decide to include a talk about Africa’s art scenes in last year’s Conversations? Because the developments within the African art scene INTRODUCTION are hugely interesting for us, our galleries and the collectors who come to our fair, and it ran in parallel to the first Venice Biennale curated by an African, Okwui Enwezor. In the global art market, what margin do you think FROM DISREGARD TO NORMAL ART the Nigerians Aina Onabolu (1882-1963) art by African artists represents? and Ben Enwonwu (1917-1994) are worth I am probably not the best person to answer this During the last 10 years, modern and citing as they instigated change towards question, but it seems fair to guess that the margin is contemporary African art has found an openness regarding classical arts, known still rather small. However, the international interest enthusiastic audience both on the conti- as “primitive arts”. from curators and patrons about the art scenes across nent and internationally. Significantly, this Africa is growing, as is the number of potential collectors includes important institutions. Taking an The notion of contemporary art emerged across the continent, and so its market seemed poised for expansion. interest in the viewpoint of the market and in the 1960s, regrouping the diversity institutions enables the structural issues of artistic production on the continent. It What’s your perspective on the African market and initiated changes to be known and consists of a large, variegated whole irriga- in terms of its artists, collectors and other understood, and for the role of African ted by three types of training: autodidact, professionals, and what how do you think this will develop? artists and those working in this context including famous artist such as Moké from to be situated.
    [Show full text]
  • Sue Williamson BIOGRAPHY
    Sue Williamson BIOGRAPHY Sue Williamson (b. 1941, Lichfield, UK) emigrated Passage, a large- scale installation of shackled, with her family to South Africa in 1948. Trained as suspended glass bottles engraved with details a printmaker, Williamson also works in installation, taken from 19th century slave trade documents. photography and video. In the 1970s, she started This installation was also exhibited the previous to make work which addressed social change year at Art Basel in Switzerland and at the Kochi- during apartheid and by the 1980s Williamson was Muziris Biennale in India in 2018. well known for her series of portraits of women involved in the country’s political struggle. Williamson’s works feature in numerous public collections across the globe, including those at Referring to her practice, Williamson says: “ I am the Museum of Modern Art, New York, USA, Tate interested in objects, often very humble ones, and Modern, London, UK, Victoria & Albert Museum, the stories behind them. I am interested in the London, UK, National Museum of African Art, media, in the subtext that runs behind newspaper Smithsonian Institution, Washington D.C., USA, reports, and in books which may seem mundane Wifredo Lam Centre, Havana, Cuba, Iziko South like a tourist guidebook. But most of all I am African National Gallery, Cape Town, South Africa, interested in people, in their stories, and in the and Johannesburg Art Gallery, South Africa. exact words they use to describe their memories, experiences and expectations’. Williamson has received various awards and fellowships such as the Bellagio Creative Arts Williamson has avoided the rut of being caught in Fellowship 2011, Italy, Rockefeller Foundation, the an apartheid-era aesthetic, constantly re-assessing Visual Artist Research Award Fellowship 2007, changing situations, and finding new artistic Smithsonian Institution, Washington D.C., USA languages to work out her ideas.
    [Show full text]
  • Ransome Stanley
    RANSOME STANLEY Born 1953, London Lives and works in Munich, Germany EDUCATION 1979 Merz Akademie, Stuttgart, Germany, Master Scholarship of Professor Merz 1986 GEDOK Stuttgart, Artist-in-Residence EXHIBITIONS 2019 ON PAPER, ARTCO Gallery, Aachen, Germany ARTCO Gallery at Art Paris 2019, ARTCO Gallery , France Envisioning America, Gallery Hengevoss-Dürkop , Hamburg, Germany 2018 Joburg Art Fair, Gallery MOMO, Johannesburg, South Africa Body Talks, ARTCO Gallery, London Art Fair, London, UK Art Paris Art Fair, Paris, France 2017 Cape Town Art Fair, Cape Town, South Africa Joburg Art Fair, Johannesburg, South Africa AKAA Art Fair, Paris, France 2016 Paintings, ARTCO Gallery, Aachen, Germany Cape Town Art Fair, Cape Town, South Africa 1:54 Contemporary African Art Fair, London, UK AKAA Art Fair, Paris, France 2015 Zeitsprünge, ARTCO Gallery, Aachen, Germany 1:54 Contemporary African Art Fair, London, UK Joburg Art Fair, ARTCO Gallery, Johannesburg, South Africa Art Vilnius, ARTCO Gallery, Lithuania START, Saatchi Gallery, London, UK Fondation Blanchere, Aix en Provence, France Kunstverein Aschau, Germany LEAPS IN TIME, ARTCO Gallery, Aachen, Germany Gallery MOMO, Johannesburg, South Africa 1:54 Contemporary African Art Fair, ARTCO Gallery New York, US Art Karlsruhe, Gallery Wagner + Marks, Karlsruhe, Germany, Cape Town Art Fair, ARTCO Gallery, Cape Town, South Africa 2014 Biennale de Casablanca, Casablanca, Marocco Summer Exhibition, ARTCO Gallery, Aachen, Germany ART 14 International Art Fair, ARTCO Gallery, London, UK 1:54 Conetemporay
    [Show full text]
  • Research Report
    Research Report Beginning with Criticism: An Analysis of the First Four Volumes of Art South Africa Candidate Name: Clarissa Snapper Student Number: 0514950k Degree: Master’s by Coursework and Research Report in History of Art Faculty: Humanities, Social Science and Education Supervisor: Professor Anitra Nettleton Abstract: Art South Africa is currently the leading, professionally published art magazine in South Africa. The magazine plays an important role in the dissemination of art discourse and art news and is the only ongoing, printed forum devoted exclusively to South African contemporary art. In this paper I will be looking at Art South Africa to describe the type of art texts it presents and the particular position it has taken in the contemporary art world of South Africa. In doing this I will be analysing the magazine to register the types of writing and other information in formats such as art news, exhibition reviews, artist bios, interviews and even advertising. This paper will also be analysing selected texts to determine the key issues that are represented and the way those issues have been represented with a critical position. Looking at Art South Africa from many angles will show that criticality is one of the magazine’s ideological aims and though the magazine’s format changes over time, it has continually sought to engage its readers in critical discourse. Table of Contents Chapter 1: Introduction 1 1.1 Aim 1 1.2 Rationale 1 1.2.1 History and Texts 2 1.2.2 Why Art Criticism? 3 1.3 Scope 5 1.4 Key Terms Chapter 2: Literature
    [Show full text]
  • CYRUS KABIRU 33 Eilat St, Tel Aviv, Israel
    CYRUS KABIRU SELECTED SOLO EXHIBITIONS 2020 SMAC Gallery, Cape Town, South Africa. (upcoming) 2018 ART X Lagos (SMAC Gallery), The Civic Centre, Lagos, Nigeria. 2017 Pandashuka, SMAC Gallery, Cape Town, South Africa. Macho Mbadala, SMAC Gallery, Johannesburg, South Africa. 2016 Njia Ya Maisha, The Amory Show: African Perspectives, (SMAC Gallery), New York City, USA. 2015 Black Mamba, FNB Joburg Art Fair (SMAC Gallery), Johannesburg, South Africa. The End Of The Black Mamba, LOOP Fair, (SMAC Gallery), Barcelona, Spain. C-Stunners and Black Mamba, SMAC Gallery, Cape Town, South Africa. 2014 Cyrus Kabiru & Timothy Prus, African Art Foundation Gallery, Lagos, Nigeria. 2013 Cyrus Kabiru: C-Stunners, Frank Picture Gallery in association with the Ed Cross Fine Arts Gallery, Los Angeles, USA. 2011 Cyrus Kabiru, Kuntspodium T Gallery, Tilburg, Netherlands. 2010 Upcoming, Kuona Trust, Nairobi, Kenya. The C-Stunner, Kuona Trust, Nairobi, Kenya. 2009 Cyrus Kabiru, Rahimtulla Museum of Modern Arts (RaMoMA), Nairobi, Kenya. SELECTED GROUP EXHIBITIONS 2020 Paris Photo (Braverman Gallery), Grand Palais, Paris, France. (upcoming) Matereality, Iziko South African National Gallery, Cape Town, South Africa. Investec Cape Town Art Fair (SMAC Gallery), Cape Town International Convention Centre (CTICC), Cape Town, South Africa. 2019 That Was Then, SMAC Gallery, Cape Town, South Africa. MACHO NNE Afro-futurist visions of CYRUS KABIRU, The African Museum of Verona, Italy, Verona. 1-54 Contemporary African Art Fair (SMAC Gallery), Somerset House, London, UK. FNB Art Joburg (SMAC Gallery), Sandton Convention Centre, Johanneburg, South Africa. KUBATANA, Vestfossen Kunstlaboratorium, Vestfossen, Norway. Material Insanity, Museum of African Contemprary Art Al Maaden (MACAAL), Marrakech, Morocco. Investec Cape Town Art Fair, Cape Town International Convention Centre (CTICC), Cape Town, South Africa.
    [Show full text]
  • South African Family Stories Reflections on an Experiment in Exhibition Making
    Bulletin 378 Tropenmuseum South African family stories Reflections on an experiment in exhibition making Paul Faber, Ciraj Rassool, Leslie Witz Contents 5 Preface 7 Making the Family Stories exhibition Paul Faber 65 Making South Africa in the Netherlands Ciraj Rassool & Leslie Witz 95 Family stories Neo Malao 97 Reviews of the exhibition 105 Reviews of the book 111 Notes 115 Literature 119 About the authors Preface On 3 October 2002 the Tropenmuseum (Royal Tropical Institute Museum) Amsterdam presented an exhibition called Group Portrait South Africa: Nine Family Histories (Familieverhalen uit Zuid Afrika: Een Groepsportret) (see ill. 1). Twelve months and over 100.000 visitors later the exhibition went to the National Cultural History Museum in Pretoria, South Africa, where it opened on 31 March 2003. The exhibition was extended twice before being dismantled in July 2007. In many ways it was an experimental and risky exhibition and it is remarkable that the management team at the Tropenmuseum endorsed this project. Museum staff did not know the scope and had no insight into collection that would be shown, i.e., what type of objects, what type of new art works would be created during the process. Moreover, the large financial investment caused them to have occasional doubts about the entire process. In hindsight one can argue about the effective result, but the process itself was most enlightening. I learned much during the process and find myself going over it again and again. Apart from being a fascinating work experience, it was a highly personal adventure, too. I met dozens of fantastic people, some of whom will stay friends forever.
    [Show full text]