Ayana V. Jackson CV
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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). -
The Africa2020 Season Introduces Its “Women Focus” (2/4)
Press release Paris, 13 October 2020 Institut français / Africa2020 Season THE AFRICA2020 SEASON INTRODUCES ITS “WOMEN FOCUS” (2/4) With over 200 events organised all over mainland France and in the overseas departments and territories, the Africa2020 Season will unfold from December 2020 until July 2021. As the launch date draws closer, the Institut français unveils the major themes of this outstanding Season built on four pillars. This week showcases 22 projects as part of the “Women Focus” wished for by N’Goné Fall, General Commissioner of the Africa2020 Season. > The Africa2020 Season press conference will take place on 4 November 2020. PROJECTS SHOWCASING WOMEN’S CENTRAL ROLE IN AFRICA How do African women perceive the great challenges of the 21st century? What are the views and the initiatives supported by more than half of the population of the African continent? From the dissemination of knowledge to systems of disobedience, from history, memory, and archives, to economic issues, territory and citizenship, the Africa2020 Season will showcase the role of women in African societies. A large number of French institutions answered the General Commissioner’s call and mobilised by codesigning, together with African women professionals, a specific project that gives a voice to women from the African continent and its recent diaspora. This spontaneous show of solidarity gave rise to a series of “Women Focus” in the arts, sciences and entrepreneurship. THE “WOMEN FOCUS” PROJECTS (IN CHRONOLOGICAL OPENING ORDER) ▪ Poitiers Film Festival -
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. -
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 -
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 . -
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”, -
Myriam Mihindou L’Être Et L’Image Entretien Avec Philippe Piguet
78 S E RTIST A Déchoucaj’ 16 (Haïti, Port-au-Prince). 2004-2006, tirage argentique contrecollé sur acier, 90 x 60 cm. Collection Frac Réunion. Courtesy de l’artiste et de la galerie Maïa Muller. Myriam Mihindou l’être et l’image ENTRETIEN AVEC PHILIPPE PIGUET Myriam Mihindou est représentée par la galerie Maïa Muller, Paris. Le Monologue des anges (Haïti, Port-au-Prince). 2004-2006, tirage argentique contrecollé sur acier, 120 x 92 cm. Collection Frac Alsace. Courtesy Sanaa galerie. Dans l’exposition Les Maîtres du désordre, présentée au musée du quai Branly l’an passé, les images photographiques de Myriam Mihindou ne manquèrent pas de retenir l’attention. Tout à la fois inquiétantes et fascinantes, elles plaçaient le regardeur dans un vis-à-vis existentiel dont il ne sortait pas indemne. Extraites de la série Déchoucaj’ (2004), réalisée en Haïti, elles procèdent d’une expérience initiatique vécue par l’artiste à l’occasion d’une résidence. Gabonaise d’origine, Myriam Mihindou développe une œuvre d’une extrême profondeur qui interroge le statut de l’image et la question de l’être entre forces de la tradition et monde contemporain. Rencontre. Philippe Piguet | Par-delà les effets de la colonisation, le PP | Nganga? Gabon est un des pays africains qui ont le plus pré- MM | Un nganga, c’est quelqu’un qui est capable de servé toutes sortes de traditions ancestrales. En quoi soigner. C’est un peu comme un chaman… cela a-t-il marqué votre travail? Myriam Mihindou | PP | S J’ai été élevée dans un environnement Qu’est-ce qui faisait que vous aviez ce statut E culturel qui s’appuie sur des codes, des tabous, des particulier? peurs, des participations à différents types de rituels. -
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. -
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. -
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 -
SILO De Myriam Mihindou
TRANSPALETTE CENTRE d’ART contemporain COMMUNIQUÉ DE PRESSE Exposition Silo MYRIAM MIHINDOU Exposition Une solution au problème de raréfaction du Temps Présent, Passé, Futur, Anamorphose JEAN-MARC CHOMAZ, Alchimie de la Couleur OLGA FLÓR L’imaginaire de la totalité est inépuisable. Et toujours et sous toutes formes, entièrement légitime, c’est-à-dire libre de toute légitimité. SILO Edouard Glissant – Poétique de la Relation (1990) MYRIAM MIHINDOU (texte court) Au départ, un SILO est une cavité creusée dans le sol. À même la terre, Exposition monographique les récoltes sont entreposées puis recouvertes pour leur conservation. dans le cadre de Bourges contemporain La terre épaisse protège du froid et des assaillants. Le silo constitue une réserve. Il protège et préserve les grains de l’été pour l’hiver. Il fait partie du quotidien, sa présence est aussi essentielle qu’invisible. DU 2 JUILLET AU 19 SEPTEMBRE 2021 En adéquation avec la pensée à la fois métaphorique et politique Transpalette Centre d’art - Bourges de Myriam Mihindou, le silo est synonyme du grand corps, le corps Commissariat Julie Crenn collectif, celui qui rassemble les vivants et les morts, les humain.es et non humain.es. Myriam Mihindou (née en 1964, à Libreville, Gabon. Artiste nomade, elle vit et travaille dans le Tout-Monde), qui fait partie Vernissage intégrante du grand corps, nous en livre ses formes, ses langages, ses Vendredi 2 juillet 2021 à 18h30 mémoires, ses luttes, ses déplacements et ses collaborations. Dans Performance La Genette de Myriam Mihindou une relation poétique et sensible aux mots, aux objets, aux pratiques et aux gestes, une corrélation entre le silo et la mémoire est établie.