Rise and Fall of Apartheid
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Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor
NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark -
Okwui Enwezor
Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 Okwui Enwezor. Okwui Enwezor (1963 –2019) Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 PAMELA M. LEE In 2019, mention of the “global art world” and its thematic cognates—glob - alism and “global contemporary” art among them—is likely to inspire more cyni - cism than excitement. Critics have their reasons. The phenomenon of global contemporary art seems a foregone conclusion at this late date, the ubiquity of its biennials and fairs inversely proportional to the size of the art world’s most privileged demographic. That such art may be du jour among the collecting class—the stuff of oligarchic portfolios, vanity museums, and private founda - tions—is wholly consistent with the lengthening itineraries of finance capital. If the “global art world” was ideally premised on the rejection of Euro-American parochialisms, an expansion of hemispheric perspectives, and the rewriting of art-historical canons, the hegemony of such markets effectively reproduces the most entrenched relations of power. The passing of Okwui Enwezor (1963–2019), the most influential curator of the past quarter-century, challenges us to revisit these conventions and nuance their historiography in turn, for Enwezor repeatedly identified the contradictory prospects of this emergent global art world. Over the course of a pathbreaking career, the rhetoric of antinomies structured his critical and curatorial engage - ments, whether addressing the afterlives of African independence movements, the transnational biennial as an exhibition model, or the rise of global networks and postcolonial constellations, necessarily uneven in their distribution among diverse populations and actors. -
Chancellor of the University of Johannesburg Professor Njabulo
Chancellor of the University of Johannesburg Professor Njabulo Ndebele Honourable Former President of the Republic of South Africa and our Honorary Doctorate, Thabo Mbeki Honourable Minister of Higher Education and Training, Mrs Naledi Pandor Honourable Minister of Transport, Dr Blade Nzimande Honourable Deputy Minister of Higher Education and Training, Mr Buti Manamela Honourable Premier of Gauteng, Mr David Makhura ANC Treasurer General, Mr Paul Mashatile Former Ministers and Deputy Ministers Members of Parliament and Senior Officials from National, Provincial and Local Government Structures Former Deputy Prime Minister of Zimbabwe Professor Arthur Mutambara Honourable Ambassadors and High Commissioners Former UJ Chancellor, Ms Wendy Luhabe The Chairperson of the UJ Council, Mr Mike Teke, and current and former Members of the Council of UJ Former Vice-Chancellor, Prof Ihron Rensburg Chancellors, Chairs of Councils and Vice-Chancellors from other Universities The UJ Executive Leadership Group, Members of Senate and Distinguished Professors UJ Staff, Students and Members of the Convocation Partners from Business and Industry; Schools and Friends of UJ Distinguished Guests, Ladies and Gentleman Family members and friends, including my friends travelling from abroad My wife Dr. Jabulile Manana my sons Khathutshelo and Thendo as well as my daughter Denga I thank my parents who are here today Vho-Shavhani na Vho-Khathutshelo Marwala I also acknowledge the presence of my first school teacher Mrs. Netshilema who taught me in great one. I also acknowledge the presence of my high school principals and teachers Professor Matamba, Mr. Muloiwa and Mr. Lidzhade I also acknowledge the presence of my Chief Vhamusanda Vho-Ligege and her delegation It is indeed an honor for me to be leading one of the greatest and innovative universities in South Africa and beyond. -
2013 Annual Report
Our evolution 1990 Mr Nelson Mandela is released after over 27 years in prison. 1994 Mr Mandela becomes South Africa’s first democratically elected president. 1999 Mr Mandela steps down as president. The Nelson Mandela Foundation is established and houses Mr Mandela’s personal office. It implements a wide range of development projects, including education and health infrastructure. 2002 The Nelson Mandela Foundation moves to its current premises. 2004 Mr Mandela retires and famously says, “Don’t call me, I’ll call you.” He inaugurates the Nelson Mandela Centre of Memory project. The Nelson Mandela Foundation begins process of consolidation from project implementer to enabler and facilitator. 2008 Mr Mandela says at his 90th birthday concert in London, “It is time for new hands to lift the burdens. It is in your hands now.’’ 2009 The first Nelson Mandela Day is launched. The United Nations General Assembly declares, by unanimous resolution, 18 July as Nelson Mandela International Day. 2011 The Nelson Mandela Foundation enters the final phase of its transition; the Nelson Mandela Centre of Memory becomes the Foundation’s physical home. Our vision Our core work Our spiral A society which remembers its pasts, listens The Nelson Mandela Foundation delivers The spiral, which in many ancient to all its voices, and pursues social justice. to the world an integrated and dynamic societies symbolised constant renewal, information resource on the life and times simultaneously represents the centring of of Nelson Mandela, and promotes the memory, disseminating of information and Our mission finding of sustainable solutions to critical widening impact in the world, which is at To contribute to the making of a just society social problems through memory-based the heart of our work. -
Cradock Four
Saif Pardawala 12/7/2012 TRC Cradock Four Amnesty Hearings Abstract: The Amnesty Hearing of the Truth and Reconciliation show the connection between the South African Apartheid state and the mysterious disappearances of four Cradock political activists. The testimonies of members of the security police highlight the lengths the apartheid state was willing to go to suppress opposition. The fall of Apartheid and the numerous examples of state mandated human rights abuses against its opponents raised a number of critical questions for South Africans at the time. Among the many issues to be addressed, was the need to create an institution for the restoration of the justice that had been denied to the many victims of apartheid’s crimes. Much like the numerous truth commissions established in Eastern Europe and Latin America after the formation of democracy in those regions, the Truth and Reconciliation Commission was founded with the aims of establishing a restorative, rather than punitive justice. The goal of the TRC was not to prosecute and impose punishment on the perpetrators of the state’s suppression of its opposition, but rather to bring closure to the many victims and their families in the form of full disclosure of the truth. The amnesty hearings undertaken by the TRC represent these aims, by offering full amnesty to those who came forward and confessed their crimes. In the case of Johan van Zyl, Eric Taylor, Gerhardus Lotz, Nicholas van Rensburg, Harold Snyman and Hermanus du Plessis; the amnesty hearings offer more than just a testimony of their crimes. The amnesty hearings of the murderers of a group of anti-apartheid activists known as the Cradock Four show the extent of violence the apartheid state was willing to use on its own citizens to quiet any opposition and maintain its authority. -
Global Photographies
Sissy Helff, Stefanie Michels (eds.) Global Photographies Image | Volume 76 Sissy Helff, Stefanie Michels (eds.) Global Photographies Memory – History – Archives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3006-4. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Kordula Röckenhaus, Bielefeld Cover illustration: Sally Waterman, PastPresent No. 6, 2005, courtesy of the artist Proofread and typeset by Yagmur Karakis Printed by docupoint GmbH, Magdeburg Print-ISBN 978-3-8376-3006-0 PDF-ISBN -
Designing the South African Nation from Nature to Culture
CHAPTER 3 Designing the South African Nation From Nature to Culture Jacques Lange and Jeanne van Eeden There is to date very little published research and writing about South African design history. One of the main obstacles has been dealing with the legacy of forty years of apartheid censorship (1950 to 1990) that banned and destroyed a vast array of visual culture in the interests of propaganda and national security, according to the Beacon for Freedom of Expression (http://search.beaconforfreedom.org/about_database/south%20africa.html). This paucity of material is aggravated by the general lack of archival and doc- umentary evidence, not just of the struggle against apartheid, but also of the wider domain of design in South Africa. Even mainstream designed mate- rial for the British imperialist and later apartheid government has been lost or neglected in the inadequate archival facilities of the State and influential organizations such as the South African Railways. Efforts to redress this are now appearing as scholars start to piece together fragments, not in order to write a definitive history of South African design, but rather to write histories of design in South Africa that recuperate neglected narratives or revise earlier historiographies. This chapter is accordingly an attempt to document a number of key moments in the creation of South African nationhood between 1910 and 2013 in which communication design played a part. Our point of departure is rooted in Zukin’s (1991: 16) belief that symbolic and material manifestations of power harbour the ideological needs of powerful institutions to manipulate class, gender and race relations, ultimately to serve the needs of capital (and governance). -
Thabiso Sekgala, HOMELAND 2018
Repositorium für die Medienwissenschaft Marie-Hélène Gutberlet Presentness, Memory and History: Thabiso Sekgala, HOMELAND 2018 https://doi.org/10.25969/mediarep/1647 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Gutberlet, Marie-Hélène: Presentness, Memory and History: Thabiso Sekgala, HOMELAND. In: Sissy Helff, Stefanie Michels (Hg.): Global Photographies. Memory - History - Archives. Bielefeld: transcript 2018, S. 69– 88. DOI: https://doi.org/10.25969/mediarep/1647. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 Presentness, Memory and History: Thabiso Sekgala, “Homeland” MARIE-HÉLÈNE GUTBERLET South African photography has developed out of the relationship between both the socio-political history and the culture of remembrance of South Af- rica and the history of documentary photography. The photographs that have emerged in this geo-political context have been disseminated throughout the world and have become a part of the collective global memory in an unpar- alleled way, giving us reason to believe that it is these pictures, and not his- -
Telling Stories to a Different Beat: Photojournalism As a “Way of Life”
Bond University DOCTORAL THESIS Telling stories to a different beat: Photojournalism as a “Way of Life” Busst, Naomi Award date: 2012 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. Telling stories to a different beat: Photojournalism as a “Way of Life” Naomi Verity Busst, BPhoto, MJ A thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy School of Media and Communication Faculty of Humanities and Social Sciences Bond University February 2012 Abstract This thesis presents a grounded theory of how photojournalism is a way of life. Some photojournalists dedicate themselves to telling other people's stories, documenting history and finding alternative ways to disseminate their work to audiences. Many self-fund their projects, not just for the love of the tradition, but also because they feel a sense of responsibility to tell stories that are at times outside the mainstream media’s focus. Some do this through necessity. While most photojournalism research has focused on photographers who are employed by media organisations, little, if any, has been undertaken concerning photojournalists who are freelancers. -
Missed Experience and South African Documentary Photography
REDISCOVERING THE (EXTRA)ORDINARY: MISSED EXPERIENCE AND SOUTH AFRICAN DOCUMENTARY PHOTOGRAPHY ANDRÉ WIESNER 30 - Abstract Under apartheid, activist and commercial photog- André Wiesner is lecturer raphers confronted violent, traumatic events, and their in the Centre for Film and exposure of these to the wider world played a key role in Media Studies, University of bringing about the downfall of the state. Post-apartheid, Cape Town; e-mail: documentary photography has generally taken a diff erent [email protected]. direction, orienting attention to the surrounding society, and making good on all manner of missed experiences. In their move to peripheral situations, photographers dignify the culture-making of ordinary folk. The persons in the photographer’s gaze are frequently those caught in the shock waves of hostilities (Guy Tillim), affl icted by a dread epidemic (Kim Lubdrook), or exposed to a diff use 7 3, pp. (2007), No. Vol.14 condition of endangerment, like violent criminality (David Southwood). Photographers are themselves in a way fatally endangered from afar and their attempts to visualise what is out of frame can be seen as a form of self-defence and passionate search in a bid to come to terms with trouble. The essay probes the post-apartheid state of documentary photography and its current directions. 7 The Great Traditions In the year 2000 a young photographer called David Southwood held an exhibi- tion that to some would have looked rott en with fi n de siècle decadence. It featured an assortment of men and women in whom fl ickers of Southwood’s manner and morphology could be glimpsed, and was entitled, “People Who Other People Think Look Like Me.” Coming ten years aft er Nelson Mandela’s release from prison, and six years aft er South Africa’s landmark elections in 1994, the exhibition could be taken to epitomise the liberated, post-political sensibilities that fl ourished as the country shed its pariah status in the world at large and self-congratulatingly be- gan reinventing itself as a new and improved Rainbow Nation. -
Michael Qodby Professorof Historyof Art,University of Capetown
michael qodby Professorof Historyof Art,University of CapeTown iii\,i n an interview in the ./rdeoInnges in StrugJe(i990), Paul Africa was generalf' more analltical than confrontaiional I I W"irrb.rg described 11 February 1990, the day on which - said a few yearslater, the old distinctions between the bad 'confusion Nelson Manda was releasedfrom prison, as simultaneously grrysand the good guys'had been repiacedby a the best and the worst day of his life. lt tas the best day, of of forces'; photographers - and others - were suddenly 'deprived course, becausethe releaseof Mandela and other political of the central focus of their work'. prisoners, and the unbanning of the ANC and other politicai organisations,were rhe very aims to which he had A measureof the crisis affecti.ngdocumentary photographers dedicated his professionallife as i.photographer for many at that time is that severalpractitioners who had identifred years. And it was the worst day because,having fought as complctelywith the Strrggle simply left the country: notable a'Struggie photographer with a relatively small band of examples are Gideon Mendel and Wendy Schrvegmann. 'Lesley like-minded colleagues,he was stampededby a contingent Others, like Larvson, gave up photography in of intemational photographers and effectively prevented fayour of less confrontationai lvork. Each case, of course, from taking any pictures until the next day in Cape Town. is individual, and doubtless financial and other factors Moreover,as Weinberg has explained in subsequentarticles, applied, but the phenomenon invites comparison to the once the media circus surrounding Manclelasrelease had experienceof certain MK cadreswho, having fought in the left town, it soon became apparent that the international Struggle, left the country or abandoned political activi.ty, pressretained little interest in South African stories.But the ar the moment of liberation. -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius