Spring/Summer 2016 Program Independent Curators
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South African Artists at the Constitutional Court of South Africa
UNIVERSITY OF CALIFORNIA Los Angeles Decoding Memories: South African Artists at the Constitutional Court of South Africa A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in African Studies by Mary Ann Braubach 2017 © Copyright by Mary Ann Braubach 2017 ABSTRACT OF THESIS Decoding Memories: South African Artists at the Constitutional Court of South Africa by Mary Ann Braubach Master of Arts in African Studies University of California, Los Angeles, 2017 Professor William H. Worger, Chair This paper examines the decoding of the memory of apartheid and post apartheid years of South Africa’s recent history. And it contextualizes how the struggle influenced the visual arts. Also analyzed are the history of the Constitution and Constitutional Court of South Africa. It interrogates the formation of the Constitutional Court art collection. by Justices Albie Sachs and Yvonne Mokgoro for the yet-to-be-constructed Constitutional Court building in Johannesburg. Many donated artworks are responsive both to the anti- apartheid struggles and also to the new democracy. The essay also examines the underlying politic that now hangs in the Constitutional Court building. Select works, that function as signifiers of the new Constitution, are examined. I draw on interviews with South African artists, Court Justices and curators to investigate the role of memory, the archeology of the site, and the significance of the collection to the artists, the Justices, and citizens of South Africans twenty years post apartheid. -
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 -
NEW STATESMAN | 26 JULY – 8 AUGUST 2013 2013+30Photo Essay:NS 25/07/2013 11:30 Page 45
2013+30photo essay:NS 25/07/2013 11:30 Page 44 STEVENSON GALLERY/YOSSI MILO GALLERY Pieter Hugo (above) photographs and chose to focus on the close to the mines. Hugo was attracted to Johannesburg, Gauteng Province Witwatersrand, the gold mining region that the notion that Main Reef Road is a modern surrounds Johannesburg. He meandered equivalent of the Roman Via Appia. “All The South African Pieter Hugo was along the city’s Main Reef Road, which South Africa’s wealth was generated along commissioned to take landscape connects the towns that have sprung up this road,” he says. 44 | NEW STATESMAN | 26 JULY – 8 AUGUST 2013 2013+30photo essay:NS 25/07/2013 11:30 Page 45 PHOTO ESSAY Transition Contested landscapes in South Africa Photography by Philippe Chancel, Raphaël Dallaporta, Pieter Hugo, Santu Mofokeng, Zanele Muholi, Jo Ractliffe, Thabiso Sekgala and Alain Willaume In Southern Africa, landscape photography is invariably political. The camera was an im- portant tool to Europeans in the appropria- tion of land. In 1858, the Scottish missionary David Livingstone asked his brother Charles to photograph an expedition to the Victoria Falls (which he had “discovered” in 1855). He wanted “to extend the knowledge already attained of the geography and mineral and agricultural resources” there, in the hope that “raw material” might be “exported to England in return for British manufactures”. When those that followed came to depict the land for its own sake, they relied on a vi- sual aesthetic adopted from French art. They did not record the landscape: they “invented” it. Throughout the 19th and early 20th cen- turies, white salon photographers developed an iconography that aimed to reveal a virgin territory whose mountains, plains and tribal inhabitants illustrated the grandeur of the imperial project. -
Australasian Arachnology 83.Pdf
Australasian Arachnology 83 Page 1 Australasian Arachnology 83 Page 2 THE AUSTRALASIAN ARTICLES ARACHNOLOGICAL SOCIETY The newsletter Australasian Arachnology depends on the contributions of members. www.australasian-arachnology.org Please send articles to the Editor: Acari – Araneae – Amblypygi – Opiliones – Palpigradi – Pseudoscorpiones – Pycnogonida – Michael G. Rix Schizomida – Scorpiones – Uropygi Department of Terrestrial Zoology Western Australian Museum The aim of the society is to promote interest in Locked Bag 49, Welshpool DC, W.A. 6986 the ecology, behaviour and taxonomy of Email: [email protected] arachnids of the Australasian region. Articles should be typed and saved as a MEMBERSHIP Microsoft Word document, with text in Times New Roman 12-point font. Only electronic Membership is open to all who have an interest email (preferred) or posted CD-ROM submiss- in arachnids – amateurs, students and ions will be accepted. professionals – and is managed by our Administrator (note new address ): Previous issues of the newsletter are available at http://www.australasian- Volker W. Framenau arachnology.org/newsletter/issues . Phoenix Environmental Sciences P.O. Box 857 LIBRARY Balcatta, W.A. 6914 Email: [email protected] For those members who do not have access to a scientific library, the society has a large number Membership fees in Australian dollars (per 4 of reference books, scientific journals and paper issues): reprints available, either for loan or as photo- *discount personal institutional copies. For all enquiries concerning publica- Australia $8 $10 $12 tions please contact our Librarian: NZ/Asia $10 $12 $14 Elsewhere $12 $14 $16 Jean-Claude Herremans There is no agency discount. -
Highly Personal Curated by Gary Schneider
Stephen Daiter Gallery is pleased to present… Highly Personal Curated by Gary Schneider South African Artists Hasan and Husain Essop; David Goldblatt; Pieter Hugo; Donna Kukama; Terry Kurgan; Senzeni Marasela; Nandipha Mntambo; Zanele Muholi; Cedric Nunn; Jo Ractliffe; Mikhael Subotzky and Andrew Tshabangu. ...and Their HandPrint Portraits Gary Schneider I left South Africa in 1977 at the age of 23. In 2011, I returned for my first exhibition there, and began making handprint portraits of South African artists. A Guggenheim Fellowship allowed me to continue the project through 2013. I embarked on the project and traveled widely in order to meet artists and, through them, understand what it means to be a South African artist two decades after the end of apartheid. These handprints do not reveal race, economic status, gender or age. They all follow the same format. I set up a process in which the person is responsible for the information deposited in the film emulsion — it is an assisted self-portrait. The variables are their performance and gesture, the physical shape of the hand, their body chemistry, and their relationship to me. For this exhibition at Stephen Daiter Gallery I have selected the work of thirteen artists — who are all photographers, or artists who use photography — to be exhibited along with their handprint. This is a very small group from the seventy-seven artists published in HandPrints: South African Artists, Fourthwall Books, 2015 which is itself a subset of the more than two hundred handprint portraits I made in South Africa over the three years I spent there. -
Terry Kurgan CV 2019 Website
1 TERRY KURGAN Artist and Writer. Born in Cape Town, South Africa. Lives and works in Johannesburg. Education 2016 MA in Creative writing – University of the Witwatersrand, Johannesburg 1992 MFA – Michaelis School of Fine Art, University of Cape Town, South Africa 1984 BAFA –California College of Arts, Oakland/San Francisco, California, USA Solo Exhibitions 2014 Let’s Talk: 30 Days At The Spreefeld—Nine Urban Biotopes Project, Urban Dialogues, Spreefeld Boathouse, Spreeacker, Berlin 2013 Public Art/Private Lives—Gallery AOP, Johannesburg 2011 Still, life—Gallery AOP, Johannesburg 2009 (I promise) I love you—Gallery AOP, Johannesburg 2006 Terry Kurgan Photographs 1924 – 2006—GoodMan Gallery, Johannesburg 2003 Skip—Bell – Roberts Gallery, Cape Town Lost and Found—Durban Art Gallery, Durban 2002 Lost and Found—GoodMan Gallery, National Arts Festival, GrahaMstown 1999 Family Affairs —Gertrude Posel Gallery, Johannesburg Family Affairs —Mark Coetzee Fine Art Cabinet, Cape Town Maternal Exposures—Groote Schuur & Mowbray Maternity Hospitals, Cape Town 1997 Home Truths —GoodMan Gallery, Johannesburg www.terrykurgan.com / email: [email protected] / mobile: +27 (0)83 230 1739 / tel: +27 (0)11 646 3493 2 Recent Selected Group Exhibitions 2018 Collaboration. A Potential History of Photography—A project by Ariella Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler. Aperture Gallery-New York, Brown University, and Ryerson IMage Centre, Toronto 2014 Public Intimacy: Art And Other Ordinary Acts In South Africa —San Francisco MuseuM -
Walther Collection Paris Photo Press Release-11-11 BW
Press Release The Walther Collection has been invited by Paris Photo 2011 to present highlights from its African photography collection On view November 10–13 at the Grand Palais in Paris, exhibition of portraiture to be featured in the international fair’s spotlight on African artists Malick Sidibé, Vues de dos (Back View), 1999 The Walther Collection has been invited by Paris Photo, the world’s most renowned art fair for photography, to present highlights from Events of the Self: Portraiture and Social Identity at the Grand Palais, the new location for the fair’s 15th edition. Featured as part of Paris Photo’s Private Collections series, and coinciding with the fair’s celebration of African photography, the exhibition will be on view from November 10–13. Events of the Self: Portraiture and Social Identity, curated by Okwui Enwezor for The Walther Collection’s inaugural exhibition in Neu-Ulm, Germany in 2010, offers an extensive account of modern and contemporary African photography. The exhibition investigates diverse formulations of portraiture, questioning the relation of self-representation and social identity across three generations of African artists and during societal transitions from industrial to postindustrial economy and colonial to postcolonial modernity. Reflecting the changed contexts of photography in showing the structural and cultural transformations reshaping individual and collective subjectivities, the exhibition also incorporates the work of German photographers, establishing a cross-cultural dialogue between African and European pictorial strategies. The exhibition includes works by Sammy Baloji (DR Congo), Bernd and Hilla Becher (Germany), Allan deSouza (Kenya/USA), Alfred Martin Duggan-Cronin (Ireland/South Africa), Rotimi Fani- Kayode (Nigeria/United Kingdom), Samuel Fosso (Cameroon), Pieter Hugo (South Africa), Seydou Keïta (Mali), Hentie van der Merwe (Namibia), Santu Mofokeng (South Africa), Zanele Muholi (South Africa), J. -
Urban Cadence: Street Scenes from Lagos
Urban Cadence: Street Scenes from Lagos and Johannesburg exhibition prospectus description Urban Cadence tells the multifaceted stories of two urban environments—Lagos, Nigeria and Johannesburg, South Africa—experienced through the artistic expressions of over sixty photographs and videos by nine award-winning and internationally recognized contemporary African artists. African cities are the fastest growing in the world, and these two cities have experienced this growth in diverse yet fascinating ways: the first as a mega- city, the latter as a center of industrial development. The street scenes in this exhibition represent the complex narratives of these urban sites: tales of migration, labor, desperation, success, hope, and imagination among others. Here, these stories are woven together through the metaphor of cadence, which speaks to the rhythms of life. Cadence is the gait of the artist and inhabitants of the city as they move through urban spaces. It is a visual rhythm an artist creates when telling the city’s myriad stories. At the same time, it is a musical metaphor that artists draw on to speak about their images or their photographic practice. Whether sobering, humorous, or unexpected, the visuals of Urban Cadence challenge us to explore what it means to be urban in Africa in the early 21st century. , 2006 Each Passing Day Akintunde Akinleye, the artists Akinbode Akinbiyi Born in Oxford, England in 1946, Akinbode Akinbiyi studied in Nigeria, England and Germany. He is based in Berlin and has been working as a photographer since 1974. His current work focuses on the phenomenon of African megacities, namely Cairo, Lagos, Kinshasa and Johannesburg, where he lived and worked in late 2012 and early 2013. -
Afrique Du Sud. Photographie Contemporaine
David Goldblatt, Stalled municipal housing scheme, Kwezidnaledi, Lady Grey, Eastern Cape, 5 August 2006, de la série Intersections Intersected, 2008, archival pigment ink digitally printed on cotton rag paper, 99x127 cm AFRIQUE DU SUD Cours de Nassim Daghighian 2 Quelques photographes et artistes contemporains d'Afrique du Sud (ordre alphabétique) Jordi Bieber ♀ (1966, Johannesburg ; vit à Johannesburg) www.jodibieber.com Ilan Godfrey (1980, Johannesburg ; vit à Londres, Grande-Bretagne) www.ilangodfrey.com David Goldblatt (1930, Randfontein, Transvaal, Afrique du Sud ; vit à Johannesburg) Kay Hassan (1956, Johannesburg ; vit à Johannesburg) Pieter Hugo (1976, Johannesburg ; vit au Cap / Cape Town) www.pieterhugo.com Nomusa Makhubu ♀ (1984, Sebokeng ; vit à Grahamstown) Lebohang Mashiloane (1981, province de l'Etat-Libre) Nandipha Mntambo ♀ (1982, Swaziland ; vit au Cap / Cape Town) Zwelethu Mthethwa (1960, Durban ; vit au Cap / Cape Town) Zanele Muholi ♀ (1972, Umlazi, Durban ; vit à Johannesburg) Riason Naidoo (1970, Chatsworth, Durban ; travaille à la Galerie national d'Afrique du Sud au Cap) Tracey Rose ♀ (1974, Durban, Afrique du Sud ; vit à Johannesburg) Berni Searle ♀ (1964, Le Cap / Cape Town ; vit au Cap) Mikhael Subotsky (1981, Le Cap / Cape Town ; vit à Johannesburg) Guy Tillim (1962, Johannesburg ; vit au Cap / Cape Town) Nontsikelelo "Lolo" Veleko ♀ (1977, Bodibe, North West Province ; vit à Johannesburg) Alastair Whitton (1969, Glasgow, Ecosse ; vit au Cap) Graeme Williams (1961, Le Cap / Cape Town ; vit à Johannesburg) Références bibliographiques Black, Brown, White. Photography from South Africa, Vienne, Kunsthalle Wien 2006 ENWEZOR, Okwui, Snap Judgments. New Positions in Contemporary African Photography, cat. expo. 10.03.-28.05.06, New York, International Center of Photography / Göttingen, Steidl, 2006 Bamako 2007. -
Apartheid, Angola and Beyond: Photographs by Jo Ractliffe March 29
Apartheid, Angola and Beyond: Photographs by Jo Ractliffe March 29 - May 1, 2010 The Lamont Gallery presents Apartheid, Angola and Beyond: Photographs by Jo Ractliffe, an exhibit of exhibition prints of South African towns and landscapes. An artist since girlhood, Ractliffe was born and raised in Cape Town, South Africa. During her senior year in high school, she bought her first camera and began her career in photography. Ractliffe earned an undergraduate and graduate degree in Fine Art from the University of Cape Town and first displayed her works in 1988 in the Master of Fine Art Graduate show at the Irma Stern Museum in Cape Town. A year later, her photos were shown in a solo show entitled, “Nadir,” at the Metropolitan Life Gallery in her hometown. Since 1990, Ractliffe’s works have been shown in solo, collaborated exhibits, and selected group shows throughout South Africa, including the Warren Siebrits Modern and Contemporary Art (gallery) in Johannesburg and in Durban, throughout Europe and parts of Russia, South America, Australia and the U.S. In 2008, Ractliffe was the recipient of the prestigious Ampersand Fellowship, which afforded her a fellowship to study in New York. Jo Ractliffe, Roadside stall on the way to Viana, 2007, Gelatin silver print The exhibit will feature 28 exhibition prints taken by Ractliffe with a traditional, manual camera from 1986–2010. The Gallery also will have available for purchase a book of Ractliffe’s works from a 2007 series, Terreno Ocupado. Explaining that her current interests are more in what photographs omit, and the fluidity of each picture, Ractliffe says: “I am . -
2015 Annual Report
Fine-tuning Building Taking the South Africa’s Advancement ladders to conversation philanthropy practice sustainability forward heroes 4 5 7 10 Inyathelo Annual Report 2014-2015 Inyathelo Report ® www.inyathelo.co.za When you’re through changing, you’re through! Zenariah Barends, Chairperson, Inyathelo Board of Trustees The headline to this article is taken from a quote by an American author called Bruce Barton. It speaks to the fact that every organisation, whether WORKING TOGETHER: Dancers at the 2014 Inyathelo Philanthropy Awards it is a non-profi t, corporate or institu- tion, has to regularly review itself to which are original and born out of the assess whether its vision and mission South African experience. Inyathelo’s remains relevant. Change is often Beyond Expectations off erings are unique to its context – every required but as we know, change can training programme, publication and web be uncomfortable and even lead to platform suits the requirements of South confl ict because of the disruption it universities and civil society organisations African institutions and organisations. causes. This can appear counter-pro- in South Africa; to give thought to what This does not mean that people beyond ductive for an organisation. However, philanthropy means in our own national our borders cannot make use of these if approached with an open mind context and to share these new ideas with resources – in fact I believe that many of and with an attitude that embraces both sectors. our products, such as our ASK fundraising innovation, the benefi ts of change to tool kit, are generic enough to be valuable an organisation can be immense and Every day has involved learning – from globally. -
Whoswho 2018.Pdf
Hindi version of the Publication is also available सत㔯मेव ज㔯ते PARLIAMENT OF INDIA RAJYA SABHA WHO’S WHO 2018 (Corrected upto November 2018) सं द, र ी㔯 स ाज㔯 त सभ ार ा भ P A A H R B LI A AM S EN JYA T OF INDIA, RA RAJYA SABHA SECRETARIAT NEW DELHI © RAJYA SABHA SECRETARIAT, NEW DELHI http://parliamentofindia.nic.in http://rajyasabha.nic.in E-mail: [email protected] EDITORIAL TEAM Shri D. S. Prasanna Kumar Director Smt. Vandana Singh Additional Director Smt. Asha Singh Joint Director Shri Md. Salim Ali Assistant Research Officer Shri Mohammad Saleem Assistant Research Officer PUBLISHED BY THE SECRETARY-GENERAL, RAJYA SABHA AND PRINTED BY DRV GrafIx Print, 41, Shikshak BHAwAN, INSTITUTIonal AREA, D-BLoCK JANAKPURI, NEw DELHI-110058 PREFACE TO THE THIRTY-FOURTH EDITION Rajya Sabha Secretariat has the pleasure of publishing the updated thirty- fourth edition of ‘Rajya Sabha who’s who’. Subsequent to the retirement of Members and biennial elections and bye- elections held in 2017 and 2018, information regarding bio-data of Members have been updated. The bio-data of the Members have been prepared on the basis of information received from them and edited to keep them within three pages as per the direction of the Hon’ble Chairman, Rajya Sabha, which was published in Bulletin Part-II dated May 28, 2009. The complete bio-data of all the Members are also available on the Internet at http://parliamentofindia.nic.in and http://rajyasabha.nic.in. NEW DELHI; DESH DEEPAK VERMA, December, 2018 Secretary-General, Rajya Sabha CONTENTS PAGES 1.