Posts Tagged ‘South African artist

26
Apr
16

Exhibition: ‘Roger Ballen’s Theatre of the Mind’ at SCA Galleries, Sydney College of the Arts, Sydney

Exhibition dates: 16th March – 7th May 2016

 

Taken as a whole, the artist Roger Ballen’s body of work is exceptionally strong. From his early documentary series Dorps (1986) and Platteland (1996) which featured alienated and poverty poverty stricken whites in South Africa struggling with their place in the world after Apartheid; through my favourite series Outland (2001), Shadow Chamber (2005) and Boarding House (2009) which portrayed down and out whites on the fringe of South African society in a surrealist, performative art; to the more recent Animal Abstraction (2011), I Fink U Freeky (2013) and Asylum of the Birds (2014) … through each of these series you can trace the development of this preternatural artist, whose work seems to exist almost beyond nature itself.

The move from documentary photographer to director/collaborator/actor/observer was critical to the development of Ballen’s art. As the text on the Outland web page on Roger Ballen’s website states, “Where previously his pictures, however troubling, fell firmly into the category of documentary photography, these pictures move into the realms of fiction. Ballen’s characters act out dark and discomfiting tableaux, providing images which are exciting and disturbing in equal measure. One is forced to wonder whether they are exploited victims, colluding directly in their own ridicule, or newly empowered and active participants within the drama of their representation.” From the videos included in this posting, it is obvious that the latter statement is the correct interpretation. Through this thematic development, the viewer may come to understand the nature of the artist’s collaboration with the people, places and things that he photographs. The empathy that these photographs and videos evidence, the interchangeable director/actor roles, and the connection that he has with his subject matter gives insight into the compassion of this man. He never judges anyone. He accepts them for who they are and works with them to create these challenging art works.

Apparently these photographs, “have a singular ability to cause disquiet to the viewer.” Personally, they have never caused me disquiet for I find them quite fascinating. They follow on from a long line of photographers who have observed the marginalised in society, from the circus freak show photographs, through Diane Arbus and Arthur Tress (who also has a book called Theater of the Mind) to Joel Peter-Witkin and Roger Ballen. Much like the earlier Robert Frank’s seminal book The Americans, which featured an outsider photographing a world from a different point of view, Ballen moved to South Africa from America in 1982 and has never fully lost that outsider status. As John McDonald observes, “He has been there long enough to be an insider, but retains the probing eye of an outsider, able to see a side of life that native-born can’t see, or don’t wish to see.” And that is the point: all of these artists, with their probing eyes, can perceive difference and accept it on its own terms. They portray the world through a horizontal consciousness (an equal “living field” if you like), not a heirarchical system of privilege, power and control, where some are better, more worthy than others.

But what nature is he investigating? Is it human nature and its ability to survive under the most dire circumstances? Is it the nature of the relationship of the body to its environment, or the human to animals, or the relationship between our souls and our subconscious? It’s all of these and more. Ballen probes these nexus, the strands that connect and link our lives together: our dreams, nightmares and desires. His photographs act as a form of binding together, bringing the periphery of society into the centre (of attention). He creates an extant reality in which we are asked to question: how do we feel towards these people and how do we feel about our own lives?

He achieves this creation through the use of what I call “heightened awareness” – both situationally and subconsciously. Ballen is fully aware and receptive towards the conditions of his environment and his dreams. Instead of a desire to possess the object of his longing and then to be possessed by that desire (desire to possess / possessed by desire) Ballen has learnt, as Krishnamurti did, not to make images out of every word, out of every vision and desire. Ballen understands that he must be attentive to the clarity of not making images – of desire, of prejudice, of flattery – because only then might you become aware of the world that surrounds us, just for what it is and nothing more. He accepts what he can create and what is given to him by being fully aware. Then you are sensitive to every occasion, it brings its own right action.1 His images become a blend of the space of intimacy and world-space as he strains toward, “communion with the universe, in a word, space, the invisible space that man can live in nevertheless, and which surrounds him with countless presences.”2

His photographs become an enveloping phenomenon in which the viewer is draped in their affect… this ‘wearing of images’ is both magical and all encompassing.

We are the people in his pictures. We are their dreams.

Dr Marcus Bunyan for Art Blart

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Many thankx to SCA Galleries for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
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  1. Concepts from KrishnamurtiBeginnings of Learning. Harmondsworth: Penguin Books, 1978, pp. 130-131.
  2. Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. xxxv.

 

 

“Archetypal levels of the deeper subconscious pervade my photographs… When I create my photographs I often travel deep into my own interior, a place where dreams and many of my images originate. I see my photographs as mirrors, reflectors, connectors into the mind… The light comes from the dark.”

 

“These pictures are a very complex way of seeing, a very complex way of viewing the world and you know perhaps this went back to the time I was in my mother’s stomach… I can’t really say what exactly is the primary cause of what I do.”

 

“So the thing is is my pictures, my better pictures or a lot of my pictures, embed themselves deeply in the subconscious, because the mind isn’t ready for those photographs, they don’t have any corresponding experience in some way or another, so the pictures tend to have more of an impact on the person’s deeper mind than something we would normally think of as disturbing because the pictures get into the mind. People aren’t used to having things get in there and stay in there and threaten their image of themselves in some way or another and so that’s why they call them disturbing, they’re not actually disturbing a better way of saying it is that if somebody has some kind of consciousness they’re actually enlightening.”

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Roger Ballen

 

 

 

 

 

 

 

“His raw, black & white images are alluring, fascinating and disturbing. He is one of the most important and exciting photographers of the 21st century. The intriguing work of Roger Ballen is coming to Australia, to Sydney College of the Arts (SCA), this March in the artist’s first major Sydney exhibition. Staged to coincide with the 20th Biennale of Sydney, Roger Ballen’s Theatre of the Mind is a provocative exhibition of 75 contemporary works created by the artist over the last two decades.

Professor Colin Rhodes, Dean of the University of Sydney’s contemporary art school and curator of the exhibition, said: “For a long time Roger Ballen’s photography has trodden a path where others are too timid to tread, toying with our innermost dreams, nightmares and desires. The raw, atmospheric exhibition spaces at Sydney College of the Arts [the site of the former Rozelle Psychiatric Hospital] are the ideal setting to articulate this core aspect of Ballen’s work.”

Born in New York in 1950, Ballen has lived in Johannesburg since the 1970s. His work as a geologist took him across the countryside and led him to explore, through the camera lens, the smaller South African towns. His early photographs of the hidden lives of people living on the fringes of society made considerable impact, receiving acclaim from American writer and filmmaker Susan Sontag among others.

Through the medium of black and white photography, Ballen has achieved a unique integration of drawing, painting and installation that have been compared to the masters of art brut. His peculiar and somewhat shocking imagery confronts the viewer and drags them into the work. Viewers are participants in the work – not merely observers – taking them on a journey into the recesses of their minds, as Ballen explores his own.

Roger Ballen’s Theatre of the Mind consists of five sections that see people, birds, animal and inanimate subjects become the ‘cast’ in an exhibition that is hard-hitting, psychological theatre. The Sydney exhibition includes a new installation work created onsite at SCA by Ballen in response to the site’s mental health history, in the labyrinth of underground cells of the former Rozelle hospital.

The show includes Ballen’s award-winning music video ‘I Fink U Freeky’ (2012) by South African rap-rave group Die Antwoord, which has received over 76 million hits on YouTube and earned a cult following. In addition, the public will be able to access his equally remarkable video works Outland and Asylum of the Birds.

The worldwide impact of Ballen’s work was celebrated in major retrospective exhibition at Washington DC’s Smithsonian National Museum of African Art from 2013 to 2014. It was this exhibition that drove Rhodes’ interest to bring Ballen’s work to Australia.

“When I first saw Ballen’s work en masse, I was struck by the role of drawing in his photos and what seemed to me a relationship with Art Brut or Outsider Art. The artist’s interest in and knowledge of Outsider Art is a key part of understanding the growth of Ballen’s identity as an international artist,” said Professor Rhodes.

Roger Ballen will present a public talk in Sydney at SCA on 9 March, ahead of the official opening of his Sydney exhibition on Tuesday 15 March. Roger Ballen’s Theatre of the Mind is showing at SCA Galleries from 16 March to 7 May 2016. A 96-page book will accompany the exhibition featuring Ballen’s photography and an essay by Professor Rhodes.”

Press release from SCA Galleries

 

Roger Ballen. 'Caged' 2011

 

Roger Ballen
Caged
2011
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Bewitched' 2012

 

Roger Ballen
Bewitched
2012
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Untitled' 2015

 

Roger Ballen
Untitled
2015
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Twirling Wires' 2001

 

Roger Ballen
Twirling Wires
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Mirrored' 2012

 

Roger Ballen
Mirrored
2012
Image courtesy of the artist and Stills Gallery

 

 

“Ballen has no qualms about creating dramatic scenarios in his search for “archetypal” symbols that speak to the viewer’s subconscious. He began as a documentary photographer but over the years his pictures have become filled with drawings, paintings and sculptural brac-a-brac, created by the artist himself, or by his subjects. In works such as Collision (2005) or Deathbed (2010), there are no figures, but the human presence is implied by a face drawn on a pillow or the broken head of a doll. The walls in both photos are covered in crude drawings and dirty marks – signs of previous occupation…

[Ballen] argues that these images are primarily psychological, not sociological. He wants to address that deep, dark part of the mind that Freud called “the Id”. As a concept it’s more poetic than biological – a shared repositary of instinctive drives that remains buried under the trappings of civilisation…

Despite the extreme nature of her work, Diane Arbus remained within the documentary tradition, whereas a figure such as Joel-Peter Witkin constructs his own theatrical tableaux in the studio. Ballen’s work is somewhere between these two poles. The subjects of his photographs are society’s misfits, but his approach is shamelessly theatrical. His figures are not posing passively, they are collaborating with someone who has won their trust, creating a form of ad hoc performance art in bare, filthy rooms…

It’s more interesting to ask what Ballen feels when he enters such environments. To take these photos he has immersed himself in a world of violence and madness. If he has built up a rapport with his subjects it is by treating them not as freaks, but as people with their own sense of dignity. He refuses to buy into conventional distinctions about what is normal and abnormal, presumably as a legacy of his early exposure to the counterculture and the anti-psychiatry movement.”

John McDonald. “Roger Ballen,” on the John McDonald website April 7, 2016 [Online] Cited 25/04/2016

 

Roger Ballen. 'Lunchtime' 2001

 

Roger Ballen
Lunchtime
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Take off' 2012

 

Roger Ballen
Take off
2012
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Cat and Mouse' 2001

 

Roger Ballen
Cat and Mouse
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'School Room' 2003

 

Roger Ballen
School Room
2003
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Portrait of sleeping girl' 2000

 

Roger Ballen
Portrait of sleeping girl
2000

 

Roger Ballen. 'Deathbed' 2010

 

Roger Ballen
Deathbed
2010

 

Roger Ballen. 'Three hands' 2006

 

Roger Ballen
Three hands
2006

 

Roger Ballen. 'Head inside shirt' 2001

 

Roger Ballen
Head inside shirt
2001

 

 

SCA Galleries
Sydney College of the Arts (University of Sydney)
Kirkbride Way, off Balmain Road, Lilyfield (enter opposite Cecily Street)
Tel: +61 2 9351 1008

Opening hours:
Monday to Friday, 11am – 5pm
Saturday, 11am – 4pm (during exhibitions)

SCA Galleries website

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08
Oct
15

Exhibition: ‘In Focus: Animalia’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 26th May – 18th October 2015

 

Some of the photographs in this postings are sad, others are just gruesome.

One animal’s in/humanity to many others.

Marcus

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Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Taryn Simon. 'White Tiger (Kenny)' 2007

 

Taryn Simon
White Tiger (Kenny), Selective Inbreeding Turpentine Creek Wildlife Refuge and Foundation Eureka Springs, Arkansas
2007
The J. Paul Getty Museum, Los Angeles
© Taryn Simon

 

In the United States, all living white tigers are the result of selective inbreeding to artificially create the genetic conditions that lead to white fur, ice-blue eyes and a pink nose. Kenny was born to a breeder in Bentonville, Arkansas on February 3, 1999. As a result of inbreeding, Kenny is mentally retarded and has significant physical limitations. Due to his deep-set nose, he has difficulty breathing and closing his jaw, his teeth are severely malformed and he limps from abnormal bone structure in his forearms. The three other tigers in Kenny’s litter are not considered to be quality white tigers as they are yellow-coated, crosseyed, and knock-kneed.

 

Frank Haes (British, 1832-1916) The South African Cheetah (Felis Jubata.) c. 1865

 

Frank Haes (British, 1832-1916)
The South African Cheetah (Felis Jubata.)
c. 1865
Albumen silver print
8.2 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) The South African Cheetah (Felis Jubata.) c. 1865 (detail)

 

Frank Haes (British, 1832-1916)
The South African Cheetah (Felis Jubata.) (detail)
c. 1865
Albumen silver print
8.2 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Zebra, Burchell's, or Dauw. (Asinus Burchellii.)' c. 1865

 

Frank Haes (British, 1832-1916)
The Zebra, Burchell’s, or Dauw. (Asinus Burchellii.)
c. 1865
Albumen silver print
8.3 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Zebra, Burchell's, or Dauw. (Asinus Burchellii.)' c. 1865 (detail)

 

Frank Haes (British, 1832-1916)
The Zebra, Burchell’s, or Dauw. (Asinus Burchellii.) (detail)
c. 1865
Albumen silver print
8.3 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Tiger. (Felis Tigris.)' c. 1865

 

Frank Haes (British, 1832-1916)
The Tiger. (Felis Tigris.)
c. 1865
Albumen silver print
8.2 x 17.1 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Tiger. (Felis Tigris.)' c. 1865 (detail)

 

Frank Haes (British, 1832-1916)
The Tiger. (Felis Tigris.) (detail)
c. 1865
Albumen silver print
8.2 x 17.1 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Daniel Naudé (South African, born 1984) 'Africanis 17. Danielskuil, Northern Cape, 25 February 2010' 2010

 

Daniel Naudé (South African, born 1984)
Africanis 17. Danielskuil, Northern Cape, 25 February 2010
2010
Chromogenic print
60 x 60 cm (23 5/8 x 23 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Daniel Naudé

 

Capt. Horatio Ross (British, 1801-1886) '[Dead stag in a sling]' c. 1850s - 1860s

 

Capt. Horatio Ross (British, 1801-1886)
[Dead stag in a sling]
c. 1850s – 1860s
Albumen silver print
27.9 x 33.2 cm (11 x 13 1/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Capt. Horatio Ross (British, 1801-1886) '[Dead stag in a sling]' (detail) c. 1850s - 1860s

 

Capt. Horatio Ross (British, 1801-1886)
[Dead stag in a sling] (detail)
c. 1850s – 1860s
Albumen silver print
27.9 x 33.2 cm (11 x 13 1/16 in.)
The J. Paul Getty Museum, Los Angeles

 

 

“Animals have never been camera shy – almost since the introduction of the medium in 1839, they have appeared in photographs. While early photographs typically depicted animals that were tame, captive, or dead, modern and contemporary artists have delved into the interdependent relationship between man and beast.

Drawn entirely from the J. Paul Getty Museum’s photographs collection, In Focus: Animalia, on view May 26-October 18, 2015 at the Getty Center, illustrates some of the complex relationships between people and animals. From an intimate studio portrait with dog and owner to the calculated cruelty of inbreeding practices, these photographs offer nuanced views of the animal kingdom.

“It is easy to understand why artists choose animals for their subject matter – their lives are profoundly intertwined with our own, often eliciting powerful emotions,” says Timothy Potts, Director of the J. Paul Getty Museum. “Whether seen as beloved pets, kept in zoos, or threatened by human activity, animals continue to fascinate and act as catalysts for artistic creativity. This exhibition highlights the many different ways in which animals as subject matter have served as an endearing theme for photographers throughout history right up to the present day.”

Photographs of pets, working animals, taxidermied game, and exotic beasts in newly opened zoos circulated widely during the second half of the 19th century. Early daguerreotypes required a subject to remain still for several minutes to ensure that the image would not blur, so photographing moving animals posed a problem. In Study of a White Foal (about 1845) the Swiss nobleman and amateur daguerreotypist Jean-Gabriel Eynard (1775-1863), focused the lens of his camera on a foal at rest, a moment when its movements were limited, in order to make a successful picture.

By the early 1850s most major cities in Europe and America could boast studios specializing in daguerreotype photography. Customers sat for portraits in order to preserve their own images, and also commissioned photographs of their family members and loved ones, including pets. In Dog Sitting on a Table (about 1854; artist unknown) an eager dog is photographed sitting on a tasseled pedestal. The slight blurring of the head, indicating movement during exposure, betrays the barely contained energy of this otherwise well-trained animal.

The mid-19th century saw increasing demand for stereoscopic photographs – two nearly identical prints made with a double lens camera that created a three-dimensional image when viewed in a stereoscope viewer. Frank Haes (British, 1832-1916) made a reputation for himself by photographing animals at the London Zoo, much to the delight of those fascinated by hippos, lions, zebras, and other exotic beasts. Eadweard J. Muybridge’s (American, born England, 1830-1904) pioneering work in motion studies are best remembered for his depictions of animals. Devising a system for successively tripping the shutters of up to 24 cameras, Muybridge created the illusion of movement in a galloping horse.

Artists have also relied on animals to convey symbolism and to represent fantastical worlds. A photograph by Alfred Stieglitz (American, 1864-1946) of a harnessed and castrated horse serves as a critical metaphor for American identity in the early 1920s, which Stieglitz viewed as materialist and culturally bankrupt. An elaborately staged photograph by Sandy Skoglund (American, born 1946) presents a dreamlike atmosphere filled with handmade, larger-than-life sculptures of goldfish that create a scene at once playful and disturbing. Recently-acquired works by Daniel Naudé (South African, born 1984) depict portraits of wild dogs the photographer found on the arid plains of South Africa. Made from a low vantage point, individual dogs are cast against broad views of the landscape, and the photographs harken back to the equestrian portrait tradition popular during the 17th century. Taryn Simon’s photograph of a caged white tiger (American, born 1975) demonstrates the oftentimes debilitating results of the inbreeding practices utilized to obtain highly desired traits such as a white coat. This work illuminates the mistakes and failures of human intervention into a territory governed by natural selection.

In Focus: Animalia is on view May 26-October 18, 2015 at the J. Paul Getty Museum, Getty Center. The exhibition will be accompanied by the publication of Animals in Photographs (Getty Publications) by Arpad Kovacs.”

Press release from the J. Paul Getty Museum website

 

Sandy Skoglund. 'Revenge of the Goldfish' 1981

 

Sandy Skoglund
Revenge of the Goldfish
1981
Color photograph
27 1/2″ x 35″
Individually hand-made ceramic goldfish by the artist, with live models in painted set
The J. Paul Getty Museum, Los Angeles
© 1981 Sandy Skoglund

 

Like many of her other works, such as Radioactive Cats and Fox Games, the piece is a set composed of props and human models, which Skoglund poses and then photographs. In the piece, a child sits on the edge of a bed while an adult sleeps next to him. The set of the scene is a monochromatic blue, with contrasting bright orange goldfish floating through the room. The goldfish in the piece were sculpted by Skoglund out of terracotta and bring an element of fantasy to an otherwise normal scene. According to Skoglund, “If the fish are eliminated the image shows nothing unusual; just a room with two people in bed.” The piece was first on display at the Saint Louis Art Museum in 1981. Since then, the piece has been in several collections at various museums, including Smith College Museum of Art, Dallas Museum of Art, Akron Art Museum, and Amon Carter Museum of American Art. Smith College Museum of Art also owns the original installation. (Text from Wikipedia website)

 

Eadweard J. Muybridge (American, born England, 1830-1904) 'Running (Galloping)' 1878 - 1881

 

Eadweard J. Muybridge (American, born England, 1830-1904)
Running (Galloping)
1878 – 1881
Iron salt process
18.9 x 22.6 cm (7 7/16 x 8 7/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Unknown maker, American. 'Portrait of a Girl with her Deer' c. 1854

 

Unknown maker, American
Portrait of a Girl with her Deer
c. 1854
Daguerreotype 1/4 plate
Image: 6.9 x 9 cm (2 11/16 x 3 9/16 in.)
Plate: 8.1 x 10.7 cm (3 3/16 x 4 3/16 in.)
Mat: 8.2 x 10.6 cm (3 3/16 x 4 3/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Unknown maker, American. 'Portrait of a Girl with her Deer' c. 1854 (detail)

 

Unknown maker, American
Portrait of a Girl with her Deer (detail)
c. 1854
Daguerreotype 1/4 plate
Image: 6.9 x 9 cm (2 11/16 x 3 9/16 in.)
Plate: 8.1 x 10.7 cm (3 3/16 x 4 3/16 in.)
Mat: 8.2 x 10.6 cm (3 3/16 x 4 3/16 in.)
The J. Paul Getty Museum, Los Angeles

 

William Eggleston (American, born 1939) 'Memphis' Negative 1971; print 1974

 

William Eggleston (American, born 1939)
Memphis
Negative 1971; print 1974
Dye imbibition print
32.9 x 47.9 cm (12 15/16 x 18 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Eggleston Artistic Trust

 

Keith Carter (American, born 1948) 'Goodbye to a Horse' 1993

 

Keith Carter (American, born 1948)
Goodbye to a Horse
1993
Gelatin silver print
39 x 39.2 cm (15 3/8 x 15 7/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Daniel Greenberg and Susan Steinhauser
© Keith Carter

 

André Kertész (American, born Hungary, 1894-1985) '[Wooden Mouse and Duck]' 1929

 

André Kertész (American, born Hungary, 1894-1985)
[Wooden Mouse and Duck]
1929
Gelatin silver print
20.9 x 16.7 cm (8 1/4 x 6 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of André Kertész

 

Alfred Stieglitz (American, 1864-1946) 'Spiritual America'
 1923

 

Alfred Stieglitz (American, 1864-1946)
Spiritual America

1923
Gelatin silver print
The J. Paul Getty Museum, Los Angeles

 

Unknown maker, American. '[Dog sitting on a table]' c. 1854

 

Unknown maker, American
[Dog sitting on a table]
c. 1854
Hand-colored daguerreotype 1/6 plate
Image: 6.8 x 5.7 cm (2 11/16 x 2 1/4 in.)
Mat: 8.3 x 7 cm (3 1/4 x 2 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Hiro (American, born China, born 1930) 'David Webb, Jeweled Toad, New York, 1963' 1963

 

Hiro (American, born China, born 1930)
David Webb, Jeweled Toad, New York, 1963
1963
Dye imbibition print
50.2 x 39.1 cm (19 3/4 x 15 3/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Hiro

 

Soon Tae (Tai) Hong (South Korean, born 1934) 'Chong Ju' 1970

 

 

Soon Tae (Tai) Hong (South Korean, born 1934)
Chong Ju
1970
Gelatin silver print
24.8 x 20 cm (9 3/4 x 7 7/8 in.)
Object Credit: The J. Paul Getty Museum, Los Angeles
© Hong Soon Tae (Tai)

 

William Wegman (American, born 1943) 'In the Box/Out of the Box [right]' 1971

 

William Wegman (American, born 1943)
In the Box/Out of the Box [right]
1971
Gelatin silver print
35.4 x 27.7 cm (13 15/16 x 10 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© William Wegman

 

William Wegman (American, born 1943) 'In the Box/Out of the Box [left]' 1971

 

William Wegman (American, born 1943)
In the Box/Out of the Box [left]
1971
Gelatin silver print
35.5 x 27.7 cm (14 x 10 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© William Wegman

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 9 pm
Monday closed

The J. Paul Getty Museum website

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05
Mar
15

Exhibition: ‘Pieter Hugo: Kin’ at Fondation Henri Cartier-Bresson, Paris

Exhibition dates: 14th January – 26th April 2015

 

At this moment in time, I believe that Pieter Hugo is one of the best photographers in the world.

Approaching photography with a keen awareness of the problems inherent in pointing a camera at anything, Hugo’s latest series Kin is a tour de force where concept meets clarity of vision and purpose; where a deep suspicion of photography and what it can accurately portray is used in the most incisive way to interrogate identity formation and power structures, colonization, racial diversity and economic disparity in Hugo’s homeland of South Africa. This is intelligent, beautiful, focused art.

While there is a deep suspicion about what photography can achieve, Hugo uses that suspicion… and balances it with sensitivity, respect and dignity towards subject. An enquiring mind coupled with a wonderful eye, fantastic camera position and understanding of his colour palette complete the picture. These are beautiful, classical and yes, iconic images. Not for Hugo the interchangeability of so much contemporary photobook photography, where one image, one artist, can be replaced by another with no discernible difference in feeling or form. Where single images, whole series of work even, mean very little. The re/place ability of so much post-photography.

Just look at those eyes and face in Daniel Richards, Milnerton (2013, below), eyes that bore right through you; or the human being in At a Traffic Intersection, Johannesburg (2011, below) and tell me you’re not moved. Hugo is one of the brightest of stars in the photographic firmament.

Dr Marcus Bunyan

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Many thankx to the Fondation Henri Cartier-Bresson for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Created over the past eight years, Pieter Hugo’s series Kin confronts complex issues of colonization, racial diversity and economic disparity in Hugo’s homeland of South Africa. These subjects are common to the artist’s past projects in Nigeria, Ghana, Liberia and Botswana; however, this time, Hugo’s attention is focused on his conflicted relationship with the people and environs closest to home. 
Hugo depicts locations and subjects of personal significance, such as cramped townships, contested farmlands, abandoned mining areas and sites of political influence, as well as psychologically charged still lives in people’s homes and portraits of drifters and the homeless. Hugo also presents intimate portraits of his pregnant wife, his daughter moments after her birth and the domestic servant who worked for three generations of Hugo’s family. Alternating between private and public spaces, with a particular emphasis on the growing disparity between rich and poor, Kin is the artist’s effort to locate himself and his young family in a country with a fraught history and an uncertain future.

Text from the Fondation Henri-Cartier Bresson website

 

 

“I have a deep suspicion of photography, to the point where I do sometimes think it cannot accurately portray anything, really. And, I particularly distrust portrait photography. I mean, do you honestly think a portrait can tell you anything about the subject? And, even if it did, would you trust what it had to say?… It sounds extreme, but for me to work at all as a photographer, I have to be conscious always of the problems inherent in what I do. I have to be conscious, if you like, of the impossibility of photography…

I matriculated at the end of apartheid and the photographs I grew up looking at were directly political in that they attempted to reveal, or change, what was happening. Back then, the lines were clear. You tried to tell the world what was going on with your photographs. It’s much more complex now. I am of a generation that approaches photography with a keen awareness of the problems inherent in pointing a camera at anything.

My homeland is Africa, but I’m white. I feel African, whatever that means, but if you ask anyone in South Africa if I’m African, they will almost certainly say no. I don’t fit into the social topography of my country and that certainly fuelled why I became a photographer.”

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Pieter Hugo quoted in Sean O’Hagan. “Africa as you’ve never seen it,” on the Guardian website 20th July 2008 [Online] Cited 24/02/2015

 

 

Pieter Hugo. 'Green Point Common, Capetown' 2013

 

Pieter Hugo
Green Point Common, Capetown
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Loyiso Mayga, Wandise Ngcama, Lunga White, Luyanda Mzanti and Khungsile Mdolo after their initiation ceremony, Mthatha' 2008

 

Pieter Hugo
Loyiso Mayga, Wandise Ngcama, Lunga White, Luyanda Mzanti and Khungsile Mdolo after their initiation ceremony, Mthatha
2008
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Outside Pretoria' 2013

 

Pieter Hugo
Outside Pretoria
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Thoba Calvin and Tshepo Cameron Sithole-Modisane, Pretoria' 2013

 

Pieter Hugo
Thoba Calvin and Tshepo Cameron Sithole-Modisane, Pretoria
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Hilbrow' 2013

 

Pieter Hugo
Hilbrow
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'The Miners’ Monument, Braamfontein' 2013

 

Pieter Hugo
The Miners’ Monument, Braamfontein
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

 

“From January 14th to April 26th, Fondation HCB is showing Kin, the last project of the south-african photographer Pieter Hugo. Through landscapes, portraits and still life photography exhibited for the first time in France, the photographer offers a personal exploration of South Africa. The exhibit, accompanied by a book published by Aperture is coproduced with Foto Colectania Foundation, Barcelone and Stevenson Gallery, Cape Town/Johannesburg.

Created over the past eight years, Pieter Hugo’s series Kin confronts complex issues of colonization, racial diversity and economic disparity in Hugo’s homeland of South Africa. These subjects are common to the artist’s past projects in Nigeria, Ghana, Liberia and Botswana; however, this time, Hugo’s attention is focused on his conflicted relationship with the people and environs closest to home.

Hugo depicts locations and subjects of personal significance, such as cramped townships, contested farmlands, abandoned mining areas and sites of political influence, as well as psychologically charged still lives in people’s homes and portraits of drifters and the homeless. Hugo also presents intimate portraits of his pregnant wife, his daughter moments after her birth and the domestic servant who worked for three generations of Hugo’s family. Alternating between private and public spaces, with a particular emphasis on the growing disparity between rich and poor, Kin is the artist’s effort to locate himself and his young family in a country with a fraught history and an uncertain future.

South Africa is such a fractured, schizophrenic, wounded and problematic place. It is a very violent society and the scars of colonialism and Apartheid run deep. Issues of race and cultural custodianship permeate every aspect of society here and the legacy of Apartheid casts a long shadow … How does one live in this society? How does one take responsibility for history, and to what extent does one have to? How do you raise a family in such a conflicted society? Before getting married and having children, these questions did not trouble me; now, they are more confusing. This work attempts to address these questions and to reflect on the nature of conflicting personal and collective narratives. I have deeply mixed feelings about being here. I am interested in the places where these narratives collide. ‘Kin’ is an attempt at evaluating the gap between society’s ideals and its realities.”

 

Biography 

Born in Johannesburg in 1976, Pieter Hugo grew up in Cape Town where he currently lives. His work is held in the permanent collections of The Metropolitan Museum of Art, New York; Museum of Modern Art, New York; J. Paul Getty Museum, Los Angeles; San Francisco Museum of Modern Art; Musée de l’Elysée, Lausanne; Huis Marseille, Amsterdam; and the Victoria and Albert Museum, London, among others. He is the winner of numerous awards, including in 2008 the KLM Paul Huf Award and the Discovery Award at Rencontres d’Arles. He won the Seydou Keita Award at the ninth Rencontres de Bamako African Photography Biennial, Mali, in 2011, and was short-listed for the 2012 Deutsche Börse Photography Prize.

Press release from the Fondation Henri Cartier-Bresson

 

 

Pieter Hugo. 'Inside the Bester’s home, Vermaaklikheid' 2013

 

Pieter Hugo
Inside the Bester’s home, Vermaaklikheid
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'At a Traffic Intersection, Johannesburg' 2011

 

Pieter Hugo
At a Traffic Intersection, Johannesburg
2011
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

Used under fair use conditions for the purposes of academic comment and criticism

 

 

 

Pieter Hugo. 'Daniel Richards, Milnerton' 2013

 

Pieter Hugo
Daniel Richards, Milnerton
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Daniela Beukman, Milnerton' 2013

 

Pieter Hugo
Daniela Beukman, Milnerton
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Ann Sallies, who worked for my parents and helped raise their children, Douglas' 2013

 

Pieter Hugo
Ann Sallies, who worked for my parents and helped raise their children, Douglas
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

 

Fondation Henri Cartier-Bresson
2, impasse Lebouis, 75014 Paris

Opening hours:
Tuesday – Sunday 1pm – 6.30 pm
Saturday 11am – 6.45 pm
Late night Wednesdays until 8.30 pm
Closed on Mondays and between the exhibitions

Fondation Henri Cartier-Bresson website

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03
Oct
13

Exhibition: ‘Distance and Desire: Encounters with the African Archive Part II’ at The Walther Collection, Neu-Ulm, Germany

Exhibition dates: 9th June 9 2013 – 17th May 2015

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This is the last in my trilogy of postings on exhibitions titled Distance and Desire which have featured African art from The Walther Collection, this time focusing on contemporary art.

It is quite instructive to compare this posting with the last, the exhibition My Country, I Still Call Australia Home: Contemporary Art from Black Australia at The Gallery of Modern Art (GOMA), Brisbane. I feel (a critical word) that there is a completely different atmosphere to most of this contemporary art when compared to the Australian iteration. Despite both groups surviving horrendous experiences and the ongoing memories of those acts, there seems to be a lightness of spirit to most of the contemporary African art, a delightful irony, a self deprecating humour, a less backward looking sadness than evidenced in the Australian work.

Of course there are intense moments when contemporary artists mine (and that is an appropriate word, for many Africans worked in servitude in the mines during the Apartheid period) the colonial archive, such as Carrie Mae Weems blood red tondos, You Became a Scientific Profile / An Anthropological Debate / A Negroid Type / A Photographic Subject (1995-1996, below) but what is more in evidence here is a dramatic sense of fashion and the performative and playful manner in which contemporary African identities are explored coupled with a strength in the representation of these identities. These are strong, forthright individuals not hidden off camera or dressed up in European dreamings imagin(in)g utopian “what ifs”; not the obvious crosses on black chests or deleted, delineated faces made of gum blossoms – but vital, alive, present human beings. While both groups of artists use traditional symbology to explore issues of identity and representation, the Australian version often seems dragged down by the portrayed dichotomy between past and present, traditional and contemporary/subversive, as though there must always be a reckoning, a longing, a sadness constantly reiterated in/with the past.

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Many thankx to The Walther Collection for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images Courtesy of The Walther Collection.

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Part II: Contemporary Reconfigurations

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Pieter Hugo. 'Nandipha Mntambo, Cape Town' 2012

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Pieter Hugo
Nandipha Mntambo, Cape Town
2012
from There’s a Place in Hell for Me and My Friends

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Pieter Hugo’s There’s a Place in Hell for Me and My Friends is a series of close-up portraits of the artist and his friends, all of whom call South Africa home. Through a digital process of converting colour images to black and white while manipulating the colour channels, Hugo emphasizes the pigment (melanin) in his sitters’ skins so they appear heavily marked by blemishes and sun damage. The resulting portraits are the antithesis of the airbrushed images that determine the canons of beauty in popular culture, and expose the contradictions of racial distinctions based on skin colour. As the critic Aaron Schuman writes, “although at first glance we may look ‘black’ or ‘white’, the components that remain ‘active’ beneath the surface consist of a much broader spectrum. What superficially appears to divide us is in fact something that we all share, and like these photographs, we are not merely black and white – we are red, yellow, brown, and so on; we are all, in fact, coloured.”

Text from the Stevenson Gallery website

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Sammy Baloji. 'Untitled 7' 2006

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Sammy Baloji
Untitled 7
2006
from Mémoires

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Sabelo Mlangeni. 'Outside King Mswati's palace' 2011

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Sabelo Mlangeni
Outside King Mswati’s palace
2011
from Iimbali

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Sabelo Mlangeni. 'Imbali' 2011

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Sabelo Mlangeni
Imbali
2011
from Iimbali

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David Goldblatt. 'Mineworkers in their hostel, Western Deep Levels, Carletonville' 1970

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David Goldblatt
Mineworkers in their hostel, Western Deep Levels, Carletonville
1970

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Pieter Hugo. 'Yasser Booley, Cape Town' 2011

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Pieter Hugo
Yasser Booley, Cape Town
2011
from There’s a Place in Hell for Me and My Friends

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Pieter Hugo. 'Pieter Hugo, Cape Town' 2011

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Pieter Hugo
Pieter Hugo, Cape Town
2011
from There’s a Place in Hell for Me and My Friends

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Pieter Hugo. 'Themba Tshabalala, Cape Town' 2011

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Pieter Hugo
Themba Tshabalala, Cape Town
2011
from There’s a Place in Hell for Me and My Friends

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Guy Tillim. 'Mai Mai militia in training near Beni, eastern DRC, for immediate deployment with the APC (Armée Populaire du Congo), the army of the RCD-KIS-ML - Portraits I and II' December 2002

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Guy Tillim. 'Mai Mai militia in training near Beni, eastern DRC, for immediate deployment with the APC (Armée Populaire du Congo), the army of the RCD-KIS-ML - Portraits I and II' December 2002

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Guy Tillim
Mai Mai militia in training near Beni, eastern DRC, for immediate deployment with the APC (Armée Populaire du Congo), the army of the RCD-KIS-ML – Portraits I and II
December 2002

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Sabelo Mlangeni. 'Lwazi Mtshali, "Bigboy"' 2009

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Sabelo Mlangeni
Lwazi Mtshali, “Bigboy”
2009
from Country Girls

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Sabelo Mlangeni. 'Xolani Ngayi, eStanela' 2009

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Sabelo Mlangeni
Xolani Ngayi, eStanela
2009
from Country Girls

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Zanele Muholi. 'Amogelang Senokwane, District Six, Cape Town' 2009

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Zanele Muholi
Amogelang Senokwane, District Six, Cape Town
2009
from Faces and Phases

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Zanele Muholi. 'Sishipo Ndzuzo, Embekweni, Paarl' 2009

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Zanele Muholi
Sishipo Ndzuzo, Embekweni, Paarl
2009
from Faces and Phases

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“The Walther Collection is pleased to announce Part II of Distance and Desire: Encounters with the African Archive, a three-part exhibition series curated by Tamar Garb. “Contemporary Reconfigurations” offers new perspectives on the African photographic archive, reimagining its diverse histories and changing meanings. The exhibition centers on photography and video by African and African American artists who engage critically with the archive through parody, appropriation, and reenactment.

Carrie Mae Weems introduces the themes of “Contemporary Reconfigurations” with her powerful series From Here I Saw What Happened And I Cried, a revision of nineteenth and twentieth-century anthropometric photographs of African Americans, overlaid with texts by the artist. Sammy Baloji, Candice Breitz, Zwelethu Mthethwa, and Zanele Muholi rethink the ethnographic archive in large-scale color prints, while Samuel Fosso and Philip Kwame Apagya create exuberant studio portraiture.

Sabelo Mlangeni’s black and white photo-essay, Imbali, documents the reed dances of KwaZulu-Natal, showing the display of virgins vying to be chosen as brides. Pieter Hugo’s series There’s a Place in Hell for Me and My Friends examines ethnicity and skin tonalities through anthropological mug shots. Working in video, Berni Searle performs as a statuesque deity engaged in domestic labor in “Snow White,” and Andrew Putter gives an indigenous voice to the effigy of Marie van Riebeeck, wife of the first Dutch settler in the area known today as Cape Town, in “Secretly I Will Love You More.”

For this group of artists, a stereotype or ethnographic vision in one era may provide material for quotation, irreverent reworking, or satirical performance in another. Illustrating how the African archive – broadly understood as an accumulation of representations, images, and objects – figures in selected contemporary lens-based practices, the exhibition stages a dialogue between the distance of the past and the desiring gaze of the present.”

Press release from The Walther Collection website

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Zwelethu Mthethwa. 'Untitled' 2010

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Zwelethu Mthethwa
Untitled
2010
from The Brave Ones
Courtesy of Jack Shainman Gallery, New York

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Samuel Fosso. 'La femme américaine libérée des années 70' 1997

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Samuel Fosso
La femme américaine libérée des années 70
1997

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Samuel Fosso. 'Le Chef qui a vendu l'Afrique aux colons' 1997

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Samuel Fosso
Le Chef qui a vendu l’Afrique aux colons
1997

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Zanele Muholi. 'Miss D'vine I' 2007

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Zanele Muholi
Miss D’vine I
2007

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Zanele Muholi. 'Miss D'vine II' 2007

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Zanele Muholi
Miss D’vine II
2007

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Candice Breitz. 'Ghost Series #9' 1994-1996

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Candice Breitz
Ghost Series #9
1994-1996

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Candice Breitz. 'Ghost Series #4' 1994-1996

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Candice Breitz
Ghost Series #4
1994-1996

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Carrie Mae Weems. 'You Became a Scientific Profile / An Anthropological Debate / A Negroid Type / A Photographic Subject' 1995-1996

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Carrie Mae Weems
You Became a Scientific Profile / An Anthropological Debate / A Negroid Type / A Photographic Subject
1995-1996
from From Here I Saw What Happened and I Cried
Courtesy of Jack Shainman Gallery, New York

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Andrew Putter. 'Secretly I Will Love You More' 2007 (video still)

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Andrew Putter
Secretly I Will Love You More (video still)
2007
Courtesy of the artist and Stevenson, Cape Town and Johannesburg

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Sue Williamson. 'Helen Joseph' 1983

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Sue Williamson
Helen Joseph
1983
from A Few South Africans

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Helen Beatrice Joseph (née Fennell) (8 April 1905 – 25 December 1992) was a South African anti-apartheid activist.

Helen Joseph was born in Easebourne near Midhurst West Sussex, England and graduated from King’s College London, in 1927. After working as a teacher in India for three years, Helen came to South Africa in 1931, where she met and married a dentist, Billie Joseph. In 1951 Helen took a job with the Garment Workers Union, led by Solly Sachs. She was a founder member of the Congress of Democrats, and one of the leaders who read out clauses of the Freedom Charter at the Congress of the People in Kliptown in 1955. Appalled by the plight of black women, she was pivotal in the formation of the Federation of South African Women and with the organisation’s leadership, spearheaded a march of 20,000 women to the Union Buildings in Pretoria to protest against pass laws on August 9, 1956. This day is still celebrated as South Africa’s Women’s Day.

She was a defendant at the 1956 Treason Trial. She was arrested on a charge of high treason in December 1956, then banned in 1957. The treason trial dragged on for four years but she was acquitted in 1961. In spite of her acquittal, in 13 October 1962, Helen became the first person to be placed under house arrest under the Sabotage Act that had just been introduced by the apartheid government. She narrowly escaped death more than once, surviving bullets shot through her bedroom and a bomb wired to her front gate. Her last banning order was lifted when she was 80 years old. Helen had no children of her own, but frequently stood in loco parentis for the children of comrades in prison or in exile. Among the children who spent time in her care were Winnie and Nelson Mandela’s daughters Zinzi and Zenani and Bram Fischer’s daughter Ilsa. Helen Joseph died on the 25 December 1992 at the age of 87. (Text from Wikipedia)

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Sue Williamson. 'Miriam Makeba' 1987

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Sue Williamson
Miriam Makeba
1987
from A Few South Africans

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Miriam Makeba (4 March 1932 – 9 November 2008), nicknamed Mama Africa, was a Grammy Award-winning South African singer and civil rights activist.

In the 1960s, she was the first artist from Africa to popularize African music around the world. She is best known for the song “Pata Pata”, first recorded in 1957 and released in the U.S. in 1967. She recorded and toured with many popular artists, such as Harry Belafonte, Paul Simon, and her former husband Hugh Masekela. Makeba campaigned against the South African system of apartheid. The South African government responded by revoking her passport in 1960 and her citizenship and right of return in 1963. As the apartheid system crumbled she returned home for the first time in 1990. Makeba died of a heart attack on 9 November 2008 after performing in a concert in Italy organised to support writer Roberto Saviano in his stand against the Camorra, a mafia-like organisation local to the region of Campania. (Text from Wikipedia)

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Kudzanai Chiurai. 'The Black President' 2009

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Kudzanai Chiurai
The Black President
2009

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Zanele Muholi. 'Ms Le Sishi I, Glebelands, Durban' January 2010

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Zanele Muholi
Ms Le Sishi I, Glebelands, Durban
January 2010
from Beulahs (Beauties)

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Zanele Muholi. 'Martin Machapa' 2006

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Zanele Muholi
Martin Machapa
2006
from Beulahs (Beauties)

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Philip Kwame Apagya. 'Come on Board' 2000

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Philip Kwame Apagya
Come on Board
2000

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Philip Kwame Apagya. 'After the Funeral' 1998

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Philip Kwame Apagya
After the Funeral
1998

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The Walther Collection
Reichenauer Strasse 21
89233 Neu-Ulm, Germany

Opening hours:
Thurs – Sunday by appointment and with guided tour only
Public tours Saturday and Sunday at 3pm by appointment only

The Walther Collection website

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01
Aug
13

Exhibition: ‘Distance and Desire: Encounters with the African Archive Part I’ at The Walther Collection, Neu-Ulm, Germany

Exhibition dates: 9th June 9 2013 – 17th May 2015

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Another group of interesting colonial African photographs from The Walther Collection. Similar in scope to the 20 volume series The American Indian (1906 – 1930) by ethnologist and photographer Edward S. Curtis which “documented as much American Indian (Native American) traditional life as possible before that way of life disappeared,” (Wikipedia), A. M. Duggan-Cronin’s 11 volume series The Bantu Tribes of South Africa (1928 – 1954), “set out to depict what he considered the disappearing indigenous populations of South Africa.” Disappearance and loss are the all to ready themes of these recorders of vanishing races.

“Santu Mofokeng’s ‘The Black Photo Album / Look at Me: 1890-1950’ introduces the concept of the photographic archive as both a repository of documents and an assemblage of representations “ (media release). In this work Mofokeng juxtaposes images of “civilized” natives – images urban black working- and middle-class families had commissioned, requested, or tacitly sanctioned without evidence of coercion – with text that spurns, questions or challenges official integrationist policies taking their model from colonial officials and settlers. “The images depicted here reflect their sensibilities, aspirations and their self-image.”

The artist asks:

“Are these mere solemn relics of disrupted narratives or are these images expressive of the general human predicament?”

“Who is gazing”

“Who are these people?”

“What were their aspirations?”

“Did these images serve to challenge prevailing western perceptions of the African?”

“Do these images serve as testimony of mental colonisation?”

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Many thankx to The Walther Collection for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. See the full work and read the accompanying text of Santu Mofokeng’s The Black Photo Album / Look at Me: 1890-1950.

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Part I: The Black House: Santu Mofokeng and A.M. Duggan-Cronin

“A juxtaposition of A. M. Duggan-Cronin’s The Bantu Tribes of South Africa and Santu Mofokeng’s The Black Photo Album / Look at Me: 1890-1950 introduces the concept of the photographic archive as both a repository of documents and an assemblage of representations. Duggan-Cronin, an Irish South African who lived in the mining town of Kimberley, set out to depict what he considered the disappearing indigenous populations of South Africa. His monumental study, entitled The Bantu Tribes of South Africa, published between 1928-1954, includes photographs, descriptive captions, and anthropological essays. In addition to presenting all eleven Bantu Tribes books, a complete sequence of photogravure plates from The Nguni: Baca, Hlubi, Xesibe (1954) will be on view, alongside a selection of vintage gelatin-silver prints by Duggan-Cronin, which had previously circulated as individual objects.

In contrast to Duggan-Cronin’s renowned and contested ethnographic vision of African heritage, Santu Mofokeng’s The Black Photo Album / Look at Me: 1890-1950 portrays the modern self-representation of African subjects. In the early 1990s, the artist collected family studio portraits from late-nineteenth and early-twentieth century South Africa and transformed the images into a slide show, complete with narratives about the sitters. He also produced a series of gelatin-silver print reproductions of the portraits, which are on view together with a selection of the project’s original vintage prints and Mofokeng’s research notes. Envisioned as a “counter-archive,” The Black Photo Album challenges fixed ideas most often associated with images of Africans.

By placing these two bodies of work alongside one another, Part I of Distance and Desire opens up the question of the “African Archive,” understood here not so much as an official repository of documents and objects but as a contested assemblage of representations that have helped to construct and project a dominant image of Africans that is now under pressure and revision.”

Press release from The Walther Collection website

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Santu Mofokeng. 'The Black Photo Album / Look at me: 1890-1950' 1997

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A.M. Duggan-Cronin. 'The Late Chief Jonathan Molapo' South Africa, early twentieth century

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A.M. Duggan-Cronin
The Late Chief Jonathan Molapo
South Africa, early twentieth century

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A.M. Duggan-Cronin. 'Woman of Middle Age at Moitšupeli’s' South Africa, early twentieth century

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A.M. Duggan-Cronin
Woman of Middle Age at Moitšupeli’s
South Africa, early twentieth century

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A.M. Duggan-Cronin. 'A Morolong Youth' South Africa, early twentieth century

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A.M. Duggan-Cronin
A Morolong Youth
South Africa, early twentieth century

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A.M. Duggan-Cronin. 'Bomvana Initiates' 1930

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A.M. Duggan-Cronin
Bomvana Initiates
1930

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A.M. Duggan-Cronin. 'Ovambo (Ogandjera) Woman' 1936

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A.M. Duggan-Cronin
Ovambo (Ogandjera) Woman
1936

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Bishop Jacobus G. Xaba and his family? Photographer: Deale, Bloemfontein, Orange River Colony, c. 1890s)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Unidentified photographer, Moeti and Lazarus Fume)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Scholtz Studio, Lindley, Ouma Maria Letsipa, née van der Merwe, with her daughter Minkie, Orange River Colony, c. 1900s)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Unidentified photographer, South Africa, early twentieth century)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Unidentified photographer, Elizabeth and Jan van der Merwe, Johannesburg, c. 1900s)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Unidentified photographer, Elliot Phakane, Bethlehem Location, c. 1900s)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Unidentified photographer, c. 1900s)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Unidentified photographer, c. 1900s)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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Santu Mofokeng. 'The Black Photo Album / Look at Me: 1890-1950' 1997

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Santu Mofokeng
The Black Photo Album / Look at Me: 1890-1950
1997
(Unidentified subjects, Clifton Studio, Braamfontein c.1900s)
© Santu Mofokeng / Courtesy of Lunetta Bartz, MAKER, Johannesburg

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The Walther Collection
Reichenauer Strasse 21
89233 Neu-Ulm, Germany

Opening hours:
Thurs – Sunday by appointment and with guided tour only
Public tours Saturday and Sunday at 3pm by appointment only

The Walther Collection website

Santu Mofokeng The Black Photo Album / Look at Me: 1890-1950

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13
May
13

Exhibition: ‘Distance and Desire: Encounters with the African Archive Part III: Poetics and Politics’ at The Walther Collection Project Space, New York: Part 2

Exhibition dates: 22nd March – 18th May 2013

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“Distance invokes travel, geographic dichotomies, estrangement, otherness, and separation in time. Whereas desire implies proximity, closeness, affect, and unfulfilled longing.”

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Part 2 of the posting about the exhibition Distance and Desire: Encounters with the African Archive Part III. I have added notes under some of the photographs to give context to the tribes, the people and the titles of the photographs. For more information see The New Yorker: Photo Booth’s interview with curator South African scholar Tamar Garb.

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*PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF FEMALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

Many thankx to The Walther Collection for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Samuel Baylis Barnard. 'Damara Servant Girl, S. Africa' South Africa, late nineteenth century

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Samuel Baylis Barnard, inscribed:
Damara Servant Girl, S. Africa
South Africa, late nineteenth century
Albumen print

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Unidentified photographer. 'Photograph of a young woman' East Africa, Early twentieth century

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Unidentified photographer
Photograph of a young woman
East Africa, Early twentieth century
Gelatin-silver developed-out print

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Samuel Baylis Barnard. 'Zulu Kaffir' South Africa, late nineteenth century

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Samuel Baylis Barnard, inscribed:
Zulu Kaffir
South Africa, late nineteenth century
Albumen print

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Unidentified photographer. 'Studio photograph of a man' East Africa, late nineteenth century

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Unidentified photographer
Studio photograph of a man
East Africa, late nineteenth century
Albumen print

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Apparently, this man is from Adendowa’ tribe, eastern Sudan.

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Unidentified photographer. 'Monsiga Chief of Mafeking' South Africa, late nineteenth century

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Unidentified photographer, inscribed:
Monsiga Chief of Mafeking
South Africa, late nineteenth century
Gelatin or collodion printed-out print mounted on album page

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Mahikeng – formerly, and still commonly, known as Mafikeng and historically Mafeking in English – is the capital city of the North-West Province of South Africa. It is best known internationally for the Siege of Mafeking, the most famous engagement of the Second Boer War.

Located close to South Africa’s border with Botswana, Mahikeng is 1,400 km (870 mi) northeast of Cape Town and 260 km (160 mi) west of Johannesburg. In 2001, it had a population of 49,300. In 2007, Mafikeng was reported to have a population of 250,000 of which the CBD constitutes between 69,000 and 75,000. It is built on the open veld at an elevation of 1,500 m (4,921 ft), by the banks of the Upper Molopo River. TheMadibi goldfields are some 15 km (9.3 mi) south of the town.

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A. James Gribble. 'Masupa. Kaffir Chief & sons. Basutoland' South Africa, late nineteenth century

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A. James Gribble, inscribed:
Masupa. Kaffir Chief & sons. Basutoland
South Africa, late nineteenth century
Albumen print

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Basutoland or officially the Territory of Basutoland, was a British Crown colony established in 1884 after the Cape Colony’s inability to control the territory. It was divided into seven administrative districts; Berea, Leribe, Maseru, Mohales Hoek, Mafeteng, Qacha’s Nek and Quthing.

Basutoland was renamed the Kingdom of Lesotho upon independence from the United Kingdom on October 4, 1966.

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W. Rausch. 'Indaba of Induna Chiefs, Buluwayo' Zimbabwe, 1890s

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W. Rausch, inscribed:
Indaba of Induna Chiefs, Buluwayo
Zimbabwe, 1890s
Gelatin or collodion printed-out print mounted on card

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InDuna (plural: izinDuna) is a Zulu title meaning advisorgreat leaderambassadorheadman, or commander of group of warriors. It can also mean spokesperson or mediator as the izinDuna often acted as a bridge between the people and the king. The title was reserved for senior officials appointed by the king or chief, and was awarded to individuals held in high esteem for their qualities of leadership, bravery or service to the community. The izinDuna would regularly gather for an indaba to discuss important issues. An indaba is an important conference held by the izinDuna (principal men) of the Zulu or Xhosa peoples of South Africa. (Text from Wikipedia)

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Unidentified photographer. 'Dressing hair. Women of the E. Coast. Africa' Tanzania, early twentieth century

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Unidentified photographer, inscribed:
Dressing hair. Women of the E. Coast. Africa
Tanzania, early twentieth century
Gelatin or collodion printed-out print mounted on album page

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Unidentified photographer. 'Studio photograph of a man' South Africa, late nineteenth century

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Unidentified photographer
Studio photograph of a man
South Africa, late nineteenth century
Carte de visite

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Gray Brothers (Diamond Fields). 'Zulu / Young Warrior in fighting order, and in skin Kaross. Armed with hatchet and assegai' South Africa. c. 1870s

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Gray Brothers (Diamond Fields), inscribed:
Zulu / Young Warrior in fighting order, and in skin Kaross. Armed with hatchet and assegai
South Africa. c. 1870s
Carte de visite

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G. F. Williams. 'Studio photograph of two women' South Africa, c. 1870s

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G. F. Williams
Studio photograph of two women
South Africa, c. 1870s
Carte de visite

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Lawrence Brothers, Cape Town (attr.). 'Kaffir girl' South Africa, c. 1870s

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Lawrence Brothers, Cape Town (attr.), inscribed:
Kaffir girl
South Africa, c. 1870s
Carte de visite

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Unidentified photographer. 'Portrait of King Khama III' South Africa, early twentieth century

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Unidentified photographer
Portrait of King Khama III
South Africa, early twentieth century

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Khama III (1837?-1923), also known as Khama the Good, was the kgosi (meaning chief or king) of the Bamangwato people of Bechuanaland (now Botswana), who made his country a protectorate of the United Kingdom to ensure its survival against Boer and Ndebele encroachments.

After Khama became king in 1875, after overthrowing his father Sekgoma and elbowing away his brother Kgamane his ascension came at a time of great dangers and opportunities. Ndebele incursions from the north (from what is now Zimbabwe), Boer and “mixed” trekkers from the south, and German colonialists from the West, all hoping to the seize his territory and its hinterlands. He answered these challenges by aligning his state with the administrative aims of the British, which provided him with cover and support, and, relatedly, by energetically expanding his own control over a much wider area than any “kgosi” before him. Khama converted to Christianity, which moved him to criminalize sectarianism and to deprecate the institutions favored by traditionalists. At Khama’s request stringent laws were passed against the importation of alcohol. (Text from Wikipedia)

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G. T. Ferneyhough (attr.) and unidentified photographers. 'Albumen prints mounted to album page' South Africa, last third of the nineteenth century

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G. T. Ferneyhough (attr.) and unidentified photographers
Albumen prints mounted to album page
South Africa, last third of the nineteenth century

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G. T. Ferneyhough (attr.), Crewes & Van Laun (attr.), H. F. Gros (attr.), and unidentified photographers. 'Album page with photographs of Cetshwayo and his family, Chief Sekhukhune, and unidentified persons' South Africa, last third of the nineteenth century

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G. T. Ferneyhough (attr.), Crewes & Van Laun (attr.), H. F. Gros (attr.), and unidentified photographers
Album page with photographs of Cetshwayo and his family, Chief Sekhukhune, and unidentified persons
South Africa, last third of the nineteenth century

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The bottom right hand text says, “Cetshwayo’s wives who came to England.” Obviously on the ship that took the King to England in 1882 (see below)

Invading Zululand
Lieutenant-General Sir Frederic Thesiger, 2nd Baron Chelmsford, led the invasion of Zululand on 11 January, with British centre column crossing at Rorke’s Drift. Additional British forces massed at Lower Drift on the Thukela River, near the coast, and on the north-western border near Utrecht.

Isandlawana and Rorke’s Drift
Despite an early success at Isandlwana (22 January) where 24,000 Zulu warriors overran the British camp of 1,700 – over 1,300 British and Imperial troops were annihilated (only 60 of the survivors were Europeans). That evening the small garrison at Rorke’s Drift regained British self-respect by defending the (hospital) station against a force of more than 3,000 Zulu warriors.

Defeat at Ulundi
Cetshwayo’s army was finally defeated at oNdini (Ulundi) on 4 July 1879 and his royal homestead burnt to the ground. Although Cetshwayo escaped from oNdini, he was soon captured in the Ngome Forest by British dragoons (28 August). He was informed by Shepstone that he was to be exiled from Zululand and that the nation would be divided into 13 independent chiefdoms under the authority of the British.

Exile
On 15 September 1879 Cetshwayo was dispatched to Cape Town. He was held as a prisoner of war until February 1881 when he was transferred from the castle to Oude Molen, a farm on the Cape Flats.

In 1882 Cetshwayo was permitted to travel to England for audience with Queen Victoria – he petitioned for his return to Zululand as ruler. He was a hit amongst London society and became a favorite of the public.

Cetshwayo was returned in secret to Zululand on 10 January 1883. He was met at Port Durnford by Sir Theophilus Shepstone (who was brought out of retirement for the process). Shepstone arranged the details of Cetshwayo’s restoration (29 January), but he was not permitted an army to defend his somewhat reduced ‘nation’ — part of the arrangement was that the north of Zululand was to be put under the control of his rival, Zibhebhu kaMaphitha.

Defeat and Retreat
By March 1883 Zibhebhu was moving against Cetshwayo’s supporters in his assigned northern territory and Cetshwayo’s uSuthu marched against him. The uSuthu were defeated and driven into Transvaal and back south to oNdini. The civil war between Cetshwayo and Zibhebhu ranged across the Mahlabathini plain and the uSuthu was once again defeated. Whilst Cetshwayo and his 15-year old heir, Dinizulu, were able to escape the capital of oNdini and hide out in the Nkandla forest, theuSuthu leadership was decimated. Cetshwayo was escorted to Eshowe by Henry Francis Fynn jr, the British Resident in Zululand, on the 15 October 1883.

A Disputed Cause of Death
On the afternoon of 8 February 1884 Cetshwayo died. Although officially recorded as a heart attack (Surgeon Scott, the resident military medical officer, was refused permission to do an autopsy and so could record no other cause). However an abortive assassination attempt (by poison) was made against Mnyamana kaNgqengelele, chief of the Buthelezi and Cetshwayo’s chief inDuna, around the same so time it seems likely that Cetshwayo was also poisoned.

Text from the African History website

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Unidentified photographers. 'Albumen prints mounted to album page' South Africa, late nineteen century

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Unidentified photographers
Albumen prints mounted to album page
South Africa, late nineteen century

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Unidentified Photographer. 'Native Policemen' South Africa, late nineteen century

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Unidentified photographer
Native Policemen
South Africa, late nineteen century
from Albumen prints mounted to album page

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Unidentified Photographer. 'Portrait of a Man' (detail) South Africa, late nineteen century

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Unidentified Photographer
Portrait of a Man (detail)
South Africa, late nineteen century
from Albumen prints mounted to album page

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Notice how the white spots have been painted on by the photographer after exposure, presumably to “exoticize” the noble savage.

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Unidentified photographers. 'Album page' South Africa, late nineteenth century

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Unidentified photographers
Album page
South Africa, late nineteenth century

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The Walther Collection Project Space

Suite 718, 508-526 West 26th Street
New York
T: +1 212 352 0683

Opening hours:
Wednesday – Saturday from 12pm – 6pm

The Walther Collection website

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11
May
13

Exhibition: ‘Distance and Desire: Encounters with the African Archive Part III: Poetics and Politics’ at The Walther Collection Project Space, New York: Part 1

Exhibition dates: 22nd March – 18th May 2013

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Undertaking research in to the work of South African photographer Ernest Cole, I wanted to know more about “South African colonial photography” pre-Apartheid. If you type the phrase into Google images there is absolutely nothing online about this historical archive. So it is a great privilege that The Walther Collection has allowed me to publish nearly 40 photographs over two postings on Art Blart. What a honour to be the first online space to promote this important historical record.

It is vital that colonial photographs such as these are visible in contemporary society for they bare witness to the conditions of the past and provide a visual language to textualise our experience and thereby make it available for interpretation and closure – for people of all colours and races. This is particularly true for a post-colonial country such as South Africa where the history of the nation must be examined impartially no matter how painful the subject matter in order to understand how the actions of the past influence the present and will continue to be re/sighted in the future. Through continual re/citation by being present in the public sphere for all to see (not hidden away offline) these images will become a source of pride (for person, family, tribe, country) – for these were strong human beings that survived the vicissitudes of colonialism to form the history and lineage of a nation.

We must thank numerous private collectors that have saved many of these photographs from the rubbish tip when no public institution was interested in collecting them. Interesting books about the South African archive include Surviving the Lens: Photographic Studies of South and East African People, 1870-1920 by Michael Graham Stewart (2001) and Contemporary African Photography from the Walther Collection. Events of the Self, Portraiture and Social Identity by Okwui Enwezor (ed.) Göttingen, Steidl, 2010.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to The Walther Collection for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Unidentified photographer. 'Photograph of a man' South Africa, late nineteenth century

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Unidentified photographer
Photograph of a man
South Africa, late nineteenth century
Gelatin or collodion printed-out print

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Caney Brothers, inscribed: 'Ordinary & Fighting Dresses.' South Africa, late nineteenth century

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Caney Brothers, inscribed:
Ordinary & Fighting Dresses.
South Africa, late nineteenth century
Albumen print

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Henri Noyer (attr.), inscribed: 'Taisaka Spearsmen No. 2' Madagascar, early twentieth century

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Henri Noyer (attr.), inscribed:
Taisaka Spearsmen No. 2
Madagascar, early twentieth century
Gelatin or collodion printed-out print

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The Taisaka come from the South-East coast of the island of Madagascar.

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Unidentified photographer. 'Mouv, Nthaka warrior' East Africa, early twentieth century

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Unidentified photographer
Mouv, Nthaka warrior
East Africa, early twentieth century
Gelatin or collodion developed out print

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The Ameru had an age set system which provided the community with warriors for defense. Boys are circumcised and become Nthaka (warriors). They stay in a Gaaru and learn to defend the community and take care of their families. The warriors were called Nthaka and were isolated from the community for military training

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Unidentified photographer. 'Studio photograph of a man' South Africa, late nineteenth century

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Unidentified photographer
Studio photograph of a man
South Africa, late nineteenth century

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Unidentified photographer. 'Studio photograph of a man' South Africa, late nineteenth century

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Unidentified photographer
Studio photograph of a man
South Africa, late nineteenth century

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J. E. Middlebrook (attr.), inscribed: 'A Zulu girl. Hair strung with beads' South Africa, late nineteenth century

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J. E. Middlebrook (attr.), inscribed:
A Zulu girl. Hair strung with beads
South Africa, late nineteenth century
Gelatin-silver printed-out print

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The Zulu (Zulu: amaZulu) are the largest South African ethnic group, with an estimated 10-11 million people living mainly in the province of KwaZulu-Natal. Small numbers also live in Zimbabwe, Zambia and Mozambique. Their language, Zulu, is a Bantu language; more specifically, part of the Nguni subgroup. The Zulu Kingdom played a major role in South African history during the 19th and 20th centuries. Under apartheid, Zulu people were classed as third-class citizens and suffered from state-sanctioned discrimination. They remain today the most numerous ethnic group in South Africa, and now have equal rights along with all other citizens.

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A. James Gribble, inscribed: 'Kaffer woman' South Africa, late nineteenth century

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A. James Gribble, inscribed:
Kaffer woman
South Africa, late nineteenth century
Albumen print

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The word kaffer is a word that is used widely in South Africa and is a derogatory word for a black person. Used mainly by Afrikaans people. In old Dutch it means unbeliever (in God), so should not necessarily mean black, but just unholy or non-Christian. Boers gave the name in early South African history as native Africans did not believe in Jesus. Name came after Bantu – which means the same thing, but was banned as it was discriminatory.

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Unidentified photographer. 'Zulu mothers' South Africa, late nineteenth century

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Unidentified photographer, inscribed:
Zulu mothers
South Africa, late nineteenth century
Gelatin-silver printed out print

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Samuel Baylis Barnard. 'Hottentott S. Africa [Portait of /A!kunta]' South Africa, early 1870s

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Samuel Baylis Barnard, inscribed
Hottentott S. Africa [Portait of /A!kunta]
South Africa, early 1870s
Albumen print

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The word ‘Hottentots’ was a name disparagingly used to refer to the Khoikhoi people that lived in the southern parts of the African continent as early as the 5th century AD and continued to live till the first colonists arrived in the middle of the seventeenth century. The Dutch colonists called them Hottentots. It means ‘stammerer’ in Dutch. Khoikhoi means ‘people people’. The word Hottentot is no longer used to describe the people.

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“The Walther Collection is pleased to announce Poetics and Politics, the third and last exhibition in the series Distance and Desire: Encounters with the African Archive, curated by Tamar Garb. Poetics and Politics presents an extraordinary range of previously unseen vintage portraits, cartes de visite, postcards, and album pages from Southern and Eastern Africa, produced from the 1870s to the early twentieth century. The exhibition makes visible both the ideological frameworks that prevailed during the colonial period in Africa and the exceptional skill of photographers working in the studio and landscape.

The culmination of Distance and DesirePoetics and Politics offers a remarkable opportunity to view the narratives that emerge from this African photographic archive, describing in particular the experience of the studio – the curiosity between subject and photographer, the negotiations of costume and pose, and the will for self-representation. The exhibition investigates typical European depictions of Africans, from scenes in nature, to sexualized images of semi-nude models, to modern sitters posing in elaborate studios, critically addressing the politics of colonialism and the complex issues of gender and identity.

Among over 75 vintage prints, Poetics and Politics includes a selection of elegant studio portraits by Samuel Baylis Barnard, one of Cape Town’s most prominent nineteenth century photographers. Original album pages of landscapes and ethnographic imagery are displayed alongside a series of carte de visite portraits of Africans, created in the 1870s in the Diamond Fields of Kimberley, South Africa. The exhibition also features several double-sided displays of album pages, showing striking combinations of personal and stock images, and the juxtapositions of prominent figures in both African and Western contexts.

Distance and Desire is accompanied by an extensive catalogue, published by The Walther Collection and Steidl, and edited by Tamar Garb. Including twelve original essays, the catalogue offers new perspectives by contemporary artists and scholars on the African archive, reimagining its diverse histories and changing meanings. On June 8, 2013 the expanded exhibition incorporating all three parts of Distance and Desire: Encounters with the African Archive will open at The Walther Collection in Neu-Ulm, Germany. The Walther Collection is a private non-profit foundation dedicated to researching, collecting, exhibiting, and publishing modern and contemporary photography and video art, based in Neu-Ulm, Germany and New York. Distance and Desire is part of the collection’s multi-year investigation of African photography and video.”

Press release from the Walther Collection website

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Unidentified photographe. 'Native Police' South Africa, Late nineteenth century

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Unidentified photographer, inscribed:
Native Police
South Africa, Late nineteenth century
Albumen print mounted on album page

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Kimberley Studio (New Rush, Diamond Fields). 'Zulu / Warrior in skin kaross, armed with assegais' and 'Guerrier Zulu a manteau de fourrure et armé de piques' South Africa, c. 1870s

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Kimberley Studio (New Rush, Diamond Fields), inscribed:
Zulu / Warrior in skin kaross, armed with assegais and Guerrier Zulu a manteau de fourrure et armé de piques
South Africa, c. 1870s
Carte de visite

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John Salmon. 'Basuto' South Africa, c. 1870s

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John Salmon, inscribed:
Basuto
South Africa, c. 1870s
Carte de visite

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See Sotho people on Wikipedia

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Samuel Baylis Barnard. 'Photograph of a woman' South Africa, late nineteenth century

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Samuel Baylis Barnard
Photograph of a woman
South Africa, late nineteenth century
Carte de visite

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William Moore (attr.), 'Macomo and his chief wife [Portrait of Maqoma and his wife Katyi]' South Africa, c. 1869

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William Moore (attr.), inscribed:
Macomo and his chief wife [Portrait of Maqoma and his wife Katyi]
South Africa, c. 1869
Albumen print

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G. F. Williams. 'Studio photograph of a man' South Africa South Africa, late nineteenth century

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G. F. Williams
Studio photograph of a man, South Africa
South Africa, late nineteenth century
Carte de visite

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Unidentified photographer. 'Fingo swells' South Africa, late nineteenth century

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Unidentified photographer, inscribed:
Fingo swells
South Africa, late nineteenth century
Gelatin or collodion printed-out print

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The Fengu (plural amaFengu) are a Bantu people; originally closely related to the Zulu people, but now often considered to have assimilated to the Xhosa people whose language they now speak. Historically they achieved considerable renown for their military ability in the frontier wars. They were previously known in English as the “Fingo” people, and they gave their name to the district of Fingoland (Mfenguland), the South West portion of the Transkei division, in the Cape Province.

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M. Veniery. 'Choubouk' Sudan, early twentieth century

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M. Veniery, inscribed:
Choubouk
Sudan, early twentieth century
Gelatin or collodion printedout print mounted on card

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Unidentified photographer. 'Bushman' South Africa, late nineteenth century

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Unidentified photographer, inscribed:
Bushman
South Africa, late nineteenth century
Gelatin or collodion printed-out print

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A.C. Gomes & Son. 'Views in Zanzibar - Natives Hairdressing' Tanzania Late nineteenth century

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A.C. Gomes & Son, inscribed:
Views in Zanzibar – Natives Hairdressing, Tanzania
Late nineteenth century
Gelatin or collodion printed-out print mounted to album page

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The Walther Collection Project Space
Suite 718, 508-526 West 26th Street
New York
T: +1 212 352 0683

Opening hours:
Wednesday – Saturday from 12pm – 6pm

The Walther Collection website

LIKE ART BLART ON FACEBOOK

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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