Posts Tagged ‘South African photographer

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

.
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

LIKE ART BLART ON FACEBOOK

Back to top

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

.
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.”

.
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

LIKE ART BLART ON FACEBOOK

Back to top

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

.

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?”

.

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.

.

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

.

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

A.M. Duggan-Cronin
Bomvana Initiates
1930

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

.

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

LIKE ART BLART ON FACEBOOK

Back to top

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

.

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

.
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.

.
*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.

.

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

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

.

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

.

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

.
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.

.

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

.

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

.
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.

.

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

.

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

.
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)

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.
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)

.

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

.

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

.

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

.

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

.
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

.

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

.

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

.

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

.

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

.

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

.

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

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

.

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

.

Unidentified photographers
Album page
South Africa, late nineteenth century

.

.

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

Back to top

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

.

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

.

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.

.

.

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

.

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

.

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

.

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

.

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

.

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

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

.

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

.

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

.
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

.

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

.

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

.

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

.

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

.

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

.

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

.
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.

.

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

.

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

.
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.

.

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

.

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

.

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

.

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

.
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.

.

.

“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

.

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

.

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

.

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

.

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

.

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

.

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

.
See Sotho people on Wikipedia

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.

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

.
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.

.

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

.

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

.

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

.

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

.

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

.

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

.

.

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

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 1,979 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

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.

June 2017
M T W T F S S
« May    
 1234
567891011
12131415161718
19202122232425
2627282930  

Archives

Categories