Posts Tagged ‘South African photography

23
Feb
20

Exhibition: ‘Unseen: 35 Years of Collecting Photographs’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 17th December 2019 – 8th March 2020

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968) '[Calypso]' about 1944; before 1946

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968)
[Calypso]
about 1944; before 1946
Gelatin silver print
26.2 x 33.3 cm (10 5/16 x 13 1/8 in.)
The J. Paul Getty Museum, Los Angeles
© International Center of Photography

 

 

Imagine having these photographs in your collection!

My particular favourite is Hiromu Kira’s The Thinker (about 1930). For me it sums up our singular 1 thoughtful 2 imaginative 3 ephemeral 4 ether/real 5 existence.

“Aether is the fifth element in the series of classical elements thought to make up our experience of the universe… Although the Aether goes by as many names as there are cultures that have referenced it, the general meaning always transcends and includes the same four “material” elements [earth, air, water, fire]. It is sometimes more generally translated simply as “Spirit” when referring to an incorporeal living force behind all things. In Japanese, it is considered to be the void through which all other elements come into existence.” (Adam Amorastreya. “The End of the Aether,” on the Resonance website Feb 16, 2015 [Online] Cited 23/02/2020)

Dr Marcus Bunyan

.
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.

 

 

Carleton Watkins (American, 1829-1916) '[Guadalupe Mill]' 1860

 

Carleton Watkins (American, 1829-1916)
[Guadalupe Mill]
1860
Salted paper print
Image (dome-topped): 33.8 × 41.6 cm (13 5/16 × 16 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Martin Munkácsi (American, born Hungary, 1896-1963) 'The Goalie Gets There a Split Second Too Late' about 1923

 

Martin Munkácsi (American, born Hungary, 1896-1963)
The Goalie Gets There a Split Second Too Late
about 1923
Gelatin silver print
29.8 × 36.7 cm (11 3/4 × 14 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Martin Munkácsi, Courtesy Howard Greenberg Gallery, New York

 

Hiromu Kira (American, 1898-1991) 'The Thinker' about 1930

 

Hiromu Kira (American, 1898-1991)
The Thinker
about 1930
Gelatin silver print
27.9 × 35.1 cm (11 × 13 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Sadamura Family Trust

 

 

Hiromu Kira (1898-1991) was one of the most successful and well-known Japanese American photographers in prewar Los Angeles. He was born in Waipahu, O’ahu, Hawai’i on April 5, 1898, but was sent to Kumamoto, Japan, for his early education. When he was eighteen years old, he returned to the United States and settled in Seattle, Washington, where he first became interested in photography. In 1923, he submitted prints to the Seattle Photography Salon which accepted two of the photographs. In 1923, his work was accepted in the Pittsburg Salon and the Annual Competition of American Photography. He found work at the camera department of a local Seattle pharmacy and began meeting other Issei, Nisei and Kibei photographers such as Kyo Koike and joined the Seattle Camera Club.

In 1926, Kira moved to Los Angeles with his wife and two young children. Although he was never a member of the Japanese Camera Pictorialists of California, a group that was active in Los Angeles at that time, he developed strong friendships with club members associated with the pictorialist movement of the 1920s and ’30s such as K. Asaishi and T. K. Shindo. In 1928, Kira was named an associate of the Royal Photography Society, and the following year he was made a full fellow and began exhibiting both nationally and internationally. In 1929 alone, Kira exhibited ninety-six works in twenty-five different shows. In the late twenties, he worked at T. Iwata’s art store. In 1931, his photograph The Thinker, made while showing a customer how to use his newly purchased camera properly, appeared on the March 1931 issue of Vanity Fair magazine.

On December 5, two days before the attack on Pearl Harbor, Kira was selected to be included in the 25th Annual International Salon of the Camera Pictorialists of Los Angeles. Within a few months, he was forced to store his camera, photography books and prints in the basement of the Nishi Hongwanji Buddhist Temple in Little Tokyo, Los Angeles for the duration of World War II. He and his family were incarcerated at Santa Anita Assembly Center and the Gila River, Arizona concentration camp from 1942-44, leaving the latter in April 1944.

Following his release, he lived briefly in Chicago before returning to Los Angeles in 1946, where he remained for the rest of his life. In Los Angeles, he worked as a photo retoucher and printer for the Disney, RKO and Columbia Picture studios but never exhibited again as he had before the war.

Text from the Hiromu Kira page on the Densho Encyclopedia website [Online] Cited 23/02/2020

 

 

Marinus Jacob Kjeldgaard (Danish, 1884-1964, active Paris, France late 1930s - late 1940s) '[Collage: Balance of Powers]' about 1939

 

Marinus Jacob Kjeldgaard (Danish, 1884-1964, active Paris, France late 1930s – late 1940s)
[Collage: Balance of Powers]
about 1939
Gelatin silver print
28.5 × 32 cm (11 1/4 × 12 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Marinus Jacob Kjeldgaard

 

Paul Outerbridge (American, 1896-1958) '[Egg in Spotlight]' 1943

 

Paul Outerbridge (American, 1896-1958)
[Egg in Spotlight]
1943
Gelatin silver print
26.4x 34.4 cm (10 3/8 x 13 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 G. Ray Hawkins Gallery, Beverly Hills, CA

 

Emil Cadoo (American, 1926-2002) 'Children of Harlem' 1965

 

Emil Cadoo (American, 1926-2002)
Children of Harlem
1965
Gelatin silver print
20.3 × 25.2 cm (8 × 9 15/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Joyce Cadoo / Janos Gat Gallery
© Estate of Emil Cadoo, courtesy of Janos Gat Gallery

 

Anthony Hernandez (American, b. 1947) 'Los Angeles #1' 1969

 

Anthony Hernandez (American, b. 1947)
Los Angeles #1
1969
Gelatin silver print
18.9 × 28.4 cm (7 7/16 × 11 3/16 in.)
The J. Paul Getty Museum, Los Angeles, Purchased in part with funds provided by the Photographs Council
© Anthony Hernandez

 

William Eggleston (American, b. 1939) 'Dolls on Cadillac, Memphis' 1972

 

William Eggleston (American, b. 1939)
Dolls on Cadillac, Memphis
1972
Chromogenic print
25.4 × 38.1 cm (10 × 15 in.)
The J. Paul Getty Museum, Los Angeles
© Eggleston Artistic Trust

 

William Wegman (American, b, 1943) 'Dog and Ball' 1973

 

William Wegman (American, b, 1943)
Dog and Ball
1973
Gelatin silver print
The J. Paul Getty Museum, Los Angeles
© William Wegman

 

Marketa Luskacova (Czech, born 1944) 'Sclater St, Woman with Baby and Girl' 1975

 

Markéta Luskačová (Czech, b. 1944)
Sclater St, Woman with Baby and Girl
1975
Gelatin silver print
21 x 31.8 cm (8 1/4 x 12 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Markéta Luskačová

 

 

Markéta Luskačová (born 1944) is a Czech photographer known for her series of photographs taken in Slovakia, Britain and elsewhere. Considered one of the best Czech social photographers to date, since the 1990s she has photographed children in the Czech Republic, Slovakia, and also Poland…

In the 1970s and 1980s, the communist censorship attempted to conceal her international reputation. Her works were banned in Czechoslovakia, and the catalogues for the exhibition Pilgrims in the Victoria and Albert Museum were lost on their way to Czechoslovakia.

Luskačová started photographing London’s markets in 1974. In the markets of Portobello Road, Brixton and Spitalfields, she “[found] a vivid Dickensian staging”.

In 2016 she self-published a collection of photographs of street musicians, mostly taken in the markets of east London, under the title To Remember – London Street Musicians 1975-1990, and with an introduction by John Berger.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Marketa Luskacova (Czech, b. 1944) 'Men around Fire, Spitalfields Market' Negative 1976, print 1991

 

Markéta Luskačová (Czech, b. 1944)
Men around Fire, Spitalfields Market
Negative 1976, print 1991
Gelatin silver print
22.8 x 32.9 cm (9 x 12 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Markéta Luskačová

 

Shigeichi Nagano (Japanese, born 1925, active Tokyo, Japan) '[Tokyo, Aobadai (Nishi Saigoyama Park), Meguro Ward]' 1988

 

Shigeichi Nagano (Japanese, 1925-2019, active Tokyo, Japan)
[Tokyo, Aobadai (Nishi Saigoyama Park), Meguro Ward]
1988
Gelatin silver print
26 × 39.4 cm (10 1/4 × 15 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Shigeichi Nagano

 

 

During the 1960s Nagano observed the period of intense economic growth in Japan, depicting the lives of Tokyo’s sarariman with some humour. The photographs of this period were only published in book form much later, as Dorīmu eiji and 1960 (1978 and 1990 respectively).

Nagano exhibited recent examples of his street photography in 1986, winning the Ina Nobuo Award. He published several books of his works since then, and won a number of awards. Nagano had a major retrospective at the Tokyo Metropolitan Museum of Photography in 2000.

Nagano died two months short of his 94th birthday, on January 30, 2019.

Text from the Wikipedia website

 

Catherine Opie (American, b. 1961) 'Untitled #15' 1997

 

Catherine Opie (American, b. 1961)
Untitled #15
1997
Inkjet print
40.6 × 104.1 cm (16 × 41 in.)
The J. Paul Getty Museum, Los Angeles
© Catherine Opie

 

Nan Goldin (American, b. 1953) 'Self Portrait, Red, Zurich' 2002

 

Nan Goldin (American, b. 1953)
Self Portrait, Red, Zurich
2002
Silver-dye bleach print
Framed [outer dim]: 72.4 x 104.1 cm (28 1/2 x 41 in.)
The J. Paul Getty Museum, Los Angeles
© Nan Goldin, courtesy of Matthew Marks Gallery and the artist

 

Hong Hao (Chinese, b. 1965) 'My Things No. 5 - 5,000 Pieces of Rubbish' 2002

 

Hong Hao (Chinese, b. 1965)
My Things No. 5 – 5,000 Pieces of Rubbish
2002
Chromogenic print
120 × 210.8 cm (47 1/4 × 83 in.)
The J. Paul Getty Museum, Los Angeles, Anonymous Gift
© Hong Hao, Courtesy of Chambers Fine Art

 

Veronika Kellndorfer (German, b. 1962) 'Succulent Screen' 2007

 

Veronika Kellndorfer (German, b. 1962)
Succulent Screen
2007
Silkscreen print on glass
288 × 351.5 cm (113 3/8 × 138 3/8 in.)
Gift of Christopher Grimes in honour of Virginia Heckert
The J. Paul Getty Museum, Los Angeles
© Veronika Kellndorfer

 

 

A three-panel silkscreen print on glass, Succulent Screen depicts a detail view of one of the signature miter-cut windows of Frank Lloyd Wright’s Freeman House. The house was built in the Hollywood Hills in 1923, was listed on the National Register of Historic Places in 1971 as a California Historical Landmark and as Los Angeles Historic-Cultural Monument #247 in 1981; it was bequeathed to the USC School of Architecture in 1986. (Text from the Getty Museum website)

 

Sharon Core (American, b. 1965) 'Early American, Strawberries and Ostrich Egg' 2007

 

Sharon Core (American, b. 1965)
Early American, Strawberries and Ostrich Egg
2007
Chromogenic print
42.8 x 56.8 cm (16 7/8 x 22 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Sharon Core

 

 

The Getty Museum holds one of the largest collections of photographs in the United States, with more than 148,000 prints. However, only a small percentage of these have ever been exhibited at the Museum. To celebrate the 35th anniversary of the founding of the Department of Photographs, the Getty Museum is exhibiting 200 of these never-before-seen photographs and pull back the curtain on the work of the many professionals who care for this important collection in Unseen: 35 Years of Collecting Photographs, on view December 17, 2019 – March 8, 2020.

“Rather than showcasing again the best-known highlights of the collection, the time is right to dig deeper into our extraordinary holdings and present a selection of never-before-seen treasures. I have no doubt that visitors will be intrigued and delighted by the diversity and quality of the collection, whose riches will support exhibition and research well into the decades ahead,” says Timothy Potts, director of the J. Paul Getty Museum.

The exhibition includes photographs by dozens of artists from the birth of the medium in the mid-19th century to the present day. The selection also encompasses a variety of photographic processes, including the delicate cyanotypes of Anna Atkins (British, 1799-1871), Polaroids by Carrie Mae Weems (American, born 1953) and Mary Ellen Mark (American, 1940-2015) and an architectural photographic silkscreen on glass by Veronika Kellndorfer (German, born 1962).

Visual associations among photographs from different places and times illuminate the breadth of the Getty’s holdings and underscore a sense of continuity and change within the history of the medium. The curators have also personalised some of the labels in the central galleries to give voice to their individual insights and perspectives.

 

Growth of the collection

In 1984, as the J. Paul Getty Trust was in the early stages of conceiving what would eventually become the Getty Center, the Getty Museum created its Department of Photographs. It did so with the acquisition of several world-famous private collections, including those of Sam Wagstaff, André Jammes, Arnold Crane, and Volker Kahmen and Georg Heusch. These dramatic acquisitions immediately established the Museum as a leading center for photography.

While the founding collections are particularly strong in 19th and early 20th century European and American work, the department now embraces contemporary photography and, increasingly, work produced around the world. The collection continues to evolve, has been shaped by several generations of curators and benefits from the generosity of patrons and collectors.

 

Behind the scenes

In addition to the photographs on view, the exhibition spotlights members of Getty staff who care for, handle, and monitor these works of art.

“What the general public may not realise is that before a single photograph is hung on a wall, the object and its related data is managed by teams of professional conservators, registrars, curators, mount-makers, and many others,” says Jim Ganz, senior curator of photographs at the Getty Museum. “In addition to exposing works of art in the collection that are not well known, we wanted to shed light on the largely hidden activity that goes into caring for such a collection.”

 

Collecting Contemporary Photography

The department’s collecting of contemporary photography has been given strong encouragement by the Getty Museum Photographs Council, and a section of the exhibition will be dedicated to objects purchased with the Council’s funding. Established in 2005, this group supports the department’s curatorial program, especially with the acquisition of works made after 1945 by artists not yet represented or underrepresented in the collection. Since its founding, the Council has contributed over $3 million toward the purchase of nearly five hundred photographs by artists from Argentina, Australia, Canada, Japan, Korea, Malaysia, South Africa, and Taiwan, as well as Europe and the United States.

 

Looking ahead

The exhibition also looks towards the future of the collection, and includes a gallery of very newly-acquired works by Laura Aguilar (American, 1959-2018), Osamu Shiihara (Japanese, 1905-1974), as well as highlights of the Dennis Reed collection of photographs by Japanese American photographers. The selection represents the department’s strengthening of diversity in front of and behind the camera, the collection of works relevant to Southern California communities, and the acquisition of photographs that expand the understanding of the history of the medium.

“With this exhibition we celebrate the past 35 years of collecting, and look forward to the collection’s continued expansion, encompassing important work by artists all over the world and across three centuries,” adds Potts.

Unseen: 35 Years of Collecting Photographs is on view December 17, 2019 – March 8, 2020 at the Getty Center. The exhibition is organised by Jim Ganz, senior curator of photographs at the Getty Museum in collaboration with Getty curators Mazie Harris, Virginia Heckert, Karen Hellman, Arpad Kovacs, Amanda Maddox, and Paul Martineau.

Press release from the J. Paul Getty Museum [Online] Cited 09/20/2020

 

Hiroshi Sugimoto (Japanese, born 1948) 'Botanical Specimen (Erica mutabolis), March 1839' 2009

 

Hiroshi Sugimoto (Japanese, born 1948)
Botanical Specimen (Erica mutabolis), March 1839
2009
Toned gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
© Hiroshi Sugimoto

 

Julia Margaret Cameron (British, born India, 1815-1879) '[Spring]' 1873

 

Julia Margaret Cameron (British, born India, 1815-1879)
[Spring]
1873
Albumen silver print
35.4 × 25.7 cm (13 15/16 × 10 1/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Reverend William Ellis (British, 1794-1872) and Samuel Smith. '[Portrait of a Black Couple]' about 1873

 

Reverend William Ellis (British, 1794-1872) and Samuel Smith
[Portrait of a Black Couple]
about 1873
Albumen silver print
24.1 × 18.6 cm (9 1/2 × 7 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Prince Roland Napoleon Bonaparte (French, 1858-1924) 'Jacobus Huch, 26 ans' about 1888

 

Prince Roland Napoleon Bonaparte (French, 1858-1924)
Jacobus Huch, 26 ans
about 1888
Albumen silver print
15.9 × 10.9 cm (6 1/4 × 4 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Underwood & Underwood (American, founded 1881, dissolved 1940s) 'Les Chiens du Front, eux-mems, portent des masques contre les gaz' May 27, 1917

 

Underwood & Underwood (American, founded 1881, dissolved 1940s)
Les Chiens du Front, eux-mems, portent des masques contre les gaz
May 27, 1917
Rotogravure
22 × 20.4 cm (8 11/16 × 8 1/16 in.)
The J. Paul Getty Museum, Los Angeles

 

László Moholy-Nagy (American, born Hungary, 1895-1946) '[The Law of the Series]' 1925

 

László Moholy-Nagy (American, born Hungary, 1895-1946)
[The Law of the Series]
1925
Gelatin silver print
21.6 × 16.2 cm (8 1/2 × 6 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York

 

Martin Munkácsi (American, born Hungary, 1896-1963) 'Big Dummies' 1927-1933

 

Martin Munkácsi (American, born Hungary, 1896-1963)
Big Dummies
1927-1933
Gelatin silver print
33.5 × 26.7 cm (13 3/16 × 10 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Martin Munkácsi, Courtesy Howard Greenberg Gallery, New York

 

 

Munkácsi was a newspaper writer and photographer in Hungary, specialising in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi’s innovation was to make sport photographs as meticulously composed action photographs, which required both artistic and technical skill.

Munkácsi’s break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for Berliner Illustrirte Zeitung, where his first published photo was a motorcycle splashing its way through a puddle. He also worked for the fashion magazine Die Dame.

More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and Liberia, for photo spreads in Berliner Illustrirte Zeitung.

The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crossed over a boat whose passengers wave to the airship above.

On 21 March 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for Berliner Illustrirte Zeitung, he photographed Hitler’s inner circle, although he was a Jewish foreigner.

Munkácsi left for New York City… Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Erwin Blumenfeld (American, born Germany, 1897-1969) 'Hitlerfresse (Hitler's Mug)' January 30, 1933

 

Erwin Blumenfeld (American, born Germany, 1897-1969)
Hitlerfresse (Hitler’s Mug)
January 30, 1933
Gelatin silver print collage with ink
29.2 × 21.3 cm (11 1/2 × 8 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© The Estate of Erwin Blumenfeld

 

 

Blumenfeld was born in Berlin on 26 January 1897. As a young man he worked in the clothes trade and wrote poetry. In 1918 he went to Amsterdam, where he came into contact with Paul Citroen and Georg Grosz. In 1933 he made a photomontage showing Hitler as a skull with a swastika on its forehead; this image was later used in Allied propaganda material in 1943.

He married Lena Citroen, with whom he had three children, in 1921. In 1922 he started a leather goods shop, which failed in 1935. He moved to Paris, where in 1936 he set up as a photographer and did free-lance work for French Vogue. After the outbreak of the Second World War he was placed in an internment camp; in 1941 he was able to emigrate to the United States. There he soon became a successful and well-paid fashion photographer, and worked as a free-lancer for Harper’s Bazaar, Life and American Vogue. Blumenfeld died in Rome on 4 July 1969.

Text from the Wikipedia website [Online] Cited 23/02/3030

 

Paul Wolff (German, 1887-1951) and Dr Wolff & Tritschler OHG (German, founded 1927, dissolved 1963) '[Dog at the beach]' 1936

 

Paul Wolff (German, 1887-1951) and Dr Wolff & Tritschler OHG (German, founded 1927, dissolved 1963)
[Dog at the beach]
1936
Gelatin silver print
23.4 x 17.8 cm (9 3/16 x 7 in.)
The J. Paul Getty Museum, Los Angeles
© Dr Paul Wolff & Tritschler, Historisches Bildarchiv, D-77654 Offenburg, Germany

 

Barbara Morgan (American, 1900 - 1992) 'City Shell' 1938

 

Barbara Morgan (American, 1900-1992)
City Shell
1938
Gelatin silver print
49.2 × 39.4 cm (19 3/8 × 15 1/2 in.)
Reproduced courtesy of the Barbara and Willard Morgan Photographs and Papers, Library Special Collections, Charles E. Young Research Library, UCLA
The J. Paul Getty Museum, Los Angeles

 

Walker Evans (American, 1903 - 1975) '[Two Giraffes, Circus Winter Quarters, Sarasota]' 1941

 

Walker Evans (American, 1903-1975)
[Two Giraffes, Circus Winter Quarters, Sarasota]
1941
Gelatin silver print
15.1 × 18.3 cm (5 15/16 × 7 3/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Horst P. Horst (American, born Germany, 1906-1999) 'Hands, Hands' 1941

 

Horst P. Horst (American, born Germany, 1906-1999)
Hands, Hands
1941
Platinum and palladium print
23.7 × 17 cm (9 5/16 × 6 11/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Manfred Heiting
© The Estate of Horst P. Horst and Condé Nast

 

Erwin Blumenfeld (American, born Germany, 1897-1969) 'Maroua Motherwell, New York' 1941-1943

 

Erwin Blumenfeld (American, born Germany, 1897-1969)
Maroua Motherwell, New York
1941-1943
Gelatin silver print
48.5 x 38.7 cm (19 1/8 x 15 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© The Estate of Erwin Blumenfeld

 

Henry Holmes Smith (American, 1909-1986) 'Photography Student' 1947

 

Henry Holmes Smith (American, 1909-1986)
Photography Student
1947
Gelatin silver print
11.4 × 9.6 cm (4 1/2 × 3 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust

 

 

Henry Holmes Smith (1909-1986) was an American photographer and one of the most influential fine art photography teachers of the mid 20th century. He was inspired by the work that had been done at the German Bauhaus and in 1937 was invited to teach photography at the New Bauhaus being founded by Moholy-Nagy in Chicago. After World War II, he spent many years teaching at Indiana University. His students included Jerry Uelsmann, Jack Welpott, Robert W. Fichter, Betty Hahn and Jaromir Stephany.

Smith was often involved in the cutting edge of photographic techniques: in 1931 he started experimenting with high-speed flash photography of action subjects, and started doing colour work in 1936 when few people considered it a serious artistic medium. His later images were nearly all abstract, often made directly (without a camera, i.e. like photograms), for instance images created by refracting light through splashes of water and corn syrup on a glass plate. However, although acclaimed as a photographic teacher, Holmes’ own photographs and other images did not achieve any real recognition from his peers.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Andreas Feininger (American, born France, 1906-1999) 'Elegant Disk Clam, dosinia elegans, Conrad' 1948

 

Andreas Feininger (American, born France, 1906-1999)
Elegant Disk Clam, dosinia elegans, Conrad
1948
Gelatin silver print
30.4 x 23.8 cm (11 15/16 x 9 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Gertrud E. Feininger

 

Alexander Rodchenko (Russian, 1891 - 1956) 'Roll (of Film)' 1950

 

Alexander Rodchenko (Russian, 1891-1956)
Roll (of Film)
1950
Gelatin silver print
30.5 × 24 cm (12 × 9 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 Estate of Alexander Rodchenko / UPRAVIS, Moscow / Artists Rights Society, NY

 

Otto Steinert (German, 1915-1978) 'Schlammweiher 2' Negative 1953, print about 1960s

 

Otto Steinert (German, 1915-1978)
Schlammweiher 2
Negative 1953, print about 1960s
Gelatin silver print
39.6 x 29.1 cm (15 9/16 x 11 7/16 in.)
The J. Paul Getty Museum, Los Angeles
Courtesy Galerie Johannes Faber

 

André Kertész (American, born Hungary, 1894-1985) 'Still Life with Snake' Negative 1960; print later

 

André Kertész (American, born Hungary, 1894-1985)
Still Life with Snake
Negative 1960; print later
Gelatin silver print
Image: 24.8 × 19.7 cm (9 3/4 × 7 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of André Kertész

 

Malick Sidibé (Malian, 1936-2016) 'Vues de dos' Nd, print 2003

 

Malick Sidibé (Malian, 1936-2016)
Vues de dos
Nd, print 2003
Gelatin silver print, glass, paint, cardboard, tape, and string
36.5 x 27 cm (14 3/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Malick Sidibé

 

Irving Penn (American, 1917-2009) 'Red Apples' July 15, 1985

 

Irving Penn (American, 1917-2009)
Red Apples
July 15, 1985
Silver-dye bleach print
25.4 × 20.3 cm (10 × 8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Nancy and Bruce Berman
© 1985 Irving Penn

 

Lyle Ashton Harris (American, b. 1965) 'Man and Woman #1' 1987-1988

 

Lyle Ashton Harris (American, b. 1965)
Man and Woman #1
1987-1988
Gelatin silver print
74.3 x 48.9 cm (29 1/4 x 19 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© Lyle Ashton Harris

 

Jim Dow (American, b. 1942) 'Doll Repair Shop Window, Buenos Aires, Argentina' 1990

 

Jim Dow (American, b. 1942)
Doll Repair Shop Window, Buenos Aires, Argentina
1990
Chromogenic print
51.2 × 40.6 cm (20 3/16 × 16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Nancy and Bruce Berman
© Jim Dow

 

Carrie Mae Weems (American, b. 1953) 'See No Evil' 1991

 

Carrie Mae Weems (American, b. 1953)
See No Evil
1991
Dye diffusion print (Polaroid Polacolor)
61 × 50.5 cm (24 × 19 7/8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Daniel Greenberg and Susan Steinhauser
© Carrie Mae Weems

 

Myoung Ho Lee (South Korean, b. 1975) '[Tree #2]' 2006

 

Myoung Ho Lee (South Korean, b. 1975)
[Tree #2]
2006
Inkjet print
39.8 × 32.1 cm (15 11/16 × 12 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Myoung Ho Lee, Courtesy Yossi Milo Gallery, New York

 

Daniel Naudé (South African, born 1984) 'Africanis 18. Murraysburg, Western Cape, 10 May 2010' 2010

 

Daniel Naudé (South African, born 1984)
Africanis 18. Murraysburg, Western Cape, 10 May 2010
2010
60 x 60 cm (23 5/8 x 23 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Daniel Naudé

 

Pieter Hugo (South African, born 1976) 'Aissah Salifu, Agbogbloshie Market, Accra, Ghana' 2010

 

Pieter Hugo (South African, born 1976)
Aissah Salifu, Agbogbloshie Market, Accra, Ghana
2010
From the Permanent Error series
Digital chromogenic print
81.3 x 81.3 cm. (32 x 32 in.)
The J. Paul Getty Museum, Los Angeles
© Pieter Hugo

 

Mona Kuhn (German, born Brazil, 1969) 'Portrait 37' 2011

 

Mona Kuhn (German, born Brazil, 1969)
Portrait 37
2011
Chromogenic print
38.3 x 38.1 cm (15 1/16 x 15 in.)
The J. Paul Getty Museum, Los Angeles
© Mona Kuhn

 

Alison Rossiter (American, b. 1953) 'Eastman Kodak Azo E, expired May 1927, processed 2014' 2014

 

Alison Rossiter (American, b. 1953)
Eastman Kodak Azo E, expired May 1927, processed 2014
2014
Gelatin silver print
25 x 20 cm (9 13/16 x 7 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Alison Rossiter

 

 

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 – 5.30 pm
Monday closed

The J. Paul Getty Museum website

LIKE ART BLACK ON FACEBOOK

Back to top

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

 

Roger Ballen. 'Caged' 2011

 

Roger Ballen (South African born America, b. 1950)
Caged
2011
Image courtesy of the artist and Stills Gallery

 

 

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 hierarchical 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

 

Footnotes

  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.

.
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.

 

 

“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.”

.
Roger Ballen

 

 

 

 

 

Roger Ballen’s Asylum of the Birds (full film)

To mark the publication of his long-awaited new monograph Asylum of the Birds, photographer Roger Ballen, with director Ben Crossman, has produced this psychologically powerful, unforgettable film that follows Roger into a world synonymous with his photographs, as never before seen on film.

 

 

 

 

Roger Ballen’s Outland (2015)

Phaidon Press has released a revised version of the iconic book Outland by photographer Roger Ballen. Film maker Ben Jay Crossman takes us on a journey to the Outland to show us the mind inside the mind.

 

 

 

 

 

ROGER BALLEN: PHOTOGRAPHS 1982-2009 Part 3: Outland

Roger Ballen talks about his past projects leading up to his current work in the celebrated exhibition ROGER BALLEN: PHOTOGRAPHS 1982-2009, on display at George Eastman House from Feb. 27 – June 6, 2010. Hear more from the curator of the exhibition, Eastman House director Dr. Anthony Bannon, discussing Ballen’s work in ‘Embracing Difficult Art’

 

 

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. 'Bewitched' 2012

 

Roger Ballen (South African born America, b. 1950)
Bewitched
2012
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Untitled' 2015

 

Roger Ballen (South African born America, b. 1950)
Untitled
2015
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Twirling Wires' 2001

 

Roger Ballen (South African born America, b. 1950)
Twirling Wires
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Mirrored' 2012

 

Roger Ballen (South African born America, b. 1950)
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 repository 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 (South African born America, b. 1950)
Lunchtime
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Take off' 2012

 

Roger Ballen (South African born America, b. 1950)
Take off
2012
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Cat and Mouse' 2001

 

Roger Ballen (South African born America, b. 1950)
Cat and Mouse
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'School Room' 2003

 

Roger Ballen (South African born America, b. 1950)
School Room
2003
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Portrait of sleeping girl' 2000

 

Roger Ballen (South African born America, b. 1950)
Portrait of sleeping girl
2000

 

Roger Ballen. 'Deathbed' 2010

 

Roger Ballen (South African born America, b. 1950)
Deathbed
2010

 

Roger Ballen. 'Three hands' 2006

 

Roger Ballen (South African born America, b. 1950)
Three hands
2006

 

Roger Ballen. 'Head inside shirt' 2001

 

Roger Ballen (South African born America, b. 1950)
Head inside shirt
2001

 

 

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

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

SCA Galleries website

LIKE ART BLART ON FACEBOOK

Back to top

16
Dec
15

Exhibition: ‘The Aftermath of Conflict: Jo Ractliffe’s Photographs of Angola and South Africa’ at The Metropolitan Museum of Art, New York

Exhibition dates: 24th August 2015 – 3rd January 2016

 

Jo Ractliffe (South African, born 1961) 'Template for digging graves, Pomfret' 2013

 

Jo Ractliffe (South African, b. 1961)
Template for digging graves, Pomfret
2013
Inkjet print, 2015
Height: 14 3/16 in. (36 cm) Width: 17 11/16 in. (45 cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

The photograph as unoccupied land

To be frank, I am not enamoured of these photographs. They seem to be conceptual ideas masquerading as documentary photographs that evidence a lazy way of seeing the world, one in which the untold narrative has become an empty spectacle. The story, such as it is, is only narrativised by the accompanying text. If an image cannot stand on its own two feet in and of itself without lines of text to support its supposition, then it is not doing its job properly.

The framing is sloppy and the focus of the images is poor. For example, the focus of Template for digging graves, Pomfret (above) is the shadow at the front of the photograph, where the real focus should have been the template and the graves beyond with their horizontals and verticals. This would have made for a much stronger photograph because the foreground and the background are extraneous to the image.

Ractliffe really needs to look at the documentary photographers of the 19th century to see how it is done. The aftermath of conflict photographs of the American Civil War by photographers such as Matthew Brady, Alexander Gardner and Timothy O’Sullivan (and here I am not talking about the battlefield photographs) have a robust narrative quality that this artist could only ever hope to achieve. Their photographs possess a clear and consistent vision, a deep aesthetic that is emergent, based on transparence, a ruddy darkness and textural ambience – rather than an aesthetic that is superficially descriptive of surfaces.

This lack of understanding of the depth of contested place/disputed histories can be no better illustrated than in the diptych The battlefield at Cuito Cuanavale (2009, below) whose photographs really say nothing about what went on here. The photographs are prescriptive (relating to the imposition or enforcement of a rule or method) statements constructed by the artist, with no emotion and little ambience or feeling for subject matter. They are not even very good descriptive photographs of the landscape. Photographs such as Mural depicting Fidel Castro, Agostinho Neto and Leonid Brezhnev, circa 1975, Viriambundo (2009, below) and Details of tiled murals at the Fortaleza De São Miguel, depicting Portuguese explorations in Africa (2007, below) are worse, recording inarticulate artefacts at a level best reserved for student work.

By far the most interesting and powerful photograph is Roadside stall on the way to Viana (2007, below). This photograph is memorable as so many of the other are not, because it possesses a sense of disposition, of alienation, ambience and the weight of history all bound up in those hanging bodies.

Dr Marcus Bunyan

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

 

 

Jo Ractliffe (South African, born 1961) 'Vacant plot near Atlantico Sul' 2007

 

Jo Ractliffe (South African, b. 1961)
Vacant plot near Atlantico Sul
2007
From the series Terreno Ocupado
Inkjet print, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

This coarse, grassy landscape appears at first glance to be empty, yet the billboard declaring “Terreno Ocupado” – Portuguese for “occupied land” – reveals this site in Luanda as both active and politically charged. It points to Angola’s long history of occupation and territorial turmoil, from the arrival of Portuguese explorers in 1483 through to the tangled twentieth-century conflicts that spilled over into neighbouring countries. It also points to the contested terrain that is today’s Luanda. With this image, the opening photograph of the first series, Ractliffe sets the scene for her exploration of land, borders, and displacement, themes which thread through all the works featured here.

 

Jo Ractliffe (South African, born 1961) 'Woman and her baby, Roque Santeiro market' 2007

 

Jo Ractliffe (South African, b. 1961)
Woman and her baby, Roque Santeiro market
2007
From the series Terreno Ocupado
Inkjet print, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

Conflict between Luanda’s population and its governing elites forms an undercurrent to this photograph of a young woman carrying a baby across litter-strewn ground, observed by a man wearing a military beret. In September 2010, three years after Ractliffe took these photographs and following a protracted dispute between the government and the local community, the Luandan authorities closed down Roque Santeiro and relocated it to a new Chinese-built facility at Panguila, some twelve miles to the north. Although the government cited concerns over insanitary conditions and organised crime, critics argued that the relocation had more to do with repossessing prime real estate for new luxury apartments.

 

Jo Ractliffe (South African, born 1961) 'Woman on the footpath from Boa Vista to Roque Santeiro market' 2007

 

Jo Ractliffe (South African, b. 1961)
Woman on the footpath from Boa Vista to Roque Santeiro market
2007
From the series Terreno Ocupado
Inkjet print, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

Apparently out of breath and clutching a plastic bag, the woman in the foreground of this photograph is making her way up a faintly visible footpath and out of Ractliffe’s field of vision. A digger perches on the cliff top above her, and in the middle distance, a cluster of dwellings clings precariously to the litter-strewn side of the ravine. Boa Vista – “good view” – is one of Luanda’s largest shanty towns, and at the time of this photograph was home to over 50,000 people. Following landslides in 2001 which killed several residents, parts of the neighbourhood were bulldozed and over 4,000 families were evicted from their homes and relocated to tents in other parts of the city while awaiting the construction of their new accommodation.

 

Jo Ractliffe (South African, born 1961) 'Video club, Roque Santeiro market' 2007

 

Jo Ractliffe (South African, b. 1961)
Video club, Roque Santeiro market
2007
Inkjet print, 2015
Height: 14 3/16 in. (36cm) Width: 17 11/16 in. (45cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

Before its closure in 2010, Roque Santeiro was renowned as the biggest open-air market in sub-Saharan Africa, and the centre of Angola’s informal economy. Established in the 1980s and named after a popular Brazilian soap opera, it flourished during the Angolan Civil War as streams of refugees fled the countryside and came to Luanda, searching for new livelihoods. Everything was for sale in its makeshift stalls, from household items, food, and clothes, to contraband alcohol, cars, and livestock. In this photograph Ractliffe focuses on one of the market’s many video clubs, which were housed in military-style tents and screened action movies on televisions powered by generators.

 

Jo Ractliffe (South African, born 1961) ''God with us', Pomfret' 2011

 

Jo Ractliffe (South African, b. 1961)
‘God with us’, Pomfret
2011
Inkjet print, 2015
Height: 17 11/16 in. (45cm) Width: 22 1/16 in. (56cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

The abandoned mining town of Pomfret is located in the far north of South Africa, near the border with Botswana. After the closure of its asbestos mine, the town was converted into a military base and used to accommodate 32 Battalion, an elite Special Forces unit made up of Angolan soldiers. When the unit was disbanded in 1993, most of the veterans and their families stayed in Pomfret, living in abject conditions without basic services and under constant threat of eviction. Ractliffe has spoken of finding graves there marked only with “Born Angola”; for the veterans whose paths ended here, death in Pomfret was “the final displacement”.

 

Jo Ractliffe (South African, born 1961) 'Unidentified memorial in the desert, south of Namibe I' 2009

 

Jo Ractliffe (South African, b. 1961)
Unidentified memorial in the desert, south of Namibe I
2009
From the series As Terras do Fim do Mundo
Inkjet print, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

In this photograph, an assemblage of objects perches on a stony outcrop, surrounded by a barren expanse of desert. The long pole protruding from the pile is topped with a ragged banner, announcing the presence of this unusual memorial, but giving little away about its exact significance. Ractliffe took this photograph close to the Cuban base at Namibe on Angola’s southwestern coast, where an extensive network of trenches, bunkers, and anti-aircraft defences is located. As Ractliffe has remarked: “there are some very poignant things in the landscape, like these markers, that seem to say ‘I have been here, people have been here.'”

 

Jo Ractliffe (South African, born 1961) 'The battlefield at Cuito Cuanavale' (diptych left) 2009

Jo Ractliffe (South African, born 1961) 'The battlefield at Cuito Cuanavale' (diptych right) 2009

 

Jo Ractliffe (South African, b. 1961)
The battlefield at Cuito Cuanavale (diptych left and right)
2009
From the series As Terras do Fim do Mundo
Inkjet prints, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

Reflecting on this diptych, Ractliffe has observed that “Quite often, sites of significance don’t evidence their historical weight.” It is true that the calm landscape – muddy riverbanks weaving through a marsh – together with the small size of these prints belies the huge historical importance of their subject. In 1987-88, during the Angolan Civil War, Cuito Cuanavale was the site of the biggest battle in Africa since World War II. On one side was the armed wing of Agostinho Neto’s government, supported by their Cuban allies; on the other side was the rebel group UNITA, supported by the South African Defence Force. The outcome of the battle is still widely disputed, with both sides claiming victory.

 

Jo Ractliffe (South African, born 1961) 'Thorn tree, Platfontein' 2012

 

Jo Ractliffe (South African, b. 1961)
Thorn tree, Platfontein
2012
Inkjet print, 2015
Height: 14 3/16 in. (36cm) Width: 17 11/16 in. (45cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

In this photograph and the next one, “Playing soccer with marbles, Platfontein”, the placement of personal objects in a seemingly unforgiving setting hints at the tension between resilience and vulnerability negotiated by the resident community. The settlement of Platfontein is now home to veterans of 31/201 Battalion, a South African Special Forces unit made up of Angolan and Namibian San trackers who became tied up in the independence conflicts in Angola and Namibia. After the conflicts ended, many of the San veterans were relocated to Schmidtsdrift, but had to live in tents for 14 years because of a competing claim on the land from local communities. The veterans ultimately accepted financial compensation, which enabled them to buy land at Platfontein, pictured here.

 

Jo Ractliffe (South African, born 1961) 'Playing soccer with marbles, Platfontein' 2012

 

Jo Ractliffe (South African, b. 1961)
Playing soccer with marbles, Platfontein
2012
Inkjet print, 2015
Height: 10 1/4 in. (26cm) Width: 12 13/16 in. (32.5cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

In this photograph and the previous one, “Thorn tree, Platfontein”, the placement of personal objects in a seemingly unforgiving setting hints at the tension between resilience and vulnerability negotiated by the resident community. The settlement of Platfontein is now home to veterans of 31/201 Battalion, a South African Special Forces unit made up of Angolan and Namibian San trackers who became tied up in the independence conflicts in Angola and Namibia. After the conflicts ended, many of the San veterans were relocated to Schmidtsdrift, but had to live in tents for 14 years because of a competing claim on the land from local communities. The veterans ultimately accepted financial compensation, which enabled them to buy land at Platfontein, pictured here.

 

Jo Ractliffe (South African, born 1961) 'Veteran soldiers of 'Omega' 31/201 Battalion, Paulo Cassanga and Automover Kakenge, Schmidtsdrift (portrait under instruction)' 2012

 

Jo Ractliffe (South African, b. 1961)
Veteran soldiers of ‘Omega’ 31/201 Battalion, Paulo Cassanga and Automover Kakenge, Schmidtsdrift (portrait under instruction)
2012
Inkjet print, 2015
Height: 14 3/16 in. (36cm) Width: 17 11/16 in. (45cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

The veterans’ experiences are given added poignancy in this portrait, in which they stand in front of a tarpaulin hanging untidily from a derelict building. Automover Kakenge, standing on the right, is the leader of a group of San veterans who refused to move to Platfontein after their land claim at Schmidtsdrift was unsuccessful. Kakenge has stated that “Schmidtsdrift was the ending for us […]. When we were relocated from Namibia, we had to swear, “South Africa is our land, and our house is here in Schmidtsdrift.” This attachment to the land and buildings at Schmidtsdrift is the endpoint of what Ractliffe refers to as an “epic narrative of displacement”.

 

Jo Ractliffe (South African, born 1961) 'On the Road to Cuito Cuanavale I' 2009

 

Jo Ractliffe (South African, b. 1961)
On the Road to Cuito Cuanavale I
2009
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

Jo Ractliffe (South African, born 1961) 'Donkey, Pomfret Asbestos Mine' 2011

 

Jo Ractliffe (South African, b. 1961)
Donkey, Pomfret Asbestos Mine
2011
From the series The Borderlands
Inkjet print, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

The Aftermath of Conflict: Jo Ractliffe’s Photographs of Angola and South Africa at The Metropolitan Museum of Art beginning August 24 features 23 works produced over the past 10 years by South African artist Jo Ractliffe (born 1961). The photographs examine the landscapes of Angola and South Africa as sites of conflict and contention. Focusing on the aftermath of the Angolan Civil War and the intertwined conflict known in South Africa as the “Border War,” her photographs address themes of dispossession, history, memory, and erasure. The exhibition highlights Ractliffe’s engagement with the land and structures of Angola’s capital, Luanda, as well as with places in the Angolan and South African countryside where unmarked mass graves, minefields, and former military testing sites reveal the complex traces of the past in the present.

The 23 works on loan from the artist include single images, diptychs, and triptychs selected from three photographic series: Terreno Ocupado (2007), As Terras do Fim do Mundo (2010), and The Borderlands (2013). In Terreno Ocupado, Ractliffe establishes the city of Luanda as a multilayered place of both historical dispute and present-day struggle. Photographs highlighting the Portuguese colonial occupation of Angola and its imprint on the built environment appear alongside works depicting the often harsh economic conditions of Luanda today. By focusing on the structural instability of the city’s shanty towns, as well as the longer history of political instability threading through their foundations, these photographs question what it means for land to be occupied, abandoned, and struggled over.

The works selected from 2010’s As Terras do Fim do Mundo highlight traces of the Border War, a conflict fought in rural Angola and present-day Namibia between South Africa and its allies on one side and, on the other, the exiled Namibian liberation movement, the Angolan government, and their allies. For this series, Ractliffe traveled alongside ex-soldiers returning to the desolate places where they had fought. The images produced on these trips include photographs of unmarked mass graves, minefields, and other often-inconspicuous signs of past conflict, showing how landscape can function as a repository of histories and memories and yet not be apparent at first glance. Most of the photographs in this series appear devoid of human presence, but in a triptych featuring mural representations of the conflict’s three key political leaders – Fidel Castro, Agostinho Neto, and Leonid Brezhnev – Ractliffe points more directly to notions of individual agency, culpability, and experience.

For her most recent series, The Borderlands, Ractliffe sought out sites in South Africa that were intricately connected to the history of the Border War and photographed their inhabitants amid their surroundings. The people she photographed, often the subjects of forced relocation and living in precarious conditions, exist at the intersection of the region’s troubled history and challenging present. Works from this series show how histories of violence and dispossession under apartheid intersect with these militarised landscapes.

The Aftermath of Conflict has been organised to coincide with the special exhibition Kongo: Power and Majesty, which focuses on works created by artists in present-day Angola between the 16th and 19th centuries (on view at the Metropolitan Museum September 17, 2015 – January 3, 2016). The landscapes captured by Ractliffe consider a more recent chapter of Angola’s history. The Aftermath of Conflict: Jo Ractliffe’s Photographs of Angola and South Africa is curated by Yaëlle Biro, Associate Curator in the Department of Africa, Oceania, and the Americas at the Metropolitan Museum, together with Dr Evelyn Owen, the 2013-2015 Mellon Curatorial Fellow at The Africa Center, New York, in collaboration with the Museum’s Department of Modern and Contemporary Art and Department of Photographs.

Text from The Metropolitan Museum of Art

 

Jo Ractliffe (South African, born 1961) 'Man maintaining the lawn of the Monumento de Agostinho Neto' 2007

 

Jo Ractliffe (South African, b. 1961)
Man maintaining the lawn of the Monumento de Agostinho Neto
2007
Inkjet print, 2015
Height: 13 3/4 in. (35cm) Width: 13 3/4 in. (35cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

This monument to Angola’s first president Agostinho Neto (1922-79) was erected in 2001-2 as a gift from North Korea. Neto, a doctor and poet, was a founder of the MPLA (People’s Movement for the Liberation of Angola) and led the party during Angola’s struggle for independence from Portugal. When the Portuguese withdrew from Angola on November 11, 1975, with help from Cuba and in the face of competing anti-colonial factions, the MPLA seized control of Luanda and Neto became president. He went on to cultivate closer ties with the Soviet Union and other communist states. In this photograph, Ractliffe contrasts the heroic figure symbolising freedom from colonialism shown on the monument’s pedestal with the everyday heroism of a man pushing a heavy lawnmower.

 

Jo Ractliffe (South African, born 1961) Banco Nacional de Angola (diptych left) 2007

Ractliffe-banco-nacional-RIGHT-WEB

 

Jo Ractliffe (South African, b. 1961)
Banco Nacional de Angola (diptych left and right)
2007
Inkjet prints, 2015
Height: 17 11/16 in. (45cm) Width: 17 11/16 in. (45cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

The National Bank of Angola building was designed by Portuguese architect Vasco Regaleira and inaugurated in 1956 by Portuguese president Francisco Lopes. The building’s pink exterior, with its imposing dome and colonnade, was intended to fit in with other colonial-style buildings in Luanda. The bank’s lavish décor provides a dramatic contrast to many of Ractliffe’s other photographs of the city, especially the marble atrium, which features tiled murals portraying the arrival of the Portuguese in Angola. In the image to the right (bottom above), Portuguese explorers are depicted disembarking from their ship and erecting a padrão; these large limestone markers were inscribed with the Portuguese coat of arms and positioned at key locations along the coast by Portuguese navigator Diogo Cão in 1483. An original padrão is currently on view in the exhibition Kongo: Power and Majesty.

 

Jo Ractliffe (South African, born 1961) 'Roadside stall on the way to Viana' 2007

 

Jo Ractliffe (South African, b. 1961)
Roadside stall on the way to Viana
2007
From the series Terreno Ocupado
Inkjet print, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

In this photograph and the next one, “Wreck of a Chinese ship at Ilha”, stretches of bare ground in and around Luanda form the backdrop to ghostly signs of economic activity. Workmen’s overalls dangle from a tree at a roadside stall next to a taxi rank, and a grounded ship basks on a deserted beach while other vessels float offshore. Before it capsized in the mid-2000s, this ship transported and housed Chinese workers drawn to Angola by the many Chinese-run infrastructure projects in the country. These images reflect Angola’s diverse economy where a globalised workforce and the informal sector both play important roles, yet the absence of the workers themselves is striking.

 

Jo Ractliffe (South African, born 1961) 'Details of tiled murals at the Fortaleza De São Miguel, depicting Portuguese explorations in Africa 2' 2007

 

Jo Ractliffe (South African, b. 1961)
Details of tiled murals at the Fortaleza De São Miguel, depicting Portuguese explorations in Africa 2
2007
Inkjet print, 2015
Height: 13 3/4 in. (35cm) Width: 13 3/4 in. (35cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

Jo Ractliffe (South African, born 1961) 'Details of tiled murals at the Fortaleza De São Miguel, depicting Portuguese explorations in Africa 4' 2007

 

Jo Ractliffe (South African, b. 1961)
Details of tiled murals at the Fortaleza De São Miguel, depicting Portuguese explorations in Africa 4
2007
Inkjet print, 2015
Height: 13 3/4 in. (35cm) Width: 13 3/4 in. (35cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

This photograph and the previous one were taken inside the Fortaleza de São Miguel, a fort originally built in 1576 by Paulo Dias de Novais, the explorer who “founded” Luanda. It later became the administrative heart of the Portuguese colony of Angola in its important role as a trading centre and slaving hub. In 1938 the fort was transformed into the home of the Museum of Angola, and the tiled murals shown here were commissioned at this time. Depicting the flora, fauna and history of Angola, these cobalt-blue 18th-century style tiles were inspired by early modern European prints depicting the Kongo and Angola kingdoms, and represented an attempt to legitimise the ongoing Portuguese presence in the country. Sources included Olfert Dapper’s 1668 “Description of Africa” from which the map fragment shown here is drawn.

 

Jo Ractliffe (South African, born 1961) Decommissioned military outpost, Schmidtsdrift (triptych left) 2012

Jo Ractliffe (South African, born 1961) Decommissioned military outpost, Schmidtsdrift (triptych middle) 2012

Jo Ractliffe (South African, born 1961) Decommissioned military outpost, Schmidtsdrift (triptych right) 2012

 

Jo Ractliffe (South African, b. 1961)
Decommissioned military outpost, Schmidtsdrift (triptych left, middle and right)
2012
From the series The Borderlands
Inkjet prints, 2015
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

In this triptych, Ractliffe’s focal point is a ghostly ensemble of deserted military buildings. Schmidtsdrift’s original inhabitants were forcibly relocated in the 1950s-70s under the apartheid regime’s policy of racial segregation. From 1974 the emptied settlement was used as a military training base by the South African Defence Force, which was fighting against the exiled Namibian liberation movement and the Angolan army in a conflict later referred to in South Africa as the “Border War”. Now that the war is over, the decommissioned buildings remain, testifying to the region’s past conflicts and histories of forced relocation.

 

Jo Ractliffe (South African, born 1961) Mural depicting Fidel Castro, Agostinho Neto and Leonid Brezhnev, circa 1975, Viriambundo (detail) 2009

Jo Ractliffe (South African, born 1961) Mural depicting Fidel Castro, Agostinho Neto and Leonid Brezhnev, circa 1975, Viriambundo (detail) 2009

Jo Ractliffe (South African, born 1961) Mural depicting Fidel Castro, Agostinho Neto and Leonid Brezhnev, circa 1975, Viriambundo (detail) 2009

Jo Ractliffe (South African, born 1961) 'Mural depicting Fidel Castro, Agostinho Neto and Leonid Brezhnev, circa 1975, Viriambundo' 2009

 

Jo Ractliffe (South African, b. 1961)
Mural depicting Fidel Castro, Agostinho Neto and Leonid Brezhnev, circa 1975, Viriambundo (details)
2009
Inkjet prints, 2015
Height: 15 3/4 in. (40cm) Width: 19 11/16 in. (50cm)
On loan from the artist, courtesy Stevenson, Cape Town and Johannesburg
© Jo Ractliffe. Courtesy of Stevenson, Cape Town and Johannesburg

 

 

The central figure of Agostinho Neto, Angola’s anti-colonial leader and president from 1975-79, is flanked by Cuban revolutionary Fidel Castro on the left, and Soviet leader Leonid Brezhnev on the right. This mural personifies the threats of African Nationalism and Communism that propelled South Africa to become involved in the Border War. It highlights the fact that the Angolan Civil War was also a Cold War battleground, with Cuba and the Soviet Union on the side of Neto’s party, the MPLA (People’s Movement for the Liberation of Angola), and South Africa and the United States supporting UNITA (National Union for the Total Independence of Angola). Here, all three men still command a presence despite their faded, cartoon-like rendering.

 

 

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Phone: 212-535-7710

Opening hours:
Sunday – Tuesday, and Thursday: 10am – 5pm
Friday and Saturday: 10am – 9pm
Closed Wednesday

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

08
Oct
15

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

Exhibition dates: 26th May – 18th October 2015

 

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

 

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

 

 

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 (American, b. 1975)
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

 

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 specialising 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 (American, b. 1946)
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 the 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 22.6cm (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 9cm (2 11/16 x 3 9/16 in.)
Plate: 8.1 x 10.7cm (3 3/16 x 4 3/16 in.)
Mat: 8.2 x 10.6cm (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 9cm (2 11/16 x 3 9/16 in.)
Plate: 8.1 x 10.7cm (3 3/16 x 4 3/16 in.)
Mat: 8.2 x 10.6cm (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, b. 1939)
Memphis
Negative 1971; print 1974
Dye imbibition print
32.9 x 47.9cm (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, b. 1948)
Goodbye to a Horse
1993
Gelatin silver print
39 x 39.2cm (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 16.7cm (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 5.7cm (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 39.1cm (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 20cm (9 3/4 x 7 7/8 in.)
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, b. 1943)
In the Box/Out of the Box [right]
1971
Gelatin silver print
35.4 x 27.7cm (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 27.7cm (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:
Daily 10am – 5pm

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

 

Pieter Hugo. 'Green Point Common, Capetown' 2013

 

Pieter Hugo (South African, b. 1976)
Green Point Common, Capetown
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

 

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, colonisation, 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.

 

 

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

 

Pieter Hugo (South African, b. 1976)
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 (South African, b. 1976)
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 (South African, b. 1976)
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 (South African, b. 1976)
Hilbrow
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

 

Created over the past eight years, Pieter Hugo’s series Kin confronts complex issues of colonisation, 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. 'The Miners’ Monument, Braamfontein' 2013

 

Pieter Hugo (South African, b. 1976)
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 colonisation, 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 (South African, b. 1976)
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 (South African, b. 1976)
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 (South African, b. 1976)
Daniel Richards, Milnerton
2013
© Pieter Hugo
Courtesy Stevenson Gallery, Capetown/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Daniela Beukman, Milnerton' 2013

 

Pieter Hugo (South African, b. 1976)
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 (South African, b. 1976)
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
79 rue des Archives
75003 Paris

Opening hours:
Tuesday – Sunday
11am – 7pm
Closed on Mondays

Fondation Henri Cartier-Bresson website

LIKE ART BLART ON FACEBOOK

Back to top

24
Jun
14

Exhibition: ‘Public Intimacy: Art and Other Ordinary Acts in South Africa’ at the Yerba Buena Center for the Arts, San Francisco

Exhibition dates: 21st February – 29th June 2014

Exhibition artists

Public Intimacy presents

  • Photography by Ian Berry, Ernest Cole, David Goldblatt, Terry Kurgan, Sabelo Mlangeni, Santu Mofokeng, Billy Monk, Zanele Muholi, Lindeka Qampi, Jo Ractliffe, and Mikhael Subotzky and Patrick Waterhouse
  • Video works by William Kentridge, Donna Kukama, Anthea Moys, and Berni Searle
  • Painting and sculpture by Nicholas Hlobo and Penny Siopis
  • Puppetry by Handspring Puppet Company
  • Publications, prints, graphic works, and public interventions by Chimurenga, ijusi (Garth Walker), Anton Kannemeyer, and Cameron Platter
  • Performances by Athi-Patra Ruga, Kemang Wa Lehulere, and Sello Pesa and Vaughn Sadie with Ntsoana Contemporary Dance Theatre

 

 

Santu Mofokeng. 'Opening Song, Hand Clapping and Bells' 1986

 

Santu Mofokeng (South Africa, 1956-2020)
Opening Song, Hand Clapping and Bells
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35cm)
© Santu Mofokeng

 

 

Continuing my fascination with South African art and photography, here is another exhilarating collection of work from an exhibition jointly arranged between SFMOMA and the Yerba Buena Center for the Arts, San Francisco. This art has so much joy, life, movement and “colour”. I particularly like The Future White Women of Azania series by Athi-Patra Ruga, who presented his work at the 55th Venice Biennale in the African pavilion. Thank god not another rehashed colonial image, even though he is working with the tropes of myth and the history of Africa as a contemporary response to the post-apartheid era.

Marcus

.
Many thankx to SFMOMA and Yerba Buena Center for the Arts for allowing me to publish the installation photographs in the posting. Most of the other photographs were gathered from the internet. Please click on the photographs for a larger version of the image.

 

“Disrupting expected images of South Africa, the 25 contemporary artists and collectives featured in Public Intimacy eloquently explore the poetics and politics of the everyday. This collaboration with Yerba Buena Center for the Arts presents pictures from SFMOMA’s collection of South African photography alongside works in a broad range of media, including video, painting, sculpture, performance, and publications – most made in the last five years, and many on view for the first time on the West Coast. Coinciding with the 20th anniversary of democracy in South Africa, Public Intimacy reveals the nuances of human interaction in a country still undergoing significant change, vividly showing public life there in a more complex light.”

Text from the SFMOMA website

 

 

Santu Mofokeng. 'Leading in Song, Johannesburg - Soweto Line' 1986

 

Santu Mofokeng (South Africa, 1956-2020)
Leading in Song, Johannesburg – Soweto Line
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35cm)
© Santu Mofokeng

 

Santu Mofokeng. 'Hands in Worship, Johannesburg - Soweto Line' 1986

 

Santu Mofokeng (South Africa, 1956-2020)
Hands in Worship, Johannesburg – Soweto Line
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35cm)
© Santu Mofokeng

 

 

These images, by the South African photographer Santu Mofokeng, ostensibly depict scenes of segregated transport during apartheid. Yet in their composition they evoke something more: the rhythms and textures of everyday life. Taken from within and among a crowd of commuters, the pictures seem to sway with the velocity of the train carriage. Shards of light blur the edges of figures, interplaying with shifting shadows as passengers move in unison. Titled “Train Church,” Mofokeng’s series was made during a few weeks in 1986, and in South Africa it became veritably synonymous with his name. Mofokeng, who died in January, at the age of sixty-three, was a photographer whose body of work – both images and text – waded through themes of history and land, memory and spirituality, and helped shape the course of South African photography.

Oluremi C. Onabanjo. “How Santu Mofokeng Shaped South African Photography,” on The New Yorker website February 24, 2020 [Online] Cited 10/04/2021.

 

Santu Mofokeng. 'Supplication, Johannesburg - Soweto Line' 1986

 

Santu Mofokeng (South Africa, 1956-2020)
Supplication, Johannesburg – Soweto Line
1986
From the series Train Church
Pigment print
9 13/16 x 13 3/4 in. (25 x 35cm)
© Santu Mofokeng

 

Ian Berry. 'Guests at a 'moffie'drag party' Cape Town, South Africa, 1960

 

Ian Berry (British, b. 1934)
Guests at a ‘moffie’drag party
Cape Town, South Africa, 1960
Silver gelatin photograph

 

 

Ian Berry was born in Lancashire, England. He made his reputation in South Africa, where he worked for the Daily Mail and later for Drum magazine. He was the only photographer to document the massacre at Sharpeville in 1960, and his photographs were used in the trial to prove the victims’ innocence.

He moved to South Africa in 1952, where he soon taught himself photography. He worked under the tutelage of Roger Madden, a South African photographer who had been an assistant to Ansel Adams. After some time as an amateur photographer, Berry began photographing communities and weddings. During this period he met Jürgen Schadeberg, also a European immigrant and photographer. Schadeberg was offered a position with the new African Sunday newspaper eGoli but declined, suggesting Berry apply for the position instead. After working there only 10 months, the newspaper closed, and Berry began working for the Benoni City Times, but he soon became more interested in freelance work.

Berry returned to Great Britain and traveled for some time but returned to South Africa in the early 1960s and worked for the Daily Mail. Later Tom Hopkinson, previously editor of the British Picture Post, hired Berry to work for Drum magazine. He was in Sharpeville on 21 March 1960, when a peaceful protest turned violent, leading to the deaths of 69 people and the wounding of 178 others by police. There were no other photographs documenting the events, and Berry’s were entered into evidence in the court proceedings proving that the victims had done nothing wrong. Berry was invited by Henri Cartier-Bresson to join Magnum Photos in 1962 when he was based in Paris; five years later he became a full member. In 1964 he moved to London and began working for Observer Magazine. He has since traveled the globe, documenting social and political strife in China, Republic of Congo, Czechoslovakia, Ethiopia, Israel, Ireland, Vietnam, and the former Soviet Union. He has contributed to publications including Esquire, Fortune, Geo, Life, National Geographic, Paris-Match, and Stern.

Text from the Wikipedia website

 

Billy Monk. 'The Catacombs, 30 September 1967' 1967, printed 2011

 

Billy Monk
The Catacombs, 30 September 1967
1967, printed 2011
Gelatin silver print
10 1/16 x 14 15/16 in. (25.56 x 37.94 cm)
Collection SFMOMA, Accessions Committee Fund purchase
© Estate of Billy Monk

 

Billy Monk. 'The Catacombs, 5 February 1968' 1968, printed 2011

 

Billy Monk
The Catacombs, 5 February 1968
1968, printed 2011
Gelatin silver print
11 x 16 in. (27.94 x 40.64cm)
Courtesy of Stevenson, Cape Town and Johannesburg
© Estate of Billy Monk

 

 

William John Monk (died 31 July 1982) was a South African, known for his photographs of a Cape Town nightclub between 1967 and 1969, during apartheid. In 2012 a posthumous book was published, Billy Monk: Nightclub Photographs. …

When Monk’s work as a bouncer did not work out he took up photography. Still working in The Catacombs, he began to make his living taking pictures of the diverse clientele in a seedy bar. He used a Pentax camera, with a 35 mm focal-length lens, a small flash and Ilford FP4 film. Monk stopped taking pictures in 1969. His photographs show a variety of the underbelly of Cape Town life at the time – ranging from old men with young wives and gay couples, to midgets and mixed race relationships, he shows a side of life under apartheid that is rarely seen elsewhere.

 

Discovery of his work

Monk’s work was discovered in 1979 by Jac de Villiers, when he moved into Monk’s old studio. Not only were they already well constructed by the photographer, they were also impeccably annotated with dates and names, which made curation a simple and enjoyable process. The first exhibition of Monk’s work took place at the Market Gallery in Johannesburg in 1982 – and although Monk could not attend the event it was subject to much critical acclaim.

 

Apartheid

Monk was working during apartheid in South Africa – a time when the colour of your skin was indicative of where you could live, work, who you could marry, and where you could drink. The underground lifestyle of The Catacombs allowed for dissent. Monk chose to take pictures originally as a way of making money, by selling them to his clients.

His photographs reveal a variety of clientele. Some are sloppy, some are neat and put together. Many of the women are heavily made up with short dresses, and almost all the photographs are highly sexually charged. The photographs reveal much of what was not allowed under apartheid rule – specifically a variety of same sex and mixed race couples.

Text from the Wikipedia website

 

Zanele Muholi. 'Nomonde Mbusi, Berea, Johannesburg' 2007

 

Zanele Muholi (South Africa, b. 1972)
Nomonde Mbusi, Berea, Johannesburg
2007
From the Faces and Phases series
Gelatin silver print
23 13/16 in. x 34 1/16 in. (60.5 cm x 86.5cm)
Courtesy of the artist and Stevenson, Cape Town and Johannesburg
© Zanele Muholi

 

 

Zanele Muholi, born 1972

Muholi’s work addresses the reality of what it is to be LGBT (lesbian, gay, bisexual, transgender) in South Africa. She identifies herself as a visual activist, dealing with issues of violation, violence and prejudice that she and her community face, despite South Africa’s progressive constitution.

In Faces and Phases, she sets out to give visibility to black lesbians and to celebrate the distinctiveness of individuals through the traditional genre of portraiture. The portraits are taken outdoors with a hand-held camera to retain spontaneity and often shown in a grid to highlight difference and diversity. In the series Beulahs, she shows young gay men, wearing Zulu beads and other accessories usually worn by women, who invert normative gender codes in both costume and pose. At the same time her photographs evoke tourist postcards and recycled stereotypes of Africans and recall traditional anthropological and ethnographic iconography.

Faces and Phases, is a group of black and white portraits that I have been working on from 2006 until now – it has become a lifetime project. The project is about me, the community that I’m part of. I was born in the township: I grew up in that space. Most of us grew up in a household where heterosexuality was the norm. When you grow up, you think that the only thing that you have to become as a maturing girl or woman is to be with a man; you have to have children, and also you need to have lobola or “bride price” paid for you. For young men, the expectation for them is to be with women and have wives and procreate: that’s the kind of space which most of us come from. We are seen as something else by society – we are seen as deviants. We’re not going to be here forever, and I wanted to make sure that we leave a history that is tangible to people who come after us.”

Zanele Muholi, interviewed by Tamar Garb, South Africa, 2010.
Text from the V & A website

 

David Goldblatt. 'Woman smoking, Fordsburg, Johannesburg' 1975

 

David Goldblatt (South Africa, 1930-2018)
Woman smoking, Fordsburg, Johannesburg
1975
Pigment inkjet print
23 5/8 in. x 29 1/2 in. (60 cm x 75cm)
Collection SFMOMA, Accessions Committee Fund purchase
© David Goldblatt

 

 

David Goldblatt HonFRPS (29 November 1930 – 25 June 2018) was a South African photographer noted for his portrayal of South Africa during the period of apartheid. After apartheid had ended he concentrated more on the country’s landscapes. What differentiates Goldblatt’s body of work from those of other anti-apartheid artists is that he photographed issues that went beyond the violent events of apartheid and reflected the conditions that led up to them. His forms of protest have a subtlety that traditional documentary photographs may lack: “[M]y dispassion was an attitude in which I tried to avoid easy judgments. … This resulted in a photography that appeared to be disengaged and apolitical, but which was in fact the opposite.”

 

 

Jointly organised by the San Francisco Museum of Modern Art (SFMOMA) and Yerba Buena Center for the Arts (YBCA), Public Intimacy: Art and Other Ordinary Acts in South Africa brings together 25 artists and collectives who disrupt expected images of a country known through its apartheid history. The exhibition features an arc of artists who look to the intimate encounters of daily life to express the poetics and politics of the “ordinary act,” with work primarily from the last five years as well as photographic works that figure as historical precedents. On view at YBCA February 21 through June 29, 2014, Public Intimacy presents more than 200 works in a wide range of mediums, many of them making U.S. or West Coast debuts.

The exhibition joins SFMOMA’s important and growing collection of South African photography with YBCA’s multidisciplinary purview and continued exploration of the Global South. Significant documentary photography is paired with new photographs and work in other mediums, including video, painting, sculpture, performance, and publications, to reveal the multifaceted nuances of everyday life in a country still undergoing significant change. Coinciding with the 20th anniversary of democracy in South Africa, Public Intimacy looks at the way artists imagine present and future possibilities in South Africa. A new orientation emerges through close-up views of street interactions, portraiture, fashion and costume, unfamiliar public actions, and human imprints on the landscape.

The exhibition’s three curators – Betti-Sue Hertz, director of visual arts at YBCA; Frank Smigiel, associate curator of public programs at SFMOMA; and Dominic Willsdon, Leanne and George Roberts Curator of Education and Public Programs at SFMOMA – developed the show after visits to South Africa, where they met with artists, curators, and critics. The exhibition – and a companion publication to be published in fall 2014 – grew out of this research.

“Although South Africa’s political history remains vital to these artists and is important for understanding their work, Public Intimacy offers a more subtle view of the country through personal moments,” said Hertz. “It goes against expectations in order to reveal the smaller gestures and illuminate how social context has affected artists and how they work.”

“The familiar image of contemporary South Africa as a place of turmoil is, of course, not the whole story,” added Willsdon. “The art in this exhibition restages how those violent incidents fit in the broader realm of human interactions – a way of showing public life there in a more complex light.”

“Another central aspect of the exhibition is live performance,” said Smigiel. “Three major live works will unfold both in and outside the gallery context, offering a way to situate and reframe San Francisco through the lens of what artists are producing in South Africa.”

Public Intimacy is part of SFMOMA’s collaborative museum exhibitions and extensive off-site programming taking place while its building is temporarily closed for expansion construction through early 2016. As neighbours across Third Street in San Francisco, YBCA and SFMOMA have partnered in the past on various performance and exhibition projects, but Public Intimacy represents the deepest collaboration of shared interests to date between the two institutions. It also brings together SFMOMA’s approach to curating live art and YBCA’s multidisciplinary interest in exhibitions, social practice, and performances.

 

Exhibition highlights

While the exhibition explores new approaches to daily life in post-apartheid South Africa, it also makes visible the continued commitment of artists to activism and contemporary politics. Beginning with photographs from the late 1950s and after, the exhibition includes vital moments in the country’s documentary photography – from Ian Berry’s inside look at an underground drag ball to Billy Monk’s raucous nightclub photos – each capturing a moment of celebration within different social strata of South African society. Ernest Cole’s photographs of miners’ hostels and bars and Santu Mofokeng’s stirring photographs of mobile churches on commuter trains reveal everyday moments both tender and harsh.

David Goldblatt’s photographs depict the human landscape in apartheid and after, providing the genesis of the idea of “public intimacy.” Over decades of photographs in urban, suburban, and rural locations, Goldblatt has chronicled the changing nature of interpersonal engagement in South Africa. At the same time, they provide a historical backdrop and visual precedent for other artists in the exhibition, including Zanele Muholi and Sabelo Mlangeni.

Muholi has won several awards for her powerful photographic portraits as well as her activism on behalf of black lesbians in South Africa. Although best known for her photographs – in particular her Faces and Phases series – Muholi continuously experiments with an expanded practice including documentary film, beadwork, text, and her social-action organisation Inkanyiso, which gives visibility to conditions facing lesbians of colour in her country. “Sexual politics has been looked at less than racial politics in South Africa, but in many ways, the two have always been intertwined,” said Willsdon.

Mikhael Subotzky and Patrick Waterhouse bring another perspective to the upheavals of life in the city of Johannesburg with works from their Ponte City (2008-10) series, comprised of photographs, video, and a publication offering various views of this centrally located and iconic 54-story building. The works illustrate the struggles facing many native and immigrant South Africans in the years following the dissolution of apartheid, including stalled economic growth and social opportunities.

In contrast to the daily realities pictured in photographic works in the exhibition, Athi-Patra Ruga’s ongoing performance series The Future White Women of Azania (2010-present) features fantastical characters – usually played by the artist – whose upper bodies sprout colourful balloons while their lower bodies pose or process in stockings and high heels. Ruga’s Azania is a changing utopia, and Smigiel notes the shift: “The balloons are filled with liquid, and as the figure moves through the streets, they start popping, so the character dissolves and reveals a performer, and the liquid spills out and into a rather sloppy line drawing.” A new iteration of the series, The Elder of Azania, will premiere in the YBCA Forum during the exhibition’s opening weekend.

Chimurenga, an editorial collective working at the intersection of pan-African culture, art, and politics produces publications, events, and installations. Founded in 2002 by Ntone Edjabe, the collective has created the Chimurenga Library, an online archiving project that profiles independent pan-African paper periodicals from around the world. Expanding upon this concept, their presence in Public Intimacy will have two elements: a text and media resource space in YBCA’s galleries and an intervention at the San Francisco Public Library main branch that will explore the history of pan-African culture in the Bay Area, scheduled to open in late May.

Providing one of the most personally vulnerable moments in the exhibition, Penny Siopis’s series of 90 small paintings on enamel, Shame (2002), provokes a visceral reaction. With red paint reminiscent of blood and bruises, Siopis mixes colour and text in an attempt to convey emotion rather than narrative. While she is interested in the guilt and embarrassment most frequently associated with shame, she also looks at the possibility for empathy that emerges from traumatic experiences.

In all of these works, explains Hertz, “We are looking at how art and activism align, but we’re also interested in how politics is embedded in less obviously political practices, such as Sabelo Mlangeni’s photographs of mining workers’ hostels, Penny Siopis’s powerful painting series about human vulnerability, or Nicholas Hlobo’s large-scale, organically shaped sculptures made primarily of rubber.

Text from the SFMOMA website

 

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

Installation view of the exhibition 'Public Intimacy: Art and Other Ordinary Acts in South Africa' at the Yerba Buena Center for the Arts, San Francisco

 

Installation views of the exhibition Public Intimacy: Art and Other Ordinary Acts in South Africa at the Yerba Buena Center for the Arts, San Francisco with, in the last photo, Nicholas Hlobo, Umphanda ongazaliyo (installation view), 2008; rubber, ribbon, zips, steel, wood, plaster; ICA Boston; © Nicholas Hlobo; photo: John Kennar.

 

Sabelo Mlangeni. 'Couple Bheki and Sipho' 2009

 

Sabelo Mlangeni (South Africa, b. 1980)
Couple Bheki and Sipho
2009
From the series Country Girls
Gelatin silver print
40 x 30cm
Courtesy the artist and Stevenson, Cape Town and Johannesburg
© Sabelo Mlangeni

 

 

Figures & Fictions: Sabelo Mlangeni from Victoria and Albert Museum on Vimeo.

 

Anton Kannemeyer. 'D is for dancing ministers' 2006

 

Anton Kannemeyer (South Africa, b. 1967)
D is for dancing ministers
2006
From the series Alphabet of Democracy
Lithograph on Chine Collé
22 1/16 x 24 in. (56 x 61cm)
Courtesy the artist and Stevenson, Cape Town and Johannesburg
© Anton Kannemeyer

 

 

Anton Kannemeyer (born 1967) is a South African comics artist, who sometimes goes by the pseudonym Joe Dog.

Anton Kannemeyer was born in Cape Town. He studied graphic design and illustration at the University of Stellenbosch, and did a Master of Arts degree in illustration after graduating. Together with Conrad Botes, he co-founded the magazine Bitterkomix in 1992 and has become revered for its subversive stance and dark humour. He has been criticised for making use of “offensive, racist imagery”. Kannemeyer himself said that he gets “lots of hate mail from white Afrikaners”.

His works challenge the rigid image of Afrikaners promoted under Apartheid, and depict Afrikaners having nasty sex and mangling their Afrikaans. “X is for Xenophobia”, part of his “Alphabet of Democracy”, depicts Ernesto Nhamwavane, a Mozambican immigrant who was burnt alive in Johannesburg in 2008. Some of Kannemeyer’s works deal with the issues of race relations and colonialism, by appropriating the style of Hergé’s comics, namely from Tintin in the Congo. In “Pappa in Afrika”, Tintin becomes a white African, depicted either as a white liberal or as a racist white imperialist in Africa. In this stereotyped satire, the whites are superior, literate and civilised, and the blacks are savage and dumb. In “Peekaboo”, a large acrylic work, the white African is jumping up in alarm as a black man figure pokes his head out of the jungle shouting an innocuous ‘peekaboo!’ A cartoon called “The Liberals” has been interpreted as an attack on white fear, bigotry and political correctness: a group of anonymous black people (who look like golliwogs) are about to rape a white lady, who calls her attackers “historically disadvantaged men”.

Text from the Wikipedia website

 

Terry Kurgan. 'Hotel Yeoville' 2012

 

Terry Kurgan (South Africa, b. 1958)
Hotel Yeoville
2012
Digital print on bamboo hahnemulle paper
Courtesy the artist
© Terry Kurgan

 

Penny Siopis. 'Untitled' from the series 'Shame' 2002

 

Penny Siopis (South Africa, b. 1953)
Untitled from the series Shame
2002
Paint on enamel
© Penny Siopis

 

 

Siopis established herself as one of the most talented and challenging artists in South Africa and beyond, by working across painting, installation and film, bringing together diverse references and materials in ways that disturb disciplinary boundaries and binaries.

Concepts of time run through all her work often manifesting in the actual physical changes of her materials; in her early cake paintings oil paint is made to be unnaturally affected by gravity, age and decay; in her films using archival footage time is marked as much by the effects of age on the celluloid as by the historical period caught in the sweep of the camera; in her accumulations of found objects in her installations, ideas of the heirloom come to the fore with her ongoing conceptual work Will (1997- ) – in which she bequeaths objects to beneficiaries – being the ultimate time piece only becoming complete on her death; her glue and ink paintings index flux as they record the material transformation that happens when viscous glue matter reacts with pigment, gravity, the artist’s bodily gestures, and the drying effects of the air.

Siopis sees her art practice as ‘open form’, operating as an intimate model in which the physical changes of her materials can be extrapolated into a larger ethics of personal and political transformation. According to Achille Mbembe this quality marks her interest in process as a perpetual state of becoming and entails “the crafting of an unstable relation between form and formlessness, in the understanding that the process of becoming proceeds in ways that are almost always unpredictable and at times accidental.”

 

Shame paintings

Siopis began the Shame paintings in 2002 and they became a key feature of her exhibition Three Essays on Shame (2005), an intervention in the museum of Sigmund Freud, once his house, in London. It was part of a project that marked the centenary of Freud’s groundbreaking publication Three Essays on the Theory of Sexuality. Responding to Freud, Siopis’ installation consisted of three parts located in Freud’s study (with the famous couch), dining room and bedroom and titled Voice, Gesture and Memory. The small paintings shown in a grid in this room were presented as a frieze in the Memory section of the original exhibition. The artist invokes this exhibition here through the arrangement of some of the objects from the installation on a table reminiscent of that in Freud’s dining room, where she had placed Baubo, one of Freud’s objects from his collection of antiquities. Baubo is a small terracotta figurine who gestures to her genitalia in a provocative way, an act some have interpreted as a show of shame that speaks of both vulnerability and empowerment.

In the installation Siopis also evoked a complex dialogue between Freud’s ideas and her personal experiences by inserting references (voice recordings and objects) to the traumatic proceedings of the South African Truth and Reconciliation Commission and colonial and apartheid history. Once again she was interested in binding the traces of human vulnerability and the dramatic effects of sweeping historical narratives.

In this body of work Siopis manipulates thick and gooey lacquer gel paint, used in home-craft to create stained glass and coloured mirror effects on surfaces. For her it is a physical process that moulds anxiety into form. It translates the result of childhood trauma that we know as shame onto a painted surface. Through the reflective qualities of the medium Siopis blends the bodily sensation with the experience of being looked at, both of which define shame. The use of language in the form of ready-made rubber stamped clichés that clash with the raw power of this familiar emotion further underscores the ‘unspeakable’ character of the experience.

Text from the Wikipedia website

 

Athi-Patra Ruga. 'The Future White Women of Azania' 2012

 

Athi-Patra Ruga (South Africa, b. 1984)
The Future White Women of Azania
2012
Performed as part of Performa Obscura in collaboration with Mikhael Subotzky
Commissioned for the exhibition Making Way, Grahamstown, South Africa
Photo: Ruth Simbao, courtesy Athi-Patra Ruga and WHATIFTHEWORLD/GALLERY

 

Athi-Patra Ruga. 'The Future White Women of Azania' 2012

 

Athi-Patra Ruga (South Africa, b. 1984)
The Future White Women of Azania
2012
Performed as part of Performa Obscura in collaboration with Mikhael Subotzky
Commissioned for the exhibition Making Way, Grahamstown, South Africa
Photo: Ruth Simbao, courtesy Athi-Patra Ruga and WHATIFTHEWORLD/GALLERY

 

 

Athi-Patra Ruga (born in 1984) is a South African artist who uses performance, photography, video, textiles, and printmaking to explore notions of utopia and dystopia, material and memory. His work explores the body in relation to sensuality, culture, and ideology, often creating cultural hybrids. Themes such as sexuality, HIV/AIDS, African culture, and the place of queerness within post-apartheid South Africa also permeate his work. …

 

Future White Women of Azania (FWWoA, 2010-2016)

FWWoA consists of several works, including performance, tapestry, sculpture, video, and photography creating a saga. FWWoA is an allegory of post apartheid nationalism, where Ruga then becomes the “elder” or historian. Creating this constellationary history, drawing references from pre Xhosa history and post apartheid South Africa, tells the history of the non-dynastic line of queens who rule the lands of Azania. Ruga’s works are attentive to the demands for justice for his ancestors and the need for radical transformation in the future, to shatter the ideologies of “rainbowism”. By using Azania as the framework for a critical history of South Africa, FWWoA reveals the silencing of black voices that extends back to the first moments of colonial contact, while also addressing the impossible and unrealized ideologies of forgiveness, reconciliation and redemption practiced in a post apartheid South African.

Azania’s allegorical capacity derives from its status as a symbol of a liberated South Africa during the anti-apartheid struggle. However, the term has a specific history that complicates such dreams. The place name ‘Azania’ first appears in The Periplus of the Erythraean Sea (40 AD) to refer to the lands of southern and eastern Africa. By designating the lands of Africa as ‘Azania’, Ruga understands the label as one example in a long history of constructing Africa as uninhabited until European colonial contact.

Ruga’s tapestries in the FWWoA saga chronicles allegorical depictions of queens, maps, and other iconography of Azania. The struggles of the non-dynastic line of queens depicting signifiers of an Azanian national identity: national seal, crest, flower, maps, while also including Ruga’s long standing interest in popular culture. Taking inspirations from Gustave Eiffel’s ‘Statue of Liberty’ or Eugene Delacroix’s ‘Liberty Leading the People’, Ruga brings about the idea of objectifying the woman’s body as the conflict, but in his own work creates them as powerful but passive. In his work ‘The Lands of Azania’, Ruga reworks the map of Eastern Africa. Insetting a national animal, the saber-tooth zebra, the Azanian flag, and giving several countries new names. Throughout the geography of Azania he further explores the overlaps of exile and diaspora in the African and Jewish communities.

A narrative with five characters, a national flower, crest and animal including the rainbow coloured balloon characters. One of Ahti-Patra’s goals was to make a myth accessible even for children. A cute figure that has the capacity to be festive, create fanfare yet become disquieting when it violently pops and bleeds.

Text from the Wikipedia website

 

Athi-Patra Ruga. 'The Night of the Long Knives I' 2013



 

Athi-Patra Ruga (South Africa, b. 1984)
The Night of the Long Knives I
2013


Archival inkjet Print on Photorag Baryta
202 x 157cm

 

 

The Future White Woman of Azania is an ongoing series of performances first conceived in 2010 and evolving to engage new definitions of nationhood in relation to the autonomous body. In the enactment of the site-specific work commissioned for the 55th Venice Biennale, the performance takes the form of an absurdist funerary procession. The participants are the ABODADE – the sisterhood order of Azania and the central protagonist – The Future White Woman.

“Azania, as a geographic location, is first described in 1stCentury Greek records of navigation and trade, The Peryplus of the Erythrean Sea and is thought to refer to a portion of the East and Southern African coast. The word Azania itself is thought to have been derived from an Arabic word referring to the ‘dark-skinned inhabitants of Africa.’

Azania is then eulogised in the black consciousness movement as a pre-colonial utopian black homeland – this Promised Land, referenced in struggle songs, political sermons and African Nationalist speeches. In Cold War pop culture, Marvel Comics used Azania as a fictional backdrop to a Liberation story that bares a close resemblance to the situation that was Apartheid in Old South Africa… so it is at once a mythical and faintly factual place/state that this performance unfolds… Who are the Azanians for what it’s worth? It is in this liminal state that the performance unfolds…”

Seeking to radically reimage the potential of Azania and its inhabitants, the performance questions the mythical place that we mourn for and asks who its future inhabitants may be. Using the “Nation-Finding language of pomp and procession,” Ruga proposes a bold and iconoclastic break with the past Utopian promise of the elders and instead presents us with a new potential and hybridity.

Text from the Athi-Patra Ruga blog March 17, 2015 [Online] Cited 08/04/2021.

 

Athi-Patra Ruga. 'Uzuko' 2013


 

Athi-Patra Ruga (South Africa, b. 1984)
Uzuko
2013
Wool, thread and artificial flowers on tapestry canvas
200 x 180 cm

 

 

Athi-Patra Ruga is one of a handful of artists, working in South Africa today, who has adopted the tropes of myth as a contemporary response to the post-apartheid era. Ruga has always worked with creating alternative identities that sublimate marginalised experience into something strangely identifiable.

In The Future White Women of Azania he is turning his attention to an idea intimately linked to the apartheid era’s fiction of Azania – a Southern African decolonialised arcadia. It is a myth that perhaps seems almost less attainable now than when the Pan Africanist Congress (PAC) appropriated the name in 1965 as the signifier of an ideal future South Africa – then at least was a time to dream more optimistically largely because the idea seemed so infinitely remote.

But Ruga, in his imaginings of Azania, has stuck closer to the original myth, situating it in Eastern Africa as the Roman, Pliny the Elder, did in the first written record of the name. Here Ruga in his map The Lands of Azania (2014-2094) has created lands suggestive of sin, of decadence and current politics. Countries named Palestine, Sodom, Kuntistan, Zwartheid and Nunubia are lands that reference pre-colonial, colonial and biblical regions with all their negative and politically disquieting associations. However, in what seems like something of a response to the ‘politically’ embroidered maps of the Italian artist Alighiero e Boetti, Ruga infers that the politicisation of words are in a sense prior to the constructed ideology of the nation state.

What is more Azania is a region of tropical chromatic colours, which is populated with characters whose identities are in a state of transformation. At the centre of the panoply of these figures stands The Future White Woman whose racial metamorphosis, amongst a cocoon of multi-coloured balloons, suggests something disturbing, something that questions the processes of a problematic cultural assimilation. And it is here that the veracity of the myth of a future arcadia is being disputed if not entirely rejected.

To be sure, unlike Barthes’ suggestion in his essay ‘Myth Today’, Ruga is not creating myth in an act that depoliticises, simplifying form in order to perpetuate the idea of an erroneous future ‘good society’. Instead, placing himself in amongst the characters in a lavish self portrait Ruga imagines himself into the space of the clown or jester (much like the Rococo painter Watteau did in his painting ‘Giles’), into the space of interpreter as well as a cultural product of the forces outside of his own control.

Ruga’s Azania is a world of confusing transformations whose references are Rococo and its more modern derivative Pop. But whatever future this myth is foreshadowing, with its wealth, its tropical backdrop, its complicated and confusing identities, it is not a place of peaceful harmony – or at least not one that is easily recognisable. As Ruga adumbrated at a recent studio visit, his generation’s artistic approach of creating myths or alternative realities is in some ways an attempt to situate the traumas of the last 200 years in a place of detachment. That is to say at a farsighted distance where their wounds can be contemplated outside of the usual personalised grief and subjective defensiveness.

Statement from WHATIFTHEWORLD.com on the Empty Kingdom website [Online] Cited 20/06/2014. No longer available online

 

Mikhael Subotzky and Patrick Waterhouse. 'Ponte City from Yeoville Ridge' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Ponte City from Yeoville Ridge
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Ponte City, Johannesburg
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Ponte City, Johannesburg
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Cleaning the Core, Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Cleaning the Core, Ponte City, Johannesburg
2008
Lightjet chromogenic print
49 7/16 x 59 1/16 in. (125.5 x 150cm)
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

Mikhael Subotzky and Patrick Waterhouse. 'Untitled I, Ponte City, Johannesburg' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Untitled I, Ponte City, Johannesburg
2008
Lightjet chromogenic print
Courtesy the artists and Goodman Gallery
© Mikhael Subotzky and Patrick Waterhouse

 

 

Originally intended as a nuclear point in the upwardly mobile social cartography of Johannesburg’s Hillbrow, the 173 meter-high cylindrical apartment building Ponte City became an urban legend, and an essential part of visual renderings of the city. It was the conflicted spectacle of Ponte City that drew South African photographer, Mikhael Subotzky and Patrick Waterhouse, a British artist, to look more closely in rather than at the tower.

 

Mikhael Subotzky and Patrick Waterhouse. 'Lift Portrait 2, Ponte City, Johannesburg (0328)' 2008

 

Mikhael Subotzky and Patrick Waterhouse
Lift Portrait 2, Ponte City, Johannesburg (0328)
2008
C-print mounted on Dibond
124 cm x 151.5cm

 

 

Yerba Buena Center for the Arts
701 Mission Street
San Francisco, CA 94103

Opening hours:
Sunday and Wednesday noon – 6.00pm
Thursday – Saturday noon – 8.00pm
Free First Tuesday of the month noon – 8.00pm

SFMOMA website

LIKE ART BLART ON FACEBOOK

Back to top

01
Jun
14

Exhibition: ‘Apartheid and After’ at Huis Marseille – Museum for Photography, Amsterdam

Exhibition dates: 15th March – 8th June 2014

Artists: David Goldblatt met Paul Alberts, Pieter Hugo, Santu Mofokeng, Sabelo Mlangeni, Zanele Muholi, Jo Ractliffe, Michael Subotzky, Guy Tillim, Graeme Williams and others, and the Market Photo Workshop in Johannesburg

Curators: Els Barents, David Goldblatt

 

 

Santu Mofokeng (1956 Soweto) 'Sunflowers harvest, Vaalrand farm, Bloemhof' 1988

 

Santu Mofokeng (South African, 1956-2020)
Sunflowers harvest, Vaalrand farm, Bloemhof
1988
From the Bloemhof Series, 1988-9, 1994

 

 

A raft of exhibitions finishing on the 8th June 2014 means a lot of postings over the next few days. This posting continues my fascination with African photography. The two excellent photographs by David Goldblatt are the stand out here, along with the portrait by Mikhael Subotzky.

Marcus

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

 

Santu Mofokeng (1956 Soweto) 'Windmill, Vaalrand' 1988

 

Santu Mofokeng (South African, 1956-2020)
Windmill, Vaalrand
1988
From the Bloemhof Series, 1988-9, 1994

 

Jo Ractliffe (1961 Cape Town) 'Military watchtower in a domestic garden, Riemvasmaak' 2013

 

Jo Ractliffe (South African, b. 1961 Cape Town)
Military watchtower in a domestic garden, Riemvasmaak
2013
From The Borderlands (2011-2013)

 

Jo Ractliffe (1961 Cape Town) 'Playing soccer with marbles, Platfontein' 2012

 

Jo Ractliffe (South African, b. 1961 Cape Town)
Playing soccer with marbles, Platfontein
2012
From The Borderlands (2011-2013)

 

Graeme Williams (1958 Johannesburg) 'Kempton Park' Nd

 

Graeme Williams (South African, b. 1958 Johannesburg)
Kempton Park
Nd
From Previously Important Places series 1990s -2013

 

 

The Emperors Palace Casino and Chariots Entertainment World was build on the site [ in… add please date and place… ]? were the negotiations leading up to the Convention for a Democratic South Africa (CODESA) took place. Now, at the very same place  a statue of the Roman Emperor Caesar Augustus greets visitors at the entrance of the afore mentioned  entertainment centre.

 

Pieter Hugo (1976 Johannesburg) 'In Sipho Ntsibande's Home, Soweto' 2013

 

Pieter Hugo (South African, b. 1976 Johannesburg)
In Sipho Ntsibande’s Home, Soweto
2013
from the series Kin, 2013

 

Guy Tillim (1962 Johannesburg) 'Neri James, Petros Village, Malawi' 2006

 

Guy Tillim (South African, b. 1962 Johannesburg)
Neri James, Petros Village, Malawi
2006
from the series Petros Village, 2006

 

 

“The scars left in South Africa’s collective memory by its apartheid regime were also inscribed visually on its collective retina. There is less consensus, however, on the period of ‘truth and reconciliation’ after political apartheid came to an end in South Africa in 1990. The exhibition Apartheid and After addresses the question: where did photographers whose earlier work had opposed the apartheid regime point their cameras after 1980?

They include David Goldblatt, for instance, now an éminence grise of South African photography whose exhibition Cross Sections hung in Huis Marseille and others. Has South African democracy been given a face? Where is the real development happening? And where are the scars? Has South African national identity got stuck on a runaway merry-go-round, as the South African visual artist William Kentridge has suggested? One thing is clear: after apartheid, most South African photographers continued to make their own country their work domain, and in doing so they have gained a considerable international reputation.”

.
“It is astonishing to think that until the beginning of the 1990s, merely two decades ago, modern and contemporary African photography was largely in the shadows.”

Okwui Enwezor in Events of the Self: Portraiture and Social Identity: Contemporary African Photography from the Walther Collection, Steidl, 2013, p. 23.

 

David Goldblatt (1930 Randfontein) 'Child minder, Joubert Park, Johannesburg, 1975 (no.11)' 1975

 

David Goldblatt (South African, 1930-2018)
Child minder, Joubert Park, Johannesburg, 1975 (no.11)
1975
From the series Particulars, 2003 (publishing date)

 

David Goldblatt (1930 Randfontein) 'Man on a beach, Joubert Park, Johannesburg, 1975 (no. 2)' 1975

 

David Goldblatt (South African, 1930-2018)
Man on a beach, Joubert Park, Johannesburg, 1975 (no. 2)
1975
From the series Particulars, 2003 (publishing date)

 

Sabelo Mlangeni (1980 Driefontein) 'Coming to Johannesburg I, January, 2011' 2011

 

Sabelo Mlangeni (South African, b. 1980 Driefontein)
Coming to Johannesburg I, January, 2011
2011

 

Sabelo Mlangeni (1980 Driefontein) 'Coming to Johannesburg I, January, 2011' 2011

 

Sabelo Mlangeni (South African, b. 1980 Driefontein)
Coming to Johannesburg I, January, 2011
2011

 

Daniel Naudé (1984 Cape Town) 'Africanis 23. Richmond, Northern Cape, 298 January 2009' 2009

 

Daniel Naudé (South African, b. 1984 Cape Town)
Africanis 23. Richmond, Northern Cape, 298 January 2009
2009

 

Mikhael Subotzky (1981 Cape Town) 'Joseph Dlamini (Eye test), Matsho Tsmombeni squatter camp' 2012

 

Mikhael Subotzky (South African, b. 1981 Cape Town)
Joseph Dlamini (Eye test), Matsho Tsmombeni squatter camp
2012
From the series Retinal Shift

 

Graeme Williams (1958 Johannesburg) 'Nelson Mandela speaks at CODESA, 199..?' Nd

 

Graeme Williams (South African, b. 1958 Johannesburg)
Nelson Mandela speaks at CODESA, 199..?
Nd
From Previously Important Places series 1990s-2013

 

Zanele Muholi (1972 Umlazi, Durban) 'Being (T)here (Amsterdam)' 2009

Zanele Muholi (1972 Umlazi, Durban) 'Being (T)here (Amsterdam)' 2009

Zanele Muholi (1972 Umlazi, Durban) 'Being (T)here (Amsterdam)' 2009

 

Zanele Muholi (South African, b. 1972 Umlazi, Durban)
Being (T)here (Amsterdam)
2009

 

This slideshow requires JavaScript.

 

Paul Alberts 'The portraits of the applicants' 1994

Paul Alberts 'The portraits of the applicants' 1994

Paul Alberts 'The portraits of the applicants' 1994

Paul Alberts 'The portraits of the applicants' 1994

 

Paul Alberts (South African, 1946-2010)
The portraits of the applicants
1994

 

 

As the 1994 election approached in South-Africa many blacks living in small towns and rural areas had never been officially identified. In order to speed up these otherwise slow procedures, Charmaine and Paul Alberts set up an official, but temporary office and studio to process applications. The portraits of the applicants were taken before a paper back drop in the community hall of Majwemasweu. Each person held a slate with a number that corresponded to the number of the film and exposure, plus their name and place where they lived.

 

 

Huis Marseille – Museum for Photography
Keizersgracht 401
1016 EK Amsterdam

Opening hours:
Tuesday – Sunday
11 – 18 hr

Huis Marseille – Museum for Photography website

LIKE ART BLART ON FACEBOOK

Back to top

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

 

Sammy Baloji. 'Untitled 7' 2006

 

Sammy Baloji (Congolese, b. 1978)
Untitled 7
2006
From Mémoires

 

 

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.

Dr Marcus Bunyan

.
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.

 

Part II: Contemporary Reconfigurations

Pieter Hugo. 'Nandipha Mntambo, Cape Town' 2012

 

Pieter Hugo (South African, b. 1976)
Nandipha Mntambo, Cape Town
2012
From There’s a Place in Hell for Me and My Friends

 

 

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 emphasises 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 [Online] Cited 01/10/2013 no longer available online

 

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

 

Sabelo Mlangeni (South African, b. 1980)
Outside King Mswati’s palace
2011
From Iimbali

 

Sabelo Mlangeni. 'Imbali' 2011

 

Sabelo Mlangeni (South African, b. 1980)
Imbali
2011
From Iimbali

 

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

 

David Goldblatt (South African, 1930-2018)
Mineworkers in their hostel, Western Deep Levels, Carletonville
1970

 

Pieter Hugo. 'Yasser Booley, Cape Town' 2011

 

Pieter Hugo (South African, b. 1976)
Yasser Booley, Cape Town
2011
From There’s a Place in Hell for Me and My Friends

 

Pieter Hugo. 'Pieter Hugo, Cape Town' 2011

 

Pieter Hugo (South African, b. 1976)
Pieter Hugo, Cape Town
2011
From There’s a Place in Hell for Me and My Friends

 

Pieter Hugo. 'Themba Tshabalala, Cape Town' 2011

 

Pieter Hugo (South African, b. 1976)
Themba Tshabalala, Cape Town
2011
From There’s a Place in Hell for Me and My Friends

 

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

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

 

Guy Tillim (South African, b. 1962)
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

 

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

 

Sabelo Mlangeni (South African, b. 1980)
Lwazi Mtshali, “Bigboy”
2009
From Country Girls

 

Sabelo Mlangeni. 'Xolani Ngayi, eStanela' 2009

 

Sabelo Mlangeni (South African, b. 1980)
Xolani Ngayi, eStanela
2009
From Country Girls

 

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

 

Zanele Muholi (South African, b. 1972)
Amogelang Senokwane, District Six, Cape Town
2009
From Faces and Phases

 

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

 

Zanele Muholi (South African, b. 1972)
Sishipo Ndzuzo, Embekweni, Paarl
2009
From Faces and Phases

 

 

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 centres 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 colour 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

 

Zwelethu Mthethwa. 'Untitled' 2010

 

Zwelethu Mthethwa (South African, b. 1960)
Untitled
2010
From The Brave Ones
Courtesy of Jack Shainman Gallery, New York

 

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

 

Samuel Fosso (Cameroonian, b. 1962)
La femme américaine libérée des années 70
1997

 

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

 

Samuel Fosso (Cameroonian, b. 1962)
Le Chef qui a vendu l’Afrique aux colons
1997

 

Zanele Muholi. 'Miss D'vine I' 2007

 

Zanele Muholi (South African, b. 1972)
Miss D’vine I
2007

 

Zanele Muholi. 'Miss D'vine II' 2007

 

Zanele Muholi (South African, b. 1972)
Miss D’vine II
2007

 

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

 

Candice Breitz (South African, b. 1972)
Ghost Series #9
1994-1996

 

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

 

Candice Breitz (South African, b. 1972)
Ghost Series #4
1994-1996

 

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

 

Carrie Mae Weems (American, b. 1953)
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

 

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

 

Andrew Putter (South African, b. 1965)
Secretly I Will Love You More (video still)
2007
Courtesy of the artist and Stevenson, Cape Town and Johannesburg

 

Sue Williamson. 'Helen Joseph' 1983

 

Sue Williamson (South African, b. 1941)
Helen Joseph
1983
from A Few South Africans

 

 

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

Helen Joseph was born in Eastbourne 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 website

 

Sue Williamson. 'Miriam Makeba' 1987

 

Sue Williamson (South African, b. 1941)
Miriam Makeba
1987
From A Few South Africans

 

 

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 popularise 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 website

 

Kudzanai Chiurai. 'The Black President' 2009

 

Kudzanai Chiurai (Zimbabwean, b. 1981)
The Black President
2009

 

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

 

Zanele Muholi (South African, b. 1972)
Ms Le Sishi I, Glebelands, Durban
January 2010
From Beulahs (Beauties)

 

Zanele Muholi. 'Martin Machapa' 2006

 

Zanele Muholi (South African, b. 1972)
Martin Machapa
2006
From Beulahs (Beauties)

 

Philip Kwame Apagya. 'Come on Board' 2000

 

Philip Kwame Apagya (Ghanaian, b. 1958)
Come on Board
2000

 

Philip Kwame Apagya. 'After the Funeral' 1998

 

Philip Kwame Apagya (Ghanaian, b. 1958)
After the Funeral
1998

 

 

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

LIKE ART BLART ON FACEBOOK

Back to top

04
Aug
13

Exhibition: ‘Pieter Hugo: This Must Be The Place – Selected Works 2003-2012’ at the Ludwig Museum of Contemporary Art, Budapest

Exhibition dates: 24th May – 11th August 2013

 

Pieter Hugo. 'The Hyena Men of Abuja, Nigeria' 2005

 

Pieter Hugo (South African, b. 1976)
The Hyena Men of Abuja, Nigeria
2005
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

 

I have not seen enough of the other series of Pieter Hugo to make an informed decision, but work from the The Hyena & Other Men (2005-2007) and Permanent Error (2009-2010) series, the most often reproduced, is certainly strong. Whether I am fully convinced by his singular frontality is another matter…

Marcus

.
Many thankx to the Ludwig Museum of Contemporary Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Pieter Hugo. 'Aissah Salifu, Agbogbloshie Market, Accra, Ghana' 2010

 

Pieter Hugo (South African, b. 1976)
Aissah Salifu, Agbogbloshie Market, Accra, Ghana
2010
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Escort Kama. Enugu, Nigeria' 2008

 

Pieter Hugo (South African, b. 1976)
Escort Kama. Enugu, Nigeria
2008
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Chris Nkulo and Patience Umeh. Enugu, Nigeria' 2008

 

Pieter Hugo (South African, b. 1976)
Chris Nkulo and Patience Umeh. Enugu, Nigeria
2008
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

 

Pieter Hugo’s (b. Johannesburg, 1976) career is quite young, yet his photography is already so comprehensive that we can rightly speak of a consistent oeuvre. Since 2003 Hugo has photographed people and themes exclusively in sub-Saharan Africa. Daily life in post-colonial Africa, the complex conditions after the end of apartheid in his own land and the impact of global trade and commerce are themes that circulate throughout his intriguing series.

Pieter Hugo spends long periods of time photographing his extensive series in order to capture intimate and often bizarre moments. His use of a large-format camera requires patience and trust between photographer and subject, which is visible in straightforward expressions and candid interactions. There is a moment of calm and even timelessness in these works that allows the viewer to engage more fully with the subject matter.

The political diversity of a continent that is rapidly transforming – some note that Africa will be a global economic power of the future – is portrayed by Pieter Hugo with the clarity of familiar painting genres such as landscape, portraiture, group portraiture and still life. The subjects of his photography: the elderly, the poor, the blind, street artists, soap actors, close family and friends – form a social tableau that is at once personalised while also presenting a more universal image of Africa at the beginning of the twenty first century.

The initial motivation for the series The Hyena & Other Men (2005-2007) comes from a cell phone camera image Pieter Hugo discovered on the internet. The image concerns a group of performers who travel throughout Nigeria with tamed hyenas and other wild animals and collect money from their choreographed public performances. Hugo embarked on two separate trips to document this remarkable nomadic group up close. Hugo presents the complex relationship between animal and owner, capturing moments of calm and tenderness amidst situations full of drama and spectacle.

The Agbogbloshie market on the outskirts of Accra (Ghana) is the thematic of the Permanent Error series (2009-2010), which is mainly a dumping site for the technological waste of the western world. Here computers and other electronic equipment are collected and burned by inhabitants, often children, to extract precious raw materials. These machines formerly representing prosperity and progress are here transformed into only noxious and life threatening vapours. The charred ground, grey sky and scattered groups of foragers and cattle seem isolated from the world, but are in fact one of the last links in a chain of global commerce. Despite the harsh surroundings, the subjects stand tall, identified by full name and framed in the style of classical portraiture.

Nollywood (2008-2009) is the third largest film industry in the world, releasing between 500 and 1,000 movies each year. It produces movies on its own terms, telling stories that appeal to and reflect the lives of its public: it is a rare instance of self-representation on such a scale in Africa. The continent has a rich tradition of story-telling that has been expressed abundantly through oral and written fiction, but has never been conveyed through the popular media before. Stars are local actors; plots confront the public with familiar situations of romance, comedy, witchcraft, bribery, prostitution. The narrative is overdramatic, deprived of happy endings, tragic. The aesthetic is loud, violent, excessive; nothing is said, everything is shouted.

At a morgue in the township of Khayelitsha in Cape Town, Pieter Hugo turns his camera to individuals who have died of AIDS related illnesses. In The Bereaved (2005) as with many of his other series, Hugo gives first and last names of his subjects. Such a personal statement challenges the anonymity of AIDS statistics in South Africa. Ten years after the Rwandan Genocide, Pieter Hugo captures the unimaginable violence of these events through leftover fragments (Vestiges of a Genocide, 2004). The absence of human life is disturbingly present in the images. Bones are preserved with lime so as not to disintegrate. Heavy dust and dirt create an organic seal over the remains. While these substances often signify what is past and forgotten, the items in the photographs are preserved artificially and naturally for all to remember.

The series entitled Messina / Musina (2006) deals with the inhabitants of a small town on the border of Zimbabwe in South Africa’s Limpopo Province. The title reflects the correction of an earlier colonial misspelling of the town’s name (Messina), as well as the transition taking place at this geographical and social periphery.

In Pieter Hugo’s studio portraits of the elderly, the blind and people with albinism – Looking Aside, 2003-2006 – there is a direct and confrontational engagement between the viewer and the subjects. The viewer is made to feel uncomfortable and immobilised by the subject’s gaze. In There’s a Place in Hell for Me and My Friends (2011) – a recent series of portraits realised in the same spirit and adopting a stripped back, close-up and confrontationally direct approach – Hugo explores similar territory [to his earlier series Looking Aside] but from practically the opposite angle. In this case, the subjects are simply the photographer and his friends, who represent an array of ethnicities but are not particularly atypical, abnormal or ‘unusual’ in a genetic sense. Instead they are rendered unusually, portrayed in a heightened monotone with their skin transformed into a range of exaggerated black spots and dark tones.

With Kin (2011), his most autobiographical series to date, Pieter Hugo reflects on his own family and deep ambivalence towards the notion of home. Personal moments such as the pregnancy of his wife, the birth of their child and an operation of his mother are interspersed with national icons: open landscapes, anthropological museums and references to historical places and figures in South Africa. The recent and historical, private and public, rich and poor, ugly and beautiful interact closely in this series and represent the social complexities of post-apartheid South Africa.

Press release from the Ludwig Museum of Contemporary Art website

 

Pieter Hugo. 'Naasra Yeti, Agbogbloshie Market, Accra, Ghana' 2009

 

Pieter Hugo (South African, b. 1976)
Naasra Yeti, Agbogbloshie Market, Accra, Ghana
2009
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'John Kwesi, Wild Honey Collector, Techiman District, Ghana' 2005

 

Pieter Hugo (South African, b. 1976)
John Kwesi, Wild Honey Collector, Techiman District, Ghana
2005
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'The Honourable Justice Unity Dow' 2005

 

Pieter Hugo (South African, b. 1976)
The Honourable Justice Unity Dow
2005
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Steven Mohapi, Johannesburg' 2003

 

Pieter Hugo (South African, b. 1976)
Steven Mohapi, Johannesburg
2003
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

Pieter Hugo. 'Ashleigh McLean' 2011

 

Pieter Hugo (South African, b. 1976)
Ashleigh McLean
2011
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

 

 

Ludwig Museum of Contemporary Art
1095 Budapest Komor Marcell Street 1
Hungary 06 1 555-3444

Opening hours:
Tuesday – Sunday: 10.00 – 2 0.00
Closed on Mondays

Ludwig Museum of Contemporary Art website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Enter your email address to subscribe to this blog and receive notifications of new posts by email. If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,787 other followers

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

Follow Art_Blart on Twitter
Art Blart on Pinterest

Blog Stats

  • 11,372,350 hits

Recent Posts

Lastest tweets

November 2021
M T W T F S S
1234567
891011121314
15161718192021
22232425262728
2930  

Archives

Categories

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,787 other followers