The Boston-Jo'Burg Connection: Collaboration and Exchange at Artist Proof Studio, 1983–2012 Tufts University Art Gallery, Medford, Massachusetts June 1–July 29, 2012 Coming of Age: 21 Years of Artist Proof Studio Johannesburg Art Gallery, Johannesburg, South Africa May 6–July 6, 2012

African Arts ◽  
2015 ◽  
Vol 48 (1) ◽  
pp. 83-85
Author(s):  
Lynne Cooney
2016 ◽  
Vol 24 (48) ◽  
pp. 79-89 ◽  
Author(s):  
Diane Cooper ◽  
Jane Harries ◽  
Jennifer Moodley ◽  
Deborah Constant ◽  
Rebecca Hodes ◽  
...  

2020 ◽  
Vol 12 (1-2) ◽  
pp. 119-125
Author(s):  
Trevor Morgan
Keyword(s):  

Visualizing the discourse in Material Thinking: Conversations between China and South Africa, Chen Qingqing, Feng Jiali, Gu Lin, Liu Liguo, Qi Zhilong, Qing Taimao, Wang Xiaojin and Zhong Biao (China); William Kentridge, Diane Victor, Colbert Mashile, Kristin NG-Yang and Rory Klopper (South Africa), curated by Zhang Siyong Durban Art Gallery, South Africa, 12 September–10 November 2019


2020 ◽  
Vol 38 (1) ◽  
Author(s):  
N Barney Pityana

This essay marks the maturing of South Africa's democracy since it was established in 1994. It raises questions as to whether the democratic dispensation has fulfilled what it promised, and it examines the reasons thereof. In essence it reasons that democracy has failed the people of South Africa because it lacks democratic accountability, and a firm foundation on the expressed will of the people. The theological and ethical factors in addressing the failings of a democratic system come into view. The essay concludes with an affirmation of the essential character of the church in promoting and defending justice in the world. One-dimensional thought is systematically promoted by the makers of politics and the purveyors of mass information. Their universe of discourse is populated by self-validating hypotheses which necessarily and mono-politically repeated, become hypnotic definitions and dictations... The products indoctrinate and manipulat; they promote a false consciousness that is immune against falsehood… This emerges a pattern of one-dimensional thought and behavior… Herbert Marcuse: One-Dimensional Man (1964)


2019 ◽  
Vol 11 (3) ◽  
pp. 207-224
Author(s):  
Timothy Wright

Abstract This article examines the 2015 art-film Necktie Youth (Sibs Shongwe-La Mer) with a view to understanding new affective, temporal and genre formations in post-transitional South Africa. A quasi-documentary portrait of ennui and depression among a circle of privileged 'born-free' youth in Johannesburg's wealthy suburbs, the film uses a coming-of-age narrative template to allegorize post-transitional South Africa. Yet this allegory is not a straightforward one of either disillusionment or progressivist maturation. Rather, it has something in common with David Scott's analysis of the 'ruined time' of post-revolution: an endless present haunted by the ghosts of futures past. I use Scott's lens to understand the floating, marooned temporalities of the film, whose deep melancholic undertow is at odds with its performance of youthful post-apartheid self-fashioning. Thus, despite its claims to inhabiting a 'new' historical phase, the film remains haunted by the ghosts of what Scott calls the 'allegory of emancipatory redemption'. I show how the film ultimately produces a sense of 'exile from history' ‐ a mode in which key historical events have already happened and in effect overwhelm the present ‐ and argue that this sensibility is key to understanding the contradictory temporalities of the present.


1989 ◽  
Vol 11 (3) ◽  
pp. 478
Author(s):  
Thabo N. Masemola ◽  
Don Mattera
Keyword(s):  

2021 ◽  
Author(s):  
Annika Waddell

In 2016, Ghana’s capital city of Accra, located along the Atlantic coast, was touted as “Africa’s Capital of Cool” by the New York Times (July 2016), highlighting the growing number of boutiques, hotels and world-class restaurants. Just a couple of months earlier, on April 30, 2016, the Brighton Museum & Art Gallery had opened the first major UK exhibit dedicated to African Fashion. The book Fashion Cities Africa, edited by Eritrean-born journalist Hannah Azieb Pool, was released the same month, and shares insights into the aesthetics and designs emerging from Nairobi (Kenya), Casablanca (Morocco), Lagos (Nigeria) and Johannesburg (South Africa). Since the start of the millennium, fashion journalists (Suzy Menkes and André Leon Talley) have been discussing the prevalence of high-end African fashion designers such as Duro Olowu, Lisa Folawiyo, and Folake Folarin Coker.


1995 ◽  
Vol 20 (4) ◽  
pp. 13-15
Author(s):  
Jonathan Frost

The Michaelis Art Library, part of the Reference Division of the Johannesburg Public Library Service, originated with a collection of books purchased for the planned Johannesburg Art Gallery in the 1920s. Temporarily and then permanently housed in the Public Library, the collection became the nucleus of a growing art library, the largest public art library in South Africa. In recent years usage of the library declined as a result of political tensions, but then increased in parallel with a surge of vitality in the arts which heralded the end of apartheid and the emergence of democracy. During 1995 the Michaelis Art Library was due to move into Johannesburg’s central library building.


1989 ◽  
Vol 68 (3) ◽  
pp. 187
Author(s):  
Jennifer Seymour Whitaker ◽  
Don Mattera ◽  
Molapetene Collins Ramusi
Keyword(s):  

2017 ◽  
Vol 21 (4) ◽  
pp. 387-392
Author(s):  
Lesley Lokko

The terms ‘age of consent’, ‘age of licence’ and ‘age of majority’ – often used interchangeably – give young adults legal and moral permission to drink, drive, vote, smoke, have sex and marry (among other rights). Depending on context, the threshold from being a minor to attaining majority – adulthood – is marked by a ritual or a ceremony, giving the threshold cul-tural as well as legal significance. But thresholds, as we already know, are places of action, movement, change … rarely comfortable or easy, and seldom precise. Drawing on the three years since the Graduate School of Architecture at the University of Johannesburg (GSA) was established in 2016, this essay traces the school's own ‘coming-of-age’ in a time of violent protest and popular uprising against an out-of-date and stubbornly Eurocentric curriculum. Whilst the issues facing young South African students – both black and white – have particular resonance inside South Africa, many of the initiatives that the school has pioneered under the banner of ‘Transformative Pedagogies’ hold meaning for the rest of the African continent. Using a mixture of conventional texts, videos, projects and transcripts, A Minor Majority details the GSA's attempts to seize both the site-specific ‘winds of change’ in South Africa and take advantage of global shifts in research culture and methodology to arrive at new insights and possibilities.


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