Sentences with phrase «south african art»

Edith was an important collector of South African art and she inspired Aufrichtig to follow a career in the arts.

A new Parkett edition by William Kentridge is included on «The Armory Show» in New York, while traditional South African art gets major exposure at the Musée des Arts d'Afrique in Paris

2004 A Decade of Democracy: South African Art 1994 2004 from the Permanent Collection of Iziko: South African National Gallery (book) Led curatorial team and edited the book.

The show was widely applauded for breaking new ground in the presentation of South African art.

Her artwork has been exhibited widely in curated international group exhibitions including the Venice, Havana, Gothenburg, Tirana, Bamako, São Paulo, Singapore, and Dakar biennials, as well as in Africa Remix (2006) exhibited in Europe, Japan, and South Africa; Africas: The Artist and the City (2001), and Apartheid: The South African Mirror (2007) in Spain; Personal Affects: Power and Poetics in Contemporary South African Art (2004) in the USA; and The Short Century (2002) in Germany and the USA.

In addition to the numerous interviews and written works produced for ART AFRICA, Christian has also contributed his voice to IAM magazine; copy - edited Ashraf Jamal's latest book, In This World: Essays on Contemporary South African Art (2017); and most recently, edited South African artist Kai Lossgott's book can I eat it, can I sell it (from the artist box set «not in my back yard»).

Works from the same series will be included in «Imaginary Fact: South African Art and the Archive», an upcoming exhibition for the South Africa Pavilion at Venice's 55th Biennale.

2017 Ex Africa, Centro Cultural Banco do Brasil Belo Horizonte, Belo Horizonte, Brazil 2017 After the Thrill is Gone: Fashion, Politics, and Culture in Contemporary South African Art, College of Wooster Art Museum, Wooster, USA 2017 africa.

Works by Willem Boshoff, Kudzanai Chiurai, David Goldblatt and Sue Williamson are included on the exhibition 50/50, curated by South African art historian Rory Bester at the New Church Museum in Cape Town.

Oltmann has researched and written extensively on the use of wire in African material culture in South Africa and is deeply interested in the influence of these traditions in contemporary South African art.

According to South African art critic and historian, Lloyd Pollak: «Mudariki's art is issue - driven», addressing the violation of animal and human rights, corporate greed, gender stereotyping, censorship and rape, inter alia.

Recent exhibitions include U-SAVED-ME, Depart Foundation, Los Angeles; 2015 Artist in Residence at the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA); «Public Intimacy: Art and Other Ordinary Acts in South Africa», SFMOMA, San Francisco; «Imaginary Fact, Contemporary South African Art and the Archive», 55th Venice Biennale; «De Leur Temps», Musee des Beaux - arts de Nantes; «Impressions from South Africa, 1965 to Now», MoMA, New York; «Les Rencontres Internationales», Palais de Tokyo (2014) and The Centre Georges Pomidou (2010), Paris; Le Biennale de Dakar 2010, Dakar, Senegal; «Coca - Colonization», Marte Museum, El Salvador; and «Absent Heroes», Iziko South African National Gallery.

Liese van der Watt, South African art historian and Christine Eyene, Curator and Guild Research Fellow in Contemporary Art, University of Central Lancashire.; and Yasmina Reggad, independent curator and programme curator of aria (artists in residence in Algiers).

Whether it be Sekhukuni and his use of the Internet as medium, Mooney and her fascination with ephemerality and the social notion of space or Adams and his interrogation of hybrid racial, sexual and religious identities, each are operating outside the stereotypical approaches canonized by South African art history, thanks to the possibilities / challenges presented to them by a new political and cultural climate.

Gerard Sekoto is considered by many to be the «Father of South African Art».

The story of post-apartheid art can be told through this important work, which heralded a new materialism in South African art.

Collectivism has been a major force in South African art pretty much since the New Group, a vanguard of white modernist painters, declared themselves, in 1938, «united against junk.»

Nando's was founded in Johannesburg, South Africa in 1987 and its UK restaurants house one of the largest contemporary South African art collections in the world.

In the meantime, some South African art institutions have allegedly ceased working with Mthethwa, according to an article on IOL, though it cites only one specific example: auction house Strauss & Co will no longer sell the artist's work.

2007 Not So Black and White: Contemporary South African Art, Kyle Kauffman Gallery, New York, USA Joburg - Bamako, a photographic encounter, Afronova, Johannesburg South Africa Dans la ville et au - delà: 7th African Photography Encounters, Bamako, Mali DESIRREALITIES, Espace St Denis, Paris, France Apartheid: The South African Mirror, Centre de Cultura de Barcelona, Barcelona, Spain The Loaded Lens, Goodman Gallery Cape, Cape Town, South Africa Fashion, Nontsikelelo Veleko & Seydou Keita, Danziger Projects, New York, USA Juicios Instantaneous, Museo Tamayo, Paseo de la Reforma y Ghandhi, Mexico Lift Off Part II, Goodman Gallery, Cape Town, South Africa Afronism, Afronova, Johannesburg, South Africa

2009 Armory Show, Goodman Gallery, New York, USA 7th Rencontres Africaines de la Photographie exhibition — Bamako 2007, ifa - Galleries, Stuttgart, Germany Beauty and Pleasure in Contemporary South African Art, Stenersen Museum, Oslo, Norway

Staff, «FNB Joburg ArtFair, Featured Artist: Wangechi Mutu, The South African Art Times», September 2016.

2008 Flow, Studio Museum in Harlem, New York, USA Regeneration: Contemporary South African Art, Kyle Kauffman Gallery, New York, USA Fragile Democracy: New International Photography, Northern Gallery of Contemporary Art, Sunderland, UK I Am Not Afraid, Kunsthaus, Graz, Austria ZA: Young Art from South Africa, Palazzo delle Papesse, Siena, Italy About Beauty, Goodman Gallery Cape, Cape Town, South Africa

Bonham's held a sale dedicated to South African art in 2007 and, in 2009, staged its first - ever auction featuring art from throughout the continent.

Having started her career at Sotheby's in Ireland and Australia, she joined Bonhams in 2006 where she helped pioneer the first international auctions of South African art and Modern and cntemporary African art, becoming Head of Department in 2010.

In this country, his work has been included in two of the three major group exhibitions of South African art that have taken place this decade.

In its ten - year history, the Richmond Center has organized two major travelling exhibitions: Complex Conversations: Willie Cole Sculptures and Wall Works (2010) curated by Patterson Sims, and After the Thrill is Gone: Fashion Politics and Culture in Contemporary South African Art (2016) curated by Andrew Hennlich.

Bold, witty, immaculately crafted, operating on a number of levels, Murray's work is an indispensable and important part of the South African art scene.

[9] In 1997 Geers edited and published Contemporary South African Art, with essays by Okwui Enwezor, Olu Oguibe, and others.

These artists have, to a large degree, gone on to transform the South African art landscape.

In 2008 she curated an exhibition on Landscape and Language in South African Art entitled Land Marks / Home Lands; Contemporary Art from South Africa at Haunch of Venison Gallery in London.

Assistant Curator Amanda Gilvin will discuss the importance of printmaking in South African art history and highlight the shared life questions posed by artists in the exhibition.

«After the Thrill Is Gone: Fashion, Politics and Culture in Contemporary South African Art.»

However, Tim Leibbrandt, questions just how the satire, that is one of the standard tropes within the South African art, can remain effective if it does not begin to transform itself.

Country Focus: South Africa Marlene Dumas Doubt rules Old Wounds, Fresh Meat A year in South African art A Tale of Two Systems What's powering the SA art machine?

Naidoo's stewardship was not without controversy with a critically panned but well attended Tretchikoff exhibition being a pot of ever simmering discontent within certain sections of the South African art world.

South African art has always worked to its own set of rhythms, slightly behind the times, slightly more influenced by craft and by a politics that was uniquely its own, it has now seemingly caught up with the current global trend in painting.

Public art has been on the lips of almost everybody in the South African art world.

A provocative figure in the South African art world since the 1990s, Kendell Geers is known for work that stakes out a radical position from which to take aim at both the art establishment and society in general, to interrogate our existing moral codes and to suggest new approaches.

Over the past fourteen years, Gallery MOMO has challenged the seams that bind the South African art scene and burst into the international scene with a certain degree of conviction that has captured a changing country and continent through its artists.

Nonetheless, young female artists of colour are still severely underrepresented within the South African art world.

The second story, added to the space later on, operates as a gallery dedicated to contemporary South African art.

Notable exhibitions • «Jane Alexander: On Being Human,» Galilee Chapel of Durham Cathedral, England, 2009 • «Survey,» Jack Shainman Gallery, New York, New York, 2009 • «Jane Alexander,» Gasworks, London, 2000 • «Bom Boys and Lucky Girls,» University of Cape Town Irma Stern Museum, South Africa, 1999 Curated international Group exhibitions • Venice, Havana, Gothenburg, Tirana, Bamako, São Paulo, Singapore, and Dakar biennials • «Africa Remix» exhibited in Europe, Japan and South Africa, 2006 • «Africas: The Artist and the City,» Spain, 2001 • «Apartheid: The South African Mirror,» Spain, 2007 • «Personal Affects: Power and Poetics in Contemporary South African Art,» United States, 2004 • «The Short Century» in Germany and the United States, 2002

In 2004, she executed a 78 - foot wide mural at the art museum in Bochum, Germany, for the exhibition, New Identities: Contemporary South African Art.

Sue Williamson has been a key figure on the South African art scene since the early 1980s when she produced A Few South Africans, a groundbreaking series of portrait prints featuring women in the struggle against apartheid.

Among the rising stars of the South African art scene, Athi - Patra Ruga had a solo exhibition at Miami's Bass Museum in 2016 and has participated in such events as the Venice Biennial and Performa.

Once dubbed the «Enfant Terrible» of South African art, Geers has since matured into an artist with a profound understanding of indigenous Shamanic practices that he uses as part of his creative process.

This year's [Working Title] is curated by Emma Laurence and includes artists who are pushing the limits of the contemporary South African art scene and who have produced work that is at the cutting edge of current art production.

Dr. Julie McGee, University of Delaware (moderator) Julie L. McGee, an art historian with specialties in African American art and contemporary African art, has published widely on contemporary African American art and South African art, with particular focus on artist and museum praxis.

She has been researching modern and contemporary South African art since the late 1990s, specialising in the story of artists in exile during Apartheid and their cultural interactions with the Black Diaspora in France and England.