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In South Africa, with its highly contested and changing understandings of national identity, its National Gallery is no less a contested space. A History of the Iziko South African National Gallery considers questions of artistic and cultural identity, from the late 19th century to the present day. It explores how the gallery has understood its function and its public, as a ‘national’ gallery from 1930 and, before that, the chief gallery of the Cape Colony. This question is investigated through a study of the gallery’s administration, collection and exhibition practices over the last 150 years. What is understood by and expected of a national gallery varies considerably worldwide. Should it regard itself as part of a broad international cultural discourse, or should it be representative of a specifically national – or even regional – identity? The gallery is a microcosm of the greater debate: how the South African nation relates to the larger world and how, if at all, it understands the concept of a shared culture. In the last 20 years, Museum Studies have become a major part of the field of Cultural Studies. There is a vast literature on what might be called the ‘history’ museum, but far less on the art museum or gallery. To date, there has been no large-scale historical inquiry into the Iziko SANG, the country’s national gallery. The absence of such a history marks a serious gap in the literature, which this study aims to fill.
This book explores how since colonial times South Africa has created its own vernacular classicism, both in creative media and everyday life.
Picasso and Africa illustrates how African art as well as African culture influenced Picasso in his art.
National Museums in Africa brings the voices of African museum professionals into dialogue with scholars and, by so doing, is able to consider the state of African national museums from fresh perspectives. Covering all regions of the continent, the volume’s thirteen chapters allow for a deep and nuanced understanding of the intricate interplay between past and present in contemporary Africa. Taking stock of the shifting museum landscape in Africa, with new players like China and South Korea challenging the conditions of cultural exchange, the book demonstrates that national museums are being rediscovered as important sites of political engagement and cultural negotiation. This is the first book to critically examine the roles national museums in Africa have played in the societies in which they are situated, but it is also the first to consider the roles that national museums might play in current debates concerning the restitution and repatriation of cultural patrimony taken from Africa during the colonial era. Informed by a comparative and interdisciplinary perspective, this ground-breaking book will appeal to anyone interested in museums in Africa. It will be particularly useful to scholars and students working in the areas of museum and heritage studies, African studies, anthropology, archaeology, history, art history and cultural studies.
Originally published by the Standard Bank as part of a curated exhibition in May 2011, this prestigious volume celebrates the life and works of Peter Clarke (1929–2014), one of South Africa’s foremost artists. A mere 500 copies were originally published, all taken up at the exhibition, and continued demand has led to its re-release. Clarke left his job as a dockworker in Simon’s Town to devote himself to art. The wisdom of this decision is reflected in a remarkable career, which extended over some six decades and was acknowledged in the awards of the Order of Ikhamanga (silver) in 2005 and a Lifetime Achievement Award in 2010. Listening to distant thunder: The art of Peter Clarke recounts an artist’s life in the context of the social history of South Africa from the 1940s onwards. His images reflect the social disruption of the Cape Flats, and the trauma of his community’s forced removal from Simon’s Town to the bleak apartheid township of Ocean View. Yet Clarke’s images have avoided bitterness, and his work is a perceptive scrutiny and celebration of life in all its aspects. Illustrated with over 200 reproductions and photographs, this book was researched and written by well-known South African art historians Philippa Hobbs and Elizabeth Rankin, in close collaboration with the artist over almost seven years.
Fifteen writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa, focusing on a wide range of perspectives, personalities and theoretical concerns Contemporary South African society is chronologically ‘post’ apartheid, but it continues to grapple with material redress, land redistribution and systemic racism. Acts of Transgression represents the complexity of this moment in the rich potential of a performative art form that transcends disciplinary boundaries and aesthetic conventions. The contributors, who are all significantly involved in the discipline of performance art, probe its intersection with crisis and socio-political turbulence, shifting notions of identity and belonging, embodied trauma and loss. Narratives of the past and visions for the future are interrogated through memory and the archive, thus destabilising entrenched colonial systems. Collectively analysing the work of more than 25 contemporary South African artists, including Athi-Patra Ruga, Mohau Modisakeng, Steven Cohen, Dean Hutton, Mikhael Subotzsky, Tracey Rose and Donna Kukama, among others, the analysis is accompanied by a visual record of more than 50 photographs. For those working in the fields of theatre, performance studies and art, this is a must-have collection of critical essays on a burgeoning and exciting field of contemporary South African research.
In 1510, when the Cape of Good Hope was still revered as the Portal to the Indies, the Viceroy of Portuguese India was led ashore, attacked, slain and hurriedly buried in a shallow grave. The murder of Dom Francisco d'Almeida remains a mystery to this day. Was it the fulfilment of a prophecy or an act of poetic justice? Was it an ambush, a mutiny or even an assassination? If so, was it instigated by the King of Portugal or the Church of Rome?Knot of Stone is a tale of historical detection in which two unlikely travel companions - a restless Dutch historian, Sonja Haas, and a jaded Afrikaans archaeologist, Jason Tomas - find themselves drawn together after discovering a five-century-old skeleton at the foot of Table Mountain. Their search for new evidence leads the reader ever further north to ancestral burial sites, remote mountain sanctuaries, sacred springs, medieval monasteries and rare museum artefacts. Via various roadside encounters, including the startling revelations of a sangoma (a healer empowered by the ancestors), they reconstruct the past and their own identities, with divergent consequences. The multi-layered story is ultimately a tale of self-discovery.As a novel, Knot of Stone presents a unique and insightful revision of actual events, offering a courageous departure from mainstream historical writing. With its captivating mystery, its mixture of legend and original research, plus the karmic background of various historical individuals, this enthralling book will appeal to all those who have enjoyed the enigmatic works of Umberto Eco and Dan Brown.www.knotofstone.com
"Resistance Art" was Sue Williamson s classic account of the visual art against apartheid. First published in 1989, it soon became a bestseller. Editions were sold in the United States and the UK, and the South African edition sold out within a few years. Because of continuing demand, this landmark work has now been reprinted with a new preface, so as to make the art of the 1980s and 1990's available to a new generation of readers and art lovers.
A fitting way of reflecting on the changes of the last decade and assessing the extent to which transformation has had an impact on South Africa