... conscious in their politics and gave voice and vision to it. It accesses the black consciousness of each artist within select works by carefully analyzing and historicizing each one. It also records the lives of all four artists within BC’s parent body, the South African Students’ Organisation (SASO). Each...

...Sandra Klopper Copyright © 1996 Nka: Journal of Contemporary African Art 1996 THE POLITICS OF CULTURAL OWNERSHIP IN CONTEMPORARY SOUTH AFRICA riting in the early 1990s, Stuart Hall noted that subjects, their curators, have thrown into sharp focus the country's...

... from South Africa Tumelo Mosaka 104 • Nka Journal of Contemporary African Art...

...Ruth Kerkham Copyright © 2003 Nka: Journal of Contemporary African Art 2003 COEXISTENCE: Contemporary Cultural Production in South Africa The Rose Art Museum, Brandeis University, January 22 - June 29,2003 (The exhibition will also be at the South...

...Geoffrey Jacques The exhibition of prints Impressions from South Africa, 1965 to Now , curated by Judith B. Hecker at New York’s Museum of Modern Art, offered a view of South African art-making practice that flourished among all sectors of society during the apartheid years. The exhibition evoked...

... in South Africa’s National Gallery. His career flourished until he joined up to serve his country in World War II. In 1956, during the “urban removals” enforced by the Nationalist government’s apartheid policy, Tladi and his family were brutally dispossessed of their freehold property and left homeless. He...

... , curated by Adriano Pedrosa, suggesting that it may be seen as both conceptually canon-expanding and structurally center-affirming. It also discusses the curatorial frames and strategies of self-definition of a select group of first-time and returning national pavilions: Benin, South Africa, Uganda...

...Natasha Becker This article takes a critical and intimate look at Okwui Enwezor’s work in South Africa during the 1990s and asserts that the international exhibition he curated in Johannesburg in 1997—the Second Johannesburg Biennale, Trade Routes: History and Geography —is an important lens...

...Quinn Schoen The catalyst of millions of arrests, fervent protests, and a police-led massacre, the passbook is a haunting relic of apartheid South Africa. Operating as a colonial appendage to be carried, tucked away, and presented to police on demand, these pocket-sized identification books...

... innovation allowed a nation or region of the world to position itself as the model of modernity and cultural sophistication. Many newly independent African nations were eager to reposition themselves on the world stage, and fashion became one way to do so. In apartheid-era South Africa, such politics were...

...Tamar Garb This essay looks at the way in which the history of South Africa is imprinted in representations of place. It examines images of the land as sites of inscription, exploring the residue of deep colonial history as well as the more immediate past of apartheid on the signs and signifiers...

...Julie L. McGee To situate this inquiry— visualizing the riot —within South Africa is to take on an overload of imagery, a saturated field, and mechanisms of seeing and framing that risk topical exhaustion, clichéd readings, or indiscriminate generalizations. Critical analysis of the dominant tropes...

...-prints from The End of an Era (2010), The Brave Ones (2010), and Hope Chest (2012), represents the work of an artist whose images have become iconic in both postapartheid South Africa and the international art world. The End of an Era ’s still lifes attest to the grooming habits, romances, and interests...

... priating) symbolically laden architectural icons in or the other. His deeper subject matter lies in a zone London, Paris, and South Africa. of virtuality perpetually caught between the two: an The new Tresses cycle—­while still insisting, via unstable, ever-­shifting virtuality...

... selected for SB15 highlight the role of women as political activists during the 1980s and 1990s across South Africa. The essay discusses Badsha’s biography and approach to photography, in addition to appraising the images themselves. [email protected] Copyright © 2023 by Nka...

...Anna Arabindan-Kesson This article reviews a selection of works by Black diaspora artists who were included in the 2024 Venice Biennale. The article focuses on artists included in the pavilions of Nigeria, Senegal, South Africa, and Benin, along with artists included in the Arsenale...

...Salah M. Hassan This article contemplates the life and work of the Oxford-based South African artist and activist Gavin Jantjes, born in 1948 when apartheid officially became the law of the land in South Africa with the National Party’s election to power. Because Jantjes’s understanding of his role...

... of high jewelry alludes to the global trade in minerals—most specifically, the diamond industry’s spoliation of South Africa’s natural resources, pionered by British imperialist Cecil Rhodes. Special attention is paid to the way Newsome’s subversion of the codes of high jewelry visually and conceptually...

..., in October 2011. More than any other artist, Kentridge has shaped international perceptions of apartheid in South Africa. This exhibition pays due homage to that achievement but also insists on recognizing the artist’s prodigious visual inventiveness, the worldwide relevance of his work. Recently he has been...