Showing 33–48 of 66 results
The arresting pictures of Frida Kahlo (1907–54) were in many ways expressions of trauma. Through a near-fatal road accident at the age of 18, failing health, a turbulent marriage, miscarriage and childlessness, she transformed the afflictions into revolutionary art.
This exhibition seeks to look at the disillusion which many Black South Africans face with the advent of democracy. “A disillusion which [we] are complacent about, especially those of us who are privileged… It is this complacency that Urbanation seeks to tear asunder, though be it in the most poetic of ways.”
The new Constitutional Court of South Africa was inaugurated in 2004, ten years after the demise of apartheid and South Africa’s first democratic elections that brought the African National Congress and Nelson Mandela to power. The historic new building was the work of a team of young South African architects who had won the international competition for the design and building of the Court. Shortly after the opening of the Court, David Krut Publishing was approached to manage a competition for the design of a book on the architecture of this important building. The book design competition was won by Adele Prins of Flow Design and work on the book began in 2005.
In Mapula: Embroidery and Empowerment in the Winterveld, Brenda Schmahmann discusses the complex circumstances that resulted in the founding of Mapula in 1991, when the Winterveld was part of the former ‘homeland’ of Bophuthatswana. The Mapula Embroidery Project in the Winterveld is one of the most important community art projects in South Africa.
Born in Cotonou, Benin in 1961, Meschac Gaba moved to the Netherlands in 1996 to take up a residency at the Rijksakademie. It was there that he conceived Museum of Contemporary African Art 1997 – 2002, an ambitious work, that took him five years to complete and that cemented his reputation as one of the most important artists working today.
This catalogue features an essay by Johannesburg Art Gallery curator Khwezi Gule, and an interview with Gaba by Joost Bosland highlighting the importance of humour and play in Gaba’s work.
This lavishly illustrated paperback with exposed spine detail accompanies the first UK retrospective of Olafur Eliasson’s work.
This 128-page supplement to the Personal Affects catalogue features photographs and an essay documenting the exhibition and performances at the Cathedral of St. John the Divine and the Museum for African Art, New York.
An essential guide to this important aspect of South African art, this book provides a comprehensive overview of printmaking in South Africa, replacing the now outdated monograph by F. L. Alexander.
Computer technology has completely revolutionized the work of graphic designers, printers, and print production. To keep pace with these far-reaching changes, Production for Graphic Designers is set firmly in the digital age.
A revolution in visual culture 1905 – 1955.
In exploring the intersection of art, politics and society, few collections in the world can compare with the David King collection. David King (1943-2016) was not only a passionate collector, but also an artist, designer and historian. Over a lifetime he amassed one of the world’s largest collections of Soviet political art and photographs. Every step of the Soviet journey is documented in visual media, photomontage, photographs, paintings, handwritten notes, books (signed with annotations and marginalia), enclosures and ephemera.
Robin Rhode’s art uses the barest of means to comment on urban poverty, the politics of leisure and the commodification of youth culture. The artist has a reputation for brilliantly inventive performances, photography and video animation in which drawing plays a crucial role. In his works, which are often created on the street, Rhode interacts…
Rachel Whiteread solidifies space. Employing materials that include concrete, plaster, resin and rubber to mould not the objects themselves but the areas within or around them, she has single-handedly expanded the parameters of contemporary sculpture.
During a career that has brought her controversy and acclaim in equal measure, Sarah Lucas has made art from the discarded and unexpected, incorporating such diverse materials as cigarettes, food, second-hand furniture and
Seedtimes – the title of Omar Badsha’s photographic retrospective is drawn from a poem by Mafika Gwala written in the wake of the Soweto Uprising of 1976, a period when the cultural and political movement against apartheid really began to develop momentum in the townships of South Africa.
No products in the basket.