R320.00 inc. VAT
The first comprehensive retrospective exhibition of works by Albert AdamsÂ ran at Iziko Museum. Albert Adams was born in Johannesburg in 1930 but at the age of four came to Cape Town with his mother and sister. He attended Livingstone High School and studied at Hewat College in Cape Town. Unable to study at the Michaelis School of Art, University of Cape Town, because of the apartheid policies, he applied for, and was awarded a scholarship to study at the Slade School of Art in London where he studied from 1953 to 1956. He enrolled for a brief course of study at the Munich Academy of Arts and later in 1957 attended master classes under the internationally renowned artist, Oskar Kokoschka.
He returned to Cape Town where he exhibited widely but in 1960 decided to leave South Africa for good and settled in London. He taught for a while at schools in the East End of London and in 1979 was appointed to the staff of the City University, London where he lectured in art history for 18 years. Towards the end of 2006 Adams was diagnosed with lung cancer and after a brief stay in hospital passed away on 31 December 2006.
An instinctive expressionist Adamsâ€™ subject matter is evidence of a deep social commitment and he can rightly be seen as an heir to Francisco Goya (1740 â€“ 1828). Often his subject matter is inspired by international events but he alwaysÂ returned to South Africa for inspiration, depicting, amongst others, the homeless people of Cape Town, the darker side of the Cape Minstrels and in a more allusive way the â€˜baggageâ€™ or legacy of apartheid.
Although Adams exhibited extensively and, on more than one occasion was chosen to represent South Africa on international exhibitions, his long period of absence from South Africa has resulted in the undue neglect of a major talent.
This retrospective exhibition will result in Albert Adams being recognized and established as a major South African artist.R350.00 inc. VAT
In the course of his forty-year career, major South African artist Alexis Preller achieved national recognition and critical acclaim. Loyal admirers flocked to every exhibition by the master colourist. Yet, there were also those who were disturbed by his frequently cryptic themes and who denounced his distinctly independent and often enigmatic work.R150.00 inc. VAT
Published as part of Gandon Editions’ PROFILES series on Irish artists.R100.00 inc. VAT
An exhibition catalogue of major works spanning the illustrious 40-year career of South Africa’s pre-eminent contemporary sculptor, Andries Botha, entitled Being Here (and there).R300.00 inc. VAT
Andrzej Jackowski: A Drawing Retrospective 1963-2003R300.00 inc. VAT
Consumerism, glamour, disasters and mass media – Andy Warhol’s art is a mirror image of America.R220.00 inc. VAT
Fully illustrated, with an insightful text by acknowledged authority Matthew Gale, this book will provide new insight into the life and carer of one of the twentieth century’s greatest painters.R230.00 inc. VAT
Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways — as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today’s mainstream Western art — which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself — by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.R200.00 inc. VAT
This catalogue, was published to accompany Barthélémy Toguo’s first solo exhibition with Stevenson gallery. The exhibition, which took place in May 2014, used the title of an immersive installation in which small drawings are displayed atop 35 music stands.R720.00 inc. VAT
With an essay by Jonny Steinberg and commentary by Mikhael Subotzky
At the half-way point along South Africaâ€™s great highway â€“ the N1 running from Cape Town to Johannesburg â€“ lies the small town of Beaufort West. With its prison in the middle of town, on an island in the highway, itâ€™s a surreal road-stop that offers everything a traveller might want â€“ food, gas, a place to stay, an hour of sex… Mikhael Subotzky considers the town, its vivid characters and poignant social landscapes, in a photo essay that confronts central issues of contemporary South African society. His first photobook, it is exquisitely produced on a large portfolio scale. With an introduction by leading South African writer Jonny Steinberg and Subotzkyâ€™s own commentary on the photographs, the book is both a document of social evidence and the visual manifesto of the best of the new wave of South African art photographers.
The book is published to coincide with Subotzkyâ€™s first North American exhibition â€“ Beaufort West at the Museum of Modern Art, opening in September 2008.
Photo credit: 5B4R175.00 inc. VAT
This series of affordable monographs focuses on the lives and careers of important British artists from the 18th century to the present day.
J.M.W. Turner is probably the greatest painter Britain has ever produced.R180.00 inc. VAT
Published by Thames & Hudson, 1985
Walter Gibson dispels the notion of Bruegel the simpleton peasant, instead, he shows us Bruegel the cultivated artist.R250.00 inc. VAT
Candice Breitz: Extra! is the first significant survey exhibition of Breitz’s work on South African soil.R250.00 inc. VAT
“I think an artist must be a master of his craft, he must know it so well, he must not have to worry about the craft side of his work, and is free t express his sensations, ideas or emotions.” – Caroline van der MerweR350.00 inc. VAT
This publication features his photographs from the late seventies to the present day, allowing insight into a previously unknown African world. His aesthetically and compositionally unusual photographs combine reality with poetry.R400.00 inc. VAT
exhibition catalogue of Chéri Samba’s solo show at the Musée national des Arts d’Afrique et d’Océanie, Paris, in 1997R200.00 inc. VAT
The figure of a white horse embodies the fantasy of romance, locating the cast of characters within the space of fiction. It is here that children’s projections of their adult selves play out their imaginary lives – in ‘the realms of the unreal’, as the outsider artist Henry Darger termed it. In the sculpture that lends its title to the group, a girl lies on her bed, daydreaming; another gathers up her long hair, echoing the self-absorbed reverie of Balthus’ 1955 Nude before a Mirror. Other characters include Loved Ones, a girl with bare breasts; a pair of best friends/rivals; the bust of a young boy; Song; and a lovebird on its perch.Have no product in the cart!