David Krut Projects is pleased to present Print Me, the first exhibition dedicated to Chakaia Booker’s prints. Booker began collaborating with Master Printer, Phil Sanders, of Robert Blackburn Printmaking Workshop in 2009, and has created over 100 unique prints to date.
David Krut Publishing is delighted to announce the publication of William Kentridge Nose. This book accompanies the launch of a suite of thirty new limited-edition prints by Kentridge called ‘Nose’, the culmination of a four-year collaboration between the artist and David Krut Print Workshop.
William Kentridge is well known for his films, drawings, and theatre productions, but he began his artistic career learning etching at the Johannesburg Art Foundation under Bill Ainslie. He spent two years teaching printmaking at the Foundation and his earliest exhibitions featured his monotypes and etchings such as the Domestic Scenes series.
A Primer in South African Graphic Design features the work of leading design professionals, containing design fundamentals and principles ranging from practical advice and guidance, designing for and within the local context, examples of work by designers, a Q&A with experienced local design professionals to a glossary of useful resources and information.
Art and Justice: The Art of the Constitutional Court of South Africa documents and celebrates the artworks integrated into and collected for the Constitutional Court of South Africa. The book pays tribute to the extraordinary vision of the architects and judges of the Court who sought to bring together, in the most inspiring, innovative and dignified way possible, art and the workings of justice, and to give a public soul to the new Court building.
Light on a Hill: Building the Constitutional Court of South Africa celebrates one of the most important buildings of a young democracy, a building that seeks to reflect the values and principles enshrined in South Africa’s progressive Constitution.
Paul Stopforth is known in South Africa for work that comments on the harshness and injustices of life under apartheid. His art – comprising sculpture, drawing, painting, and printmaking – is not, however, narrowly political but instead occupies a space ‘between the material and the spiritual, imaging finitude and mortality’. Under intense pressure because of…
Mmakgabo Sebidi traverses mental and physical landscapes with an eye trained on the dangerous, the discomfiting, the traumatic and the ecstatic in human experience. She is deeply grounded in her rural upbringing and traditions but also finely attuned to the rhythms of the city in which she has spent much of her adult life. Sebidi brings together these two worlds in works of great visionary and prophetic power. Her themes are wide-ranging: her cultural roots, the wisdom of the ancestors, the ravages of the modern world on the human psyche, the loss of tradition, the potential of human creativity to build relationships and restore the past.
While Johannes Phokela’s work is, at first glance, an irreverent representation of Western art history, it is the cultural and political consumption of pictures that interests him most. He is a voracious consumer of imagery, drawing not only on the iconic works of the European Masters – Rubens, Van Dyck, Caravaggio – but also on newspapers, magazines and the Internet. His is an ambitious exploration of the import of received art history on the one hand and the seemingly endless proliferation of images in popular culture on the other.
Dis-Location / Re-Location: Exploring Alienation and Identity in South Africa is a lively series of essays which considers the themes raised by the provocative and critically acclaimed 2007/8 travelling exhibition Dis-Location / Re-Location by Leora Farber and the fashion design duo Strangelove. This book is a valuable addition to the ongoing debates about cultural assimilation, the politics of identity and race, and the relationship between art and political discourse.
This Compendium brings together all thirteen supplements from the TAXI Art Books series on contemporary South African artists. Each chapter contains an introduction to the artist, worksheets and conceptual and practical projects, fact files, glossaries and bibliography. Learners and teachers are encouraged to draw on thier own resources of imagination and experience and, through discussion, collaboration and reflection, understand the artist’s work and try a variety of art-making exercises. The Compendium includes valuable material on how to conduct research, write art essays, avoid plagiarism, keep a visual diary and do art presentations.
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.
Critical Interventions is a peer-reviewed journal of advanced research and writing on African art history and visual culture. Our mission is to provide a forum for cutting-edge scholarship in African art history and for sustained analysis of issues of urgent concern for the discipline that foregrounds both the history of Africa’s modernity and the historiography of African Art History.