David Goldblatt: No Ulterior Motive
R1540A panorama of the career of South African photographer David Goldblatt, elucidating his artistic commitments, networks, and influence
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Out of stockA panorama of the career of South African photographer David Goldblatt, elucidating his artistic commitments, networks, and influence
Out of stock“Morning After Dark” is a series of urban landscapes of the formal and informal parts of Cape Town, all of which have been photographed in early-morning light, and mostly when no-one was present.
Out of stockCatalogue of the Exhibition, Wits arts Museum, 2014 This publication accompanies an exhibition of the same title at Wits art Museum, 20 August – 2 November 2014.

Domestic Scenes feature the entire 54 images of Kentridge’s early series of work Domestic Scenes (1980). Domestic Scenes is published by Steidl, an international publisher of photobooks, and features an exquisite hard cover design with Kentridge’s signature on the cover page and a beautiful A1 poster of a photograph of young William Kentridge in his Parktown studio in Johannesburg, South Africa.

Domestic Scenes feature the entire 54 images of Kentridge’s early series of work Domestic Scenes (1980). Domestic Scenes is published by Steidl, an international publisher of photobooks, and features an exquisite hard cover design with Kentridge’s signature on the cover page and a beautiful A1 poster of a photograph of young William Kentridge in his Parktown studio in Johannesburg, South Africa.
There are 16 variations of the book available, each distinct with a different front cover image of one of the works in the Domestic Scenes series. Clients are welcomed and encouraged to ask for the front cover variation that they would like.

The first publication of photographs taken by Ernest Cole in the United States during the turbulent and eventful late 1960s and early 1970s.

This is the first, self-published catalogue of Phumlani Ntuli’s work. It serves as a personal archive around his artistic practice, focusing on three major exhibitions that took place between 2021 and 2022.

Monograph to accompany painter Georgina Gratrix’s exhibition, The Reunion.

Gerard T. Bhengu, born in 1910 in Centocow, KwaZulu-Natal, was a visionary South African artist celebrated for his intricate portrayals of rural African life and Zulu culture.

Joana Choumali is fascinated with African people of different social origins who proudly display their facial scarification. But the practice is disappearing in her native Ivory Coast and the surrounding countries, due to pressure from religious and state authorities and urban practices. Choumalis work involves the link between past and present, as well as self-image. For this project she sought out the last generation of people who bear the imprint of the past on their faces. What was once the norm, indicating social standing or tribe, is now excluded. Through portraits and testimonies, the series illustrates the complexity of identity in contemporary Africa, torn between its past and future.

Exhibition catalogue of a selection of old maps, photographs, postcards and posters, etc published for the exhibition of the same title, showing Table Mountain as a cultural symbol.

I Make Art restages John Baldessari’s I am Making Art (1971) following his 1970 Class Assignments (Optional) to ‘Imitate Baldessari in Actions and Speech. Video’. Baldessari’s gestural playfulness, copied, repeated and appropriated by a South African woman artist, becomes a strained signifier of accumulated otherness in its repetitious shorthand indexing of Western art categorisations: I Make African Art, I Make Contemporary Arab Art, I Make Craft, I Make Feminist Art, I Make Performance Art, I Make Digital Art, I Make Protest Art, I Make Interdisciplinary Art, I Make Deconstructive Art.

Hlungwani’s body of sculpture articulates his spiritual journey, his insights, and his world in three-dimensional form aiding him in his life’s mission as orator, teacher, healer, and visionary. The sculptures are evidence not only of a remarkable sustained artistic endeavour, but are also, by nature, sculptures that teach. Hlungwani created specific works for the two altars on the hilltop site that he called ‘New Jerusalem.’ These sculptures – as well as many others – expressed his immanent relationship with God, Christ and the Archangels Gabriel and Michael. His numinous world was then directed to his community in his teachings, and beyond, as he freely shared his vision of a new world order.
Out of stockSouth African sculptor Jeremy Wafer was born in 1953 in Durban and is Professor of Sculpture in the School of Arts of the University of the Witwatersrand. He was awarded the Standard Bank National Drawing Prize in 1987 and the Sasol Wax Art Award in 2006.
Out of stockIn “Unfolding Her” Jill Trappler explores the notion of ‘foreverness’ in her non-figurative art practice.
Out of stockThe book explores Nel’s wide-ranging interests and engagement with the role of drawing as a discipline, as a form of notation for exploring thought and consciousness in interpreting self, the world and the universe at large.
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