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Modern and Contemporary African art is at the forefront of the current curatorial and collector movement in today’s art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available
This exhibition presents a new body of work created by Anna van der Ploeg at the David Krut Workshop (DKW). Through oil paintings, etching editions and monotypes, Van der Ploeg continues to probe notions of performativity, concealment, and tenderness in social interactions.
This exhibition catalogue was published in conjunction with the exhibition ‘At my own risk’ at the Everard Read Gallery, Johannesburg
When the sale of the building seems imminent, not only must the artists face the daunting prospect of relocation, but a remarkable chapter in the complex narrative of contemporary South African art seems about to close. Sensing the importance of this moment, Kim Gurney, herself a former tenant of the atelier, follows the stories of several of the August House denizens through some of the artworks that came to life in their studios.
Catalogue of the first ever Biennale, Africus ’95 in Johannesburg bringing together eighteen South African and four Spanish artists reflecting the extreme diversity of these artists’ professional backgrounds and creative techniques
While a South African audience might be more familiar with Breytenbach as a writer, he initially studied at the Michaelis School of Art. Breytenbach held his first solo exhibition of paintings in 1964, the same year he published his first volume of poems (Die Ysterkoei Moet Sweet) and his first book of prose (Katastrofes). It took place at Galerie Espace in Amsterdam, where Breytenbach shared the roster with Karel Appel and Francesco Clemente, among others.
This publication offers enthusiasts and collectors a glimpse into the studios of thirty important South African artists, born between 1941 and 1998, revealing the richness of both contemporary clay and ceramic tradition within South African art
This book is a selective retrospective of David Goldblatt (born 1930), a key figure in 20th-century photography. Starting from his earliest photographic series, it shows the foundations of Goldblatt’s critical passion for photography, his social sensitivity and political consciousness. Also presented are his most recent photographs pertaining to the changing situation in his native South…
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.
In 2011, on a trip to South Africa for an exhibition, Gary Schneider began a series of handprint portraits of South African artists. Having grown up in South Africa, which he left in 1977 at the age of twenty-three, Schneider realised that this would not be an overview of South African art but rather a way to reconnect with a country that still has an enormous influence on his work.
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.
A first monographic catalogue is devoted to Kevin Brand the prizewinner of the Mercedes-Benz Art Award for South African Art Projects in Public Space 2008.
Luan Nel received his BAFA in 1993 and his Higher diploma in Education in 1994 from the University of the Witwatersrand, Johannesburg. In 1994 he won the Judges Prize in The Sasol New Signatures competition. In 1998 and 1999 he participated in the artist’s residency at The Rijksakademie van Beeldende Kunsten in Amsterdam.
If interested in reading more about this title, please follow link for book review by Art Times.
Publication was edited and designed by Brenton Maart.
Contributions by Alexandra Dodd, Wilhelm van Rensburg, Lloyd Pollack and Robyn Sassen. Interviews with Ilya Rabinovich, Mosheke Langa and Keval Harie
Originally published in 2010 on the occasion of Against the Wall, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel.
Marlene Dumas’s works respond more than ever to the uncertainty and sensuality of the painting process itself. Allowing the structure of the canvases and the materiality of the paint greater freedom to inform the development of her compositions, the artist has likened the creation of these works to the act of falling in love: an unpredictable and open-ended process that is as filled with awkwardness and anxiety as it is with bliss and discovery.
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