Gallery News for David Goldblatt
Breitz, Goldblatt & Nhlengethwa at British Art Museum
South Africa: The Art of a Nation at London’s British Museum includes an work from David Goldblatt’s photographic series The Transported of KwaNdebele, Candice Breitz’s video work Extra, and It Left Him Cold by Sam Nhlengethwa. It runs until 26 February 2017.
Various artists at the New Church Museum, Cape Town
Works by Willem Boshoff, Kudzanai Chiurai, David Goldblatt and Sue Williamson are included on the exhibition 50/50, curated by South African art historian Rory Bester at the New Church Museum in Cape Town. Bester has selected works from the museum’s permanent collection and augmented these with loans that reflect on the patterns of repetition and recognition in turning over and overturning of art histories. The exhibition is a collation and juxtaposition of historical and contemporary works, all viewed through a responsive, documentary lens. As these repetitions and recognitions accumulate over time they come to bear on signifiers such as monuments, monumentality and iconoclasm, secrets and lies, the rise and fall of ideas, culture, cultivation, movement and mobility.
David Goldblatt at Standard Bank Gallery
David Goldblatt: The Pursuit of Values is on show at Standard Bank Gallery, Johannesburg, from 20 October to 5 December. The catalogue produced for the show notes that the exhibition is “essentially about the human spirit” and draws on a number of bodies of work, covering a period of some 65 years. There is a particular focus on South Africa, with works from the series The Structure of Things, Then (1998) and from his ongoing series on the Structures of Democracy.
David Goldblatt in Bloemfontein and Stellenbosch
The University of the Free State, in partnership with the Goodman Gallery, will present the exhibition Structures of Dominion and Democracy 13 July to the 7 August. The exhibition is dedicated to the series Structures, one of the major bodies of works by Goldblatt. For over three decades Goldblatt has traveled South Africa photographing sites and structures weighted with historical narrative: monuments, private, religious and secular, that reveal something about the people who built them. The exhibition forms part of the main programme of the Vrystaat Arts Festival. Goldblatt’s exhibition In the Time of Aids runs at Stellenbosch University from 6 July. According to the artist’s statement the awareness-raising exhibition happens at a time when, “although less voracious in its spread and through drugs less terrible the suffering it brings, HIV/Aids is still very much with us.” Runs until 30 November 2015.
In this 2015 retrospective exhibition, curator Neil Dundas of the Goodman Gallery took the opportunity “to examine how Goldblatt’s life’s work has explored and expressed the values of South Africa and its peoples”. The Pursuit of Values included photographs from Goldblatt’s twin projects, South Africa – The Structure of Things Then and Structures of Dominion and Democracy, as well as a number of images that had not previously been exhibited or published.
For almost seven decades, Goldblatt has been paying fastidious attention to South Africans: their individual stories and collective histories, their homes, their journeys, their workplaces. While he never shied away from the grim realities of apartheid – on the contrary, he captured these on film so that they could become more widely known – Goldblatt also sought and found moments of redemption, sympathy and even humour. Over the last twenty years his camera has been trained on the paradoxes of development and decay, liberty and instability, opportunity and chaos in post-apartheid (or, as some have described it, “neo-apartheid”) South Africa.
The Pursuit of Values was exhibited at at the Standard Bank Gallery in Johannesburg from 21 October to 5 December, 2015.
The Goodman Gallery is pleased to present major photographs in the ongoing Structures series by David Goldblatt. Structures is a major body of work described by Nobel Laureate Nadine Gordimer as “an extraordinary visual history of a country and its people."
For over three decades Goldblatt has travelled South Africa photographing sites weighted with historical narrative: monuments, as well as private, religious and secular sites that reveal something about the people who built them.
These sites also allow us a glimpse into the everyday. Each place is a repository, a landscape containing an epic story that has involved whole communities. The experience is sometimes told through the memorialising of remarkable individuals. Titled Structures of Dominion & Democracy, the exhibition traverses two distinct eras in our history. Instead of the word ‘Baasskap’, Goldblatt refers to the era of inequality as Dominion (see artist’s statement, below).
But, Goldblatt notes, the new exhibition concentrates on, but is not entirely devoted to the period after the fall of apartheid: “I’m mainly showing Democracy. And the reason for this is that people here are familiar with Baaskap and the period of apartheid, but they are not very familiar with looking at what is emerging now.”
By looking at transforming spaces, Structures of Dominion & Democracy offers us a way of understanding the transformation of a people.
ARTIST’S STATEMENT BY DAVID GOLDBLATT
In the 1980s and ‘90s I photographed structures that we South Africans had made during the Era of Baasskap, that time, from about 1660 until 1990, in which Whites gradually came to exert dominion over all of South Africa and its peoples. It was the values we had expressed in those structures that I sought to elicit and explore in photographs and text.
Beginning in 1999 – five years after the first democratic elections that brought the African National Congress to power – and continuing into the present, I have engaged in a similar photography of some of the structures that have emerged with our democracy and that I believe are expressive of values in this new, still nascent way of being in our society.
The photographs in this, the Goodman Gallery exhibition of 2014, come mainly from the time of Democracy.
David Goldblatt was born in 1930 in Randfontein, South Africa and since the early 1960s he has devoted all of his time to photography. In 1989 Goldblatt founded the Market Photography Workshop in Johannesburg. In 1998 he was the first South African to be given a one-person exhibition at the Museum of Modern Art (MoMA), New York. Goldblatt received an Honorary Doctorate in Fine Arts at the University of Cape Town in 2001. The same year a retrospective exhibition of his work, David Goldblatt Fifty-One Years, began a tour of galleries and museums around the world. He was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. Goldblatt received an Honorary Doctorate of Literature from the University of the Witwatersrand in 2008. He has held solo exhibitions at the Jewish Museum and the New Museum, both in New York and exhibited alongside photographers such as Walker Evans and Bruce Nauman in The Original Copy: Photography of Sculpture, 1839 to Today at MoMA. His work was included in the exhibition ILLUMInations at the 54th Venice Biennale in 2011, and has featured on major shows at the San Francisco Museum of Modern Art, the International Centre of Photography in New York and the Barbican Centre in London. He has published several books of his work. Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award and is the 2010 Lucie Award Lifetime Achievement Honoree. Goldblatt received the ICP Infinity Award for Lifetime Achievement in 2013.
To celebrate the publication of On the Mines, a new edition of the acclaimed 1973 book by David Goldblatt, Goodman Gallery Johannesburg is to exhibit a selection of works from the book, and is pleased to host the South African launch of the new version published by Steidl of Germany, noted publisher of books on fine art and photography.
Now in an expanded and redesigned version, the volume is true to the format of the first issue, featuring the original essay by Nobel laureate Nadine Gordimer, and with the images divided into three chapters, namely The Witwatersrand: a Time and Tailings, Shaftsinking, and Mining Men. Gordimer has added a postscript to her essay, and the book is extensively updated “to expand the view but not to alter the sense of things,” says Goldblatt. The photographer has now added a text of his own in which he reflects on his childhood in Randfontein, as well as the 1973 publication. Goldblatt and Gordimer collaborated to examine the human and political dimensions of mining in South Africa, and the photographs which are the basis of the book cover a period from the mid-sixties onward. There are now thirty one new, previously unpublished, photographs, including colour images, while eleven pictures from the first edition have been removed. This is to be the first of a planned series of collaborations between David Goldblatt and Steidl to publish both reprints and new books on his work.
The exhibition and book launch are of particular significance at this time in the history of South Africa and its mines. The photographer will be present at the opening of the exhibition, to take part in a public conversation on his work with writer Sean O’Toole, and to sign copies of the new book.
David Goldblatt was born in 1930 in Randfontein, South Africa and since the early 1960s has devoted all of his time to photography. In 1989 Goldblatt founded the Market Photography Workshop in Johannesburg, with, he explains “the object of teaching visual literacy and photographic skills to young people, with particular emphasis on those disadvantaged by apartheid”. In 1998 he was the first South African to be given a one-person exhibition at the Museum of Modern Art (MoMA), New York. Goldblatt received an Honorary Doctorate in Fine Arts at the University of Cape Town in 2001. In that same year a retrospective exhibition, David Goldblatt: Fifty-One Years, opened in Barcelona, and later travelled to galleries and museums around the world, in New York, Rotterdam, Lisbon, Oxford, Brussels, Munich and Johannesburg. His work was represented at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. Goldblatt received an Honorary Doctorate of Literature from the University of the Witwatersrand in 2008.
Recent solo exhibitions include those at Marian Goodman Gallery Paris, Goodman Gallery Cape Town and Galeria Elba Benitez in Madrid. His work is currently featured on the exhibition Everything Was Moving: Photography from the 60s and 70s, at the Barbican in London. Goldblatt’s photographs are in the collections of the South African National Gallery, Cape Town; the Bibliothèque Nationale, Paris; the Victoria and Albert Museum, London; and MoMA New York, among many other prestigious museums. Goldblatt is the recipient of the 2006 Hasselblad Award and the 2009 Henri Cartier-Bresson Award, was recently named the 2010 Lucie Award Lifetime Achievement Honoree, and in 2011 received an Honorary Doctorate in Fine Arts from the San Francisco Art Institute.
For further information on the exhibition and new publication, kindly contact the gallery.
The great photographer and portraitist Bill Brandt said, simply: I think a good portrait ought to tell something of the subject’s past and suggest something of his future.
And Evelyn Hofer, who has been called ‘the most famous ‘unknown’ photographer in America’ said: In reality, all we photographers photograph is ourselves in the other… all the time.
These two statements, an ideal and an understanding, offer something approaching a ‘philosophy’ of portraiture to which I subscribe.
- David Goldblatt
In a solo exhibition at Goodman Gallery Cape, titled simply Portraits, photographer David Goldblatt brings together old and new portraits of South Africans taken over the course of his 50-year career. The exhibition includes several commissioned portraits of well-known South African figures never shown before, and a curated selection of photographs spanning the 1960s ‘70s and ‘80s.
Also on show is the series Ex-Offenders, recently shown at the 54th Venice Biennale, in which Goldblatt invites convicted and alleged criminals to revisit the scene of the crime of which they’ve been accused, and to be photographed there. “I wanted to burrow under the statistics,” says Goldblatt, “to meet some of the doers of crime, do portraits of them, and hear from them about their lives and what they had done.” Most of his subjects in the series were trying to go straight under very difficult circumstances, which is why Goldblatt refers to them not as criminals or offenders, but as ex-offenders.
David Goldblatt was born in 1930 in Randfontein, South Africa, and since the early 1960s he has devoted all of his time to photography. He has held solo exhibitions at the Museum of Modern Art (MoMA) and the New Museum in New York, and the Fondation Henri-Cartier Bresson in Paris, among others. He was awarded the Hasselblad Award for Photography in 2006 and the Henri Cartier-Bresson Award in 2009, and he is the 2010 Lucie Award Lifetime Achievement Honoree. His work is included in major international collections, including those of the Bibliotheque National de Paris, the Museum of Modern Art in New York, The Victoria & Albert Museum in London, and the French National Art Collection. He has published several books of his work.
Photographer David Goldblatt displayed old and new photographs of Johannesburg in a solo exhibition at Goodman Gallery titled TJ: Some things old, some things new and some much the same. TJ – an obsolete acronym stemming from the South African pre-computerised system of motorcar registrations – stood for “Transvaal, Johannesburg”. These letters, Goldblatt explains, “implied a certain loyalty”. While some of the photographs shown at the Goodman Gallery were taken in what Goldblatt refers to as the “time of TJ”, the title refers to the notion that particular aspects of the city have changed very little since that era and in some cases, worsened. The exhibition ultimately elucidates on these particular aspects of the sprawling city of Johannesburg, which both infuriate and astound the photographer.
“One of the most damaging things that apartheid did to us,” Goldblatt says, “was that it denied us the experience of each other’s lives. Apartheid has succeeded all too well. It might have failed in its fundamental purpose of ruling the country for the next thousand years in that fashion, but it succeeded in dividing us very deeply and it will take a long time to overcome that.” This deep-rooted division is further exacerbated by a continuing social and urban fragmentation. While TJ includes old black and white photographs from an earlier era, new works explore the intricacies of crime, housing and poverty in Joburg.
Much of Goldblatt’s frustration lies in the city’s remarkable oversights, greed and lack of planning. “When we came out of the apartheid regime the Johannesburg municipality was split up and the Gauteng province became responsible for planning in the north-west and they just didn’t plan,” explains Goldblatt. “The result was that to a large degree property developers were at liberty to develop pretty well as they liked.” At the same time exorbitant amounts are spent on stadia and events such as the Miss World competition, while certain areas, such as Diepsloot, remain in dire need of basic facilities such as school libraries and storm water drainage systems. The urban sprawl that the city has become, as well as its often-desperate and baffling conditions, is revealed through aerial shots of the indiscriminately structured northern suburbs and townships, photographs of Zimbabwean refugees sleeping in a congested Methodist church and of the ruins of an amusement park in the foreground of Soccer City – a conflicting icon of growth and prodigality with a budget overrun of R800 million.
In another recent series, Goldblatt has focussed on ex-offenders, inviting them to revisit the scenes of the crimes that led to their incarceration and be photographed there. “I don’t believe that many of them are inherently evil,” says Goldblatt. “They came to their crime for a whole lot of other reasons.” In the 20 plus ex-offenders who he has met, Goldblatt – while admitting that this is only a small sample – has picked up on various factors and patterns that seem to contribute to their criminal behaviour such as domestic dysfunctionality (many, he found, grew up without fathers), and a dire education system. “We have failed a very large number of young black people in this country in regard to their education,” he says. “We had Bantu education under apartheid, and that was a crime against humanity, because it educated deliberately to under-educate. But the education of millions of young black people in post-apartheid has been almost as bad… their ability to mobilise upwards and out of the ranks of the poor is very limited. They’re at a tremendous disadvantage from the start.”
As always Goldblatt’s photographic style is unaffected and direct, reflecting art critic Ken Johnson’s observation that the “effect of Mr. Goldblatt’s understated, antisensational photographs and the spare words that accompany them is cumulative. They build into an infectiously mournful beauty. Even in pictures that seem almost nondescript… Mr. Goldblatt’s compositions have a classical elegance and a reticence that speaks volumes.”
David Goldblatt was born in 1930 in Randfontein, South Africa and since the early 1960s he has devoted all of his time to photography. In 1989 Goldblatt founded the Market Photography Workshop in Johannesburg, with, he explains “the object of teaching visual literacy and photographic skills to young people, with particular emphasis on those disadvantaged by apartheid”. In 1998 he was the first South African to be given a one-person exhibition at the Museum of Modern Art (MoMA), New York. Goldblatt received an Honorary Doctorate in Fine Arts at the University of Cape Town in 2001. The same year a retrospective exhibition of his work, David Goldblatt Fifty-One Years, began a tour of galleries and museums in New York, Barcelona, Rotterdam, Lisbon, Oxford, Brussels, Munich and Johannesburg. He was one of the few South African artists to exhibit at Documenta 11 in Kassel, Germany in 2002. He recently held solo exhibitions at the Jewish Museum (which travels to the South African Jewish Museum in October this year) and the New Museum, both in New York and is currently exhibiting alongside photographers such as Walker Evans and Bruce Nauman in The Original Copy: Photography of Sculpture, 1839 to Today at MoMA. Goldblatt’s photographs are in the collections of the South African National Gallery, Cape Town; the Bibliothèque Nationale, Paris; the Victoria and Albert Museum, London; and MoMA. He has published several books of his work. Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award and was recently announced the 2010 Lucie Award Lifetime Achievement Honoree.
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The Goodman Gallery // Project Space was pleased to have presented an exhibition of works by David Goldblatt. The exhibition opened on the 22 November 2009 and closed on the 12th of December 2009
“In the 1890s, shortly after Johannesburg started, three suburbs, bluntly named, were proclaimed for occupation by people of colour: Coolie Location, Kaffir Location and Malay Location. After an outbreak of plague in 1904, Coolie Location was razed. Kaffir Location became a cemetery for Whites. Malay Location, later named Pageview and called Fietas by its residents, became one of the few places in the city reserved for people of colour – Africans, Coloureds and Indians, none of whom had the vote. Whites in a neighbouring suburb, the people who did have the vote, didn’t like people of colour living so near and put pressure on the City Council to move them out. Gradually, on the pretext of public health and slum clearance, Africans were forced out and Coloureds were enticed with new suburbs. That left the Indians.
In 1950 the apartheid government passed the Group Areas Act, under which residential and business areas in cities, towns and villages were to be reserved for different ethnic groups. In 1956 Pageview/Fietas was declared a White Group Area. The Indians were to be removed to Lenasia, a Group Area reserved for them 40 kilometres beyond the city – Fietas was about five from the city centre.
Fietas was a small place with narrow streets and compact houses, heavily overcrowded, but with a strong sense of community. Rich and poor, Black and White had come from many miles to shop there. Three generations had grown and lived there. Using every loophole in the law the people of Fietas fought against removal. But eventually in 1977 police with dogs moved in and except for a very few, the last of the Indians of Fietas were forced out. Shops and houses were destroyed and new houses were built for low-income Whites.
These photographs were taken in 1976 and 1977, the last years of Fietas.”
David Goldblatt 2009
The Goodman Gallery is pleased to have presented an exhibition of works by David Goldblatt. This exhibition, entitled Joburg, show cased photographs by Goldblatt from 1960’s to the present time.
David Goldblatt is renowned for his documentation of the progress of societal changes and how these impact on the landscape and South African communities, without being judgmental. His works are widely collected, both locally and abroad, in public and private collections. His work is a real statement about the changes currently taking place in South Africa.
Goldblatt has said about the show, “Over the years I have become interested in different aspects of the city. Some of these photographs I have not printed before, some I have not exhibited before, some I showed at the Market Theatre Photography Gallery in the 70s and 80s, others I have shown more recently. Together they come from attempts to get to grips with something of the life and places of this city.”
The exhibition included early black and white images of Johannesburg, some of which had never been seen before, as well as Soweto, Structures, and more recent colour works from the Johannesburg Intersections series.
The exhibition opened on the 26th of April 2008 at noon and closed on 24th of May 2008.
The Goodman Gallery is pleased to present an exhibition of new and rarely seen works by David Goldblatt. The opening of the show will take place on Saturday 3rd September 2005. The gallery will have extended hours on this day, from 09h30 – 17h00. Please join us for a drink at noon.
David Goldblatt is renowned for his documentation of the progress of societal changes and how these impact on the landscape and South African communities. His body of work will consist of stark landscapes shot in the Northern Cape, the impact of AIDS in various communities as well as the increasing roadside memorial sites that one encounters when driving through several landscapes in South Africa. Goldblatt will also be exhibiting portrait photographs of municipal officials.
An established photographer Goldblatt has always interacted immensely with the subjects of his photographs. In a documentary (“On the Road”, Produced by Greg Marinovich) recently flighted on SABC, Goldblatt revisited people he photographed in the 70’s and spoke quite earnestly about these interactions reflecting that language has been the only barrier in communicating.
Goldblatt’s retrospective exhibtion opens in June 2005 at the Museum Kunst Palast, and he will also be having a show at the Galeria Elba Benitez in Madrid, Spain around the same time.
The exhibition closes on Saturday 1st October 2005.
The Goodman Gallery is pleased to have presented an exhibition of works by David Goldblatt. The exhibition opened on the 25th of October 2003 and closed on the 15th of November 2003.
The show coincided with the launch of Goldblatt’s book Particulars. The Particulars series has been an ongoing project, which spans through the seventies and eighties. Goldblatt portrays particular fragments and derails of bodies in both public and private spaces. Here he has revealed in the very contrasting light of the Highveld. He says, ‘There is nothing to beat the excitement of a black and white print coming out of a fixer. I seem to have an almost visceral relationship with black and white negatives.’ The book is published as an edition of 100 collector’s copies and 400 standard copies.
The Rural South Africa series consists of digitally printed colour images in a format larger than any Goldblatt has used the past (1.2 × 1.6m). A theme running through the images is the damage wrought to the land and people by asbestos mining regions. Goldblatt also showed recent photographs from his Intersections series. These include different details taken after anecdotal interactions between Goldblatt and people he met driving in or out of Johannesburg.
Goodman Gallery Cape Town
15 December 2016 – 14 January 2017
Lisa Brice / Kudzanai Chiurai / David Goldblatt / Alfredo Jaar / Samson Kambalu / Kendell Geers / William Kentridge / Liza Lou / Gerald Machona / Gerhard Marx / Shirin Neshat / Walter Oltmann / The Brother Moves On / Jessica Webster
For its end-of-year Summer Show, Goodman Gallery Cape Town has gathered together a selection of important pieces from both new and existing bodies of work by its artists. Taken as a whole, the show presents a textured and vibrant series of engagements with the artists’ social and political environments through photography, sculpture, drawing, prints and video. The exhibition serves an as opportunity to show works not yet seen in Cape Town, and to introduce visitors to artists newly represented by the gallery.
Despite its title, David Golblatt’s A family picnic in the north-west. 15 August 2009 focuses on a macro view of the landscape and structures in which this human scene is taking place. The photograph illustrates Goldblatt’s change in narrative style since shifting to working in colour. As writer Christoph Danelzik-Brüggemann says in the book Intersections: “In parallel with a continued emphasis on striking human situations, in landscapes he developed a visual language that accorded more meaning to space than to time. The formats became larger and a plethora of extremely precisely recorded details (blades of grass, stones, person) combined to form tableaux which the viewer’s eye can explore at leisure. As an overall picture emerges from these details, the viewer becomes aware that the image tells of our times, of the people who live in this land, and of the forces that shape it.”
Walter Oltmann’s Bristle Disguise uses woven alumnium and razor wire to reference local craft traditions. Covered in spikes that recall both the elaborate dress often used in ritualised African dance and the pulsating energy radiated in the activity, his bodysuit merges craft and art. Oltmann has researched and written extensively on the use of wire in African material culture in South Africa and is deeply interested in the influence of these traditions in contemporary South African art. “In my sculptures I use images of natural phenomena (human, plant and animal) and play with the idea of mutation, hybrids and reconfiguring the familiar. Through dramatically enlarging and/or transposing features of one to the other, I play with the paradox between vulnerability and the monstrous. Using the language of craft, my artworks are always a product of labour and time,” he says.
In 2005, American artist Liza Lou first travelled to South Africa to initiate an art project with Zulu beadworkers. Starting with 12 women from the surrounding townships of KwaZulu-Natal, Lou’s project has flourished and has now grown to a collective of over 25 artisans. Her commitment to this community of Zulu women and to exploring the process and testing the limits of her chosen material has led to a minimal, contemplative practice in which the material has become the subject. Untitled #13 is a prime example of the end result; a formal object that, through subtle imperfections, bears witness to the manual labour and personal investment at stake.
Country of my skull was one of the installations included on The Brother Moves On’s solo exhibition, Hlabelela, at Goodman Gallery Johannesburg. The exhibition questioned each member’s personal histories, cultural background and beliefs as a means of unsettling the idea of a homogenised black experience and its acceptance by white art institutions and discourse. The performances, installations and videos explored the complex identity of black youthful opposition but also questioned whether these contemporary traditions can exist within the established traditions of art institutions and art discourse.
Lisa Brice’s Well Worn 5 was part of a body of work that featured a cast of female protagonists engaged in autobiographical acts of looking and being looked at. Grooming, making up, stripping down, dressing up within the confines of domestic, private or veiled interiors, they range from depictions of adoration and loathing, to defiance and reinvention. The mirror reflection reoccurs as a central motif, simultaneously functioning as an alter-ego and an imagined audience beyond the private, as well as a formal device within the painting.
In Life Magazine, April 19, 1968, Alfredo Jaar deconstructs a renowned photograph of Martin Luther King’s funeral that provides a stark visual essay on the racial prejudices that lead to King’s assassination. The work typifies Jaar’s interest in the politics of images: their effect on modern society ”bombarded by thousands of images without warning, without mercy, containing messages of consumption crafted by marketing and communications experts”. He directs the viewer to the parts of the visual experience that they may not have considered in their reckoning of who has power, who does not, and why.
Samson Kambalu’s Nyau Cinema consists of site-specific performances captured on and made in conversation with the medium of film. Born in Malawi and now based in London, Kambalu regards his work as a form of playful dissent that fuses the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the Protestant tradition of inquiry, criticism and dissent. “In my tribe, the Chewa, excess time and resources are not sold; instead it is squandered in ‘useless’ activities such as the arts, funerals, initiations etc. – all led by Nyau masks,” he says. “The role of the Nyau mask is thus to orchestrate the giving of gifts,” which in a capitalist culture, he explains, would be considered the squandering of surplus time and wealth. He invokes the concept of “Gule Wamkulu” (literally the “Great Play”), a ritual masked dance performed by the Chewa, which he describes as “really the creation of ‘Situations’, where a gift can be given without incurring a debt”.
Gerhard Marx’s Transparent Territory series consists of drawings that have been constructed from the fragments of decommissioned and discarded terrestrial maps. The focus in these works is on the act of taking the flat, rectangular depictions of landmass and territory (which maps are intended to be), and reconfiguring them into mineral-like geometric constructions in which folds, facets and overlays construct spatial illusions along with a sense of depth and interiority within the flatness of the map. The series takes inspiration from early depictions of perspectival illusion, most notably Giotto’s clustering of architectural structures. The works also burrow into the flatness of geographic depiction through an act of ‘cartographic mining’, in which the solidity of the earth’s surface is ruptured into a transparent palimpsest of geography and historical time that undermines the authority and singular viewpoint of the two-dimensional map.
Kudzanai Chiurai’s Genesis [Je n’isi isi] CI and Genesis [Je n’isi isi] XI, from his photographic series of the same name, recount the stories of the men who ventured with Livingstone into unexplored territories in central Africa. They included other Europeans who sought similar adventures and the porters and guides who bore the weight of their supplies as well as slaves freed from Arab slave traders. It re-imagines Livingstone’s journey with the guiding principles that Christianity and commerce were inseparable.
Drawing is at the heart of William Kentridge’s artistic practice, forming the basis for works in other media, particularly film. South Africa’s preeminent contemporary artist, Kentridge has earned international acclaim for his layered and complex work, which includes operas, theatre productions and films incorporating his own sculpture and drawings as well as collaborations with dancers and composers. Waiting for the Fire, a large-scale drawing in Indian ink, illustrates his facility as a draughtsman, clearly evident in the animated charcoal drawings that first brought him to the world’s attention.
In the series Our House Is On Fire, originally made as a special commission for the Rauschenberg Foundation, Shirin Neshat was inspired by time she spent in Egypt in the aftermath of the revolution in 2011. In close-up portraits and details of hands and feet, meticulously inscribed with the words of poets of the Iranian revolution, Neshat tells a story of loss and mourning particular to her subjects and simultaneously universal.
In Untitled (Influx I) Gerald Machona has collaborated with Mozambican choreographer Guiamba to create a performance-based installation that seeks to transform migratory objects and garments. A Zimbabwean now living in South Africa, Machona’s work has dealt repeatedly with the theme of migration. Crucial to this artwork is an attempt to disrupt the 55-minute hour scheme used by Cape Town garment factories, where an assembly line of seamstresses was governed by a clock that would run 55 minutes of production and 5 minutes of recess every hour. Rather than rely on a clock to keep time and a metronome to indicate tempo, the artists have drawn rhythm from a sewing machine to stitch together the dance and installation.
Every year Jessica Webster dedicates some time to working as roughly and freely as possible with ink and bleach on paper. “By now I have amassed a huge stack of A3 works, but I see this set of earlier pieces as some of the most successful.” Using ink and paper allows the artist “to get back in touch with some of the fundamentals of my practice: this is the relationship between the two-dimensional surface and the imaginary spaces that composition orders,” she says. Inks 1-15 references Sol Le Witt’s series of drawings Variations of Incomplete Open Cubes (1974). “While Le Witt’s work is interpreted as symbolising the purely visual metaphors of rationality and the Enlightenment subject, my painted copies evoke the more fragile and unstable aspects of geometry. Using Le Witt’s series as readymade references me to focus on how the bare minimum of painterly strokes can create conflict between the sense of depth caused by geometrical perspective and the fluidity and gesturality of hand-painted lines. In some of the works I continue this investigation with other objects, provoking the imaginary sites upon which geometry and order comes to be projected.”
Goodman Gallery Johannesburg
4 June – 6 August 2016
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery’s history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery’s history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery’s ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world’s most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery’s programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery’s transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
Goodman Gallery Cape Town
23 July – 29 August
Broomberg & Chanarin / Carla Busuttil / Nolan Oswald Dennis / mounir fatmi / Kendell Geers / David Goldblatt / Haroon Gunn-Salie / Alfredo Jaar / William Kentridge / Kapwani Kiwanga / Liza Lou / Gerald Machona / Lorna Simpson / Mikhael Subotzky / Hank Willis Thomas / Jeremy Wafer
Edge of Silence is a group show featuring artwork by some of Goodman Gallery’s leading contemporary artists.
The title is taken from a light box with transparency created by Alfredo Jaar that illuminates the words ‘OTHER PEOPLE THINK’, a quote from the youthful writings of John Cage in which Cage “affirms silence as an opportunity to learn what other people think.” Jaar’s light box follows this practice with a kind of silence opens up a space for listening by disrupting our thoughts and perceptions, inviting us to step outside ourselves.
Sleeping, a recurring motif in Kentridge’s work, is used as a metaphor for a state of self-imposed blissful ignorance in which the outside world may be forgotten as the sleeper closes herself off into her internal world. This notion, coupled with the fragility and transparency of glass, evokes a dangerous situation leading to a painful, if not actually destructive, moment of awakening and recognition in Kentridge’s series of prints Sleeping on Glass.
Liza Lou’s Untitled bead canvases emphasize repetition, formal perfection, and materiality, but thrives on the tension between silent beauty and the presence of traces of bodily residue in the beaded strips that establishes many of the social themes, such as uncelebrated women’s work, that underpin her work.
Works on exhibition reference cultural moments and artistic practice that is at times interrogative, celebratory, or a means of bearing witness. Yet in all instances they complicate and remediate so as to bring about a new framework for understanding or experiencing that which exists already.
Artists include Adam Broomberg and Oliver Chanarin, Carla Busuttil, Nolan Oswald Dennis, Mounir Fatmi, Kendell Geers, David Goldblatt, Haroon Gunn-Salie, Kapwani Kiwanga, Liza Lou, Gerald Machona, Lorna Simpson, Mikhael Subotzky, Hank Willis Thomas, and Jeremy Wafer.
GOODMAN GALLERY JOHANNESBURG 28 JANUARY – 26 FEBRUARY 2015
CANDICE BREITZ / ADAM BROOMBERG AND OLIVER CHANARIN / NOLAN DENNIS / MOUNIR FATMI / KENDELL GEERS / DAVID GOLDBLATT/ HAROON GUNN SALIE/ ALFREDO JAAR / MOSHEKWA LANGA / WILLIAM KENTRIDGE / LIZA LOU / MIKHAEL SUBOTZKY /
“Imagine them reconstructing the conceptual framework of our cultural moment from those fragments. What are the parameters of that moment, the edge of that framework?” K Eshun (2003)
Other People’s Memories is a group show which explores the ways in which history and memory exist in the process of making, as well as the process of viewing, and by extension, the relationship between the artist, the artwork and the viewer.
The works included in the exhibition are the result of the artists’ relationship to something which has already happened, so that the artwork becomes an act of insertion, where the artists’ personal history becomes part of the historical, social or cultural moment which is referenced. In some instances the physical presence of the artists and their surroundings is consciously transferred to the artwork.
In Moshekwa Langa’s drawings, the artist uses string, tape and paint to map his memories and encounters. He includes domestic items like salt and wine, which he works into the fibrous paper and permeable string, so that the marks he makes are made viscerally – making overt the artist’s physical presence.
Transferral and human presence is also evoked in the beaded canvases of Liza Lou, who along with her team of skilled Zulu woman beaders, produces visual meditations on imperfect artistic production. The canvases retain traces of sweat, dirt and even blood which are testament to the fragile delicacy of her production and become a site of memory, recording the long struggle and sublime discomfort involved in the act of making.
Mikhael Subotzky’s work Sticky Tape Transfer 03 is formed through a process, developed by the artist, whereby adhesive tape is applied and then removed from images that feature in the artist’s personal history. In this delicate process, the tape picks up pigments and fragments of the original image so that a replica is formed. The pigments and fragments from the image are not all that is transferred onto the tape: dust and grime from the studio also become trapped in the glue, so that the image is made up not only of itself but also from the physical surroundings of the artist. Subotzky’s images then, become a meditation on memory itself. Like Subotzky’s transfers, a memory – each time it is evoked – is revised. Some parts are forgotten and left behind with the splinters and fragments of context replacing them.
The physical presence of the maker is made apparent in Kendell Geers’ work Foiled – where the artist has imprinted a religious figurine of Christ on the Cross on a large sheet of tin foil. Due to the delicate nature of the tin foil, the dents and folds deliberately made by the artists to demarcate the indented image are not the only marks on the material. As Geers manipulates the tin foil to create the image at its centre, his movement is picked up by the material so that the foil retains not only a visual “memory” of the devotional object but also a memory of how it came to be. The exhibition also allows for an exploration of how the artwork exists not only as something which contains the artists’ personal history – which happens in the process of making – but also how the viewer’s own history is projected onto the referred moment during the process of viewing and interpreting. Nolan Oswald Dennis’ work Tunnel 001 investigates the use of fire and what the artist terms “civil burnings” in the historical formation of South Africa.
The work consists of a plywood tunnel, the interior of which is covered in a thin layer of paraffin wax. Historical and personal accounts of how fire and burning existed in the formation of South African independence are carved into the wax. Like the foil in Geers’ work, the brittle yet stiff surface of the wax in Tunnel 001 means that in rewriting the texts, the artist physically changes what was originally written. Mistakes are made and words are scratched out, the wax breaks and obscures words, sentences run into each other and it becomes difficult to determine a precise starting and ending point. The size of the tunnel, which is just high enough to accommodate a human body, means that viewers are unable to gain perspective, and are forced by the physical constraints of the work to look at the carvings as fragments, and read the altered texts in pieces, so that each viewer has a different experience and constructs a different narrative and meaning. Where Dennis replicates and reworks texts onto a new surface, William Kentridge works directly onto archival documents, merging his drawing process into all that is contained by the archival document. Kentridge has worked with pages from an old cash book from East Rand Proprietary mines from 1906. In this way, the artist has worked the writing, texture and marks on the pages of the book into the landscapes – so that the history which the pages record becomes intrinsic to the landscape.
The archive, in this case, is directly altered by the artist’s charcoal landscapes, allowing for a rumination of the effect of the past on the landscape and exploring the tension between the reclaiming of damaged ground by the ever evolving and growing landscape – and the extent to which landscape remembers trauma. While Kentridge explores the extent to which trauma and social injustice is evoked in the landscape,
David Goldblatt considers the ways in which loss and memory are contained within manmade monuments. In his 2014 series, Structures of Dominion and Democracy, Goldblatt continues his reflection on the structures and monuments that frame a particular vision of South African history. The new series concentrates on, but is not entirely devoted to, the period after the fall of apartheid, and features images of makeshift memorials, public monuments, and artworks which memorialize moments of trauma and allow for attempts at national catharsis. The works interrogate the practice of memorializing history and the ideologies that govern this practice. Whereas Goldblatt documents and investigates the ways in which monuments are constructed amongst different groups, Alfredo Jaar works with a historical photograph of Italian artist Lucio Fontana after his return from his native Argentina to Milan in 1946. The image shows Fontana standing amongst the ruins of his studio which was destroyed during World War II. The image, which the artist sourced from the Farabola archive in Rome, has been enlarged to a 2,5 × 2,5 metres square. Beyond the evident display of destruction and loss caused by war, this image marks an extraordinary moment in history where a group of artists and intellectuals were able to overcome years of isolation and devastation and reintroduce Italian culture to the world. This group includes Fontana in visual arts as well as Rossellini, Visconti and De Sica in film, Moravia, Pavese or Ungaretti in literature and the later generation of filmmakers like Antonioni, Bertolucci, Pasolini and artists like Pistoletto, Boetti, Calzolari and countless others who illuminated the cultural scene of Italy and the world.
Jaar first showed this image during the 2013 Venice Biennale as part of his project Venezia, Venezia, which was a call to artists and intellectuals across the globe to rethink the current unbalanced structure of contemporary art display and representations of the world in general. As Jaar points out, “artists create models of thinking the world”. By alluding to the power which culture demonstrated back in 1946, the artist encourages culture to once again overcome the present social, geographical, political, and cultural imbalances still aggravating the world.
Haroon Gunn Salie begins from the point of a South African identity of Diaspora – and a history of colonialism and slavery.
Gunn Salie has produced a metal cut out of the words KOM OOR DIE SEE – a line from the popular “Kaapseklopse” and slave song Die Alabama. Working in The Belfast Exposed archive – which contains photographs documenting the Troubles in Northern Island – photographers Adam Broomberg and Oliver Chanarin were interested in the process of selection, and the physical marks made on the photographic contact strips in the archive.Marks were made both by the succession of archivists who worked with the archive, and as the archive was made open to the public, marks and cuts made by individuals who defaced images of themselves.
The archive, then, is not only a collection of images which document the troubles, but the images themselves – they too become surfaces which bear testimony to the physical manipulation and handling of history and documentation.
In the works on the exhibition the artists have brought to light the process of selection and deletion by uncovering parts of the images which have been covered by archivists’ stickers and deleting the rest of the image. In the process of exposing what was covered and deleting what was not, the artists make over the ways in which cataloguing and selection impact on an archive. When the works are installed in the gallery the images – now devoid of their context – trigger different responses in the viewers, who must use their own backgrounds and history to make meaning of the images’ sequences.
Mounir Fatmi works within the realm of art history and visual culture. Taking the Italian Renaissance artist Fra Anglico’s painting The Healing of Deacon Justinian as his starting point, Fatmi questions the possibility of traversing ethnic and cultural barriers. A digital replica of Angelico’s painting has been printed on a mirrored surface. The painting depicts the Catholic hagiology of the Deacon Justinian, whose cancerous leg was replaced with that of an a dead Ethiopian by the saints Cosmas and Damian – twin doctors of Turkish descent who were martyred in the Catholic faith after they were beheaded under Diocletian persecution.
Fatmi places composites images of modern surgeries and trauma rooms onto the Angelico image so that the saints and the deacon appear as ghostly forms in the modern world. Like so many of his works, in Blinding Light, Mounir Fatmi does not provide the viewer with an answer or solution to ethnic and cultural barriers – but rather through a merging of media, time and origin he includes the viewer in the a process of complicating and questioning the past.
The mirrored surface of the work means that in the proccess of looking, the viewer becomes part of the layered imagery. Bodies are reflected in the parts of the work which are still reflective and hidden in the parts which have been been covered by the photographic print. Again, medium is used as a visual analogy for contemplating that which has come before, where the viewer, as in Frangelico’s painting, becomes a ghostly presence in a reworking and re-imagining of the past. In her dual channel video work Treatment, – Candice Breitz also works with insertion and reception, through revising and editing David Cronenberg’s iconic 1970’s horror film The Brood.
Breitz enlists herself, her own mother and father, and her real-life psychotherapist to inhabit and re-create a series of scenes from The Brood.
As with the Cronenberg film,Treatment resists indulging concrete autobiographical information, denying onlookers voyeuristic access to Breitz’s actual relationships with her parents and therapist, and focusing instead on the psychological horror that potentially lies within family life.
Once again the work deals with the hidden that exists underneath the observable – and asks the viewer to engage with the reference, the artist’s intention and the narrative potential of their own history being brought to bear upon the works.
Goodman Gallery Cape Town
20 January – 28 February 2015
CURATED BY CAROLYN H. DRAKE, ASSISTED BY RENATO SILVA AND LARA KOSEFF
IGSHAAN ADAMS | MARCELO CIDADE | KUDZANAI CHIURAI | KENDELL GEERS | DAVID GOLDBLATT | SONIA GOMES | HAROON GUNN-SALIE | WILLIAM KENTRIDGE | MOSHEKWA LANGA | TURIYA MAGADLELA | THIAGO MARTINS DE MELO | CILDO MEIRELES | PAULO NAZARETH | NUNO RAMOS | ARIEL REICHMAN | ROSÂNGELA RENNÓ | MIKHAEL SUBOTZKY & PATRICK WATERHOUSE | JEREMY WAFER
Exploring the connections and disconnections between Africa and South America from an artistic perspective is the subject of South-South – a new, ongoing initiative launching at Goodman Gallery Cape Town in January. The project borrows its title from Brazil’s foreign policy aimed at reinforcing integration between major powers of the developing world. Emerging from this contemporary environment of integration trends, South-South confronts the complex notion of a connected “geopolitical south” through contemporary art.
To kick-start this annual event Goodman Gallery invited curator Carolyn H. Drake for the first exhibition – The Poetry In Between: South-South. The show brings together a cross-section of intergenerational artists from southern Africa and Brazil. Through existing and newly commissioned works, the exhibition discusses the multifarious issues that connect these two regions within the discourse of the geopolitical south, by addressing universal questions through a southern lens. The point of departure of the exhibition is rooted in poetic manifestations as a way to understand the addressed issues as open ended and varied in meaning.
A core consideration within The Poetry In Between: South-South is to explore the elements that compose the intricate path of our existence – a topic that is more about condition than place, more about subtext than context. Artists reflect on poetic elements of the everyday, in which personal narratives feed into collective histories through utterances and gestures of otherwise unspoken, unrecorded moments, all originating in a global south. The Poetry In Between: South-South ultimately traverses the development of a supposed identity of the South that is being reconsidered within contemporary visual art. Or, in the words of art historian Felipe Scovino: “Brazil’s visual arts sees the postmodern subject not as something or someone whose identity is unified and stable, but rather as something fragmented and […] comprising multiple identities that may at times be contradictory or unresolved.” Cultural theorist, Kwame Anthony Appiah discerns a similar development in South Africa, namely that “the South African identity is a work in progress. Its meaning will repose in an archive that remains to be written.” While Africa and Brazil have a long history often centrally linked to slavery, more recently South Africa and Brazil have grown to share many other connections, as young democracies with a similar political and cultural ethos and a comparable economic and urban fabric. Inescapable factors that occur within these connections include overlapping extremes such as the combination of underdevelopment and overdevelopment within one economic system and the ever-present inequality between marginalised and well-off communities. If we look within the subtext of the clear contrasts and schizophrenic characteristics that mark these southern territories, we might find a new sense of what connects these places. It is the space in between the extremes that this exhibition aims to evoke.
Within this framework, artists from both countries reveal similar approaches. The works of Igshaan Adams, Nuno Ramos, Turiya Magadlela, Sonia Gomes, Haroon Gunn-Salie and Ariel Reichman transform domestic and everyday elements into poetic moments, evoking an existence that is both joined and separated. Others urge us to think about how to position ourselves within a larger urban context, such as Marcelo Cidade, Kendell Geers and Mikhael Subotzky. Moshekwa Langa and Paulo Nazareth employ found materials in order to rewrite collective histories of identity based on the personal experiences from their travels. Capturing or retelling histories that have either not been recorded – or in the minds of many do not exist – manifests in the work of Kudzanai Chiurai, Thiago Martins de Melo, Rosângela Rennó and David Goldblatt’s In Boksburg series. Having followed a slightly longer path, Ramos, Rennó and Goldblatt as well as two of the most renowned artists from either region, Cildo Meireles and William Kentridge, carry the weight of (art) history and yet remain fresh, timely and relevant in their work. They challenge existing systems and structures by creating new ones out of materials that are embedded with a multitude of meanings and references that are often cryptic and ambivalent yet resonant.
The exhibition will be accompanied by a publication that incorporates a catalogue of the show as well as a critical reader edited by Clare Butcher and Carolyn H. Drake, entitled A Heteronymous Reader. The reader is inspired by the poet Fernando Pessoa’s approach to writing, which he developed in South Africa and Portugal in the first half of the 20th century and will include short, existing and newly commissioned texts by artists, writers and poets. Specific texts in the reader are generously supported by the Goethe-Institut.
Goodman Gallery is pleased to present a group exhibition to end the calendar year, review some of the most significant works produced in 2013 and not yet seen in Cape Town, unveil new chapters in some ongoing projects, and to look forward to exhibitions coming up in 2014.
The exhibition features work by some of South Africa’s most important artists covering the full spectrum of contemporary artistic practice, and also serves as a chance to introduce a Cape Town audience to some of the exciting young artists the gallery has begun working with over the past year.
The exhibition will feature a new flip-book film by William Kentridge titled Second-Hand Reading, with music by South African composer Neo Muyanga. In the film, which premiered to great acclaim in New York in September, the pages of a 1914 edition of Cassel’s Cyclopedia of Mechanics, marked by the artist with charcoal, chalk and pencil, are flipped at twelve pages per second to create a characteristic and remarkable animation.
Kudzanai Chiurai will show the film Moyo – as well as a new photographic print from the project – in which the artist gently engages with notions of memory, mourning and loss. Moyo is the third film in a series that includes Creation and Iyeza, which formed part of his exhibition at dOCUMENTA in 2012.
In a series of photographs titled SABC Minimal Candice Breitz explores the studios and stages behind the scenes at the South African Broadcasting Corporation, an institution that, despite its radical transformation over the past 20 years, remains indelibly marked by its own role in the country’s political and social history.
Gerald Machona anticipates his upcoming solo exhibition in Johannesburg with The Edelweiss, a delicate sculpture of Switzerland’s national flower, made with decommissioned currency and suspended under a glass dome, that speaks powerfully of the impact that seemingly abstract economic policies have on our daily lives.
Haroon Gunn-Salie’s Turn the Other Way, originally installed in a demolished house in District Six, asks viewers to consider their own role in the devastation of the neighborhood that began in the 1960s, and the ongoing conflicts over the land on which it once stood. In transposing the installation to a gallery space on the edge of the district the work’s message is changed and complicated further.
In Land of Black Gold IV, recently shown on the exhibition Kaboom! Comics in Art at the Museum fur Moderne Kunst in Bremen, Siemon Allen strategically cuts up, splices and erases original Tintin comic strips by Hergé to create a large single panel that raises questions about language, cultural perspective and the contingent nature of narrative.
The exhibition also includes large-scale sculptural work by Kendell Geers, Sigalit Landau, Stuart Bird and Walter Oltmann, new and recent photographic work by Mikhael Subotzky, Adam Broomberg & Oliver Chanarin, Alfredo Jaar, David Goldblatt and Sue Williamson, and paintings by Moshekwa Langa, Clive van den Berg and Vusi Beauchamp.
Exhibition opening Saturday 14 December at 10h00
Goodman Gallery Cape Town will remain open throughout the holiday season, except on public holidays. The gallery will also be open on Monday 23 December and Monday 30 December.
Goodman Gallery Cape Town presents Structures, a group exhibition bringing together works by Adam Broomberg and Oliver Chanarin, Carlos Garaicoa, David Goldblatt, Mikhael Subotzky and Jeremy Wafer. The exhibition is concerned with structures both monumental and mundane, and aims to examine the ways in which they inform the environments we inhabit, and what they suggest about the underlying systems that give rise to them.
David Goldblatt’s series South Africa: The Structure of Things Then deals in part with the architectural landscape of Apartheid South Africa and the relationship between the governing ideology of the time and its physical manifestations across the country. Mikhael Subotzky’s ongoing Security series is in some ways a contemporary response, documenting the surveillance cameras, security huts and electrified fences of the modern suburban landscape, and examining the links between poverty, race, crime and the effects of a legacy of discriminatory spatial planning.
Bertolt Brecht’s War Primer is a book of what Brecht called ‘photo-epigrams’: newspaper and magazine clippings of images of the Second World War, each captioned with a 4-line poem. In Poor Monuments, Adam Broomberg and Oliver Chanarin juxtapose pages from Brecht’s original book with images of modern conflicts (in particular the so-called War on Terror) to look at the changing (and sometimes unchanging) narrative of war, and the systems responsible for crafting and disseminating it.
Cuban-born Carlos Garacioa’s Para transformer la palabra política en hechos, finalmente II (To transform political speech into facts, finally) takes as its subject the city as a site for collective memory and imagination, while a new floor sculpture by Jeremy Wafer contemplates abstract and physical notions of space, and the degree to which a space is produced by the structures it contains.
This March, Goodman Gallery Cape presents a group exhibition of work in a wide range of media. Titled Editions, the show brings together photographs, sculpture, video/multimedia works, lithographs, linocuts and photogravures by a variety of South African and international artists, with the common thread that each work forms part of an edition.
Kudzanai Chiurai shows a new film from his Conflict Resolution series, last seen at Documenta 13 in Kassel, Germany, as well as a new photograph from the same body of work. New prints by Gerhard Marx and Walter Oltmann find them engaging with etching, lithography and woodblock printing in new and exciting ways.
Alfredo Jaar’s photographs of Serra Pelada, an opencast gold mine dug by human hands in Brazil, are shown as color transparencies mounted in lightboxes, and sit in uneasy relation to Liza Lou’s Gather Forty, a sculpture made from gold-plated beads threaded and bound in a sheaf.
The exhibition also includes new prints by Clive van den Berg and Diane Victor; photographs from Candice Breitz’ recent Extra!, last seen at the Iziko South African National Gallery, and David Goldblatt’s characteristically quiet colour landscapes; and a portfolio of photolithography by Moshekwa Langa.
Also on show is the full series of Robert Hodgins’ experimental Officers and Gents, to coincide with the Wits Art Museum’s exhibition of his print archive; a selection of lithographs from Sam Nhlengethwa’s recent Conversations series; Mikhael Subotzky’s Don’t even think of it, a film made from a series of still photographs shot by the artist in 2004; and a set of 7 photogravures by William Kentridge titled Zeno Writing II.
Goodman Gallery Johannesburg welcomes you to 2012 with Advance/… Notice, an exhibition of new works by a dynamic group of contemporary artists from around the world. As we advance into a new calendar year, this exhibition gives notice of innovations from some of our artists who are already familiar to you, and of our new ventures into an intellectual exchange with artists with whom we are excited to work for the first time. This show will also give audiences a preview of what is to come, as many of the featured artists have solo shows planned for 2012 at Goodman Gallery spaces and other prestigious South African institutions.
Advance/… Notice introduces newly perfected techniques or processes for some of our well-known artists, such as platinum photographic prints by David Goldblatt, and a completely new turn of direction and field of interest for African American artist Hank Willis Thomas, who first exhibited with us on In Context in 2010, as well as for Sigalit Landau, the acclaimed Israeli artist we co-hosted at last year’s Venice Biennale. These international savants are joined by South African artists such as Hasan and Husain Essop, Moshekwa Langa, Mikhael Subotzky, Sue Williamson, William Kentridge, Rosenclaire, and Frances Goodman revealing either brand new works, or works not yet seen in Johannesburg. Also featured are works by Kendell Geers, whose retrospective exhibition will open at IZIKO South African National Gallery in late March 2012.
Our first show of the year seems an apt time to introduce the novel and the unexpected in the work of a number of artists and to also welcome prominent figures including Liza Lou, a world-renowned American now living and working in KwaZulu Natal; South African Candice Breitz, now resident in Berlin; Chilean-born New Yorker Alfredo Jaar; London-based Iranian Reza Aramesh, as well as Carla Busuttil – a young South African artist based in Berlin who is well-established in the United Kingdom, but has never before exhibited in her home country.
Liza Lou presents a work titled Gather Forty, one of a series of forty individual sculptures made from gold-plated beads that have been expertly threaded onto four hundred individual pieces of stainless steel wire and bound in a sheaf – continuing the shift of the beadwork medium from craft to conceptual art. Alfredo Jaar, internationally recognised artist, filmmaker and architect, celebrated for the public interventions he has created all over the world, shows From Time to Time, a panel of nine Time magazine covers focusing on Africa that either feature animals or malnourished Africans – revealing how the rest of the world often encapsulates its second largest continent. Breitz, who opens a major survey of her work titled Extra! at the Standard Bank Gallery this February, presents The Character, a video installation filmed in Mumbai that seeks to understand the role and influence of child characters in mainstream Indian cinema through interviews with a group of young moviegoers. In Action 78, Aramesh uses familiar scenes from news footage of the first Gulf War to restage, re-present and destabilise any easy readings of the conflicts we think we understand. Oil paintings by Busuttil offer a sinisterly-executed perusal of the exploitation of power and cruelty.
We are also very pleased to present for the first time the work of Nelisiwe Xaba, who will be presenting an interactive dance and video collaboration with Mocke J van Veuren at Goodman Gallery Projects in February. The crossover into visual art is exciting new territory for this renowned performer/dancer.
Goodman Gallery hopes you will join us to be inspired, challenged and excited by this exhibition and its promise of advances in the visual arts of South Africa. We trust you will find the exhibition gives notice of an innovative and exciting programme for 2012 in Johannesburg and Cape Town.
Goodman Gallery presents a group exhibition simply titled Winter Show, featuring a range of local and international art luminaries. Traveling from Goodman Gallery Johannesburg, the show presents recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, as well as revealing a shift in the Gallery’s approach, showcasing work from around the African continent and beyond that is both explicitly and implicitly concerned with the synergies and tensions that exist between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer, are not only being showcased, but are now officially represented by the Goodman Gallery.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, considering in great depth the question of ‘who has the right to represent whom?’. Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered, not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. The Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include one of artist, Kara Walker’s 2009 films – which are based on narratives from the archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – featuring the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and evocative movements. William Kentridge will present a new drawing produced this year, a large scale tapestry, as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx.
With Goodman Gallery firmly established as a world-class contemporary art institution, the Winter Show will reveal the gallery’s commitment – not only to representing artists of the highest caliber, but to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced, both locally and abroad.
This winter the Goodman Gallery will relaunch its Parkwood space, which has been extensively reconsidered, both physically and conceptually. This launch will be initiated with a group exhibition simply titled Winter Show, featuring a range of luminary-status local and international artists. The show will not only present recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, but will also reveal a shift in the Gallery’s approach, showcasing work from around the Continent and beyond that is both explicitly and implicitly concerned with synergies and tensions between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer and Hank Willis Thomas, are not only being showcased by the Goodman Gallery, but are now officially represented by us.
The Winter Show will act as a confluence of the Goodman Gallery’s top represented artists, as well as artists participating in In Context – a series of exhibitions and interventions currently taking place at Arts on Main and other venues in Johannesburg. Artists such as Jenny Holzer, Amer, Willis Thomas, Bili Bidjocka, Willem Boshoff and Kara Walker will participate in both shows, with the Winter Show presenting some of their more recent work. While In Context manifests an intimate and often candid exploration of the dynamics of the African continent, the Winter Show will offer a broader conceptual platform, covering many aspects of South African, African and global landscapes and conditions.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, intricately considering the question of ‘who has the right to represent whom?’ Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. In Context magnifies these issues, while the Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include two of Walker’s 2009 films – which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – presenting the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements. Jenny Holzer’s Purple Red Curve (2005) transmits a coalescence of master narratives through a curved electronic LED sign. Jeremy Wafer will create a site-specific wall drawing in the Goodman Gallery specifically for the show. Kentridge will present a series of new drawings produced this year as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx. A large scale, steel version of this work will be launched at the Apartheid Museum on 8 July 2010 as part of In Context. The Winter Show will also feature an ongoing screening of all of the Goodman Gallery’s top art films by leading artists such as Kentridge and Vári.
The Goodman Gallery in Parkwood has undergone numerous physical transformations and now boasts a new showroom and a space dedicated to photographic works. We are in the process of establishing an art library accessible to the visiting public and will offer a range of educational art talks and events during the Winter Show.
With Goodman Gallery firmly established as a prestigious, world-class contemporary art institution, the Winter Show will reveal how the Gallery – beyond representing artists of the highest caliber – is dedicated to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced locally and abroad.
David Goldblatt was born in 1930 in South Africa and since the 1960s he has devoted all of his time to photography. In 1989, Goldblatt founded the Market Photography Workshop in Johannesburg. In 1998 he was the first South African to be given a solo exhibition at the Museum of Modern Art in New York. In 2001, a retrospective of his work, David Goldblatt Fifty-One Years began a tour of galleries and museums. He was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. He has held solo exhibitions at the Jewish Museum and the New Museum, both in New York. His work was included in the exhibition ILLUMInations at the 54th Venice Biennale in 2011, and has featured on shows at the San Francisco Museum of Modern Art and the Barbican Centre in London. He has published several books of his work. He is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award, and the 2013 ICP Infinity Award.
2016 Ex-Offenders, Pace Gallery, New York, USA
2015 The Pursuit of Values, Standard Bank Gallery, Johannesburg, South Africa
2014 New Pictures 10: David Goldblatt, Structures of Dominion and Democracy, Perlman Gallery, Minneapolis Institute, USA
2014 Structures of Dominion and Democracy, Marian Goodman Gallery, Paris, France
2012 On the Mines, Goodman Gallery, Johannesburg, South Africa
2011 Intersections Intersected: The Photography of David Goldblatt, Amherst Art Museum, Massachusetts, USA
2010 TJ: Some things old, some things new and some much the same, Joburg photographs by David Goldblatt, Goodman Gallery, Johannesburg, South Africa
2010 South African Photographs: David Goldblatt, Jewish Museum, New York, USA
2010 Kith Kin Khaya, Jewish Museum, Cape Town, South Africa
2009 Intersections Intersected: The Photography of David Goldblatt, New Museum, New York, USA
2009 Intersections Intersected, Konsthal, Malmö, Sweden
2009 In the Time of Aids, Elba Benitez, Madrid, Spain
2009 David Goldblatt, Michael Stevenson, Cape Town, South Africa
2009 Open Eye, Liverpool, England, UK
2008 Galerie Paul Andriesse, Amsterdam, Holland, Netherlands
2008 Intersections Intersected, Fundacao de Serralves, Porto, Portugal
2008 Intersections Intersected, Michael Stevenson, Cape Town, South Africa
2007 David Goldblatt: Photographs, Fotomuseum Winterthur; Forma – Centro Internazionale di Fotografia in Milan, Milan, Italy
2007 Intersections, Huis Marseille, Amsterdam, Holland; Berkeley Art Museum, University of California, California, USA
2006 Hasselblad, Hasselblad Center, Göteborg, Sweden
2006 David Goldblatt, Rencontres d’Arles, France
2006 Some Afrikaners Revisited, Michael Stevenson, Cape Town, South Africa
2005 David Goldblatt, Museum Kunst Palast, Düsseldorf, Germany
2005 Intersections, Michael Stevenson, Cape Town, South Africa
2005 Fifty-One Years, A Retrospective, Johannesburg Art Gallery, Johannesburg, South Africa
2003 David Goldblatt, Lenbachhaus, Munich, Germany
2003 Modern Art, Oxford, England, UK
2003 David Goldblatt, Palais de Beaux Arts, Brussels, Germany
2002 David Goldblatt, Museu d’Art Contemporani de Barcelona, Barcelona, Spain
2002 Fifty-One Years, Witte de With, Rotterdam, Holland, Netherlands
2002 Fifty-One Years, Centro Cultural de Belem-Fundacao, Lisbon, Portugal
2001 David Goldblatt, AXA Gallery, New York, USA
1999 David Goldblatt, South African National Gallery, Cape Town, South Africa
1998 David Goldblatt, Museum of Modern Art, New York, USA
1998 David Goldblatt, Netherlands Architecture Institute, Rotterdam, Holland, Netherlands
1986 David Goldblatt, Photographers’ Gallery, London, England, UK
1985 David Goldblatt, Side Gallery, Newcastle-upon-Tyne, England, UK
1983 David Goldblatt, South African National Gallery, Cape Town, South Africa
1978 David Goldblatt, Various exhibitions since 1978 at the Market Theatre Galleries, Johannesburg, South Africa
1977 David Goldblatt, Durban Art Gallery, Durban, South Africa
1975 David Goldblatt, National Gallery of Victoria, Melbourne, Australia
1974 David Goldblatt, Photographers’ Gallery, London, England, UK
2013 Infinity Lifetime Achievement Award from the International Center for Photography, New York
2011 Honorary Doctorate San Francisco Art Institute
2011 Kraszna-Krausz Photography Book award (with Ivan Vladislavic)
2010 Lucie Award Lifetime Achievement Honoree
2009 Henri Cartier- Bresson Award, France
2009 Lifetime Achievement Award, Arts and Culture Trust
2008 Honorary Doctorate of Literature, University of the Witwatersrand
2006 Hasselblad Foundation International Award in Photography
2004 Particulars ,Arles Best Book of the Year
2001 Honorary Doctorate of Fine Arts, University of Cape Town
1995 Camera Austria Prize
South African National Gallery, Cape Town
Durban Art Gallery
Johannesburg Art Gallery
University of South Africa
University of the Witwatersrand
University of Cape Town
Bibliotheque Nationale, Paris
Museum of Modern Art, New York
National Gallery of Victoria, Melbourne
Victoria and Albert Museum, London
The French National Art Collection
The Art Gallery of Western Australia
Huis Marseilles, Amsterdam, Netherlands
Stedelijk Museum, Amsterdam, Netherlands
Fotomuseum, Winterthur, Switzerland
Hasselblad Collection, Sweden
Museum Kunst Palast, Düsseldorf, Germany
Art Collection Deutsche Borse, Frankfurt, Germany
Museum of Contemporary Art, San Diego
Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria
Museum of Modern Art, San Francisco, USA
National Gallery of Canada
The Getty Museum, Los Angeles
The Tate Modern, London
2012 Roger Tooth, Feeling The Heat: Photography Under Apartheid, The Guardian, United Kingdom
2012 Rory Bester, Exploration of Mining Taps Into Rich Seams, Mail & Guardian Johannesburg
2012 Robin Cebalist, Things Fall Apartheid, Artnews, United States
2010 Mary Corrigall, Haunted by the Past, Sunday Independent, South Africa
2010 Jackie May, Goldblatt’s Old and New, The Times, South Africa
2010 Aspasia Karras, More Than Black and White, Marie Claire, South Africa
2010 Ivan Vladislavic, Posers, Sunday Times, South Africa
2010 Shaun De Waal, Shot on the Spot, Mail & Guardian, Johannesburg, South Africa
2010 Joseph Lelyveld, South Africa; the Truth Teller, The New York Review, New York
2010 Donald Weber, A Lens on Apartheid’s Haunting Legacy,The Jewish Daily Forward, United States
2010 Ann Levin, David Goldblatt’s Clear Eyed View of Apartheid, Mail & Guardian, Johannesburg, South Africa
2001 David Goldblatt, 55, With an essay by Lesley Lawson. London: Phaidon
2000 Lawson Lesley, David Goldblatt’s Johannesburg, in Rhizomes of Memory: tre sorafrikanske fotografer, Oslo: Henie Onstad Kunstsenter
2000 Sassen Robyn, Structures Piled upon Structures, in H-NET Book Review (firstname.lastname@example.org), February
1998 Rosenblatt, Nina, Sociology of the Object, in Archis (NL), no. 12
1996 Bleach Gordon, Between the Fine Print and a Hard Place: David Goldblatt’s South African Artifacts, in NKA: Journal of Contemporary African Art (US), no. 9, fall-winter
1992 Gaule, Sally, Ann, Photographs of Wlaker Evans and David Goldblatt: Seeing Through Different Prisims, in de arte (SA), September
1991-1992 Oliphant Walter, Andries, The Photographic Moment and the Ethics of Representation, in Full Frame in Vrye Weekblad (SA), no. 13, December – January
1990 Sorrell Jennifer, David Goldblatt: Less is More, in ADA (SA), 1st and 2nd Quarters
1990 Joyce Ozinski interviews David Goldblatt, in ADA (SA), 1st and 2nd Quarters,
1990 Watson Steven, A version of Melancholy, in ADA (SA), 1st and 2nd Quarters
1990 Le regard temoin, in Constuire (SW), Zurich, February 28
1986 Patterson, Moira, Totems of The White Tribe, in the Obsever Magazine (GB), London, April 6
1983 David Goldblatt, Thirty – Five Years of Photographs, Cape Town, South African National Gallery
1981 Ozinski, Joyce. Anatomy of a City, in Rand Daily Mail (SA), Johannesburg, May 7
1977 Osman, Colin, and Peter Turner (ed), David Goldblatt, Creative Camera International Year Book, London: Coo Press
1976 Nicolas-Fanourakis, Dimitri, A Radical Observation: Some Afrikaners Photographed, In Snarl: A Critical Review Of the Arts (SA), February
2012 David Goldblatt, Nadine Gordimer, On The Mines, new edition, Steidl, Göttingen
2010 Ivan Vladislavic, TJ with Double Negative. Contrasto, Rome
2010 Jeffrey Ladd, Joanna Lehan, In Boksburg, Errata Editions, New York, 2010
2010 Bronwyn Law-Viljoen (ed), Kith, Kin & Khaya, Goodman Gallery Editions
2008. David Goldblatt: Intersections Intersected. Essays by Ulrich Loock and Ivor Powell. Fundacao Serralves, Portugal
2007 David Goldblatt, Annari van der Merwe (ed), Some Afrikaners Revisited, Umuzi, Cape Town
2006 David Goldblatt: Photographs. Contrasto, Roma
2006 Godby, M. David Goldblatt/Hasselblad Awards 2006. Hatje Catz Verlag, Ostfildern, Germany
2005 David Goldblatt, Intersections, Prestel, Munich, Germany.
2003 David Goldblatt, Particulars. Goodman Gallery Editions, Johannesburg, South Africa. [Awarded the Arles Book Prize for 2004]
2001 David Goldblatt, Fifty-One Years. Actar and Macba, Barcelona, Spain.
2001 David Goldblatt 55. (one of a series about photographers) Phaidon Press, London, England.
1998 David Goldblatt, South Africa: the Structure of Things Then. Oxford University Press, Cape Town, and Monacelli Press, New York, USA.
1989 David Goldblatt, The Transported of KwaNdebele. with Brenda Goldblatt and Phillip van Niekerk, Aperture, New York, USA.
1986 David Goldblatt, Lifetimes: Under Apartheid. text by Nadine Gordimer, Knopf, New York, USA.
1982 David Goldblatt, In Boksburg, Gallery Press, Cape Town, USA.
1981 David Goldblatt, and Margaret Courtney-Clark and John Kench, Cape Dutch Homesteads, Struik, Cape Town, South Africa.
1975 David Goldblatt, Some Afrikaners Photographed. Murray Crawford Johannesburg, South Africa.
1973 David Goldblatt, Nadine Gordime, On The Mines, Struik, Cape Town, South Africa
2016 New Revolutions: Goodman Gallery at 50 , Goodman Gallery, Johannesburg, South Africa
2016 New Revolutions: Goodman Gallery at 50 , Goodman Gallery, Cape Town, South Africa
2015 Edge of Silence, Goodman Gallery, Cape Town, South Africa
2014 From Sitting to Selfie, Standard Bank Gallery, South Africa
2014 Destini/Storie/Vite,Centro Arte Moderna e Contemporanea della Spezia, La Spezia-Italy, Italy
2014 Apartheid & After, Huis Marseilles Museum voor Fotografie, Amsterdam, Netherlands
2014 Ngezinyawo: Migrant Journeys, Wits Art Museum, South Africa
2014 Public Intimacy: Art and Other Ordinary Acts in South Africa, Yerba Buena Center for the Arts, San Francisco, USA
2014 Rise and Fall of Apartheid, Museum Africa, Johannesburg, South Africa
2013 – 2015 Distance and Desire: Encounters with the African Archive, Walther Collection, Ulm, Germany
2013 My Joburg, La Maison Rouge, Paris, France
2013 La Chambre, Strasbourg, France
2013 Rise and Fall of Apartheid, Padiglione d’Arte Contemporanea, Milan, Italy
2013 Rise and Fall of Apartheid, Haus der Kunst, Munich, Germany
2012-2013 The Progress of Love , The Menil Collection, Houston, Texas, USA
2012-2013 _RISE AND FALL OF APARTHEID _ , International Centre of Photography, New York, USA
2012 Everything was Moving , Barbican, London, UK
2012 San Francisco Museum of Modern Art with Ernest Cole and Billy Monk, San Francisco, USA
2012 Revolutions vs Revolutions , Beirut Art Center, Beirut, Lebanon
2012 Rise and Fall of Apartheid, International Center for Photography, New York, USA
2011 Figures & Fictions , V&A London, UK
2011 Venice Bienale , Venice, Italy
2010 29th São Paulo Biennial, São Paulo, Brazil
2010 The Original Copy: Photography of Sculpture, 1839 to Today , Museum of Modern Art, New York, USA
2008-9 Beyond the Familiar: Photography and the Construction of Community , Williams College, Massachusets, USA
2008 Make Art/Stop AIDS , Fowler Museum at UCLA, Los Angeles, USA
2008 Home Lands – Land Marks at Haunch of Venison , London, UK
2007 Apartheid: The South African Mirror , Centre de Cultura Contemporania de Barcelona, Barcelona, Spain
2007 Documenta 12 , Kassel, Germany
2007 Africa Remix, Johannesburg Art Gallery, Johannesburg, South Africa
2007 Contemporary Art Photography from South Africa 2007: Reality check, Museum Bochum, Kunstsammlungen Chemnitz and other venues in Germany
2007 South African art now , Michael Stevenson, Cape Town, South Africa
2006 South African art 1850 to now , Michael Stevenson, Cape Town, South Africa
2005 Faces in the Crowd , Whitechapel, London, UK
2004 History, Memory, Society , with Henri Cartier Bresson and Lee Friedlander, Tate Modern, London, UK
2003 Africa Remix , Museum Kunst Palast, Duesseldorf, Germany
2002 Documenta 11 , Kassel, Germany
2001 The Short Century , Museum Villa Stuck, Munich, Germany
2000 Rhizomes of Memory , Three South African Photographers, Henie Onstad, Norway
2000 Kunstsenter, Oslo, Norway
2000 Home , Art Gallery of Western Australia, Perth, Australia
2000 Eye-Africa , Revue Noir, Cape Town, South Africa; Europe and the USA
1998-9 Blank: Architecture, apartheid and after , Rotterdam, Holland, Netherlands
1998-9 Blank: Architecture, apartheid and after , Berlin, Germany
1996 In/Sight, African Photographers, 1940 to the Present, Guggenheim Museum, New York, USA
1995 Johannesburg Biennale, Johannesburg, South Africa
1986 South Africa: the Cordoned Heart, South Africa; USA
In Conversation With Matthew Krouse
11 April 2015
16 min 20 sec
Press for David Goldblatt
David Goldblatt / Artforum / November 2009Leora Maltz-Leca on David Goldblatt (591.1 KB)
David Goldblatt / Arthub / May 2016Engaging with South Africa: David Goldblatt, by Ryan Nuckolls (489.7 KB)
David Goldblatt / Pretoria News / October 2015Retrospective sees Goldblatt get his dues by Diane de Beer (1.1 MB)
David Goldblatt / Creative Feel / October 2015The Pursuit of Values (2 MB)
David Goldblatt / allAfrica / Africa / 5 August 2015South Africa: Structures of Dominion and Democracy By Thapelo Mokoatsi (431.4 KB)
David Goldblatt / Mail and Guardian / South Africa / 24 April 2015The structures that David Goldblatt values By Jeremy Kuper (343.9 KB)
David Goldblatt / IOL Daily News / South Africa / 8 April 2015Seeing ourselves in structures By Kamcilla Pillay (440 KB)
The Poetry In Between: South-South / City Press / South Africa / 15 February 2015Art review – The geopolitical trash By Nadine Botha (76.8 KB)
Silence talks with a powerful voice / Mail and Guardian / South Africa / 13 August 2015Silence talks with a powerful voice By BONGANI KONA (1.8 MB)
David Goldblatt / Mail and Guardian / 30 - 5 January to February 2015David Goldblatt salutes a photographer whose work speaks fluently about people and events By David Goldblatt (503.4 KB)
David Goldblatt / The New Yorker / New York / 22 January 2015David Goldblatt’s “Particulars” By Genevieve Fussell (211.7 KB)
David Goldblatt / The Mail and Guardian / 21 to 27 November 2014Landscapes of High Voltage by Melvyn Minnaar (315.1 KB)
David Goldblatt / City Press / Johannesburg / 27 July 2014Fine china for charity by Percy Mabandu (234.8 KB)
David Goldblatt / Design indaba / South Africa / 5 March 2014David Goldblatt on life through lens by Design Indaba (254 KB)
David Goldblatt / ARTNews / United States of America / 9 April 2012Things Fall Apartheid by Robin Cebalist (512.1 KB)
David Goldblatt / Mail & Guardian / Johannesburg / 2-8 November 2012Exploration of mining taps into rich seams by Rory Bester (623 KB)
David Goldblatt / The Guardian / United Kingdom / 9 November 2012Feeling the heat: Photography under apartheid by Roger Tooth (131.6 KB)
David Goldblatt / Mail & Guardian / Johannesburg / 17 September 2010Shot on the spot by Shaun de Waal (7.4 MB)
David Goldblatt / Mail & Guardian / Johannesburg / 29 April 2010David Goldblatt's clear-eyed view of apartheid by Ann Levin (171.7 KB)
David Goldblatt / Marie Claire / South Africa / October 2010More than black and white by Aspasia Karras (8.1 MB)
David Goldblatt / Sunday Independent / South Africa / 17 October 2010Haunted by the past by Mary Corrigall (2.8 MB)
David Goldblatt / Sunday Times / South Africa / 26 September 2010Posers by Sunday Times Lifestyle (5.4 MB)
David Goldblatt / The Jewish Daily Forward / United States / 9 May 2010A Lens on Apartheid's Haunting Legacy by Donald Weber (5.2 MB)
David Goldblatt / The New York Review / New York / 2 - 19 September 2010South Africa; The Truth Teller by Joseph Lelyveld (2.5 MB)
David Goldblatt / The Times / South Africa / 8 October 2010Goldblatt's old and new by Jackie May (1.8 MB)