Gallery News for David Koloane
Various artists at the Beijing Biennale
The exhibition TWENTY: Art in the Time of Democracy is sponsored by the Shanghai-based company Zendai Development South Africa, and will present South African artists at this year’s Beijing Biennale. The exhibition is co-curated by Karen von Veh, professor in the Department of Visual Arts at the University of Johannesburg’s Faculty of Art, Design and Architecture (Fada) with Gordon Froud, Fada senior lecturer. Goodman Gallery artists exhibiting in Beijing include William Kentridge, David Koloane, Brett Murray, Sam Nhlengethwa, Walter Oltmann and Diane Victor. The Beijing International Art Biennale runs throughout September 2015.
Various artists on TWENTY: Art in the Time of Democracy
The exhibition TWENTY: Art in the Time of Democracy features works by 115 artists and is presented by UJ Arts & Culture at the UJ Art Gallery from 1 July to 5 August 2015. Curated by Gordon Froud, senior lecturer at the University of Johannesburg (FADA), it incorporates a broad range of works by established and emerging South African artists addressing their experiences of the first twenty years of democracy in this country. Artists include William Kentridge, David Goldblatt, Diane Victor, David Koloane, Kagiso Pat Mautloa, Vusi Beauchamp and Clive van den Berg. Froud originally curated the exhibition for the Appalachian State University Turchin Centre in North Carolina, in 2014.
David Koloane receives Honorary Doctorate
Rhodes University in Grahamstown is to award artist David Koloane with an honorary doctorate in April. Koloane, who was born in Alexandra township in 1938, and who has been represented by the Goodman Gallery for many years, is a pioneer of South African anti- and post-apartheid art. His work pictures the haphazard life of the African street and communicates the socio-economic reality of the local landscape. He was a graduate of the late Bill Ainslie under whom he trained in the late 1970s, and is the subject of a monograph by renowned Ivorian writer Veronique Tadjo. Koloane has an award in his name given to emergent artists by Johannesburg’s Bag Factory gallery and studio space of which he is a founding member. In 2012 he received an honorary doctorate from Wits University in Johannesburg.
Various artists at the South African Pavilion at Venice Biennale
Works by David Koloane, Gerhard Marx, Maja Marx, Philip Miller, Sam Nhlengethwa, Sue Williamson & Nelisiwe Xaba are featured on the South African Pavilion at the 55th la Biennale di Venezia. Curated by Brenton Maart, the exhibition is titled Imaginary Fact: Contemporary South African Art and the Archive. The exhibition is presented by the National Arts Festival and funded by the Department of Arts & Culture. The 55th la Biennale di Venezia will take place from 1 June to 24 November 2013.
Goodman Gallery Cape Town
28 July – 10 September 2016
Goodman Gallery is pleased to announce a solo exhibition of new work by David Koloane (b.1938), one of South Africa’s most renowned Expressionist painters.
Since the 1950s the artist has confronted the urban world in figural renderings and bold colors to develop a powerful mode of social criticism. Koloane’s central subject, black life in the city of Johannesburg, is depicted in swirling, swaying, and exaggeratedly executed brushstrokes. These techniques are meant to convey the turgid emotional state of the artist reacting to the anxieties and yearnings of life in one of Africa’s largest cities.
His well-known representations of Johannesburg include hybrid individuals (‘mongrels’, ‘hustlers’) and the results of urbanization (thick commuters, African immigrants, feral dogs). Brightly hued images, such as, Red Beret, are an energetic game of color and form, Saxophone a soothing streak of pinky-grey and The Hustlers exist in a phantom grey. Working in layers of ideas and media, Koloane comments on the emotional resonances of the city in representations that range from the vibrant and hopeful to the grey and melancholic and back again.
At the center of the exhibition is a new stop-motion animated video, created from a series of detailed pencil drawings. The Takeover, expressed in a palette of achromatic greys, is a fable about the value of community and a cautionary tale about the company one keeps. Set in a Johannesburg township, a pack of aggressive feral dogs take over an abandoned school. One night, a woman attends a vigil at a neighbor’s house and while walking home after the meeting the dogs attack and kill her. Spurred by her death the community comes together, and drive the dogs out of town. A very short fable, featuring animals with human thoughts and deeds, The Takeover is a metaphor about the dangers of free-living and the redemptive power of community.
Koloane’s drawings and paintings recall the forcefully expressionist art of Gerard Sekoto (1913–1993), and the abstract experiments of Louis Maqhubela (1939–2010) and Sydney Khumalo (1935–1988). He exemplifies the sensibilities and techniques of expressionist art in South Africa today.
29 APRIL -27 MAY 2010.
Goodman Gallery Cape proudly presents a solo exhibition of new and recent drawings and prints by David Koloane. The exhibition foregrounds Koloane’s decades-long exploration of the bustle and frictions of the inner city of Johannesburg, where Koloane has his studio. In his work, Koloane negotiates actual and symbolic tensions between the vertical planes of high-rise buildings and the low pulse of crowd-filled streets, viewed through hazy early morning or late afternoon smog. The moods and shifts in the city’s light and landscape are represented in Koloane’s gestural marks and his colourful but earthy palette. This work lends credence to Ivor Powell’s observation that Koloane’s ‘expressive and representational realisation makes the canvas into a site of subliminally emotive suggestion as much as a representational equivalent of observed reality.’
A new body of work included on the exhibition playfully engages with the soccer mania sweeping the country. Koloane has created a series of large-scale charcoal and pastel drawings depicting a player in action – legs flailing in strong circular movements. Reminiscent of mandalas, the movement poetically captures the dynamics of the beautiful game.
David Koloane is one of the important South African artists of recent decades. His contribution to the visual arts spans criticism, curation, developmental interests and a prolific career as a practitioner. A founding member of the Bag Factory (Fordsburg Artists’ Studios) in Johannesburg, Koloane was instrumental in establishing a presence in southern Africa for the Triangle Trust, an international network of artists and arts organisations. He has exhibited widely and his work is represented in major collections including Iziko South African National Gallery, the Johannesburg Art Gallery, Wits Art Galleries as well as the Botswana National Museum.
Goodman Gallery Cape Town
29 October – 3 December 2016
Opening Saturday 29 October at 11:00
Kudzanai Chiurai • Nolan Oswald Dennis • Gabrielle Goliath • Haroon Gunn-Salie • Kiluanji Kia Henda • David Koloane • Moshekwa Langa • Gerhard Marx • Tracey Rose • Thabiso Sekgala • Jeremy Wafer
Goodman Gallery Cape Town’s group show Where We Are is a partner exhibition to Africans in America, co-curated by American artist Hank Willis Thomas and Goodman Gallery director Liza Essers and held across both the gallery’s Johannesburg location and the Johannesburg Art Gallery. The exhibitions are presented in association with the major international conference Black Portraiture[s] III: Reinventions: Strains of Histories and Cultures as part of In Context 2016, an ongoing curatorial series that the gallery initiated in 2010.
Africans in America calls into question the meaning of the term “African American” and explores the shifts in perspective that are occurring among a new generation of artists from Africa and the Americas as they traverse between the two. Where We Are offers a counter conversation to this, presenting work by African artists within Africa – many of whom are still based in their country of origin – as opposed to working in the context of the diaspora.
The artists’ practice has either been rooted in or constantly drawn back to – whether circumstantially or deliberately – their places of origin. The exhibition will also consider ideological positions implicit in the notion of ‘where we are’; within states of transformation, in relation to complex and often traumatic histories and the resultant need for redefinitions of democracy and reparative justice. Place is an inherent locus of the exhibition observable in a multitude of expressions, including map-making, cityscapes, migration and monuments.
Angolan artist Kiluanji Kia Henda is a multidisciplinary practitioner who often manipulates public spaces and structures to interrogate the legacies that shape modern African cities, specifically the Angolan capital Luanda. Henda’s video installation Concrete Affection – Zopo Lady evokes a moment in the city’s history when Angola’s independence from Portugal’s colonial rule in 1975 resulted in a mass exodus of its inhabitants. The artist uses wooden crates and boxes to evoke the façade of an abandoned cityscape while speaking to the material weight of what it means to migrate. The construction creates a dedicated space for a video work that offers a narrative perspective of that migration.
The cityscape as a metaphor crystallises figuratively in David Koloane’s expansive drawing of the artist’s favoured motif, the Johannesburg skyline. Koloane is an established and assertive voice of South African black modernity crucially focused on the society and culture around him.
Gabrielle Goliath offers a chilling audio installation, Roulette, which involves the participating viewer in a dare. Below a pair of suspended headphones lies a welcome mat warning the participant of the possibility of aural damage if they listen to the audio – a stream of amplified static punctured by an ear-ringing, pointblank recording of a revolver gunshot once every six hours. This specific window of time refers to homicide statistics showing that every six hours a woman in South Africa is killed by an intimate or ex-intimate partner – the highest rate in the world.
Originating from Cape Town, Haroon Gunn-Salie addresses the current push for the decolonisation of South African universities and public spaces heralded by the #RhodesMustFall movement of 2015. Gunn-Salie implicates figureheads such as Carl von Brandis and Bartolomeu Dias in the traumatic history of colonialism by casting moulds directly from public statues of these once-celebrated men. Their hands removed from a previously glorifying context and covered in red, these figures are held accountable for bloodshed. The conspicuous place these monuments hold in our society is uncomfortably highlighted and destabilised, a form of vengeance through the symbolic reclamation of public space.
Zimbabwean artist Kudzanai Chiurai engages in a similar re-contextualisation of colonial imagery. His Genesis series takes as a departure point stone reliefs that commemorate the expeditions of David Livingstone. In a complex symbolic staging that references Livingstone’s championing of religion and commerce to ‘civilise’ Africa, Chiurai imagines an African future that the colonial project could never entertain: one which attempts to re-establish the connection between contemporary Africa and its rich past. Tracey Rose also subverts historical assumptions of whiteness by recasting the role of the messiah as a challenge to canonical religious iconography.
Nolan Oswald Dennis delves into knowledge foundations that ground South Africa as a nation and how the warped perspective of past power structures creates the need for social and political re-interpretations, including the conceptual repossession of South Africa to become Azania (a proposed alternative, in name and ideals, of South Africa from the Black Consciousness movement). As Dennis reconstructs lines that define country along historical and political lines, Jeremy Wafer explores the arbitrariness of the physical barriers and boundaries that define country, specifically the demarcation between Mozambique and South Africa. In an investigation of the standards by which these boundaries are created, Wafer creates his own tools of measurement that manifest in a sculptural installation.
Gerhard Marx deconstructs the borders defined in mapping to question notions of territory and the place of the human in the abstracted aerial view. The abstraction of the landscape is taken to its end point in Moshekwa Langa’s work, an expressive evocation of distance and horizon offering a personal perspective on migration, loss of place and the bittersweet experience of return.
Where We Are serves as a series of questions, interrogating history, geography and memory, both personal and collective. The artists examine the systems of place that define the daily lives and recent histories of people across the continent and find them wanting, resulting in many attempts at re-imagining. In the proposal of ideals and alternatives, the status quo is indicted and the past held accountable, as we attempt to understand where we are, how we got here and how to move forward.
This show is a precursor to a larger exhibition that will take place in New York in 2017.
The exhibition includes a video programme hosted in Goodman Gallery Cape Town’s new street-level video room on Sir Lowry Road, echoing the thematic content of Where We Are with a focus on the individual as an anchor to place.
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 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.
Lisa Brice | Kudzanai Chiurai | Soly Cissé | Tom Cullberg | Claire Gavronsky | Robert Hodgins | David Koloane | Moshekwa Langa | Minnette Vári
There is an element of uncertainty inherent in the medium of paint – it is a fluid material that allows for various modes of expression, and as such is an ideal starting point for an examination of notions of nebulousness and accident.
Goodman Gallery Cape presents Open End, a group exhibition of paintings by both emerging and established artists that speaks to the element of uncertainty in artistic production and expression, and illustrates a process that seeks to arrive at meaning through search.
In an environment where so much emphasis is placed on work that is conceptually pre-determined, where the work is crafted around and invested with a deliberate and established message or meaning, the show aims to create a space for paintings produced without a clear conceptual starting point, focusing on the wrestle or the hunt for meaning rather than the expression of a packaged and determined project.
It is a simultaneously dangerous and powerful position to work from, unstable and vulnerable on the one hand, but filled with the potential of new and unexplored ideas, of work that is discursive and receptive to chance on the other. The title Open End refers not only to the absence of resolution, but to the very manner in which the work is approached: an embracing of uncertainty – or, to paraphrase Francis Bacon, a courting of accidents – in the search for meaning.
The exhibition will feature new works by Lisa Brice and David Koloane, and a painting created in situ by Kudzanai Chiurai. Tom Cullberg will show a series of abstract, perhaps metaphysical paintings dealing with the tensions that exist between the rational and the chaotic. Two anamorphic landscape-like paintings by Minnette Vári – first seen earlier this year as part of her solo show Parallax at Goodman Gallery Johannesburg – as well as several typically humorous and confrontational works by Moshekwa Langa will be included. Dakar-based artist Soly Cissé will show nine small monochrome paintings deftly straddling the figurative and the abstract, Claire Gavronsky will show an oil painting addressing notions of memory and loss, and several works by the incomparable Robert Hodgins illustrate the flex and the power of the medium.
Ryan Arenson | Walter Battiss | Deborah Bell | Justin Brett | Lisa Brice | Adam Broomberg & Oliver Chanarin | Adam Broomberg | Kudzanai Chiurai | Marlene Dumas | Claire Gavronsky | Robert Hodgins | William Kentridge | David Koloane | Moshekwa Langa | Alexandra Makhlouf | Brett Murray | Sam Nhlengethwa | Walter Oltmann | Jonah Sack | Kathryn Smith | Jaco Spies | Clive Van Den Berg | Diane Victor | Jeremy Wafer | Sue Williamson
For many artists, drawing forms part of a larger process – a loose way of visualizing an artwork before committing to it in a more permanent medium. But the act of drawing itself remains one of the oldest and most eloquent forms of artistic expression. Goodman Gallery Cape is proud to present a group exhibition of drawings entitled ‘The Marks We Make’, exploring notions of mark-making as assertions of ownership and expressions of violence, memory and play.
Drawing usually refers to pencil marks on paper. In this exhibition we approach the term more loosely, featuring a range of media to question what constitutes a drawing and what gives it power. Works will include photographs from the Red House series by Adam Broomberg and Oliver Chanarin, depicting the marks left behind by prisoners of Saddam Hussein in Iraq; wire and sculptural elements by Walter Oltmann and William Kentridge; installations by Jeremy Wafer, Jonah Sack and Justin Brett, as well as more traditional pencil, oil and charcoal drawings by Sue Williamson, Lisa Brice and Sam Nhlengethwa.
‘The Marks We Make’ brings together South African artists to explore the ways in which marks shape our environments and inform our perspectives. Bodies are circumscribed, silenced or marginalized by the invasive marks of violence. But these marks can also be used to express an identity, stake out a position or form communities. Territory is claimed, land contested, and ownership asserted through the use of marks, both physical and symbolic. The exhibition seeks to interrogate the ways in which these marks act to create the contingent, political spaces within which we form ourselves, and the role they play in shaping our personal and cultural memories.
David Koloane was born in Alexandra, Johannesburg,South Africa in 1938 he lives and works in Johannesburg, South Africa.
David Koloane’s work addresses socio-political matters and contributions to the furtherance of disadvantaged black South African artists during and after the apartheid era is evident. My work can be said to reflect the socio-political landscape of South Africa both past and present. The socio-political conditions created by the apartheid system of government have to a large extent transfixed the human condition as the axis around which my work evolves. The human figure has become the icon of creative expression.
David Koloane’s work focuses on socio-political matters and contributions to the furtherance of disadvantaged black South African artists during and after the apartheid era is evident. My work can be said to reflect the socio-political landscape of South Africa both past and present. The socio-political conditions created by the apartheid system of government have to a large extent transfixed the human condition as the axis around which my work evolves. The human figure has become the icon of creative expression.
2014 – 2015 David Koloane Survey,Wits Art Museum, Johannesburg, South Africa
2010 Twenty Ten and Other Things, Goodman Gallery Cape, Cape Town, South Africa
2008 Revival, Goodman Gallery, Johannesburg, South Africa
2006 New Work, A.B.A Gallery, Cape Town, South Africa
2003 Rituals , Goodman Gallery, Johannesburg, South Africa
2002 City Beat , Seippel Gallery, Germany
1999 Cityscapes and City Dwellers , Goodman Gallery, Johannesburg, South Africa
1997 New Work , NSA Gallery, Durban, South Africa
1994 Made in South Africa 2 , Goodman Gallery, Johannesburg, South Africa
1993 Made in South Africa 1 , Goodman Gallery, Johannesburg, South Africa
1993 Solo Exhibition, Goodman Gallery, Johannesburg, South Africa
1990 Gallery on the Market, Newtown, Johannesburg, South Africa
1977 Nedbank Gallery, Killarney, Johannesburg, South Africa
2016 New Revolutions: Goodman Gallery at 50 , Goodman Gallery, Johannesburg, South Africa
2014 Controversial ways of seeing, Bag Factory, Johannesburg, South Africa
2013 My Joburg, La Maison Rouge, Paris, France
2013 Imaginary Fact: Contemporary South African Art and the Archive, South African Pavilion, 55th la Biennale di Venezia, Venice, Italy
2012 Terra firma, Fried Contemporary Art Gallery & Studio, Pretoria, South Africa
2011 e-Scapes, David Krut Publishing, Johannesburg, South Africa
2009 KOLOANE MABASO MASHILE MAUTLOA, Gallery AOP, Johannesburg, South Africa
2008 Print Run, David Krut Publishing, Cape Town, South Africa
2006 Unhomely – Seville Bienale, Seville, Spain
2002 Ubuntu, Malaysia Art Museum, Kuala Lumpur, Malaysia
2000 South African Artists, Seippel Gallery, Germany
1999 Liberated Voices, National Museum of African Art, Washington DC, USA
1996-1997 South Africa National Gallery, Cape Town, South Africa
1996 Alvar Aalto Museum, Jyvaskyla, Finland
1996 Bomani Gallery, San Francisco, USA
1995 Zora Neal Hurston National Museum of Fine Art Hurstonville, Florida, USA
1995 Meridian International Center, Washington DC, USA
1995 South African Murals, ICA Gallery, London, UK
1995 Art from South Africa, Museum of Modern Art, Oxford, UK
1989-90 Touring Exhibition, Nordic Countries
1989 African Encounter, Dome Gallery, New York, USA
1989 The Neglected Tradition, Johannesburg Art Gallery, Johannesburg, South Africa
1988 Pachipamwe International Artists Workshop, Zimbabwe National Gallery, Harare, Zimbabwe
1988 Group show with Dumile Feni and Louis Maqhubela, Gallery 198, London, UK
1987 South Africa Tour, Johannesburg Art Gallery, Johannesburg, South Africa
1987 Natal Society of Arts, Durban, South Africa
1987 Contemporary Black Artists Exhibition, Academy Art Gallery, Paris, France
1987 Vita Art Now, Johannesburg Art Gallery, Johannesburg, South Africa
1986 Academy Art Gallery, Paris, France
1986 University of South Africa, Pretoria, South Africa
1986 Historical Perspective of Black South African Artists,Alliance Francaise, Pretoria, South Africa
1986 Historical Perspective of Black South African Artists, Alliance Francaise, Johannesburg, South Africa
1985 ‘USSALEP/Fuba Workshop Exhibition’, Fuba Gallery, Johannesburg, South Africa
1985 Touring Exhibition, South Africa and Germany with Ben Ntsusha, FUBA Gallery, Johannesburg, South Africa
1984-1985 Stockwell Open Studios, London, England, UK
1984 Stickwell Studio Exhibition, London, England, UK
1983-1984 Triangle Artists’ Workshop Exhibition, New York, USA
1982 Art Towards Social Development, National Gallery and Museum, Gaborone, Botswana
1979 Bill Ainslie Studios, Johannesburg, South Africa
1978 Black Expo ’78, Johannesburg, South Africa
1976 Group exhibition with Michael Zondi, Nedbank Gallery, Johannesburg, South Africa
1975 Nedbank Gallery, Johannesburg, South Africa
1995 Seven Stories about Modern Art in Africa, Whitechapel Gallery, London, UK
Women’s voice, Daimler-Chrysler Museums, Stuttgart, Germany
1990 ‘Dialogue’, Castle of Good Hope, Cape Town, South Africa
1985-90 Federated Union Black Arts, FUBA Gallery, Johannesburg, South Africa
2001 External Examiner, University of Cape Town, Cape Town, South Africa
1*997* to present Board Member: National Arts Council, Johannesburg, South Africa
1993 to present Co-founder and Director: Fordsburg Artists’ Studios (The Bag Factory), Johannesburg, South Africa
1990 Coordinator: Art from South Africa, Oxford Museum of Modern Art, Oxford, UK
1985-90 Head of Department: Federated Union Black Arts (FUBA) Gallery
1985 Judges Panel: African Arts Festival, University of Zululand, Kwazulu-Natal
1983-5 Coordinator: Botswana Arts Festival, Gaborone, Botswana
1982 Visual Arts Co-coordinator: Culture and Resistance Festival, Gaborone, Botswana
1979 Tutor: Federated Union Black Arts (FUBA)
1977-9 Co-Founder: Johannesburg’s first black-owned art gallery
2001 Thapong, Gaborone, Botswana
1998 Koj, Modinagar, India
1996 Triangle, Cuba
1991 Thapong, Gaborone, Botswana
1989 Triangle, New York, USA
1985-91 Thupebo: Johannesburg and Cape Town, South Africa
1998 Prince Klauss Fund Award, Royal Netherlands Cultural Fund, Netherlands
1993 Vita Quarterly Award, South Africa
1983 British Council Scholarship, UK
2001 Biel, Switzerland
1993 Tami Mnyele Residency, Amsterdam, Holland
1989 Robert Blackburn, New York, USA
1983 Birmingham Polytechnic, England Triangle Workshop, New York, USA
1974-7 Bill Ainslie Studios, Johannesburg, South Africa
1984-5 Diploma in Museum Studies, University of London, London, UK
Mobil Oil, South Africa
South African National Gallery, Cape Town, South Africa
South African Higher Education Trust, Johannesburg, South Africa
Department of Education and Training, Pretoria, South Africa
BMW Collection, Germany
Botswana National Museum and Gallery, Gaborone, Botswana
Larry Poons, New York, USA
Robert Loder, London, UK
Sir Anthony Caro, London, UK
2013 Sean O’Toole, Shared Visions The Johannesburg Art Scene / Kunstszene Johannesburg, ArtMag by Deutsche Bank, Issue No 3
2013 Brent Meersman, An Imperfect Past and its Impact on the Present, Mail & Guardian, Johannesburg, South Africa
2010 Miles Keylock, Koloane’s City In Motion, Mail & Guardian, Johannesbug, South Africa
2002 Veronique Tadjo, David Koloane: Taxi 006. David Krut Publishing: Johannesburg
1999 Frank Herreman and M. D’amato, Liberated Voices: Contemporary Art from South Africa. The Museum of African Art: New York, p.27.
1997 Walking The Tight Rope: Trade Routes, 2nd Johannesburg Biennale catalogue text
1996 Andre Magnin and Jacques Soulillou, Contemporary Art of Africa, Thames and Hudson, New York and London
1996 Sue Williamson and Ashraf Jamal, Art in South Africa: The Future Present, David Philip Publishers: Claremont, South Africa
1995 Clementine Deliss (ed.), Seven Stories About Modern Art In Africa. Flammarion: Paris, p. 140 – 156 and p. 261 – 265 (in conversation with Ivor Powell).
1993 Esme Berman Painting in South Africa, Southern Book Publishers, Halfway House, p. 363.
1990 Art from South Africa: Catalogue, Thames, and Hudson
1990 A question of identity: Third Text magazine, London, UK
1990 A report on the Johannesburg Africa’s Biennale catalogue text
1997 Walking The Tight Rope: Trade Routes, 2nd Johannesburg Biennale catalogue text,1997
1984 A dissertation on the establishment of printmaking workshops employing alternative methods in the urban areas of South Africa, U.K
1982 A Profile: Lucas Seage: A Konrad Aadenauer Prize Winner. Staff Rider Magazine
1981 Margaret Makhoana, Bonanza Magazine
1981 A Profile: Dan Rakgoathe Mofolo Art Centre.
Press for David Koloane
David Koloane / Classic Feel / South Africa / August 2014Pangaea: New Art from Africa and Latin America at the Saatchi Gallery by Lore Watterson (737.7 KB)
David Koloane / Mail & Guardian / May 2010Koloane's City in Motion by Miles Keylock (2.3 MB)
South Africa's exhibition at the Venice Biennale / Mail & Guardian / Johannesburg / April 19-25 2013An imperfect past and its impact on the present by Brent Meersman (306.3 KB)