Gallery News for Jodi Bieber
World Press Photo 11 travels to Cape Town
The 2011 World Press Exhibition will finally travel to South Africa, taking place at the Castle of Good Hope in Cape Town from 26 January–17 February 2012. Featured on the show is Jodi Bieber’s World Press Photo of the year 2011 – her iconic portrait of Bibi Aisha. There will also be a series of Photography Masterclasses and discussions presented as part of the 2012 Iziko Summerschool Program running from 4–17 February. Contact Jenny Altschuler for more information on 0829355522 or firstname.lastname@example.org.
Borders at Johannesburg Art Gallery
Johannesburg Art Gallery is hosting a small-scale version of the 8th Bamako Encounters African Photographic Biennial, which took place in Mali the end of 2009. Curated by Michket Krifa and Laura Serani, the theme of the 2009 Biennial was Borders and the show tackled the consequence that borders on the African continent continue to carry. “In Africa,” the curators say, “more than anywhere else, borders are a major issue, whether they are artificial lines drawn up by men or natural barriers, they generally delineate spaces of political sovereignty.”
Goodman Gallery represented artists Kader Attia, Jodi Bieber and mounir fatmi all took part in the biennial in Mali and have work on the show at JAG. Attia’s series Square Rocks (2009) explore borders as a hindrance to a better life; rendering hope nothing more than unattainable chimera. Attia photographed the youths of Bab El-oued, a poor district in the Algiers where he spent his summer vacations growing up. This is where young people, Attia explains, go to “loiter, smoke cigarettes, fish, some engage in prostitution… but mainly, they spend hours sitting on those blocks, as though hypnotised, watching the comings and goings of the ships that link Algeria and Europe… This beach is the very last border separating them from that continent, and above all from their dreams of a better life.”
In Jodi Bieber’s Going Home series (2001) – which won the European Union prize for documentary photography – crossing borders is not merely a dream, but a necessity and, ultimately a fruitless and painful ordeal. Bieber documented the period after devastating floods in Mozambique in 2000. “At the same time in South Africa,” she explains, “Operation Crackdown was in progress. This was an ongoing initiative by the police services to eliminate the high level of crime in our country and part of their duties was to detain illegal immigrants… in Lindela a repatriation centre in Krugersdorp. From there illegal immigrants from neighbouring countries would board a train which would take them back to their country of origin.”
Fatmi’s video installation History of History confronts what happens to a political luminary when he is removed from the moment in history that established his legacy. David Hilliard – Chief of Staff for the Black Panther Party in the 1960s – is the focus of the video, which reveals what a man who contested a prevailing power system, rose up against racial and economic disparity becomes almost half a century later.
Borders runs at Johannesburg Art Gallery until 26 September 2010.
Various artists on Figures & Fictions at the V&A
Figures & Fictions: Contemporary South African Photography at the Victoria and Albert Museum in London featured works by some of the most exciting and inventive photographers living and working in South Africa today, including Goodman Gallery artists Jodi Bieber, Kudzanai Chiurai, Hasan & Husain Essop, David Goldblatt, Mikhael Subotzky and Nontsikelelo Veleko. The exhibition presented the vibrant and sophisticated photographic culture that has emerged in post-apartheid South Africa. The works that were on display respond to the country’s powerful rethinking of issues of identity across race, gender, class and politics. The photographs depict people within their individual, family and community lives, practicing religious customs, observing social rituals, wearing street fashion or existing on the fringes of society. All the photographers question what it is to be human at this time in South Africa.
The exhibition ran from 12 April to 17 July 2011.
Click Here to view the video From Black and White to Full Colour: a curator’s journey in which curator of Figures & Fictions, Tamar Garb, reflects on her Cape Town upbringing and the forthcoming show.
Jodi Bieber’s First Prize at the Picture of the Year International 2009
Jodi Bieber has won First Prize Portrait Series with ‘Real Beauty’ at Picture of the Year International (POYI) in the USA, March 2009.
Press for Jodi Bieber
Jodi Bieber / SA Jewish Report / South Africa / 5 April 2014Jodi Bieber takes on the behemoth of Maleness by Robyn Sassen (214.2 KB)
Jodi Bieber / Culture / United States / 3 April 2014Jodi Bieber: Quiet by Hans Aschim (302.3 KB)
Jodi Bieber / The Sunday Times / 8 August 2010SA Photographer Shakes the World by Karen van Rooyen (719.6 KB)
Jodi Bieber / The New Yorker / 7 July 2010Postcard from Soweto by Whitney Johnson (1.2 MB)
Jodi Bieber / Mail & Guardian / 14 June 2010Jive Soweto by Matthew Krouse (399.2 KB)
Jodi Bieber / The Sunday Times /Johannesburg / South Africa / 30 March 2014Brief Moments by Oliver Roberts (296.4 KB)
Jodi Bieber / The Saturday Star / Johannesburg / South Africa / 4 -5 April 2014Photos Quietly Challenge Notions Of Male Identity by Paballo Thekiso (2 MB)
Jodi Bieber / The Star / Johannesburg / South Africa / 5 August 2010Review of Soweto by Tshepo Tshabalala (1.8 MB)
In April 2014, Jodi Bieber will present her solo exhibition Quiet at Goodman Gallery Johannesburg. The show – which coincides with her major travelling solo exhibition, Between Darkness and Light, at Wits Art Museum – addresses the performance of masculinity through a candid and intimate exploration of the fluidity of male identity. At the core of this project is a confrontation of (traditional) representations of men that valorise toughness, among other attributes, and lock men into gender identities that are complicit with violence. This series of photographs surveys a diversity of male identities that aim to destablise this harmful cycle of validation, which is not inherent, but performed.
Quiet is a portrait series of men in South Africa, in their homes, stripped down to their underwear, sometimes confronting the viewer, in other instances finding comfort or restraint in directing their gaze elsewhere. By way of their setting and disclosure, these are intimate portraits that reveal a vulnerability and calm ultimately countering the public portrayal of the male order as aggressive and forceful. Jackson Katz – American educator, filmmaker, and author – confronts the way in which the media helps to “construct violent masculinity as a cultural norm”. In response to this, Bieber explains, “it is of interest to men, and to society in general, that the normality of violent masculinity be challenged in order to create space for men to see themselves in other ways.” While the series specifically focuses on men in South Africa, Bieber continues, the subject is of universal interest.
Yet this body of work has huge significance in South Africa in particular, which has gained a reputation as one of the most violent countries in the world and where shifting gender norms have become the key initiative in organisations aiming to curtail gender-based violence. And in South Africa, it is not only the media that constructs violent masculinity as a cultural norm. As South African academic Stella Viljoen expounds, “By speaking about our masculinity and that of our partner, president or clan, we are speaking about the relational hegemony at the core of our identity as a nation… Combined with damning statistics, especially on sexual crime and domestic violence, our government’s attitude towards the feminine paints an incriminating portrait of the masculine.” Elaborating on the effects of this condition, in a study done by Mohamed Seedat, Ashley Van Niekerk, Rachel Jewkes, Shahnaaz Suffla and Kopano Ratele on violence in South Africa, they explain that “patterns of violence show that almost all perpetrators are men… The dominant notions of masculinity are predicated on the control of women, and infused with ideas of male sexual entitlement. Physical violence is used to manufacture gender hierarchy (ie, teach women their place) and to enforce this hierarchy through punishment of transgression. Rape is often used as punishment for infidelity, attempts to end a relationship, refusal of sexual advances, or behaviour that is deemed to show insufficient respect for men. In some rapes of infants, the motive is to punish the child’s mother. Likewise, the raping and killing of homosexual women, which is becoming increasingly common, is often enacted as corrective action.”
The reality of men as the main perpetrators of violent crime is the unspoken undercurrent that runs through Bieber’s Quiet series – the title referring to both mood of the photographs and the unsaid nuances embedded within them. Each image silently calls into question the notion of masculine violence as innate. The body of work as a whole recalls Judith Butler’s concept of the performance of masculinity. “Gender proves to be performative,” explains Butler, “that is, constituting the identity it is purported to be. In this sense, gender is always a doing, though not a doing by a subject who may be said to preexist the deed”. In their telling study titled Gendering Violence Masculinity and Power in Men’s Accounts of Domestic Violence, Kristin L. Anderson and Debra Umberson contextualise Butler’s ideas in relation to the instability of masculinity. “For Butler, gender performances demonstrate the instability of masculine subjectivity; a ‘masculine identity’ exists only as the actions of individuals who stylise their bodies and their actions in accordance with a normative binary framework of gender… In addition the performance of gender makes male power and privilege appear natural and normal rather than socially produced and structured.” Anderson and Umberson conclude, “Our findings challenge the notion that violence is an essential or natural expression of masculinity. Rather, they suggest that violence represents an effort to reconstruct a contested and unstable masculinity.” The portraits in Quiet embody masculine instability and fluid identity by challenging what Katz describes as “the tough guise that men feel they have to put on in order to survive. This guise damages their psyche and their ability to be decent human beings. It would be in everyone’s interest to examine masculinity, pull back the curtain on the tough guy posing and to see what is really going on underneath.” Quiet will also include a series of events such as panel discussions, artist walkabouts and school tours all aimed at stimulating conversation on different ways of confronting the constructs of masculinity, and the resulting consequences.
In an exhibition at Goodman Gallery Cape titled Between Darkness and Light, award-winning photographer Jodi Bieber explores the twilight that she experienced in the decade following the advent of democracy in South Africa. Curated by Liza Essers and Storm Janse Van Rensburg, the show is a selection of work from 1993 to 2004, primarily revealing Bieber’s more rarely shown independent series, as well as some of her earlier work as a press photographer. In each case her idiosyncratic style traverses and ultimately defies categorisations such as photojournalism and visual art.
“For me,” explains Bieber, “photography was a vehicle to discover my country.” She began her career as a media planner, but a pamphlet advertising a course at the Market Photo Workshop (MPW) drove her on a very different trajectory. After studying at MPW she built up a portfolio, showed it to Ken Oosterbroek, and began working for The Star and other newspapers and magazines, both local and international. Yet increasingly Bieber’s creative autonomy asserted itself, and she would ultimately become consumed by her own projects and interests.
“From the very beginning I was working on my own projects and doing my newspaper and magazine assignment work as well,” she says. “Both were equally important to me – imagine covering the first democratic elections! But while you’re covering it, you’re still a person and there was a lot of death happening around me… even though it was a jubilant time.” Fellow photographers in Bieber’s circle at the time were killed on the job, such as Oosterbroek, and some, including Kevin Carter and Gary Barnard, committed suicide. “So I was in quite a dark space, but the country was moving into lightness.”
Between Darkness and Light reveals this strained shift. Essers and Van Rensburg have selected pictures from the series Between Dogs and Wolves: Growing up with South Africa, which was published by Double Story in 2006. Also included are several photographs that were taken during the same period as Between Dogs and Wolves, but left out of the publication. “It’s really about the twilight of the ten years that followed [the end of apartheid],” says Bieber. “It’s between darkness and light, where you don’t know if a dog is a wolf or if a wolf is a dog.” In one of her photographs street children sleep in a storm-water drain. A man who told her he was a social worker led her to these children. This man, who was harassed by the children and had his wallet stolen by them, impressed Jodi with his calm and forgiving demeanour. “I wish I could be as kind as you,” she told him when she dropped him off at his home. Three days later, when he appeared on the front page of the newspaper, Bieber realised that this man was Moses Sitole, one of the most notorious serial killers and rapists in South Africa. For Bieber, this incident was symptomatic of a period of profound uncertainty.
Between Darkness and Light presents images from her newspaper and magazine work that have meant a great deal to the photographer. “There are two photographs that I can see have changed people’s lives directly,” Bieber says. One, not on show, is the iconic and disturbing portrait of Aisha, a young mutilated Afghan woman, which recently won her the prestigious World Press Photo of the Year Award. The other, which is included, is of a neglected disabled woman living in her own detritus in Alexandra Township. After the photograph appeared in The Star, readers were moved to change her living conditions and subsequently her life, donating a wheelchair, cleaning out her room and helping her rebuild her home.
Yet the majority of the works on the show reveal Bieber’s captivation with her extensive personal photographic projects. The exhibition presents selected images from her first independent project in 1995, when she spent six months with the crime prevention unit in Hillbrow. In Going Home – Illegality and Repatriation – South Africa/Mozambique, Bieber documents lives in endless transition, with little indication that the displaced subjects will ever find permanence or home. This series was realised in 2001, before, she asserts, people in South Africa really understood what xenophobia was. Another early personal project included in the show is a series of photographs taken in isolated communities in the Northern Cape. Bieber spent time in areas such as Eksteenfontien, to which coloured people were forced to relocate during apartheid, and where white husbands and wives reclassified themselves as “coloured” so that they could remain with their families.
While the years between 1993 to 2004 were all about production and immersing herself in an exploration of her own country, Bieber has more recently had time to reflect on the powerful works that came out of that period. Between Darkness and Light is a manifestation of this reflection.
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 Cape presents Summer Show – opening on 15 December and running until 14 January. The exhibition has been designed as a review, focusing on new and recent work by South Africans artists either represented by or associated with the gallery. Important works from series produced by the artists over the past year are showcased, and the show also features a selection of works recently shown at the gallery’s Johannesburg spaces.
The exhibition includes prints from Siemon Allen‘s Records series, in which the artist explores images of South Africa through the collection and archiving of music records from the beginning of the 20th Century to the present day. Photography is strongly represented, with works from Jodi Bieber’s vibrant, urban-denizen take in her Soweto series, in marked contrast with David Goldblatt’s large-scale colour prints of rural South Africa. Mikhael Subotzky (who recently won the 2012 Standard Bank Young Artist Award for Visual Art) and Patrick Waterhouse show recent work from their ongoing collaboration on the Ponte City project.
A text piece by Stuart Bird is shown in anticipation of his upcoming solo show in January, Gerhard Marx presents exquisitely detailed and artisanally worked surfaces in his new works, continuing his preoccupation with notions of mapping, place and nature, and Walter Oltmann shows a powerful new addition in aluminium wire to his series of insect suit sculptures.
Paintings by Moshekwa Langa, Lisa Brice and Clive van den Berg explore abstraction and gesture in different ways; all three have produced significant bodies of new works which were well received during 2011. Minnette Vari‘s uncanny brush and ink drawings of the goddess/crone Baubo sit in awkward dialogue with Kendell Geers’ La Sainte Vierge.
This exhibition affords a fascinating look at the output of some of South Africa’s major artists, and will also showcase from our Johannesburg spaces works not yet shown in Cape Town, including Kudzanai Chiurai’s Revelations, a series of photographic tableaux exploring politics and power in Africa, new wood sculptures by Willem Boshoff, and a selection of drawings, linocut graphics and sculpture by William Kentridge.
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.
After completing three short photographic courses at the Market Photography Workshop in Johannesburg – Jodi Bieber participated in a photographic training programme at the Star newspaper, under the late Ken Oosterbroek in 1993. She continued to work there as a photographer, leading up to and during South Africa’s first democratic elections. 1996 was a turning point. She was chosen to participate in the World Press Masterclass held in Holland and started working on assignments for publications like the New York Times magazine. Bieber also worked on special projects for non-profit organisations like Medecins Sans Frontiere.
Over a ten-year period (1994–2004) Bieber focused on the country of her birth, South Africa – photographing youth living on the fringes of South African society. This work finally found itself a home in a book – Between Dogs and Wolves – Growing up with South Africa. It was published and released in five countries in 2006. Her most recent book Soweto was published in partnership with the Goethe-Institut and Jacana Media in May 2010. Her iconic photograph of young mutilated Afghan woman – Aisha – featured on the cover of Time Magazine in August 2010 and Bieber was awarded the 54th annual World Press Photo of the Year 2010 for the image. Bieber has previously won eight World Press Photo Awards and is only the second South African photographer to win the highest honour in the contest.
2014 Quiet, Goodman Gallery, Johannesburg, South Africa
2014 Between Darkness and Light, Wits Art Museum, Johannesburg, South Africa
2013 Between Darkness and Light, Museum Gogh, Gogh, Germany
2012 Between Darkness and Light , Stadthaus Ulm, Ulm, Germany
2012 Going Home , The Shoe Shop Project, Johannesburg, South Africa
2011 Between Darkness and Light , Goodman Gallery, Cape Town, South Africa
2009 PRAXIS . Art in Times of Uncertaintly, Las Canas – 2nd Thessaloniki Biennale of Contemporary Art, Thessaloniki, Greece
2009 Real Beauty , NY Photo Festival and LOOK3 Photo Festival, New York, USA
2009 Real Beauty , La Nuit de l’Année (Night of the Year), Rencontres d’Arles, France
2008 Real Beauty , Goodman Gallery, Johannesburg, South Africa
2008 Las Canas , Brisbane Powerhouse, Brisbane, Australia
2008 Survivors of Domestic Violence, Columbia University, Columbia, USA
2008 Between Dogs and Wolves – Growing up with South Africa , The Hereford
Photographic Festival, Hereford, UK
2008 Las Canas , FotoFreo, Fremantle, Australia
2006 – 2007 The fear never goes away completely. But I can manage again. Mental Trauma and the Conflict in Aceh, Aceh, Indonesia
2002 Mon Afrique du Sud 1994 – 2001 , Visa Pour L’Image, Perpignan, France
2011 World Press Masterclass, Amsterdam
2008 _ PHE Photo Espane Workshop_, Spain
2007 Market Theatre Photo Workshop, Johannesburg, South Africa
2006 Westminister, University, London, United Kingdom
2005-6 LCC, London, United Kingdom
2006 ICP, New York, USA
2012 Chairman on Polish Photographic Awards, Warsaw, Poland
2011 Silver Award from Art Directors Club in New York. (photography section)
2011 World Press Photo of the Year 2010
2009 1st Prize, Picture of the Year International 2009, USA
2009 Winner of the Prix de le l’Union Europene at Recontres de Bamako Biennale Africaine de la Photographie
2009 1st Prize – Portrait Series “Real Beauty” – (Picture of the Year International), USA
2008 Winner, First International Photography Biennial in The Islamic World, Iran
2007 Selected for The Year’s Best Photography
2007 Books Exhibition, PhotoEspaña, National Library of Spain, Spain
2007 Winner of the Kodak Best International Calender of the year Award
2006 Shortlisted for Amnesty International Media Awards, UK
2005 2nd Prize, Contemporary Issues Story, World Press Photo Awards, Amsterdam,
2003 One of thirteen nominees for Eugene Smith Awards, USA
2003 Special Prix, Festival of the Sea, Vannes, France
2002 1st Prize, Portrait Singles, World Press Photo Awards, Amsterdam, Holland
2001 1st Prize, Daily Life Story, World Press Photo Awards, Amsterdam, Holland
2001 3rd Prize, People in the News, World Press Photo Awards, Amsterdam, Holland
2001 Society of Publications Designers Awards, for Gold for Reportage spread or Single Page Subject: Ebola Crisis in Uganda in The New York Times, New York, USA
1999 1st Prize, Portrait Story, World Press Photo Awards, Amsterdam, Holland
1999 2nd Prize – Sports Story, World Press Photo Awards, Amsterdam, Holland
1998 1st Prize – Arts Single, World Press Photo Awards, Amsterdam, Holland
1998 2nd Prize – Arts Picture Story, World Press Photo Awards, Amsterdam, Holland
1996 The World Press Masterclass, Rotterdam, Holland
2008 La Fondation Jean Paul Le Centre d’Art de la Fondation, France
The Johannesburg Art Gallery, Johannesburg, South Africa
2011 David W Dunlap, Is this not the best news picture in the world?, The New York Times, February 11
2010 Whitney Johnson, Postcards From Soweto: Jodi Bieber, The New Yorker, July 7
2010 Matthew Krouse, Soweto: Jodi Bieber, The Mail & Guardian, Johannesburg, South Africa, June 14
2010 Aryn Baker, What Happens When We Leave Afghanistan, Time Magazine, August 9
2010 Shaun Smillie, The lone ranger of Photography, The Star, South Africa, August 13
2010 Olivier Laurent, Jodi Bieber wins world Press Photo, British Journal of Photography, August 2009
2010 Karen Van Rooyen, SA Photographer Shakes The World, Sunday Times, Johannesburg
2010 Tsepho Tshabalala, Review of Soweto, The Star, Johannesburg
2010 Whitney Johnson, Postcard from Soweto, The New Yorker, United States
2010 Matthew Krouse, Jive Soweto, Mail & Guardian, Johannesburg
2010 Kei Wakabayashi, Visions of South Africa, GQ Japan
2010 Jodi Bieber, Soweto, Jacana Media (Pty) Ltd, Sunnyside, South Africa
2006 Jodi Bieber, Between Dogs And Wolves: Growing Up With South Africa, Mets and Schilt uitgevars, Amsterdam, Holland
2014 Rise and Fall of Apartheid, Museum Africa, Johannesburg
2014 Between Darkness and Light, The Centre of Photography, Australia
2013 Commitment III, La Filature, Mulhouse, France
2013 My Joburg, La Maison Rouge, Paris, 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 Rise and Fall of Apartheid, International Center for Photography,
New York, USA
2011-2012 World Press Photo exhibition, travelling exhibition beginning in Amsterdam and touring to 45 countries.
2011-2012 Mother Nature: Art and Psychology in Conversation, an Exhibition on Maternal Sensitivity , University Museum, Stellenbosch, South Africa
2011 Taylor Wessing exhibition, The National Portrait Gallery, National Portrait Gallery London
2011 Noorderlicht International Photo Festival, Groningen, the Netherlands
2011 Figures and Fiction: Contemporary South African Photography , Victoria and
Albert Museum, London, UK
2011 South African Photography 1950-2010 , Pretoria Art Museum, Pretoria, South Africa
2010-11 South African Photography 1950-2010 , Johannesburg Art Gallery, Johannesburg, South Africa
2010 South African Photography 1950-2010 , Stadthaus Ulm, Ulm, Germany
2010 South African Photography 1950-2010 , Museum Gogh, Goch, Germany
2010 South African Photography 1950-2010 , Willy Brandt Haus, Berlin, Germany
2010 Hereford Photography Festival, Hereford, UK
2010 Mosaïque de Photos , Collégiale Saint-André, Chartres, France
2010 1910-2010 , Iziko National Gallery, Cape Town, South Africa
2010 Going Home – Frontieres Grenzen – 8e Edition des Recontres de Bamako , La Centrale Electrique, European Centre for Contemporary Art, Brussels, Belgium
2010 Between Dogs and Wolves – Growing up with South Africa , as part of A Useful Dream , BOZAR, Centre for Fine Arts – Brussels, Belgium
2010 I Am Not Afraid , The Market Photo Workshop, Johannesburg, South Africa
2009 Going Home – 9th Encounters of Bamako
2008-9 Las Canas , Foundation Jean Paul Blachere, France
2008 7th Recontree Africaines de la Photographie , Bamako 2007, The ifa-Galleries Berlin and Stuttgart, Germany
2008 Las Canas , Goodman Gallery stand at the Johannesburg Art Fair, Johannesburg, South Africa
2007-8 I am not afraid , The Market Photo Workshop, Johannesburg, South Africa
2007- 8 CAMERA AUSTRIA, Kunsthaus Graz, Austria
2007 Las Canas , Goodman Gallery stand at Art Basel Miami Beach Art Fair, Miami, USA
2007 9 Photographers – Perspectives from South Africa ,- Arts in Marrakech Festival, The Musée de Marrakech, Morocco
2007 Las Canas , Bamako Biennial, Bamako, Mali
2007 The Bosluis Basters , Afronova Gallery, Johannesburg, South Africa
2007 Joburg to Bamako , Afronova Gallery, Johannesburg, South Africa
2007 The Loaded Lens , Goodman Gallery Cape, Cape Town, South Africa
2006-7 Moving Walls ,The Soros Foundation, New York, USA
2005-6 Unsettled: 8 South African Photographers , Reykjavík Museum of Photography, Iceland
2005-6 Unsettled: 8 South African Photographers , Durban Art Gallery, Durban, South Africa
2005-6 Unsettled: 8 South African Photographers , The Regional Museum
2005-6 Unsettled: 8 South African Photographers , Sweden National Museum of Photography, Sweden
2005-6 Unsettled: 8 South African Photographers , Det Kongelige Bibliotek, Denmark
2005 Violence Against Women , Amnesty International and MSF, Naarden Photographic Festival, Naarden, Holland
2005 World Press Photo Exhibition , worldwide travelling show
2003 Las Canas , Vidas en Positvo, El Museo de la Illustracion y la Modernidad de Valencia, Valencia, Spain
2003 Borders and Beyond , Swiss Arts Council of Switzerland, Switzerland
2003 Borders and Beyond , AMF, Maputo, Mozambique
2003 Borders and Beyond , Photographers Gallery, Cape Town, South Africa
2003 Beach of the True Believers , Festival of the Sea, Vannes, France
2002 Survivre A L’Apartheid , Maison European de la Photo, Paris, France
2002 Buniyaad – Pakistan, ArRum, London, UK
2002 World Press Photo Exhibition , worldwide travelling show
2001 Celebrate South Africa , London, UK
2001 The Chobimela Photo Festival in Asia , Bangladesh
2001 Soweto – A South African Legend , Gasteig Kultuzentrum, Munich, Germany
2001 Soweto – A South African Legend , Reis Museum, Porto, Portugal
2001 Soweto – A South African Legend , Willy Brandt Haus, Berlin, Germany
2001 Soweto – A South African Legend ,Cultur Cooperation EV, Hamburg, Germany
2001 Soweto – A South African Legend , Arbeitskreis f Weltmission, , Linz, Austria
2001 Soweto – A South African Legend , Stadthaus Ulm, Ulm, Germany
2001 World Press Photo Exhibition , worldwide travelling show
2000 The State of the Child in Gauteng Province , African Window Museum, Pretoria, South Africa
2000 Lines of Sight , The South African National Gallery, Cape Town, South Africa
2000 Democracy’s Images – Photography and Visual Arts After Apartheid , The
Johannesburg Art Gallery, Johannesburg, South Africa
2000 Blank – Architecture, Apartheid and After , Museum of Photography, Johannesburg, South Africa
1999 A South Photographic Collection , Area Gallery, Cape Town, South Africa
1999 The Mask , Michelle Gallery, Cape Town, South Africa
1999 The Mask , Bensusan Museum of Photography, Johannesburg, South Africa
1999 North Sea Jazz Festival , Artimediar Gallery, Holland
1998-9 Blank – Architecture, Apartheid and After , The Netherlands Architecture Institute, Rotterdam, Holland
1998-9 World Press Photo Exhibition , worldwide travelling show
1998 Democracy’s Images – Photography and Visual Arts After Apartheid, BidMuseet, Sweden
1996 Colours Kunst aus Suid Afrika , Haus der Kulturen der Welt, Berlin, Germany
Under the Tropics, Cardiff University, UK