Gallery News for Lisa Brice
Lisa Brice in Vitamin P2
Lisa Brice has been nominated by a panel of prominent critics and curators, and selected for inclusion in Vitamin P2, Phaidon’s major anthology of international painting due in 2011.
Lisa Brice on Self-Consciousness at VeneKlasen/Werner in Berlin
Lisa Brice has work featured in the group show Self-Consciousness, at VeneKlasen/Werner in Berlin. The project was co-curated by artist Peter Doig and writer Hilton Als.
Self-Consciousness explores the history and evolution of the portrait. Juxtaposing modern and contemporary artists, be they established, unknown or “outsider”, Doig and Als establish a cross-generational dialogue among artists and the viewer as a means to investigate the nature of portraiture, and to question more broadly certain perceived hierarchies in painting. While Self-Consciousness is dominated by painting, Doig and Als have also included film portraits of a kind, the better to reflect the relationship between an “old fashioned” medium, such as painting, and how it’s influenced the seventh art.
The exhibition runs from 30 April 2010 to 27 June 2010
Click here for more information.
Press for Lisa Brice
Embracing Uncertainty: Lisa Brice in Art South AfricaEmbracing Uncertainty (1.4 MB)
Goodman Gallery Cape is proud to present an exhibition of new paintings by Lisa Brice, produced over the course of the last two years in London and featured in Vitamin P2, Phaidon’s recently published anthology of painting. The paintings explore the possibilities and properties of vivid colour, how it is optically perceived, and the effects of the afterimage created by red-green vision in particular.
In her text on Brice’s work in Vitamin P2, Coline Millard notes: “Just as [Brice’s] painting hovers between figuration and abstraction, her figures occupy the limbo between the living and the dead. Brice’s work is all liminality.” While the liminality referred to by Millard in the Trinidad works of 2009 alludes to an inherent mysticism, the sense of liminality in this new body of paintings shifts to suggest a state of disorientation, delirium and suspended time through a heightened use of colour and reduced form.
Lisa Brice was born in Cape Town in 1968, and lives and works in London and Trinidad. Having worked in a variety of media, she has concentrated on painting for the last nine years. She has exhibited widely in South Africa and abroad, and her work is represented in major collections both public and private. Throwing the Floor is Brice’s first solo exhibition in Cape Town since 2007; she last presented work at Goodman Gallery Johannesburg in 2009. An extensive monograph of her paintings will be published later this year.
Lisa Brice’s exhibition More Wood for the Fire shows the artist’s most recent body of work, which deals with her ongoing relationship with the island of Trinidad, where she has worked extensively since 1999 in workshops, residencies and group shows. Brice looks at the physical, and psychological landscape of Trinidad, and questions her connection to the island.
The work was conceived and partly produced in Grand Rivière, a small village on the north coast where the artist has recently acquired land with the intention of building a studio. This landscape allows Brice to access ideas around her growing awareness of nature and its impact on local architecture, and becomes a space within which the artist can reconcile her own history with her present position. This is perhaps most evident in the work Studio Jungle, which was inspired by photographs taken in 1968 (the year Brice was born). A photograph of the École des Beaux-Arts by Bruno Barbery had particular relevance for Brice, as it reminded her of Michaelis School of Fine Art in the 1980s, a time in South Africa when art was often used as a tool for political protest. The connection she felt with the image, and its correspondence to her own history, whilst in sharp contrast to her rural studio at that time, reminded her of the proliferation of hand painted signs found in both the urban and rural landscape of Trinidad, used to relay information, whether of a political or celebratory nature. Brice juxtaposes these related yet contrasting realities by incorporating both the landscape and the cityscape of Trinidad into the image. In Jungle Studio the studio has become a jungle, and the posters have become ‘trini posters’ – a prevailing reference throughout the body of work.
Brice also uses the landscape as a way of accessing many of the issues present in her previous work: gender, violence and identity. A few of the figure studies come from a 1968 issue of Playboy magazine, but the figures have been painted in jungle-inspired settings and moods. Colour has been used in a symbolic way; the female figures, for example, are often rendered in pinks and olive greens, which are the colours of the plants used to establish the boundaries between properties in Trinidad. In this way, Brice alludes not only to the complexity of gender relations in Trinidad specifically, but also to the role of women in society in general.
Thus the exhibition straddles her experience of both the socio-political issues surrounding Trinidad and of her own South African history and identity, and presents an intriguing dialogue of this internal debate.
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.
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.
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.
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.
1968 Born in Cape Town, South Africa.
Lives and works in London and Trinidad.
1987-1990 BAFA (Distinction for Major in Painting), Michaelis School of Fine Art, University of Cape Town, South Africa
2012 Throwing the Floor, Goodman Gallery Cape, Cape Town, South Africa
2009 More Wood for The fire, Goodman Gallery, Johannesburg, South Africa,
2007 Base One Two Three, Goodman Gallery Cape, Cape Town, South Africa
2006 Night Vision, Goodman Gallery, Johannesburg, South Africa
2003 Lisa Brice, Camouflage, Brussels, Belgium
2000 Work in Transit, Goodman Gallery, Johannesburg, South Africa
1999 Lisa Brice, Hanel Gallery, Cape Town, South Africa ( monograph launch)
1999 Lisa Brice, Gallery Frank Hanel, Germany (monograph launch)
1998 In The Eyes, Hanel Gallery, Cape Town, South Africa
1997 Staying Alive, Hanel Gallery, Cape Town, South Africa
1997 Staying Alive, Gallery Frank Hanel, Frankfurt, Germany
1997 Life, Goodman Gallery, Johannesburg, South Africa
1997 Art Frankfurt’97, Gallery Frank Hanel, Germany
1995 Power Tools, Gallery Frank Hanel, Frankfurt, Germany
1994 You Strike the Woman You Strike the Rock, Stargarder 18, Gallery Frank Hanel, Berlin, Germany
1994 Plastic makes Perfect, Gallery Frank Hanel, Frankfurt, Germany
1993 Sex Kittens, Gallery Frank Hanel, Frankfurt, Germany
Photomonth Festival, curated by Adam Broomberg, Oliver Chanarin and Francesca Astenasi, Krakow, Poland
Beguiling: The Self and Subject, curated by Kirsty Cockerill, Irma Stern Museum, Cape Town, South Africa
Self-Consciousness, VeneKlasen/Werner, co-curated by artist Peter Doig and writer Hilton Als, Berlin, Germany
Open End, Goodman Galley, Cape Town, South Africa
The Marks We Make, Goodman Gallery, Cape Town, South Africa
1910 to 2010: From Pierneef to Gugulective, South African National Gallery, Cape Town, South Africa
BIP2010 (Out of) Contrll, Musée d’Art Moderne et d’Art Contemporain, Leige, Belgium
Winter Show, Goodman Gallery, Johannesburg, South Africa
Legacies of the Landscape, Michaelis Gallery, Cape Town, South Africa
Art Basel, Goodman Gallery, Basel, Switzerland
Art Basel, Goodman Gallery, Basel, Switzerland
Lift Off Two, Goodman Gallery Cape, Cape Town, SA
Iselp (Institut supérieur pour l’étude du langage plastique), Brussels, Belgium*
Next Flag, The African Sniper Project, Migros Museum, Zurich, Switzerland*
A Decade of Democracy, curated by Emma Bedford, Iziko South African National Gallery, Cape Town, SA *
X, Stephen Lawrence Gallery, University of Greenwich, London, UK
Les Afriques, curated by Laurent Jacob, Lille, France
Away From Home, Wexner Center for the Arts Columbus, Ohio, USA
Intersections, South African Art from the BHP Billiton Collection, RMIT University Melbourne, Australia
Bootleg, Curated by Craig Burnett, Sarah Craine Jones, Pernila Holmes, Pablo
Lafuenta, Tom Norton and Catherine Patha, Spittafields Market, London, UK
Resident: Works on Paper, CCA7, curated by Peter Doig and Charlotte Elias, Port of Spain, Trinidad
New Strategies, curated David Brodie, Johannesburg Art Gallery, Johannesburg, South Africa
Picnic, curated by Andrew Lamprecht, Bell-Roberts Gallery, Cape Town, South Africa
Free Nelson Mandela, curated by Sean O’Toole, Klein Karoo National Art Festival, Oudtshoorn, SA
DAK’ART, Dakar Biennale, Dakar, Senegal
Paradise, exhibition and collaborative billboard project with Adele Todd, CCA7, Port of Spain, Trinidad
Young Generations in Transition, China, Germany, Britain, He Xiangning Art Gallery, Shenzhen, China
Supermarketed, curated by Chris Mew, Victoria and Albert Museum, London, UK
Archive, Quatier Contemporary Art Space, The Hague, Holland
Secure the Future, traveling exhibition curated by Marilyn Martin for the International AIDS Conference, SA and USA
Havana Biennale, Havana, Cuba
Art Frankfurt, Galerie Frank Hanel, Germany
Art Basel, Galerie Frank Hanel, Switzerland
Triennale deer Kleinplastik, curated by Wener Mayer, Stadtisthe Gallery, Goppingen, Germany
FNB Vita Awards, Sandton Civic Gallery, Johannesburg, SA
The Body, City, and Society, Saint Gilies, Brussels
Smokkel, 2nd Johannesburg Biennale Fringe, Johannesburg, SA
Unplugged, group show, Rembrandt Gallery, Johannesburg, SA
Art Frankfurt, Galerie Frank Hanel, Germany
30 Minutes, Robben Island Visitors Block, Cape Town, SA
Life, Goodman Gallery, Johannesburg, SA
End of the Millennium, South African Festival, Nantes, France
Art Cologne, Galerie Frank Hanel, Germany
Hanel Gallery Opening Exhibition, Cape Town, SA
Art Frankfurt, Frankfurt Messe, Gallery Frank Hanel, Germany
Vita Art Now, Johannesburg Art Gallery, Johannesburg, SA
Colours, opened by Nelson Mandela, Haus der Kulturen der Welt, Berlin, Germany
Groundswell, Mermaid Theatre Gallery, London
Don’t Mess with Mr Inbetween, curated by Ruth Rosengarten, Culturgest, Lisbon, Portugal
Art Cologne, Gallery Frank Hanel, Germany
3 × 10, Hanel Gallery, Cape Town, South Africa
Scurvy – Secret Seven, Newtown Gallery, Johannesburg, SA
Art Cologne, Gallery Frank Hanel, Germany
Springtime in Chile, curated by Wayne Barker, Museum of Contemporary Art, Satniago, Chile
Young South African Exhibition, Gallery Frank Hanel, Frankfurt, Germany
The Laager, curated by Wayne Barker, Johannesburg, SA
Art Cologne, Gallery Frank Hanel, Germany
Three-person show, Gallery Goetz, curated by Jean Kampf, Basel, Switzerland
Art Basel, Gallery Frank Hanel, Basel, Switzerland
Junge Kunst International, Overbeck, Gessellschaft, Lubeck, Germany
Election X, curated by Malcolm Payne, SAAA, Cape Town, SA
Art Frankfurt, Gallery Frank Hanel, Frankfurt, Germany
AIDS Show, SAAA, Cape Town, SA
Volkskas Atelier Awards, nationwide exhibition, South Africa
Art Frankfurt Gallery Frank Hanel, Messe Frankfurt, Germany
Art Basel, Gallery Frank Hanel, Basel, Switzerland
Multicultural, Gallery Frank Hanel, Frankfurt, Germany
Three-person Show, Irma Stern Museum, Cape Town, SA
Three-person Show, Gallery Frank Hanel, Frankfurt, Germany
Staff Exhibition, University Gallery, Stellenbosch, SA
Sculpture Exhibition, University Gallery, Stellenbosch, SA
Grosse Dusseldorfer Kunstaustelling, Dusseldorfer, Germany
Cape Triennial, nationwide exhibition, SA
Poster Exhibition, Baxter Gallery, Cape Town SA
Michaelis School of Fine Art Exhibition, Michaelis Gallery, UCT, Cape Town, SA
Mail Art from South Africa – a view from the inside, Soho 20 Gallery, New York, USA
Visual Arts Exhibition, Uluntu Center, Guguletu and Center for African Studies, UCT, SA
Artists for Human Rights, Expo Exhibition Center, Durban, SA
2009 Assisting Peter Doig in Port of Spain, Trinidad, with 11x 5 meter painting for “Peter Doig and Stephen Hough”, A Collaboration at Westminster Cathedral, London
2005 3-month residency, CCA7 (Caribbean Contemporary Arts), Port of Spain, Trinidad
2005 Invitation to assist with Peter Doig’s etching edition with Fritz Margull of Drukatelier, Berlin, and Peter Doig, Port of Spain, Trinidad
2002-3 Three month Residency and Collaborative billboard project with Adele Todd, CCA7, Port of Spain, Trinidad
2001 Daniel Birnbaum Lecture invitation and studio visits, Staedel-Schule, Frankfurt, Germany
2000 Exhibition and Lecture Program, Chong Quing Fine Art Academy, Kuen min ‘River Club’ and Chengdu Gallery, Sichuan Province, China
2000 Residency, Greatmore Studios, Cape Town, South Africa
2000 CCA7 Residency, with Peter Doig, Chris Ofili and Andy Miller, Port of Spain, Trinidad
1999 Big River Workshop, CCA Grand Riviere and Port of Spain, Trinidad
1998 3-month residency, Gasworks, London, UK
1993 Studio residency, Galerie Frank Hanel, Frankfurt, Germany
1992-1995 Printmaking Lecturer, University of Stellenbosch, Cape Town, South Africa
1988-1991 Studio Assistant to Sue Williamson, Graphic Workshop and Foundation School of Art – printmaking
Smithsonian National Museum of African Art, Washington DC, USA
BHP Billiton (formerly Gencor) Collection, Johannesburg, South Africa
SABC Collection, South Africa
Johannesburg Art Gallery, Johannesburg, South Africa
South African National Gallery, Cape Town, South Africa
Michaelis Cabinet, University of Cape Town. Cape Town, South Africa
Gallery Frank Haenel, Frankfurt, Berlin, Germany
South African High Commission, Trafalgar Square, London, England
Sindika Dokolo – African Collection of Contemporary Art, Luanda, Angola
Smithsonian National Museum of African Art in Washington DC
2011 Vitamin P2, Anthology of international painting: Phaidon
2010 ART SOUTH AFRICA, Vol.9.1. Embracing Uncertainty Interview with Godfried Donkor and Lisa Brice
2009 SOUTH AFRICAN ART NOW, Sue Williamson: HarperCollins
2005 Konig, W. PETER DOIG-STUDIOFILMCLUB Museum ludwig,
2005 Alvim, F. et. al. (eds.) NEXT FLAG, the African sniper reader. Zurich, Switzerland.
2005 S. Williamson. Lisa Brice. Nightvision ART SOUTH AFRICA, Vol. 4.2
2004 Williamson, S. et. al. eds. ARTTHROB 1998-2003, the archive, contemporary art in South Africa. Cape Town, South Africa
2004 Perryer, S. ed. 10 YEARS 100 ARTISTS: ART IN A DEMOCRATIC SOUTH AFRICA. Bell-Roberts Publishing in association with Struik Publishers, Cape Town, South Africa. ISBN 1868729877
2003 South Africa. Massie, A. Curator. AWAY FROM HOME. Columbus College of Art & Design, Canzani Center Gallery, Columbus, Ohio, USA
2002 Smith, K. Ed. BROADCAST QUALITY, the art of Big Brother II. Cape Town, South Africa
2002 Brodie, D. curator. NEW STRATEGIES/ Johannesburg Art Gallery, Johannesburg,
2002 PUBLIC EYE. PROJECTS, 1999-2002. Cape Town, South Africa
1999 Monograph- Lisa Brice. Gallery Frank Hanel Brice, L and Payne, M. et. al.
1998 LISA BRICE. Frankfurt/Main Germany and Cape Town, South Africa
1997 Williamson, S. ed. THIRTY MINUTES, multi-media installations in the Visitors Block on Robben Island by nine Cape Town artists. Robben Island Museum, Cape Town, South Africa
1996 Williamson, S. and Jamal, A. ART IN SOUTH AFRICA, the Future Present. Cape Town, South Africa
1991 Till, C. et. al. CAPE TOWN TRIENNIAL/ KAAPSTADSE TRIANNALE, South Africa National Gallery, Cape Town, South Africa.