[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View

Lyle Ashton Harris with Thomas Allen Harris

Brotherhood, Crossroads and Etcetera #2, 1994 Fujiflex print 56 x 46cm

Paulo Nazareth

Untitled, from Noticias de America (News from the Americas) series, 2011/2012 Photo printing on cotton paper 45 x 60 cm

Lyle Ashton Harris with Thomas Allen Harris

Untitled (Mother), 1998 Fujiflex print 122 x 76cm

Wangechi Mutu

Eat Cake, 2012 Video

Lyle Ashton Harris with Thomas Allen Harris

Untitled (Blue), 1998 Fujiflex print 122 x 76cm

Wangechi Mutu

Nguva, 2013 Video (colour, sound)

Carrie Mae Weems

Constructing History, A Requiem to Mark the Moment, 2008 Video

Odili Donald Odita

Highway, 2015 Acrylic latex on laminated panel 245 x 122cm

Carrie Mae Weems

Before the Loss of you, 2004 Video 5 minutes

Odili Donald Odita

Van Gogh's Trees, 2016 Acrylic latex on laminated panel 245 x 122cm

Carrie Mae Weems

The Capture of Angela, 2008 Archival pigment print 155 x 129 x 6cm (framed)

Sanford Biggers, Jennifer Zackin

A Small World, 1999-2001 Single-channel projection (colour, silent), DVD, carpet, sofa, wood panel walls

Carrie Mae Weems

The Assassination of Medgar, Malcolm and Martin, 2008 Archival pigment print 155 x 130 x 4.5cm (framed)

Daàpò Reo

ALCOHOLOTOPIA (A GEOPOLITICAL DREAM UNDER THE INFLUENCE), 2016 Cotton, polyester 274.4 x 152.4 cm

Carrie Mae Weems

Mourning, 2008 Archival pigment print Frame: 154.9 x 129.5 cm

ruby onyinyechi amanze

The Sun's Sister, 2015 Graphite, ink and photo transfers Work: 96.5 x 127 cm

Valerie Piraino

Niger Delta Blues III, 2016 Polystyrene, epoxy clay, paint, twine 67.4 x 6.4 x 6.4 cm

Brendan Fernandes

The End, 2014 Dimensions variable

Valerie Piraino

Objet Trouvé I, 2016 Polystyrene, epoxy clay, paint, gold leaf, twine 91.5 x 11.5 x 11.5

Mikhael Subotzky

Manuel, Tucson (0600), 2011 Inkjet print Work: 62 x 50 x 3.5 cm

Kajahl

Ethereal Series Three, 2015 Oil in canvas mounted on panel 24 x 24 inches (61 x 61 cm)

Tabita Rezaire

INNER FIRE: BBHMM , 2016 Diasec print 170 x 100 cm

Kehinde Wiley

John Mensah, 2010 Oil on canvas with artist’s frame 72 x 60 cm

Valerie Piraino

Niger Delta Blues II, 2016 Polystyrene, epoxy clay, paint, twine 73.7 x 11.5 x 11.5 cm

Eric Gottesman

Performance of A Novelist Drinking Coffee, 2013 Pigment print 61 x 76 cm

Ayana V Jackson

The Grand Matron, 2010 Archival Print on German Etching Paper 90 x 90cm

Eric Gottesman

Performance of A Novelist Smoking, 2013 Pigment print 61 x 76 cm

Eric Gottesman

We Do Not Know What They Are Constructing, 2013 Pigment print 61 x 76 cm

Eric Gottesman

Untitled (Scramble for the Sky), 2016 Pigment print 101.6 x 127 cm

Eric Gottesman

Untitled (Scramble for the Sky), 2016 Pigment print 101.6 x 127 cm

Alfredo Jaar

One million points of light, 2005 Light box Work: 45 x 60 x 12 cm

Eric Gottesman

Untitled (Scramble for the Sky), 2016 Pigment print 101.6 x 152.4 cm

Ghada Amer

La Leçon de grammaire-RFGA, 2015 Acrylic, Dried Pastel, Embroidery & Gel Medium on Canvas 182.9 x 203.2cm

Eric Gottesman

Untitled (Scramble for the Sky), 2016 Pigment print 101.6 x 127 cm

Julie Mehretu

Epigraph, Damascus, 2016 6 panels; Photogravure, sugar lift aquatint, spit bite aquatint, open bite Hahnemühle Bütten 350 gr. Paper each 217 x 87 cm; Frame total size 248 x 574 cm

Eric Gottesman

Untitled (Scramble for the Sky), 2016 Pigment print 101.6 x 127 cm

Rashid Johnson

Untitled Anxious Drawing, 2016 Oil on paper 61 x 46 cm

Eric Gottesman

The Last Days of Baalu Girma, 2013 Pigment print from Polaroid negative 106.68 x 132.08cm

Wangechi Mutu

I'm too misty, 2015 Collage painting on linoleum 101.6 x 83.8cm

Dawit L. Petros

Single cube Formation No.2, Santa Barbara, CA, 2011 Archival digital print 76.2 x 91.4cm

Wangechi Mutu

Flower head, 2015 Mixed media 111.8 x 81.3 x 33 cm

Dawit L. Petros

Single Cube Formation No.3, Marfa, TX, 2011 Archival digital print 76.2 x 91.4cm

Theaster Gates

Afrostack, 2012 Concrete, porcelain, glass and book 128.3 x 32.1 x 31.3 cm

Dawit L. Petros

Act of recovery (Part I), 2016 Archival colour pigment print 50.8 x 66.1cm

Stan Douglas

Kung - Fu Fighting, 1975, 2012 Digital C-print mounted on Dibond aluminum Image: 91.4 x 137.2cm, Framed: 99.1 x 144.8 x 6.4cm

Lyle Ashton Harris in collaboration with Thomas Allen Harris

Untitled (Procession), 1998 C-print 152.4 x 121.92 cm

Stan Douglas

Capoeira, 1974, 2012 Digital C-print mounted on Dibond aluminum Image: 142.2 x 213.4cm, Framed: 149.9 x 221 x 6.4cm

Paulo Nazareth

Untitled, from Noticias de America (News from the Americas) series , 2011/2012 photo printing on cotton paper 45 x 60 cm

No 3D loaded yet

Goodman Gallery Johannesburg
Johannesburg Art Gallery

17 November 2016 – 17 December 2017

ruby onyinyechi amanze / Ghada Amer / Kajahl / Stan Douglas / Brendan Fernandes / Theaster Gates / Eric
Gottesman / Lyle Ashton Harris / Alfredo Jaar / Ayana V Jackson / Rashid Johnson / Julie Mehretu / Wangechi Mutu / Paulo Nazareth / Odili Donald Odita / Dawit L. Petros / Valerie Piraino / Daapo Reo / Tabita Rezaire / Mikhael Subotzky / Carrie Mae Weems / Kehinde Wiley

As part of its ongoing In Context series, Goodman Gallery is pleased to announce the forthcoming exhibition Africans in America and the concurrent academic conference Black Portraiture[s] III: Reinventions: Strains of Histories and Cultures, along with a series of events happening throughout Johannesburg. The citywide initiative will take place from November 2016 through January 2017.

In 2010, Goodman Gallery director Liza Essers launched In Context, an innovative curatorial platform to bring together a diverse group of international artists who share a rigorous commitment to the dynamics and tensions of place in reference to the African continent. A signature programme within the gallery, In Context activates the city of Johannesburg as a locus of contemporary art practice, ideas and discourses. In Context takes place in Johannesburg in the absence of an officially funded citywide biennial. Goodman Gallery takes great pleasure in facilitating the exhibition Africans in America and spearheading the Black Portraiture[s] III conference. These events play a vital part in addressing gaps in art history, rewriting it from diverse perspectives, a central pursuit within the In Context series.

Conceptualised and curated by artist Hank Willis Thomas and Liza Essers, Africans in America aims to speak to the flows, exchanges and continuities between the continent of Africa and the United States. The exhibition will take place across two spaces in the city, Goodman Gallery in Parkwood and the Johannesburg Art Gallery. Artists featured include Ghada Amer, Theaster Gates, Alfredo Jaar, Julie Mehretu, Wangechi Mutu, Odili Donald Odita and Kehinde Wiley, amongst others.

The exhibition is aligned to the important Black Portraiture[s] III initiative convened by Deborah Willis (New York University), Henry Louis Gates III (Harvard University) and Brett Pyper (University of Witwatersrand). The seventh in a series of conversations about imaging the black body, the 2016 edition is the first to be held on the African continent. The conference, which has attracted an impressive list of international panelists, opens up a forum for artists, activists and scholars from around the world to share ideas on a range of subjects, from historical topics to current research on South African art and activism and related themes affecting the global African diaspora.

Hank Willis Thomas has been represented by Goodman Gallery South Africa since 2008. Africans in America is the second exhibition he has curated for the gallery. He has become recognised for challenging constructions of race and gender in the United States and South Africa. His art has consistently extended dialogues on African and diaspora identities into significant international arenas, and his important work in South Africa has keyed into local history while driving new visions in the post-apartheid context.

In Context 2016 is a partnership between Goodman Gallery; The Department of Photography & Imaging at the Tisch School of the Arts, New York University; Hutchins Center for African and African American Research at Harvard University; Wits School of Arts at University of the Witwatersrand; United States Mission to South Africa; La Pietra Dialogues/ New York University; New York University Vice Provost for Faculty, Arts, Humanities and Diversity; and Hank Willis Thomas Studio, in association with Phillips; Museum of Contemporary African Diasporan Arts; Studio Museum in Harlem; Wiser Institute; Center for African American Studies/ Princeton University; Johannesburg Art Gallery; Contemporary And, and Art Africa.

Ghada Amer

Ghada Amer (b. 1963, Cairo, Egypt) views herself primarily as a painter, but she has worked in a variety of media producing ceramics, site-specific garden works, photographs, prints, drawings, installations, and performance pieces.

Amer’s work has always explored ideas related to women, femininity and gender roles. “I believe that all women should like their bodies and use them as tools of seduction,” Amer has stated. In Amer’s well-known erotic embroideries she at once rejects oppressive laws set in place to govern women’s attitudes toward their bodies and repudiates first-wave feminist theory that the body must be denied to prevent victimisation. By depicting explicit sexual acts with the delicacy of needle and thread, the images’ significance assumes a tenderness absent within simple objectification. Amer continuously allows herself to explore the dichotomies of an uneasy world and confronts the language of hostility and finality with unsettled narratives of longing and love.

Amer’s work addresses first and foremost the ambiguous, transitory nature of the paradox that arises when searching for concrete definitions of east and west, feminine and masculine, as well as art and craft. Through her paintings, sculptures and public garden projects, Amer takes traditional notions of cultural identity, abstraction, and religious fundamentalism and turns them on their heads.

Amer has also created a number of text-based works, most notably the installation piece Encyclopaedia of Pleasure, which comprises fifty-seven canvas boxes inscribed with embroidered texts serving as investigations of sexual and spiritual identity. While her works serve as commentary on the roles of women, they also offer a critique of painting itself, particularly in its largely masculine Abstract Expressionist mode. Her incorporation of thread into the parameters of the canvas legitimates a form of expression seen as particularly feminine.

Amer has shown her work all over the world, including the Istanbul, Johannesburg, Whitney, Gwangju, Sydney and Venice biennales; in major travelling shows such as The Short Century; Looking Both Ways: Art of the Contemporary African Diaspora; and Africa Remix. She has exhibited at P.S. 1 in New York and SITE Santa Fe, and in 2008 the Brooklyn Museum hosted Love Has no End, a retrospective of twenty years of Amer’s work.

Amer trained to be an artist at Villa Arson, Nice, France.

She currently lives and works in New York City.

Mikhael Subotzky

Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation. Subotzky has exhibited in a series of important international exhibitions, including most recently Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in the fall of 2020.

Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), and the South African National Gallery, among others.

Subotzky’s work was included in the Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015).

Carrie Mae Weems

Considered one of the most influential contemporary American artists, Carrie Mae Weems has investigated family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Using photography, text, fabric, audio, digital images, installation and video, Weems compels viewers to actively consider how the world is structured, bringing to light systems of oppression and inequality. 

Weems is the recipient of prestigious awards, grants and fellowships, including the BET Honors Visual Artist award, the Lucie Award for Fine Art photography, the MacArthur “Genius” grant, the Congressional Black Caucus Foundation’s Lifetime Achievement Award and the Prix de Roma, among others. 

She has participated in numerous solo and group exhibitions at major national and international museums including The Metropolitan Museum of Art, The Frist Center for Visual Art, Solomon R. Guggenheim Museum in New York, Prospect.3 New Orleans, and the Centro Andaluz de Arte Contemporáneo in Seville, Spain. She is represented in public and private collections around the world, including the Metropolitan Museum of Art, NY; The Museum of Fine Arts, Houston; the Museum of Modern Art, NY and Museum of Contemporary Art, Los Angeles.

Tabita Rezaire

Tabita Rezaire (b.1989, Paris, France) is infinity incarnated into an agent of healing, who uses art as a means to unfold the soul. Her cross-dimensional practices envision network sciences – organic, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of resilience, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits. Inspired by quantum and cosmic mechanics, Tabita’s work is rooted in time-spaces where technology and spirituality intersect as fertile ground to nourish visions of connection and emancipation. Through screen interfaces and collective offerings, she reminds us to open our inner data centers to bypass western authority and download directly from source.

Tabita is based in Cayenne, French Guyana. She has a Bachelor in Economics (Fr) and a Master of Research in Artist Moving Image from Central Saint Martins (Uk). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB.

Tabita has shown her work internationally – Centre Pompidou, Paris; Serpentine London; MoMa NY; New Museum NY; MASP, Sao Paulo; Gropius Bau Berlin; MMOMA Moscow, Museum of Contemporary Art Chicago; ICA London; V&A London; National Gallery Denmark; The Broad LA; MoCADA NY; Tate Modern London; Museum of Modern Art Paris – and contributed to several Biennales such as the Guangzhou Triennial, Athens Biennale, Kochi Biennale (2018); Performa (2017); and Berlin Biennale (2016).

Alfredo Jaar

Alfredo Jaar (b. 1956, Santiago, Chile) is an artist, architect, and filmmaker who lives and works in New York. He is known as one of the most uncompromising, compelling, and innovative artists working today.

Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002).

Important individual exhibitions include The New Museum of Contemporary Art, New York (1992); Whitechapel, London (1992); The Museum of Contemporary Art, Chicago (1995); Moderna Museet, Stockholm (1994);The Museum of Contemporary Art, Rome (2005) and The Nederlands Fotomuseum (2019). Major recent surveys of his work have taken place at Musée des Beaux Arts, Lausanne (2007); Hangar Bicocca, Milan (2008); Alte Nationalgalerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Berlin (2012); Rencontres d’Arles (2013); KIASMA, Helsinki (2014); and Yorkshire Sculpture Park, UK (2017).

The artist has realised more than seventy public interventions around the world. Over sixty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He was awarded the Hiroshima Art Prize in 2018.

His work can be found in the collections of The Museum of Modern Art and Guggenheim Museum, New York; Art Institute of Chicago and Museum of Contemporary Art, Chicago; MOCA and LACMA, Los Angeles; MASP, Museu de Arte de São Paulo; TATE, London; Centre Georges Pompidou, Paris; Stedelijk Museum, Amsterdam; Centro Reina Sofia, Madrid; Moderna Museet, Stockholm; MAXXI and MACRO, Rome; Louisiana Museum of Modern Art, Humlaebeck; Hiroshima City Museum of Contemporary Art and Tokushima Modern Art Museum, Japan; M+, Hong Kong; and dozens of institutions and private collections worldwide.

ruby onyinyechi amanze

ruby onyinyechi amanze (b. 1982, Port-Harcourt, Nigeria) is a visual artist who draws on paper.
amanze’s practice builds around questions of how to create large-scaled drawings that maintain paper’s essence of weightlessness while simultaneously holding a multi-dimensional form or structure.

Using a limited palette of visual elements, including ada the Alien, windows and birds, amanze’s drawings are an illusion of an expansive world situated between nowhere and everywhere. Despite incorporating a recurring host of characters, amanze maintains a non-linear and non-narrative approach to representational drawing, insisting the primary antagonist is the space of the paper itself. The construction of this world is largely centered around an interest in the spatial negotiations found in the three dimensional practices of dance, architecture and design.

Most recently, amanze completed two-year long residencies at the Queens Museum and as part of the Drawing Center’s Open Sessions Program, both in New York. She has exhibited her work internationally in Lagos, London, Johannesburg and Paris, and nationally at the California African American Museum, the Drawing Center and the Studio Museum of Harlem.

amanze earned her B.F.A., Summa Cum Laude, from Tyler School of Art, Temple University, and her M.F.A. from Cranbrook Academy of Art. In 2012-2013, amanze was a Fulbright Scholar at the University of Nigeria, Nsukka.

Today she resides between Philadelphia and Brooklyn, but calls multiple places home.