Weems made all of the photos in her own kitchen, in her own house. All of the vignettes are set in the kitchen at the table and were shot with a single overhead light source suggestive of an interrogation room. The table and light are fixed elements.
The work of two British born artists – Michael McMillian’s Inna Joburg situated above, and Christine Checinska’ The Arrivants below – shown at the University of Johannesburg’s gallery FADA reconstruct quotidian moments that tend to vegetate into the margins of history.
Athi Mongezeleli Joja on two remarkable exhibitions at the University of Joburg.
Drinks Cabinet of The West Indian Front Room (Geffrye-Museum-2005-06) ©John Nelligan.
The work of M2 is sited (or at least plays a part) in the culture of the city; it is produced as a response to the urban and as a result contributes to producing city life. In this case, the future of art may well be urban. However, if this is to be the case, I would argue that art’s role relies in its ability to not only depict everyday life but to also disturb it – to give it new meaning and purpose. The work of M2 achieves this.
Craig Halliday on the Maasai Mbili Artists’ Collective.
A collector, a historian, an arbitrator and an advisor, each of his roles stems from his genuine interest in the arts. The functions Thom Ogonga assumes are all indicators of the renovations and revolutions occurring on the local art scene. Add to the list the designation ‘voyeur’ as Thom Ogonga beholds a lucid vision of the abundant future of art on his side of the globe.
Zihan Kassam on Kenyan artist Thom Ogonga.
Untitled, woodcut print.
Ward manages to express his ideas and thoughts in a sheer endless amount of forms. Even as somebody who is familiar with a lot of his works, he always surprises me, he always makes me wonder. Although the content can be heavy and emotional, there is always a lightness in his work. A smile is not forbidden.
Rob Perrée on Nari Ward.
Ward working on ‘We The People’, 2011.
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