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Books > Arts & Architecture > History of art / art & design styles > From 1900
In this ground-breaking collection of critical essays, 15 writers
explore the experimental, interdisciplinary and radically
transgressive field of contemporary live art in South Africa.
Set
against a contemporary South African society that is
chronologically `post' apartheid, but one that continues to grapple
with material redress, land redistribution and systemic racism,
Acts of Transgression finds a representation of the complexity of
this moment within the rich potential of a performative art form
that transcends disciplinary boundaries and aesthetic conventions.
The collection probes live art's intersection with crisis and
socio-political turbulence, shifting notions of identity and
belonging, embodied trauma and loss, questions of archive, memory
and the troubling of colonial systems of knowing,
an interrogation
of narratives of the past and visions for the future.These diverse
essays, analysing the work of more than 25 contemporary South
African artists and accompanied by a striking visual record of more
than 50 photographs, represent the first major critical study of
contemporary live art in South Africa; a study that is as timeous
as it is imperative.
Long-time art critic Richard Dorment reveals the corruption and
lies of the art world and its mystifying authentication process.
Late one afternoon in the winter of 2003 art critic Richard Dorment
answered a telephone call from a stranger. The caller was Joe
Simon, an American film producer and art collector. He was ringing
at the suggestion of David Hockney, his neighbour in Malibu. A
committee of experts called the Andy Warhol Art Authentication
Board had declared the two Warhols in his collection to be fake. He
wanted to know why and thought Dorment could help. This call would
mark the beginning of an extraordinary story that would play out
over the next ten years and would involve a cast of characters
straight out of fiction. From rock icons and film stars; art
dealers and art forgers; to a murdered Russian oligarch and a
lawyer for the mob; from courtrooms to auction houses: all took
part in a bitter struggle to prove the authenticity of a series of
paintings by the most famous American artist of the twentieth
century. Part detective story, part art history, part memoir, part
courtroom drama, Warhol After Warhol is a spellbinding account of
the dark connection between money, power and art.
Hierdie publikasie gee ’n volledige beeld van die kunstenaar Frans
David Oerder (1867–1944) se oeuvre – sy Anglo-Boereoorlogtekeninge,
landskappe, genrestukke, portrette, blomstudies en stillewes,
interieurs, dierestudies en grafiese werk. Geen moeite is ontsien
om hierdie boek so volledig en betroubaar moontlik te maak nie.
Argivale bronne in die Kunsargief van die Universiteit van
Pretoria, die Argief van die Johannesburg Kunsmuseum en die
Nasionale Argief van Suid-Afrika in Pretoria het grootliks bygedra
tot die toevoeging van inligting oor hierdie kunstenaar wat nie
voorheen bekend was nie. Dieplakboek van Gerda Oerder en ’n lang
lesing met detailinligting oor Oerder se vroee lewe deur mev.
Lorimer in die Kunsargief van die Universiteit van Pretoria het
bygedra tot ’n nuwe vertolking van die lewe en werk van hierdie
belangrike Suid-Afrikaanse kunstenaar. Tydens die Anglo-Boereoorlog
was Oerder die enigste amptelike kunstenaar aan Boerekant, maar tot
dusver is nog geen volledige geskiedenis van sy deelname aan die
oorlog geskryf nie. In hierdie boek word Oerder se
Anglo-Boereoorlogtekeninge nou vir die eerste keer so volledig
moontlik afgedruk en beskryf.
Cedric Morris (1889-1982) was an accomplished painter of flowers
and landscapes, and a plantsman whose irises are an enduring
legacy. This is a timely study of a man whose stock has risen
appreciably in recent years, with two London exhibitions, a stand
at the Chelsea Flower Show and a surge in prices for his paintings.
With his lifelong partner, Arthur Lett-Haines, Cedric Morris set up
the East Anglian School of Painting and Drawing in Suffolk, where
students included the young Lucian Freud and Maggi Hambling.
Drawing on archive material and extensively illustrated with the
work of Morris as well as artists who became part of his circle,
this book explores Morris's family roots in South Wales, follows
his travels in Europe and beyond in the 1920s, and evokes the
singular camaraderie of the East Anglian School.
The horror of the First World War brought out a characteristic
response in a group of English artists, who resorted to black
humour. Among these, John Hassall, a pioneering British illustrator
and creator of the influential 'Skegness is so bracing' poster,
holds a special place. Early in the war, he hit on the idea of
drawing a parody of the Bayeux Tapestry to satirize German
aggression and add to the growing genre of war propaganda. Taking
the scheme of the famous tapestry which celebrates William the
Conqueror's invasion of England, Hassall uses thirty pictorial
panels to tell the story of Kaiser Wilhem II's invasion of
Luxembourg and Belgium. In mock-archaic language he narrates the
progress of the German army, never missing an opportunity to
lampoon 'bad' behaviour: 'Wilhelm giveth orders for frightfulness.'
The caricatured Germans loot homes, make gas from Limburg cheese
and sauerkraut, drink copious amounts of wine and shamefully march
through Luxembourg with 'women and children in front.' With comic
inventiveness Hassall adapts the borders of the original to
illustrate the stereotypical objects with which the English then
associated their enemy: they are decorated with schnitzel,
sausages, pilsner, wine corks and wild boar. Drawn with Hassall's
distinctive flat colour and striking outlines, Ye Berlyn Tapestrie
is a fascinating historical example of war-induced farce, produced
by a highly talented artist who could not then have known that the
war was set to last for another two years. Together with an
introduction which sets out the historical background of its
creation, every page of this rarely seen publication is reproduced
here in a fold-out concertina, just like the original, to resemble
the style of the Bayeux Tapestry.
THE SUNDAY TIMES BESTSELLER 'A burst of springtime joy' Daily
Telegraph 'A springboard for ideas about art, space, time and
light' The Times 'Lavishly illustrated' Guardian David Hockney
reflects upon life and art as he experiences lockdown in rural
Normandy On turning eighty, David Hockney sought out rustic
tranquility for the first time: a place to watch the sunset and the
change of the seasons; a place to keep the madness of the world at
bay. So when Covid-19 and lockdown struck, it made little
difference to life at La Grande Cour, the centuries-old Normandy
farmhouse where Hockney set up a studio a year before, in time to
paint the arrival of spring. In fact, he relished the enforced
isolation as an opportunity for even greater devotion to his art.
Spring Cannot be Cancelled is an uplifting manifesto that affirms
art's capacity to divert and inspire. It is based on a wealth of
new conversations and correspondence between Hockney and the art
critic Martin Gayford, his long-time friend and collaborator. Their
exchanges are illustrated by a selection of Hockney's new,
unpublished Normandy iPad drawings and paintings alongside works by
van Gogh, Monet, Bruegel, and others. We see how Hockney is
propelled ever forward by his infectious enthusiasms and sense of
wonder. A lifelong contrarian, he has been in the public eye for
sixty years yet remains entirely unconcerned by the view of critics
or even history. He is utterly absorbed by his four acres of
northern France and by the themes that have fascinated him for
decades: light, colour, space, perception, water, trees. He has
much to teach us, not only about how to see... but about how to
live.
Featuring four films by the young Irish filmmaker Kevin Gaffney,
Unseen By My Open Eyes is the first publication on the artist's
work, exploring the psychological landscapes that the artist
devises to explore the construction, projection and manipulation of
identity. Within the book, Gaffney's films are presented through a
series of richly illustrated sections, providing an excellent
insight into the artist's methodologies. The book explores subjects
ranging from: daily life in Iran; selfhood and military
conscription in Taiwan; geographic, political and emotional
separations in South Korea, with characters imagining what the moon
looks like from North Korea; and food consumption in a
self-sustaining militarised Ireland of the near future where
climate change has benefited agricultural production.The book
features English scripts of the five films, with an annex compiling
the scripts in Korean, Chinese, Persian and Gaeilge (Irish
Gaelic).Gaffney's works are contextualised through an accompanying
essay by Irish critic Caoimhin Mac Giolla Leith.Gaffney was the
first Irish recipient of a Sky Academy Arts Scholarship in 2015,
and was an UNESCO-Aschberg laureate artist in residence at the
National Museum of Modern and Contemporary Art's Changdong
Residency in South Korea in 2014. His work features in the Irish
Museum of Modern Art's collection, and solo exhibitions have been
held at the Linenhall Arts Centre (Ireland), Millennium Court Arts
Centre (Northern Ireland) and CAI02 Contemporary Art Institute
(Japan).
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