Falling Monuments, Reluctant Ruins: The Persistence of the Past in the Architecture of Apartheid interrogates how, in the era of decolonisation, post-apartheid South Africa reckons with its past in order to shape its future. Architects, historians, artists, social anthropologists and urban planners seek answers in this book to complex and unsettling questions around heritage, ruins and remembrance.

What do we do with hollow memorials and political architectural remnants? Which should remain, which forgotten, and which dismantled? Are these vacant buildings, cemeteries, statues, and derelict grounds able to serve as inspiration in the fight against enduring racism and social neglect? Should they become exemplary as spaces for restitution and justice? The contributors examine the influence of public memory, planning and activism on such anguished places of oppression, resistance and defiance. Their focus on visible markers in the landscape to interrogate our past will make readers reconsider these spaces, looking at their landscape and history anew.

Through a series of 14 empirically grounded chapters and 48 images, the contributors seek to understand how architecture contests or subverts these persistent conditions in order to promote social justice, land reclamation and urban rehabilitation. The decades following the dismantling of apartheid are surveyed in light of contemporary heritage projects, where building ruins and abandoned spaces are challenged and renegotiated across the country to become sites of protest, inspiration and anger.

This ground-breaking collection is an important resource for professionals, academics and activists working in South Africa today.

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.

Amid evictions, raids, killings, the drug trade, and fire, inner-city Johannesburg residents seek safety and a home. A grandmother struggles to keep her granddaughter as she is torn away from her. A mother seeks healing in the wake of her son’s murder. And displaced by a city’s drive for urban regeneration, a group of blind migrants try to carve out an existence.

The Blinded City recounts the history of inner-city Johannesburg from 2010 to 2019, primarily from the perspectives of the unlawful occupiers of spaces known as hijacked buildings, bad buildings or dark buildings. Tens of thousands of residents, both South African and foreign national, live in these buildings in dire conditions. This book tells the story of these sites, and the court cases around them, ones that strike at the centre of who has the right to occupy the city.

In February 2010, while Johannesburg prepared for the FIFA World Cup, the South Gauteng High Court ordered the eviction of the unlawful occupiers of an abandoned carpet factory on Saratoga Avenue and that the city’s Metropolitan Municipality provide temporary emergency accommodation for the evicted. The case, which became known as Blue Moonlight and went to the Constitutional Court, catalysed a decade of struggles over housing and eviction in Johannesburg.

The Blinded City chronicles this case, among others, and the aftermath – a tumultuous period in the city characterised by recurrent dispossessions, police and immigration operations, outbursts of xenophobic violence, and political and legal change. All through the decade, there is the backdrop of successive mayors and their attempts to ‘clean up’ the city, and the struggles of residents and urban housing activists for homes and a better life.

The interwoven narratives present a compelling mosaic of life in post-apartheid Johannesburg, one of the globe’s most infamous and vital cities.

An artist’s canvas reflects the face he chooses to show to the world, but the place in which that art is made is seldom revealed.

Paul Duncan was given unparalleled access into the homes and lives of fifteen of South Africa’s most revered artists. Over countless mugs of coffee or glasses of wine, he listened and observed as they spoke about their lives, loves and the way they make their art. South African Artists At Home takes the reader into some very private spaces, affording us a glimpse of what the artist goes home to at the end of the day.

For some, the work space and home space are irrevocably intertwined. For others, home is a sanctuary. Or perhaps it is the studio that is the sanctuary and home is where ‘real life’ happens.

Either way, if you have an interest in art, artists, and the often bizarre way that making art intersects with living life, you’ll find this book intriguing.

From former editor of New York magazine Adam Moss, a collection of illuminating conversations examining the very personal, rigorous, complex, and elusive work of making art.

What is the work of art? In this guided tour inside the artist’s head, Adam Moss traces the evolution of transcendent novels, paintings, jokes, movies, songs, and more. Weaving conversations with some of the most accomplished artists of our time together with the journal entries, napkin doodles, and sketches that were their tools, Moss breaks down the work—the tortuous paths and artistic decisions—that led to great art. From first glimmers to second thoughts, roads not taken, crises, breakthroughs, on to one triumphant finish after another.

Featuring: Kara Walker, Tony Kushner, Roz Chast, Michael Cunningham, Moses Sumney, Sofia Coppola, Stephen Sondheim, Susan Meiselas, Louise Glück, Maria de Los Angeles, Nico Muhly, Thomas Bartlett, Twyla Tharp, John Derian, Barbara Kruger, David Mandel, Gregory Crewdson, Marie Howe, Gay Talese, Cheryl Pope, Samin Nosrat, Joanna Quinn & Les Mills, Wesley Morris, Amy Sillman, Andrew Jarecki, Rostam, Ira Glass, Simphiwe Ndzube, Dean Baquet & Tom Bodkin, Max Porter, Elizabeth Diller, Ian Adelman / Calvin Seibert, Tyler Hobbs, Marc Jacobs, Grady West (Dina Martina), Will Shortz, Sheila Heti, Gerald Lovell, Jody Williams & Rita Sodi, Taylor Mac & Machine Dazzle, David Simon, George Saunders, Suzan-Lori Parks

Samuel Daniell can be described as one of the most accomplished yet least-known artists from the era of British exploration. He travelled around southern Africa between 1800 and 1803, and lived in Ceylon until his death in 1811.

His vivid sketches, drawings and watercolours are individuated and accomplished art works. Daniell’s representations of people of colour are remarkable for their perceptiveness and are perhaps unmatched in their sensitivity in the colonial era.

He also produced many drawings and paintings of animals that are noteworthy for their accuracy. His biography is a fascinating example of how art contributed to the accumulation of scientific knowledge and the extension of British imperial power.

Daniell’s drawings are widely scattered, and mostly unpublished. This biography reconstructs his life and travels by bringing together his known works from collections across the world.

The SlideGuide is a lecture companion that allows you to take notes alongside representations of the art images shown in class. This handy booklet includes reproductions of the images from the book, with full captions and space for note-taking.

Visual representations are an essential but highly contested means of understanding and remembering the Holocaust. Photographs taken in the camps in early 1945 provided proof of and visceral access to the atrocities. Later visual representations such as films, paintings, and art installations attempted to represent this extreme trauma. While photographs from the camps and later aesthetic reconstructions differ in origin, they share goals and have raised similar concerns: the former are questioned not as to veracity but due to their potential inadequacy in portraying the magnitude of events; the latter are criticized on the grounds that the mediation they entail is unacceptable. Some have even questioned any attempt to represent the Holocaust as inappropriate and dangerous to historical understanding. This book explores the taboos that structure the production and reception of Holocaust images and the possibilities that result from the transgression of those taboos. Essays consider the uses of various visual media, aesthetic styles, and genres in representations of the Holocaust; the uses of perpetrator photography; the role of trauma in memory; aesthetic problems of mimesis and memory in the work of Lanzmann, Celan, and others; and questions about mass-cultural representations of the Holocaust. David Bathrick is Emeritus Professor of German at Cornell University, Brad Prager is Associate Professor of German at the University of Missouri, and Michael D. Richardson is Associate Professor of German at Ithaca College.

Mere decades after the dissolution of Yugoslavia, the promise of European democracy seems to be out of joint. What has become of the once-shared memory of victory over fascism? Historical revisionism and nationalist propaganda in the post-Yugoslav context have tried to eradicate the legacy of partisan and socialist struggles, while Yugonostalgia commodifies the partisan/socialist past. It is against these dominant 'archives' that this book launches the partisan counter-archive, highlighting the symbolic power of artistic works that echo and envision partisan legacy and rupture. It comprises a body of works that emerged either during the people's liberation struggle or in later socialist periods, tracing a counter-archival surplus and revolutionary remainder that invents alternative protocols of remembrance and commemoration. The book covers rich (counter-)archival material - from partisan poems, graphic works and photography, to monuments and films - and ends by describing the recent revisionist un-doing of the partisan past. It contributes to the Yugoslav politico-aesthetical "history of the oppressed" as an alternative journey to the partisan past that retrieves revolutionary resources from the past for the present.

Sandra Blow (1925-2006) is among the most important British artists of the later twentieth century. During a time of rapid change in the art world, her commitment to abstract painting resulted in a large and diverse body of work of distinctive power and subtlety. Michael Bird's fascinating survey of Sandra Blow's life and art is now available for the first time in a handsome paperback edition. Compiled in collaboration with the artist during the last years of her life, it provides a definitive overview of her career. The book is lavishly illustrated throughout with a fully representative selection of Blow's work. In this highly readable account, Michael Bird looks in depth at Blow's evolving studio practice and the personal nature of her abstract vision. He places Blow's achievement firmly within the wider context of British and international art movements of the post-war period and late twentieth century. He also casts new light on the role played in her life by Alberto Burri and Roger Hilton, two influences she acknowledged to be crucial to her art. Through close attention to Blow's working methods, this book provides a unique insight into her creative process. It reveals the intensity of emotional engagement and technical experimentation that lie behind the apparent spontaneity of her vivid handling of materials, colour and form.

Since 1994 South Africa has undergone a steady erosion of its indigenous built environment, with a concomitant loss of indigenous building technology and its specialised terminology. This glossary is based on the premise that you cannot understand the culture of a people unless you have a grasp of the nuances and hidden meanings of their language and brings together in one single volume the terminologies that are used by southern Africa's rural builders. It covers the terminology used by indigenous builders as well as subsequent colonial white settlers including buildings of the so-called Cape Dutch, English Georgian, Victorian and Indian Traditions. The text is set out in alphabetical order. It comprises of each term in its original language, its translation where appropriate into isiZulu, and its definition in English and isiZulu. One of the strengths of this book is its visual component of accompanying sketches that expertly illustrate the terms. This book is designed not only to assist in the teaching of architecture, but also to aid others who are interested in the field. Researchers and practitioners in disciplines such as anthropology, archaeology, culture studies and building science will find it a valuable addition to their libraries.

The sudden and spectacular growth in Dante's popularity in England at the end of the eighteenth century was immensely influential for English writers of the period. But the impact of Dante on English writers has rarely been analysed and its history has been little understood. Byron, Shelley, Keats, Coleridge, Blake, and Wordsworth all wrote and painted while Dante's work - its style, project, and achievement - commanded their attention and provoked their disagreement. The Circle of Our Vision discusses each of these writers in detail, assessing the nature of their engagement with the Divine Comedy and the consequences for their own writing. It explores how these Romantic poets understood Dante, what they valued in his poetry and why, setting them in the context of contemporary commentators, translators, and illustrators, (including Fuseli, Flaxman, and Reynolds) both in England and Europe. Romantic readings of the Divine Comedy are shown to disturb our own ideas about Dante, which are based on Victorian and Modernist assumptions. Pite also presents a reconsideration of the concept of 'influence' in general, using the example of Dante's presence in Romantic poetry to challenge Harold Bloom's belief that the relations between poets are invariably a fight to the death.

The Book of Small is a collection of thirty-six short stories about a childhood in a town that still had vestiges of its pioneer past. Emily Carr tells stories about her family, neighbours, friends and strangers-who run the gamut from genteel people in high society to disreputable frequenters of saloons-as well as an array of beloved pets. All are observed through the sharp eyes and ears of a young and ever-curious girl. Carr's writing is a disarming combination of charm and devastating frankness.

Swedish Modern is a playful exploration of the philosophy and heritage of the legendary Swedish interior design and furniture company, Svenskt Tenn. The company was founded in 1924 by the pioneering design entrepreneur Estrid Ericson and joined ten years later by Austrian designer and architect Josef Frank. Together they created eclectic, elegant and boldly patterned interior design style known as Swedish Modern that has made Svenskt Tenn world-renowned. This colouring book is your invitation to explore their world of magical interiors.