TOP SA PHOTOGRAPHERS AT OLIEWENHUIS ART MUSEUM Page 58

from SA Art Times July/Aug 2019

FUNDAMENTALIST RATIONALISM Page 52

TOP SOUTH AFRICAN PHOTOGRAPHERS EXHIBITIONS AT OLIEWENHUIS ART MUSEUM www.nasmus.co.za

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Oliewenhuis Art Museum is proud to present an array of exhibitions by well known South African photographers, Jodi Bieber and Cedric Nunn and an exhibition of Banele Khoza’s incredible paintings during the month of July:

A Public Art Poster campaign conceptualised by Jodi Bieber in collaboration with 45 young people from Johannesburg. Poster design by Brenton Maart

Dates: 03/07/2019 – 18/08/2019

The project, titled #i combines portrait photography, visual research, interviews, text, digital photographic collage and design to create a series of 45 environmental portraits of young people from Johannesburg. Striking amongst all participants is the core value placed on being heard, respected and valued. It takes the form of a public art campaign, where visitors may select and take with them a poster from one of the 45 individual stacks of lithography prints.

Jodi Bieber on #i: “In this Public Art poster campaign, I collaborated over a period of three years, starting in 2016, with a diverse range of 45 young people from Johannesburg – from different cultures, income groups and areas – to produce a portraiture project that expresses young people’s visions of themselves and their country. These visions are expressed in the words of the young people, their own photographs from their phones, and the portraits I photographed of each individual.”

Amira Shariff

Above: Ross Sey Right: Babalwa Nondabula

Tshiamo-Aaliyah Setlhare

Big Boy Ndlovu

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Lena Hartley at her home in Mangete. At the time she was the last surviving daughter of John Dunn. 1986

Blood Relatives by Cedric Nunn Dates: 03/07/2019 – 18/08/2019

Blood Relatives is a body of work created in 2005, by renowned photographer, Cedric Nunn. Cedric Nunn on Blood Relatives:

“This essay begun in the early eighties, in the heydays of apartheid and the ‘struggle’ against it. I found a deep need to explore my identity as a South African of mixed origins. I felt uncomfortable with the moniker of ‘coloured’, or more exactly, ‘Cape Coloured’ bestowed upon me by the state and needed to come to a new understanding of my origins and place in my country in light of my political perspectives….I ‘used’ my large extended family as a palette to explore these issues and as a meditative process to mediate a new perspective which is that though subjected to the moulding influences of a separate existence and the inherent racism that informed it, I felt a strong need to be part of an undivided South Africa, free of racism.”

Lily Nunn mopping her shop, Mangete 1985