ART AFRIQUE

ART AFRIQUE WHERE AFRICAS' JOURNEY BEGINS

HLONIPHA NGCOBO

MABLENHLE MCHUNU

NOSIHLE MANGWE

THOKOZANI SITHEBE

NOKUTHULA NDIMA

CONTENTS 1

EDITORS' NOTE – HLONI NGCOBO

4

AFRICA RISE – MBALENHLE MCHUNU

6

AFRICA PERSPECTIVE – NOSIHLE MANGWE

9

AFRICAS' INFLUENCE ON EUROPE – THOKOZANI SITHEBE

11

EDITORS' NOTE – NOKUTHULA NDIMA

Editor's Note 5

Let’s be realistic: Perspectives on the reality of African art One would think that the demarcation between the meanings of the terms “abstract” and “realistic” are as clear and obvious as the difference between what is black and that which is white. Our everyday conversations reflect our rather layman understanding of these words. We commonly refer to images reflecting the way something ‘actually’ or ‘really’ looks as realistic and refer to images showing a flat, disproportional and/or disjointed representation of a subject as abstract.

The subject of realism is one surrounded with misconstrued themes, definitions and examples, all perplexingly appearing correct in their own right and context. In fact, each, upon elaboration, may very well be correct with little argument and can be accepted as proposed. It is for this reason that a general scope of discussion and definition of terminology be set in order that a coherent discussion be attempted. As we reflect, argue, and confer on realism and perspectives on African art over time, it shall be within the bounds of the definitions as prescribed by (Sturken & Cartwright, 2009) of the very terms: ‘realism’ and ‘perspective’. Other terms shall be discussed and defined as necessary within the various texts.

In the book “Practises of Looking, An Introduction into Visual Culture” by (Sturken & Cartwright, 2009),‘realism’ is defined as a term typically referring “to a set of conventions or a style of art or representation that is understood at a given historical moment to accurately represent nature or the real or to convey and interpret accurate or universal meanings about people, objects, and events in the world”.

This means that realism is not entirely about how realistic the rendering andquality of the imagery in question is but rather, its meaning is confined within the accuracy of the representation as understood and in a manner deemed true and realistic by the viewer within the particular time and era in which the viewer exists.

A good example of this notion is discussed in the article by Mbalenhle Mchunu, where she emphasises on the realism of the African art piece titled “Belgian Colony” by Tshibumba Kanda Matalu. Again, according to our layman perceptions and terms it is a far cry from “realistic” yet, our writer argues for its realism title and categorisation.

The theme of realism is will be a widely discussed and reoccurring topic throughout our analysis of African art. At this point, before further discussion of terms, it is necessary to emphasise the main umbrella topic of discussion across the texts in this catalogue. The writings, artists and artworks featured all fall within and relate to “African Art”.

The underpinnings of each discussion is be based on the trajectory that African art has taken in form and nature within the realms of realism and perspective. Our journalists have written both enlightening and captivating stories about African art in general, the artists as well as their artworks.

One such piece is the article written by Nokuthula Mdima. She courageously merges the past and the present as she writes about Ghanzi Cgoma Simon, a woman of Khoisan descent living in our present day who is both artist and spiritual leader, unashamedly continuing the legacy her ancestors have left for her. Read the article to see how she skilfully references the artistic styles of her predecessors unperturbed by the trends, styles and tools that have infiltrated the contemporary art scene.

| 1

Editor's Note As a reader of art related commentary and articles as found in this catalogue, it can be assumed that there is a high chance that you have come across the long-standing debate as to whether the art form and style of cubism should be categorised and defined as abstract or realist. Writers such as (Taylor, 1987) have emphatically argued this very topic. In his stance, he argues that cubism is indeed realist, and he carefully contains his points to the Analytic Cubism paintings invented by Braque and Picasso.

Another of our articles, written by Thokozani Sithebe, touches on this topic of how cubism artwork can be housed comfortably within the framework of realism. She narrates the reader through an easy-toread and understandable write up of various art movements and their influence on African art.

As we continue on the trajectory of African art, we can also note interesting points such as on the topic of the digital era and how it has disrupted not only the tools, materials and methods used in traditional art forms such as painting but also how it has in fact disrupted and further complicated the definitions of not just the fine line between what is realistic reality and what is artistically ‘enhanced’ yet still deemed ‘reality’ due to computer-aided manipulation of photos.

Our curator, Nosihle Mangwe shares her insights on a South African photographic depiction of the youth uprising in Sharpeville, focussing on the prolific and globally renowned photograph of the young and dying Hector Peterson as taken by journalist Sam Nzima. She discusses how the historical moment in time, the circumstance and the available technology dictated the form of representation necessary and subsequently used in what today can also be said to be a form of art.

We need not forget to bring a basis and definition of our other key term that is “perspective” before delving into our texts. Again, as defined for us by (Sturken & Cartwright, 2009), perspective refers to “a set of systems or mechanisms used to produce representations of objects in space as if seen by an observer through a window or frame”. In as much as this definition appears straightforward, it must be noted that even the “window’ or ‘frame’ can be further defined and interpreted as would be fitting the discussion which also makes each discussion intriguing.

As our writers intelligibly take us through the various topics of realism and perspective, grab your favourite cup of coffee, get comfortable and sink your mind deep into the overwhelming sea that is art, and the waves that are African art.

HLONIPHA NGCOBO Editor-in-Chief

11

8 | 2

CULTURED CURATORS

STEP INTO OUR GALLERY.

MBALENHLE MCHUNU NOSIHLE MANGWE

| 3

"SIZWE SAKITHI MAS'PHAKAME" AFRICA RISE

The trajectory in realism or the idea of Abstract versus Realism looks at the ideologies behind the questioning of the perspective of realism as well as the different approaches to realism as a whole including the art, the politics as well as what it can tell us about the culture, visual culture. The theme focused on her is African Art and the perspective it has on realism. Which will be broken down into four main parts, which is the pre-colonisation of African art which could include the Khoi San, Egyptians and spiritual mask. The Colonisation period which includes how Pablo Picasso created cubism through the influence of African art. Post Colonisation which is the apartheid times and then Modern times art, This looks at how African art has more 3D perspective now and how it’s mainly has a photographic feel then painting. (2009, Sturken. M and Cartwright. L )

Written by__Mbalenhle Mchunu

Realism art is the set of custom or a style of art or a way it's representation that is understood at a given historical moment to accurately represent nature to convey and interpret accurate or universals meanings about people, objects and events. Realist helps reproduce reality as it is, but this doesn’t tell how reality is understood in any given culture at any given historical moment. Things that constitutes realism in a given historical, geographical and national context. ( 2009, Sturken, M and Cartwright, L ) .

African Art expresses all that is mystical, spiritual, emotive and arrests about Africa. Some of the major types of art produced historically in African art is the masks. African art has been observed in a way that it doesn’t impose western confines and to try and understand the intention behind creating a piece. African art has been used for connecting to a higher spiritual world, celebrating a political or social event and crafting and enhancing utilitarian objects. It emphasizes representing in depth, and it poses an interesting challenge for a geometric perspective.

| 4

African spiritual mask art part of the African Artwork that came during pre-colonisation. They are the most admired and well know form of art. They have a greater meaning than just beauty which is usually the perspective towards them, that’s how people usually see or view them. The African mask is known since the stone age. They have been done been done or make in the perspective of the artist, and it's more of Abstract art thenRealism art. This is because it not done or made realistically, but it takes the feel of the or the outline of an African face. The African masks take on the identities, and each mask has its personalities and characters.

Perspective in it’s more traditional forms thought history has remained tied down to the idea of an objective and subjective depiction of reality. Many human visions are infinitely more complex.

Khoisan rock art was part of African art during the pre-colonisation era. Khoisan rock art was a way arresting showed there dreams and ideas about how the world works or should work, and it was also a way of remembering things. Artists would draw pictures for their ancestors. It was realistic because they drew what they saw and it was visual culture art. It was also drawn in their perspective. But regarding the perspective of realism illustrators or emphasises how the style of art or representation is understood at a given historical moment, this is to support the idea of realism at the time. That it made sense to you people at the time, but it might not make sense to us now or seem realistic (African art project, 2018) This artwork is called the Les Demoiselles d’Avignon, it was done by Pablo Picasso during the colonization era. He was influenced by African art to create cubism which was part of realism, and this artwork is one of the famous examples of cubism style. This painting demonstrates how distinct abstraction got the body in African art was borrowed and recorded in Cubism as a mean of demonstrating European idea seeing from multiple angles at once. This is using the linear perspective. (Sturken, M and Cartwright, L , 2009).

The Belgian Colony was another African Artwork that was done by Tshibumba Kanda Matalu.

Written by__Mbalenhle Mchunu

This artwork was an attempt to process the harrowing experience of the colonial era. It’s part of realism because the artwork represents a historical moment during the colonization period/ apartheid times and is done from a perspective the artist saw it.

Shows Modern African artwork. It shows how its more three-dimensional perspective and this is because it's influenced by European art and because now there are more modern materials to work such as oil paints. African art now also leans more into photography, and that’s realism and realist. In conclusion, the more we look at the trajectory under the African art we see the chances in the artworks, how the change as well as the perspective. We also get to see the Different ideologies in the perspective of realism and realist and how there are different ways to approach realism and perspective. We also see how the artworks evolved and how Abstract art versus Realism art or changed, that now artworks are more realistic and look better and real.

| 5

AFRICAS' PERSPECTIVE African art is undoubtedly one of the long-standing art movements in the world, its' combination of historic sculptures and paintings reflect the cultures, traditions and ethics of indigenous Africans dating back to. In the past African art had been interpreted as primitive and lacking sophistication by art critics, due to its rejection of realist perspective and naturalistic representation that is seen by the eye, however, its influence on celebrated a justified art form and deserves recognition in its own right. This essay will evaluate how specific African artworks conventions and approach to realism.

According to Sturken and Cartwright (2009) realism can be defined as, 'a set of conventions or a style of art or representation that is understood at a given historical moment to represent nature, the real or convey meanings about people, objects, and events'. In this artwork made by ancient Egyptian materials such as ochre from the desert and other pigmentations from plants, have been used on the stone papyrus painting depicting King Ramesses, who reigned Egypt during the battle against the Nubians (Adhikari, 2018). The King Ramesses is painted as the largest figure on the canvas, signifying his strength, royal status and heroic statue, as he defeats the Nubian army, who are represented as multiple small, inferior human figures.

Although the artwork aims to be a documentation of the event, the idea of King Ramesses defeating an army by himself is an episteme 'truth', that has been used by the Egyptian Empire to reflect the dominant ideology of Egyptian Kings being as similar or alike as God, praising the Kings for protecting Egypt's prosperity. The Battle of Nubian is an example of how pre-colonized African art composition did not illustrate depth, it did not mean it was primitive, but rather periods of history used

| 6

the epistemic logic that approached events and realism differently from how they were seen by the eye.

Written by__Nosihle Mangwe

European artist such as, Henri Matisse and Pablo Picasso, has proven that it is

African art has been known to reject perspective as it is an objective view of reality, perspective is defined as, 'a set of systems or mechanisms used to represent objects in space, as seen by an observer' (Unknown, n.d). However African art valued abstraction, as a way to associate emotion and untangle super-natural spirits, to convey meaning rather than recognizable aspects of reality. For example the mask Mbuya, by the Zaire tribe, was used to represent a cursed man who had become deformed due to disobeying his ancestors, this is signified in a wooden carving of an asymmetrical face (Figure 3), that has a vertical mouth, triangular nose and pointed chin (Unknown, n.d). This mask shows a distorted facial figure that symbolises sickness and disfunction and was used by dancers in circumcisions rituals to attract the Gods to heal the patient's pain, and welcome him into manhood as he had earned it through enduring pain. The mask was carved in the perspective of the tribe to symbolise the intangible spirits that they believed in, therefore rejecting the natural proportions of a normal human face they can view in the real world.

This form of challenging perspective in African art was then adopted by the Cubism art movement during 1900. Cubism aimed to move away from the Romanticism art period that valued the linear perspective system, which aimed to create art that mirrored the world we see, this was achieved through focusing on a centre point in the horizon of a frame and creating converged lines towards the forefront of the frame, therefore creating a background and the depth seen in reality. However Pablo Picasso changed the relationship between his painting (Figure 2) and reality by creating figures of woman that have broken limps that are placed at a juxtaposition towards each other, informing the viewer that they're placed at different angles and perspectives (Civilization.ca, 2018).

Moreover, the background consists of plain triangular shapes that overlap each other, creating a shallow space, and making the painting look simplistic and flat. It is said that this abstract style of Cubism was influenced by masks such as Mbuya, which were displayed in museums in Europe.

1976 Soweto uprising in Apartheid photograph by Sam Nzima As the development of technology was developed, the trajectory of African art shifted as it was easier to display photographic truths in Africa. During the Apartheid era, journalists such as Sam Nzima were looking for was to accurately depict the violence and police brutality of the South African government that had been trying to silence the public through economic and political power (SA History, 2018). The photo shows the death of 12-year-old, Hector Pieterson' lifeless body being carried by teenagers wearing school uniforms. The photograph was used in a global campaign to show the world of the suffering of defenceless African children, who were peacefully marching for their right to better school conditions (SA History, 2018). African artist turned more towards photography as it was an accurate depiction of their reality allowing them to have a voice in a social construct that diminished their everyday life, and the inhuman codes and conventions that the Apartheid government ran the country.

|Â Â 7

1976 SOWETO UPRISING IN APARTHEID PHOTOGRA PH BY SAM NZIMA EWGNAM ELHISON_YB NETTIRW

It is evident in these artworks that African art today has been influenced by European perspective on realism art through the visual systems such as photography. However, Africa has embraced its traditional artistic episteme through artworks such as Mbuya mask and the Battle of Nubia, as it represents realism at different time periods, therefore confirming that realism is essentially a reflection of the economic, social, cultural norms of a society.

7

THE JOURNALISTS CAN NEVER BE SILENT STEP INTO OUR GALLERY.

THOKOZANI SITHEBE NOKUTHULA NDIMA

| 8

The term, abstract can be applied to art that uses forms, such as geometric shapes or gestural marks, that when put together it looks nothing like the realistic form (Tate.org, 2018). Abstract art is mostly seen as a form of carrying a moral dimension, therefore, it can be seen as a way to stand for virtues such as order, purity, simplicity and spirituality (Tate.org). Expressionism which started its popularity in the early twentieth century, showcased artworks that involved highly intense colour and nonnaturalistic brushwork; often expressionist artworks were based on the artist’s inner feelings. However cubism drew its inspiration from a realistic subject matter, but with its elements broken down into distinct areas; which gave different viewpoints at the same time.

This led to cubism influencing other forms of abstraction, which included constructivism, neo-plasticism and orphism. Realism first existed in France in the 1850s, realism is a movement that made the idea of average, working class people, a contemporary settings and just simple day-to-day scenes as possible worthy artistic subjects. Realists rejected the standards of romanticism; this was a genre that was mostly defined by its sense of heightened emotions. This led to certain traits of romanticism being dismissed by realists (mymodernmet.com, 2018).

The visual arts of native Africa, included mediums such as sculpturing, painting, pottery, rock art, textiles, masks, personal decoration, and jewellery (Britannica.com, 2018).

African art mostly draws inspiration from the things that happen around such as, politics or ideological significance.

However, some of it is symbolic in terms of a ritual context; and some has aesthetic value in itself. However, often African art combines these elements (Britannica.com, 2018). Through this African art is understood by the investigation and the understanding of local aesthetic values and not through the imposition of categories of external origin (Britannica.com).

However,colonisation had a major impact on contemporary African art, this included its description, materials, subjects, and purpose, as they were greatly influenced by the culture of the European countries that colonised Africa. This could be seen through the artworks that were made. For example the Queen Mother Pendant Mask (Iyoba), which was made in the sixteenth century, at the top of the mask there is detailed work of faces with long beards and it is believed that these faces represent Portuguese explorers who

| 9

Written by__Thokozani Sithebe

AFRICAS' INFLUENCE ON EUROPE

One of the major influences of contemporary African art, were the “fine art” schools, which run by Christian missionary schools. Christianity was a belief that had arrived to Africa through colonialism, converting people to Catholicism, therefore, it was the missionaries who were responsible for building, funding and running schools (Scholarworks, 2018). These fine arts schools had a lasting impact on contemporary African art as they provided new art techniques, aesthetics, and a hybrid form of African art that heavily reflected their traditional culture with the culture of their colonizers (Scholarwork, 2018).

Through the increased use of colour and new the found style of the art showed a reflection of western art and the subjects of the contemporary African art started to reflect Western culture. This was seen through how art pieces started to reflect the culture and values of the colonisers. Techniques and materials also changed, due to the increase of trade which allowed for different materials to be used (Scholarwork, 2018). Nonetheless, contemporary African art shifted away from its indigenous roots, (Scholarwork, 2018), and it became what Westerners valued.

“Modern art is the creative world's response to the rationalist practices and perspectives of the new lives and ideas provided by the technological advances of the industrial age that caused contemporary society to manifest itself in new ways compared to the past”,

Written by__Thokozani Sithebe.

(Theartstory.org, 2018). Modern artworks represented the experiences of the new modern life also using innovative ways. It can said that modern art's intention is to portray a subject as it is seen in the actual world. Illustration 1: Queen Mother Pendant Mask (Iyoba) In the early 1900s, the aesthetics of traditional African sculpture; which arrived in Europe as an aftermath of colonialism conquest, these became an influential part amongst the European artists who formed an avant-garde in developing of modern art. They put together their highly stylized treatment of the human figure in African sculptures with painting styles derived from the post-Impressionist works, from artists such as Cezanne (metmuseum.org, 2018).

In post- colonialism it can be said that African art is still influenced by westerners in terms as it is evident in artworks from pre-colonialism and post-colonialism.

| 10

GHANZI CGOMA SIMON KHOISAN STORY Born in 1958 in Ghanzi Cgoma Simon a Khoisan inspired painter continues the legacy of her ancestors the Khoisan bush of southern Africa. The Khoisan people history can go back stretching to about 20 0000 years. Research has discovered that they are one of the oldest humans living in South Africa the was

The Khoisan rock art paintings were only drawn by spiritual leaders. The rock art painting would tell a story of a dream or vision that spiritual leader saw. Cgoma Simon herself is a currently a spiritual header this is visible through her work of art such as the Dreaming of Kudu Browsing. The painting was inspired by a dream she had of a Kudu grazing in the Kuru. Unlike Realism Visual culture inspire art forms Khoisan art does not seek to portray naturalism or an accurate depiction of their inspirations. While Realism, on the other hand, is the exact, detailed, not embellished portrayal of nature. It rejects the ideology of one using his or her imagination in favor of close observation on the outward appearance. It aimed to portray truthful art without artificial influence. Realism began during the 1850s after the France Revolution. It came to raise when painters reject the principals of Romanticism. Realism is the exact, accurate, detailed representation of art in the visual appearance of scenes or objects. It has other names such as naturalism, mimesis, and illusionism. In the painting Dream of Kudu, the Kudu does have any accurate or detail of a Kudu, but instead, a distorted outline of the Kudu is seen. Visual culture does not aim to portrait perfection in the art form unlike Realism, but its main focus is to create a mood and to let the human imagination figure out the artwork.

The Visual Culture of the Khoisan indigenous people profoundly associated with nature and creatures they outwardly reference oral custom of communicating day by day life and mythological beliefs, which keeps on being both essentials also, essential in going down starting with one age then onto the next. Contemporary San artistry is a characteristic development of their imagination to decipher their fantasies, their ethics and hold their reality which is quickly

| 11

breaking down.

Written by__Thokozani Sithebe

proven by the Khoisan bushman rock paintings which can be found throughout South African.

The focal religious custom of the San was the trance dance or medicine. During dance shamans tackle otherworldly intensity to enter the soul world. In the spirit world, they trusted that they performed different critical errands. These included recuperating the sick, controlling the climate, visiting faraway places and controlling the developments of diversion.

Various basic move stances are habitually delineated in the artistic creations: bowing forward at the midsection (here and there upheld by moving sticks), having the arms held out in reverse, bleeding from the nose and the related hand-to-nose act. Â Furthermore, certain things particularly connected with the move are regularly painted, most normally move rattles and fly-whisks. This pictures all relate the depictions to the daze move. A significant part of the symbolism goes past the move itself and portrays the

Written by__Nokuthula Ndima.

encounters and activities of shamans in the soul world.

|Â Â 12