ArtThrob Portfolios

ArtThrob Portfolios

The portfolio is presented in an archival linen box, with each print made to the highest quality, exclusively for the Editions for ArtThrob programme. The prints in the portfolio include the following:

William Kentridge Black Monkey Thorn forms part of his analysis of the forms of different trees indigenous to South Africa.  In his six part lecture series, entitled Six Drawing Lessons delivered at Harvard University as part of the preeminent Norton Lectures, Kentridge discussed this series in relation to how works of art develop meaning.

Senzeni Marasela Untitled. Two words would describe Senzeni Mthwakazi Marasela: headstrong and uncompromising. Impatient with labels and pigeon-holing, Marasela uses photography, photocopy transfers, silkscreening and handicraft to explore collective and personal memory. Her choice of ‘raw’ (unprocessed) fabrics like calico, set against the highly worked quality of lace have, for her, strong ties to colonialism. The labour-intensive process of handstitching is her way of inscribing herself into this past she wishes to explore, as well as attempting to elevate her chosen imagery into a realm of the cherished and respected.

Sam Nhlengethwa John Coltrane. This lithographic print of John Coltrane was inspired by the jazz album Kind of Blue released in 1959. In a 2010 artist statement for his solo show of the same name at Goodman Gallery, Nhlengethwa wrote: ‘In my studio in downtown Johannesburg, a week never passes without me listening to Kind of Blue. I actually have three copies, two CDs – one for my car, the other for my studio and a vinyl for my collection’.

Walter Oltmann Lace, a delicate hardground etching, follows the themes of Oltmann’s work in his 2013 Penumbra exhibition at the Goodman Gallery. The opposing ideas of the intimacy and fragility of the human form, and the invasive ‘x-ray line’ of modern medical analysis merge to create a work of poignant and unsettling beauty.

Claudette Schreuders The Bystander 2 follows a line of work that seeks to ‘make public that which is private’.  The work, a remarkably skilled piece of print-making, playfully uncovers the middle-class condition.  Its darker overtones work to uncover the lighter green, yellows and ochre that form it’s details.

Sue Williamson Amien Hendricks at the seven steps, District Six. 1981 forms part of Williamson’s documentation of the destruction of District Six in the 1980’s. Hendricks, a carpenter who was one of the last people to be forcibly removed from the area, is captured in pensive mood at the steps, which used to act as a popular meeting place.

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