Editor’s note: The article was written by Omar Barghouti, who is a founding committee member of the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI). PACBI is a member of The Boycott, Divestment & Sanctions Campaign National Committee (BNC). This article is the fourth in a continuing series exploring BDS and its connection to the art world.
Long-lost between two reefs off the coast of Cape Town, South Africa, are the fragmented remains of a Portuguese slave ship, now identified centuries later as the first known wreck of its kind.
Catherine Taylor’s book centers on her search — what feels like an obsessive search — through veins of history buried in the time of apartheid in South Africa, where she and her family are from.
When is unauthorized street art actually art, and when is it vandalism? It’s a question the city of Johannesburg has wrestled with since last summer.
Beginning in the 1940s, South African photographer David Goldblatt documented the people and landscapes of his country in striking black and white. It was only after apartheid that he felt comfortable with color in his work.
The dirty alchemy of photographer Roger Ballen in combination with frenetic rap-ravers Die Antwoord resulted in the video for “I Fink U Freeky” in 2012. Now a monograph distills the mix of the South African collaborators to its elements.
Last spring South African artist Zwelethu Mthethwa was charged with the murder of a 23-year-old woman named Nokuphila Kumalo. Following Mthethwa’s May arrest and subsequent release on bail, the case was remanded twice. The artist is now scheduled to appear in court again at the end of this month.
LOS ANGELES — On a recent long distance bus trip in Uganda, part of my sojourn was occupied by listening to a religious individual on a bus preach, pray, and collect donations from his captive audience. I didn’t understand the language but I understood the form, as he shuffled up and down the aisle with an undying voice.
The Pretoria Art Museum in South Africa was just the victim of a terrible robbery — but the thieves weren’t quite smart enough to take full advantage of their haul. They stole $2 million in art, but the most significant piece was left behind because it didn’t fit in their car.
In 1986, South Africa was still eight years away from the end of apartheid, and though opposition to the racist ruling system had been mounting for decades, the government continued to suppress rebels and dissidents. Yet that same year, the exiled Afrikaner writer and artist Breyten Breytenbach, a vocal critic of apartheid, returned to South Africa to accept a literary award. It was his first visit to his homeland after being granted early release from a nine-year sentence there on charges of terrorism.
Street artist Above intended to make a strong anti-blood diamond statement with a mural on the facade of Johannesburg’s largest diamond exporter but it just sounds sexist.
MIAMI — With all the visual overload and glimpses between suited shoulders it’s hard to find something that resonates amongst the Lego blocks of art fair booths at the main fair of Art Basel Miami Beach. With over 260 galleries and over 2,000 artists of which I probably saw half and absorbed a twentieth, it feels like an accomplishment to come away with an artwork that truly resonates days after.