Natasha Becker

Natasha Becker was born in South Africa and has spent the last sixteen years living and working between New York and Cape Town. An expert in contemporary African and African American art, she has curated a number of exhibitions in collaboration with artists, curators, collectors, galleries, museums, and foundations internationally. She recently co-curated two exhibitions, “Perilous Bodies,” and “Radical Love,” at the distinguished Ford Foundation Center for Social Justice to inaugurate their new art gallery in New York (2019). Her past experience includes curating exhibitions at the Goodman Gallery (South Africa), convening public programs in global art history at the Clark Art Institute, and launching an international video art festival (both Massachusetts, USA). Natasha is one of the co-founders of two collaborative curatorial platforms, ASSEMBLY ROOM (New York) and THE UNDERLINE SHOW (Johannesburg).

CREATIVE DIALOGUE

Art on our Mind Creative Dialogue with South African Curator Natasha Becker and Sharlene Khan on 5 September 2019 at The Point of Order. The event was part of the African Feminisms (Afems) conference 2019: Theorising from the Epicentres of our Agency, at the Wits School of the Arts, Wits University, Johannesburg, South Africa.

 

AUDIO: Art on our Mind Creative Dialogue with Natasha Becker

TRANSCRIPT: Art on our Mind Creative Dialogue with Natasha Becker

Find Natasha Becker on Instagram

Assembly Room New York invited curators to speak about curating in the time of COVID19, watch episode #1 with Natasha Becker online:

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Curating at the time of COVID19 is a series of short, homemade videos, by our fellow independent women curators, discussing curating practices during the lockdown.😷 . We are committed to continuing our mission to create community and to support the work of independent women curators by sharing our stories, our work, and our inspiration in these challenging times. We invite you to enjoy our new online content created by our community of awesome women! Topics include; What does an independent curator do? What do curators think of online exhibitions? What artists, artworks, and exhibitions are curators working on or inspired by? . Our guest for the first episode is Natasha Becker, the co-founder curator of Assembly Room.🎊🎉🎊 . Bio: Natasha was born in South Africa and has spent the last sixteen years living and working between Cape Town and New York. An expert in contemporary African and African American art, she has curated a number of exhibitions in collaboration with artists, curators, collectors, galleries, museums, and foundations in South Africa and the United States. She recently co-curated two exhibitions, “Perilous Bodies,” and “Radical Love,” at the distinguished Ford Foundation Center for Social Justice to inaugurate their new art gallery in New York (2019). Her experience includes curating exhibitions at the Goodman Gallery (South Africa), organizing public programs in global art history at the Clark Art Institute, and launching an international video art festival (both Massachusetts, USA). . More to come. Stay tuned!📡📡📡

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Nontobeko Ntombela

Photograph: Anthea Pockroy

Nontobeko Ntombela is a curator based in Johannesburg. She currently works at the Wits School of Arts developing the postgraduate programs in curatorial and exhibition practices. She previously worked as the curator of the contemporary collection at the Johannesburg Art Gallery (2010–12) and the Durban Institute of Technology Art Gallery (2006–10). Her curatorial projects include Solo at Cape Town Art Fair (2018); A Fragile Archive at Johannesburg Art Gallery (2012); MTN New Contemporaries (2010) for which she was guest curator; Layers at the Goodman Gallery project space, Johannesburg (2010); Modern Fabrics at the Bag Factory, Johannesburg (2008); From Here to There at the Association of Visual Arts (AVA), Cape Town (2007), as part of the CAPE 07 fringe. Ntombela has participated in international programs including the Bilateral Exchange Project between Germany and South Africa (2007); Close Connections (Africa Reflected) Curator’s Workshop in Amsterdam (2009); Break the Silence Scotland (2002–3).

CREATIVE DIALOGUE

Dr Sharlene Khan and Nontobeko Ntombela at Rhodes Fine Art Department on 8 September 2017.

VIDEO: Art on our Mind Creative Dialogue with Nontobeko Ntombela

AUDIO: Art on our Mind Creative Dialogue with Nontobeko Ntombela

TRANSCRIPT: Art on our Mind Creative Dialogue with Nontobeko Ntombela

Preparational talk with Art on our Mind research team and Nontobeko Ntombela on 8 May 2017.

AUDIO: Pre-Talk with Nontobeko Ntombela

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Poster: Senzeni Marasela Creative Dialogue

An Art on our Mind CREATIVE DIALOGUE with Senzeni Marasela.
26 April  |  16.30h  |  2018
Seminar Room  |  School of Fine Arts  |   Somerset Street
Grahamstown, South Africa

An Art on our Mind Creative Dialogue with Senzeni Marasela.

PUBLICATIONS: Lallitha Jawahirilal

Art catalogues, books, journal articles and academic theses featuring works by Lallitha Jawahirilal 

Chambers, E. (2014) Black Artists in British Art: A History since the 1950s. London: Bloomsbury Publishing.
Google Books preview here

Cooney, L. (ed.) (2011) South Africa: Artists, Prints, Community: Twenty-Five Years at the Caversham Press. Boston: Boston University. Exhibition Catalogue, p. 70.
[download pdf here]

Brzyski, A. (ed.) (2007) Partisan Canons. Durham: Duke University Press.
Google Books preview here

Marschall, S. (2004) Serving Male Agendas: Two National Women’s Monuments in South Africa, Women’s Studies, 33:8, 1009-1033,
DOI: 10.1080/00497870490890816

Pissarra, M. (2004) The Luggage is Still Labelled, Third Text, 18:2, 183-191
DOI: 10.1080/0952882032000199696

Vale, P., Ruiters, G. (2004) The Right Way Up? South Africa Ten Years On. International Politics, 41, 375–393 (2004).
https://doi.org/10.1057/palgrave.ip.8800083

Khan, S. (2004) Lallitha Jawahirilal. In: Khan, S. (ed.) The ID of South African artists. Amsterdam : Stichting Art & Theatre, 134-137.
[download pdf here]

Deliry-Antheaume, E. (2003) Readings from the walls: art and education. Perspectives in Education, 21:2, 1 – 14.
https://hdl.handle.net/10520/EJC87202

Marschall, S. (2001) The Poetics of Politics. Imagi[ni]ng the New South African Nation. Safundi, 2:2, 1-20, doi: 10.1080/17533170100102201

Deliry-Antheaume, E. (2000) Murs des écoles, école des murs en Afrique du Sud. Les institutions éducatives vues du dehors. In: Lange, M.F. (ed.) Des écoles pour le Sud. Aube: IRD Editions, 167-175.
[download pdf here]

Abstract (english)
School walls, the school of walls in South Africa : how education institutions are seen from the outside
School walls reflect local architectural story in educational establishments. Graffiti and mural art witness to the recent transformations in South African society and often draw attention to the right to education and to the environ- ment in which education is offered. By review- ing a number of creative experiments (with photos), we see that the walls are themselves transformed into « schools » and provide an alternative form of teaching which can contri- bute to the healing as well as the reconstruc- tion of a society undermined by decades of segregation.

Bedford, E. et al. (eds.) (1997) Contemporary South African Art 1985 – 1995 from the South African National Gallery Permanent Collection. Cape Town: South African National Gallery.

Delfina Studio Trust (1990) Annual Group Show at Delfina Studios. London: Delfina.

Sebestyen, A (1990) Lallitha Jawahirilal, City Limits, 6-13 December 1990, 24

Oliphant, A. W. (1989) The art of Lallitha Jawahirilal. Staffrider8:2 (1989), 48-53
[download pdf here]

Academic theses mentioning works by Lallitha Jawahirilal 

Lilla, Q. (2018) Setting Art Apart: Inside and Outside the South African National Gallery (1895-2016). PhD Thesis, Stellenbosch University, https://scholar.sun.ac.za/handle/10019.1/103265.
[download pdf here]

Adendorff, D. A. (2017) The Princess in the Veld: Curating Liminality in Contemporary South African Female Art Production. PhD Thesis, University of Pretoria.
http://hdl.handle.net/2263/63007

Pillay, T. (2014) The artistic practices of contemporary South African Indian women artists : how race, class and gender affect the making of visual art. MA Thesis, Unisa, http://uir.unisa.ac.za/handle/10500/18736
[download pdf here]

Moodley, N. (2012) Culture, politics and identity in the visual art of Indian South African graduates from the University of Durban-Westville in KwaZulu-Natal, 1962-1999. PhD Thesis, UKZN, https://researchspace.ukzn.ac.za/handle/10413/10724
[download pdf here]

Burger, M. A. C. (2005) Transformation within personal and public realms through contemporary artmaking processes. MA Thesis, University of Johannesburg
http://hdl.handle.net/10210/5247
[dowlnload pdf here]

Malatjie, L. P. (2004) Framing the artwork of Tracey Rose and Berni Searle through black feminism. MA Thesis University of the Witwatersrand
http://hdl.handle.net/10539/11750
[download pdf here]

White, E. 2004. There’s no place (like home) : a graphic interpretation of personal notions of home and displacement. MA Thesis, Unisa, University of Cape Town
http://hdl.handle.net/11427/10891
[download pdf here]

Khan, S. (2006) A critical analysis of the iconography of six HIV/AIDS murals from Johannesburg and Durban, in terms of race, class and gender. MA Thesis University of the Witwatersrand, http://wiredspace.wits.ac.za/handle/10539/4694
[download pdf here]

Khan, S. (2002) A critical analysis of the depiction of women in murals in Kwazulu-Natal. Thesis in partial fulfilment of MA (Fine Arts), University of Durban-Westville. Supervisor: Sabine Marschall). [download pdf here]

Reshma Chhiba

Art on our Mind Creative Dialogue with Reshma Chhiba.

Reshma Chhiba is a visual artist and dancer based in Johannesburg. She holds a BAFA (2005) and an MAFA (2013), from the University of the Witwatersrand, and a diploma in Bharatanatyam (2002) from the Institute of Indian Art and Culture (South Africa). She currently serves as Exhibitions Coordinator at The Point of Order, an experimental exhibition space run by the Division of Visual Arts, Wits University. Previously, Chhiba worked at the Visual Identities in Art and Design Research Centre (VIAD), University of Johannesburg (2013 – 2015), and Exhibitions Curator and then Registrar at the Johannesburg Art Gallery (2007 – 2013).

Joint winner of the Wits School of Arts Martienssen Prize 2003, she was selected by the Goethe Institut (2007) to work as an art mediator at Documenta 12, in Kassel, Germany. She has participated in numerous group shows, including Impossible Monsters – Art Extra (2007); Self/Not Self – Brodie Stevenson (2009); Domestic – GoetheonMain (2009), Alterating Conditions: Performing Performance Art in South Africa – GoetheonMain (2011), [Working Title] – Goodman Cape (2012), 21BF – Turbine Hall and Bag Factory (2012), Princess in the veld – KKNK Festival (2015) and others. Her solo exhibitions include Kali – Art Extra (2008) and The Two Talking Yonis – Constitution Hill Women’s Jail, Kalashnikovv Gallery and Room Gallery (2013), in which she collaborated with curator Nontobeko Ntombela. She is also co- founder of Sarvavidya Natyaalaya (SVN), a non-profit classical Indian dance school specialising in Bharatanatyam in South Africa.

CREATIVE DIALOGUE

between Nontobeko Ntombela and Reshma Chhiba at Rhodes Fine Art Department on 27 October 2017.

VIDEO: Art on our Mind Creative Dialogue with Reshma Chhiba

AUDIO: Art on our Mind Creative Dialogue with Reshma Chhiba

 

TRANSCRIPT: Art on our Mind Creative Dialogue with Reshma Chhiba

 

Find Reshma Chhiba on Instagram @thetalkingyoni

 

#khan #ntombela #artonmymind #Gtown

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