REVIEWS: Shelley Barry

Fisher, Tyrone (2019) Creativate Digital Arts Festival: Something For The Insanely Curious. between 10 and 5 (online).
Available online here [download pdf here]

Moonsamy, Nedine (2019) The poetic revolution will not be anthologized. africasacountry September 2010 (online).
Available online here [download pdf here]

Kamaldien, Yazeed (2016) Cape poet urges universities to teach his work. Sunday Argus 27 March 2016.
Available online here [download pdf here]

2015 Two Short Films by South African filmmaker Shelley Barry at the Firehouse this April. Manhattan Neighbourhood Network (online).
Available online here [download pdf here]

Collison, Carl (2014) An ode to a dissident. Southern Suburbs Tatler, 12 June 2014
[download pdf here]

Jacobs, Sean (2010) Film director Shelley Barry @ NYU. africasacountry 28 April 2010 (online).
Available online here [download pdf here]

Tsumele, Edward (2008) Wits Arts and Literature Experience, 3-6 April 2008. Sowetan Live 3 April 2008 (online).
Available online here [download pdf here]

Willemse, Nicky (2007) Opposing worlds united on screen. Weekend Post (n.d.)
[download pdf here]

2005 disABILITIES Film Festival Archive, The Museum of disABILITY History, New York (online).
Available online here [download pdf here]

Senzeni Marasela

Art on our Mind Creative Dialogue with Senzeni Marasela

Senzeni Marasela is a cross-disciplinary artist who explores photography, video, prints, and mixed-medium installations involving textiles and embroidery. Her work deals with history, memory, and personal narrative, emphasizing historical gaps and overlooked figures. Her work includes embroidery, print and video as well as performance and has been widely exhibited in South Africa, Europe and the US. Her work features in prominent local and international collections, including MoMA, New York. She was recently part of the Johannesburg Pavillion at the last Venice Biennale.

Born in Thokoza, South Africa, Marasela studied at the University of the Witwatersrand, Johannesburg, where she obtained a BA Fine Arts in 1998. In 2003 she started a project titled Theodorah comes to Johannesburg, a durational performance based on her mother Theodorah’s stories about travels from the rural area of Mvenyane to Johannesburg, a journey of 11 hours. Like many young black women in the city, her mother was traumatised by events that took place in apartheid South Africa during the 1960s. Many black women returned to live in the countryside and many more were forced to undertake journeys into strangeness. Marasela wore a yellow dress that her mother gave her, taking on Theodorah as an alter ego. The artist has always felt that Theodorah’s story was representative of that of many black women in South Africa. The emblematic yellow dress has been translated into drawings, prints and thread works, always with the figure’s back to the audience. The story of Theodorah never left Marasela’s work and has at times been combined with that of Sarah Baartman (who was ‘exhibited’ around nineteenth- century Europe as the ‘Hottentot Venus’) and of the artist herself.

CREATIVE DIALOGUE

Dr Sharlene Khan and Senzeni Marasela at Rhodes Fine Art Department on 26 April 2018.

VIDEO: Art on our Mind Creative Dialogue with Senzeni Marasela

AUDIO: Art on our Mind Creative Dialogue with Senzeni Marasela

 

Find Senzeni Marasela on Instagram:

 

My work as an Artist currently centres around narrating the life of my alter ego. Persona. Theodorah. A rural woman abandoned by her husband , comes to Johannesburg to look for him. I have taken on a journey to wear the Theodorah dress everyday . The journey has not been easily but made possible with the generosity of a number of people . Acting on my faith I have written to Art Lovers, Art Collectors and Artists and made requests that they donate a dress or dresses . The dream is to have 150 dresses. I will wear all of them , as I do with the number I have . I am under 50 dresses at the moment . I will end the project in 2019 , 1 October. #artistswork #theartofsenzenimarasela #artistmovement #searchforgebaneinmines #artistinspiration #SenzeniMarasela #davidzwirner #davidzweinergallery #smithsonian #art154fair #ArtLondon #ArtReview #cantstopwontstop #akaa @jackshainman @mariangoodmangallery #africa #African_art_collectors_magazine #moma #tatemodern #cantstopwontstop #nytimes #artwork #artist #tiwanicontemporary #gallery #ArtLondon #artbasel #artbaselmiami #icp #metropolitanmuseumofart #saatchigallery #sunujournal

A post shared by Senzeni Mthwakazi Marasela (@theartofsenzenimarasela) on

Find Senzeni Marasela on Twitter:

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Artist CV
Afronova, Johannesburg, South Africa, [download pdf here]
Axis Gallery, New Jersey, USA, [download pdf here]
Gallery AOP, Johannesburg, South Africa

Shelley Barry

Shelley Barry lectures at the Department of Journalism, Film and Television Academic at the University of Johannesburg. Shelley was born and raised in the Eastern Cape, South Africa, and completed graduate studies in English and Drama at the University of Cape Town and University of the Western Cape. She has worked extensively as a disability rights activist, following a shooting in the Cape taxi wars of 1996 that resulted in her being a wheelchair user. She has held positions as Media Manager in the Office on the Status of Disabled Persons in the Presidency and as the National Parliamentary Policy Co-ordinator for Disabled People South Africa. During this time, she co-ordinated Nelson Mandela’s guard of honour for his State of Nation address in 1997. Shelley was awarded Ford Foundation scholarship and graduated with an MFA in Film at Temple University in Philadelphia in 2006. She was a Carnegie scholar at Wits University from 2007-2008 and taught documentary at Big Fish School of Digital Filmmakingand at UWC where she pioneered filmmaking in the Women’s and Gender studies department. Shelley held positions in the FPB South Africa, Mediaworks and currently serves on the board of Street Stories Films. She is associated with Gun Free South Africa and gave a testimony towards ending gun violence at the United Nations in 2006. 

Shelley developed and managed the Programming department at Cape Town TV (CTV) 2008- 2010, which offers training workshops in filmmaking. She facilitated filmmaking workshops at The Saartjie Baartman Centre and for the organisation Genderdynamix; the Feroza Adam Legacy Programmemade it possible to run various further filmmaking programmes.Shelley ran the community based film school and production company twotrainingwheelswhich aims to explore new languages in cinema and marginalised voices having access to the craft of filmmaking. She is currently training 15 young women in mobile phone filmmaking in Diepsloot, Johannesburg and is based at The University of Johannesburg where she teaches film. She commences her Creative PhD in film at The University of the Witwatersrand since 2018. 

Her films span across genres and are largely experimental in style. She often shoots her own films, exploring the aesthetics of cinematography from the perspective of a wheelchair user. Screenings of her work have been held at major festivals and events around the world and been acquired by television, including MTV, DUTV and WYBE in the U.S and SABC and etv in South Africa. She was selected to be on the SA film delegations to MIPCOM, France, The European Film Market, Berlin, The Rio Content Market, Brazil, Cannes, France and The Tribeca Film Festival, New York. In 2017 she was selected to be the filmmaker of focus for the Mzansi Women’s Film Festival.

Awards include: Audre Lorde scholarship; Distinguished Graduate Student Award (Pennsylvania Association of Graduate schools); best film awards for the experimental documentary titled Whole-A Trinity of Being at international festivals in NYC, Canada, Moscow, San Francisco, Toronto, Philadelphia and New Jersey; best documentary for Where we planted trees(Diamond Screen film festival Philadelphia). Inclinationsmade the top ten best click list on MTN online. etv commissioned Diaries of a Dissident Poet on poet James Matthews, which premiered to a sold-out audience at Encounters in 2014. In 2018, she received the SAFTA award for Outstanding Disability Contributor to the SA Film and Television industry.

The process of reclaiming my body was an exceptionally powerful and liberating experience. I understood desire and sensuality from a completely different perspective. I realized that passion is something that everyone can access (it is not reserved for the young and the able-bodied), and it can suffuse through every aspect of our lives. I recognized the importance of self-love as opposed to requiring af rmation from others in order to love myself.

Shelley Barry (2006) Disability and desire: journey of a Filmmaker.
Feminist Africa 6, 65.

CREATIVE DIALOGUE

Shelley Barry and Beverley Barry in conversation at Rhodes Fine Art Department on 29 September 2018.

VIDEO: Art on our Mind Creative Dialogue with Shelley Barry

AUDIO: Art on our Mind Creative Dialogue with Shelley Barry

TRANSCRIPT: Art on our Mind Creative Dialogue with Shelley Barry

ARCHIVAL RESOURCES: Shelley Barry

WORKS by Shelley Barry

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WORKS: Lallitha Jawahirilal – Exhibitions

Exhibitions by/with Lallitha Jawahirilal

Selected Solo Exhibitions

2008 The African Art Centre, Durban
2002 Greatmore Studios, Cape Town
2001 Puddled Sand and Red Ashes, Monash University Faculty Gallery, Australia 
1999 Curwen Gallery, London
1996 New Academy Gallery, London
1994 New Academy Gallery, London
1991 Galerie Trapez, Berlin
1990 Gallery 21, Johannesburg
1990 198 Gallery, London
1985 Africa Centre, Stockholm 

Selected Group Exhibitions 

2007 ‘Confluence’, Kalakriti Art Gallery, Hyderabad
2007 16th Anniversary Art Salon, Bangalore
2006 ‘Art Camp’, Renaissance Art Centre, Mumbai
2005 River Arts & Music Festival, Ladysmith, South Africa
2004 ‘Decade Of Democracy’, South African National Gallery, Cape Town 
2003 ‘Journeys’, Ernest G. Welsh School of Art and Design, Atlanta
2001 ‘Jabulisa, The Art of KwaZulu Natal’, Durban Art Gallery, South Africa
2000 African Art Centre, Durban, South Africa
1999 Nico Malan Theatre, Cape Town
1998 ‘Kunst aus Südafrika’, Gallerie Seippel, Stuttgart, Germany 
1998 Newcastle Museum, United Kingdom
1997 Trienalle, Lalit Kala Academy, New Delhi
1996 ‘Conjures’, First Gallery, Johannesburg
1991 ‘Discerning Eye’,The Mall Galleries, London
1991 Barcelona International Biennale, Spain
1990 Contemporary Art Society, Art Market, Smith Gallery, London 
1990 ‘Broadgate’, Whitechapel Art Gallery, London 
1989 ‘Art London/89’, London
1987-8 Third International Bienniale Print Exhibition, Taipei Fine Arts Museum, Taiwan 
1985 Mirror Reflecting Darkly: Black Women’s Art, Brixton Art Collective, London.

 

Mirror Reflecting Darkly: Black Women’s Art.
18 June – 6 July, Brixton Art Gallery, London.
Unpag. (10 pp.) exhibiyion catalogue. Group exhibition of 16 Black women artists collective. Artists included: Brenda Patricia Agard, Zarina Bhimji, Jennifer Comrie, Novette Cummings, Valentina Emenyeoni, Carole Enahoro, Elisabeth Jackson, Lallitha Jawahirilal, Rita Keegan, Christine Luboga, Sue Macfarlane, Olusola Oyeleye, Betty Vaughan Richards, Enoyte Wanagho, and Paula Williams. 8vo, orange covers.
Source: Brixton 50. Brixton Art Gallery Archive 1983-86

WORKS: Lallitha Jawahirilal – Projects and Research

Projects and Research run by Lallitha Jawahirilal

1998 Research proposal
Puddled Sand and Red Ashes: A photographic documentary of the Kumbh Mela
Supervisor: Vedant Nanackachand, Department of Fine Art & History of Art, UDW
[download project outline here]

1997 Research survey
The role of public art in a post-apartheid society with special reference to the Greater Ladysmith area 1997-1998
Field workers: Lallitha Jawahirilal, Vukile Ntuli (Lecturers in Painting, UDW)
Supervisor: Vedant Nanackachand, Department of Fine Art & History of Art, UDW
Research Assistant: Tracey Andrew
[download questionnaire results here]
[download Aloe Park Primary Mural Project letters here]
[download Aloe Park Primary photo documentation here]
[download Ladysmith Provincial Hospital Mural Project letters here]

1995 Research project
The role of public art in a post-apartheid society with special reference to the Greater Ladysmith area 1995-1996 (coordinated together with Mr Vukile Ntuli, Lecturer in Painting)
Participants:
Vedant Nanackachand, Department of Fine Art & History of Art, UDW
Students and artists from UDW and the greater Durban and Ladysmith Area
[download project outline here]

On the Wall of Reconciliation in Ladysmith (painted in 1995 by students from the Fine Arts Department at the University of Durban-Westvilleunder the co-ordination of Lallitha Jawahirilal) the rainbow motif dissolves and disintegrates into a layered wavy pattern that, in a sweeping motion, formally links separate panels and provides a useful compositional structure for dividing up the wall into separate emblematic units. With its expanding and contracting motions it appears alive and throbbing, thus off-setting some of the more rigid images. Its further appeal lies in the ambiguity of its meaning. In some sections the parallel stripes of primary colour, partly flowing out of a flag, prompt a reading as a rainbow, while in other sections the “rainbow” dissolves and integrates with the features of the landscape.

In: Marschall, S (2001) The Poetics of Politics, Safundi, 2:2, p. 9
doi: 10.1080/17533170100102201

WORKS: Lallitha Jawahirilal – Visual Art

Selected works 1990-2000

Alone in this wilderness I remain silent and unyielding (1991) 153 x 168 cm, oil on canvas
Untitled (1992)
Where does this mointain lead to (1993) oil on board
Untitled (1998)
I could severe this mind and lay it on your feet (2000)

Selected works 1980-1990

Untitled (Royal College of Art, 1980s) 56 x 41 cm
Untitled (1987) 76 x 63,5 cm, etching
What will become of you (1987), 76 x 56 cm, etching
Untitled (1988) 79 x 61 cm, oil on board
Untitled (1988) 137 x 152 cm, oil on board
Light vibrates with pleasure at the small of pire tragedy and restless nights (n.d)
No 10 (n.d)

 

WORKS: Natasha Becker – Curatorial Work

SELECTED EXHIBITIONS

2019

RADICAL LOVE
Group Show, Ford Foundation for Social Justice Art Gallery, New York, NY
https://news.artnet.com/exhibitions/ford-foundation-gallery-radical-love-1612009

PERILOUS BODIES
Group Show, Ford Foundation for Social Justice Art Gallery, New York, NY
https://afropunk.com/2019/02/art-exhibit-curators-of-color-utopianimaginationper- ilous-bodies-ford-foundation/

INTERIOR LANDSCAPES
Group Show, Assembly Room, New York, NY
http://assemblyroom.nyc/current-exhibtion/

2018

MULTIPLICITIES
Group Show, Assembly Room, New York, NY
https://hyperallergic.com/468273/assembly-room-curatorial-collective/

WHAT CAN BE SEEN
Group Show, Spring/Break Art Show, New York, NY
https://www.contemporaryand.com/magazines/the-collective-unearthingcensored- scenes-from-postwar-italian-cinema/

2017

DIALOGUES IN DRAWING
Group Show, Jenkins Johnson Gallery, San Francisco, CA
https://www.artsy.net/show/jenkins-johnson-gallery-dialogues-in-drawing#

AMERICANAH
Group Show, Spring/Break Art Show, New York, NY
https://www.artsy.net/article/artsy-editorial-16-curators-watch-springbreak

WEIGHTS & MEASURES
Solo Show and Civic Dialogues, Constitution Hill Museum, Johannesburg, South Africa
https://www.contemporaryand.com/magazines/justice-under-the-spotlight/

2016

SHIRIN NESHAT: DREAMERS
Solo Show, Goodman Gallery, Johannesburg, South Africa,
http://www.goodman-gallery.com/exhibitions/624

SUE WILLIAMSON: THE PAST LIES AHEAD
Solo Show, Goodman Gallery, Cape Town, South Africa
http://www.goodman-gallery.com/exhibitions/611

2015

RUBY AMANZE ONYINYECHI: SALT WATER
Solo Show, Goodman Gallery, Cape Town, South Africa
http://www.goodman-gallery.com/exhibitions/590

EDGE OF SILENCE
Group Show, Goodman Gallery, Cape Town, South Africa
http://www.goodman-gallery.com/exhibitions/573

SPEAKING BACK
Group Show, Goodman Gallery, Cape Town, South Africa
http://www.goodman-gallery.com/exhibitions/559