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]

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: 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: 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

WORKS: Shelley Barry – Film

Exhibitions and Screenings

2019

Here (VR dance film installation, South Africa, 10mins) 
Presented at: Immersive Africa Exhibition – A Collection of 360° Narratives
Works by work by Nyasha Kadandara, Shelley Barry and Nirma Madhoo.
Isivivana Center in Khayelitsha, Cape Town.
10-13 December 2019
Curated by Electric South

Presented at: In Frame – A 360 Film Exhibition
23 November 2019-11 January 2020
TMRW Gallery, Rosebank

Second Creativate Digital Arts Festival at the National Arts Festival
Makhanda, 27 June to 7 July 2019
National Arts Festival 2019 #1, #2, #3

2010

An Evening With Shelley Barry

28 April 2010, New York University, 19 University Place, 1st Fl theater. Room 102.
Part of the disTHIS! Film Series, a project of the Disabilities Network of NYC in association with the New York University Council for the Study of Disability, a monthly showcase of festival quality independent and international short, documentary and feature films with disability themes audiences are unlikely to see elsewhere.
Film director Shelley Barry @ NYU, Sean Jacobs, Africasacrountry

2007

Umbilical Cord (rehearsal documentation)
Presented at: eVokability: The Walking Project
14, 15, 16 June 2007
Dance Theatre Workshop Studio
219 West 19th Street, NYC 10011

22 & 23 June 2007
Spirit Wind Studio
213 New St., Philadelphia, PA 19106

Selected Filmography (2004-)

2019

Here (VR dance film installation, South Africa, 10mins) 
Premiere at the Together! 2019 Disability Film Festival, 6-8 December 2019
The Old Town Hall Stratford Broadway London E15 4BQ, IMDB

2018

Re:incarnation (video poetry) 
A woman longs for her lover she has spent lifetimes with. 

Out of Reach (video poetry) 
The city is out of reach for people with disabilities. 

Ink/Visible 
A writer contemplates how writing counters invisibility. 

2014

Diaries of a Dissident Poet (shortened documentary feature) 
Tracing the story of Dr James Matthews who used poetry to fight against the struggle and save his own life. 
Selected and sold out: Encounters Documentary Film Festival.

2015

I’m not done yet (shortened documentary feature) 
A woman creates art in response to the news of terminal cancer. 
Sold out screenings at Artscape Theatre. 

2013

Mr Shakes the passion to Live (shortened documentary feature) 
A story of disco, cancer, tik. And Jesus. 
Selected and sold out: Encounters Documentary Film Festival 

Trailer: Mr Shakes – the passion to live

2011

Place of Grace (in collaboration with Gerard Samuel) 
The dance of love and betrayal. 
Funded by GIPCA, UCTScreened at UCT School of Dance 

2007

Where we planted Trees 
The story of nostalgia for a house taken away during the group areas act in Port Elizabeth. 
Best Documentary: Diamond Screen film festival, Philadelphia 

New York/New Brighton (short fiction)
Two young girls across the oceans (Port Elizabeth and New York) dream of meeting Mandela and Yemaya. 

2006

Cry Like the Loons (experimental documentary)
A car accident transforms a holiday experience.

Str/oll (experimental documentary)
A woman in a wheelchair explores the streets of Manhattan. 

Umbilical Cord 
A revisioning of Frida Kahlo’s painting “What the water gave me” 

2005

Retrato/Portrait (short fiction) 
Portraits from the life of a transwoman reflecting on her transition and her fractured relationship with her mother. 

Inclinations (short fiction) 
Co-directed with Jen Simmons 
A writer faces blocks in writing and in love. 
Extensive screenings worldwide. 
Purchased by MTV in 2007 Selected as top 10 click list on MTV’s online film site. 

Where are my Heels? (experimental documentary) 
A two year old girl in Puerto Rico takes over a party. 

Pants? Skirt? Lipstick? 
Queer couples and their friends plot a night of fooling immigration for a green card, during the Presidency of George Bush. 
Selected for screening at The San Francisco Gay and Lesbian Film Festival 

2004

Whole A Trinity of Being (experimental documentary) 
(Pin Pricks + Voice/Over + Entry)
A docu-poem about reclaiming life after trauma. 

Best Film: Superfest: California
Best Narrative Short: Philadelphia Festival of Independents
Best Experimental Film: Breaking Barriers Festival: Moscow
Best Experimental Film: Projections 2: Canada
Spirit of Independence Award: Brooklyn (New York) International Disability Film Festival 
Jurors Citation Award: Black Maria Film Festival, New Jersey
Outstanding Graduate Student Award, Pennsylvania Association of Graduate Schools 
Audre Lorde scholarship award for media production 
Television Acquisition: WYBE, DUTV (community tv stations USA) SABC, SA International festival screenings 

African Film Festival New York
International Movie Database

WORKS: Shelley Barry – Writing

Texts by Shelley Barry

Barry, Shelley (2013) Disability and desire: journey of a film-maker – life story. In: Ekine, Sokari (ed.) Queer African Reader. Nairobi, Dakar: Pambazuka Press.

Barry, Shelley (2011) The travelling poet. South Africa: British Council.

Barry, Shelley (2007) dipping inside elephantʼs eye. Presented at the 11th South African Womenʼs Arts Festival (SAWAF) 31 July – 12 August, The Playhouse, Durban.

Barry, Shelley (2006) Why this meeting is important. International Action Network on Small Arms (IANSA) presentation to the UN Small Arms Review Conference 26 June-7 July 2006. French here [download pdf here or here] Draft report of the meeting here.

Barry, Shelley (2006) Disability and desire: journey of a filmmaker. Feminist Africa 6: Subaltern Sexualities, 65-68.
[download pdf here]

Barry, Shelley (2005) voice/over. Sister Namibia 17:1, 31. [download pdf here]

Barry, Shelley, Deela Khan & Malika Ndlovu (eds.) (2003) Ink@ Boiling Point: A Selection of 21st Century Black Women’s Writing from the Southern Tip of Africa. Cape Town: WEAVE.

Barry, Shelley (2001) Strip. Surrender. Agenda: Empowering Women for Gender Equity. African Feminisms One. No. 50, 128-130. [download pdf here]

Barry, Shelly (1998). Changing attitudes: an overview of awareness raising about disability in South Africa. Media Officer, Office on the Status of Disabled Persons, The Presidency, The Republic of South Africa.
Published in 2001 as: Changing attitudes: an overview of awareness raising about disability in South Africa. Disability World 9 [download pdf here].

INTERVIEWS/FEATURES: Shelley Barry

Motsa, Sihle (2020) ‘Scars Should also be Crowned’: reflecting on Shelley Barry’s cinematic oeuvre. Africa South Art Initiative(ASAI). Available online here [dowload pdf here]

Staff Writer (2018) Paralysed by gangs. Fighting back with film. Beautiful News
[download pdf here]

Staff Writer (2018) How Barry’s disability never stopped her from making wonderful films. TimesLive, 28 March 2018. Available online here [download pdf here]

O’Reilly, Athina (2018) Film industry honour for ex-PE women. The Herald, 27 March 2018. Available online here [download pdf here]

Staff Writer (2015) Cape Town’s fearless females. A look at six trailblazing Mother City ladies. Cape Town Magazine
[download pdf here]

Staff Writer (2015) Feminist Filmmaker Meets Boss Bitch Rapper. The Journalist, 16 June 2015. Available online here [download pdf here]

Staff Writer (2015) Reader Profile – Scars, the body, survival…love for life. Rolling Inspiration. [download pdf here]

I am Woman. Shelley Barry. Season 2, Episode 17 (aired 28 July 2013)
Watch here, or here, [download pdf here]

Against All Odds. Award winning film-maker Shelly Barry reaches remarkable heights. ENCA 21 August 2013.
Watch here, or here.

You know that saying ‘When life gives you lemons, make lemonade?’ Look at what these three women made from their traumatic experiences

Kgaboesele, Kitso (2006) Triumph. Shelley Barry – Trauma: Paralysed in a taxi shooting. Passion: Making real-life movies. Femina Issues 2517-2520.

WORKS: Reshma Chhiba – Writing

Texts by Reshma Chhiba

Chhiba, R. (2017) The two talking yonis : the use of Hindu iconography in conversations of race, identity, politics and womanhood within contemporary South African art. Nidan : International Journal for Indian Studies, Volume 2 Number 2, pp. 44 – 60
This article looks at the use of Hindu iconography within South African visual art practice and its relation to race, identity, politics and womanhood in the work of Reshma Chhiba. It draws primarily on work from the 2013 exhibition entitled The Two Talking Yonis: Reshma Chhiba in conversation with Nontobeko Ntombela, and discusses Chhiba’s use of the image of the goddess Kali, the concept of yoni, the use of Bharatanatyam and understandings of feminine energy in relation to womanhood. It also threads a narrative of Chhiba’s ancestry through a poetic description of her grandmother’s journey from India to South Africa, and the embodiment of Kali as a form of defiance not only in her work, but also in her grandmother.
https://journals.co.za/content/journal/10520/EJC-c195dbc56

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