WORKS: Natasha Becker – Writing

Texts by Natasha Becker

MA Thesis

Becker, N. (2002) Inside and Outside the Family Album. Making, exhibiting and archiving the photograph in the South African National Gallery and the National Library of South Africa. Univerity of the Western Cape, available at:
http://hdl.handle.net/11394/6046

One of the first things that reached me about photography was how a photograph tells a story or stories. This experience is perhaps most common when viewing personal photographs. A few years ago I was looking through a vast number of personal photographs, of a family I knew well, and was struck by how all the photographs (in albums, framed or lying loosely about) were part of a particular family narrative. Even without the storytelling, which accompanied my viewing of the photographs, I could still ‘read’ bits and pieces of the family history (and the broader social, political and cultural histories) in their photographs.

Journal articles and essays

2021 (forthcoming) ‘In the Wake of Okwui Enwezor’. NKA: Journal for Contemporary African Art. Special Issue on Curator Okwui Enwezor.

March 2020 ‘To Imagine a Future World’. Curatorial Essay, exhibition catalogue, Present Passing, Osage Art Foundation, Hong Kong, China

February 2020 ‘Forever if Composed of Nows’ Curatorial Essay, exhibition catalogue , A.I.R gallery, New York, NY

February 2020 ‘Pushing Through a Public Memorial’. Guest Contributor, Brooklyn Rail Critics Page, New York, NY

November 2019 ‘Where Does My Heart Reside?’ Guest Contributor, Brooklyn Rail Critics Page, New York, NY

May 2019 ‘An Ode to Love’ Curatorial Essay, Ford Foundation Art Gallery, New York, NY

October 2015 ‘Encountering Virginia Chihota’ Exhibition catalogue essay, Tiwani Contemporary: Virginia Chihota. A Thorn In My Flesh (munzwa munyama yangu)

2008 ‘Primitivism revisited: After the end of an idea’. African Arts, 41:1, 86-88, available online at: https://www.jstor.org/stable/20447874 [download pdf here]

2001 ‘The “Lives of Colour” Exhibition. South African National Gallery, September 1999’ Kronos 27 Visual History, 270-291 available online at: https://www.jstor.org/stable/41056681 [download pdf here]

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].

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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