Mary Sibande

Mary Sibande portrait photograph by Mosa Kaiser

Mary Sibande (born in 1982 in Barberton, South Africa, living and working in Johannesburg) engages counter-historical narratives and the language of dress to animate the stories of South African women and critique western imperialist depictions of their lives. Her artistic practice takes heavy influences from processes involved in fashion design as she tailors elements of the narrative directly onto the characters through their clothes, playing with colour, meaning and coded motifs.

Sibande works with large-scale installations and photography to further enhance the worlds she creates and the characters within them. Viewers are introduced to her alter ego, Sophie, whose many incarnations speak to the experiences and livelihoods of Sibande’s mother and grandmother under apartheid. While Sophie’s blue dress and white doek [headscarf] signify her status as a domestic worker, the artist adorns her outfits and gestures with alternate meanings, transforming her context from an ongoing history of servitude and labour to a grander, reimagined reality within a prefigurative, dreamlike space.

Her solo exhibitions include The Wake, Kunstpalais, Germany (2022); The Red Ventrioquist, Musée d’art Contemporain de Lyon (2022); A Red Flight of Fancy, SMAC Gallery, Cape Town (2022); Past Is Present, Herron Galleries, Indiana University(2022); Let me tell you about Red…, Durban Art Gallery, South Africa (2022); Unhand me Demon!, Kavi Gupta, Chicago (2021); Blue Red Purple, The Frist Art Museum, Nashville (2021) I Came Apart at the Seams, Somerset House, London (2019) and A Crescendo of Ecstasy, The Mixed Reality Workshop, Johannesburg (2018).

Sibande has also exhibited in many group shows, including the 2023 Sharjah Biennial 15; Garmenting, Museum of Arts & Design, New York (2022); TEXTURES, Kent State University, Ohio (2021); Like Life, The MET Breuer, New York (2018); All Things Being Equal, Zeitz MOCCA, Cape Town (2018); South Africa: the Art of a Nation, British Museum,London(2017); and Ideal Narratives in Contemporary South African Art, South African Pavilion, 54th Venice Biennale (2011).

She is the recipient of the Helgaard Steyn Award (2021) and Smithsonian National Museum of African Art Award (2017).

Her work can be found in the collections of the Smithsonian National Museum of African Art, Washington; Virginia Museum of Fine Art, Richmond, USA; and the Musée d’Art Contemporain du Val-de-Marne, France, among others.

Sibande received a Diploma in Fine Arts from Witwatersrand Technical College, Johannesburg (2004) and a Degree in Fine Arts from the University of Johannesburg (2007).

WORKS by Mary Sibande

EXHIBITIONS

WRITING on Mary Sibande

BOOKS/CATALOGUES
BOOK CHAPTERS AND FEATURES
ACADEMIC PUBLICATIONS
THESES & DISSERTATIONS
PRESS AND REVIEWS

VIDEOS

Artist CV
[pdf here]

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 programmes 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) and was appointed inaugural curator of African art at the Fine Arts Museums of San Francisco in December 2020.

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:

 
 
 
 
 
View this post on Instagram
 
 
 
 
 
 
 
 
 

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!📡📡📡

A post shared by ASSEMBLY ROOM (@assemblyroomnyc) on


ARCHIVAL RESOURCES: Natasha Becker

WORKS by Natasha Becker
CURATORIAL WORK
WRITING
LECTURES, KEYNOTES & TALKS

PRESS AND REVIEWS on Natasha Becker
PRESS AND REVIEWS

Curator’s website and CV

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

ARCHIVAL RESOURCES: Nontobeko Ntombela

WORKS by Nontobeko Ntombela

CURATORIAL WORK
WRITING
TALKS/WORKSHOPS
COLLABORATIONS

PRESS AND REVIEWS on Nontobeko Ntombela

INTERVIEWS/FEATURES
REVIEWS

PHOTO DOCUMENTATION: Sophie Peters

Members of the Community Arts Project Mural Collective. From left: Sophie Peters, Mashabalala Mkonto, Mahlomola Seakoloane, David Hlongwane and Hamilton Budaza. Source: University of Cape Town. Libraries. Special Collections BC1195 Community Arts Project. mss_bc1195_s44_3_2-028
https://digitalcollections.lib.uct.ac.za/collection/islandora-29074

Sophie Peters at International Children’s Day art workshop. Sophie Peters facilitating International Children’s Day art workshop for pre-school children at Blackpool Hall, Salt River, 1994-06-01. Source:  University of Cape Town. Libraries. Special Collections BC1195 Community Arts Project. mss_bc1195_s8_5-002.
https://digitalcollections.lib.uct.ac.za/collection/islandora-29108
Community Arts Project staff photograph, 1994. Community Arts Project staff photograph. Back: Simba Pemhenayi, Carol Knowles, Nigel Mentor, Zayd Minty, Lawrence Makinana, Barbara Voss, Lungile Bam. Front: Mario Pissarra, Lynette Davids, Sicelo Nkohla, Sophie Peters, Mashabalala Mkonto. Pissarra’s dog Pablo, a regular presence at CAP, is in the foreground. Source: University of Cape Town. Libraries. Special Collections BC1195 Community Arts Project. mss_bc1195_s19_1-001
https://digitalcollections.lib.uct.ac.za/collection/islandora-29016

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.

PRESS, INTERVIEWS & FEATURES: Shelley Barry

University of Johannesburg (2023) UJ’s Dr Shelley Barry wins SAFTA for innovative film. University of Johannesbug. 20 October 2023.
Available here

Nel, Brandon (2023) Bay woman bags Safta nomination. Herald LIVE. 16 August 2023.
Available here

University of Johannesburg (2022) UJ filmmaker and academic wins Zonta prize at International Short Film Festival Oberhausen. University of Johannesbug. 12 May 2022.
Available here

Manaleng, Palesa (2022) BARRY WINS ZONTA PRIZE FOR FEMALE FILMMAKER AT INTERNATIONAL SHORT FILM FESTIVAL. EWN. 15 May 2022.
Available here

Passchier, Shmerah (2021) The Portfolio: Virtual-reality filmmaker Shelley Barry. Mail & Guardian 2 April 2021. Available online here [download pdf here]

Shelley Barry at Latitudes Art Fair 2020:
Whole – A Trinity of Being (2014)
Retrato/Portrait (2005)
Re:incarnation (2018)
As part of the group exhibition EMBODYING HIR-SELF, curated by Beathur Mgoza Baker.

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.

Great Texts: Shelley Barry. GIPCA Projects 2010 (Gordon Institute for Performing and Creative Arts, now ICA) at UCT, 14 October 2010.

Filmmaker Shelley Barry will speak about her experiences and experiments in making films from a wheelchair and screen extracts of several short films in different genres reflecting on her process of creativity and production: Extracts will include, among others, a trilogy – Whole-A Trinity of Being, a documentary recounting survival of one of South Africa’s lesser-known wars, namely the ‘taxi wars’; Inclinations – a writer struggles to write erotica and deal with her personal life; Where are my heels? – a tribute to the spirit of a young girl child and Str/oll – a wheelchair user navigates the streets of Manhattan.
Find the content online: http://www.ica.uct.ac.za/GIPCA/projects/2010/GTBQSBarry

Listen to the presentation here:

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

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

PUBLICATIONS: Lallitha Jawahirilal

Art catalogues, books and journal articles 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]

Malatjie, L. P. (2012) 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]

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]

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]

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]

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. (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, who is interested in the intersection between contemporary visual art and classical Indian dance practices in South Africa. Chhiba is the co-founder and Creative Director of Sarvavidya Natyaalaya and also serves as Exhibitions Curator at the Wits School of Arts.

Chhiba 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). 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

ARCHIVAL RESOURCES: Reshma Chhiba

WORKS by Reshma Chhiba

VISUAL ART
EXHIBITIONS
PERFORMANCE
WRITING
COLLABORATIONS

PRESS AND REVIEWS on Reshma Chhiba

INTERVIEWS/FEATURES
REVIEWS

View artist’s website here
View artist’s CV here