Encompassing black-and-white linoleum cuts made at community art centres in the 1960s and 1970s, resistance posters and other political art of the 1980s, and the wide variety of subjects and techniques explored by artists in printships over the last two decades, printmaking has been a driving force in contemporary South African artistic and political expression. Impressions from South Africa: 1965 to Now, published to accompany an exhibition at The Museum of Modern Art, introduces the vital role of printmaking through works by more than twenty artists in the Museum's collection. The volume features prints by John Muafangejo and Dan Rakgoathe, a selection of posters produced for anti-apartheid coalitions in the 1980s, and nuanced political work by SueWilliamson, Norman Catherine andWilliam Kentridge. The book features many more recent projects, demonstrating the contemporary relevance of the medium in South Africa today. The work, presented in a generous plate section, is contextualized in an introduction by Judith B. Hecker, and accompanied by brief biographies of the artists, a timeline of relevant events in South African history, and a selected bibliography.

DigiCat Publishing presents to you this special edition of "The Man with the Golden Gun" by Ian Fleming. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

The visual arts exhibition, Personal Affects: Power and Poetics in Contemporary South African Art, presents newly commissioned and recently produced works by seventeen South African artists. The artworks represent the artists' responses to a weeklong stay in New York and their visits with the international team of curators. The exhibition features various media including sculpture, drawing, photography, painting, installation, video, performance, and dance. The common thread throughout the exhibition is the higly personal point of departure of the artists' working methods that are informed by their varied experiences as South Africans. Volume I features an introduction by the exhibition curators, texts by David Brodie, Okwui Enwezor, Laurie Ann Farrell, Churchill Madikida, Tracy Murinik, Sophie Perryer, and theoretical essays by Liese van der Watt and Okwui Enwezor. Participating artists: Jane Alexander, Wim Botha, Steven Cohen, Churchill Madikida, Mustafa Maluka, Thando Mama, Sams

Presents a catalog of an exhibition that features Picasso's paintings, constructions, collages, drawings, and photographs of guitars.

Drawing on novel case studies, this book provides the first substantive theoretical framework for understanding transitional justice and visual art.

“When you say, ‘Black is Beautiful,’ what in fact you are saying . . . is: Man, you are okay as you are; begin to look upon yourself as a human being.” With such statements, Stephen Biko became the voice of Black Consciousness. And with Biko’s brutal death in the custody of the South African police, he became a martyr, an enduring symbol of the horrors of apartheid. Through the lens of visual culture, Biko’s Ghost reveals how the man and the ideology he promoted have profoundly influenced liberation politics and race discourse—in South Africa and around the globe—ever since. Tracing the linked histories of Black Consciousness and its most famous proponent, Biko’s Ghost explores the concepts of unity, ancestry, and action that lie at the heart of the ideology and the man. It challenges the dominant historical view of Black Consciousness as ineffectual or racially exclusive, suppressed on the one side by the apartheid regime and on the other by the African National Congress. Engaging theories of trauma and representation, and icon and ideology, Shannen L. Hill considers the martyred Biko as an embattled icon, his image portrayals assuming different shapes and political meanings in different hands. So, too, does she illuminate how Black Consciousness worked behind the scenes throughout the 1980s, a decade of heightened popular unrest and state censorship. She shows how—in streams of imagery that continue to multiply nearly forty years on—Biko’s visage and the ongoing life of Black Consciousness served as instruments through which artists could combat the abuses of apartheid and unsettle the “rainbow nation” that followed.

In its painting and sculpture since 1920, African art has combined elements from traditional tribal and modern European art. This book traces this development. Concentrating on the period from 1920 to 1965, the author discusses specific style motifs, as well as ways of handling sculptural forms and surfaces, most of which are drawn from older art. He then shows how this substratum has been shaped by the techniques, media, styles and philosophy of the West. A new introduction by the author describes and assesses current trends in African art.