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A wide range of styles and modes were now available to South African artists, and the likes of Judith Mason and Andrew Verster extended the traditions of oil painting into personal expressions of life, society and the world around them. As the apartheid state became more repressive in the s and s, many artists faced the harsh realities of South African life, sometimes obliquely, sometimes head-on.
In the early s, for instance, Paul Stopforth made a series of works dealing with police torture — the cause of the death of resistance heroes such as Bantu Steve Biko.
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In paintings, lithographs and sculpture, Norman Catherine developed the playful sensibilities of Walter Battiss into a disturbing private menagerie of threatening and threatened theriomorphs and larger-than-life human figures. The crowded collages, pastels and charcoals of Helen Sebidi spoke of the struggle of human life; her figures seem to battle upwards, towards the picture plane, as though they were drowning. William Kentridge used expressionist drawings and highly developed personal metaphors, symbols and characters to expose the hypocrisies and ironies of white South African life.
Penny Siopis tackled femininity and history in dense, allusive paintings, and in installations, photographs and other conceptual works.
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For example, trade union posters and T-shirts used imagery that had something in common with the Russian constructivists as well as African art. And anonymous artists placed images of state violence or bewildering dream reflections at traffic intersections. Conceptual art in South Africa seemed to come into its own in the s. Events such as the two Johannesburg Biennales and contributed to a new dialogue between local artists and currents from other countries. Media such as video, performance and installation took the place of painting.
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Jeremy Wafer, for instance, used photography, earth, and fibreglass sculpture to tackle issues such as borders and boundaries. The complex installations of Sue Williamson used found and reworked materials to speak of memory and history. Sandile Zulu made paintings out of the unpredictable marks of fire on surfaces, or created sculptural tableaux from natural materials. Even refuse was turned into suggestive assemblages and collages by Moshekwa Langa.
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Steven Cohen made drag into a form of sculpture-performance that addressed identity and marginality, while Kendell Geers interrogated the very process of artmaking itself. Other artists put a conceptual spin on traditional artforms: Jane Alexander, for example, took sculpture into new realms with disturbing figures that place the human form in extremis or subject it to frightening transformations, while Jo Ractliffe worked with photography to investigate personal and familial memory, death, decay and love.
There is a host of work in traditional media on the market. Artists are constantly developing the repertoire of African crafts — from intricate and near life-size beaded wire sculpture to tableware, ornaments and embroidered cloth, to stunning costume jewellery, welded cast-iron objects, folk painting and more. For example, in the s the work of late ceramicist Bonnie Ntshalintshali went well beyond the confines of traditional African pottery, yet her exquisite creations could conceivably still be used at the dinner table. The Ndebele tradition of house-painting exploded with the advent of commercial paints, giving rise to artists such as Esther Mahlangu, whose adaptations of the highly coloured geometric designs adorned everything from cars to aeroplanes.
The unique flavour of Art in SA. Image: Wikipedia In the first decades of the 20th century, the Dutch-born painter JH Pierneef brought a coolly geometric sensibility to the South African landscape; he also, in a way that fed into Afrikaner nationalist ideology, found it bereft of human inhabitants.
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Image: Wikipedia Meanwhile, African forms themselves began to have an impact on the work of white artists. Image: Wikipedia By contrast, black artists such as Gerard Sekoto and George Pemba concentrated on depicting their realities and environments in a direct, though forcefully expressionist, manner.
Image: Wikipedia Meanwhile, the idiosyncratic Jackson Hlungwane, discovered by the mainstream community only late in his life, produced a vast body of sculpture in wood and built environments expressing his own highly individual religious world. Image: Wikipedia As the apartheid state became more repressive in the s and s, many artists faced the harsh realities of South African life, sometimes obliquely, sometimes head-on. Image: Flickr Conceptual art in South Africa seemed to come into its own in the s. Share this article:. Share on Facebook.
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