{"title":"Catalogues","description":"","products":[{"product_id":"0af7b240-abc3-11e9-fb5b-eb79a0caea58","title":"'Tresses And Other Recent Projects' (2007)","description":"\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003eFrom the publisher: \u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e  \u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e“Jointly published by Michael Stevenson and the Johannesburg Art Gallery to accompany exhibitions at both these venues, the catalogue features an essay by JAG curator Khwezi Gule and an interview with Gaba by Joost Bosland, highlighting the importance of humour and play in Gaba's work. The South African\u003cspan style=\"font-style: italic; box-sizing: border-box;\"\u003e Tresses\u003c\/span\u003e – iconic buildings translated into braided wigs made from artificial hair – are reproduced along with images of recent works at venues including Tate Modern, SMAK Ghent, and the 2006 Sydney Biennale.” \u003c\/p\u003e\n\u003cblockquote style=\"margin: 0px 0px 0.25rem; padding: 0px 0px 0px 0.5rem; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; border-left-style: solid; border-left-width: 2px; border-color: rgba(0, 0, 0, 0.1); caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e21.5 x 20.6 cm | 72 pages | softcover\u003c\/blockquote\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003eMeschac Gaba (b. 1961) considers the haphazard engagements European institutions offer non-Western artists. “I dream,” he says, “of a museum without walls, in the form of a village, where artists can live, produce, exhibit, and sell their works.” This sentiment takes form in the itinerant installation \u003cspan style=\"font-style: italic; box-sizing: border-box;\"\u003eMuseum of Contemporary African Art \u003c\/span\u003e(1997-2002). Gaba lives and works between Benin and the Netherlands.\u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e \u003c\/p\u003e","brand":"Meschac Gaba","offers":[{"title":"Default Title","offer_id":33031378600073,"sku":"10132","price":220.0,"currency_code":"ZAR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/7805C958-CAEE-4BC3-9149-B9E411EAE32C_1_105_c.jpg?v=1748942178"},{"product_id":"0af7b240-abc3-11e9-fb5b-eb79a0ec1f49","title":"'Le Monde' (2013)","description":"\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003eFrom the publisher:\u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e“\u003cspan style=\"font-style: inherit; font-weight: 600; box-sizing: border-box;\"\u003eLe Monde\u003c\/span\u003e documents Meschac Gaba's solo exhibition of the same title, and includes short texts by the artist on each of the works. These include the 'flag' pieces, which began with a commission for \u003cspan style=\"font-style: italic; box-sizing: border-box;\"\u003eWe Face Forward\u003c\/span\u003e, a survey exhibition of art from West Africa and its diaspora in Manchester in 2012. Gaba fused the flags of all the West African countries together with the flag of the United Kingdom, so that it became 'a symbol of unity, of solidarity and friendship'. A subsequent flag, made for the 2012 Benin Biennale, was a composite of the flags of all the countries in the world, while Voyages used the flags of countries or organisations with worldwide influence – among them the European Union, United Nations and NATO – to make bundles tied to wooden canes, like pilgrims' sticks. \u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e“Other works include Gaba's \u003cspan style=\"font-style: italic; box-sizing: border-box;\"\u003eMusée de l'Art de la Vie Active: Bibliothèque Roulante\u003c\/span\u003e, in which short quotations on contemporary art were reproduced on the licence plates of motorbike taxi drivers in Cotonou, and \u003cspan style=\"font-style: italic; box-sizing: border-box;\"\u003eLe Monde en Miniature et la Mode en Miniature\u003c\/span\u003e, a 'shop display' of babies' and children's clothes with disturbing phrases embroidered on them – 'a quiet reminder of phenomena in our society that turn children into vulnerable victims'.”\u003c\/p\u003e\n\u003cblockquote style=\"margin: 0px 0px 0.25rem; padding: 0px 0px 0px 0.5rem; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; border-left-style: solid; border-left-width: 2px; border-color: rgba(0, 0, 0, 0.1); caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e19.9 x 21.3 cm | 24 pages | softcover\u003c\/blockquote\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003eBeninese conceptual artist Meschac Gaba (b. 1961) studied at the Rijksakademie voor Beeldende Kunsten in Amsterdam from 1996-97. He is based in Rotterdam and Cotonou.\u003c\/p\u003e\n\u003cp style=\"margin: 0px 0px 0.25rem; padding: 0px; cursor: text; box-sizing: border-box; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; caret-color: #111111; color: #111111; font-family: -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', sans-serif; font-size: 13px; white-space: pre-wrap;\"\u003e \u003c\/p\u003e","brand":"Meschac Gaba","offers":[{"title":"Default Title","offer_id":33031385579657,"sku":"10133","price":250.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/B99FCED7-2D86-428D-9C82-981A4D270AB4_1_105_c.jpg?v=1722332697"},{"product_id":"023c72a6-e9c3-11eb-e2fd-0e1029238885","title":"‘Spier Outdoor Sculpture Biennial’ (2001)","description":"\u003cp\u003ePublished on the occasion of the first Spier Outdoor Sculpture Biennial, this catalogue showcases the works of the twenty participating artists: Sannell Aggenbach, Bruce Arnott, Deborah Bell, Willie Bester, David Brown, Danny Carstens, Hettie de Klerk, Terry de Vries, Jacques Dhont, Randolph Hartzenberg, David Jones, Jacobus Kloppers, Nicole Meyer, Jo O’Connor, Susan Reid, Sean Slemon, Urs Twellmann, and Elmarie van der Merwe. Photographed in the Stellenbosch landscape and printed in full colour on double-page spreads, the works are located in the natural environment for which they were made. These collected images are introduced with essays by artist and writer Paul Edmunds and art historian Emma Bedford.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePlease note that this copy of \u003cstrong\u003eSpier Outdoor Sculpture Biennial \u003c\/strong\u003eis second-hand and shows light wear.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cblockquote\u003e21.8 x 21 cm | 24 pages | softcover\u003c\/blockquote\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePaul Edmunds (b. 1970) is an artist, art critic and writer. In 2007 he was awarded the Tollman Award for the Visual Arts. He lives and works in Cape Town.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEmma Bedford has extensive experience in curating exhibitions and developing collections, and has authored and edited numerous publications. 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By virtue of 'sampled' of a selection such as this, it provides evidence, if any was needed, of Aggenbachs ease within a multitude of disciplines, a factor that lends a certain authority to her method. In a glut of digital and new media forms, it is refreshing to see an artist consistently eschewing slickness in favour of a nuanced, multi-layered approach.\u003c\/p\u003e","brand":"Sanell Aggenbach","offers":[{"title":"Default Title","offer_id":45146871333018,"sku":"11877","price":200.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/FB3B5B22-ABBE-40CF-9B53-C5A26F415692_1_105_c.jpg?v=1722333059"},{"product_id":"south-african-art-1850-2003","title":"South African Art  1850 - 2003","description":"","brand":"Michael Stevenson \u0026 Deon Viljoen","offers":[{"title":"Default Title","offer_id":45146884341914,"sku":"12014","price":200.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/SKM_C55825041711101-2.jpg?v=1744883097"},{"product_id":"maggie-laubser-retrospective-exhibitionn","title":"Maggie Laubser: Retrospective exhibitionn","description":"\u003cp\u003e\u003cspan\u003e24pp. unpaginated. Unmarked. 230 x 230mm saddle-stitched. Illus. in b\/w. Includes a bibliography and a list of lenders. Rare catalogue of this iconic artist's works. \u003c\/span\u003e\u003c\/p\u003e","brand":"SA National Gallery","offers":[{"title":"Default Title","offer_id":45146934771866,"sku":"11859","price":300.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/a2-O2g3qaHyONlOompcf7Ermxux1JFfa5N3ZlNpJ0Y4.jpg?v=1744288519"},{"product_id":"newspapers","title":"Newspapers","description":"\u003cp\u003eIn 1992 I saw the film\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eManufacturing Consent\u003c\/em\u003e* at the annual film festival in Durban, South Africa. It was a three-hour documentary on the life and work of the linguist and political activist Noam Chomsky. In order to show some filmic equivalent of concepts described by Chomsky in his writings, the filmmakers had produced a number of effective visual analogies. One particularly memorable example addressed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New York Times’s\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003equantitatively unequal coverage of the concurrent political situations in Cambodia and Timor. Two narrow rolls of paper were shown placed side by side. Both had been constructed by placing the column inches of articles from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New York Times\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003earchives end to end. The roll representing coverage of the situation in Timor traveled only a couple of feet, while the other, covering the war in Cambodia, stretched the length of a football field. The short scene dramatically illustrated how news coverage in the United States had defined what was of importance in distant regions of the world, and it communicated this in a manner that was concise and clearly readable. It struck me at the time that 1975 to 1979, Chomsky’s research period for these articles, were the same years that brought to South Africa the Soweto uprisings, heightened police oppression, the expansion of separate development, and the death of many activists, including Steve Biko. At the time I wondered what an equivalent roll of South African articles would have looked like.\u003cbr\u003e\u003cbr\u003eLater, I asked myself how the presentation of articles dealing with South Africa from any given U.S. periodical might operate if organized indexically in a way similar to those shown so graphically in the film. What might this presentation say about South Africa, and, reciprocally, what would it reveal about the extent and nature of U.S. media coverage of South Africa? How is the South African image projected, interpreted, and received? What is represented or misrepresented? What exactly\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eis\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethe image of South Africa?\u003c\/p\u003e\n\u003cp\u003eAs a South African artist living and working in the United States, I have been particularly interested in the dynamics of how a country is imaged and how it in turn participates in a kind of imaging of itself. This notion of the importance of imaging became even more significant when I came across a speech by South Africa’s minister of environmental affairs and tourism, Valli Moosa, on a government website. His office made a highly published call for a positive “branding” of South Africa internationally and included the recruiting of “non-government South Africans living overseas” to act as “ambassadors” for the country. I was at that time beginning a project that later developed into the exhibition\u003ca href=\"https:\/\/www.siemonallen.org\/project_pages\/stamps.html\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(2001), and for me, this direct (and official) articulation of the need to “brand” South Africa echoed the ways in which an image on a stamp also operated in the construction of a national identity.\u003cbr\u003e\u003cbr\u003eIn light of Moosa’s declarations, the presentation of a complete collection of South African stamps in the United States seemed particularly significant. With\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eI sought to explore the political history and shifting identity of South Africa through the collection, cataloging, research, and display of postal stamps released in the country. I intended to look at how the country, over time, had chosen to represent itself both within its borders and internationally. The stamps were sorted and configured chronologically, and I produced an accompanying guidebook that operated as a kind of subtext of concurrent and often contradictory historical events.\u003cbr\u003e\u003cbr\u003eI was aware of the fact that in spite of what I observed as an intense interest in the phenomenon of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNew\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eSouth Africa, it was a place that seemed to be accessible only through a small number of familiar media images. I wondered if the stamps might provide a record of how radical had been the change in voices that sought to define South Africa. I also wondered if I might discover for myself and somehow present in the work lesser-known events or aspects of South African culture and history. Admittedly, the final narrative was a fragmented one. It spoke not only through what was shown but also through what was not, and so a careful look at the artifacts required one to bring to the task a certain degree of criticality. Given that the stamps presented an official history, much of what was revealed was unintentional, and much was concealed as well.\u003cbr\u003e\u003cbr\u003eIn this light I saw the presentation of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e, particularly in Washington, DC, as both a subtle critique and a kind of covert participation with the minister of tourism’s stated agenda.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas first shown at the Corcoran Gallery, just one block from the White House. The exhibition design mimicked a historic museum display. I presented the stamps with the admission that they are carriers of images that most often mask or remain silent on much that is officially unacknowledged. Yet I was compelled to devote such care to the arrangement and display of the precious artifacts, and I approached the conveyance of the historic information with such detachment, that I wondered if the exhibition did not ultimately operate with a kind of feigned complicity in the dissemination of the stamps’ propagandistic messages.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNewspapers\u003c\/em\u003e, like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e, developed out of what I regarded as a continued investigation into this idea of imaging South Africa, but in a way that also looked at the news media. Like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNewspapers\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an ongoing collection, realized through the gathering of cast-off ordinary items. As was true for the stamps, the individual newspapers are of questionable value once they have been used. In the case of the newspaper, its currency is spent when the information that it carries has been transmitted.\u003cbr\u003e\u003cbr\u003eThe newspaper project differs, however, in that it has been the most methodical of all the collection projects. My collecting of U.S. papers began during the coverage of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUN Conference on Racism\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein Durban (my hometown) in late August 2001. I initially bought various papers in an attempt to follow whatever coverage there was of the conference. But with the events of September 11, which occurred a couple of days after the closing of the conference, I was compelled to continue. From that time I collected, on schedule, daily newspapers (looking for articles on South Africa) from a number of selected U.S. cities: Washington, DC, New York, Los Angeles, Boston, Baltimore, and Richmond. I was interested in how the media produced in each place would reflect how each of those communities constructed (or received a construction of) an image of another place—in this case, South Africa. Given that the collection displayed was the result of a very methodical daily action of buying and cataloging, it was as if a common routine had been made self-conscious. The newspapers were for me operating as a complex carrier of information, a diary, and a potential future archive. As the project developed, the reach of my collection expanded to include newspapers from the cities where the project was scheduled to be presented: St. Louis, Houston, and Des Moines.\u003cbr\u003e\u003cbr\u003eIt seemed significant that the collections began with the Durban Racism Conference, a controversial event in which the United States did not fully participate. When the events of September 11 then occur, they do so within a chronology that has already been set in place. The events of that day and their aftermath have continued as the dominant narrative in the U.S. media, but in the collection they are actually part of a different story. It is as if the collection is about an attempt (and the impossibility of such an attempt) to shift the gravitational pull to a different center—from the perspective of the United States to that of South Africa. For me, the collection represents a type of counter-narrative, and perhaps, in some sense, it could be interpreted as a kind of counter-nationalism.\u003c\/p\u003e\n\u003cp\u003eSouth Africa is a place that I have experienced, albeit in a very limited and personal way. It has an image that I have constructed and reconstructed through memory, which is now presented back to me through the filter of the U.S. news media.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003epresented an image of South Africa that was and is constructed by the official voice of the government and was therefore, for me, an internal construction of image. Such a collection is a kind of autobiography of a nation and says much about how the country perceives itself, or, even more important, about how it seeks to construct an identity for itself.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNewspapers\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003epresents another image of South Africa, but one that is constructed externally.\u003cbr\u003eThis external media image presented in the newspapers, unlike the internal image constructed by the South African government in the stamps, is not only manufactured in the United States but also exhibited there. With\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStamp Collection\u003c\/em\u003e, I had asked myself whether I was complicit with or critical of the South African government’s propaganda. In terms of the newspaper project, I now ask myself: If the newspaper images displayed in my work are constructed by the U.S. media for a U.S. audience, by re-presenting these images, do I not then perpetuate notions of the country that may be stereotypical or limited? Conversely, I also wonder if, by presenting these images, I might allow the audience to refocus on important issues from South Africa that they might have overlooked; on any given day’s news coverage.\u003cbr\u003e\u003cbr\u003eFor me, the work addresses the profound implications behind the simple act\u003cbr\u003eof reading the newspaper. It is about the everyday experience of “the world in your living room,” or, as Walter Lippmann has said, “the world outside and the pictures in our heads.”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"style5\"\u003e\u003cspan class=\"style6\"\u003efrom the publication\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eNewspapers\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eedited by Cira Pascual Marquina\u003cbr\u003epublished by Anderson Gallery, Drake University, 2004\u003cbr\u003eISBN 0-9749296-1-1\u003cbr\u003eLibrary of Congress Control Number: 2003117090\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"style6\"\u003e*\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eManufacturing Consent: Noam Chomsky and the Media\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(film stills), 1992, directed by Mark Achbar and Peter Wintonick, Necessary Illusions Productions, National Film Board of Canada Co-Productions, Zeitgeist Films\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"style6\"\u003e* Walter Lippmann, \"Public Opinion\", Macmillan, NY, 1922\u003c\/p\u003e\n\u003cp class=\"style6\"\u003e \u003c\/p\u003e","brand":"Siemon Allen","offers":[{"title":"Default Title","offer_id":45146936541338,"sku":"11627","price":450.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/SKM_C55825041711100-2.jpg?v=1744882894"},{"product_id":"in-the-wake-of-the-white-wagons","title":"In the Wake of the White Wagons","description":"\u003cp\u003e\u003cspan\u003eStandard Bank Young Artist Award 1993\u003c\/span\u003e\u003c\/p\u003e","brand":"Pippa. Skotnes","offers":[{"title":"Default Title","offer_id":45146937065626,"sku":"11613","price":250.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/SKM_C55825041512170-2.jpg?v=1744713727"},{"product_id":"penny-siopis-material-acts","title":"Penny Siopis Material Acts","description":"","brand":"Penny Siopis","offers":[{"title":"Default Title","offer_id":45146938671258,"sku":"11993","price":700.0,"currency_code":"ZAR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/Vi3AGSdhnun3kJFJZFE2bK-MurufwlM4ifkQ97iBAeg.jpg?v=1744287847"},{"product_id":"inyoka-yobhedu","title":"Inyoka Yobhedu","description":"\u003cdiv id=\"comp-kggatw52\" class=\"BaOVQ8 tz5f0K comp-kggatw52 wixui-rich-text\" data-testid=\"richTextElement\"\u003e\n\u003cp class=\"font_8\"\u003eAnchored in the layered context of South Africa and the notion of identity, the work of\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/art21.org\/artist\/nicholas-hlobo\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eNicholas Hlobo\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(*1975, Cape Town, South Africa; lives and works in Johannesburg) deals with issues of gender, sexuality, spirituality, and ethnicity. His oeuvres span from works on canvas and paper to sculptures and performances, and employ found objects and materials such as leather, rubber, ribbons, bronze and copper. Copper – a natural conductor of electricity – is considered by the artist a ‘conduit’ between different states of being.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003eOn the occasion of his solo exhibition at CCA Tel Aviv, his first solo presentation in Israel, Hlobo presents\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eInyoka Yobhedu\u003c\/strong\u003e, a site-specific installation consisting of intertwined copper pipes with bronze serpent heads and inspired by\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Nehushtan\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eNehushtan [נְחֻשְׁתָּן‎]\u003c\/u\u003e\u003c\/a\u003e. First described in the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Book_of_Numbers\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eBook of Numbers\u003c\/u\u003e\u003c\/a\u003e, Nehushtan was a bronze serpent on a pole, which Moses created following God’s command so that the Israelites could gaze at it and heal from the bites of the serpents, previously sent to punish them for speaking against God and Moses.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003eHlobo titles his works in his native language,\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Xhosa_language\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eisiXhosa\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand not English, which is more dominant in the field of art\u003cstrong\u003e.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eSuch a decision generates an intermediate space, where things get lost in translation – a fertile ground for innumerable occurrences and possibilities which allow for the imaginative, the intangible, the dreamful, the emotional, and the intuitive to reveal themselves outside of the orderly structure of language.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003eSince being introduced to Christianity, the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Xhosa_people\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eXhosa\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003epeople experienced being between two spiritual practices – Xhosa’s ancestral tradition and Christianity. In this context,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eInyoka Yobhedu\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003emight suggest a link between the liminal condition of the Xhosa people and that of the Israelites at the time of the Exodus. Furthermore, the story of the Israelites, their deliverance from slavery and the journey back home to a promised land evokes the transition of South Africa from apartheid to democracy, the collective historical trauma of both nations and the complex relationship between Israel and South Africa.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003ePresent in numerous religions, the snake has a controversial presence: on the one hand, it represents the devil, temptation and deceit; on the other, it is associated with healing powers and, due to its phallic shape, with sexuality and androgyny. In the Xhosa tradition, the serpent appears in the uMajola totem, which is highly revered and whose role is to visit the homes of newborn babies, bringing fortune and good luck.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e\u003cstrong\u003eInyoka Yobhedu\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eseems to exist at the crossroads of different cultures and identities, an object capable of transforming dialectic forces into the energy of rebirth and transformation, asking the viewer to play an active role while being in the space and experiencing it. In line with Hlobo’s works – which always preserve the spirit of the creative act and trigger tactile feelings –\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eInyoka Yobhedu\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edemands a direct engagement. Its copper tubes spreading in the space materialize immeasurable and a-temporal fluxes of energetic and spiritual forces.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e“Nicholas Hlobo: Inyoka Yobhedu” is guest-curated by Tamar Dresdner.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003eThe exhibition is accompanied by printed matter in Hebrew, Arabic and English and exhibition tours in Hebrew on\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.cca.org.il\/event-en\/exhibition-tour-%7C-nicholas-hlobo%3A-inyoka-yobhedu----\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eNovember 27\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.cca.org.il\/event-en\/exhibition-tour-%7C-nicholas-hlobo%3A-inyoka-yobhedu\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eJanuary 1\u003c\/u\u003e\u003c\/a\u003e, in\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.cca.org.il\/event-en\/exhibition-tour-%7C-nicholas-hlobo%3A-inyoka-yobhedu-%2F-reuven-israel%3A-f.l.o.o.r.-%2F-shezad-dawood%3A-leviathan\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eArabic\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eon December 4, in\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.cca.org.il\/event-en\/exhibition-tour-%7C-nicholas-hlobo%3A-inyoka-yobhedu-%2F-reuven-israel%3A-f.l.o.o.r.-------\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eEnglish\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eon December 18, in\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.cca.org.il\/event-en\/exhibition-tour-%7C-nicholas-hlobo%3A-inyoka-yobhedu-%2F-reuven-israel%3A-f.l.o.o.r.\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eRussian\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eon December 25, and a\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.cca.org.il\/event-en\/lecture-%7C-leviathan-and-nehushtan-in-philosophy-and-art\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eLecture\u003c\/u\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eby Prof. Moshe Zuckermann on November 18.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e“Nicholas Hlobo: Inyoka Yobhedu” is supported by Wendy Fisher and the Kirsh Foundation and by the artist’s representing galleries –\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.lehmannmaupin.com\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eLehmann Maupin\u003c\/u\u003e\u003c\/a\u003e,\u003ca href=\"https:\/\/www.lehmannmaupin.com\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/a\u003eNew York \/ Hong Kong \/ Seoul \/ London and\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.goodman-gallery.com\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eGoodman Gallery\u003c\/u\u003e\u003c\/a\u003e,\u003ca href=\"https:\/\/www.goodman-gallery.com\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/a\u003eJohannesburg \/ Cape Town \/ London; additional support is provided by the Ekard Collection, Chami and Lazar Fruchter, and Carmel and Eran Ilan; hospitality provided by\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/outset.org.uk\/chapter\/israel\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003eOutset Contemporary Art Fund\u003c\/u\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e\u003cstrong\u003eImages\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e1-4\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003e\u003cstrong\u003eInyoka Yobhedu\u003c\/strong\u003e, 2021\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003eCopper, bronze, installation view at CCA Tel Aviv-Yafo\u003c\/p\u003e\n\u003cp class=\"font_8\"\u003ePhoto: Eyal Agivayev\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"comp-kggatw5c\" class=\"BaOVQ8 tz5f0K comp-kggatw5c wixui-rich-text\" data-testid=\"richTextElement\"\u003e\u003c\/div\u003e","brand":"Nicholas Hlobo","offers":[{"title":"Default Title","offer_id":45146942046362,"sku":"11628","price":400.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/2bi7f1nLcm0TWQTV9K5FSJww-UAXsDV4OflDQRuvIe8.jpg?v=1744288491"},{"product_id":"serge-alain-nitegeka","title":"Black Subjects - Serge Alain Nitegeka","description":"","brand":"Stevenson","offers":[{"title":"Default Title","offer_id":45146952499354,"sku":"11994","price":150.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/DC0F1742-896F-47EF-B8F4-3334FE2377DE.jpg?v=1722501689"},{"product_id":"nicolaas-maritz-paintings-drawings-prints","title":"Nicolaas Maritz Paintings, Drawings \u0026  Prints","description":"","brand":"Penny Dobbie Gallery","offers":[{"title":"Default Title","offer_id":45146953023642,"sku":"12007","price":150.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0350\/5704\/1545\/files\/79CA8281-FAB7-426C-87E8-2558E2A592CF_1_105_c.jpg?v=1722501771"},{"product_id":"graven-images","title":"Graven Images","description":"\u003cp\u003eFrom the introduction text:\u003c\/p\u003e\n\u003cp\u003e\"In the consistory rooms of most Afrikaans Reformed churches, portraits usually hang of the ministers who have served in those specific congregations over the years. 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