• Foreword--Interview: Maro Itoje
• Introduction
• Igshann Adams
• Tunji Adeniyi-Jones
• Nijideka Akunyili Crosby
• Michael Armitage
• Omar Ba
• Leilah Babirye
• Sammy Baloji
• Mrikokeb Berhanu
• Amoako Boafo
• Dineo Seshee Bopape
• M'Barek Bouhchichi --Edson Chagas
• Nidhal Chamekh
• Virginia Chihota
• Kudzanai Chiurai
• Joana Choumali
• Em'Kal Eyongakpa
• Francois-Xavier Gbre
• Gabrielle Goliath
• Kudzanai-Violet Hwami
• Samson Kambalu
• Bronwyn Katz
• Lebohang Kganye
• Kiluanji Kia Henda
• Joy Labinjo
• Ibrahim Mahama
• Wangari Mathenge
• Sabelo Mlangeni
• Sungi Mlengeya
• Mohau Modisakeng
• Meleko Mokgosi
• Ian Mwesiga
• Cassi Namoda
• Simphiwe Ndzube
• Serge Alain Nitegeka
• Thenjiwe Nkosi
• Emeka Ogboh
• Toyin Ojih Odutala
• Zohra Opaku
• Thierry Oussou
• Dawit L. Petros
• Athi-Patra Ruga
• Cinga Samson
• Zina Saro-Wiwa
• Massinissa Selmani
• Elias Sime
• Pamela Phatsimo Sunstrum
• Moffat Takadiwa
• Billie Zangewa
• Portia Zvavahera
• African Art Institutions
• Index
• Picture Credits
• Acknowledgements

With African artists attracting sizable audience numbers to museums, setting sky-high auction records, and appearing in mainstream press, it has become impossible to overlook the cultural significance of contemporary African art today. Author and curator Osei Bonsu's engaging profiles of leading African artists - along with gorgeous full-colour reproductions of their work - introduce readers to a generation of movers and shakers whose innovative artwork reflects on Africa as both an idea and an experience. Using diverse forms, languages, and expressions to articulate what it means to be a part of the world, these artists generate alternate histories and imaginative futures - work that is both personal and political, universal and incredibly specific. Their work helps define contemporary African art as a vast artistic and cultural movement.
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• Emmanuel Balogun
• Discrepant pictures : on Sabelo Mlangeni's Isivumelwano / Athi Mongezeleli Joja
• Tshepiso Mabula ka Ndongeni
• Tshepiso Mazibuko

The title 'Isivumelwano' comes from Nguni, a group of languages (including Xhosa, Zulu, Ndebele and Swati) spoken in several South African countries. The word stands for a contract, agreement or covenant, and here is synonymous with the marriage ceremonies of black communities recorded by Mlangeni in southern Africa. In a series of 70+ images, the viewer is invited to participate in almost as many ceremonies, very diverse in nature. Lovingly captured couples who deviate from the heteronormative standard, local populations and cultural customs defy traditional notions of the white wedding. Isivumelwano is both a celebration of and a critique of the relationships we maintain with others. According to the photographer, "the project exposes the systems we find ourselves in (and resist)." However, the critical note is not immediately apparent in Mlangeni's images - the cruelty of unjust history is hidden behind a ceremonial veil. In the foreground is deliberately the antagonist of hatred and violence: love. Mlangeni captures the intimate, special moments during wedding ceremonie. The images become more than just a documentation of these rituals: "They show that love is the key that takes cultures from oppression to joy. As a political unifier, the contract - love - takes on a liberating force." Exhibition: Huis Marseille, Amsterdam, The Netherlands (21.05. - 04.09.2022)

'I can't make my work without the collaboration of the community. Their willingness to allow their story to be told is an important part of what I see.' Sabelo Mlangeni Many of the stories that Sabelo Mlangeni tells are of communities on the periphery of society. Taking time to build relationships, he gains trust and, eventually, access to inner circles and sacred spaces. Based in South Africa, he has focused on Johannesburg (Big City, 2002-15), as well as the rural areas surrounding his hometown of Driefontein (At Home, 2004-9), and the country towns that 'freedom and opportunity have somehow skipped past' (Ghost Town, 2009-11). People are at the heart of Mlangeni's photography, often those who have been pushed to the so-called 'margins', or whose stories could have easily gone untold, such as the street-sweepers of Invisible Women (2006) and the hostel residents in Men Only (2008-9). In My Storie (2012) and No Problem (2013) he reveals the legacy of apartheid in the stark divisions that remain between racially segregated communities; and in Country Girls (2003-9) he explores gender roles in portraits ranging from the glamorous to the tender and intimate. Mlangeni's work seeks to recentre themes of friendship, love and joy in the face of ever-present risk. Above all, his images tell stories of seeking out your people, choosing a family and building a home, wherever you find yourself. The Tate Photography Series is a celebration of international photography in the Tate collection and an introduction to some of the greatest photographers at work today. With the direct involvement of living photographers in collaboration with photography curators, these books showcase the best and most notable images taken across the globe, from city streets to seashores, moving across landscapes and through subcultures, in a visual travelogue of our world. Each book contains a new conversation between curator and photographer and is prefaced with a short introduction. The theme for the first four titles is Community and Solidarity. Also available in this series are: Sirkka-Liisa Konttinen (978-1-84976-800-9) Liz Johnson Artur (978-1-84976-801-6) Sheba Chhachhi (978-1-84976-803-0).
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As featured in the New York Times, ARTnews, Colossal, Metropolis and New York Magazine's The Strategist A groundbreaking A-Z survey of the work of over 300 modern and contemporary artists born or based in Africa Modern and Contemporary African art is at the forefront of the current curatorial and collector movement in today's art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available. Features the work of more than 300 artists, including El Anatsui, Marlene Dumas, David Goldblatt, Lubaina Himid, William Kentridge, Julie Mehretu, Wangechi Mutu, and Robin Rhode, as well as lesser-known names from across Africa, with stunning and surprising examples of their art paired with insightful texts that demonstrate their contribution to the painting, sculpture, installation, photography, moving image, and performance art. Advisory Panel: Alayo Akinkugbe, Kavita Chellaram, Raphael Chikukwa, Julie Crooks, Tandazani Dhlakama, Oumy Diaw, Janine Gaelle Dieudji, Ekow Eshun, Ndubuisi C. Ezeluomba, Joseph Gergel, Danda Jaroljmek, Omar Kholeif, Rose Jepkorir Kiptum, Alicia Knock, Nkule Mabaso, Lucy MacGarry, Owen Martin, Aude Christel Mgba, Bongani Mkhonza, Riason Naidoo, Paula Nascimento, Simon Njami, Robert Njathika, Ugochukwu-Smooth C. Nzewi, Chika Okeke-Agulu, Hannah O'Leary, Sean O'Toole, John Owoo, Brenda Schmahmann, Mark Sealy, Yasmeen Siddiqui, and Joseph L. Underwood.
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• Introduction * 1. Hybrid City * 2. Inner Landscapes * 3. Zones of Freedom * 4. Magic & Memory
• The Photographers
• Leonce Raphael Agbodjelou Leila Alaoui Kader Attia Atong Atem Shiraz Bayjoo Girma Berta Jodi Bieber Guillaume Bonn Filipe Branquinho Edson Chagas Kudzanai Chiurai Jabulani Dhlamini Omar Victor Diop Yagazie Emezi Andrew Esiebo Lalla Essaydi Hicham Gardaf Francois-Xavier Gbre Maimouna Guerresi Eric Gyamfi Kiluanji Kia Henda Pieter Hugo Delio Jasse Keyezua Lebohang Kganye Phumzile Khanyile Namsa Leuba Michael Macgarry Osborne Macharia Sabelo Mlangeni Mohau Modisakeng Zanele Muholi Youssef Nabil Jehad Nga Nobukho Nqaba Musa N. Nxumalo Emeka Okereke Uche Okpa-Iroha George Osodi Ruth Ossai Dawit L Petros Athi-Patra Ruga Zina Saro-Wiwa Thabiso Sekgala Michael Tsegaye Nontisikelelo Veleko Lina Iris Viktor Zakaria Wakrim Alexia Webster Kyle Weeks.
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Africa State of Mind gathers together the work of an emergent generation of photographers from across Africa, including both the Maghreb and sub-Saharan Africa. It is both a summation of new photographic practice from the last decade and an exploration of how contemporary photographers from the continent are exploring ideas of 'Africanness' to reveal Africa to be a psychological space as much as a physical territory - a state of mind as much as a geographical place. Dispensing with the western colonial view of Africa in purely geographic or topographic terms, Ekow Eshun presents Africa State of Mind in four thematic parts: Hybrid Cities; Inner Landscapes; Zones of Freedom; and Myth and Memory. Each theme, introduced by a text by Eshun, presents selections of work by a new wave of African photographers who are looking both outward and inward: capturing life among the sprawling cities and multitudinous conurbations of the continent, turning the legacy of the continent's history into the source of resonant new myths and dreamscapes and exploring questions of gender, sexuality and identity. Each of the photographers seeks to capture the experience of what it means, and how it feels, to live in Africa today.
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• Map of Johannesburg - Naadira Patel Foreword - Sisonke Msimang Introduction: Traversing the anxious metropolis - Nicky Falkof and Cobus van Staden Taxi Diaries I What are you doing in Joburg? - Baeletsi Tsatsi
• Chapter 1 'We are all in this together': Global Citizen, violence and anxiety in Johannesburg - Cobus van Staden
• Chapter 2 'It's not nice to be poor in Joburg': Compensated relationships as social survival in the city - Lebohang Masango
• Chapter 3 Driving, cycling and identity in Johannesburg - Njogu Morgan Taxi Diaries II Travelling while female - Baeletsi Tsatsi
• Chapter 4 'The white centreline vanishes': Fragility and anxiety in the elusive metropolis - Derek Hook
• Chapter 5 Ugly noo-noos and suburban nightmares - Nicky Falkof
• Chapter 6 The unruly in the anodyne: Nature in gated communities - Renugan Raidoo
• Chapter 7 The Chinatown back room: The afterlife of apartheid architectures - Mingwei Huang
• Chapter 8 Shifting topographies of the anxious city - Antonia Steyn
• Chapter 9 Photography and religion in anxious Joburg - Joel Cabrita and Sabelo Mlangeni
• Chapter 10 Marooned: Seeking asylum as a transgender person in Johannesburg - B. Camminga
• Chapter 11 Everyday urbanisms of fear in Johannesburg's periphery: The case of Sol Plaatje settlement - Khangelani Moyo
• Chapter 12 Inner-city anxieties: Fear of crime, getting by and disconnected urban lives - Aidan Mosselson Taxi Diaries III And now you are in Joburg - Baeletsi Tsatsi Afterword: Urban atmospheres - Sarah Nuttall Contributors Index.
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Anxious Joburg focuses on Johannesburg, the largest and wealthiest city in South Africa, as a case study for the contemporary global South city. Global South cities are often characterised as sites of contradiction and difference that produce a range of feelings around anxiety. This is often imagined in terms of the global North's anxieties about the South: migration, crime, terrorism, disease and environmental crisis. Anxious Joburg invites readers to consider an intimate perspective of living inside such a city. How does it feel to live in the metropolis of Johannesburg: what are the conditions, intersections, affects and experiences that mark the contemporary urban? Scholars, visual artists and storytellers, all look at unexamined aspects of Johannesburg life. From peripheral settlements to the inner city to the affluent northern suburbs, from precarious migrants and domestic workers to upwardly mobile young women and fearful elites, Anxious Joburg presents an absorbing engagement with this frustrating, dangerous, seductive city. It offers a rigorous, critical approach to Johannesburg revealing the way in which anxiety is a vital structuring principle of contemporary life. The approach is strongly interdisciplinary, with contributions from media studies, anthropology, religious studies, urban geography, migration studies and psychology. It will appeal to students and teachers, as well as to academic researchers concerned with Johannesburg, South Africa, cities and the global South. The mix of approaches will also draw a non-academic audience.
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• Map of the Region Preface Introduction South Africa, Namibia and Angola's Entangled Histories Apartheid Policies Constructed Race Categories and Critical Whiteness Defining Space/Place and Landscape No Innocent Landscapes The Ethnographic Gaze Defining Documentary and an Ethics of Seeing Zanele Muholi's 'Somnyama Ngonyama' Emerging Landscapes Artist Collectives Reflecting on German-Colonial Heritage and the Namibia Genocide
• 1. Beyond Bearing Witness Women in Documentary Photography Margaret Courtney-Clarke: In the Harsh Light of the Present A Departure from Social Documentary Contemporary Representations of 'Home' and the Metropolis
• 2. Santu Mofokeng's Appropriated Landscapes 'Sunflower Harvest': Power Dynamics of Apartheid on the Land Inverting the Tropes of Colonial Landscape Depictions
• 3. Picturing Stillness, Aura and Ambivalence Santu Mofokeng: Chasing Shadows Andrew Tshabangu: A Guide and Ferryman Who Helps Us See 'Unequal Scenes' and Poisoned Landscapes Sabelo Mlangeni's 'My Storie'
• 4. Namibia's War of Independence: Power, Knowledge and Amnesia John Liebenberg's 'Bush of Ghosts' An Installation after John Liebenberg's 'Grave site at Uupindi' Jo Ractliffe's 'As Terras do Fim do Mundo' Beyond the Rhetoric of Revelation
• 5. Memorial Landscapes: Between Documentary Realism and the Imaginary Nicola Brandt: 'The Reiterdenkmal' and 'Changing Histories' Practices of Historical Retrieval and Healing. Kristin Capp's 'Morenga's Namibia' David Goldblatt: Memorials and Structures That Embody Value Systems Shifting Ideologies and Power Structures: Kiluanji Kia Henda's Conceptual Practice Indifference: A Near Documentary Practice
• 6. Histories and Landscapes Embodied Reclaiming Bodies, Reclaiming Spaces A Conditional Presence in the Landscape Berni Searle's Trilogy 'Black Smoke Rising' Isabel Katjavivi's 'The Melting Passage of the Self' Queering Spaces: 'The Dance of the Rubber Tree' 'A Nomad in Time': Kitso Lynn Lelliott's 'Hauntologies' Sethembile Msezane's 'Chapungu - The Day Rhodes Fell' 7 Imagined Geographies and New Practices of Self Epilogue Acknowledgments Notes.
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In Landscapes Between Then and Now, Nicola Brandt examines the increasingly compelling and diverse cross-disciplinary work of photographers and artists made during the transition from apartheid to post-apartheid and into the contemporary era. By examining specific artworks made in South Africa, Namibia and Angola, Brandt sheds light on established and emerging themes related to aftermath landscapes, embodied histories, (un)belonging, spirituality and memorialization. She shows how landscape and identity are mutually constituted, and profiles this process against the background of the legacy of the acutely racially divisive policies of the apartheid regime that are still reflected on the land. As a signpost throughout the book, Brandt draws on the work of the renowned South African photographer Santu Mofokeng and his critical thinking about landscape. Landscapes Between Then and Now explores how practitioners who engage with identity and their physical environment as a social product might reveal something about the complex and fractured nature of postcolonial and contemporary societies. Through diverse strategies and aesthetics, they comment on inherent structures and epistemologies of power whilst also expressing new and radical forms of self-determinism. Brandt asks why these cross-disciplinary works ranging from social documentary to experimental performance and embodied practices are critical now, and what important possibilities for social and political reflection and engagement they suggest.
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• List of Plates Acknowledgements Author's Note Introduction: The Lawn is Singing
• Chapter 1 The Lawn Discourse
• Chapter 2 Keeping the Lawn
• Chapter 3 Planning the Modern Lawn
• Chapter 4 No Fucking up/on the Lawn Conclusion: Saddening the Green Notes References Index.
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What does the lawn want? To be watered, fertilised, mowed, admired, fretted over, ignored? This unusual question serves as a starting point for Civilising Grass: The Art of the Lawn on the South African Highveld, an unexpected and often disconcerting critique of one of the most common and familiar landscapes in South Africa. The lawn, Jonathan Cane argues, is not quite as innocent as we might think. Besides the fact that lawns suck up scarce water, consume chemicals, displace indigenous plants and reduce biodiversity, they are also part of a colonial lineage of dispossession and violence. They reduce the political problem of land to the aesthetic question of landscape, thereby obscuring issues of ownership, redress, belonging and labour. The question then becomes: Who takes care of whose lawn, in what clothes, under what conditions and for what reward? Civilising Grass offers a detailed reading of artistic, literary and architectural lawns between 1886 and 2017. The eclectic archive includes plans, poems, maps, gardening blogs, adverts, ethnographies and ephemera, as well as literature by Koos Prinsloo, Marlene van Niekerk and Ivan Vladislavic. In addition, the book includes colour reproductions of lawn artworks by David Goldblatt, Lungiswa Gqunta, Pieter Hugo, Anton Kannemeyer, Sabelo Mlangeni, Moses Tladi and Kemang Wa Lehulere. This book shows that even if the enchantment of a green, flat and soft lawn is almost universal, there are also unexpected moments when alternatives present themselves, occasions when people reject the politeness of the lawn, and situations in which we might glimpse a possible time after the lawn. Drawing on theory and conceptual tools from interdisciplinary fields such as ecocriticism, queer theory, art history and postcolonial studies, Civilising Grass offers the first sustained investigation of the lawn in Africa and contributes to the growing conversation about the complex relationships between humans and non-humans on the continent.
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• Introduction
• Foreword / Klaus Krischok
• Welcome / Cara Snyman
• Introduction / Simon Njami & Sean O'Toole
• A tale from eight cities / Akinbode Akinbiyi
• Portfolios
• Eric Gyamfi
• Mimi Cherono Ng'ok
• Lebohang Kganye
• Gosette Lubondo
• Adeola Olagunju
• Mário Macilau
• Michael Tsegaye
• Monique Pelser
• Georges Senga
• Sammy Baloji
• Thabiso Sekgala
• Musa Nxumalo
• Jansen van Staden
• Macline Hien
• Sabelo Mlangeni
• Ala Kheir
• Moss Morwahla Moeng
• Essays
• Knowledge / Akinbode Akinbiyi
• Memory / Frédérique Chapuis
• Archive / Emmanuel Iduma
• Fiction / Simon Njami
• Home / Lucienne Bestall
• Rhizome / Katrin Peters-Klaphake
• Speed / Akinbode Akinbiyi
• Desire / Simon Njami
• Territory / Frédérique Chapuis
• Translation / Cara Snyman
• Performance, space and time / Nicola Brandt
• Wound / Katrin Peters-Klaphake
• Aftermath / Emmanuel Iduma

The Journey profiles 17 emerging positions in contemporary African photography. The versatile practices of these young photographers from the Democratic Republic of the Congo, Ethiopia, Ghana, Ivory Coast, Kenya, Mozambique, Nigeria, South Africa, and Sudan encapsulates some of the ambitions, enthusiasm, and possibilities of African photography today. All of them are alumni of the 'Photographers Masterclass', a decade-long mentorship-program (2008-2018) by curator Simon Njami and the Goethe-Institut. Thirteen essays, considering African photography in this particular historical moment, complement this book.
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A handbook of new curatorial strategies based on pioneering examples of curators working to offset racial and gender disparities in the art world.
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• General Introduction - Geeta Kapur I: CONTESTED TERRAINS AND CRITICAL RE-IMAGININGS - Parul Dave Mukherji
• The Illusions and Antagonisms of Civilizational Exchange: Critical Reflections on Dismantling Asian Empires - Rustom Bharucha
• The Elephant and The Ant: Chinese and Thai Art in the 1980s and 1990s - John Anthony Clark
• Worlding Asia: A Conceptual Framework for the First Delhi Biennale - Arshiya Lokhandwala
• Cartographic Necessities: Contemporary Practices and the Making of a Brave New World - Gayatri Sinha
• Curating Barbarians: Descriptions of a Visual Practice - Marian Pastor Roces II: TROPES AND PLACES - Naman P Ahuja
• Miniature, Monster, and Modernism : Curating Terror or Terror of Curating - Quddus Mirza
• An Honest Engagement with the Pitfalls (and Perks) of the Ethnic (Rubric) - Negar Azimi
• Retrieving the Far West: Toward a Curatorial Representation of the House of Islam - Ranjit Hoskote Interrogating the Sacred: Storylines for the Self - Nancy Adajania
• The Art of Kazakhstan as a Political Project - Valeria Ibraeva III: INTERVENTIONS IN THE PUBLIC SPHERE - Kavita Singh Curating Across Agnostic Worlds - Geeta Kapur
• The Untold (the Rise of) Schisms - Shaheen Merali
• Mapping the Trajectories of Minoritarian Aesthetics and Cultural Politics - Santhosh S Excavating the History of the Present: Caste as Pictorial Sign in the Works of Savi Sawarkar - Y S Alone Curatorial Work as Collective Fabrication - Oscar Ho Hing Kay
• Archival Malpractice and Counter Strategies - Charles Merewether
• Index.
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InFlux: Contemporary Art in Asia brings together essays by leading critics and curators to examine modern and contemporary art practice and its discourses in Asia. Covering diverse regions spanning China, India, Thailand, Iran, West Asia, Pakistan, Kazakhstan, Hong Kong, Tibet, and Cambodia, the book examines their multiple modernities and the arrival of many Asias upon the contemporary art scene. Some centers have become celebrated in the international exhibition circuit and the art market, but there is also an Asia beyond their ambit, and the book throws light upon major and minor, established and emergent geographies of art. Asia's own internal minorities fracture any unified sense of place, and representing this diversity has become a major challenge for today's curator. What is the impact on contemporary art of state power and burgeoning economies, or the persistent stereotypes of Asian craftsmanship, exoticism, and religiosity or the new ones of terrorism and tourist paradise? The book aims to challenge some of these perceptions by viewing modern and contemporary Asian art not as a given field but as a project in flux, constantly under revision via art practice and curatorial interventions.
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What do we mean by the term 'contemporary Asian art', and how are we to represent it? With its varied histories, traditions and cultures, Asia can hardly be bracketed into one entity, yet the reception of its art is ridden with essentialisms and tropes. Meanwhile, the region's longstanding engagement with Modern and Contemporary art, globalisation and rapid economic changes has seen Asia's arts scenes change irrevocably. Influx: Contemporary Art in Asia explores the trends in, and circulation of, contemporary art from Asia in the many International Expos, Biennales and Art Fairs that seem to be focusing increasingly on this region. Illustrated with works of leading artists from India, China, Pakistan, South-East Asia and the Middle-East, it brings together essays by 19 critical writers. They reflect on the diversity of Asia's self-perceptions, the historical bases for a category such as Asia and its political and cultural exigencies which inform various curatorial interventions.
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• Preface / Raoul Birnbaum
• Acknowledgments Introduction: The Study of Photographic Portraiture in Africa / John Peffer I. Exchange 1. Portrait Photography: A Visual Currency in the Atlantic Visualscape / Jurg Schneider
• 2. Lutterodt Family Studios and the Changing Face of Early Portrait Photographs from the Gold Coast / Erin Haney
• 3. Yoruba Studio Photographers in Francophone West Africa / Erika Nimis
• 4. The Field Worker and the Portrait: The Social Relations of Photography / Elisabeth L. Cameron II. Social Lives 5. "A Photograph Steals the Soul:" The History of an Idea / Z. S. Strother
• 6. The Past in the Present: Photographic Portraiture and the Evocation of Multiple Histories in the Bamum Kingdom of Cameroon / Christraud M. Geary
• 7. Mombasa on Display: Photography and the Formation of an Urban Public, from the 1940s Onwards / Isolde Brielmaier
• 8. Portrait Photography in a Postcolonial Age: How Beauty Tells the Truth / Liam Buckley III. Traditions 9. Likeness or Not: Musings on Portraiture in Canonical African Art and its Implications for African Portrait Photography / Jean Borgatti
• 10. Ako-graphy: Owo Portraits \ Rowland Abiodun
• 11. Visual Griots: Identity, Aesthetics, and the Social Roles of Portrait Photographers in Mali / Candace M. Keller
• 12. The Intermediality of Portraiture in Northern Cote d'Ivoire / Till Forster Bibliography
• Index.
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Beautifully illustrated, Portrait Photography in Africa offers new interpretations of the cultural and historical roles of photography in Africa. Twelve leading scholars look at early photographs, important photographers' studios, the uses of portraiture in the 19th century, and the current passion for portraits in Africa. They review a variety of topics, including what defines a common culture of photography, the social and political implications of changing technologies for portraiture, and the lasting effects of culture on the idea of the person depicted in the photographic image.
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Photographers played an important role in the documentation of apartheid as they stepped in to capture how the system penetrated even the most mundane aspects of life in South Africa, from housing, public amenities, and transportation to education, tourism, religion, and businesses. Included in this vivid and compelling volume are works by such photographers as Eli Weinberg, Alf Khumalo, David Goldblatt, Peter Magubane, Ian Berry, and many others. Organized chronologically, it interweaves images and thoughtful essays to explore vital issues, including the institutionalization of apartheid through the country's legal apparatus; the growing resistance in the 1950s; and the radicalization of the anti-apartheid movement within South Africa and, later, throughout the world. Finally, the book investigates the fall of apartheid, including Mandela's return from exile. Far-reaching and exhaustively researched, this important book features more than 60 years of powerful photographic material that forms part of the historical record of South Africa.
(source: Nielsen Book Data)

Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O'Neill describes how, by the 1980s, curated group exhibitions--large-scale, temporary projects with artworks cast as illustrative fragments--came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated--and authorized--the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.
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• Some Afrikaners, Bantustans, In Boksburg, Structures, Soweto, and Joburg, 1952-2009 / David Goldblatt
• Chasing shadows, appropriated spaces, landscapes, billboards, townships, Bloemhof, and train church / Santu Mofokeng
• The present-- "--luminous with another than a professional light"/"--'Can you turn back?'" and Landscape and fate / Christine Meisner
• American power, 2004-2008 / Mitch Epstein
• African adventure : Cape of Good Hope, 1999-2000 / Jane Alexander
• Landscapes 2002-2009 / David Goldblatt
• Obscure white messenger / Penny Siopis
• Country girls and At home / Sabelo Mlangeni
• The power of naming / Zanele Muholi
• Drive by shooting and early works / Jo Ractliffe
• King Kong / Peter Friedl
• Avenue Patrice Lumumba / Guy Tillim
• Maison Tropicale and Political Camers (For Mozambique series) / Ângela Ferreira
• Jo'burg / Guy Tillim
• Ponte City / Mikhael Subotzky/Patrick Waterhouse
• Terreno Ocupado and As Terras do Fim do Mundo / Jo Ractliffe
• Artists' portraits.

Art historians, traditionally, have implicitly accepted the autonomy of the artwork and ignored what Mary Anne Staniszewski calls "the power of display". In this examination of installation design as an aesthetic medium and cultural practice, Staniszewksi offers a history of exhibitions at the most powerful and influential modern art museum - The Museum of Modern Art in New York. Focusing on over 200 photographs of the visually rich but overlooked history of exhibition, Staniszewski documents and deciphers an essential chapter of 20th-century art and culture and provides a historical and theoretical framework for a primary area of contemporary aesthetic practice - installation-based art. Staniszewski treats installations as creations that manifest values, ideologies, politics and of course aesthetics. Incorporating analysis of display techniques used in department stores, natural history museums, non-Western art galleries, and the international avant-gardes' exhibitions of the first half of the century, she makes visible both the explicit and covert meanings found in exhibitions. Some of the questions she addresses are: what sort of viewers do different types of installations "create"? How do exhibition designs affect the meanings and receptions of specific objects, images, artifacts, adn buildings when they are displayed? How do installations shape the viewer's experience of the cultural ritual of a museum visit? How does an amnesia regarding exhibition design affect art history, the art world, and collective cultural memories?
(source: Nielsen Book Data)