War is a huge, infernal industry, the largest one on this planet. It seems presumptuous for one man to attempt to stand in the way of this machinery. Once war has
Ponte City came to stand for urban decay and criminality, and in some of the more right-wing imaginings, as a symbol of the failure of black majority rule.
“We live in an era where artists constantly have to self censor. In my experience more often to pander to a disingenuous idea of political correctness than to conservatism.”
Art as journalism: Richard Mosse takes us through “The Enclave” featured at the Pavilion of Ireland at the 55th Biennale di Venezia. Art reveals and changes the world’s untold tragedies.
Under apartheid, the system of racial segregation that shaped South African society from 1928 until 1994, photographer Ernest Cole was able to change his classification from “black” to “coloured”.
David Goldblatt discusses his series Ex-Offenders, for which he photographed former criminals or ex-offenders on parole, often at the sites where their crimes occurred.
Vivianne Sassen’s, Etan & Me (2013) By Fanny Landstrom for ASX, November 2013 I would say this makes me watertooth. The dictionary suggests: this makes my mouth water. But since
from Urban Life: Beauty is in the Name of the Beholder @ Nontsikelelo Veleko POV Female Johannesburg, REVIEW. By Fanny Landstrom, for ASX, July 2013 POV Female Johannesburg – five young
Lemvo Jean Abou Bakar Depara, known as Depara (1928–1997), was an Angolan-born photographer who worked in the Democratic Republic of Congo. Depara purchased his first video camera to record his
“My first awareness of a bodily particular that I can recall was of the bulges made by the flattened flesh of my inner thighs as I sat in shorts on
“During the years of apartheid, I was concerned with trying to…with exploring why people valued this peculiar and evil system and how they expressed those values in their homes, in