David Goldblatt

A  proposta  do  trabalho  é  examinar,  em  perspectiva  comparada, as sujeições e insurgências de três fotógrafos sul-africanos durante o regime do apartheid: Peter Magubane, Ernest Cole e David Goldblatt. De acordo com restrições  e  liberdades  relativas  aos  tons  de  pele,  podemos  observar  três atuações distintas que implicam em diferentes soluções políticas e estéticas para o problema em comum. Entrelaçando história e fotografia em tempos sombrioscom embasamento teórico nas teses Sobre  o  conceito  de  história  de  Walter  Benjamin, serão analisados os gestos de resistência de fotógrafos e imagens em seu potencial de escrita de uma outra história.

**Abstract:**

This review critically examines David Goldblatt's "Futebol Nation," which articulates the profound influence of soccer on Brazil's national identity. The book integrates historical analysis and sociopolitical commentary, exploring soccer's role as both a unifier and divider within Brazilian culture. Through a meticulous evaluation of Goldblatt's arguments and methodologies, the review highlights the author's insights into how soccer mirrors and shapes societal changes and underscores its implications for understanding cultural dynamics. The critique also considers the book's place within the broader literature on sports and cultural studies.

is a photographer, a successful artist using the medium of photography, who lives and works in Düsseldorf. He is 68 years old. "Andreas Gursky" on the other hand, signifies far more than that, embodying an art form, international fame, a brand that, since the late 80s and early 90s, has stood for "large-scale photography", for "photography and art", for record auction prices, and, with that, for a whole new era of photogaphy: photography in art museums, photography in art collections. At long last, following an ongoing struggle throughout the lifetime of photography. Elsewhere, I once wrote euphorically "Waving flags, our rallying cry is: Yes, photography is art! Yes, photography has a place in art museums and art collections! Yes, photography can be an autonomous image and just a mechanical-electronic record of reality. At last! The goal has finally been reached."1

In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the photographs were also small and unassuming, refusing the grandness and potential sublimity of previous evocations of the US landscape. Rather than present the United States as a series of locations marked by regional and economic differences, photographers such as Robert Adams, Frank Gohlke, Lewis Baltz and Bernd and Hilla Becher now focussed on an increasing homogeneity across terrains, terrains often indeterminable in terms of actual locations, and, more often than not, eerily devoid of human presence. In Neil Campbell's words, the ima...

A comprehensive overview of photography during apartheid, including sections on:
The Critical Camera: A Visual History of Apartheid; From Ethnographic to Social Documentary Photography; Picture Magazines and the “Golden Age” of Drum; The Aftermath of the Sharpeville Massacre; Afrapix and the Photography of Resistance; Forced Removals and the Destruction of Communities; Portrait Studios and Street Photography; Discussion of the Literature; Primary Sources; Links to Digital Material; Further Reading

This illustrated paper questions the need for establishing ring-fenced categories of landscape and explores the ordinary unclassified landscape through a series of photographs of ‘non-places’. These ‘non-places’ are of no particular scientific or historical significance – they are areas where the landscape on either side of the New Forest National Park (NFNP) boundary shows no distinctive differences. This artificial boundary signifies a ‘barricade of beauty’ and has created an unnecessary division between the ‘scenic’ (rural) and the ‘non-scenic’ (urban) landscape.

The combination of part ‘scientific’ (objective) enquiry and part ‘artistic’ (subjective) expression reveals something visible that is invisible - through a process which changes the emphasis from one cultural construct i.e. the landscape aesthetic as a form of reality - to a different i.e. ‘geo-political’ cultural construct. By ignoring stereotypical perceptions and mass produced views of landscape in general - and forest landscape in particular - the photographs reveal a different cultural “truth” or “pictorial reality”.

Each long vertical digital colour photograph has been produced from combining several individual photographs and taken from a specific position directly on the NFNP boundary itself. The series of photographs is primarily concerned with what one sees from, rather than of, a specific location (i.e. the view as seen from and including the ‘boundary’) and seeks to usurp the traditional landscape image by challenging the viewer’s engagement in the appreciation of that landscape.

The work reinforces the tension between nature and culture – a blurring of the real (what we see and experience in the landscape) and the unreal (what we see when we look at photographs of the landscape).

Finally, the paper suggests that this ‘ordinary’ non scenic landscape has as much to offer and intrigue as those areas of landscape that have been given special government status. The photographs should be seen as a quasi socio-political statement that subverts our long established British definitions and conceptions of landscape and expose the futility of a geo-political boundary as a metaphor for landscape hierarchy.

Willie Bester is regarded as one of the most important resistant artists against the injustices of "apartheid" and "post-apartheid" in South Africa. His artworks expose the state of extreme poverty in which the inhabitants of the townships of the Cape of Good Hope still live today, defining a strategy of opposition, as well as a means to generate a rebellious consciousness among his people. They present the oppression, violence and racial discrimination often misreported or ignored by the newspapers, law enforcement, and the South African government.

Fotos e fraturas: as ambiguidades da África do Sul pelas lentes de David Goldblatt Os retratos a preto e branco, de brancos e pretos, que estão presentes na retrospectiva do fotógrafo sul africano David Goldblatt no centro Pompidou, em Paris, revelam mais de 200 fotografias que ilustram quase 70 anos de história da África Do Sul. Nascido numa família de judeus oriundos da Lituânia e da Letônia, David viveu numa cidade mineradora perto de Joanesburgo. O fotógrafo acompanhou com o olhar e com a câmara o que significava ser branco ou negro no regime de separação de raças. E foram os mineradores uns dos primeiros temas das suas fotos, pela proximidade do sujeito. Na série " Particulars " , retrata os detalhes que revelam traços imperfeitos criados pelo tempo e condições de vida. É assim que somos recepcionados nessa exposição que vai do detalhe do humano ao gigantesco das estruturas das cidades. Os territórios, as construções e as pessoas compõem a obra desse senhor de 87 anos. Um dos atributos da exposição é que, para além dos textos que acompanham as fotos, podemos escutar as fotografias. Em cada sala há vídeos nos quais o autor comenta com vivacidade e senso crítico aguçado algumas das fotos apresentadas na exposição. Entendemos o contexto da foto e o que o seu olhar capturou naquele momento. Por exemplo, se quem cometia um crime fosse negro, era transportado a pé pela polícia, algemado, sob o olhar de todos. Se se tratasse de um branco, dispensava-se o cortejo de olhares, pois o indivíduo estava protegido dentro de um carro. Entre retratos de desigualdade e injustiça que marcaram a história contemporânea do país, o pai da foto sul africana, fundador de uma escola de referência, a Market Photo Workshop, nunca quis que suas fotos fossem militantes. Essa postura causou muita incompreensão fora do país, entretanto o fotógrafo continuou a fazer seu trabalho porque fazia sentido para ele e seus compatriotas. Ele ainda fotografa todos os dias, pois para Goldblatt " a fotografia é um instrumento mágico porque revela claramente a realidade e ao mesmo tempo aquilo não é a realidade. É essa tensão que me estimula. " A exposição é organizada em seções, separadas por cor e classe, mostrando um mapa do país. O olhar é frontal, " eu te vejo e você me vê ". E nas fotos não há diferença de tratamento: branco ou negro, todos são (re)tratados da mesma maneira. Ele consegue penetrar Soweto, periferia chave para as manifestações anti-apartheid. Ele entra nas casas e fotografa o quotidiano, há tanto a miséria como seu contraponto na alegria do futebol e brincadeiras de crianças em imensos descampados. Cada série de fotos do passado, feitas em preto e branco, é confrontada com um olhar a cores atual. No caso de Soweto, vemos um grande e moderno centro comercial – mostrando a " evolução " daquele território em relação a 50 anos antes. Outro momento da vida dos negros, e talvez um dos pontos mais perturbantes da exposição, é a série de fotos que traçam a odisseia diária dos trabalhadores negros que saem de suas casas em KwaNdabele às 2h40 da manhã para irem trabalhar na cidade branca de Pretória, onde não têm direito de viver. São duas horas e meia de trajeto de ida e mais duas e meia de volta – fazendo as contas, as

Da importância de bonecas negras, uma coleção de questões Falamos muito de representatividade. De inclusão. De nos vermos como modelos para percebermos nossas potencialidades. E mais: o nosso lugar de pertença no mundo. Ora, ninguém ignora que as bonecas negras são a minoria da população de brinquedos no Brasil. Mas o que significaria termos um mercado onde fosse possível ter ao menos opções de bonecas? As bonecas têm a particularidade de serem feitas a partir de uma imagem de si. Walter Benjamin, no livro Rua de mão única – Infância Berlinense (1900), explica que a criança é quem controla sua boneca – como um soberano: ela veste-a, desnuda-a, decide se ela vive, morre ou come. E mais: a criança fala por ela, através dela, e dela. Ela pode se tornar o reflexo do que os adultos fazem às crianças, ou inverter os papéis. Dessa maneira, o que significa brincar com uma boneca que não é feita à imagem de uma parte significativa da população? Já todos nos deparamos nos nossos feeds do Facebook com um vídeo que se baseia no teste que os psicólogos Kenneth e Mamie Clark batizaram de " Doll Test " (1940)– trata-se do teste em que se apresenta às crianças uma boneca branca e uma negra e seguem-se perguntas sobre quem é a feia e quem é a bonita, quem é a boa e quem é a má… e revela-se assim a crueldade da estrutura racista de nossa cultura: as crianças negras atribuem as características positivas às bonecas brancas. Black Dolls. La collection Deborah Neff-La maison rouge A partir de 1910, intelectuais e empresários africanos-norte-americanos começaram a se interessar pela questão da boneca negra. É o caso de R.H. Boyd que, ao procurar bonecas negras para os filhos, encontrou apenas caricaturas grotescas e começou seu próprio negócio: The National Negro Doll Company. Macus Garvey (1887-1940), um dos instigadores do movimento " Back to Africa " também lançou, a partir de 1918, uma fábrica de bonecas negras. Publicou artigos sobre o papel das bonecas na construção da autoestima. Entretanto, isso não implicou uma diferença de comportamento: as crianças negras não deram necessariamente preferência a essas bonecas negras e tampouco houve diminuição de vendas de bonecas racistas feitas pela indústria de bonecas brancas .

This paper examines the cosmopolitan character of TJ/Double Negative (2010) and argues that the prize-winning book, co-produced by photographer David Goldblatt and writer and editor Ivan Vladislavic, is both a symptomatic expression of Johannesburg's uneven development and a self-conscious interrogation of that unevenness. The book comprises two parts: Goldblatt’s photographic series, TJ: Johannesburg Photographs 1948–2010, and Vladislavic’s novel Double Negative, a metafiction that refracts the story of modern Johannesburg along with Goldblatt’s career and the concomitant genre evolu- tion of South African photojournalism from local “documentary” to world-renowned “art”.  This experiment in interdiscursivity is significant not simply for being the first of its kind—“a unique event in publishing”, as the publisher, Contrasto, declares in its marketing blurb—but also because through this collaborative yet multi-modal venture a new mode of critical cosmopolitanism in world-literature might be be discerned.

This was my undergraduate dissertation, parts of which are (somewhat) tongue-in-cheek. However I would like to take this study further. Rare opportunity to talk with and meet two of the four artists. My thanks to Fons Geerlings, Bernard Akoi-Jackson, Tatiana Macic and Marijke Efua Everts, also Sarah Atzori.

A dissertation for the award of the degree of Master of Fine Art, Michaelis School of Fine Art, Faculty of the Humanities, University of Cape Town.

The body of photographs discussed in this document examine the way in which the landscape was constructed to enforce separation, in the form of separate amenities, during the time of apartheid in South Africa.

The arrival of printing in South Africa occasioned a great many social changes: it facilitated governance, participated in the production and propagation of anthropological and scientific ‘knowledge’ about the place and its peoples, required the development of orthographies for African languages, and served the spread of western education and of Christianity—with all of its attendant complex and ambiguous consequences. Print, Text & Book Cultures in South Africa explores the power of print and the politics of the book in South Africa from a range of disciplinary perspectives—historical, bibliographic, literary critical, sociological, and cultural studies. The essays collected here, by leading international scholars, address a range of topics as varied as: the role of print cultures in contests over the nature of the colonial public sphere in the nineteenth century; orthography; iimbongi, orature and the canon; book-collecting and libraries; print and transnationalism; Indian Ocean cosmopolitanisms; books in war; how the fates of South African texts, locally and globally, have been affected by their material instantiations; photocomics and other ephemera; censorship, during and after apartheid; books about art and books as art; local academic publishing; and the challenge of ‘book history’ for literary and cultural criticism in contemporary South Africa.

This volume is the most comprehensive and representative introduction to the study of print and of the book in South Africa, showcasing the best of current research (while problematising the nature of ‘the book’, and exploring the difficult conditions for print in the country). It takes the measure of the impact of book-historical and related fields of study on South African scholarship, while pointing the way towards avenues for future research.

Authors (in order of appearance): Leon de Kock, Isabel Hofmeyr, Meg Samuelson, John Gouws, Lucy Graham, Rita Barnard, Andrew van der Vlies, Jarad Zimbler, Patrick Flanery, Lize Kriel, Archie Dick, Hedley Twidle, Jeff Opland, Deborah Seddon, Lily Saint, Peter McDonald, Margriet van der Waal, Natasha Distiller, Sarah Nuttall, Bronwyn Law-Viljoen, Beth Le Roux.

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Print, Text and Book Cultures in South Africa is a field-defining contribution to the country’s literary scholarship. Andrew van der Vlies’s introductory essay maps the conceptual terrain in a systematic and engaging way, illustrating its relevance to South Africa’s literary and cultural history. The essays that follow demonstrate the archival richness and liveliness of the field, while opening doors to future research. Beyond South Africa, the book will be exemplary in showing how book histories develop under postcolonial conditions.
-- David Attwell, author of J.M. Coetzee: South Africa and the Politics of Writing (1993) and Rewriting Modernity: Studies in Black South African Literary History (2005), and co-editor of The Cambridge History of South African Literature (2012)

South African literary criticism has been rejuvenated by an emphasis on the materiality of book production and circulation, and the historical embedding of those institutions and practices that turned texts into ‘works’ considered worthy of our attention. This elegantly framed collection of readable, provocative essays examines the relations between the production and consumption of books to present a rich social history of South African print cultures. It is indispensible reading for anyone seeking to come to terms with the processes and practices, both national and transnational, that have fashioned this country’s literature and the ways in which it is read and understood.
-- Michael Titlestad, University of the Witwatersrand

This is an extraordinarily rewarding book. Its essays by key scholars and book-trade practitioners attend to the rich complexity of the varied trajectories and meanings of South African print culture. The introduction by Andrew van der Vlies offers a tour de force statement of the complex interplay between South African social, political, and economic realities and book history methodologies; each piece that follows charts a compelling course through the shifting contexts for South African print, whether to bring those contexts to bear on literary interpretation, or to highlight the interdependence of print and history.
-- Sarah Brouillette, author of Postcolonial Writers in the Global Literary Marketplace (2007)

Wide-ranging and sophisticated, this collection of essays does not simply add more case studies to the book-historical canon but contributes new models to the debate.
-- Leah Price, Harvard University

Thought provoking, wide ranging in its subject material, and dynamically edited, this collection marks a turning point in the study of book cultures in South Africa. These essays, exemplars of recently published work in the field, draw attention to the rich, interdisciplinary seams of material uncovered by key exponents of South African print culture history. The work as a whole demonstrates how one can engage with the confluence of text, people, history, culture, and print technology in South African contexts. It will prove one of the first ports of call for anyone wishing to undertake further journeys in this subject area in the future.
-- David Finkelstein, co-editor of The Book History Reader (2001) and The Edinburgh History of the Book in Scotland (vol. 4, 2007), and co-author of An Introduction to Book History (2005)