THE HISTORICAL RECORD

The living archive.

Art leaves a record. Return to the exhibitions, artists and ideas that continue to shape the conversation.

A GROWING COLLECTION

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9 reviewed stories · 2014Clear filters ×

NewsSouthern Africa

Serge Alain Nitegeka’s Into the BLACK linked abstraction and ancestral memory

Serge Alain Nitegeka’s 2014 exhibition at Stevenson Johannesburg brought geometric paintings, silhouetted figures and charcoal portraits into a sustained exploration of blackness. ArtThrob’s review connected the Burundian artist’s formal language with migration, absence and ancestral memory. Portraits of his grandmothers, presented alongside his own likeness as self-portraits, complicated the relationship between individual identity and family history.

ArtThrob20 Aug 2014

NewsSouthern Africa

Ian Grose’s Some Assumptions explored the language of painting

Ian Grose’s 2014 exhibition Some Assumptions at Stevenson Cape Town brought together patterned cloth, reworked religious imagery and repeated views of a studio window. ArtThrob’s reviewer praised his control of paint while describing an elusive, self-questioning practice. References to Renaissance altarpieces, Monet and abstraction became ways of asking how painters translate observation and inherited conventions into images.

ArtThrob10 Aug 2014

OPENING THE JOURNAL

The living archive.

Serge Alain Nitegeka’s Into the BLACK linked abstraction and ancestral memory

Ian Grose’s Some Assumptions explored the language of painting

The living archive.

Serge Alain Nitegeka’s Into the BLACK linked abstraction and ancestral memory

Ian Grose’s Some Assumptions explored the language of painting

Chad Rossouw’s The Planet’s Wake blurred invented and recorded histories

Kitty’s Studio archive revealed everyday portrait-making under apartheid

Kiluanji Kia Henda used fiction to reconsider aid and Angolan history

Trevor Coleman survey revisited geometric abstraction from 1960 to 1977

Portia Zvavahera’s Wayfinding brought prayer and patterned cloth into painting

Dakar OFF brought art into the city’s everyday spaces

Kara Walker’s sugar sphinx confronts the histories of a Brooklyn refinery