[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016
17 November - 17 December 2016
Installation View
Lyle Ashton Harris with Thomas Allen Harris
Brotherhood, Crossroads and Etcetera #2, 1994
Fujiflex print
56 x 46cm
Paulo Nazareth
Untitled, from Noticias de America (News from the Americas) series, 2011/2012
Photo printing on cotton paper
45 x 60 cm
Lyle Ashton Harris with Thomas Allen Harris
Untitled (Mother), 1998
Fujiflex print
122 x 76cm
Wangechi Mutu
Eat Cake, 2012
Video

Lyle Ashton Harris with Thomas Allen Harris
Untitled (Blue), 1998
Fujiflex print
122 x 76cm
Wangechi Mutu
Nguva, 2013
Video (colour, sound)

Carrie Mae Weems
Constructing History, A Requiem to Mark the Moment, 2008
Video
24 minutes
Odili Donald Odita
Highway, 2015
Acrylic latex on laminated panel
245 x 122cm
Carrie Mae Weems
Before the Loss of you, 2004
Video
5 minutes
Odili Donald Odita
Van Gogh's Trees, 2016
Acrylic latex on laminated panel
245 x 122cm
Carrie Mae Weems
The Capture of Angela, 2008
Archival pigment print
155 x 129 x 6cm (framed)
Sanford Biggers, Jennifer Zackin
A Small World, 1999-2001
Single-channel projection (colour, silent), DVD, carpet, sofa, wood panel walls

Carrie Mae Weems
The Assassination of Medgar, Malcolm and Martin, 2008
Archival pigment print
155 x 130 x 4.5cm (framed)
Daàpò Reo
ALCOHOLOTOPIA (A GEOPOLITICAL DREAM UNDER THE INFLUENCE), 2016
Cotton, polyester
274.4 x 152.4 cm
Carrie Mae Weems
Mourning, 2008
Archival pigment print
155 x 130 x 6cm (framed)
ruby onyinyechi amanze
The Sun's Sister, 2015
Graphite, ink and photo transfers
Work: 96.5 x 127 cm
Valerie Piraino
Niger Delta Blues III, 2016
Polystyrene, epoxy clay, paint, twine
67.4 x 6.4 x 6.4 cm
Brendan Fernandes
The End, 2014

Dimensions variable
Valerie Piraino
Objet Trouvé I, 2016
Polystyrene, epoxy clay, paint, gold leaf, twine
91.5 x 11.5 x 11.5
Mikhael Subotzky
Manuel, Tucson (0600), 2011
Inkjet print
Work: 62 x 50 x 3.5 cm
Kajahl
Ethereal Series Three, 2015
Oil in canvas mounted on panel
24 x 24 inches (61 x 61 cm)
Tabita Rezaire
INNER FIRE: BBHMM , 2016
Diasec print
170 x 100 cm
Kehinde Wiley
John Mensah, 2010
Oil on canvas with artist’s frame
72 x 60 cm
Valerie Piraino
Niger Delta Blues II, 2016
Polystyrene, epoxy clay, paint, twine
73.7 x 11.5 x 11.5 cm
Eric Gottesman
Performance of A Novelist Drinking Coffee, 2013
Pigment print
61 x 76 cm
Ayana V Jackson
The Grand Matron, 2010
Archival Print on German Etching Paper
90 x 90cm
Eric Gottesman
Performance of A Novelist Smoking, 2013
Pigment print
61 x 76 cm
Eric Gottesman
We Do Not Know What They Are Constructing, 2013
Pigment print
61 x 76 cm
Eric Gottesman
Untitled (Scramble for the Sky), 2016
Pigment print
101.6 x 127 cm
Eric Gottesman
Untitled (Scramble for the Sky), 2016
Pigment print
101.6 x 127 cm
Alfredo Jaar
One million points of light, 2005
Light box
Work: 45 x 60 x 12 cm
Eric Gottesman
Untitled (Scramble for the Sky), 2016
Pigment print
101.6 x 152.4 cm
Ghada Amer
La Leçon de grammaire-RFGA, 2015
Acrylic, Dried Pastel, Embroidery & Gel Medium on Canvas
182.9 x 203.2cm
Eric Gottesman
Untitled (Scramble for the Sky), 2016
Pigment print
101.6 x 127 cm
Julie Mehretu
Epigraph, Damascus, 2016
6 panels; Photogravure, sugar lift aquatint, spit bite aquatint, open bite Hahnemühle Bütten 350 gr.
Paper each 217 x 87 cm; Frame total size 248 x 574 cm
Eric Gottesman
Untitled (Scramble for the Sky), 2016
Pigment print
101.6 x 127 cm
Rashid Johnson
Untitled Anxious Drawing, 2016
Oil on paper
61 x 46 cm
Eric Gottesman
The Last Days of Baalu Girma, 2013
Pigment print from Polaroid negative
106.68 x 132.08cm
Wangechi Mutu
I'm too misty, 2015
Collage painting on linoleum
101.6 x 83.8cm
Dawit L. Petros
Single cube Formation No.2, Santa Barbara, CA, 2011
Archival digital print
76.2 x 91.4cm
Wangechi Mutu
Flower head, 2015
Mixed media
111.8 x 81.3 x 33 cm
Dawit L. Petros
Single Cube Formation No.3, Marfa, TX, 2011
Archival digital print
76.2 x 91.4cm
Theaster Gates
Afrostack, 2012
Concrete, porcelain, glass and book
128.3 x 32.1 x 31.3 cm
Dawit L. Petros
Act of recovery (Part I), 2016
Archival colour pigment print
50.8 x 66.1cm
Stan Douglas
Kung - Fu Fighting, 1975, 2012
Digital C-print mounted on Dibond aluminum
Image: 91.4 x 137.2cm, Framed: 99.1 x 144.8 x 6.4cm
Lyle Ashton Harris in collaboration with Thomas Allen Harris
Untitled (Procession), 1998
C-print
152.4 x 121.92 cm
Stan Douglas
Capoeira, 1974, 2012
Digital C-print mounted on Dibond aluminum
Image: 142.2 x 213.4cm, Framed: 149.9 x 221 x 6.4cm
Paulo Nazareth
Untitled, from Noticias de America (News from the Americas) series , 2011/2012
photo printing on cotton paper
45 x 60 cm

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

[In Context] Africans in America / Goodman Gallery and Johannesburg Art Gallery / 2016 - Installation View

17 November - 17 December 2016

Lyle Ashton Harris with Thomas Allen Harris

Brotherhood, Crossroads and Etcetera #2

Paulo Nazareth

Untitled, from Noticias de America (News from the Americas) series

Lyle Ashton Harris with Thomas Allen Harris

Untitled (Mother)

Wangechi Mutu

Eat Cake

Lyle Ashton Harris with Thomas Allen Harris

Untitled (Blue)

Wangechi Mutu

Nguva

Carrie Mae Weems

Constructing History, A Requiem to Mark the Moment

Odili Donald Odita

Highway

Carrie Mae Weems

Before the Loss of you

Odili Donald Odita

Van Gogh's Trees

Carrie Mae Weems

The Capture of Angela

Sanford Biggers, Jennifer Zackin

A Small World

Carrie Mae Weems

The Assassination of Medgar, Malcolm and Martin

Daàpò Reo

ALCOHOLOTOPIA (A GEOPOLITICAL DREAM UNDER THE INFLUENCE)

Carrie Mae Weems

Mourning

ruby onyinyechi amanze

The Sun's Sister

Valerie Piraino

Niger Delta Blues III

Brendan Fernandes

The End

Valerie Piraino

Objet Trouvé I

Mikhael Subotzky

Manuel, Tucson (0600)

Kajahl

Ethereal Series Three

Tabita Rezaire

INNER FIRE: BBHMM

Kehinde Wiley

John Mensah

Valerie Piraino

Niger Delta Blues II

Eric Gottesman

Performance of A Novelist Drinking Coffee

Ayana V Jackson

The Grand Matron

Eric Gottesman

Performance of A Novelist Smoking

Eric Gottesman

We Do Not Know What They Are Constructing

Eric Gottesman

Untitled (Scramble for the Sky)

Eric Gottesman

Untitled (Scramble for the Sky)

Alfredo Jaar

One million points of light

Eric Gottesman

Untitled (Scramble for the Sky)

Ghada Amer

La Leçon de grammaire-RFGA

Eric Gottesman

Untitled (Scramble for the Sky)

Julie Mehretu

Epigraph, Damascus

Eric Gottesman

Untitled (Scramble for the Sky)

Rashid Johnson

Untitled Anxious Drawing

Eric Gottesman

The Last Days of Baalu Girma

Wangechi Mutu

I'm too misty

Dawit L. Petros

Single cube Formation No.2, Santa Barbara, CA

Wangechi Mutu

Flower head

Dawit L. Petros

Single Cube Formation No.3, Marfa, TX

Theaster Gates

Afrostack

Dawit L. Petros

Act of recovery (Part I)

Stan Douglas

Kung - Fu Fighting, 1975

Lyle Ashton Harris in collaboration with Thomas Allen Harris

Untitled (Procession)

Stan Douglas

Capoeira, 1974

Paulo Nazareth

Untitled, from Noticias de America (News from the Americas) series

Goodman Gallery Johannesburg
Johannesburg Art Gallery

17 November 2016 – 17 December 2017

ruby onyinyechi amanze / Ghada Amer / Kajahl / Stan Douglas / Brendan Fernandes / Theaster Gates / Eric
Gottesman / Lyle Ashton Harris / Alfredo Jaar / Ayana V Jackson / Rashid Johnson / Julie Mehretu / Wangechi Mutu / Paulo Nazareth / Odili Donald Odita / Dawit L. Petros / Valerie Piraino / Daapo Reo / Tabita Rezaire / Mikhael Subotzky / Carrie Mae Weems / Kehinde Wiley

As part of its ongoing In Context series, Goodman Gallery is pleased to announce the forthcoming exhibition Africans in America and the concurrent academic conference Black Portraiture[s] III: Reinventions: Strains of Histories and Cultures, along with a series of events happening throughout Johannesburg. The citywide initiative will take place from November 2016 through January 2017.

In 2010, Goodman Gallery director Liza Essers launched In Context, an innovative curatorial platform to bring together a diverse group of international artists who share a rigorous commitment to the dynamics and tensions of place in reference to the African continent. A signature programme within the gallery, In Context activates the city of Johannesburg as a locus of contemporary art practice, ideas and discourses. In Context takes place in Johannesburg in the absence of an officially funded citywide biennial. Goodman Gallery takes great pleasure in facilitating the exhibition Africans in America and spearheading the Black Portraiture[s] III conference. These events play a vital part in addressing gaps in art history, rewriting it from diverse perspectives, a central pursuit within the In Context series.

Conceptualised and curated by artist Hank Willis Thomas and Liza Essers, Africans in America aims to speak to the flows, exchanges and continuities between the continent of Africa and the United States. The exhibition will take place across two spaces in the city, Goodman Gallery in Parkwood and the Johannesburg Art Gallery. Artists featured include Ghada Amer, Theaster Gates, Alfredo Jaar, Julie Mehretu, Wangechi Mutu, Odili Donald Odita and Kehinde Wiley, amongst others.

The exhibition is aligned to the important Black Portraiture[s] III initiative convened by Deborah Willis (New York University), Henry Louis Gates III (Harvard University) and Brett Pyper (University of Witwatersrand). The seventh in a series of conversations about imaging the black body, the 2016 edition is the first to be held on the African continent. The conference, which has attracted an impressive list of international panelists, opens up a forum for artists, activists and scholars from around the world to share ideas on a range of subjects, from historical topics to current research on South African art and activism and related themes affecting the global African diaspora.

Hank Willis Thomas has been represented by Goodman Gallery South Africa since 2008. Africans in America is the second exhibition he has curated for the gallery. He has become recognised for challenging constructions of race and gender in the United States and South Africa. His art has consistently extended dialogues on African and diaspora identities into significant international arenas, and his important work in South Africa has keyed into local history while driving new visions in the post-apartheid context.

In Context 2016 is a partnership between Goodman Gallery; The Department of Photography & Imaging at the Tisch School of the Arts, New York University; Hutchins Center for African and African American Research at Harvard University; Wits School of Arts at University of the Witwatersrand; United States Mission to South Africa; La Pietra Dialogues/ New York University; New York University Vice Provost for Faculty, Arts, Humanities and Diversity; and Hank Willis Thomas Studio, in association with Phillips; Museum of Contemporary African Diasporan Arts; Studio Museum in Harlem; Wiser Institute; Center for African American Studies/ Princeton University; Johannesburg Art Gallery; Contemporary And, and Art Africa.

Tabita Rezaire

Tabita Rezaire (b.1989, Paris, France) is a French-born Guyanese/Danish new media artist, intersectional preacher, health practitioner, tech-politics researcher and Kemetic/Kundalini Yoga teacher based in Guyana.

Rezaire’s practice explores decolonial healing through the politics of technology. Navigating architectures of power – online and offline – her works tackle the pervasive matrix of coloniality and its effects on identity, technology, sexuality, health and spirituality. Disseminating light, her digital healing activism offers substitute readings decentering occidental authority, hoping to assist in the ‘dismantling [of] our white-supremacist-patriarchal-cis-hetero-globalized world screen’, according to Rezaire.

Rezaire is also a founding member of NTU, half of the duo Malaxa, and mother of the energy house SENEB.

Artsy declared her among the 10 International Black artists to watch in 2016, and True Africa among the top 100 innovators and opinion makers on the continent in 2015. Rezaire has shown her work internationally at the Berlin Biennale, Tate Modern London, Museum of Modern Art Paris, MoCADA NY, The Broad LA, and Serpentine Gallery in London. Rezaire has presented her work on numerous panels, including Het Nieuwe Institut Rotterdam, Royal Academy The Hague, Kunsthalle Bern, National Gallery Harare, Cairotronica, Fakugezi Digital Art Africa Johannesburg. She has curated screenings at the Institute of Contemporary Art London, led technology and ‘booty politics’ workshops worldwide, conducted at yoga session at Museum of Modern Art in New York and has her writings published by Cambridge Scholars.

Rezaire holds a Bachelor in Economics (Paris) and a Master in Artist Moving Image from Central Saint Martins College (London).

Ghada Amer

Ghada Amer (b. 1963, Cairo, Egypt) views herself primarily as a painter, but she has worked in a variety of media, producing ceramics, site-specific garden works, photographs, prints, drawings, installations, and performance pieces.

Her work has always explored ideas related to women, femininity, and gender roles. ‘I believe that all women should like their bodies and use them as tools of seduction,’ Amer stated; and in her well-known erotic embroideries, she at once rejects oppressive laws set in place to govern women’s attitudes toward their bodies and repudiates first-wave feminist theory that the body must be denied to prevent victimisation. By depicting explicit sexual acts with the delicacy of needle and thread, their significance assumes a tenderness absent within simple objectification. Amer continuously allows herself to explore the dichotomies of an uneasy world and confronts the language of hostility and finality with unsettled narratives of longing and love.

Amer’s work addresses first and foremost the ambiguous, transitory nature of the paradox that arises when searching for concrete definitions of east and west, feminine and masculine, art and craft. Through her paintings, sculptures and public garden projects, Amer takes traditional notions of cultural identity, abstraction, and religious fundamentalism and turns them on their heads.
She has also created a number of text-based works, most notably the installation piece Encyclopaedia of Pleasure, which comprises fifty-seven canvas boxes inscribed with embroidered texts serving as investigations of sexual and spiritual identity. While her works serve as commentary on the roles of women, they also offer a critique of painting itself, particularly in its largely masculine Abstract Expressionist mode. Her incorporation of thread into the parameters of the canvas legitimates a form of expression seen as particularly feminine.

Amer has shown her work all over the world, including the Istanbul, Johannesburg, Whitney, Gwangju, Sydney and Venice biennales; in major travelling shows such as The Short Century; Looking Both Ways: Art of the Contemporary African Diaspora; and Africa Remix. She has exhibited at P.S. 1 in New York and SITE Santa Fe, and in 2008 the Brooklyn Museum hosted Love Has no End, a retrospective of twenty years of Amer’s work.

Amer trained to be an artist at Villa Arson, Nice, France.

She currently lives and works in New York City.

Alfredo Jaar

Alfredo Jaar is an artist, architect, and filmmaker who lives and works in New York. He is known as one of the most uncompromising, compelling, and innovative artists working today.

Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002).

Important individual exhibitions include The New Museum of Contemporary Art, New York (1992); Whitechapel, London (1992); The Museum of Contemporary Art, Chicago (1995); Moderna Museet, Stockholm (1994); The Museum of Contemporary Art, Rome (2005) and The Nederlands
Fotomuseum (2019). Major recent surveys of his work have taken place at Musée des Beaux Arts, Lausanne (2007); Hangar Bicocca, Milan (2008); Alte Nationalgalerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Berlin (2012); Rencontres d’Arles (2013); KIASMA, Helsinki (2014); and Yorkshire Sculpture Park, UK (2017).

The artist has realised more than seventy public interventions around the world. Over sixty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He was awarded the Hiroshima Art Prize in 2018.

His work can be found in the collections of The Museum of Modern Art and Guggenheim Museum, New York; Art Institute of Chicago and Museum of Contemporary Art, Chicago; MOCA and LACMA, Los Angeles; MASP, Museu de Arte de São Paulo; TATE, London; Centre Georges Pompidou, Paris; Stedelijk Museum, Amsterdam; Centro Reina Sofia, Madrid; Moderna Museet, Stockholm; MAXXI and MACRO, Rome; Louisiana Museum of Modern Art, Humlaebeck; Hiroshima City Museum of Contemporary Art and Tokushima Modern Art Museum, Japan; M+, Hong Kong; and dozens of institutions and private collections worldwide.

Mikhael Subotzky

Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation. Subotzky has exhibited in a series of important international exhibitions, including most recently Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in the fall of 2020.

Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), and the South African National Gallery, among others.

Subotzky’s work was included in the Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015).

ruby onyinyechi amanze

ruby onyinyechi amanze (b. 1982, Port-Harcourt, Nigeria) is a Brooklyn-based artist of Nigerian descent and British upbringing whose creative practices and processes focus on producing mixed media, paper-based drawings and works. Her art draws inspiration from photography, textiles, architecture and print-making.

In her approach to art, amanze’s body of work establishes an introspective dialogue and personal quest in an attempt to materialise her experience of displacement and dislocation. The motifs and symbols of amanze’s works create non-linear narratives which articulate and delve into ideas surrounding free play as an act of revolution and post-colonial, non-nationalism as an accepted norm in western societies.

Most recently, amanze completed two-year long residencies at the Queens Museum and as part of the Drawing Center’s Open Sessions Program, both in New York. She has exhibited her work internationally in Lagos, London, Johannesburg and Paris, and nationally at the California African American Museum, the Drawing Center and the Studio Museum of Harlem. In 2019, amanze was named the Deutsche Bank Featured Artist at Frieze New York.

amanze relocated to the United States to study a Bachelor of Fine Art degree at the Tyler School of Art at Temple University in Philadelphia. She graduated summa cum laude and continued her academic career obtaining a Masters degree in Fine Art from the Cranbrook Academy of Art in Michigan. Recognised for her academic excellence, in 2012-2013, amanze was the recipient of the prestigious Fulbright Scholars award and was hosted by the University of Nigeria, Nsukka.

amanze currently resides between Philadelphia and Brooklyn, but calls multiple places home.