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- Goldblatt shot many of the images made during the post-apartheid era for the project in colour; a rarity for him during apartheid when he employed black-and-white: “Colour seemed too sweet a medium to express the anger, disgust and fear that apartheid inspired,” he once said.
www.1854.photography/2020/08/david-goldblatt-seven-decades-of-johannesburg/David Goldblatt: Seven decades of Johannesburg - 1854 Photography
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Feb 4, 2019 · It also makes sense that, over the 46 years of National Party rule, David Goldblatt shot only in black and white. That was the reality of South Africa then. Every aspect of daily life –...
Dec 2, 2023 · Showing early black-and-white work alongside color photographs made after the end of apartheid, this presentation highlights how Goldblatt’s perspective shifted over time, responding not only to South Africa’s political upheavals but also his drive towards self-examination that he achieved by revisiting past subjects.
Oct 21, 2018 · In an effort to remain “true” to the solemnity of apartheid, Goldblatt rarely photographed his subjects in colour, considering the rich contrast afforded by black and white photography more...
- Fietas Unbuilt
- The Politics of Presence
- Blue-Asbestos Mining
- “Fuck-All Landscapes”
The Johannesburg suburb officially named Pageview was once a multi-racial neighborhood with a substantial Indian population, colloquially known as Fietas after the “fitters” for men’s clothing who traded in the area. But in 1957, when the Group Areas Act of 1950 was consolidated, non-white residents began receiving eviction notices; in 1962, Fietas...
The impact of such captioning phrases can be disarming, leading the viewer to consider difficult truths — the painful reality of the scenes depicted and the impossibility, too, of fully grasping such scenes’ significance. Goldblatt’s pairings of word and image emphasize the limitations of both, their inability to redeem a difficult situation. It wa...
Just as issues of gender and power are sometimes glossed over in discussions of Goldblatt’s art, appraisals that seek to situate his oeuvre in a global context are outweighed in the literature by a focus on the geopolitical history of South Africa. This is due in part to the fact that even though his images circulate in the international art market...
In the early 2000s, after the Wittenoom series, Goldblatt began to explore not only the possibilities of color but also the technical potential of the digital medium. This transition from film to digital led, as Michael Stevenson observes, to a “whole-hearted embrace of harsh South African light, a light that is intense and unrelenting.” 30At the s...
- Ella Mudie
- 2019
Oct 22, 2018 · In an effort to remain “true” to the solemnity of apartheid, Goldblatt rarely photographed his subjects in colour, considering the rich contrast afforded by black and white photography more appropriate.
Aug 14, 2020 · Goldblatt shot many of the images made during the post-apartheid era for the project in colour; a rarity for him during apartheid when he employed black-and-white: “Colour seemed too sweet a medium to express the anger, disgust and fear that apartheid inspired,” he once said.
Jun 26, 2018 · South-east wing of a hostel for Black male workers erected during apartheid as part of a scheme to make Joburg city and suburbs white. Alexandra Township, June 1, 1988. [Photograph by David ...
