Archive: Issue No. 77, January 2004

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Cameron Platter

Cameron Platter
Strangers in the (dark and stormy) night, 2003
Pencil crayon on paper
2100 x 1450mm

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Steven Cohen

Steven Cohen in the window of Chasama
'The Weight of the Media - the Burden of Reality' (improvisation with restriction)

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CAPE REVIEWS

   [16.01.04] Cameron Platter at João Ferreira
In his first one-person exhibition since his graduation in 2001, Cameron Platter employs crude colours, lines, shapes and conventions that obey no rules and hold nothing precious. By Paul Edmunds.

INTERMATIONAL REVIEWS

   [16.01.04] Steven Cohen's 'The Weight of the Media - the Burden of Reality'
"Can't you see he's protesting," quipped a curious onlooker at Steven Cohen's improvised performance in New York. Virginia MacKenny was there to witness the artist's demure ritual in the world's increasingly conservative art capital.

   [20.12.03] Looking Both Ways: Art of the Contemporary African Diaspora
Sue Williamson asks if we have had our moment in the limelight?

PUBLICATIONS

   [20.12.03] Fresh from South Africa: Supporting Young Artists
Emma Bedford discusses the Fresh project, in the process offering a snapshot of young South African artists and their concerns.

   [20.12.03] Short change: The curator as editor
Mario Pissarra's exhaustive critical review of Okwui Enwezor's (ed.) The Short Century: Independence and Liberation Movements in Africa 1945- 1994 finds the book excellent in itself, but ultimately disconnected from a coherent whole.

   [01.12.03] Moshekwa Langa
Moshekwa Langa works with effortless confidence to create a poetic that will not yield to simple categorisation, writes Sue Williamson.

   [01.12.03] Documenting the cultural fabric of the Cape Flats
Chris Ledochowski's Cape Flats Details is a dense collection of tightly packed photographs of the Cape Flats. By Rory Bester.

   [01.12.03] Michael Meyersfeld's Gaze
Gaze is a superb production of the highest quality but hasn't resolved for itself that old, important and thorny question of the relationship between art and advocacy, writes Rory Bester.

ArtThrob recently asked a number of its contributors and acquaintances to pause and reconsider 2003. We requested each of them to list their 1) best show(s), 2) best individual artwork, 3) most memorable quote, 4) biggest disappointment, 5) best review, and 6) artist prediction for 2004. Recognising the limitations of this publishing convention, we also asked them to (optionally) proffer some additional commentary articulating their thoughts on what questions people (artists/ critics/ academics/ the public/ sponsors) should be asking about contemporary South African art. These are their responses:

   [20.12.03] The year that was
Sipho Mdanda is the proverbial man about town. He looks back on 2003, recalling the highs and lows.

   [20.12.03] How Few Silver Pieces Buy the Artful Heart and Mind?
Melvyn Minnaar asks some pointed questions about the Brett Kebble Art Awards, which seemingly taunts all artists to respond.

   [20.12.03] It's a small world
Paul Edmunds, writing with deceptive humility, touches on some profound concerns relating to the difficult interplay of art and criticism.

   [20.12.03] 2003 in review
Sean O'Toole adds his voice to the mix.

   [01.12.03] The best and the worst
Andrew Lamprecht's review of 2003 and additional comments for 2004.

   [01.12.03] Virginia MacKenny gives her thoughts on this year
Virginia MacKenny gives her thoughts on this year.

   [01.12.03] The amazing times in which we live
Michael Stevenson sees the possibility of Johannesburg being one of the creative capitals of the world in the early 21st century.

   [01.12.03] My year as meat
Ed Young looks back on the year in which he became the talk - and for some the toast - of the town.

   [01.12.03] Observations of an art slut
Garth Walker's ten-point guide to South African art might not be possessed with the same biblical authority as those delivered through Moses, but they do clarify a few things.

   [01.12.03] Insular?
Carine Zaayman cannot see the point of being an artist if you cannot be a human being.


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