Podcasts about wits art museum

In this dialogue, Prof Christo Doherty, the Chair of Research in the Wits School of Arts, speaks to Stephen Hobbs, a South African artist whose work spans a wide range of media, exploring themes of urban transformation, architecture, and social dynamics. Known for his thought-provoking installations and public art projects, Stephen has a distinctive approach that often examines the hidden infrastructures of cities, and the intersection of natural and built environments. Stephen has an exhibition, a survey of his career of almost thirty years, entitled “Man Shouting in Distance” which is running at the Wits Art Museum until 23 November. Stephen earned his Bachelor of Fine Arts from the University of the Witwatersrand in Johannesburg in 1993. From 1994 to 2000, he served as the curator of the Market Theatre Galleries, fostering a dynamic space for contemporary art in the city. In 2001, he co-founded The Trinity Session with fellow Wits fine arts graduates Kathryn Smith and Marcus Neustetter. Trinity was an artist collaborative and public art consultancy dedicated to integrating art into urban environments. Stephen's own artistic practice often explored themes of city infrastructure and social dynamics, laying the groundwork for his later explorations into the intersections of art, architecture, and public space. Recently, Stephen has ventured into bio-art, working with mycelium—the root structure of fungi—to investigate natural systems that mirror urban networks. His innovative approach challenges us to reconsider the hidden connections that shape both our cities and our planet.” In this podcast we discuss Stephen's beginning as an artist, his family background, education and early influences, and how growing up in Johannesburg shaped his perspective as an artist. We go on to examine his strategies as an artist exploring the urban landscape, and negotiating the complexities of post-apartheid transformations in the Johannesburg geography. We also discuss Stephen's interest in strategies of deception and camouflage and how these have manifested in his practice. We then explore the range of mediums that Stephen has used to express his ideas and how his practice has evolved over his career. Finally we follow Stephen into a new terrain of practice - BioArt - in which he has been working with mycelia to explore the hidden connections between the structure of cities and the planetary environment. The opening of Stephen's mycelium based exhibition, The Visitors, at David Krut Projects · Stephen's 2019 exhibition Body Parts at David Krut Projects · Lesego Chepape's M&G review of The Visitors exhibition · The American

In this dialogue Prof Christo Doherty of ARA speaks to donna Kukama, a South African born interdisciplinary artist who works with performance, works on canvas, sculptural objects, video, and site-specific installation. The underlying topic of this conversation is how donna uses performance art and other practices as tools for artistic research, elaborating a challenging critique of the existing narratives of history and traditional modes of storytelling. Donna currently has a solo exhibition at the Wits Art Museum, entitled "Ways-of-Remembering-Existing" which runs until the 5th of November. Donna was born in Mafikeng, in the then South African homeland of Boputsawana in 1981. After completing a Fine Arts degree at the Tswana University of Technology, she studied for a Masters in Public Art in Switzerland. She was awarded the Standard Bank Young Artist Award for Performance Art in 2014 and has gone on to exhibit and present performances at a range of prestigious national and international galleries and museums including the Museum of Modern Art in Antwerp, the nGbk in Berlin, the New Museum in New York, and the South African National Gallery in Cape Town. She is currently the Professor of Contemporary Art in the Global South at the Academy of Media Arts in Cologne, Germany. In this conversation, we explore donna's personal trajectory as an artist, and her experience of different kinds of arts education in South Africa and Europe. We also discuss her Standard Bank Young Artist Award for Performance Art, the impact this had on her career and the significance of performance art in post-apartheid South Africa. We then concentrate on the interrogation of history in donna's work, and the collaborative research project, the Centre for Historical Re-enactments, which she initiated during her time as a lecturer at Wits together with Gabi Ngcobo and Kemang Wa Lehulere. We also examine donna's radical conception of written histories, which in her practice is not limited to the physical form of bound pages in book, but moves through rumour, memory, performance, drawing, sculptural objects, installations and sound. Finally, we unpack the creative process behind her video/performance work “The Swing (After after Fragonard) from 2009. The Swing is one of the 4 video pieces featured at her WAM exhibition. I had understood that the work was a complex critical reconfiguration of two previous works, the 18th Century Rococo painting The Swing by Fragonard, and then Yinka Shonibare's decolonial installation from 2001 called The Swing (after Fragonard), but I had no idea of what went into the creation of donna's work or the dramatic personal consequences for her of the performance on a swing high above Mai-Mai market in downtown Johannesburg. Important links: donna's WAM exhibition info: https://www.wits.ac.za/wam/exhibitions/ donna's video, The Swing (after after Fragonard): https://vimeo.com/202671614 Her gallery representation in SA: https://blankprojects.com/Donna-Kukama-Bio Nontobeko Ntombela's essay on donna and Reshma Chhiba's performance art: https://www.academia.edu/73685573/Silent_Toyi_Toyis_in_the_work_of_Donna_Kukama_and_Reshma_Chhiba donna's Instagram with a wealth of images and videos of her work. https://www.instagram.com/kukama_wa_kukama/?hl=en

In this dialogue Prof Christo Doherty of ARA speaks to donna Kukama, a South African born interdisciplinary artist who works with performance, works on canvas, sculptural objects, video, and site-specific installation. The underlying topic of this conversation is how donna uses performance art and other practices as tools for artistic research, elaborating a challenging critique of the existing narratives of history and traditional modes of storytelling. Donna currently has a solo exhibition at the Wits Art Museum, entitled "Ways-of-Remembering-Existing" which runs until the 5th of November. Donna was born in Mafikeng, in the then South African homeland of Boputsawana in 1981. After completing a Fine Arts degree at the Tswana University of Technology, she studied for a Masters in Public Art in Switzerland. She was awarded the Standard Bank Young Artist Award for Performance Art in 2014 and has gone on to exhibit and present performances at a range of prestigious national and international galleries and museums including the Museum of Modern Art in Antwerp, the nGbk in Berlin, the New Museum in New York, and the South African National Gallery in Cape Town. She is currently the Professor of Contemporary Art in the Global South at the Academy of Media Arts in Cologne, Germany. In this conversation, we explore donna's personal trajectory as an artist, and her experience of different kinds of arts education in South Africa and Europe. We also discuss her Standard Bank Young Artist Award for Performance Art, the impact this had on her career and the significance of performance art in post-apartheid South Africa. We then concentrate on the interrogation of history in donna's work, and the collaborative research project, the Centre for Historical Re-enactments, which she initiated during her time as a lecturer at Wits together with Gabi Ngcobo and Kemang Wa Lehulere. We also examine donna's radical conception of written histories, which in her practice is not limited to the physical form of bound pages in book, but moves through rumour, memory, performance, drawing, sculptural objects, installations and sound. Finally, we unpack the creative process behind her video/performance work “The Swing (After after Fragonard) from 2009. The Swing is one of the 4 video pieces featured at her WAM exhibition. I had understood that the work was a complex critical reconfiguration of two previous works, the 18th Century Rococo painting The Swing by Fragonard, and then Yinka Shonibare's decolonial installation from 2001 called The Swing (after Fragonard), but I had no idea of what went into the creation of donna's work or the dramatic personal consequences for her of the performance on a swing high above Mai-Mai market in downtown Johannesburg. Important links: donna's WAM exhibition info: https://www.wits.ac.za/wam/exhibitions/ donna's video, The Swing (after after Fragonard): https://vimeo.com/202671614 Her gallery representation in SA: https://blankprojects.com/Donna-Kukama-Bio Nontobeko Ntombela's essay on donna and Reshma Chhiba's performance art: https://www.academia.edu/73685573/Silent_Toyi_Toyis_in_the_work_of_Donna_Kukama_and_Reshma_Chhiba donna's Instagram with a wealth of images and videos of her work. https://www.instagram.com/kukama_wa_kukama/?hl=en

Unframed — This episode is a talk that I recorded at the Wits Art Museum in July 2019, between two prolific South African artists, Sam Nhlengethwa and William Kentridge, over the time that Sam’s print retrospective was displayed at WAM. This talk continues from a previous conversation between the two last year at the Centre for the Less Good Idea. Both artists were born in 1955, a fact on which the talk was premised, and engaged how their lives and careers have grown in parallel, sometimes converging, over the decades. The conversation is moderated by the wonderful Neil Dundas, a curator at the Goodman Gallery who has worked with both men for many decades. The focus of this conversation is largely on how music has been so influential to both their art practices and they have compiled a playlist which they refer to during the talk. Those music pieces haven’t always translated well in the recording so I have included the playlist below so you can listen to each song with more appreciation. On iTunes: https://music.apple.com/za/playlist/sam-william-at-wam-2019/pl.u-38oWXm4sZlZbaL On Spotify: https://open.spotify.com/playlist/0M9hFoHYaXkfXPEtdDjOSB Enjoy listening to this engaging conversation with Sam Nhlengethwa and William Kentridge. Thank you to Wits Art Museum for allowing me to record this talk and publish it on Unframed.

This episode is a talk that I recorded at the Wits Art Museum in July 2019, between two prolific South African artists, Sam Nhlengethwa and William Kentridge, over the time that Sam's print retrospective was displayed at WAM. This talk continues from a previous conversation between the two last year at the Centre for the Less Good Idea. Both artists were born in 1955, a fact on which the talk was premised, and engaged how their lives and careers have grown in parallel, sometimes converging, over the decades. The conversation is moderated by the wonderful Neil Dundas, a curator at the Goodman Gallery who has worked with both men for many decades. The focus of this conversation is largely on how music has been so influential to both their art practices and they have compiled a playlist which they refer to during the talk. Those music pieces haven't always translated well in the recording so I have included the playlist below so you can listen to each song with more appreciation. On iTunes: https://music.apple.com/za/playlist/sam-william-at-wam-2019/pl.u-38oWXm4sZlZbaL On Spotify: https://open.spotify.com/playlist/0M9hFoHYaXkfXPEtdDjOSB Enjoy listening to this engaging conversation with Sam Nhlengethwa and William Kentridge. Thank you to Wits Art Museum for allowing me to record this talk and publish it on Unframed.

Digital Imaginaries – Africas in Production | Kurzportrait [17.11.2018 - 17.03.2019] Digital Imaginaries ist ein gemeinsames Projekt von Kër Thiossane und dem Afropixel Festival in Dakar, dem Wits Art Museum und dem Fak'ugesi African Digital Innovation Festival in Johannesburg sowie dem ZKM | Zentrum für Kunst und Medien Karlsruhe, gefördert im Fonds TURN der Kulturstiftung des Bundes und durch das Bundesministerium für wirtschaftliche Zusammenarbeit und Entwicklung. KünstlerInnen: Larry Achiampong / Sénamé Koffi Agbodjinou, L’Africaine d’architecture / Younes Baba-Ali / David Blandy / Tegan Bristow, Alex Coelho, Russel Hlongwane & João Roxo / Kombo Chapfika / CUSS Group / Milumbe Haimbe aka ArtisTrophe / Olalekan Jeyifous & Wale Lawal / Wanuri Kahiu / Isaac Kariuki / Francois Knoetze / Maurice Mbikayi / Marcus Neustetter / DK Osseo-Asare & Yasmine Abbas, Agbogbloshie Makerspace Platform (AMP) / Tabita Rezaire / The Nest Collective Kuratiert von Oulimata Gueye, Julien McHardy, Philipp Ziegler Kuratorische Assistenz: Bettina Korintenberg, Barbara Zoé Kiolbassa (Vermittlung) Wissenschaftliche Beratung und Projektinitiator: Richard Rottenburg

Lynne Cooney is the Artistic Director and chief curator of the Boston University Art Galleries where she has organized numerous group and solo exhibitions. Lynne received a BA in English from Simmons College, Boston, an MFA in photography from the California College of the Arts, San Francisco, and an MA in Art History from Boston University. She is currently a Ph.D. candidate at Boston University’ in the Department of History of Art and Architecture. Her dissertation examines concepts of race and representation in the art collections of the Wits Art Museum in Johannesburg, South Africa. She was awarded a Fulbright Fellowship to South Africa during the 2014-2015 academic year. In this episode, we talk about her background in photography, literature and how this lead her to get an MFA to decide not to be an artist but rather a curator. Lynne talks about her love of education and artist-run spaces which lead her to work at Boston University. We talk about the nuts and bolts that impact curatorial decisions such as logistics and responding to the space. We talk about shows she has organized, how she discovers artists and also tips for artists looking to work with curators.   Thank you to Hannah Cole of Sunlight Tax for sponsoring this episode! Get 15% off by going to this link and entering ILIKEYOURWORK   LINKS MassArt CCA Boston University Wexner Center of the Arts On Pause: Meditation at the Wexner Center for the Arts Studio Visit Artist  

Arts Research Africa — This is a podcast of the 5th dialogue in the Arts Research Africa, Creative Work Supervision series in The Wits School of Arts, University of the Witwatersrand, Johannesburg. Entitled “Can we go beyond the Readymade? - the creation of new artistic works and the art of collaboration (within an academic environment)”, this was a dialogue between ARA Artist in Residence, Dr Kathleen Tagg, and Dr Cameron Harris from the Wits Music Department, held on Wed 12 September 2018. In this podcast Kathleen Tagg and Cameron Harris reflect on the lessons learn from her creative collaboration with a group of 4th year Music Composition students from Wits Music Department which was inspired by the visual art exhibition at the Wits Art Museum, Beyond the Readymade, curated by Dr Alison Kearney. Dr Kathleen Tagg, currently an Arts Research Africa Artist in Residence in the Wits School of Arts, is a 2014-15 Composition Fellow of the Dramatist Guild of America, and is a pianist, composer, producer and music director based in New York City. Over the past decade she has been prolific as a songwriter, but has also written for combinations as diverse as symphony orchestra, choir, string quartet, piano with electronics and six-piece band. Kathleen holds the Helen Cohn Award as outstanding Doctoral graduate of the Manhattan School of Music, where she taught for four years, as well as well as degrees from Mannes College and the University of Cape Town. She is currently on the faculty of SongFest in Los Angeles. Dr Cameron Harris is Senior Lecturer in the Music Department in the Wits School of Arts, were he teaches music theory and electroacoustic composition. He was the chair of NewMusicSA, the South African section of the International Society for Contemporary Music from 2008 until 2012 and has curated a number of festivals for the organization including New Music Indaba festival, and the Unyazi electronic music festival. He is currently on the board of the ‘Bowed Electrons’ music

This is a podcast of the 5th dialogue in the Arts Research Africa, Creative Work Supervision series in The Wits School of Arts, University of the Witwatersrand, Johannesburg. Entitled “Can we go beyond the Readymade? - the creation of new artistic works and the art of collaboration (within an academic environment)”, this was a dialogue between ARA Artist in Residence, Dr Kathleen Tagg, and Dr Cameron Harris from the Wits Music Department, held on Wed 12 September 2018. In this podcast Kathleen Tagg and Cameron Harris reflect on the lessons learn from her creative collaboration with a group of 4th year Music Composition students from Wits Music Department which was inspired by the visual art exhibition at the Wits Art Museum, Beyond the Readymade, curated by Dr Alison Kearney. Dr Kathleen Tagg, currently an Arts Research Africa Artist in Residence in the Wits School of Arts, is a 2014-15 Composition Fellow of the Dramatist Guild of America, and is a pianist, composer, producer and music director based in New York City. Over the past decade she has been prolific as a songwriter, but has also written for combinations as diverse as symphony orchestra, choir, string quartet, piano with electronics and six-piece band. Kathleen holds the Helen Cohn Award as outstanding Doctoral graduate of the Manhattan School of Music, where she taught for four years, as well as well as degrees from Mannes College and the University of Cape Town. She is currently on the faculty of SongFest in Los Angeles. Dr Cameron Harris is Senior Lecturer in the Music Department in the Wits School of Arts, were he teaches music theory and electroacoustic composition. He was the chair of NewMusicSA, the South African section of the International Society for Contemporary Music from 2008 until 2012 and has curated a number of festivals for the organization including New Music Indaba festival, and the Unyazi electronic music festival. He is currently on the board of the ‘Bowed Electrons' music

CliffCentral.com — We chat to Candice Wyatt from Wyatt Hairdressing And Barbering and Lesley Spiro Cohen from the Wits Art Museum about 'Doing Hair: Art and Hair in Africa'. Trends, hairstyles and how much women are willing to pay for their hair.