Sam Nhlengethwa: Joburg Selected
From October 10 to November 9, 2019, Goodman Gallery, Johannesburg will present Joburg Selected, a new body of work by Sam Nhlengethwa which takes the artist’s relationship to the city’s-built environment as its source of inspiration.
Despite living outside of the city to this day, Nhlengethwa has spent much of his life working in and around Joburg, occupying a workspace at the Bag Factory in Fordsburg for 25 years and more recently, a studio at August House in Doornfontein. With this new series, Nhelgethwa reflects on the sights and sounds he’s absorbed during this period, zeroing in on a series of buildings and places which for one reason or another occupy a place in his impression of the city.
In addition, Joburg Selected will feature a new series of lithographic prints by Nhlengethwa. These works add to the artist’s long history of printmaking, recently on display as part of a retrospective at the Wits Art Museum, titled Leeto, which was accompanied by a catalogue of the same name. Nhlengethwa will be signing copies of this catalogue at the opening.
Sam Nhlengethwa was born in the mining community of Payneville Springs in 1955 and grew up in Ratanda location in Heidelberg, east of Johannesburg. He completed a two-year Fine Art Diploma at the Rorkes Drift Art Centre in the late 1970s. While he exhibited extensively both locally and abroad during the 1980s and ’90s, Nhlengethwa’s travelling solo show South Africa, Yesterday, Today and Tomorrow in 1993 established him at the vanguard of critical consciousness in South Africa and he went on to win the Standard Bank Young Artist Award in 1994.
Nhlengethwa was born into a family of jazz lovers; his two brothers both collected jazz music and his deceased eldest brother was a jazz musician. “Painting jazz pieces is an avenue or outlet for expressing my love for the music,” he once said in an interview. “As I paint, I listen to jazz and visualise the performance. Jazz performers improvise within the conventions of their chosen styles. In an ensemble, for example, there are vocal styles that include freedom of vocal colour, call-and-response patterns and rhythmic complexities played by different members. Painting jazz allows me to literally put colour onto these vocal colours.
“Jazz is rhythmic and it emphasises interpretation rather than composition. There are deliberate tonal distortions that contribute to its uniqueness. My jazz collages, with their distorted patterns, attempt to communicate all of this. As a collagist and painter, fortunately, the technique allows me this freedom of expression… What I am doing is not new though, as there are other artists before me who painted jazz pieces. For example, Gerard Sekoto, Romare Bearden and Henri Matisse.”
Nhlengethwa’s work has been included in key exhibitions such as Seven Stories About Modern Art in Africa at the Whitechapel Gallery in London and major publications such as Phaidon’s The 20th Century Art Book. He has had several solo shows in South Africa and abroad, exhibiting in the 12th International Cairo Biennale (2010) and in Constructions: Contemporary Art from South Africa at Museu de Arte Contemporanea de Niteroi (2011) in Brazil. In 2018 Nhlengethwa was included on the group exhibition Beyond Borders: Global Africa at the University of Michigan Museum of Art.
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