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19 August 2020 | Story Rulanzen Martin | Photo Supplied

 

Art in itself is a journey of self-exploration; with a global pandemic raging, art lovers can now explore this journey virtually. The Johannes Stegmann Gallery at the University of the Free State (UFS) is happy to announce the (second) virtual exhibition of Leeto: a Sam Nhlengethwa Print Retrospective until 4 September 2020. 

 


Sam Nhlengethwa, Tribute to Lemmy 'Special' Mabaso, 2002, Seven colour lithograph, 76 x 106 cm, 
Artwork courtesy of the artist and the Goodman Gallery. 


The exhibition features a collection of Sam Nhlengethwa’s print work to be interrogated, his artistic evolution to be mapped out, and his personal aesthetics to be interpreted, while surveying this renowned artist’s print work from 1978 to 2018.  The underlying theme of the exhibition is jazz, an early influence in Nhlengethwa’s works from the underground jazz community of the townships. His brother was a jazz musician and he started collecting jazz records from the early age of 17.

Leeto is a Setswana/Sesotho word for ‘journey’ and, as the word suggests, the exhibition explores the ongoing artistic footsteps of the artist. The collection was curated by Boitumelo Tlhoaele, a doctoral fellow in the Africa Open Institute for Music, Research, and Innovation at Stellenbosch University.

 Dedicated to Victor Ndlazilwana, 1994, Colour lithograph, 40 x 60 cm

 
Dedicated to Victor Ndlazilwana, 1994, Colour lithograph, 40 x 60 cm
Artwork courtesy of the artist and the Goodman Gallery.




About the artist: 

Nhlengethwa began his career in 1976 during one of South Africa’s most tumultuous socio-political eras. In 1978, he completed a two-year diploma at the Evangelical Lutheran Church Art and Craft Centre, Rorke’s Drift, KwaZulu-Natal, where printmaking was a prominent feature of the centre’s activities. Nhlengethwa’s work spans a variety of mediums, from painting, drawing to collage, and some of his works have been translated into tapestries. One of his big cityscape works was translated into a mosaic. In addition to all the afore-mentioned mediums, Nhlengethwa also produced an impressive and sizeable body of printmaking works. 

He has collaborated with several South African printmaking studios, such as The Artists’ Press, Artist Proof Studio, David Krut Print Workshop, LL Editions Fine Art Lithography Studio, MK and Artist Print Workshop, Mo Editions Printmaking Studio, and Sguzu Printmaker’s Workshop. Since 1994, he has produced 163 prints in collaboration with The Artists’ Press, making it his longest and most productive affiliation. 


 

News Archive

Academics should strive to work with students towards publishing, says NRF-rated researcher
2017-07-17

Description: Dr Rodwell Makombe Tags: National Research Foundation University of the Free State Qwaqwa Campus Department of English  

Dr Rodwell Makombe, Y-gegradeerde navorser.
Foto: Thabo Kessah


“The National Research Foundation (NRF) is a prestigious research institution and to be recognised by such an institution means that my work is worthwhile. This alone motivates me to do more research.” This is how Dr Rodwell Makombe reflected on his recent recognition as an NRF-rated researcher – one of the few on the Qwaqwa Campus. He is a Senior Lecturer in the Department of English at the University of the Free State’s Qwaqwa Campus.

“This recognition is indeed an important milestone in my research career. It means that my efforts as a researcher are recognised and appreciated. The financial research incentive will enable me to engage in more research, attend conferences, and so forth,” he said.

Comparing research in the Humanities and Sciences

Dr Makombe’s research area is broadly postcolonial African literature, but he is particularly interested in postcolonial literatures and resistance cultures. He is currently working on a book project entitled Visual Cultures of the Afromontane.

When asked what he thought about Natural Sciences being in the lead as far as research is concerned, he said that this is mainly caused by funding opportunities.

“It means that my efforts as a
researcher are recognised and
appreciated.”

“It is easier to access funding for research in the Natural Sciences than for the Humanities. Researchers in the Humanities usually do research without any form of funding. However, there are also differences in the way research is done in the Sciences than in the Humanities. Science researchers tend to work together on different projects, which make it easier for them to have their names on publications, no matter how small their contribution. This is also connected to the issue of funding,” he added. 

He continued: “Since research in the Humanities is largely unfunded, it is difficult for researchers to establish research groups. Another issue is that most academics in the Humanities do not necessarily teach modules within their research interests. Therefore, they tend to be overloaded with work as they have to do research in one area and teach in another area.”

NRF-rating and funding

For Dr Makombe, the solution to this challenge lies in academics in the Humanities working towards publishing with their students. “This way,” he said, “both the students and the academics will get publications that will help them to get NRF-rating and other forms of research funding. Modules in the Humanities need to be aligned to academics’ research interests to avoid mismatches between teaching and research.” 

He previously worked at the University of Fort Hare and the Durban University of Technology and has published several articles in both local and international journals.

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