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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

Professor suggests San place-name book
2011-09-28

 

At the inaugural lecture of Prof. Raper were, from left to right: Dr Choice Makhetha, Vice-Rector: External Relations (actg); Prof. Theo du Plessis, head of our Department of Language Management and Language Practice; Prof. Raper; and Prof. Lucius Botes, Dean of our Faculty of Humanities.
Photo: Stephen Collett

Prof. Peter Raper, Honorary Professor: Linguistics, in the Department of Language Management and Language Practice at our university, delivered his inaugural lecture on Tuesday, 27 September 2011. Prof. Raper focused on the topic of “Interpretations and translations of Bushman (San) place names” and he recommended the establishment of a chair for Khoikhoi and Bushman name studies at the UFS. Prof. Raper said that, until about 2 000 years ago, the Bushmen and their ancestors were the only inhabitants of southern Africa and that, presumably, all place names in the region were of Bushman origin. Prof. Raper also suggested the publication of a dictionary of Bushman place names which will contribute to restoring and preserving Bushman toponymic, linguistic and cultural heritage.

In his inaugural lecture, Prof. Raper distinguished between the terms Bushman and San. He said “the term Bushman was for a long time considered an insult and San was preferred. Recently, Bushman became preferable and San is considered an insult”.

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