Latest News Archive

Please select Category, Year, and then Month to display items
Previous Archive
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

Renowned writer for Africa Day
2012-05-31

 

Attending the lecture were, from left: Dr Choice Makhetha, Vice-Rector: External Relations; Prof Kwandiwe Kondlo, Director of the Centre for Africa Studies;Prof. Ngugi wa Thiong'o; Prof Lucius Botes, Dean of the Faculty of the Humanities, and Prof Andre Keet, Director of the Institute for Reconciliation and Social Justice..
Photo: Stephen Collett
25 May 2012

Photo Gallery

Lecture: THE BLACKNESS OF BLACK: Africa in the World Today

Audio of the lecture

Profile of Professor Ngugi wa Thiong'o (pdf format)

“Flowers are all different, yet no flower claims to be more of a flower than the other.” With these words Kenyan writer and one of the continent's most celebrated authors, Prof. Ngugi wa Thiong’o, delivered the tenth annual Africa Day Memorial lecture on 25 May 2012 in the University of the Free State's (UFS) Odeion Theatre on the Bloemfontein Campus. The lecture was hosted by the Centre for Africa Studies.

Long before Prof. wa Thiong’o was led inside the venue by a praise singer, chairs were filled and people were shown to an adjoining room to follow the lecture. Others, some on the university's Qwaqwa Campus, followed via live streaming.

In his speech titled the Blackness of Black: Africa in the world today, Prof. wa Thiong’o looked at the standing of Africa in the world today. He highlighted the plight of those of African descent who are judged “based on a negative profile of blackness”.

Prof. wa Thiong’o recalled a humiliating experience at a hotel in San Francisco in the United States, where a staff member questioned him being a guest of the hotel. He shared a similar experience in New Jersey, where he and his wife were thought to be recipients of welfare cheques. He said this was far deeper than overt racism.

“The certainty is based on a negative profile of blackness taken so much for granted as normal that it no longer creates a doubt.”

Prof. wa Thiong’o said the self certainty that black is negative is not confined to white perception of black only.

“The biggest sin, then, is not that certain groups of white people, and even the West as a whole, may have a negative view of blackness embedded in their psyche, the real sin is that the black bourgeoisie in Africa and the world should contribute to that negativity and even embrace it by becoming participants or shareholders in a multibillion industry built on black negativity.”

“Africa has to review the roots of the current imbalance of power: it started in the colonisation of the body. Africa has to reclaim the black body with all its blackness as the starting point in our plunge into and negotiations with the world.”

Prof. wa Thiong’o concluded by saying that Africa must rediscover and reconnect with Kwame Nkrumah’s dreams of a politically and economically united Africa.

We use cookies to make interactions with our websites and services easy and meaningful. To better understand how they are used, read more about the UFS cookie policy. By continuing to use this site you are giving us your consent to do this.

Accept