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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

UFS an institution of choice for the most gifted academics
2013-12-05

 
Prof Rob Gordon

Two lecturers at the University of the Free State’s (UFS) Department of Anthropology proved once again that the UFS is indeed an institution of choice for some of the most talented and gifted academics in the country.

Prof Rob Gordon was co-author of the book “Recreating first contact,” which explores how adventure travel, which emerged during the early twentieth century, influenced popular views of anthropology.

It was in this period that new transport and recording technologies, particularly the airplane and automobile and small, portable, still and motion-picture cameras, were used in various expeditions to document the last untouched places of the globe and bring them home to eager audiences.

These expeditions were frequently presented as first contact encounters and enchanted popular imagination. The book further explores the effects – both positive and negative – of such expeditions on the discipline of anthropology itself.

Dr Riana Steyn was co-author of the first Afrikaans play by Athol Fugard, “Die Laaste Karretjiegraf.”

The play focuses on the Karretjie people, itinerant sheepshearers in the Karoo who are direct descendants of South Africa’s first inhabitants. Doing research on the Karretjie people, he came across a master’s thesis in Anthropology by Dr Steyn, who gave him access to her work and eventually co-wrote the play with him.

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