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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 hosts colloquium on technological higher education
2016-10-27

Description: Technology colloquium Tags: Technology colloquium

Prof Lew Zipin, Prof Sechaba Mahlomaholo,
Prof Marie Brennan and Dr Milton Nkoane,
attended the Faculty of Education’s colloquium
on the field of technological higher education
and its contribution to the knowledge society,
at the UFS Bloemfontein Campus. 

The University of the Free State’s (UFS) Faculty of Education, in collaboration with the Research and Development Unit from the Central University of Technology (CUT), hosted a colloquium on the field of technological higher education and its contribution to the knowledge society. Prof Marie Brennan and Prof Lew Zipin, both from Victoria University in Melbourne, Australia, presented the keynote addresses of the colloquium.

The past, present and future
The current fees protests in South Africa have caused universities to rethink and strategise new ways of delivering knowledge. Prof Brennan cautioned that when moving towards technological solutions for teaching, a crucial balance between past knowledge and practices and present and future knowledge and practices needed to be maintained.
“Knowledge is always dynamic, always generated from live problems, and therefore always relies on social interactions. Face-to-face interaction is removed by intense interaction with technology. If knowledge is presently linked to technology, we as academics must be able to move it. However, we should not neglect the indigenous knowledge that was generated through face-to-face interaction,” said Prof Brennan.
She purported that a reconnection between social relations and technology was important but to achieve this, a clearer pedagogical understanding of knowledge production was needed.

Never simplify complex problems

Prof Zipin said academics were constantly seeking complex problems and therefore could not reduce the complexity of a problem to simplify it for students entering the higher education space.
“We need to become a knowledge society. Ideologies often sway us not to look at the complexities of knowledge otherwise these ideologies would not be persuasive,” said Prof Zipin.

Is the technological move counterproductive?
Prof Zipin also cautioned that the move towards technological means for transferring knowledge had its own drawbacks. Institutions are a knowledge economy and its product is human capital. However, producing graduates who catered only to a technological society created downward mobility.
“People’s jobs are replaced by technology. This causes wages to decrease significantly because of structural inequalities, the move towards tech-based schooling should be done cautiously,” said Prof Zipin.

Simplicity not the ultimate sophistication
Prof Zipin concluded by stating that higher education had a responsibility to give its students the best possible future, this could be done by creating hegemonic relationships between institutions of higher learning, government and the private sector. Academics needed to fill the gap and apply their knowledge by applying complexity to social issues and allowing the complexity of these issues to flourish, the professor said.

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