DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Indictment of a society corroded by racial discrimination and injustice
A new exhibition demonstrates why photographer David Goldblatt became an iconic documentarist of the apartheid system, says JOHN GREEN
ICONIC: Baby with child-minders and dogs in Hillbrow park, 1972 and young man at home, Soweto, 1972
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
SOUTH AFRICAN photographer David Goldblatt, who died in 2018, was not an activist in the usual understanding of the word and saw his work in terms of reflecting reality rather than as direct political engagement. Yet his photos leave the viewer in no doubt about where his sympathies lie.
Renowned for a lifetime of photography exploring his home country, Goldblatt produced an unparalleled body of work within the city of Johannesburg, where he lived for 50 years.
Aged 17, Goldblatt would hitchhike from Randfontein, the small mining town where he was born, into the city where he walked around until the next morning, talking to night watchmen and following his intuition. This process became the foundation of his practice.
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