Articles

The book Mihloti ya Ntsako – Journeys with the Bongi Dhlomo Collection, is both a chronicling of a collection and a biography of its collector, the accomplished artist, curator and arts administrator, Bongiwe Dhlomo-Mautloa, better known as Ma Bongi Dhlomo.

"I spent a lot of time thinking about what it meant for artists to make, in a continuously disorienting world that is hungry for things that are bigger, better, faster, newer and shinier..." - Nkgopoleng Moloi

Nabeeha Mohamed was born in Cape Town in 1988. Her paintings and prints confront the contradictions of her position in post-Apartheid South African society.

Based in Cape Town and entirely self taught, South African artist Jono Dry has worked for the last thirteen years on creating a practice centred around his large-scale hyperrealist graphite works.

The Social Impact Arts Prize awards artists who situate their practices in socially concerned conditions ranging from the environment and climate change to human relations and social pressures of an unequal society. Read about the 2022 winners.

Liza Grobler explores Norman O’Flynn's solo exhibition.

Nine percent of the world’s most valued ‘Ultra-contemporary’ artists are from Africa, according to a new art market report

Latitudes is thrilled to share our latest collaboration between Munich Re, Waldman Studios, David Krut Projects and artist, Pebofatso Mokoena.

The Melrose Gallery presents Jean-David Nkot's solo show Corps de [email protected] Jean-David Nkot is above all, at least for the moment, a painter. His work, even when it contains elements of abstraction, is essentially figurative, obsessed with the body and its representation.

Catch Stephen Welz & Co's auction from 21 - 24 November 2022.

David Mann explores the benefits writers gain from the collaborative and generative act of welcoming visual art into their narratives.

MADEYOULOOK brings together a selection of artists and projects form documenta 15 for a series of talks, workshops, screenings and listening sessions on the subject of land.

Everywhere, it seems, abstraction is the resurgent signifier. How so? Because we are tired of being told what to see and value? Because ours is a world riven by identity politics, split by extremism on the Left and Right, consumed by the spectre of fascism – by Absolutes.

Is it possible to hold an exhibition with only three paintings? More importantly, can you drum up an audience without disappointing them? Surprisingly, a Joburg-based curator, Clive Kellner, director of the Johannesburg Contemporary Art Foundation (JCAF), has managed to achieve both with the latest exhibition, Kahlo, Sher-Gil, Stern: Modernist Identities in the Global South.

For the first time in its 20-year history, most of the major hand-embroidered tapestries created by the Keiskamma Art Project are being exhibited together in one place: Constitution Hill in Johannesburg.