New Arrivals 11th to 17th of July 2015

IAN GROSE, Small Paintings
80pp., colour illus., paperback, Cape Town, 2015. R180
This catalogue brings together Ian Grose's small portraits, painted in a single sitting, and a few cityscapes.

Includes a short essay by Ian Grose.

Ian Grose was born in Johannesburg in 1985 and lives and works in Cape Town. He was awarded the Absa l'Atelier prize and the Tollman Award for Visual Arts in 2011.
MAWANDE KA ZENZILE, The Problem We Didn't Create
79pp., colour illus., paperback, Cape Town, 2015. R180
This catalogue encompasses a body of work ranging from 2010 to Mawande ka Zenzile's most recent solo exhibition, Statecraft, at Stevenson, Cape Town. Ka Zenzile works in painting (combining cow dung with oil paint) sculpture, installation and video.

Includes an essay by the artist.

Mawande ka Zenzile was born in Lady Frere, Eastern Cape, in 1986. He graduated from the Michaelis School of Fine Art in 2014. He won the Michaelis Prize in 2013 and the Tollman Award for Visual Art in 2014.
Schoeman (S.) THE ELOQUENT BEAD, Zulu women communicate
175pp., colour illus., map, paperback, Pietermaritzburg, 2015. OUT OF PRINT
This book on traditional beadwork created in Zululand focuses on how it was used to communicate social standing, values and relationships. The book is illustrated with photographs of items from Stan Schoeman's private collection.

Foreword by Brenda Schmahmann.

Includes the essays, "A Language of Beads" based on research conducted by Stan Schoeman between 1964 and 1968 while teaching in the Department of Anthropology at the University College of Zululand, and "A New Voice", which investigates the role of beadwork in contemporary South Africa.

"Stan Schoeman's approach to collecting beadwork in South Africa in 1964 was remarkable. The stories of the artists he met mattered as much to him as the beadwork articles they created. He had the foresight to recognize that beadwork and the artist were inseparably entwined. He broke away from the normative patterns of collecting at the time which was to understand beadwork in generic terms as 'the material culture' or 'craft' of a particular ethnicity, never going so far as to consider beadwork 'art'." James Green, co-curator "Ubuhle Women: beadwork and the art of independence, Smithsonian Anacostia Community Museum, Washington DC

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