The early black printmaker(s) in Ilanga lase natal, 1903–1905.
Sidogi, Pfunzo
Sidogi, Pfunzo
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Abstract
A review of select authoritative texts on south african art history locates the emergence of printmaking as a creative endeavour among black people in the 1950s and 1960s.1 the gospel-like art-historical writings of, among others, philippa hobbs and Elizabeth Rankin, Juliette Leeb du Toit, Elza Miles, Judy Seidman, Judith B Hecker and Gavin Jantjes and colleagues2 carefully stitch together the genealogies of printmaking practices of Black people,3 tracing the genesis of printmaking to mid twentieth-century schools that targeted Black creatives, for example Polly Street Art Centre (est 1949), ndaleni Art School (est 1952) and the Evangelical Lutheran Church Art and Craft Centre at Rorke’s Drift(est 1962). My aim in what follows is not to discredit these essential educational mappings but instead to posit that the parameters of analysis, when engaging with the untold colonial-era art histories of Black people, must be consistently broadened.4 To this end the polyphonic art histories schema proposed in this special issue of Third Text is an
opportune moment for considering alternate chronologies of South African printmaking histories.
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Date
2024-02-02
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Publisher
Routledge, Taylor and Francis Group.
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Keywords
Early black printmarker, Gospel-like, Art -historical writing, Ilanga lase natal, Elizabeth ranking