Encompassing black-and-white linoleum cuts made at community art centres in the 1960s and 1970s, resistance posters and other political art of the 1980s, and the wide variety of subjects and techniques explored by artists in printships over the last two decades, printmaking has been a driving force in contemporary South African artistic and political expression. Impressions from South Africa: 1965 to Now, published to accompany an exhibition at The Museum of Modern Art, introduces the vital role of printmaking through works by more than twenty artists in the Museum's collection. The volume features prints by John Muafangejo and Dan Rakgoathe, a selection of posters produced for anti-apartheid coalitions in the 1980s, and nuanced political work by SueWilliamson, Norman Catherine andWilliam Kentridge. The book features many more recent projects, demonstrating the contemporary relevance of the medium in South Africa today. The work, presented in a generous plate section, is contextualized in an introduction by Judith B. Hecker, and accompanied by brief biographies of the artists, a timeline of relevant events in South African history, and a selected bibliography.

Presents a catalog of an exhibition that features Picasso's paintings, constructions, collages, drawings, and photographs of guitars.

A CD-ROM and DVD set extracted from the 'The Art of Africa: A Resource for Educators.' The CD-ROM "contains a PDF of 'The Art of Africa: A Resource for Educators, ' which features forty traditional works of African art in The Metropolitan Museum of Art. It includes a brief overview of the Metropolitan's collection of African art; a short introduction and history of Africa; an explanation of the role of visual expression in the continent; descriptions of the featured works of art and background about the materials and techniques that were used to created them ... The DVD, 'Ci Wara Invocation, ' "presents the highlights of a dozen ci wara performances in Bamana communities in present-day Mali that were recorded by five different observers between 1970-2002. Among the Bamana, oral traditions credit a mythical being named Ci Wara, a divine being half mortal and half antelope, with the introduction of agriculture to the Bamana. The ci wara performances are part of biannual celebrations that either launch or conclude the farming season."--Container

Finland's special characteristics as a Nordic, non-aligned welfare state gave it the resources and motivation to support liberation movements - in spite of restrictions arising from trade interests and a reluctance to jeopardise the country's neutral image. The study shows that, although it is not an easy task, in a democracy ordinary, dedicated people can, over time, influence political decision making at its most closed and guarded area, foreign politics.

This visually compelling publication highlights The Museum of Modern Art's unparalleled collection of prints and books byWilliam Kentridge - nearly fifty works spanning the past three decades. The book also features a succession of artistic interventions made by Kentridge especially for the occasion. Kentridge's practice brings together drawing, film animation, books, sculpture and performance. Too little known is the extent to which the artist applies his astonishing draftsmanship to the techniques of printmaking, including etching, screenprinting, lithography and linoleum cut. In fact printmaking has always been essential to his work, from his first forays into visual art in the 1970s to his recent large-scale operas. Kentridge's love of the printed image extends to an embrace of books. He often draws and prints on unbound pages from encyclopaedias, ledgers and the like, the readymade support adding nuance and complexity to his work. He has extended these practices in William Kentridge: Trace, using translucent pages interspersed throughout the book to respond to his prints reproduced between them in a visual dialogue between the past and the present. The book also includes an essay, an annotated checklist, a chronology and the text of a lecture by Kentridge on printmaking, illuminating its relevance to his broader practice. The publication coincides with the Museum's presentation of the touring exhibition William Kentridge: Five Themes. MoMA's presentation will be unique in its addition to the numerous collection works, including most of the prints reproduced in this volume.

"The evangelical Lutheran Art and Craft Centre at Rorke's Drift, as one of the very few places that offered training to black artists during the years of aparthied, played a key role in South African art, not only for those who studied there, but the many others whom they trained or influenced in turn." "Drawing on a wide range of interviews with participants in the Rorke's Drift project, not only from South Africa, but also from Sweden, the Netherlands, Britain and the USA, this book sets out to write the story of the beginnings of the Centre in the 1960s, the founding and development of the Fine Art School in 1968, and the contribution of teachers and students until its closure in 1982." --book jacket.

The visual arts exhibition, Personal Affects: Power and Poetics in Contemporary South African Art, presents newly commissioned and recently produced works by seventeen South African artists. The artworks represent the artists' responses to a weeklong stay in New York and their visits with the international team of curators. The exhibition features various media including sculpture, drawing, photography, painting, installation, video, performance, and dance. The common thread throughout the exhibition is the higly personal point of departure of the artists' working methods that are informed by their varied experiences as South Africans. Volume I features an introduction by the exhibition curators, texts by David Brodie, Okwui Enwezor, Laurie Ann Farrell, Churchill Madikida, Tracy Murinik, Sophie Perryer, and theoretical essays by Liese van der Watt and Okwui Enwezor. Participating artists: Jane Alexander, Wim Botha, Steven Cohen, Churchill Madikida, Mustafa Maluka, Thando Mama, Sams