“Ordinary People, Ordinary Issues, Ordinary Emotions”: Practising with Garth Erasmus and black consciousness

by Thulile Gamedze

“Although much still remains to be discovered, and still more to be developed, this Biko—who knew that we inhabit a ‘larger world than the sophisticated westerner’—still has a lot to say. This Biko belongs to a different order of time, heterogeneous and dense, where the dead still live with us, and past and present are reconfigured in the instantaneous time of the here and now.” [1]

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Garth Erasmus: The unorthodox painter

Note: This review was originally published online in 2005.

Garth Erasmus comes from rural roots in the Eastern Cape . He studied Fine Arts at Rhodes University (1978-80) before moving to Cape Town . He taught art from 1982-1997 before becoming a full-time artist. Erasmus is well represented in the Smithsonian Institution’s National Museum of African Art, Washington DC.

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An Engaged Practice: a conversation with Ayesha Price

[1]

by Greer Valley

I first met Ayesha Price in 2007 when I volunteered for an art project in Cape Town called PEACEJAM where she was a facilitator. I remember how in awe I was of the way she skillfully switched between media and commanded the attention of a room full of young artists who would travel from across the city to attend the weekly art workshops held at the District Six Museum. The joy of making, a pedagogical impulse and a commitment to social justice are central to Price’s practice. The choice of meeting place for this interview – the District Six Museum’s café speaks to her rootedness in the District Six community, the part of Cape Town she calls home, and her ongoing commitment to marking its significance in the city’s history – a history that is often at risk of erasure or misrepresentation through the city’s political and market-driven projects.

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Garth Erasmus: the knots of time and place

“I was Simply Never Part of The Dance. I Was a Wall Flower.”

by Valeria Geselev [1]

I can’t recall the first time I met Garth Erasmus. It might have been in 2014 at one of his performances with As Is in Observatory, Cape Town. Or it could have been in 2015 at an exhibition opening or a workshop hosted by Greatmore in the neighbouring Woodstock. He was around being active, and I was around being curious.

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