The text defines Modernism as a term used in the context of art history to refer to European works created between 1860 and 1950. In a South African context, it has been used to describe the works of white artists influenced by the Avant Gard movement. Further claims in the text state that traditional modes of art-making are challenged by new understandings of modernity. There are multiple ways in which modernity can manifest stylistically, and the text refers to both realistic and abstract styles seen in works by black artists, who had neither formal training, nor access to art institutions, under the apartheid regime.  

A realistic stylistic approach is described as intended documentation of certain aspects of apartheid. For example, artists using the realistic approach would depict realities of urban townships and rural areas to show the suffering and deprivation that apartheid caused. The text describes how the realness of a work – how closely it resembled a photograph – often indicated a strong Modern style, as the photograph-like representation mimicked mechanical modes of reproduction.  

Abstract works of art used poetic, allegorical and metaphorical references. Artists focused on composition, balance, contrast and harmony when working, to create works explicit in their critique of apartheid, but not realistically so. This subtlety and distortion evoked a sense of loss.  

The text concludes by classifying the South African Modernist movement as artistic works that have taken on several forms, and ongoing research will be conducted to better inform art historians on this period of South African art history. Contemporary subject matter and simple naturalism of wooden sculptures is said to have been inspired by western art. Furthermore, abstract Modern artworks differentiate from those which would be considered traditional as they are intentionally and precisely created with a development of geometrical and non-realistic elements.  

Modernity cannot be mentioned in a South African context without mention of colonialism. Due to the movement being of European origin, the term “black modernisms” is almost a sub-genre that came from the need to label South Africa artists working in this period, under the apartheid regime, as “Modern artists”. If the word “black” was not there, viewers would automatically associate the exhibition with the western movement. I find that we need to question whether there is a need for Black Modernism – it is not necessary to find artworks that share qualities with western art made by black artists. The need to find a name for something rather than allowing it to exist naturally creates a boundary. Rather than liberating these artists from the western colonialists, the action of framing art in a particular movement is a western ideal, thus furthering the exact problem that the exhibition attempts to solve. I feel that it would be more useful to allow these artworks to exist in an African contemporary genre of art. This idea is seen again by the way in which the exhibition is laid out. The room is cluttered and organized per ethnography as opposed to theme or style, contrary to any other exhibition. In categorizing art by artists’ origin and race, there is more of a focus on the ethnographic differences as opposed to the art itself. This mode of organization is reminiscent of western taxonomy, which originated from the slave trade – it is ironic that the curator would use such a mode of organization at an exhibition with a theme such as this.  

The dates clearly indicate that these artworks were made during apartheid. Both the realistic stream and the abstract stream of the movement are detailed as depicting angst towards the regime. In addition to wanting to express a liberation from western ideals, the execution of Black Modernisms also appears to portray black artists in a way that seems to create more separation – though this was clearly not its intent. Nontobeko Ntombela brought up the fact that it is almost impossible to create such an exhibition without silencing or marginalizing any group, but it is also clear that in curating such an exhibition such inclusions and exclusions can be apparent. Such an exhibition should embody the ideals of the institution at which it is hosted or bind itself to the institution's ideology. However, and it comes across that the institution is focusing on black people without taking into account other marginalized groups of South African artists.

References:

Nettleton, A. (2016). Black Modernisms. Johannesburg: Wits Art Museum.

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