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Black Art Post-Apartheid
Because Black South Africans were barred from receiving formal art training during the years of apartheid, the artistic movements that had originated from this community have long since been distinctly classified as “craft” rather than “art.” The traditional canon of African art, categorized as “fine art” had been formed in the 20th century by European and U.S. art audiences. South Africa’s inequality gap is larger than the majority of countries in the world so the audience for art is primarily the rich and not those who are subject to the artistic expression, giving these higher socio-economic groups a gatekeeper status in deciding what is classified as art. After the Soweto Riots of 1976, a new social consciousness emerged that retaliated against the government’s policy of segregation and reexamined the classification of certain Black South African artworks. The first artistic style to receive critic attention was Venda sculpting because it aesthetically appealed to white patrons while also maintaining its “artistic manifestations of ethnic diversity.” These sculptures would be considered “transitional art” rather than “craft” and would gain access into fine art galleries. Other Black artistic expressions such as beadwork, photography, and studio arts have also begun to be slowly integrated into canonical South African art forms.

The Johannesburg Biennale’s Africus (1995) and Trade Routes (1997) had a significant impact on the cultural awareness of new South African art. These events were among the first exhibitions that revealed the “new South African art” to the international community, but also other local South Africans. This gave Black South African artists a new platform to express the effects to which apartheid had influenced society. In the post-apartheid regime, it also gives artists an apparatus to protest social issues such as inequality, sexuality, state control over the personal realm, and HIV/AIDS. However, the emphasis to embody many of these social issues within Black South African art has a led to a stereotype that many young artists are now trying to escape. International pressure has been said to once again demand a level of ‘authenticity’ within South African art that portrays discourse on the topic of apartheid. Scholar Victoria Rovine goes as far as to state that “these exhibitions represent a South Africa that seeks liberation not from apartheid itself but from apartheid as an already predictable subject for artistic production.”