A Black Aesthetic challenges South Africa’s dominantly white art history landscape by inviting academics, artists, scholars and the public at large to critically engage with the black contemporaries of Cecil Skotnes, Hendrik Pierneef and Alexis Preller.
A Black Aesthetic: A View of South African Artists “You know there are four books on [Gerard] Sekoto, two on Dumile [Feni] and hardly anything on the likes of Ephraim Lagae and yet the gravitas of all these artists are equally the same in terms of the influence they had and the body of work that they created. That’s the work I’m posing to the students and scholars.
Konopi then goes on to add that although he understands that his education is meant to address the imbalances of the past by equipping him with knowledge, there is a need for it to incorporate the economic know-how he will need to sustain a creative career. In addition to universities, colleges and universities of technology, South African community art centres serve aspiring artists who are unable to attend those more established institutions. Back in the day, during the mid-20th century, these state-funded art centres ignited the black artist’s sociopolitical DNA by providing them with tools and platforms to aestheticise their political assertions.
Career curation: Pfunzo Sidogi says art education needs to evolve from its dated practices and shed its exclusionary nature.
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