Monday, October 4, 2010
I don’t think that Martin did herself or Maqhubela any favours by getting Esmé Berman – who pegged Maqhubela as a “township artist” - to open the exhibition. How could Martin expect to reposition Maqhubela within the canon if she relied upon the very person who contributed towards typecasting him? I have also grown tired of the way black artist's work is framed by the institution where they studied when this is never the case with white artists. In any case all these views are stated in my review:
THE ART historian Esmé Berman has a short memory. At the opening of Louis Maqhubela’s retrospective in which she admonished the art intelligentsia for overlooking this artist’s contribution to the history of South African art, she seemed to have forgotten that she was the main culprit. Having penned The Story of South African Painting in 1975 and Painting in South Africa in 1993, Berman had ample opportunities to assign importance to Maqhubela and reposition him within the canon.
Of course, these days no one would dream of writing a definitive history of South African art – linear narratives that logically plot out an entire history of any preoccupation have fallen quite out of fashion. Mostly, this is because historians now accept that such stories almost always flatten out the complexities of history and obviate the often non-linear movements that characterise human activities. Thus Maqhubela will most probably never appear in some grand narrative on South African art. Today history exists in fragments loosely tethered to other stories. Marilyn Martin’s catalogue that has been produced for this retrospective
exhibition is just such a fragment and will form the lasting legacy of her efforts to insert Maqhubela into history.