Strauss & co - 14 March 2016, Cape Town

528 Sue (Susan Mary) WILLIAMSON SOUTH AFRICAN 1 941- A Tale of Two Cradocks signed, dated 1994, and numbered 1/10 on the reverse, South African National Gallery label adhered to the reverse colour laser prints, wood, extruded acetate, with brass hinges 43,5 by 500cm R80 000–120 000 EXHIBITED South African National Gallery, Cape Town, Lines of Sight: Perspectives on South African Photography , 1999 Bamako Biennale, Mali, Lines of Sight: Perspectives on South African Photography , 2001 Other examples from this edition: Art First, London, Trackings , 19 April to 19 May 1994 Haus der Kulturen der Welt, Berlin, Colours: Kunst aus Südafrika , 24 May to 18 August 1996 Centre d’Art Contemporain, Brussels, Belgium, Sue Williamson , 24 April to 14 June 2003 International Center of Photography, New York, Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life , 14 September 2012 to 6 January, 2013 Gloucester Green, Regent’s Park, London. Frieze Masters , 15 to19 October 2014 LITERATURE Other examples from this edition: Alfons Hug and Sabine Vogel. (eds.) (1996) Colours: Kunst aus Südafrika , Berlin: Haus der Kulturen der Welt. Illustrated in colour on page 147. Nicholas Dawes. (2003) Sue Williamson: Selected Works, Cape Town : Double Storey Books. Illustrated in colour on pages 64 and 65. Okwui Enwezor and Rory Bester. (eds.) (2013) Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, New York: International Center of Photography . Illustrated in colour on pages 330 and 331. Mark Gevisser. (ed.) (2015) Sue Williamson: Life and Work , Torino: Skira. Illustrated in colour on page 89 to 93. Other examples from this edition in the Museum of Contemporary Art, San Diego, USA as well as major international private collections. Mark Gevisser. (ed.) (2015) Sue Williamson: Life and Work , Torino: Skira. Page 88 (excerpt): In her artwork, Williamson alternates pages of the guidebook with the story of Matthew and Nyameka Goniwe and, specifically, the killing of the Cradock Four. As she had been doing since A Few South Africans (1983-7), the artist endeavoured to tell those stories erased from the official history, and to use the research in an artwork to educate herself, and her viewers, about her country’s real history. Williamson’s own practice is an act of restitution. If white Cradock is “received”through official channels and presented, flat and official, without the artist’s intervention, then the black Cradock we view is seen through her own camera and found documentation, sketched by her own hand, and understood through the words of Nyameka Goniwe. In Selected Work the artist writes that “the concertina form of the piece relates to the effects of apartheid: depending on where you stand, only one side of the tale can be seen.” After many years away from Cradock, Nyameka Goniwe returned to the town and was elected its first female mayor in 2011. 279