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identity”. In regards to the title of the series, she states: “I thought the way I see beauty and the way I perceive beauty might be different to someone else next to me...So the project is called Beauty is in the Eye of the
Beholder, because for me they are beautiful.” She even gives various reasons for this project. When people look at those people who have dressed differently they would ask: 'How can you dress up in yellow pants and a little green jersey with stripes? She perceives her views in a different way which is a project called Beauty Is In The Eyes Of The Beholder, because for her it was all about drawing attention around issues of beauty by capturing real people. It was also about street fashion that she did not think about that they are just promoting themselves, which she displays where she has lived it and used to be one of those people. In short, it was clear that images were created by her because of the color choices and facial expressions of that characters held with the viewer. Alongside this, Veleko has also included clothing in her projects "to deliberately challenge assumptions of identity based on appearances and historical background". Such is evident in her more personal project from 2002, www.notblackenough.lolo, which depicted an exploration of mixed cultural and racial identity through different costumes of role play.
378:, "It was a shock- an awakening shock- to come upon the bursting contemporary colours worn by the fashion-struck people portrayed by Nontsikelelo "Lolo" Veleko on the streets of Johannesburg". Critic Leslie Camhi has related the fashion-savvy subjects of Veleko's street portraits to the widely recognisable image of "hipsters" "dressed in electric, Kool-Aid colours incorrigible chic and appropriations of Western icons...proclaim them heirs to Ke dandified Bamakois bourgeoisie". Leslie Camhi of
326:. This focuses on familiar aspects of her previous work such as fashionable street-goers, primarily younger adults, as well as graffiti and personal spaces. Through exploration of such subjects Veleko continues to delve deeper and defy clichés of outdated perceptions of South Africans, and Africans in a larger context, that have been largely focused on the notions of fashion and the way of life.
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Veleko's work presents a strong statement of a younger generation that is loud, self-expressive and daring; a collection of youth she strongly relates to. Such sentiments are evident in the photographs resulting from what she considers to be a "collaborative process". The portraits are taken after
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from (2003), which focused on subjects born after 1994, attracted a great deal of attention and international acclaim, shifting previous perceptions of Africa as a whole on an international scale. Veleko explains that she looks at fashion “and how it creates identity, because fashion plays with
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Graffti, like photography is a form of visual communication. It is a vehicle which informs society about the range of socio-political issues that affect us; it gets people's messages across in a, public, 'in your face' way; it evokes powerful emotion. To me, it is more than merely a visual
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If independence has a style, this is it—vivid, highly individualised, and a touch defiant. These images are antidotes to the prevailing view of the "dark continent" as a place of entropy and despair; these are people in charge of at least their own sartorial
513:, Standard Bank Young Artist Award, national travelling exhibition, including National Arts Festival Grahamstown, Grahamstown; Durban Art Gallery, Durban; Iziko South African National Gallery, Cape Town; Standard Bank Gallery, Johannesburg, South Africa
283:
New
Contemporaries Arts Awards. This competition identifies four rising South African artists and selects a winner. Throughout the next couple of years, her work was showcased in various exhibitions throughout South Africa, Europe and Australia.
315:, Canary Islands. In 2007, Veleko's work and reputation reached a larger international audience with her work being exhibited throughout Southern Africa, Europe, Asia, North and South America. She has also been a part of shows such as
358:, was on exhibit in Les Docks in Aries, France after being shot on the Island of Reunion. She was also a project manager/co-coordinator at the Market Photo Workshop, where she was previously a student.
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In 2017 Veleko co-curated 'Resist(e) – Printemps
Photographique Afrique du Sud 2017' at Gallery NegPos in Nîmes, France with Patrice Loubon of Gallery NegPos. In 2019, her work 'banned nudes,'
319:. During this year, she also received a two-month residency with the International Photographic Research Network (IPRN) in the UK where she explored the notions of work, identity and clothes.
295:(ICP) in New York. This work portrays particularly, defines Veleko's contrats the stereotypes which are associated with gender and race depicting South Africa street style from her series
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being granted permission from the subjects. She gives copies of the photos to their rightful owners and invites them to the exhibition openings. For the ongoing series of graffiti shots
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not only displays the unique personalities of eclectically dressed urbanites but also captures the cosmopolitan nature of cities such as Cape Town, Johannesburg and
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499:, The Kuppel, Basel, Switzerland, 2002; Women's Arts Festival, Johannesburg Art Gallery and Market Theatre Galleries, Johannesburg, South Africa, 2003
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279:. These photographs encapsulated the social and political atmosphere of post-apartheid South Africa. This same year, Veleko was nominated for the
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215:(born 19 August 1977) is a South African photographer most noted for her depiction of black identity, urbanisation and fashion in post-
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at the
Brancolini Grimaldi Arte Contemporanea in Rome, Italy. That same year, her photographs were displayed in the exhibition titled
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In 2008, Veleko was the second photographer to be awarded the
Standard Bank Young Artist for Visual Art for her traveling exhibition
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Child, Youth and Family
Development (CYFD), Human Sciences Research Council, HSRC Press, Pretoria, South Africa, 2004.
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Bell
Roberts Publishing in association with Struik Publishing, Cape Town, South Africa.
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Lehtonen, Kimmo (ed). 2007. IPRN Changing Faces #3. Van Wyk, Gary (ed). 2004.
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555:"Standard Bank: A Learner Resource on the art of Nontsikelelo Veleko"
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889:"Snap Judgements: New Positions in Contemporary African Photography"
452:, The National Museum of Photography, The Royal Library, Copenhagen.
1060:"Gallerie. Personae & Scenarios - The New African Photography"
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Snap
Judgments: New Positions in Contemporary African Photography
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Snap
Judgments: New Positions in Contemporary African Photography
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Woman by Woman: 50 Years of Women’s
Photography in South Africa.
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Veleko, Nontsikelelo (2003). "These Words Are like Swords...".
590:. New York: Grey Art Gallery, New York University. p. 76.
553:
Maurice, Emile; Dodd, Rebecca; Ngwenya, Nhlanhla (March 2009).
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Figures & Fictions: Contemporary South African Photography,
445:
Smith, Kathryn 2003. MTN New Contemporaries. MTN, Johannesburg.
404:
Maart, B; T. J. Lemon. Introduction by David Goldblatt. 2002.
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from the article and its talk page, especially if potentially
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1296:"Sibyllines exhibition - Alliance Française of Johannesburg"
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The Market Photography Workshop, Johannesburg, South Africa.
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In discussion of her photography, Mark Stevens wrote in the
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In 2006, her photographs were part of the group exhibition
255:, who provide the formal training to young photographers.
231:). She studied from 1995 to 2003 at the Cape Technikon in
1427:"Nontsikelelo Veleko at The Goodman Gallery Johannesburg"
1236:"Resist[e] - Politics of the body in photography"
859:"MTN New Contemporaries Arts Awards – bigger and better"
739:. 14 May 2019. Archived from the original on 12 May 2021
347:
message...it is poetry... — Nontsikelelo "Lolo" Veleko,
952:"Nontsikelelo Veleko: Capturing South African Identity"
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10 Years 100 Artists: Art in a Democratic South Africa.
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10 Years 100 Artists: Art In A Democratic South Africa
317:
7th Recontres Africaines de la Photographie exhibition
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on 15 December 2018 – via The Goodman Gallery.
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Personae & Scenarios-the new African photography
251:(1999–2004), the institution that was organized by
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588:The Poetics of Cloth: African Textiles, Recent Art
435:Wits University Press, Johannesburg, South Africa.
1000:"Post Democratic Identity – Nontsikelelo Veleko"
466:. International Center of Photography, New York.
777:Higgins, Jackie (2014). "Nontsikelelo Veleko".
366:Veleko, as of 2017, lives and works in France.
471:A Decade of Democracy: Witnessing South Africa
227:Veleko was born on (19 August 1977 in Bodibe,
1160:. New York: HarperCollins. pp. 300–301.
506:, Goodman Gallery, Johannesburg, South Africa
303:In 2006, Veleko's work was also exhibited in
239:. In 1995, she studied graphic design at the
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956:Africana Studies Student Research Conference
431:Comely, R; G. Hallett; N. Neo (eds). 2006.
311:at the Centro Atlantico de Arte Mordeno in
1300:French Embassy to South Africa and Lesotho
1210:Agenda: Empowering Women for Gender Equity
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56:about living persons that is unsourced or
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527:Victoria and Albert Museum, London, 2011.
206:Standard Bank Young Artist for Visual Art
127:Learn how and when to remove this message
450:Unsettled: 8 South African Photographers
309:Olvida Quien Soy- Erase Me from Who I Am
1461:"Figures & Fictions at the V&A"
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406:SHARP: The Market Photography Workshop.
901:from the original on 24 September 2023
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690:"Artists – Nontsikelelo "Lolo" Veleko"
271:and Johannesburg, a series she titles
16:South African photographer (born 1977)
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779:The World Atlas of Street Photography
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869:from the original on 31 January 2014
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297:Beauty is in the Eye of the Beholder
275:in her first solo exhibition at the
235:and attended Luhlaza High School in
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894:International Center of Photography
839:from the original on 2 October 2023
670:from the original on 2 October 2023
635:from the original on 7 October 2022
628:International Center of Photography
497:The Ones on Top Won't Make It Stop!
293:International Center of Photography
273:The ones on top won't make it Stop!
229:North West (South African province)
1246:from the original on 26 March 2023
1132:from the original on 25 March 2023
1040:from the original on 21 March 2023
970:"Nontsikelelo Veleko - Urban Life"
950:Fechik, Jennifer (15 March 2013).
925:1-54 Contemporary African Art Fair
412:The Fatherhood Project: 2003–2004.
340:The ones on top won't make it Stop
14:
1536:South African women photographers
1122:"Nontsikelelo Veleko: Wonderland"
733:"Thank you, Nontsikelelo Veleko!"
247:, she studied photography at the
1403:(in Spanish). 10 February 2017.
827:Murinik, Tracy (February 2007).
23:
1363:Camhi, Leslie (14 March 2006).
1325:Stevens, Mark (29 March 2006).
1302:. 7 August 2017. Archived from
560:. Standard Bank. Archived from
695:National Museum of African Art
349:These Words Are Like Swords...
1:
1327:"What Does Africa Look Like?"
1100:(23): 171–174. Archived from
1030:"Veleko, Nontsikelelo (Lolo)"
249:Market Theatre Photo Workshop
189:Market Theatre (Johannesburg)
829:"Nontsikelelo 'Lolo' Veleko"
575:– via Goodman Gallery.
376:New York Magazine Art Review
34:biography of a living person
1541:South African women artists
1089:Sealy, Mark (Summer 2010).
586:Gumpert, Lynn, ed. (2008).
263:In 2003, Veleko documented
61:must be removed immediately
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1004:NLA Design and Visual Arts
213:Nontsikelelo "Lolo" Veleko
143:Nontsikelelo "Lolo" Veleko
757:: CS1 maint: unfit URL (
480:. Afronova, Johannesburg.
457:Is e.verybody comfortable
1495:Perryer, Sophie (2004).
1151:Williamson, Sue (2009).
277:Johannesburg Art Gallery
223:Early life and education
699:Smithsonian Institution
455:Waselchuk, Lori. 2004.
417:Perryer, S (ed). 2004.
1365:"A Cacophonous Affair"
921:"Veleko, Nontsikelelo"
462:Enwezor, Okwui. 2006.
384:(2006) further noted:
352:
48:Please help by adding
1501:. Cape Town: Struik.
1397:"Nontsikelelo Veleko"
1266:"Nontsikelelo Veleko"
1154:South African Art Now
1091:"Nontsikelelo Veleko"
783:Yale University Press
623:"Nontsikelelo Veleko"
504:SCREAM! MUTE! SCREAM!
478:Two Years of Afronova
344:
76:"Nontsikelelo Veleko"
1066:(in Italian). 2006.
897:. 23 February 2016.
476:Vergon, Henri 2007.
448:Damsbo, Mads. 2004.
170:Bodibe, South Africa
54:Contentious material
1276:on 17 February 2020
1242:. 23 January 2018.
153:Nontsikelelo Veleko
1185:on 2 February 2014
1034:Walther Collection
567:on 27 October 2018
473:. Sondela, Boston.
243:. After moving to
1459:(22 April 2011).
1370:The Village Voice
1332:New York Magazine
1006:. 19 April 2013.
781:. New Haven, CT:
666:. 10 April 2019.
381:The Village Voice
356:Les nus interdits
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