349:, Ractliffe defined her photography practice as “very much about seeing--and being critical and self-reflexive about what such seeing means.” According to her artist's statement Ractliffe is interested in exploring “things that are ephemeral - desire, loss, longing - and their relationship to photography. I am also curious about what we don't expect from photographs, what they leave out, their silence and the spaces they occupy between 'reality' and 'desire'. I try to work in an area between the things we know and things we don't know; what sits outside the frame. I am interested in exploring these oblique and furtive 'spaces of betweenness', and in how they figure in producing meaning in a mode of representation that seems so often predicated on specificity and transparency.”
384:, "Ractliffe’s photographs have a silent emptiness to them, where the rocky desert and scrub forest stand mute in the face of history. Her pictures document mass graves, minefields, abandoned crops, ambush sites, improvised memorials, trench systems, and dusty battlefields, singling out some small marker or piece of evidence in the otherwise indifferent landscape. Her platinum prints further soften the harshness of the environment, their tonalities more gentle and forgiving; stands of swaying long grass hide a minefield, pockmarked murals lurk in quiet buildings, or lines of white stones call out the edges of a missile bunker." The most published photo of the collection depicts seven pairs of black and blue overalls hanging from a tree, which the
507:, journalism and political activism, the best photography emerging from the country has absorbed and grappled with its weighty history, questioning, manipulating and revivifying its visual codes and blending them with contemporary concerns. Post-Apartheid, complex and fundamental issues - race, society, gender, identity - remain very much on the surface. This is reflected by image makers who harness the resulting scenes as a form of creative tension within their personal vision. Here, distinctive photographic voices have emerged: local in character and subject matter, but of wider international interest because of their combined intensity."
495:. "Seen by many as the archetypal modern African novel in English, the book reflects on the devastating impact of colonialism in Africa. The exhibition uses this association to focus on a similar loss of utopian perspective following the end of the Cold War and collapse of the Communist Bloc’s investment in African cultural and political development. Things Fall Apart presents fifteen contemporary artists’ projects linked to this theme in different ways."
91:
317:, Ractliffe “has directed her camera toward landscapes to address themes of displacement, conflict, history, memory, and erasure.” Ractliffe has been described as "a documentary photographer who captures the traces of violence, displacement and struggle in a landscape." Her images evoke memory, history, and the aftermath of conflict. Her work engages with the remnants of conflict, visible as scars in the landscape.
34:
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remarked that
Ractliffe's images "demonstrate that Ractliffe understands that the impact of war is to be found not only in people and the sometimes desperate places they inhabit, but also in rituals of living that, when divorced from circumstance, assume a kind of stark beauty and haunting memory of
440:
preview and review of
Ractliffe's exhibit The Aftermath of Conflict," her body of work is described as having “an odd charge nonetheless, as if the South African photographer had channelled some collective memory. Most of the sites Ractliffe selects are desolate (a field of weeds, a capsized boat, a
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This book features "some of the most iconic images of our time" and a "unique combination of photojournalism and commentary offers a probing and comprehensive exploration of the birth, evolution, and demise of apartheid in South Africa. Photographers played an important role in the documentation of
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Ractliffe has been quoted to say, “One of the reasons for embarking on this project was, in some way, to attempt to locate the imaginary of , to engage the myths that circulate and to retrieve a place for memory… I’ve spoken a bit about this collision of past and present in the landscape, but it was
398:
It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past — the grave of hundreds of
Namibia refugees, most of them children, killed in an air raid; the unknown numbers of landmines buried in Angola’s soil.
518:
in 1965 onwards. "From the earliest print in the exhibition, made in 1965 (the Museum’s first acquisition of work by a South
African artist), to printed posters from the height of the antiapartheid movement in the 1980s, to projects by a younger generation that reflect new and evolving artistic
441:
graveyard), and the resulting pictures can sometimes feel puzzling. But the pain and trauma are palpable, as are
Ractliffe’s rigor and restraint: fallow farmlands are riddled with land mines; trash spills down a ravine and into a slum; clothes hang from a dead thorn tree.” The online journal
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what life requires to persist or even thrive. With the photographer’s camera focused tightly on imagery which is often trimmed of context, we are confronted with the unsettling truth that war, in its awful beauty, ravages not just distant lands, but lives closer to home as well."
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Figures and
Fictions was a group show that exhibited the work of seventeen photographers. The hosting museum said of the exhibit: "The excitement and urgency surrounding photography in South Africa today is partly explained by its local context: embedded in colonial history,
377:"shifts attention away from the urban manifestation of aftermath to the space of war itself. Ractliffe's black and white photographs explore the idea of landscape as pathology, how past violence manifests in the landscape of the present."
361:(Portuguese for "The Lands of the End of the World"), also known as "The Aftermath of Conflict" or "The Ghosts of Angola's Civil War," is a collection of black and white film photographs that capture the lingering end of
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fellowship in New York in 2008; the
Christian Merian Stiftung fellowship at iaab studios, Basel, Switzerland, in 2001; and the Ecole Cantonale d'Art du Vallais fellowship in Sierre, Switzerland in 2001.
208:
has described
Ractliffe as “one of the most accomplished and under-rated photographers of her generation.” Ractliffe's works have been exhibited independently and with other notable artists such as
345:
black and white image, "which captures a reality bordering on the mysterious, which the artist emphasizes in her printing techniques." In conversation with
Kathleen MacQueen for
485:
2267:
Victoria and Albert Museum. "Figures & Fictions: Contemporary South
African Photography." Victoria and Albert Museum. Last modified 2011. Accessed November 27, 2018.
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Online, South African History. "Jo Ractliffe." South African History Online. Last modified June 13, 2018. Accessed November 24, 2018.
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Ractliffe's photography spans many subjects, but focuses on exploring a specific subject (such as her collection of unpublished images spanning about 25 years:
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Happenings in Afikaans) is a name alluding to the anti-insurgency government and police agency that acted as an execution site for opponents of
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Ractliffe's works have been discussed in many publications, from her own photography collections, such as her book
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which traced the routes of the Border War fought by South Africa in Angola through the 1970s and 80s. Following
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concerns, these works are striking examples of printed art as a tool for social and artistic expression."
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chose to represent Ractliffe's solo show in 2015. Ractliffe comments on the photo in a personal essay for
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apartheid, capturing the system's penetration of even the most mundane aspects of life in South Africa."
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MoMA: Contemporary Highlights : 250 Oeuvres Du Museum of Modern Art De New York De 1980 À Nos Jours
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She pursued her education in Cape Town, including her Diploma in Fine Art at Ruth Prowse School of Art,
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Some are now decades old but can still detonate, so the killing goes on." In conversation around
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289:, Johannesburg. She has also taught at the Salzburg International Summer Academy of Fine Arts in
2115:"JO RACTLIFFE: 'As Terras do Fim do Mundo (The Lands of the End of the World)' (Published 2011)"
188:, Ractliffe's photography has gained international attention with shows in South Africa, at the
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Gestures and Archives of the Present, Genealogies of the Future: A new lexicon for the biennial
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365:. It includes fifty-five photographs, sometimes sixty when printed with earlier works such as
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217:
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Thompson, Roger. "JO RACTLIFFE: UNEXPECTED CHALLENGE TO DOCUMENTARY PHOTOGRAPHY AT THE MET."
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468:, an exhibition mounted at the Gertrude Posel Gallery in 1999 to accompany the conference
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Things Fall Apart was a group exhibition that took its title from Chinua Achebe's novel
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863:
484:.” The conference, and Ractliffe's show, were designed in response to South Africa's
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153:. She is considered among the most influential South African "social photographers."
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278:, Centre for the Study of Violence and Reconciliation; the Wits History Workshop,
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341:, as well as installation video and projections. However, her main medium is the
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The Rise and Fall of Apartheid: Photography and the bureaucracy of everyday life
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The Aftermath of Conflict: Jo Ractliffe's Photographs of Angola and South Africa
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Her works have been catalogued both as works of art and works of history, as in
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was awarded "Best Photobook of 2010" at the International Photobook Festival in
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145:(born 9 March 1961) is a South African photographer and teacher working in both
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1294:, Lisbon, Portugal; Fundação Calouste Gulbenkian -Délégation en France, Paris
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Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life.
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Rise and Fall of Apartheid: Photography and the bureaucracy of everyday life
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Rise and Fall of Apartheid: Photography and the bureaucracy of everyday life
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Ractliffe is also a senior lecturer at the Witwatersrand School of Arts at
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Starting from her first show, the Master of Fine Arts Graduate Show at the
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1955:"Shifting Connections: Jo Ractliffe by Kathleen MacQueen - BOMB Magazine"
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Ractliffe uses a wide range of photographic and art practices, including
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jo-ractliffe-unexpected-challenge-to-documentary-photography-at-the-met.
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Warren Siebrits Modern and Contemporary Art, Johannesburg, South Africa
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Warren Siebrits Modern and Contemporary Art, Johannesburg, South Africa
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Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday
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679:
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Lens: Fractions of Contemporary Photography and Video in South Africa
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Gertrude Posel Gallery; STEVENSON Gallery Johannesburg, South Africa
866:, traveling to the Mark Coetzee Art Cabinet, Cape Town, South Africa
236:
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2082:"Jo Ractliffe's best photograph: the ghosts of Angola's civil war"
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Earth Matters: Land as material and metaphor in the arts of Africa
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Snap Judgments: New Positions in Contemporary African Photography.
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Snap Judgments: New Positions in Contemporary African Photography
464:. Ractliffe states that the body of work “was commissioned for
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As Terras Do Fim Do Mundo =: The Lands of the End of the World
1716:"Black Social Photography in South Africa: Before & After"
27:
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figures-and-fictions-contemporary-south-african-photography/.
2055:"Jo Ractliffe: As Terras do Fim do Mundo @Walther Collection"
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As Terras do Fim do Mundo: The Lands of the End of the World
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Figures and Fictions: Contemporary South African Photography
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Unstable Territory: Borders and identity in contemporary art
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Public Intimacy: Art and Other Ordinary Acts in South Africa
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THEOREM: You Simply Destroy the Image I Always Had of Myself
414:
As Terras do Fim do Mundo: The Lands of the End of the World
510:
Impressions from South Africa was an exhibit at New York's
2190:. New York, NY: International Center of Photography, 2013.
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Brodie and STEVENSON Gallery, Johannesburg, South Africa,
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Ractliffe's works are part of the following collections.
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Brodie and STEVENSON Gallery, Johannesburg, South Africa
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Distance and Desire: Encounters with the African Archive
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Ecole Cantonale du'Art du Vallais, Sierra, Switzerland
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757:\Warren Siebrits Gallery, Johannesburg, South Africa
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She has had public or curatorial projects, including
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and she was nominated for the Discovery Prize at the
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that showcased South African art from the height of
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book of over 250 photographs by 30 African artists:
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http://www.donttakepictures.com/dtp-blog/2016/1/19/
2164:. Cape Town, South Africa: Michael Stevenson, 2010.
941:Metropolitan Life Gallery, Cape Town, South Africa
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122:
114:
100:
81:
1385:Market Photo Workshop, Johannesburg, South Africa
262:, Johannesburg Art Gallery, South Africa in 2004;
2203:, January 20, 2016. Accessed November 27, 2018.
1812:https://www.sahistory.org.za/people/jo-ractliffe
1497:Les Rencontres d'Arles 2011 photography festival
1114:, Germany; Gallery Municipais, Lisbon, Portugal
712:Walther Collection Project Space, New York, USA
231:She has received numerous awards. Her photobook
480:, a documentary film about Vlakplaas commander
248:Wits Institute for Social and Economic Research
832:STEVENSON Gallery, Johannesburg, South Africa
802:STEVENSON Gallery, Johannesburg, South Africa
772:STEVENSON Gallery, Johannesburg, South Africa
664:STEVENSON Gallery, Johannesburg, South Africa
649:STEVENSON Gallery, Johannesburg, South Africa
309:or complex landscapes (such as her collection
1121:After Eden/Après Eden- The Walther Collection
1068:Vera and Donald Blinken Open Society Archives
926:STEVENSON Gallery Johannesburg, South Africa
911:STEVENSON Gallery Johannesburg, South Africa
782:Jo Ractliffe: Selected Colour Works 1999-2005
568:STEVENSON Gallery Johannesburg, South Africa
54:. Consider transferring direct quotations to
8:
1016:A Short History of South African Photography
1006:A4 Arts Foundation, Cape Town, South Africa
394:, “They are the hollow men.” In a review by
2280:Maggioni, Laura, and Jean-François Allain.
1400:Stevenson Gallery, Cape Town, South Africa
991:STEVENSON Gallery, Cape Town, South Africa
956:Irma Stern Museum, Cape Town, South Africa
827:Jo Ractliffe: Johannesburg Inner City Works
246:She has held the Writing Fellowship at the
19:Not to be confused with the British artist
16:South African photographer and video artist
1542:Impressions from South Africa, 1965 to Now
697:STEVENSON Gallery Cape Town, South Africa
553:STEVENSON Gallery Cape Town, South Africa
266:, Johannesburg, South Africa in 2000, and
118:BA and MFA at Michaelis School of Fine Art
89:
78:
1270:Centro di Cultura Contemporanea Strozzina
1144:Museum Centro Atlántico de Arte Moderno,
601:Fondation A Stichting, Brussels, Belgium
274:, Great Karoo, South Africa in 1999; and
2269:http://www.vam.ac.uk/content/articles/f/
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1415:, University of Cape Town, South Africa
969:
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1673:University of Cape Town Art Collection
722:Jo Ractliffe: As Terras do Fim do Mundo
268:End of Time Pinhole Photography Project
1380:Transitions – Social Landscape Project
812:Jo Ractliffe: Selected Works 1982-1999
634:Museet for Fotokunst, Odense, Denmark
563:Jo Ractliffe: Everything is Everything
2005:"Angola: Through Jo Ractliffe's lens"
488:and the lasting legacy of apartheid.
45:too many or overly lengthy quotations
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1634:Iziko South African National Gallery
1473:Iziko South African National Gallery
2033:. South Africa: Michael Stevenson.
1443:International Center of Photography
486:Truth and Reconciliation Commission
1929:"The Contemporaries: Jo Ractliffe"
1774:O'Toole, Sean (9 September 2008).
476:. It was presented in relation to
357:Her 2009/2010 book of photography
14:
2317:South African women photographers
2186:Enwezor, Okwui, and Rory Bester.
951:Master of Fine Arts Graduate Show
2342:21st-century women photographers
416:, to group collections, such as
32:
2243:"RED AFRICA: Things Fall Apart"
2080:Frizzell, Nell (30 June 2016).
1255:Yerba Buena Center for the Arts
1212:, Los Angeles, California, USA
589:August 24, 2015- March 6, 2016
474:University of the Witwatersrand
470:The TRC: Commissioning the Past
1905:The Metropolitan Museum of Art
1651:The Metropolitan Museum of Art
921:Jo Ractliffe: reShooting Diana
282:, Johannesburg, South Africa.
243:Photography Festival in 2011.
1:
1643:The Deutsche Bank Collection
1242:, Amsterdam, the Netherlands
1227:, Johannesburg, South Africa
1055:, Amsterdam, the Netherlands
896:, Johannesburg, South Africa
767:Jo Ractliffe: Terreno Ocupado
644:Jo Ractliffe: The Borderlands
380:According to a review by the
2284:. Milan: 5 continents, 2008.
1754:South African History Online
1335:Transition: Social Landscape
1292:Fundação Calouste Gulbenkian
1257:, San Francisco, California
1186:Conflict, Time, Photography,
619:, Salem, Massachusetts, USA
175:Michaelis School of Fine Art
1901:"The Aftermath of Conflict"
1695:Johannesburg, South Africa
1668:, Swabia, Bavaria, Germany
1580:Johannesburg, South Africa
1341:Rencontres d'Arles festival
730:February 24- April 2, 2011
460:was located on a farm near
280:University of Witwatersrand
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2332:21st-century photographers
2218:"STEVENSON | Jo Ractliffe"
1880:"STEVENSON - Jo Ractliffe"
1830:"STEVENSON | Jo Ractliffe"
1748:Leander (29 August 2016).
1682:University of South Africa
1628:San Francisco, California
1475:, Cape Town, South Africa
1311:Staatliche Kunstsammlungen
667:January 24- March 8, 2013
401:As Terras do Fim do Mundo,
386:Metropolitan Museum of Art
315:Metropolitan Museum of Art
151:Johannesburg, South Africa
149:, where she was born, and
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1855:"Staff - Wits University"
1490:Art Museum, South Africa
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906:Jo Ractliffe: End of Time
868:
652:July 25- August 31, 2013
428:and Michael Godby's book
375:As Terras do Fim do Mundo
359:As Terras do Fim do Mundo
307:Everything is Everything)
233:As Terras do Fim do Mundo
136:As Terras do Fim do Mundo
88:
1676:Cape Town, South Africa
1638:Cape Town, South Africa
1428:Museum fĂĽr Moderne Kunst
1350:Social Landscape Project
1160:South African Pavilion,
1155:What remains is tomorrow
1036:Chiostri di San Pietro,
1031:Memory, archives, future
994:July 5- August 21, 2018
966:Recent group exhibitions
556:July 5- August 21, 2018
52:summarize the quotations
1687:Pretoria, South Africa
1608:Amsterdam, Netherlands
1595:Foundation A Stitching
1586:Centre Georges Pompidou
1509:Appropriated Landscapes
1488:Stellenbosch University
1090:Taipei Fine Arts Museum
876:Jo Ractliffe: Vlakplaas
797:Jo Ractliffe: Real Life
745:June 10- July 24, 2010
737:FOREX: THIS IS OUR TIME
692:Trade Routes Over Time,
450:Her exhibit Vlakplaas (
404:also colliding in me.”
179:University of Cape Town
108:Cape Town, South Africa
2327:Artists from Cape Town
2222:archive.stevenson.info
2177:. New York: ICP, 2006.
2029:Ractliffe, Jo (2010).
1884:archive.stevenson.info
1834:archive.stevenson.info
1661:The Walther Collection
1457:Le Bal, Paris, France
1395:Trade Routes Over Time
1326:The Walther Collection
1112:University of Bayreuth
707:As Terras do Fim Mundo
700:April 4- May 19, 2012
674:As Terras do Fim Mundo
629:As Terras do Fim Mundo
611:Someone Else's Country
571:May 18- June 30, 2017
260:Johannesburg Circa Now
1467:Neither Man Nor Stone
1430:, Frankfurt, Germany
396:The New York Times, "
295:Market Photo Workshop
167:Bachelor of Fine Arts
1548:Museum of Modern Art
1162:56th Venice Biennale
682:, Salzburg, Austria
659:The Loom of the Land
617:Peabody Essex Museum
584:The MET Fifth Avenue
512:Museum of Modern Art
264:Joubert Park Project
252:Ampersand Foundation
2201:Don't Take Pictures
1563:
1413:Michaelis Galleries
1313:, Dresden, Germany
1234:Apartheid and After
1021:Fotografia Europea
888:Guess who loves you
443:Don't Take Pictures
171:Master of Fine Arts
2009:The M&G Online
1722:. 5 September 2016
1598:Brussels, Belgium
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1515:Walther Collection
1373:, Munich, Germany
1356:Rencontres d’Arles
1276:, Florence, Italy
1179:, New Jersey, USA
862:Ibis Art Gallery,
363:Angola's Civil War
339:studio photography
241:Rencontres d'Arles
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1452:Topography of War
1309:, Paris, France;
1177:Mana Contemporary
1102:Things Fall Apart
1062:Things Fall Apart
963:
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493:Things Fall Apart
367:Terreno Occupado,
313:According to the
311:The Borderlands).
297:in Johannesburg.
291:Salzburg, Austria
218:William Kentridge
186:Irma Stern Museum
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95:Ractliffe in 2019
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2300:Official website
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1692:WITS Art Museum
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1550:, New York, USA
1445:, New York, USA
1358:, Paris, France
1343:, Arles, France
1129:, Paris, France
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586:, New York, USA
532:
528:Solo exhibitions
204:in South Korea.
202:Gwangju Biennial
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2061:. 27 April 2011
2059:Collector Daily
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1517:, Ulm, Germany
1328:, Ulm, Germany
1307:La Maison Rouge
1274:Palazzo Strozzi
1127:La Maison Rouge
1086:Taipei Biennial
968:
894:Goodman Gallery
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41:This article
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2251:. Retrieved
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2225:. Retrieved
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2144:. Retrieved
2140:
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2119:. Retrieved
2109:
2097:. Retrieved
2086:The Guardian
2085:
2075:
2063:. Retrieved
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2049:
2030:
2024:
2012:. Retrieved
2008:
1999:
1987:. Retrieved
1983:
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1962:. Retrieved
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1937:. Retrieved
1932:
1908:. Retrieved
1904:
1883:
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1862:. Retrieved
1858:
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1837:. Retrieved
1833:
1791:. Retrieved
1779:
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1757:. Retrieved
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1724:. Retrieved
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1684:Art Gallery
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143:Jo Ractliffe
142:
141:
132:Notable work
126:Photographer
83:Jo Ractliffe
65:
50:Please help
42:
25:
21:Jo Ratcliffe
2337:1961 births
2249:(in German)
1557:Collections
1192:Tate Modern
1053:Rijksmuseum
857:End of Time
501:ethnography
466:Truth Veils
331:documentary
276:Truth Veils
222:Pieter Hugo
198:Tate Modern
2311:Categories
2227:23 October
2040:0620485515
2014:24 January
1980:"ArtThrob"
1964:23 October
1939:24 January
1864:24 January
1839:24 January
1759:24 January
1726:24 January
1720:OkayAfrica
1702:References
1407:Not My War
1146:Las Palmas
1108:Calvert 22
1074:, Hungary
986:Both, And,
929:1990-1995
914:1996-1999
842:Snow White
835:2000-2004
805:2002-2005
548:Both, And,
478:Prime Evil
438:New Yorker
301:Art themes
214:Guy Tillim
200:, and the
123:Occupation
60:Wikisource
2253:11 August
2146:11 August
2121:11 August
2099:11 August
2094:0261-3077
2065:11 August
1989:11 August
1910:11 August
1793:11 August
1788:0962-0672
1570:Location
1301:My Joburg
1092:, Taiwan
1047:Sea Views
976:Location
596:After War
538:Location
516:apartheid
458:Vlakplaas
454:apartheid
163:Woodstock
147:Cape Town
115:Education
56:Wikiquote
43:contains
1933:ArtThrob
1164:, Italy
1148:, Spain
1072:Budapest
1040:, Italy
523:Exhibits
462:Pretoria
408:Coverage
335:forensic
327:snapshot
1666:Neu-Ulm
1624:SF MOMA
1502:France
680:Fotohof
472:at the
177:at the
2092:
2037:
1786:
1780:Frieze
973:Title
535:Title
343:analog
237:Kassel
224:, and
165:, her
157:Career
1567:Name
1460:2011
1388:2012
1279:2013
1197:2014
1132:2015
1095:2016
1084:10th
1024:2017
1009:2018
979:Date
959:1988
944:1989
936:Nadir
899:1997
869:1999
850:2000
820:2004
790:2005
775:2007
760:2008
715:2011
685:2012
637:2013
622:2014
604:2015
541:Date
436:In a
353:Works
2255:2023
2229:2018
2148:2023
2123:2023
2101:2023
2090:ISSN
2067:2023
2035:ISBN
2016:2019
1991:2023
1966:2018
1941:2019
1912:2023
1866:2019
1841:2019
1795:2023
1784:ISSN
1761:2019
1728:2019
1614:MOMA
337:and
194:MOMA
101:Born
190:MET
2313::
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2007:.
1982:.
1957:.
1931:.
1920:^
1903:.
1892:^
1882:.
1857:.
1832:.
1819:^
1803:^
1778:.
1752:.
1736:^
1718:.
1272:,
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456:.
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228:.
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70:)
66:(
62:.
48:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
