The history of South African photography is deeply intertwined with themes of power, secrecy, and proximity, reflecting the country's complex social and political landscape. From colonial documentation to contemporary artistic expressions, photography has served as both a tool of oppression and a means of resistance.
An apartheid sign in Cape Town
Early Photography in South Africa
Photography arrived in South Africa in the mid-19th century, brought by merchant and colonial empires. The daguerreotype quickly spread along the African coastline, reaching Durban in 1846. Early photographers like Jules Léger captured portraits of settlers and colonial scenes, described as "beautiful, wonderful, interesting." However, access to photography was limited to a select few.
The adoption of the wet plate technique led to the expansion of photography in South Africa. Studios such as S.B. Barnard and F.A.Y. York gained renown, undertaking public commissions and photographing notable figures. York documented significant events such as the laying of a foundation stone at the Somerset hospital in 1857 and the construction of the Breakwater prison.
Photography as a Tool of Colonial Control
Colonial governments used photography to assert control over indigenous populations. A notable example is the image of Nongqawuse and Non-kosi, taken after the cattle-killing of 1856-7 in the Eastern Cape. These young women were captured and photographed, their spiritual aura strangely translated by the camera.
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John Tagg argues that the history of photography lacks unity, flickering across institutional spaces. In southern Africa, photography was linked to exploration, colonization, knowledge production, and captivity. David Livingstone, for instance, took a photographer on his travels. Additionally, photographs of /Xam bushmen were generated in 1871 at the Breakwater prison for linguistic study.
Alternative Readings and the Plasticity of the Medium
Despite its use in colonial contexts, photography also allowed for ambiguous and alternative readings. Some portraits, initially intended for repression, are now viewed as honorific. Michael Aird's work with Aboriginal photographs in Australia shows that families often seek out these images in museums.
In South Africa, people have enlarged and hand-colored identity photographs of older relatives into remarkable family portraits. Santu Mofokeng's project on the 'Black Photo Album' explores remnants of family photographs in Soweto, revealing the existence of black archives. The Van Kalker Studio in Woodstock, Cape Town, photographed generations of families, maintaining a visual seam even after apartheid's forced removals.
The Emergence of Black Photographers
The launch of Drum magazine in the 1950s provided a platform for talented black writers and photographers. Figures like Alf Khumalo, Bob Gosani, Ernest Cole, and Peter Magubane portrayed the vibrant, modern urban life that had been constrained by apartheid. Jürgen Schadeburg, a German immigrant photographer, also had an important stylistic influence on them.
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Bob Gosani secretly photographed the prison practice of tauza, while Ernest Cole portrayed nude body inspections of migrant workers. Cole's "House of Bondage" exposed the multifaceted challenges people confronted daily under apartheid. Peter Magubane continued with courageous photojournalist work until he was forced to work abroad.
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The Impact of Apartheid on Photography
Both Sharpeville and Soweto resulted in the banning of political activity, making committed photojournalism dangerous. The iconic photograph of Hector Peterson, the first victim of the Soweto shootings, effectively ended the career of photographer Sam Nzima. This image, often compared to the Pièta, highlights the theme of martyrdom and suffering prevalent in South African photographic icons of the apartheid era.
David Goldblatt began publishing his powerful thematics in the 1970s, focusing on the impact of mining, the class and race fragilities of whiteness, and the generic nature of South African modernization. Goldblatt acted as mentor to many younger photographers, nurturing and debating with the overtly politicized generation of the 1980s.
Afrapix and the Visual Economy of Resistance
A key figure in the emergence of the 1980s generation was Omar Badsha, an artist, activist, and trade unionist. Badsha used photography to record a 'visual diary' of the social and political worlds in which he moved. Together with others, Badsha co-founded Afrapix, a progressive photographic collective and agency, in 1982.
Afrapix photographers documented forced removals, marches, meetings, rallies, and funerals. Mobilization and repression loomed large, as did the contradictory social conditions under apartheid. The photographers sought exposure, documenting the struggles and resilience of South Africans during this tumultuous period.
Nona Faustine and Contemporary Nude Photography
Contemporary artist Nona Faustine uses nude self-portraits to explore themes of history, race, and the Black female body. In her series "White Shoes," Faustine poses nude in and around New York City, commemorating her ancestors and celebrating her freedom.
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Faustine's work serves to highlight the impact of slavery and its continued presence in contemporary society. Her images, such as "Venus of Vlacke Bos" and "From Her Body Came Their Greatest Wealth," confront viewers with the historical and ongoing exploitation of Black bodies.
The Brooklyn Museum's senior curator Catherine Morris notes the potent double entendre in Faustine's photographs. Faustine's stance exudes confidence while monumentalizing the places where her ancestors were sold. A golden cape she wears represents the feminine divine, protecting sites that carry the legacies of the enslaved.
The Journey Through Time and History
Faustine describes her work as "time travel," gradually transitioning from nudity to wearing a white dress and straw hat in images taken at sites like Shelter Island and Staten Island. She aims to evoke pride and understanding of history, urging viewers to recognize how far we've come.
The exhibition reflects a journey through time, acknowledging the past and celebrating the resilience and freedom of Black women today. Faustine's work serves as a powerful reminder of the ongoing struggle for recognition and justice.
Nona Faustine's "Venus of Vlacke Bos"
