Exhibiting South African photography and the African Archive
Submitting InstitutionUniversity College London
Unit of AssessmentArt and Design: History, Practice and Theory
Summary Impact TypeCultural
Research Subject Area(s)
Language, Communication and Culture: Cultural Studies
History and Archaeology: Curatorial and Related Studies, Historical Studies
Summary of the impact
Tamar Garb's curation of two thematically linked exhibition projects at
the Victoria & Albert Museum in London and a series of shows at the
Walther Collection, along with related activities and publications, raised
awareness of contemporary photography in southern Africa; brought African
photographic history and related political/aesthetic issues to the
attention of scholars and publics; impacted exhibition programming,
acquisitions policies and educational activities of a museum and private
collection; created new audiences for contemporary African and South
African lens-based work; and offered cultural enrichment to a wide public
Tamar Garb's research has long been concerned with identity, race and
representation, from the 19th century to the present. More recently, she
has focused on contemporary South African (SA) art and photographic
histories. She has explored the intersection of contemporary practices and
historical genealogies, looked at the way that SA artists' engagement with
archival materials informs contemporary work while providing historians
with a filter through which to re-examine the past. Garb's interests in
figural representation and body politics predate the focus on Africa
(particularly in her feminist writing on French art and culture) but she
has developed these themes in a number of projects dealing specifically
with SA artists, including in 2007, the exhibition she curated (Reisemalheurs
or Travel Woes: the work of Vivienne Koorland) at the Freud Museum,
London. She edited the catalogue and wrote an essay on the references to
European and SA history in Koorland's work in relation to Freud's ideas
about travel and displacement [c]. In 2007 Garb published an essay on SA
artist Berni Searle looking at her mobilisation of a local 19th- century
folksong as a filter for surveying the politically vexed landscape of the
Cape today. In 2008, Garb curated Home Lands/Land Marks at Haunch
of Venison Gallery, London [d], in which she explored the imprint of
historical events and traumas on contemporary landscape in South Africa,
as evidenced in the extensive catalogue.
In her 2011 exhibition at London's Victoria and Albert Museum (V&A),
titled Figures and Fictions: Contemporary South African Photography
(F&F) Garb built on these earlier explorations to examine how
17 contemporary photographers negotiate dominant filters for depicting the
figure: documentary — with its particular SA history in the
anti-Apartheid movement; portraiture — manifest in the rich
heritage of the African studio tradition; and ethnography — with
its colonial and anthropological associations, showing how these form the
basis for contemporary re-workings and critical engagement [a].
Distance and Desire: Encounters with the African Archive (D&D)
at the Walther Collection in Neu- Ulm (2013-2015) was the culmination of a
series of three smaller shows at the Walther Collection, New York
(2012-2013). The Walther Collection has amassed one of the largest and
most significant collections of African photography in the world. D&D
represents the first time that its historical work has gone on show and
been the subject of sustained research and analysis. The
exhibition/catalogue extends the dialogue of contemporary artists with
earlier portraiture and ethnographic materials. It juxtaposes historical
African photographs with recent work from Africa and the African diaspora
produced by 20 contemporary lens-based artists. While both shows
demonstrate the variety and critical acuity of contemporary practices —
with their varied use of pastiche, parody, re-enactment, repetition,
satire and homage — D&D also seeks to complicate our
understanding of the `African Archive' by showing early photographs in a
variety of formats [b]. The aim here is to undermine monolithic
interpretations of colonial photography, to take seriously its various
mediations and material identities, and to allow for close looking and
reading of individual bodies of work.
Both projects [a, b] foreground the ethical and political questions
raised by traditional representations of Africans by Europeans. They
question the strategies artists from, in and of Africa use to confront and
critique historical precedents. They seek to complicate formulaic readings
of the `colonial gaze', opening up the possibility of criticality and
curiosity both within the historical archive and in contemporary
re-workings of it.
Tamar Garb joined UCL as a Lecturer in 1989, becoming a Reader in 1995
and Durning Lawrence Professor in 2001.
References to the research
[a] GARB, T. (2011). Figures and Fictions: Contemporary South African
Photography [EXHIBITION] Victoria & Albert Museum, London.
Nominated for a Lucie Award in Curatorship.
Documented in GARB, T. (2011). Figures and Fictions: Contemporary
South African Photography [Catalogue]. London: V&A and Steidl.
Favourably reviewed by Elizabeth Edwards Journal of Museum Ethnology,
no. 25, 2012, pp. 189-194: `excellent... provides an excellent analysis of
the complex strands of influence that entangle the emergence of this
vibrant current practice...' Submitted as REF output.
[b] GARB, T. (2012-15). Distance and Desire: Encounters with the
African Archive [EXHIBITION] Walther Collection, Neu Ulm. Distanz
und Begehren (the German version) comprises an expanded version of
the three shows held in the Walther Collection Project Space, New York: Archival
Encounters, Contemporary Reconfigurations and Poetics and
Politics, September 2012-April 2013 [EXHIBITION].
Documented in: GARB, T. (ed.) (2013). Distance and Desire, Encounters
with the African Archive [CATALOGUE] incl. introduction by Garb
(10,000 words), Conversation between Garb and Walther, Essay by Garb (9000
words) and eleven edited essays, Göttingen: Steidl. Submitted as REF
[c] GARB, T. (2007) `Reisemalheurs (Travel Woes): The Paintings of
Vivienne Koorland. [EXHIBITION]. London: Freud Museum.
Documented in: GARB, T. (ed.) (2007) Reisemalheurs (Travel Woes): The
Paintings of Vivienne Koorland [CATALOGUE] London: Freud Museum.
Incl. introductory essay (10,000 words) and 2 edited essays and interview.
Available on request.
[d] GARB, T. (2008). Land Marks/Home Lands, Contemporary South
African Art [EXHIBITION]. London: Haunch of Venison Gallery.
Documented in: GARB, T. (ed.) (2008). Land Marks/Home Lands,
Contemporary South African Art [CATALOGUE] London: Haunch of Venison
Gallery. Incl. introductory essay by Garb (12,000 words, republished as
independent essay in Nka, Journal of Contemporary African Art, Issue 26,
Spring 2010) plus two edited essays. Available on request.
Details of the impact
The exhibitions Figures and Fictions and Distance and Desire
described in section 2 deepened a wide international public's
understanding of questions of race, identity and representation in the
works of contemporary African photographers, as well as the rich
historical holdings of SA photography at the Walther Collection.
The reach of this is demonstrated by the large number and types
of audiences attracted by the two exhibitions. F&F was the
first ambitious exhibition of contemporary SA photography in a major UK
museum and, as described below, attracted large audiences (over 35,000)
, generated multiple events and activities, affected museum exhibition,
educational and outreach programming, prompted acquisitions and was the
focus of public discussion and debate as well as extensive media
attention. D&D was the first exhibition in the US or Germany
to bring together archival photographs of Africans with contemporary
artists who critically engage with similar materials. It stimulated
collaboration with a public museum, attracted a substantial audience
(5,000 in New York, Ulm still ongoing) diverse educational events, an
academic symposium, an expansion of a collection and huge critical
attention in the USA and Germany (receiving more than 100 reviews in
The significance of the two exhibitions is demonstrated, most
fundamentally, by the important role they played in bringing debates on
identity and representation, particularly in African photography, to an
international public. This not only exposed the general public to these
issues, it also provided a pathway to broaden audiences at these cultural
institutions. For F&F, Garb worked in collaboration with the
Black Heritage and Culture initiative at the V&A to organise a series
of evening tours and talks intended specifically to attract new
publics to the museum and gallery setting. These included special
tours and events for African/Caribbean women (a group of 30), attendees
from ethnic minority backgrounds, and those interested in African art and
culture . For example, the Afropolitans event on 24 June 2011 took its
cue from F&F to offer over 500 attendees a free evening of
music, workshops and performance celebrating African photography, fashion,
and style, designed to introduce contemporary African culture and debates
to UK audiences. The event received widespread coverage in
African-interest blogs, such as MsAfropolitan and African Art
in London . Another special event, `Museums at Night — SA Figures
& Fictions' (13 May 2011) had about 700 visitors, of whom at least 40%
were new to the V&A (`with a strong South African presence') and
feedback forms describe the show and related events as `inspirational'
The exhibitions also consolidated existing viewers and provided
educational events for the general public and specialist audiences.
F&F was accompanied by three lunchtime lectures, an artist's
panel and a two-day symposium entitled `Poetics and Politics of
Photographic Depictions of People'. All were sold out, with 150 attendees
each. There were also three curator-led walkabouts (50 attendees each). In
New York, five gallery talks were held to accompany D&D (all
sold out, 50 attendees each) in addition to a 2-day symposium at New York
University (NYU) entitled `Encounters with the African Archive' (175
attendees) chaired by Garb. There were also class visits from NYU, Cooper
Union and the Fashion Institute of Technology (20 students per group) .
These events collectively exposed a wide range of attendees to SA and
African photography and the critical debates around colonial and
post-colonial representational practices that surround it.
Through the enormous media coverage they generated, both shows raised
awareness and critical discussion of African photography and related
issues of race and representation beyond the gallery walls. Thus the
reach of the events was extended to far wider audiences than those who
visited the shows and related events. For F&F, Garb
collaborated on eight films for the V&A TV channel with an estimated 4
million viewers . These were combined into an hour-long documentary
which was shown, under a pre-existing agreement with British Airways, to
passengers on long-haul flights over three months (although exact viewing
figures are not available, about 3 million passengers a year have access
to inflight entertainment on the airline) .
The strong press response to both exhibitions demonstrates how vividly
the research contributed to wider public debate on the issues explored by
the research. Critical media discussion immediately engaged with the major
themes of F&F, bringing issues around pictorial genealogies,
documentary, ethnographic and portrait traditions, and post-apartheid
practices to public debate. Examples include  coverage in the Guardian
(23/4/2011; 263k ABC print circulation, extended by the substantial web
presence) Observer (17/4/2011; 303k circulation), and the Independent
on Sunday (10/4/2011; 154k circulation). Several media outlets
provided pictorial coverage, further extending the reach of the original
exhibitions, including the British Journal of Photography (April
2011), a 12-page spread in The Sunday Times Spectrum Mag (April
2011). Coverage extended well beyond the UK; for example, the SA
contemporary web-based art magazine Artthrob (6-8,000 visitors per
month according to the website) reviewed it in depth . TV and radio
coverage was similarly broad, reaching a combined total of over 78 million
people. Programmes included BBC 3 Nightwaves (11/4/2011; 2.25m listeners
per week), BBC World Service, The Strand, (13/4/2013; 1.9m listeners per
week), BBC World News (20/6/2011), BBC4 News, and BBC World Television
(21/6/2011; 74m per week) . This considerably extended the audience for
the show and all programmes contained substantive discussion of works,
photographers and themes connected to the show.
D&D had a similarly vast reach. The three New York exhibitions
were widely reviewed in both the mainstream press and in publications
targeting African American audiences. These included its selection as New
York Times critics' pick (28/9/2012), and review (20/8/2012; 1.6m
print and digital circulation according to the Audit Bureau of
Circulations), New Yorker Photo Booth (March 2013) and the International
Herald Tribune, (13/8/2012; 44.2m online readers) . Special
interest publications included reviews in the New York art and lifestyle Whitewall
magazine and Another Africa (later reprinted in the Guardian)
. German press coverage included, for example, on TAZ.de (06/7/2013);
Deutsche Welle (22/7/2013) and the C& Platform for International Art
from African Perspectives. Many of these engaged directly with the
questions raised by Garb's research; TAZ pointed out, for example, that
the `extraordinary research enabled the exhibition to showcase pictorial
programs in ways that deconstructed the multiple strategies in which the
West has imagined Africa' .
Through extensive discussions and collaborations with colleagues in both
the V&A and the Walther Collection, Garb's research transformed the
knowledge base of her curatorial, museum and academic partners, and impacted
on museum/ collection programming. Working with her on F&F
enabled the V&A to redress an imbalance in its exhibition programming
which had not till then shown SA work in any depth . This exhibition
prompted the invitation to collaborate with the Walther Collection: Artur
Walther invited her to curate D&D after seeing F&F
. D&D was also accompanied by a closed scholar's forum,
convened by Garb, for eight curators from the US, Europe and SA to discuss
the Walther Collection works. These discussions culminated in the
published catalogue [see above, b].
Acquisition policy at both collaborating institutions was informed
by the shows, reflecting a new awareness of the shifting geographies of
art history and the impetus to extend collections beyond historic centres
and especially in the direction of Africa, and contributing to
national and international cultural heritage by ensuring that these
works are recognised and made available to the public through important
national and private collections. For example, the V&A expanded its SA
holdings and purchased 14 works first exhibited at F&F .
The Walther Collection, which was already dedicated to collecting African
photography, acquired 20 contemporary works, 30 postcards and 8 albums
under advice from Garb for display in D&D and as part of its
ongoing expansion of the collection .
At both the V&A and Walther Collection, the collaboration stimulated
related exhibitions demonstrating its impact on an expanded interest in
African work. Prompted by F&F, in April-July 2011 the
V&A hosted a separate and parallel exhibition of 120 vintage prints by
the SA photographer David Goldblatt, which were held in the collection but
had not been shown since 1987 . Garb advised on this show, which
contributed new research and educational resources made publically
available on the museum website, and through a micro-site dedicated to
this photographer . For the Goldblatt exhibition itself, Garb edited
the wall texts, captions and pamphlets, bringing her research expertise to
bear on contextualising Goldblatt's work. In Neu-Ulm, Germany, D&D
prompted the Walther Collection to collaborate with the Ulmer Museum on a
related exhibition entitled `Woven Identities', making links between
cultural artefacts and images and situating textiles from the museum in
dialogue with photographs from the Walther Collection featuring related
patterned fabrics . To complement this, Garb provided a guided tour of
D&D for the curators of `Woven Identities' and convened a
discussion of interrelated themes for curators and museum educators in Ulm
in June 2013.
Sources to corroborate the impact
 F&F viewing figures, media coverage and information on
the V&A TV series and the British Airways agreement provided by Senior
Press and Publicity Officer, V&A. Available on request.
 D&D: visitor events, attendees and acquisitions provided
by The Walther Collection, New York.
 Letter from Audience Development Officer (African Caribbean) Learning
& Interpretation Division Victoria & Albert Museum confirming
Afro-Caribbean special event and Afropolitans attendees. Available on
 Blog coverage of Afropolitans: Ms Afropolitan: http://bit.ly/1iEoF3u.
 Examples of broadsheet media coverage include the Guardian
(23 April 2011) http://bit.ly/1i13m1b;
the Observer (17 April 2011) http://bit.ly/18UVmVQ;
the Independent (11 April 2011) http://ind.pn/1i13oWX.
Circulation figures from 2011 ABCs reported in the Guardian at http://bit.ly/16x8eDP
(dailies) and http://bit.ly/1akOa51 (Sundays).
Artthrob coverage: http://bit.ly/17Ap3Rw;
visitor numbers from http://bit.ly/1aTSNY3.
 New York Times 20 September 2012 http://nyti.ms/18sIsSI
International Herald Tribune readership: http://bit.ly/Hv0BVB.
and Another Africa http://bit.ly/1bdTbCP.
 German media coverage and relation to Ulmer Museum described in a
statement provided by Head of Press, Bureau Muller. Available on request.
 Statement describing the impacts of F&F on institutions
and acquisitions provided by Senior Curator (Photography), V&A.
Available on request.
 Artur Walther and Tamar Garb: A Conversation, in Distance and Desire,
Encounters with the African Archive, Walther Collection, Steidl. 2013.
Artur Walther connects Garb's work on D&D to her previous work
on F&F on page 14; available on request.
 David Goldblatt exhibition page, corroborating that it accompanies F&F:
http://bit.ly/17Fqhsw; The Goldblatt