After the Thrill is Gone: Fashion, Politics, and Culture in Contemporary South African Art
September 12-November 12, 2017
Sussel Gallery and the Burton D. Morgan Gallery
- Press Release
- After the Thrill is Gone Installation Images
- After the Thrill is Gone Online Exhibition Catalogue
- Videos, Nicholas Hlobo and Athi-Patra Ruga
- After the Thrill is Gone Introductory Text (.pdf)
- After the Thrill is Gone Object Label Text (.pdf)
lunch at the gallery
Wednesday, October 18, 2017
Presentations at 12:10 by Alicia Brazeau's
First Year Seminar Class
Light lunch provided.
After the Thrill is Gone: Fashion, Politics, and Culture in Contemporary South African Art features thirteen artists who read the political climate of post-apartheid South Africa through fashion’s embrace of the “new.” The artists in After the Thrill is Gone use fashion to shape narratives of representation, identity, memory, xenophobia, violence in the domestic sphere, and allegories of nationalism. Both individually and collectively, these artists locate fashion as a political language and reinterpret the historical terrain of South Africa after the thrill of apartheid’s end is gone.
Artists in the Exhibition
Kudzanai Chiurai, Julia Rosa Clark, Hasan & Husain Essop, Pierre Fouché, Gabrielle Goliath, Haroon Gunn-Salie, Dan Halter, Nicholas Hlobo, Gerald Machona, Mohau Modisakeng, Athi-Patra Ruga, and Mary Sibande.
Organized by the James W. & Lois I. Richmond Center for Visual Arts, Western Michigan University. Andrew Hennlich, Ph.D, Curator.
ABOUT THE CURATOR
Dr. Andrew Hennlich is an assistant professor of art at Western Michigan University's
Gwen Frostic School of Art where he teaches art history. He specializes in contemporary
visual culture, theory and criticism. Hennlich teaches modern and contemporary art,
visual culture, and theory and criticism, including courses such as history of film,
theories of vision, art since 1945, theories and methods of art history, and history
of western art renaissance to the present. Hennlich’s research examines the relationships
between memory and history in contemporary art, exploring these concepts in contemporary
South African visual culture, issues of globalization, decolonization and post-War
Germany. He is completing a monograph, (un)Fixing the Eye: William Kentridge and the Optics of Witness, based off of his Ph.D. thesis, received in Art History and Visual Studies at the
University of Manchester in 2011.