#Jamal Nxedlana

[smadzadzalyte]

FAKA by Jamal Nxedlana

[aaagencyyy]

Jamal Nxedlana

[celebrationrow]

[nopracticalevidence]

Jamal Nxedlana. Johannesburg. 2019. 

From the New Black Vanguard: Photography between art and fashion, by Antwaun Sargent, Aperture, 2019 © Jamal Nxedlana. 

Kraszna-Krausz Book Awards

[andilebuka]

New work for Bubblegum Club featuring designers Thebe Magugu & Wanda Lephoto. 

Photography by: Andile Buka Creative Direction by: Jamal Nxedlana Styling & Direction by: Amy Zama Creative Production by: Moipone Tlale Written by: Lindiwe Mngxitama Retouched by: Ashiq Johnson CGI: Lex Trickett Production Assistant: Joy Mahamba Lighting Assistants: Kgomotso Neto & Amanda Buka

Read all about it on: https://bubblegumclub.co.za/features/collaborations-of-everyday-resistance-thebe-magugu-and-wanda-lephoto/

[fashionbooksmilano]

The New Black Vanguard

Photography Between Art and Fashion

Antwaum Sargent

Aperture, New York 2019, 311 pages, 21x28 cm., 250 images, Hardcover, ISBN  9781597114684

euro 52,00

email if you want to buy :booksinprogressmilano@yahoo.it

In The New Black Vanguard: Photography between Art and Fashion, curator and critic Antwaun Sargent addresses a radical transformation taking place in fashion and art today. The featuring of the Black figure and Black runway and cover models in the media and art has been one marker of increasingly inclusive fashion and art communities. More critically, however, the contemporary visual vocabulary around beauty and the body has been reinfused with new vitality and substance thanks to an increase in powerful images authored by an international community of Black photographers. In a richly illustrated essay, Sargent opens up the conversation around the role of the Black body in the marketplace; the cross-pollination between art, fashion, and culture in constructing an image; and the institutional barriers that have historically been an impediment to Black photographers participating more fully in the fashion (and art) industries. Fifteen artist portfolios feature the brightest contemporary fashion photographers, including Tyler Mitchell, the first Black photographer hired to shoot a cover story for American Vogue; Campbell Addy, founder of the Nii Agency and journal; and Nadine Ijewere, whose early series title, The Misrepresentation of Representation, says it all. Alongside a series of conversations between generations, their images and stories chart the history of inclusion, and exclusion, in the creation of the commercial Black image, while simultaneously proposing a brilliantly re-envisioned future. Photographs by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo. Including conversations with Shaniqwa Jarvis, Mickalene Thomas, and Deborah Willis. 

20/03/22

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:@fashionbooksmi

instagram:         fashionbooksmilano, designbooksmilano tumblr:                fashionbooksmilano, designbooksmilano

[shaddad]

do fotógrafo sul africano jamal nxedlana

[iamnotmyhistory]

The New Black Vanguard: Photography between Art and FashionBy Antwaun Sargent

Photographs by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen TayoAnd including conversations with Shaniqwa Jarvis, Mickalene Thomas, and Deborah Willis

Available here

[aestheticsbyshalom]

Week 10- A visit to the Saatchi Gallery

Photo 1: Adrienne Raquel, 'Expensive Taste', 2018

This is a girly photo that represents indulgence and luxuriousness. I was interested in this piece because I, myself am materialistic and thought this photo was very well taken

The focus is entirely on the objects, located in the middle of the frame

I cannot be drawn away from the subject because of how the objects are framed

The style of the photo reminds me of magazine adverts

Photo 2: Namsa Leuba, 'NGL', 2015

This photo is of a model. I like this photo because she looks very eccentric.

This photo was taken from a close up, eye level point of view

Because the photo was taken from a close up, eye level point of view, the woman is centered in the frame and she is our primary concern

The style of this photo reminds me of portrait photography

Photo 3: Tyler Mitchell, 'Untitled', 2018

This photo is of a boy in a garden. I picked this photo because the boy looked very peaceful and beautiful

This photo was taken from an up close, eye level point of view

Because the photo was taken from an close up, eye level point of view, the boy is obscured by the flowers and gives off a poetic vibe

This photo reminds me of album covers

Photo 4: Stephen Tayo, 'Untitled', 2019

This photo is of 6 black men who look to be depicted as brothers or friends. I liked this photo because of what it represents literally.\

This photo was taken in natural lighting and the boys are shaped like a triangle

Because this photo was taken in natural lighting and the boys are shaped like a triangle, it makes the boys individual poses stand out and allows us to see the surroundings as well

This photo doesn't remind me of anything

Photo 5: Jamal Nxedlana, 'Avatar' (series), 2019

This photo is of a woman model. I like this picture a lot because it reminded me of Medusa

This photo was taken up close and has little to none background color

Because this photo was taken up close and has little to none background color, it allows us to focus on the model extremely well. The faded blue color brings out the models skin color

This photo reminds me of a portrait

[ianlynam]

Yo! Asia AND Africa???? As part of VCFA’s Spring Art + Connection special events, we are extremely excited for the upcoming presentation: Graphic Design Global Studio Sessions! When: Wednesday, June 2nd Where: Registration link for the presentation in @vcfaedu bio. Get a glimpse into the practices and realities of designers based in Africa and Asia with two sets of microlectures and Q&A with faculty members Sereina Rothenberger @hammer__ & Ian Lynam @ianlynam You’ll hear from this amazing group of designers, illustrators, educators, historians, photographers, and more!: Ngadi Smart (Abidjan/London) @ngadismart ,Jamal Nxedlana (Johannesburg) @jamalaun ,Malick Kebe (Abidjan) @from_abidjan ,James Chae (Seoul) @drchae ,Kaitlin Chan (Hong Kong) @kaitlinmchan ,& Sakura Nomiyama (Tokyo) @nmymskr Image Accessibility: A grid of six designs, illustrations, textiles, and photographs by the Global Studio Sessions presenters. Upper Left-Sakura Nomiyama, Upper Middle-James Chae, Upper Right-Kaitlin Chan, Lower Left-Malick Kebe, Lower Middle-Jamal Nxedlana, Lower Right-Ngadi Smart • • • • • #globalstudio #globalstudiosessions #globaldesigners #graphicdesigner #graphicdesign #graphicdesignwriting #graphicdesignschool #graphicdesigneducation #graphicdesignhistory #contemporarydesign #contemporaryart #design #illustration #artanddesign #africandesigners #asiandesigner #photography #mixedmedia #designpractice #mfagraphicdesign #microlectures #vcfadesign #vcfa #vcfaedu #studiosessions #artandconnection #vcfaalumnx #vcfagraphicdesign #vcfamily #vcfalove (at Tokyo, Japan) https://www.instagram.com/p/CPbDPnLhHad/?utm_medium=tumblr

[shapshapproject]

DJ Dokta Spizee, DJ Bone Black & DJ Mighty Residency Africa, What’s up? @ Johannesburg 2020 © Jamal Nxedlana

[suzylwade]

The New Black Vanguard “I think we are all trying to make the world a better place. What better way to do that than by welcoming everyone’s diverse opinions? I believe we build better relationships when we understand each other’s differences and respect individual cultures. If we are all seated on a table with our different backgrounds and experiences and constantly opening a dialogue on all issues affecting us a human race, I think the world would move forward faster and a lot of mistakes plaguing us today wouldn’t even exist.” - Daniel Obasi, Art Director, Fashion Stylist & Photographer. Celebrating a new wave of contemporary image-makers Antwaun Sargent’s new book features 15 of the best emerging photographers – all black, all brilliant – whose work comfortably straddles the line between art and fashion and who are defining fresh perspectives on representation, beauty and the body. This is ‘The New Black Vanguard’. The beautiful tome is brimming with talented contributors such as Nadine Ijewere, Ruth Ossai, Arielle Bobb-Willis and Namsa Leuba. Other alumni include Daniel Obasi, Stephen Tayo, Tyler Mitchell and Micaiah Carter. In addition rising stars Campbell Addy, Awol Erizku, Quil Lemons, Renell Medrano, Jamal Nxedlana, Adrienne Raquel and Dana Scruggs all make the cut. The book also gives space to a series of illuminating conversations between these artists and big hitters Shaniqwa Jarvis, Mickalene Thomas and Deborah Willis. In his opening essay, Sargent unpacks the history of black photography, the power of the fashion image in contemporary culture and the shocking lack of representation even in these times of increased diversity in the creative industry. The writer and critic notes that while it was a landmark moment when Mitchell became the first and youngest, African American photographer to shoot a ‘Vogue’ cover last year, why has it take this long? Now, more than ever, the influence that comes with ownership of images that go on to shape ideas around identity is at a tipping point. In short, there is a new gaze, and it’s dazzling in its multiplicity. https://www.instagram.com/p/B5pXKWMAPsL/?igshid=jtupxfat1d4k

[trascapades]

📚📷👗 #ArtIsAWeapon @sirsargent's new book “The New Black Vanguard: Photography Between Art and Fashion” is out now. Image 📸@tylersphotos. From @aperturefnd: The New Black Vanguard: Photography between Art and Fashion, curator and critic #AntwaunSargent addresses a radical transformation taking place in fashion and art today. The presentation of black figures and black runway and cover models in the media and art has been one marker of increasingly inclusive fashion and art communities. More critically, however, the contemporary visual vocabulary around beauty and the body has been reinfused with new vitality and substance thanks to an increase in powerful images authored by an international community of black photographers. In a richly illustrated essay, Sargent opens up the conversation around the role of the black body in the marketplace; the cross-pollination between art, fashion, and culture in constructing an image; and the institutional barriers that have historically been an impediment to black photographers participating more fully in the fashion (and art) industries. Fifteen artist portfolios feature the brightest contemporary fashion photographers. Alongside a series of conversations between generations, their images and stories chart the history of inclusion, and exclusion, in the creation of the commercial black image, while simultaneously proposing a brilliantly reenvisioned future. Antwaun Sargent is an independent writer, curator, and critic whose work has been published in the New Yorker, New York Times, W, Vogue, VICE, and various museum catalogues, among other publications. #Photographs by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo #BlackBeauty #BlackModels #BlackFashion #ArtAndFashion #BlackPhotographers #BlackImagery #PhotoBook #BlackGirlArtGeeks🤓 #TraScapades #ArtIsAWeapon https://www.instagram.com/p/B4S4QXGAqQC/?igshid=9gee5ig7p0y7

[lawrencefineart]

Not long ago we walked through a department store that was closing. All of the clothing had been removed from the mannequins . What we noticed as we went from floor to floor was that all of the mannequins—hundreds of them—were white except for two black ones. I admit to being slow on the uptake, but I realized then that our notions of race influenced our ideas of beauty. From this the genesis of last year’s exhibition: “Howard Schatz: Beauty Studies: Black, Not White.” As @fashionweek begins, we look here at two artists whose fashion photography straddles the line between art and commerce, but more importantly, whose work expands The boundaries of what we consider beauty—American Howard Schatz and South African Jamal Nxedlana. @jerrysaltz @robertasmithnyt #fashionweek #newyorkfashionweek #contemporaryart #contemporaryphotography @howardschatz @jamalaun #contemporaryart #fashionphotography #artoftheday #interiordesign #blackbeauty #blackartists https://www.instagram.com/p/B2DVAp0gvrn/?igshid=1rjg8c3klte3s

[caveartfair]

These Photographers Explore the Limitlessness of Gender Identity

Zackary Drucker, Rosalyne, 2019, for Aperture. Courtesy of the artist and Luis De Jesus Los Angeles.

Mickalen Thomas, Untitled #3 (Orlando Series), 2019, for Aperture. Courtesy of the artist and Yancey Richardson Gallery, New York.

The film adaptation of Orlando: A Biography was almost never made. In the late 1980s and early ’90s, studios roundly rejected director Sally Potter’s vision to bring Virginia Woolf’s 1928 novel to the screen: It wasn’t adaptable; it wasn’t sellable; it was too costly to make. But Potter had already recruited then-up-and-coming actress Tilda Swinton to play the titular, young British nobleman who lives for three centuries and inexplicably wakes up as a woman at age 30.

The director asked Swinton if she would collaborate on a series of photographs—maybe if producers could see her vision, they would believe it possible. So they traveled to the childhood estate of Vita Sackville-West—Woolf’s lover and friend, and the basis of the protagonist’s character—in Kent, England, and Swinton first stepped into the role of Orlando.

Preproduction image made by director Sally Potter to help secure funding for the film Orlando, spring 1988. Courtesy of the artist.

“I held my loved and modest Nikon close to my eye as it whirred and clicked, holding Tilda’s translucent face in my frame, watching her become—yes, there he was, and there she was, my Orlando,” wrote Potter in the new issue of Aperture, which reimagines the themes of Woolf’s prescient novel through a photography series from renowned artists.

Just as Woolf ended Orlando’s story the year she published the novel, Potter chose to end her version in 1992, the year the movie was finally released. Orlando’s life is timeless—never truly ending, but extending on through each new storyteller. The artists featured in Aperture’s “Orlando” issue and accompanying exhibition on view at Aperture Foundation in New York until July 11th—which Swinton guest edited and curated, respectively—take up that torch: They bring the charming, passionate protagonist into present times.

Mickalene Thomas, Untitled #2 (Orlando Series), 2019, for Aperture. Courtesy of the artist and Yancey Richardson Gallery, New York.

Most of the photographers made entirely new work for the project, taking direct inspiration from the novel or film, while others made new edits of earlier series. It was a commission that, for many of them, struck a personal note. “The character Orlando, knowing that she was a woman, but was identifying as a male, resonates so deeply,” Mickalene Thomas told writer Antwaun Sargent in the issue. “As a teenager, when I was really coming to terms with my own sexuality, and was very much more androgynous than I am as my adult self, it felt so reassuring, safe, and exciting to see that on-screen.”

In Thomas’s series for Aperture, her partner, Racquel Chevremont, and performance artist Zachary Tye Richardson update the period portrait, styled in a synthesis of classic and contemporary references, like an Elizabethan hairstyle paired with a BDSM O-ring collar. They sit against neutral backdrops, reminiscent of the Tudor-inspired portraits of the book’s characters taken by Woolf for the novel, or in impromptu-like studio settings signature in Thomas’s work, with dark wood paneling, colorful sheets, and artificial plants.

Collier Schorr, Untitled (Casil), 2015–18. Courtesy of the artist and 303 Gallery, New York.

Collier Schorr, Untitled (Casil), 2015–18. Courtesy of the artist and 303 Gallery, New York.

As Sargent points out, Thomas’s photographs dispel with the need for “passing”—in her studio, gender is transcended as femininity and masculinity converge in service of universal beauty. It brings to mind Swinton’s take on the source material. “I see Orlando as a story about the life of a human striving to become liberated entirely from the constructs of gender or social norms,” she penned in the issue.

Together, the artists’ works are a celebration of transition, transformation, and fluidity. In one of Elle Pérez’s images—currently on view at the 2019 Whitney Biennial—entitled Mae (2019), the photographer positions their friend, post–facial feminization surgery, as Madonna in blue. Mae wears a floral headscarf, with bruises like yellow pollen around her eyes and stitches across her throat. Turn the page, and the spirit of Orlando is embodied in the three-year metamorphosis of trans model Casil McArthur, photographed by Collier Schorr. Orlando is alive in non-binary South African artist-musicians FAKA, lensed by Jamal Nxedlana. Orlando is longtime LGBTQ+ public health worker Rosalyne Blumenstein, delicately posing like Sandro Botticelli’s Venus for artist and Transparent producer Zackary Drucker.

View this post on Instagram

Mae (three days after), 2019 — portrait of @estrogen_addict

A post shared by elle pérez (@elleperex) on May 25, 2019 at 4:43pm PDT

Like Thomas, Carmen Winant also took cues from Woolf’s portraits, which posed Sackville-West and close friends as Orlando and his loves. Winant displayed those images and found photographs of clay figures on easels, then taped prints of those displays on top of her own images of her body.

The final images show a layered optical effect. Winant renders skin, wood, paper, clay, and tape flat; they are multi-textured, three-dimensional forms confined in two-dimensional space. Likewise, what makes up a human is much more complex than what we see; we are a synthesis of any number of intricate thoughts, feelings, and influences within our physical bodies.

Jamal Nxedlana, FAKA Portraits, Johannesburg, 2019, for Aperture. Courtesy of the artist.

Carmen Winant, A melon, a pineapple, an olive tree, an emerald, a fox in the snow, 2019, for Aperture. Courtesy of the artist.

These artists vividly illustrate the transformative potential of humankind, as Woolf did when she first began conjuring her lover as a dashing nobleman from three centuries earlier. Orlando isn’t really a novel about gender, as Swinton writes in the issue, but about limitlessness. “[It’s] far more as being about the profound flexibility of the fully awake and sensate spirit,” she muses. “[It is] an invaluable parable about true freedom. A directive to the existence of an authentic and responsive soul: consistent and evolving, inviolable, and pure.”

from Artsy News

[twins-double-photo]

© Kristin Lee Moolman and IB Kamara Jamal Nxedlana, Johannesburg, 2026, 2016.