Wikipedia

Mary Sibande

Mary Sibande (born 1982)[1] is a South African artist based in Johannesburg. Her art consists of sculptures, paintings, photography, and design. Sibande uses these mediums and techniques to help depict the human form and explore the construction of identity in a postcolonial South African context. In addition, Sibande focuses on using her work to show her personal experiences while living through Apartheid.[2] Her art also attempts to critique stereotypical depictions of women, particularly black women.[3]

Mary Sibande
Born1982 (age 41–42)
NationalityGhanan
EducationDiploma in Fine Arts from Technikon Witwatersrand, University of Johannesburg
Known forSculpture
Photography
Visual art
Collage
Awards54th Venice Biennale artist
Websitemarysibande.com

Early life

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Sibande was born in Barberton in apartheid South Africa and was raised by her grandmother.[4] Her mother was a domestic worker herself, and her father was in the South African Army. She did not know her father when she was younger but got to know him when she was a teenager.[4] Because her mother was a domestic worker she pays homage to domestic workers with her artworks. Artworks such as the ones from her exhibit, "Long Live the Dead Queen".[5] Sibande would describe her childhood as being perfect; she states that "‘I had everything I needed, and I went to a good high school which was multiracial. Many families couldn't afford to send their kids there but I was fortunate that my mum was able to. I guess that also pushed me in a certain direction."[4]

Education

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Sibande received her diploma in Fine Arts from the Technikon Witwatersrand in 2004. She obtained a B-tech degree from the University of Johannesburg in 2007.[3][6][4] At first Sibande wanted to be a fashion designer and art was more of an afterthought. Her aspirations of being a fashion designer are still prominent throughout all of her works. The usage of fashion and design are all over and displayed beautifully throughout every single one of her sculptures. In 2001, Sibande moved in with her mother to Johannesburg where she was studied at Witwatersrand Technikon.[4]

Career and work

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Sibande has used her work to expose many different things, from postcolonial South Africa to stereotypes of women as well as stereotypes regarding black women in South Africa.[7] Her work contains multiple types of mediums such as sculpture, photography, design, collage, and even theatrics. Sibande's painting and sculpture uses the human form to explore the construction of identity in a postcolonial South African context, but also attempts to critique stereotypical depictions of women, particularly black women.[8] She was the South African representative at the 45th 2011 Venice Biennale,[9] and her work Long Live the Dead Queen was found in murals all over the city of Johannesburg in 2010.[10][11] In 2016, her work The Purple Shall Govern toured South Africa.[12] Sibande has also used her artwork to focus on giving voiceless people their voice back.[13] Some have even said that her work confronts the very inkling of a disempowered African female and that her work aims to crack the morse code associated with western ideals of beauty and how they can appeal to black women.[2]

Design

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Sibande was determined to be a fashion designer and said, "There were no museums and galleries in the town I grew up in; that was foreign to me."[4] Sibande has used her knowledge and love for design to incorporate in her works. She has focused her fashion design for every piece of wardrobe her sculptures wear. In her "Conversation with Madam CJ Walker" exhibit, her knowledge and skill of cloth and fashion design are apparent.[14][15] Her design and fashion work are also very carefully thought about. The fabrics and color Sibande chooses to use have different meaning and impacts on her work. In a journal article for the UNISA and Durban Art Gallery article an author named Carol Brown spoke about the usage of fabric in Sibande's work. She states that "The fabric used to produce uniforms for domestic workers is an instantly recognizable sight in domestic spaces in South Africa, and by applying it to Victorian dress she attempts to make a comment about history of servitude and colonization as it relates to the present in terms of domestic relationships."[7]

Photography

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Sibande has used photography to capture and construct her artworks. In 2013 she had seven enlarged photographs of her work displayed on the streets of French suburbs such as Ivry-sur-Seine, Vitry-sur-Seine and Choisy-le-Roi.[2] Photography has not only played a big part on her big public displays but also in her day-to-day work. Sibande takes into consideration how her work will be photographed which is reflected in how she presents and structures her works and installations. Many of her shows include both a display of her sculptures as well as photographs she's taken of her work or installations.[16]

Sculpture

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At first, she would make little figures out of clay and that was about the full extent of artworks at the time. In the end, she would with the art route; however, Sibande states, "...I can now marry the two worlds – fashion and fine art aren't far off from each other."[4] Later on Sibande background and knowledge with sculpture became an extensive one. With exhibits such as her "Long Live the Dead Queen Series" in 2013, one is able to see the beginning of her character "Sophie" who is one of her best known and reappearing character in her sculptures. Sophie, the main feature in all of her works is a sculpture. Sophie is molded after Sibande herself and is like her alter-ego. Sibande's sculpture draws energy from the long history of female domestic workers, during the apartheid and post-apartheid. The sculpture, Sophie, attempts to critique the long history of oppression in South Africa, specifically regarding black women in South Africa.[16]

Theatrics

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Sibande's work is well known for both her whimsy and theatrics. The theatrics of her work plays a big role in how she showcases and portrays her characters as well as her messages. In an article by Leora Farber the author makes an analysis that many other critiques have said, "Sibande's theatrical quotations of the language of dress and use of dramatic poses may be related to photographic representations of the Victorian female hysteric in various stages of a hysterical attack, in that they both evoke a sense of excess."[13] The use Sibande has for positioning her sculpture, in addition to all of the other components of her work are to evoke an impression on the viewer.

Sophie

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Sophie has played a large role in Sibande's work. Sophie as previously mentioned is Sibande's alter-ego, she is a domestic worker who finds peace and an escape from servitude by dreaming of emancipating herself. The character is in an imaginary and dream-like world where she is finally free.[16] Sophie's life is collected and presented through a series of human-scale sculptures, molded on Sibande herself. Sophie's working uniform is gradually transformed into the grand Victorian wear of the European elite.[2] Placing Sophie in Victorian clothing comments on the restriction of women in these large, heavy and tightened-up dresses. Her dress is a protest against being a maid, and at the same time, it is the façade that allows her fantasies to come to life. Sophie starts to take different roles throughout Sibande's work in addition to being different types of people. In each work Sophie portrays different personas, one being a Victorian queen, another being a general who leads an entire army to victory, she's also a beautiful woman going to a ball and even a pope at one point. Sophie is portrayed as a hero and a character full of strength and perseverance.[2]

Furthermore, Sibande takes Sophie into different exhibits throughout the years. She first portrays Sophie in her “Long Live the Dead Queen” exhibition from 2009 to 2013. "Long Live the Dead Queen" portray Sophie as a maid who is reclaiming who she post-colonialism. She is then brought back again in a different setting in “The Purple Shall Govern” in 2013–2017. This exhibit is when Sibande allows the "new" Sophie to come out and express herself. The exhibit takes a place of an installation which takes over the space.[17] Sophie makes a reappearance with Sibande's most current series, “I Came Apart at the Seams” which takes place from 2019 to the present.[16] Sophie is also depicted in a sculpture called Sophie/Elsie, which Sibande created in honor of her great-grandmother (a domestic worker whose masters gave her "Elsie" as a Western name).[18]

Collections

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Sibande's work is held in the following permanent collections:

Exhibitions

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Solo exhibitions

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  • Sophie/Elsie, University of Michigan Museum of Art, Ann Arbor, Michigan, USA, 2021[18]
  • I came apart at the seams, Somerset House, London, 2019
  • Right Now!, Stellenbosch University's Woordfees Festival, Stellenbosch University's Art Museum, Stellenbosch, South Africa, 2016
  • The Purple Shall Govern, Iziko South African National Gallery, Cape Town; Standard Bank Gallery, Johannesburg, South Africa, 2014
  • Lyon Biennale of Contemporary Art, The Museum of Contemporary Art, Lyon, France, 2013
  • The Purple Shall Govern, Grahamstown National Arts Festival, Grahamstown, South Africa, 2013
  • The Purple Shall Govern, Musée d'Art Contemporain du Val-de-Marne, Paris, 2013
  • Mary Sibande and Sophie Ntombikayise Take Central Court, Central Court, Spencer Museum of Art, University of Kansas, Kansas, USA, 2012
  • Long Live The Dead Queen, Inner City Johannesburg; Joburg City World Premier Annual Exhibition, Johannesburg; National Arts Festival, Grahamstown, South Africa, 2010[23]

Group exhibitions

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  • Radical Revisionists: Contemporary African Artists Confronting Past and Present, Moody Center for the Arts, Houston, Texas, 2020[24]
  • 1-54 Contemporary African Art Fair (SMAC Gallery), Somerset House, London, 2019
  • 14th Curitiba International Biennale of Contemporary Art, Curitiba, Brazil, 2019
  • N'GOLÁ Festival of Arts, Creation, Environment and Utopias, São Tomé e Príncipe, 2019
  • FNB Art Joburg (SMAC Gallery), Sandton Convention Centre, Johannesburg, South Africa, 2019
  • Ampersand Foundation Award 21 years celebration exhibition, University of Johannesburg Art Gallery (JAG), Johannesburg, South Africa, 2019
  • Construction of the Possible, Havana Biennale, Havana, Cuba, 2019
  • Made Visible, Contemporary South African Fashion and Identity, Boston Museum of Fine Art, Boston, USA, 2019
  • A New Humanity, Dak'Art: African Contemporary Art Biennale, Dakar, Senegal, 2018
  • Extra/Ordinary, Plugin New Media Section, Contemporary Istanbul, Istanbul, Turkey, 2018
  • The Armory Show, Piers 92 & 94, New York City, USA, 2018
  • In Their Own Form, Museum of Contemporary Photography(MoCP), Chicago, USA, 2018
  • Shifting Boundaries: A Selection of Works showcasing South African Women Artists of the Past 100 Years, Welgemeend, Cape Town, South Africa, 2018
  • Not a Single Story, Nirox Foundation Sculpture Park, Krugersdorp, South Africa, 2018
  • Continental Drift: Black / black Art from South Africa and North Australia, Cairns Art Gallery, Cairns, Australia, 2018
  • Like Life: Sculpture, Color, and the Body (1300–Now), The Met Breuer, New York City, USA, 2018
  • Cultural Threads, TextielMuseum, Tilburg, Netherlands, 2018
  • Friends50, Iziko South African National Gallery, Cape Town, South Africa, 2018
  • African Mosaic: Selections from the Permanent Collection, National Museum of African Art, Smithsonian Institution, Washington, D.C, USA, 2017
  • South Africa: The Art of a Nation, The British Museum, London, 2017
  • All things being equal, Zeitz Museum of Contemporary Art Africa (MOCAA), Cape Town, South Africa, 2017
  • Dress Code, Gallery MOMO, Cape Town, South Africa, 2017
  • 1:54 Contemporary African Art Fair, Somerset House, London, 2017
  • The Evidence of Things Not Seen, Johannesburg Art Gallery (JAG), Johannesburg, South Africa, 2017
  • Another Antipodes/Urban Axis, PS Art Space, Fremantle, Australia, 2017
  • Beauty and Its Beasts, Durban Art Gallery, Durban, South Africa, 2017
  • Different Angels, Höhenrausch Linz, Austria, 2017[23]
  • Re(as)sisting Narratives, Framer Framed, The Netherlands, 2016

Awards and distinctions

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  • 2017: Smithsonian National Museum of African Arts Award[25]
  • 2014: Johannesburg Alumni Dignitas Award[25]
  • 2013: Standard Bank Young Artist Award[26]

She has also been a Smithsonian Fellow in Washington DC, a Ampersand Foundation Fellow in New York, and a Fellowship in the University of Michigan Fellowship. In 2018–19, Sibande was the Virginia C. Gildersleeve Professor at Barnard College.[9]

References

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  1. ^ "Biography & CV - Mary Sibande". Mary Sibande. Retrieved 12 April 2024.
  2. ^ a b c d e Bidouzo-Coudray, Joyce (7 January 2014). "Mary Sibande – poking at power relations in post-apartheid South Africa". The Guardian. Retrieved 28 April 2017.
  3. ^ a b Nolundi (5 August 2016). "Mary Sibande". South African History Online. Retrieved 2 March 2019.
  4. ^ a b c d e f g Fisher, Shireen (1 April 2018). "We sit down with internationally acclaimed artist Mary Sibande". Fairlady.
  5. ^ "South African Artist Mary Sibande Has Solo Exhibit at Leroy Neiman Gallery | Columbia News". news.columbia.edu. Retrieved 4 November 2019.
  6. ^ Alexandra Dodd, "Dressed to thrill: the Victorian postmodern and counter-archival imaginings in the work of Mary Sibande", Critical Arts, 24.3 (November 2010): p. 467.
  7. ^ a b Brown, Carol (2011). "Recent Acquisitions at Two South African Collections: UNISA and Durban Art Gallery". African Arts. 44 (3): 76–83. doi:10.1162/afar.2011.44.3.76. ISSN 0001-9933.
  8. ^ "Mary Sibande". www.gallerymomo.com. Retrieved 25 January 2016.
  9. ^ a b "Mary Sibande – Kavi Gupta Gallery". kavigupta.com. Retrieved 13 December 2020.
  10. ^ "South Africa", La Biennale.
  11. ^ "Mary Sibande". Contemporary And. Archived from the original on 31 October 2014. Retrieved 22 October 2014.
  12. ^ "Mary Sibande by Anna Stielau". artthrob.co.za. Retrieved 20 March 2016.
  13. ^ a b Farber, Leora (2 October 2017). "Parodying the Hysteric as a Form of Empowerment in Mary Sibande's Exhibition The Purple Shall Govern". Textile. 15 (4): 428–441. doi:10.1080/14759756.2017.1337376. ISSN 1475-9756.
  14. ^ Nowacki, Kim (8 July 2010). "'Conversation with Madam CJ Walker' by Mary Sibande, 2009". flickr.com. Retrieved 4 November 2019.
  15. ^ Dodd, Alexandra (2010). "Dressed to thrill: the Victorian postmodern and counter-archival imaginings in the work of Mary Sibande". Critical Arts. 24 (3): 467–474. doi:10.1080/02560046.2010.511883. ISSN 0256-0046.
  16. ^ a b c d "Meet Mary And Sophie!". PDN Photo of the Day. 3 October 2019. Retrieved 5 November 2019.
  17. ^ "Mary Sibande: The Purple shall Govern | Group Sponsorships". sponsorships.standardbank.com. Retrieved 5 November 2019.
  18. ^ a b c "Mary Sibande at the University of Michigan Museum of Art". umma.umich.edu. Retrieved 3 February 2021.
  19. ^ "New Mary Sibande installation at U-M Museum of Art reimagines story of South Africa's domestic workers | Arts & Culture". arts.umich.edu. Retrieved 3 February 2021.
  20. ^ "Artwork of the Week: September 13". The Toledo Museum of Art. Archived from the original on 1 February 2016. Retrieved 25 January 2016.
  21. ^ "Sophie-Ntombikayise by Mary Sibande | Recent Acquisitions | Collection | Spencer Museum of Art". Spencer Museum of Art. Archived from the original on 20 December 2015. Retrieved 25 January 2016.
  22. ^ "Collections | National Museum of African Art". africa.si.edu. Retrieved 30 October 2019.
  23. ^ a b "Mary Sibande". smac gallery. Retrieved 5 November 2019.
  24. ^ "Radical Revisionists: Contemporary African Artists Confronting Past and Present". Moody Center for The Arts. 11 November 2019. Retrieved 13 June 2020.
  25. ^ a b "South African Artist Mary Sibande Has Solo Exhibit at Leroy Neiman Gallery". Columbia News. Columbia University. 16 April 2019. Retrieved 14 June 2024.
  26. ^ "In celebration of women's month: Strauss & Co proudly exhibits Dream Invisible Connections". Caxton Network News. South Africa: Caxton & CTP Printers and Publishers Ltd. 6 August 2022. Retrieved 14 June 2024.
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