David Goldblatt

David Goldblatt HonFRPS (29 November 1930 – 25 June 2018) was a South African photographer noted for his portrayal of South Africa during the period of apartheid.[1][2] After apartheid had ended he concentrated more on the country's landscapes. What differentiates Goldblatt's body of work from those of other anti-apartheid artists is that he photographed issues that went beyond the violent events of apartheid and reflected the conditions that led up to them.[2] His forms of protest have a subtlety that traditional documentary photographs may lack: "[M]y dispassion was an attitude in which I tried to avoid easy judgments. . . . This resulted in a photography that appeared to be disengaged and apolitical, but which was in fact the opposite."[3] He has numerous publications to his name.

For the British writer and broadcaster, see David Goldblatt (writer).

David Goldblatt
HonFRPS
Born(1930-11-29)29 November 1930
Randfontein, South Africa
Died25 June 2018(2018-06-25) (aged 87)
Johannesburg, South Africa
NationalitySouth African
OccupationPhotographer
Years active1948–2018
Notable workOn the Mines (1973), Some Afrikaners Photographed, (1975) The Structure of Things Then (1998)

Early life

Goldblatt was born in Randfontein, Gauteng Province,[1] and was the youngest of the three sons of Eli and Olga Goldblatt. His grandparents arrived in South Africa from Lithuania around 1893, having fled the persecution of Jews there.[4]

Goldblatt's father ran a clothing store, where his mother worked as a typist for a clothing company, which Goldblatt speculated may have been how they met.[5] Goldblatt attended Krugersdorp High School, and graduated from the University of the Witwatersrand with a degree in commerce.[6][7]

Photography

Goldblatt began photographing when he was a teenager. He got his first camera from his father, who bought it from Goldblatt's brother, who had brought home a damaged German Contax camera when he came back from serving in World War II. Though his first photographs were not groundbreaking, he enlisted help from a wedding photographer: "He would drape several cameras around my neck so that I looked very professional, and my job was to ensure that no guest with a good camera got a good picture . . . I would have to bump or walk in front of them at the critical moment so that my boss was the only person who ended up with good photographs.”[5] A couple years later in 1963, as his skill developed, he sold the clothing shop that he had taken over on the death of his father in 1962, and became a full-time photographer.[5] He documented developments in South Africa through the period of apartheid until it ended in the 1990s. However he was still making photographs up until his death in 2018.

Throughout his years as a photographer, Goldblatt never saw himself as an artist, and he was uncomfortable being seen as one. Many agree that he was a documentarian more than he was an artist.[2] Goldblatt had an innovative approach to documentary photography.[8] He made a life of photographing the issues that went beyond the events of apartheid and documented the conditions that led to them.[2] Goldblatt was never comfortable with the fine art world. He went to exhibition openings but secretly hated the attention they threw upon him. He got around the label of artist by simply calling himself a photographer. He said: "I am a self-appointed observer and critic of the society into which I was born, with a tendency to giving recognition to what is overlooked or unseen."[2]

Goldblatt's photography was not obviously politically charged. He claimed he was not an activist, unlike the majority of his friends and other photographers during this time.[9] He in turn was looked down upon and disrespected for not involving himself in activism, on which he commented: "I wasn't prepared to compromise what I regarded as my particular needs."[9] Instead of producing photographs which might "attempt to pass judgment," Goldblatt chose to "show the complexity of a situation."[10]

Depictions of the everyday are frequent in Goldblatt's work. Instead of photographing the explicit violence of Apartheid South Africa, he preferred to document the violence of this era which exhibited itself in ordinary life: "I shun violence. And I wouldn't know how to handle it if I was a photographer in a violent scene."[11]

During Apartheid, Goldblatt in his work The Transported of KwaNdebele documented the excruciatingly long and uncomfortable twice-daily bus journeys of black workers who lived in the segregated "homelands" northeast of Pretoria. The conditions had not changed that much for workers by 2007: "The bulk of people who live there still have to travel to Pretoria by road. It's still a very long commute for them every day – two to eight hours. . . . It will take generations to undo the consequences of Apartheid."[12]

In the 1970s, Goldblatt documented one of the many injustices of the Apartheid South African government in a series of photographs of houses, shops and other types of architecture in the Johannesburg suburb, Pageview.[13] The Group Areas Act of 1950 displaced much of the local population in favor of white South Africans.[13] Goldblatt documented the local population's demonstrations of resistance and determination through their persistent occupation of their homes and businesses—regardless of the damage done.[13]

After apartheid, Goldblatt continued to photograph within South Africa, particularly its landscapes.[12]

In the work Goldblatt created during apartheid he never photographed in colour.[14] Goldblatt observed that: "the use of colour during apartheid would have been inappropriate. It would have enhanced the beautiful and the personal, whereas black and white photographs to more effectively documented the external dramatic contradictions that defined this earlier period."[3] In the 1990s he began working in colour, in a sense adapting to the digital age. "I’ve found the venture into color quite exciting . . . largely because new technology has enabled me to work with color on the computer as I have done with black and white in the darkroom."[5] It was only after working on a project involving blue asbestos in north-western Australia, and "the resulting disease and death", that he "got hooked on doing work in color [because] You can’t make it blue in black and white."[12]

This was coupled with new developments in digital scanning and printing. Only when Goldblatt was able to achieve the same "depth" in his colour work that he had previously achieved in his black and white photography did he choose to explore this extensively.[14]

Collections and publications

Goldblatt's work is held in major museum collections worldwide.

Interest in Goldblatt's work increased significantly after a travelling exhibition of 51 years of his work (Barcelona, 2001), and the eleventh Documenta (Kassel, 2002). The former, which opened in the AXA Gallery in New York in 2001, offered an overview of Goldblatt's photographic oeuvre from 1948 to 1999. At Documenta, two projects were shown: black-and-white work depicting life in the middle-class white community of Boksburg in the 1970s and 1980s, as well as examples of later colour work from the series Johannesburg Intersections.

Goldblatt's book South Africa: The Structure of Things Then, published in 1998, offers an in-depth visual analysis of the relationship between South Africa's structures and the forces that shaped them, from the country's early colonial beginnings up until 1990.

Goldblatt has written extensively on architecture and the deeper meaning contained within the buildings we occupy.[15]

Influences

Goldblatt was inspired by photography in magazines such as Life, Look and Picture Post, which helped him with things such as captioning his photographs.[9][16] Goldblatt also cited writers and visual artists as his major influences, among them Jillian Becker, Guy Tillim, Herman Charles Bosman, Nadine Gordimer, Njabulo Ndebele, Ivan Vladislavic and playwright Barney Simon.

Herman Charles Bosman specifically helped inspire Goldblatt in his second photo essay titled The South African Tatler.[8]

Goldblatt helped influence the work of the photographer Santu Mofokeng as they studied together during the time of apartheid.[17] Together they helped reinvent documentary and conceptual modes of photography, which led them to prominence and influence within documentary photography.[17]

Later life

After founding the Market Photo Workshop in Johannesburg in 1989,[18] Goldblatt turned no photographer, struggling or famous, away from his door. He was always accessible to everyone no matter what, even in his later life.[2]

Goldblatt died on 25 June 2018 in Johannesburg from cancer.[1][19][20] He had created photographs up until his death. He was survived by his wife, Lily Goldblatt, children Steven, Brenda, and Ronnie, and two grandchildren.[5]

Publications
  • On the Mines. With Nadine Gordimer. Cape Town: C Struik, 1973. ISBN 0-86977-029-2. (in English)
  • Göttingen: Steidl, 2012. ISBN 978-3-86930-491-5.
  • Some Afrikaners Photographed. Johannesburg: Murray Crawford, 1975. (in English)
  • Cape Dutch Homesteads. With Margaret Courtney-Clark and John Kench. Cape Town: C Struik, 1981. ISBN 0-86977-140-X. (in English)
  • In Boksburg. Cape Town: The Gallery Press, 1982. ISBN 0-620-05933-8. (in English)
  • David Goldblatt: Thirty-five years of photographs, April 1983 to January 1984 / Vyf-en-dertig jaar se foto's, April 1983 tot Januarie 1984. Cape Town: South African National Gallery, 1983. Small exhibition catalogue. (in Afrikaans and English)
  • Lifetimes: Under Apartheid. With Nadine Gordimer. New York: Alfred A Knopf, 1986. ISBN 0-394-55406-X. London: Cape, 1986. ISBN 0-224-02870-7. (in English)
  • South Africa. London: The Photographers' Gallery, 1986. ISBN 0-907879-07-1. Small exhibition catalogue. (in English)
  • The Transported of KwaNdebele: A South African Odyssey. With Brenda Goldblatt and Phillip van Niekerk. New York: Aperture Books, 1989. ISBN 0-89381-366-4, ISBN 0-89381-385-0. (in English)
  • South Africa: The Structure of Things Then. Cape Town: Oxford University Press 1998. ISBN 0-19-571631-0. New York: Monacelli, 1998. ISBN 1-58093-026-3. With an essay by Neville Dubow. (in English)
  • David Goldblatt. Phaidon 55. London: Phaidon, 2001. ISBN 0-7148-4051-3. With text by Lesley Lawson. (in English)
  • David Goldblatt Fifty-One Years. Barcelona: Museu d'Art Contemporani de Barcelona, 2001. ISBN 84-95273-78-0. (in English)
  • Particulars. Johannesburg: Goodman Gallery, 2003. ISBN 0-620-30659-9. ("Prix du Livre ", XVIe Rencontres Internationales de la Photographie Arles 2004)
  • David Goldblatt – Intersections. Munich: Prestel, 2005. ISBN 3-7913-3247-3.
  • David Goldblatt – Photographs. Rome: Contrasto, 2006. ISBN 88-6965-015-4.
  • David Goldblatt – Some Afrikaners Revisited. With Antjie Krog and Ivor Powell. Cape Town: Umuzi, 2007. ISBN 1-4152-0025-4 (paper), ISBN 1-4152-0026-2 (hard). Revised and augmented edition of Some Afrikaners Photographed (1975).
  • David Goldblatt: Photographs: Hasselblad Award 2006. Ostfildern: Hatje Cantz; Gothenburg: Hasselblad Foundation, 2006. ISBN 3-7757-1917-2.
  • David Goldblatt: Südafrikanische Fotografien 1952–2006. Winterthur: Christoph Merian Verlag, 2007. ISBN 3-85616-294-1. (in German)
  • Intersections Intersected. Porto: Civilização Editoria; Fundação Serralves, 2008. ISBN 972-739-201-6. With text by Ulrich Loock and Ivor Powell. (in English)
  • Intersecções intersectadas. Porto: Civilização Editoria; Fundação Serralves, 2008. ISBN 972-739-200-8, ISBN 972-26-2765-1. With text by Ulrich Loock and Ivor Powell. (in Portuguese)
  • In Boksburg. Books on Books 7. New York: Errata Editions, 2010. ISBN 1-935004-12-3. (in English) A reduced-size facsimile of the 1982 book, with an essay by Joanna Lehan.
  • Kith Kin & Khaya: South African Photographs. Johannesburg: Goodman Gallery, 2010. ISBN 0-9869749-0-0, ISBN 0-9869749-1-9. (in English) Catalogue of the exhibition at the Jewish Museum, New York, 2010, and at the South African Jewish Museum, Cape Town, 2010–2011.
  • TJ / Double Negative: Johannesburg Photographs 1948–2010. Cape Town: Umuzi, 2010. ISBN 1-4152-0128-5. Contrasto Due, 2011. ISBN 88-6965-218-1. (in English) Two books in a box: TJ is a book of photographs by Goldblatt, Double Negative a novel by Ivan Vladislavić. (Best Photography Book, Kraszna-Krausz Foundation Book Awards 2011)
  • TJ / Johannesburg fotografie 1948–2010 / Doppia negazione. With Ivan Vladislavic. Contrasto, 2010. ISBN 978-88-6965-262-2. (in Italian)
  • TJ. Arles: Actes Sud, 2011. ISBN 88-6965-271-8. (in French)
  • David Goldblatt, Photographers' References, 2014. ISBN 978-2-9543839-1-0 (in English). An in depth interview led by Baptiste Lignel.
  • Regarding Intersections. Göttingen: Steidl, 2014. ISBN 978-3-86930-714-5. With an essay by Michael Stevenson and an interview by Mark Haworth-Booth. Colour photographs in South Africa made between 2002 and 2011.
  • Structures of Dominion and Democracy. Göttingen: Steidl, 2018. Edited by Karolina Ziebinska-Lewandowska. ISBN 978-3-95829-391-5. A selective retrospective.

Exhibitions

Solo exhibitions
  • David Goldblatt. Photographers' Gallery, London, 1974.[21]
  • David Goldblatt. National Gallery of Victoria, Melbourne, 1975.[21]
  • Photography Place, Sydney, 1975.
  • David Goldblatt. Durban Art Gallery, Durban, South Africa, 1977.[21]
  • David Goldblatt. Market Theatre galleries, Johannesburg, 1978.[21]
  • Johannesburg Art Gallery, 1983.
  • Pretoria Art Gallery, Pretoria, 1983.
  • David Goldblatt. South African National Gallery, Cape Town, 1983.[21]
  • David Goldblatt. Side Gallery, Newcastle upon Tyne, 1985.[22]
  • David Goldblatt. Photographers' Gallery, London, 1986.[21]
  • Photographs from South Africa. Museum of Modern Art, New York, 1998.[19][23]
  • David Goldblatt. Netherlands Architecture Institute, Rotterdam, 1998.[21]
  • David Goldblatt. South African National Gallery, Cape Town, 1999.[21]
  • Structures. Johannesburg Art Gallery, to November 1999.[24]
  • In Boksburg. Krings-Ernst Galerie, Cologne, October 2001 – January 2002.[25]
  • Fifty-One Years, Axa Gallery, New York, 2001;[26] Centro Cultural de Belém, Belém, Lisbon, 2002–2003;[27] Johannesburg Art Gallery, 2005;[28] MACBA, Barcelona (organiser), February–May 2002;[25][29] Witte de With, Rotterdam, 2002;[27] Modern Art Oxford, Oxford, February–March 2003;[30] Palais des Beaux-Arts, Brussels, April–June 2003;[31] Lenbachhaus, Munich, July–November 2003;[32] Bensusan Museum and Library of Photography, Johannesburg, July–November 2004.[33]
  • Krings-Ernst Galerie, Cologne, 2002.
  • Mostly unseen. Goodman Gallery, Johannesburg, 2002.[34][35]
  • Intersections. Michael Stevenson Gallery, Cape Town, October 2003;[36][37] Michael Stevenson Gallery, Johannesburg, 2005.[38] museum kunst palast, Düsseldorf, June–August 2005;[39] Camera Austria, Graz, November 2005 – February 2006.[40] Huis Marseille, Amsterdam, March–May 2007;[41] Berkeley Art Museum, July–August 2007.[42]
  • Asbestos. Michael Stevenson Gallery, Cape Town, October 2003.[43]
  • Particulars & Rural South Africa. Goodman Gallery, Johannesburg, October–November 2003.[37][44]
  • Galerie Marian Goodman, Paris, 2004.
  • David Goldblatt. Galerie des Franciscains, Le Grand Café, Centre d'art contemporain, Saint-Nazaire, November–December 2004.[45]
  • David Goldblatt. Galería Elba Benítez, Madrid, May–July 2005.[46]
  • David Goldblatt. Goodman Gallery, Johannesburg, 2005.[34]
  • Rencontres d'Arles, Eglise Sainte-Anne, Arles, 2006.[47][48]
  • Some Afrikaners Revisited. Michael Stevenson Gallery, Cape Town, October–November 2006.[49]
  • Hasselblad Award Winner 2006. Hasselblad Center, Gothenburg, November 2006 – January 2007.[50]
  • Hasselblad Award 2006. Fotografins Hus, Stockholm, February–March 2007.[51]
  • Photographs. Forma, Centro Internazionale di Fotografia, Milan, June–August 2007.[52]
  • Südafrikanische Fotografien 1952–2006. Fotomuseum Winterthur, Winterthur, March–May 2007.[53]
  • Selected works. Marian Goodman Gallery, Paris, May–June 2007. Showing the series Particulars[54]
  • Winner of Hasselblad Award 2006. Brandts Museet for Fotokunst, Odense, September–November 2007.[55]
  • David Goldblatt – Photographs of the last decade. Michael Stevenson Gallery, Cape Town, 2008.[56]
  • David Goldblatt. Galerie Paul Andriesse, Amsterdam, October–December 2008.[57]
  • David Goldblatt. Museu de Arte Contemporânea (Serralves Foundation), Porto, 2008.[58]
  • Joburg. Goodman Gallery, Johannesburg, 2008.
  • David Goldblatt. Västeras Konstmuseum, Västerås, 2008.[59]
  • Intersections Intersected. Michael Stevenson Gallery, Cape Town, 2008;[60] Open Eye Gallery, Liverpool, December 2008 – February 2009;[61] New Museum of Contemporary Art, New York City, July–October 2009;[62] Malmö Konsthall, Malmö, February–May 2009;[63] University Museum of Contemporary Art, University of Massachusetts Amherst, 2011.[64]
  • Fietas. Goodman Gallery, Johannesburg, 2009.[65]
  • In the time of AIDS. Galería Elba Benítez, Madrid, 2009.[66]
  • In Boksburg. Michael Stevenson Gallery, Cape Town, February–April 2009.[67]
  • Some Afrikaners revisited. Oliewenhuis Art Museum, Bloemfontein, 2009.[62]
  • Particulars. Howard Greenberg Gallery, New York City, April–June 2010.[68]
  • South African Photographs: David Goldblatt. Jewish Museum, New York, May–September 2010.[62]
  • Kith, Kin & Kaya. South African Jewish Museum, Cape Town, 2010.[62]
  • TJ: Some things old, some things new and some much the same. Goodman Gallery, Johannesburg, October–November 2010.[69]
  • 'TJ', 1948–2010. Henri Cartier-Bresson Foundation, Paris, January–April 2011.[70][71]
  • Selected works. Marian Goodman Gallery, Paris, January–February 2011.[72]
  • On the Mines. Goodman Gallery, Johannesburg, October–December 2012.[73]
  • Structures of Dominion & Democracy. Goodman Gallery, Cape Town, November–December 2014.[74]
  • New Pictures 10: David Goldblatt, Structures of Dominion and Democracy. Minneapolis Institute of Art, August 2014 – February 2015.[75]
  • David Goldblatt. Centre Pompidou, Paris, February–May 2018.[76]
  • David Goldblatt Photographs 1948 – 2018. Museum of Contemporary Art Australia, Sydney, October 2018 – March 2019.[77]
  • On The Mines.The Norval Foundation, Cape Town, February–August 2019.[78]
  • David Goldblatt | Johannesburg 1948 – 2018. Goodman Gallery, London, June–August 2020.[79]
  • David Goldblatt Strange Instrument. Pace Gallery, New York, February–March 2021.[80]
  • David Goldblatt Markers of Presence.Goodman Gallery, Cape Town, June–July 2021.

Group exhibitions

Awards

Collections

Goldblatt's work is held in the following permanent public collections:

References
  1. Jonze, Tim (25 June 2018). "Photographer David Goldblatt, South Africa's visual conscience, dies aged 87". The Guardian. Retrieved 25 June 2018.
  2. Weinberg, Paul. "David Goldblatt: Photographer Who Found the Human in an Inhuman Social Landscape." The Conversation, 18 May 2019.
  3. Krantz, David L. (December 2008). "Politics and Photography in Apartheid South Africa". History of Photography. 32 (4): 290–300. doi:10.1080/03087290802334885. S2CID 6877460.
  4. Okwui Enwezor. "Matter and consciousness: An insistent gaze from a not disinterested photographer", Fifty-One Years: David Goldblatt (Barcelona: Museu d'Art Contemporani de Barcelona, 2001), 13–43.
  5. Genzlinger, Neil. "David Goldblatt, Acclaimed South African Photographer, Dies at 87", The New York Times, 25 June 2018.
  6. "Honorary degree citation: David Goldblatt Archived 19 July 2012 at archive.today", University of the Witwatersrand. Retrieved 13 February 2011.
  7. "David Goldblatt". SA History. Retrieved 13 April 2016.
  8. Bester, Rory (March 2010). "David Goldblatt's making visible: photographic strategies of rumination, orchestration and circulation". Social Dynamics. 36 (1): 153–165. doi:10.1080/02533950903562393. S2CID 145139447.
  9. Goldblatt, David; Cane, Jonathan (2015). "David Goldblatt". Aperture (220): 108–121. JSTOR 24475186.
  10. Ditner, Judy (2019). "David Goldblatt: A Life in Photography". Yale University Art Gallery Magazine – via Yale University Art Gallery.
  11. Goldblatt, David; Cane, Jonathan (2015). "David Goldblatt". Aperture. 220 (220): 108–21. JSTOR 24475186 – via JSTOR.
  12. Eva-Lotta Jansson (11 June 2007). "David Goldblatt: The Colors of South Africa". Blouin Art Info. Retrieved 29 June 2018. {{cite journal}}: Cite journal requires |journal= (help)
  13. Mudie, Ella (November 2019). "David Goldblatt and the Indeterminate Landscape". Places Journal (2019). doi:10.22269/191126. S2CID 212907958. Retrieved 8 March 2022.
  14. Bajorek, Jennifer (4 May 2015). "On Colour Photography in an Extra-Moral Sense". Third Text. 29 (3): 221–235. doi:10.1080/09528822.2015.1106136. S2CID 146165731.
  15. Goldblatt, David (1991). "The Dislocation of the Architectural Self". The Journal of Aesthetics and Art Criticism. 49 (4): 337–48. doi:10.2307/431034. JSTOR 431034 – via JSTOR.
  16. “David Goldblatt”, Art21.
  17. Firstenberg, Lauri (March 2002). "Representing the Body Archivally in South African Photography". Art Journal. 61 (1): 58–67. doi:10.1080/00043249.2002.10792108. S2CID 145021753.
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  28. Rory Bester, "Goldblatt, Magubane, Ruselo & Schadeberg", Art South Africa v 4.2; here Archived 7 July 2011 at the Wayback Machine at artsouthafrica.com. Retrieved 20 February 2011.
  29. Leaflet Archived 20 July 2011 at the Wayback Machine (PDF) accompanying the exhibition (and including a glossary of South African terms), MACBA, 2002. Retrieved 20 February 2011.
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  41. Exhibition notice, Huis Marseille. Retrieved 15 February 2011.
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  79. "Goodman Gallery".
  80. "Pace Gallery | David Goldblatt: Strange Instrument".
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  83. Press release for "Photography from South Africa", undo.net, 25 May 2004. Retrieved 15 February 2011.
  84. Alex Dodd, "A Chronology", in David Goldblatt: Photographs (Venice: Contrasto, 2006), pp. 230–249.
  85. Julia Spalding, "More than meets the eye", "Photographic Memories Archived 16 July 2011 at the Wayback Machine" San Diego Magazine, October 2004. Retrieved 18 February 2011.
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