Reportage That Rises Into Art | Modern Society of USA

Reportage That Rises Into Art

Reportage That Rises Into Art

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Extreme heat often sends me to art museums — thus my recent afternoon with the photographs of David Goldblatt at the Museum of Contemporary Art in Sydney.

He was a master of capturing the cold fury of South Africa as the country moved through apartheid to its end and aftermath, but the exhibition goes far beyond that, spanning 70 years and featuring around 360 prints, plus archival materials and documentary interviews.

It’s an almost overwhelming meditation not just on race, but also on the way power gets written into the landscape of a nation, from mines to churches, cemeteries and suburbs.

His art ultimately — like good foreign correspondence — connects one country to others.

“His work is quintessentially South African, very specific to a time and place, but there is also a universality to its language,” said Rachel Kent, the M.C.A. curator who spent two years working on the show with Goldblatt, up until his death in June from cancer. “These are shared conversations about very important topics.”

Shared conversations and “borderless stories,” as many of you know, are what The New York Times often prioritizes. We also love to explore the potency of historical images (Exhibit A: China; Exhibit B: the United States).

But Goldblatt’s photography shows how reportage rises into art.

His obituary in The Times quoted Joseph Lelyveld, the former Times executive editor, who reported from South Africa, praising Goldblatt’s journalistic creativity.

During his work for a book “The Transported of KwaNdebele” (1989), which documented the oppressively long commutes of black South Africans living in segregated “homelands,” “David spent weeks riding the buses,” recalled Mr. Lelyveld, “photographing sleeping men by natural light, holding his camera steady with the help of a single string tied to his camera and held taut beneath his foot.”

His most powerful images work regardless of the South African context — the composition, the light and the contrasts all create an emotional response worth exploring.

What followed was more complicated, and perhaps more interesting.

Goldblatt wrote about feeling that he could be more lyrical once the country had achieved democracy. Many of his early prints from the early ’90s are larger and in color.

But not long after that, Goldblatt confronted another harsh truth: The country’s values lingered. Everywhere. In the stark divide dotting the structures and landscapes.

The aftermath — “Apartheid is gone but its half-life cannot be washed away,” he wrote in text that accompanied the exhibit — hit me hardest with a series of images documenting differences in churches. Covering most of a wall were several prints of peaceful Dutch Reformed Churches with new bricks, soaring steeples and beautiful fields all around.

In the bottom left corner of the display was a small rectangular shanty with a tarp for a roof and a small sign: Apostolic Multiracial Church in Zion of S.A.

The message was clear: The power structure endures.

Making it more arresting, none of the church photographs had any people in the frames. They could have been captured anywhere: in Australia, the United States, South America, Europe — wherever inequality resides.

The mix of nominees includes longtime favorites previously ignored (like Spike Lee) and oddballs like Yorgos Lanthimos, who directed “The Favourite.”


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