The lesson of Marikana
The relationship between the massacre of workers at Marikana and the rational destiny of market fundamentalism.
The relationship between the massacre of workers at Marikana and the rational destiny of market fundamentalism.
Here's two: Cultivate solidarity, not pity. And, showing suffering should be specific. Study up.
In 1883, the Sultan of Zanzibar, Barghash bin Said, commissioned a camera obscura room in the tower of
Two exhibits at the same museum: one seeking to deconstruct the white Western gaze, the other perpetuating it.
Cultural spaces and historic patrimony have not fared well during Angola's post-war reconstruction and development.
Kassav are a band formed in Paris in ’79. They were in Johannesburg recently, where they
In May 2015, Lesotho lost one of its most vibrant and creative minds, the photographer Hlompho Letsielo.
“Images”, as the Chilean visual artist Alfredo Jaar has said, “are not innocent.” From their creation,
Santu Mofokeng’s photographs keep you wanting to know who are these people, what's their sophistications, and what's going to happen to these aspirations?
The Nigerian writer Emmanuel Iduma talks to American photographer and teacher, Eric Gottesman, about his work in Ethiopia.
We head to Zimbabwe for the continuation of our Fresh Eyes series. Based in Bulawayo, KB
Guibinga documents the vibrant beach culture of the country's capital, Libreville, on the West African coast.
The #AlienEdits series seems to come as a form of resistance to negative social projections regarding race, gender, sexuality and culture.
On the night of September 26th, 2014, in the western Mexican state of Guerrero, 43 students
I absolutely love photography. This might be obvious from some of the choices I’ve made for
It’s very difficult for Spaza (hip hop done mostly in Xhosa) and Afrikaans hip hop to organically co-exist.
Since the early days of photographic image-making, the camera has been referred to as a “mirror
With Kwame Nkrumah's support, Strand’s last major photographic project was of Ghana over three months between 1963 and 1964.
Four years ago I interviewed Azu Nwagbogu, director of Lagos-based African Artists’ Foundation and the annual
Three towering moko jumbies stroll up behind the stage, as if on cue, dressed in suits