Keith Dietrich
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History
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- Member for
- 4 years 6 weeks
My Profile
- Title
- Prof.
- Occupation
- Professor
- Discipline(s)
- Visual Arts and Visual Culture
- University
- Stellenbosch
- Department
- Department of Visual Arts - Stellenbosch University
- Country
- South Africa
- Town / City
- Stellenbosch
- Previous Universities
- University of Pretoria, University of South Africa
- RESEARCH INTERESTS
- Painting, Book Art, South African Pre-colonial and Colonial Histories, Postcolonial Studies
My_Publications
- My Publications
Solo Exhibitions
1983 GuestArtist, University Gallery, University of Stellenbosch.
1983 GuestArtist, Tatham Gallery, Pietermaritzburg.
1983 IvanSolomon Gallery, Pretoria Technikon.
1986 GuestArtist, SA Association of Arts, Cape Town.
1988 WithJohannes Maswanganyi, Goodman Gallery, Johannesburg.
1990 WithLeon De Bliquy, Laverington Hall, Cape Town.
1991 WithJohannes Segogela, Goodman Gallery, Johannesburg.
1992 WithGuy du Toit, Stegman Gallery, University of the Free State, Bloemfontein.
1995 WithElfriede Pretorius, Centurion Art Gallery, Centurion.
1997 Artist-in-residence,Standard Bank National Arts Festival, Albany Museum, Grahamstown.
1998 Guestartist, South African National Gallery, Cape Town.
1998 StandardBank Gallery, Johannesburg.
1999 Artist-in-residence,MTN, Sandton.
2000 GoodmanGallery, Johannesburg.
2001 OpenWindow Art Gallery, Pretoria.
2004 StellenboschUniversity Art Gallery, Stellenbosch.
2005 Artsand Reconciliation Festival, University ofPretoria.
2005 Horizonsof Babel, Bell Roberts Gallery, CapeTown.
2007 Fourteenstations of the Cross, FriedContemporary, Pretoria.
Group Exhibitions
1977-1997: Participated in over sixty groupexhibitions in Belgium, Botswana, Chile, Egypt, Germany, Italy, Namibia, theNetherlands, Spain, Sweden, the United Kingdom and South Africa. These includethe following:
1976 InternationalExhibition of Book Design, Munich, Germany.
1977 Klubvan XII exhibition, Koninklike Akademie voor Schone Kunsten, Antwerp, Belgium.
1979 UPArt Lecturers, South African Association of Arts, Pretoria.
1979 UPArt Lecturers, University Gallery, Potchefstroom University for Christian HigherEducation.
1979 UPArt Lecturers, South African Association of Arts, Windhoek.
1982 Arttoward social development: an exhibition of South African art, National Museumand Art Gallery, Gaborone, Botswana.
1982 CapeTown Triennial, South African National Gallery (national tour).
1983 ContemporarySouth African Realists, Pretoria Art Museum (national tour).
1985 CapeTown Triennial, South African National Gallery (national tour).
1985 BMWTributaries, Africana Museum in progress, Johannesburg.
1986 BMWTributaries, BMW Art Gallery, Munich, Germany.
1986 UnisaArt Lecturers, Pretoria Art Museum.
1986 FourUnisa Lecturers, Stegman Gallery, University of the Free State, Bloemfontein.
1987 VIIIBiennial of Art, Valparaiso, Chile.
1987 MarketGallery Advisory Board Show, Market Gallery, Johannesburg.
1988 CapeTown Triennial (merit award), South African National Gallery (national tour).
1988 Detainees’Parents Support Exhibition, Market Gallery, Johannesburg.
1989 VitaAwards, Johannesburg Art Gallery.
1990 Lookingat Faith; Looking at Art, Goodman Gallery, Johannesburg.
1991 CapeTown Triennial, South African National Gallery (national tour).
1992 VitaAwards, Johannesburg Art Gallery.
1993 Incrocidel Sud, XLV Venice Biennial, Venice, Italy.
1993 Affinities, Sala 1, Rome,Italy.
1993 SouthernCross, Stedelike Museum, Amsterdam, the Netherlands.
1994 Contemporaryart from South Africa, Deutsche Aerospace, Ottobrunn, Germany.
1995 TheUnion Buildings Revisited, ABSA Gallery, Johannesburg (Africus JohannesburgBiennale).
1995 KemptonPark/Tembisa Fine Arts Award exhibition (First prize), Kempton Park.
1996 Groundswell, Mermaid TheatreGallery, London, UK.
1996 VICairo Biennale, Cairo, Egypt.
1996 Northgoes South, Civic Gallery, Johannesburg.
1997 Lifetimes, Aktionsforum,Praterinsel, Munich, Germany.
1997 ContemporarySouth African Art 1985-1995 from the South African National Gallery PermanentCollection, SANG, Cape Town.
1998 Theart of observation, Open Window Gallery, Pretoria.
1999 Emergence, Standard BankNational Arts Festival, Grahamstown.
2000 Workson paper (curated by Peter Schutz), Goodman Gallery, Johannesburg.
2000 StainedPaper: South African images in watercolour,. Standard Bank Gallery,Johannesburg.
2000 StainedPaper: South African images in watercolour,. Albany Museum, Grahamstown.
2001 Pase, Dorp StreetGallery, Stellenbosch.
2001 Passages oftime, Sandton Civic Gallery, Sandton.
2002 DerMond als Schuh: Zeichnungen der San, Völkerkundemuseum,University of Zürich, Switzerland.
2002 PhotoArt(Second Cape Town Month of Photography), Stellenbosch University Art Gallery,Stellenbosch.
2003 PrintWorks from the Department of Fine Arts, Stellenbosch University ArtGallery, Stellenbosch.
2003 ContactZones, Michael Stevenson’s Contemporary, Cape Town.
2003 Newacquisitions, Friends of SANG, South African National Gallery, Cape Town.
2004 Adecade of democracy: 1994-2004, group exhibition, South African National Gallery,Cape Town.
2004 X:group exhibition commemorating 10 years of democracy, Warren SiebritsModern and Contemporary, Johannesburg.
2004 40Years: artists and designers from Stellenbosch University, groupexhibition, SASOL Art Gallery, Stellenbosch.
2004 Evidence, groupexhibition, The Art Space, Johannesburg.
2004 Noord-SuidPols / North South Pulse, group exhibition, SASOL Art Gallery, Stellenbosch.
2005 Man, Rust-en-Vrede Gallery, Durbanville.
2005 Newworks with Clementina van der Walt andKarin Preller, Artspace, Johannesburg.
2006 SpitII, Stellenbosch University ArtGallery.
Curated Exhibitions
1978 Media1978 (Painting Techniques, Equipment and Materials), Art Gallery, Dept FineArts, University of Pretoria.
1986 ReliefPrintmaking (with Clementina van der Walt), Market Gallery, Johannesburg.
1987 PostboxExhibition (with Michael Goldberg and Suzette Munnick), Market Gallery,Johannesburg.
1990 UnisaFine Arts student exhibition, University Gallery, Unisa.
2000 Stainedpaper: South African images in watercolour (with Prof Karin Skawran),Standard Bank Galleries, Johannesburg.
2000 Stainedpaper: South African images in watercolour (with Prof Karin Skawran), Standard BankGalleries, Johannesburg.Public and Corporate collections
Iziko South African National Gallery, Cape Town.
Johannesburg Art Gallery.
Pretoria Art Museum.
King George VI Art Gallery, Port Elizabeth.
William Humphreys Art Gallery, Kimberley.
Tatham Art Gallery, Pietermaritzburg.
Durban Art Gallery.
Sandton Civic Gallery.
Nelspruit Municipal Collection.
Carnegie Gallery, Newcastle.
University of South Africa, Pretoria.
University of the Free State, Bloemfontein.
University of Pretoria.
Stellenbosch University.
Gertrude Posel Gallery, University of theWitwatersrand, Johannesburg.
Faculty of Dentistry, University of theWitwatersrand, Johannesburg.
Technikon Pretoria.
Gauteng Legislature, Johannesburg.
Human Sciences Research Council, Pretoria.
Fedsure Holdings, Johannesburg.
SANLAM collection, Belville.
SASOL Collection, Johannesburg.
Anglo-American Corporation, Johannesburg.
South African Broadcasting Corporation,Johannesburg.
Head Interiors, Johannesburg.
Citibank, Johannesburg.
MTN Collection, Johannesburg.
Telkom Collection, Pretoria.
Wella South Africa, Cape Town.
Rembrandt Art Foundation, Stellenbosch.
South African Embassy, Bonn, Germany.
Daimler-Benz, Stuttgart, Germany.
Gibb Architects, Reading, United Kingdom.
Firstrand Banking Group, Johannesburg.
Articles and papers1984 Superrealism,Hyporealism, New Realism. South African Watercolour Society Conference,Johannesburg.
1989 Europeand its Others. Department of History of Art and Fine Arts Postgraduate seminar, Unisa.
1990 Heelalin Hout. In: De Kat, 10: 70‑74.
1990 Thecity and the savage; The Wild Man as precursor of scientific racism withparticular reference to southern African travel illustration between 1508 and 1870. Department of History of Art and Fine Arts Postgraduate seminar,Unisa.
1991 Washinga pickaninny white; The myth of the dark continent. Department of History ofArt and Fine Arts Postgraduate seminar, Unisa.
1993 Washinga pickininny white; The myth of the dark continent. In: South AfricanJournal of Art and Architectural History, Vol. 3, Nos 1‑4, Feb 1993,17‑43.
1995 Postgraduateresearch in the Department of Fine Arts, Unisa, Conference on postgraduateresearch in Fine Arts, University of the Witwatersrand.
1997 UnderAfrican stars: San star narratives. Rocustos Annual Conference, African Window,Pretoria.
1997 Ofunfinished narratives. South African Watercolour Society Conference,Johannesburg.
1997 Artpractice. Study guide unit. Pretoria: Department of History of Art and Fine Arts,Unisa.
1998 Lookingat and interpreting art. In Art history, compiled by B van Haute.Pretoria: Department of History of Art and Visual Arts, Unisa, 1-26.
1998 Architectureand the life world. In Art history, compiled by B van Haute.Pretoria: Department of History of Art and Visual Arts, Unisa, 27-30.
1999 Artand exhibitions today. In Art today, compiled by B van Haute.Pretoria: Department of History of Art and Visual Arts, Unisa, 1-26.
1999 Artand technology. In Art today, compiled by B van Haute.Pretoria: Department of History of Art and Visual Arts, Unisa, 86-117.
2000 Ideologyand colonialism. In Art and ideology, compiled by A du Plessis.Pretoria: Department of History of Art and Visual Arts, Unisa: 1-41.
1999 Imagesof damnation and redemption: Early travel illustrations of the Khoikhoi. Rocustos AnnualConference, African Window, Pretoria.
2000 Watercolour:defining the boundaries of the medium. In: Stained paper: South Africanimages in watercolour, K Dietrich and KM Skawran.Johannesburg: Standard Bank Gallery: 4-9. (Cataloguefor an exhibition held at the Standard Bank Gallery, Johannesburg, 18 April to10 June.)
2000 Thecolonial period. In: Stained paper: South African images in watercolour, K Dietrich and KM Skawran. Johannesburg: Standard BankGallery: 4-9. (Catalogue for an exhibition held atthe Standard Bank Gallery, Johannesburg, 18 April to 10 June.)
2000 Centresand peripheries: seminal exhibitions in South Africa, In: Cross currents:contemporary art practice in South Africa, edited by J Picton and JLaw. Somerset: Atkinson Gallery, Millfield School: 53-54. (Catalogue for anexhibition at the Millfield School, 5 June to30 September.)
Research
- Member for
- 4 years 6 weeks
Academic Qualifications
1968 Matriculatedat Roosevelt High School, Johannesburg.
1974 CompletedBA in Visual Art at Stellenbosch University. Final courses passed: History ofArt IV, Graphic Design III, Photography III.
1977 Completedtwo years of postgraduate study in painting at the Nationale Hoger Instituutvoor Schone Kunsten, Antwerp, Belgium.
1983 CompletedMA in Fine Arts (cum laude), Unisa. (Title of dissertation: Theordinary and mysterious painted image.)
1993 CompletedD Litt et Phil in History of Art, Unisa. (Title of thesis: Ofsalvation and civilisation: The image of indigenous southern Africans in travelillustration from the sixteenth to the nineteenth centuries.)
Current Research
FourteenStations of the Cross
I recently completed an artist's book project entitled FourteenStations of the Cross. The project comprised an exhibition and limited-edition `book object’or `artist's book’ which explores the initial journey or pioneer period ofChristianity into the interior of southern Africa. It is informed by the firstfourteen mission stations that were established between 1736 and 1813 in SouthAfrica and the southern region of Namibia across the Gariep (Orange) River.Although the title of the book makes a direct reference to the popular RomanCatholic devotional Stations of the Cross that commemorates the passion anddeath of Christ (where each station or `halting place' stands for an eventwhich occurred during Christ's passion and death at Calvary), there is nodirect correspondence between the devotional Stations and the fourteen missionstations. Instead the stations stand as a metaphoric journey or passagetranscending the past and present rather than a devotional journey.
Fourteen Stations of the Cross comprises three books that are contained in a singleslipcase. The thirteenth-century Roman Catholic hymn the Stabat Mater serves as a thread that provides astructure to the three books. The first four verses introducing the foursections of Book One act as a prelude to the fourteen mission stations that arecontained in Book Two, and correspond with the entrance hymn for the initialprayers of the devotional Stations. Each station commences with a verse fromthe Stabat Mater, beginning with verse 5 (the first mission stationat Baviaanskloof/Genadendal) and ending with verse 28 (the fourteenth missionstation at Hoogekraal/Pacaltsdorp). Fourteen Stations of the Cross closes with Book Three where thelast two verses of the Stabat Mater correspond with the farewell hymnfor the concluding prayers of the devotional Stations.
Fourteen Stations of the Cross is framed against the background of the colonialenterprise in southern Africa and the ways inwhich the region was transformed and `civilised’. The `wild’ and `formlessworlds’ of what Europeans saw as `primitive’ African life lay open totravellers, illustrators, artists, naturalists, missionaries, hunters, andcolonial administrators whose mission was to awaken and convert what theyconsidered to be a dark and unrefined world. This systematisation of `formlessworlds’ calls up the image of Adam moving through his domain, mapping,classifying, picturing, and naming. DavidLivingstone was indeed one of the `Adams' of the British empire in southernAfrica, `penetrating' and opening up new regions to the process ofcivilisation, trade and commerce, and with the other explorers, preparedsouthern and central Africa for Cecil John Rhodes' dream of British colonialexpansion stretching from the Cape to Cairo. The Christian churchcannot, therefore, be separated from the broader discourse of colonialpolitical and economic imperialism. To secure its power and to ensure itssurvival as 'the one true religion', Christianity had to create its antithesis,a world of darkness, and it was Africa that was to become the representative ofthe antithesis by means of which Western Christianity defined itself during thenineteenth century.
Fourteen Stations of the Cross approaches the initial journey ofChristianity into the interior of South Africa as an allegorical narrative ofredemption, reconciliation and healing. The book explores the paradoxical andambiguous interplay between histories, textures and nuances where theinteraction between images and text offer the opportunity to create a richvariety of compound meanings through playful and interactive poetic interactions.
Introduction to Fourteen stations of the Cross - Lize van Robbroeck
Keith Dietrich’s Fourteen stations of the Cross continues his fascination, as evident in his artistic projects of the past 15-odd years, with the colonial encounter. In his last artist’s book, Horizons of Babel, Dietrich engaged this encounter through a visual exploration of the quintessentially colonial activity of map-making. In similar vein, Fourteen stations investigates the colonial encounter via one of its most eloquent and historically loaded manifestations: the mission station.
In this three-part book, the earliest missionary settlements in southern Africa are represented as crucibles in which the complex heterogeneity of the future South African nation was forged - a baptism of fire from which, alchemically, the gold of redemption and reconciliation is eventually extracted. Characteristically, Dietrich’s postcolonial investigation is not so much concerned with a critical exposé of the rapaciousness of the colonial mindset, as it is with the discursive and psychological complexities of the human interaction between dominant and subordinated peoples. The neutrally recounted information about the mission stations in the introductory essay to this book provides a dispassionate historical backdrop against which one must read the more poetic and layered nuances of the visual text that follows. A reading of this history reveals the discontinuous, haphazard and largely contingent nature of the missionary encounter, which belies the clarity of purpose suggested by the Grand Narrative of Christian salvation as primary rationalisation of colonialism. Some stations were founded with dubious intentions by mendacious and unqualified characters, while others were suddenly closed as missionaries suffered nervous collapse, were relocated or withdrawn, or settlements were sacked by hostile surrounding populations. This book is, however, not expressly concerned with recounting this history, but rather with exploring the wider, spiritual implications of the cross-cultural contact it facilitated.
The book is divided into fourteen chapters, each dealing with one of the fourteen earliest mission stations established in southern Africa. The history of early missionary settlement in the region unfolds at regular intervals as the reader turns back the pages of each interlinked chapter to reveal its hidden contents. Following a roughly chronological order, the artist uses a fixed format to explore each station. Dark textured covers, barely readable as satellite photographs, introduce the reader to each settlement. Against these dark surfaces, information is provided about each station: its name(s), the date(s) of its establishment, its founding missionary society, and the missionaries associated with it. Cutting horizontally across each of these introductory pages, and uniting all the fourteen chapters of the book, the text of the Stabat Mater is printed in red ink. Like a river of blood, this litany of prayer to the sorrowing mother of Christ transmutes the dispassionately recorded history of the stations into a Via Dolorosa. The plaintive Latin chant of this meditational mass follows the reader throughout the reading, and evokes incense and brocade, ritual and atonement; its declaration of empathetic identification with Christ and Mary’s suffering bespeaks a willingness to take on the suffering of all peoples. It becomes clear that the artist invites the viewer to accompany him on a deeply contemplative spiritual pilgrimage. As the Stations of the Cross in the Roman Catholic Church compel the devotee to stop at each Station to contemplate the suffering of Christ as the source of her own redemption, so these chronological divisions require the reader to linger on each page and absorb, in stages, the symbolic and metaphoric implications of the information provided there. The systematic regularity of the book’s format is not immediately evident, but is uncovered gradually, as pages need to be folded out and refolded before the reader can gain access to the next chapter. It is impossible to flick through the book and to see the entire layout at a glance. The symphonic design of the book is revealed in stages, through the structured repetition of and variations on the same themes. It is only at the end of this slow and regulated pilgrimage that the viewer is fully initiated into the complex mysteries of the book.
Once the reader opens out the dark aerial photograph that introduces each station, a second layer of photographic text is encountered. At first it seems as though it could be another satellite photograph. An entire landscape is suggested, complete with rivers, tributaries and the folds of mountains and earth - but on closer inspection, these black-and-white images are revealed to be magnificently detailed close-up photographs, printed in the negative, of ground surfaces leading to the station. A close inspection reveals footprints, gravel, grasses, weeds and water. Some shapes, fossil-like and intricate, remain mysterious; others take time to decode. The beautifully textured images invite the reader to linger on the mystery and complexity of the earth’s surface. We are made to walk slowly as we look down at the intricacy of the organic design, normally disregarded, of the surfaces beneath our feet. From remote satellite vision to this impossibly close-up perspective, we become aware of the human scale as poised midpoint between the infinitely big and the infinitely small.
These second layers of photographs fold out in turn to reveal magnificently detailed satellite photographs of the station and its surrounding landscape. The bird’s eye views of the topographical features of these landscapes provide the geographical location of each mission station. Straight lines of manmade demarcations intersect the intricate folds, fissures and striations of the natural landscape. The stations emerge as small, insignificant nests of barely legible buildings against the enormous scale of the surrounding earth. Superimposed over each landscape, in the middle of the four-page spread, is a circular maze, with a meandering red line - another river of blood - that maps the journeys of the respective missionaries and that gradually spreads in each succeeding chapter. Labyrinths, trails of blood, soil and water combine to suggest a history of violence, intrigue and suffering. A metonymic bond, developed further in following pages, is suggested between soil and blood: the historic links between a territory and its human inhabitants is a pact signed in blood, and sealed with the suffering of generations buried in the earth.
A second series of close-ups of the ground open out to reveal another four-page spread with a single image of a baptismal font seen directly from above. Each font represents the particular mission station that is the subject of the chapter concerned, and the water in the font reflects a window of the church that houses it. The element of water is of primary importance in this text, not only for its cleansing properties (as symbolised by baptism), but because it is a life-giving force that determines, inter alia, the geographical location of these early mission stations, most of which were of necessity situated on, or close to, springs or rivers. Light and water, as captured in the windows reflected in the font, are potent symbols of spiritual regeneration and enlightenment. The theme of spiritual rebirth and salvation, one may assume, does not simply echo the colonial mission to Christianise the `savage’, but speaks more broadly of life as a process of constant suffering, spiritual growth and regeneration.
Dissecting the font, horizontally from the left of the four-page spread to the right, runs another river of blood – the names of some of the people christened at each particular mission station. The earliest name, dated 1763, in the baptismal register of the first mission station of Genadendal, is that of Daniel Windvogel. For years, decades, centuries, from station to station, the red river flows: Leipoldt Koopman, Geertruide Goeieman, Moses Adam Renoster, Eva Maria Blaatje, Jager Afrikaner, Elisabeth Poffader, Salmon Veldskoendraer, Regina Armoed…
The names resonate with historical significance and bring to life the hybrid origins of the current populations of the Western and Northern Cape. Sometimes names indicate simply the slaves’ origins: Sylvia and Perez of Angola, baptized in 1801, burdened with the Portuguese first names of their colonial masters. There are names of Roman rulers and Roman mythological beings, bestowed (with ironic or humorous intent?) on their ‘possessions’ by slave masters and traders: Titus, Nero, Adonis. In the minority are indigenous names: Notwane, Motani, Ohetile, Kealieboga. Names undergo changes – Boebezak becomes Boesak; Africaner becomes Afrikaner.
This book is not about mission stations or their history; it is not an apology for Christianity and the missionary endeavour; nor is it an attack on colonialism and colonial institutions. History is a maze, Dietrich suggests, a labyrinth that confuses and intrigues. We are all connected - by blood - in an inconceivably complicated way. Yet the implications of this point to something so simple that it is too often overlooked: our salvation, it is suggested, resides in precisely this common humanity, the shared heritage of suffering, dislocation and relocation that has spread the human family across the vast surface of the earth. This maze of dead-ends and new beginnings has produced us as an interlinked, co-dependent, nomadic and hybrid species. All of us are products of possession and dispossession, of birth and death, of loving bondings and violent severings. Life is our collective burden, a cross we all have to bear. But the cross is an instrument of both suffering and redemption – the one, Dietrich reminds us, is impossible without the other.
The last book takes us – sinning mortals, each and everyone - to a river. Grasses, pebbles and sand pass beneath our feet. We see the footprints of those who have come before us. Finally we see water, light sparkling on its clear surface. Singing, we slowly walk into the water…
Amen. In sempiterna saecula.
Amen. Thoughout time everlasting.Many rivers to cross – Frontiers, conflict zones and shared waters
Many rivers to cross – Frontiers, conflict zones and shared waters is a proposed book object or artist’s book that explores three major river courses in South Africa, namely the Great Fish River, the Gariep River and the Vaal River. The book is informed by my interests in South African colonial histories and the complex and diverse geographical features of our country, as well as formal interests and challenges in making art and the potential of art to bring about healing and reconciliation. In a country that has extremely limited and fragile water resources, the Fish, Gariep and Vaal rivers constitute important water courses that play a significant role in sustaining water for industrial, agricultural and domestic use in major regions of the country. With the rapidly increasing demands placed on their waters, and the toxic effluents being drained into them, these rivers are also at risk. The Fish, Gariep and Vaal are also highly significant rivers in that they served as key frontiers, contact zones and boundaries around sites of major conflict during the period of colonial expansion and conquest in South Africa. In addition, they have served as post-colonial boundaries between different societies, provinces and neighbouring countries. The Gariep, Fish and Vaal rivers also stand the risk of becoming potential sites of hydropolitical conflict in the future.
The proposed book object will comprise three concertina-fold (see Fig. 1) volumes contained in a slipcase. Each book, in turn, will be made up from a 25 x 450 cm inverted duotone photograph of a section of ground from each of the above rivers taken at roughly 1 metre from the ground and digitally printed on art paper (see Fig. 2). Sections of each river will be mapped out over its respective photograph and five additional images will be superimposed over the respective photographs at intervals. The three books will also be displayed as an installation where they will be laid flat on wax slabs (see Fig. 3) raised from the floor and arranged according to the actual geographical alignment and positions of the river sections mapped over the photographs (see Fig. 4). The proposed work will therefore comprise three books and three installation pieces.
The title Many rivers to cross… is used with acknowledgement to the song of the same title by the Jamaican musician Jimmy Cliff sung by Jo Cocker.
