David Goldblatt; South African 1930-2018; Fifteen-year-old Lawrence Matjee after his assault and detention by the Security Police, Khotso House, De Villiers Street
Provenienza : Goodman Gallery, Johannesburg. The Linda Givon Collection.
Exhibited : The Jewish Museum, New York, South African Photographs, 2 May to 19 September 2010, another example exhibited. The South African Jewish Museum, Cape Town, Kith, Kin and Khaya: South African Photographs, 31 October 2010 to 11 February 2011, another example exhibited. Standard Bank Gallery and Goodman Gallery, Johannesburg, David Goldblatt:The Pursuit of Values, 21 October to 5 December 2015. Centre Pompidou, Paris, David Goldblatt Retrospective Exhibition, 21 February to 13 May 2018, another example exhibited.
Literature : Goodman Gallery (2010) David Goldblatt: Kith Kin and Khay - South African Photographs, exhibition catalogue, Cape Town: Goodman Editions, another example illustrated on page 179. The Standard Bank of South Africa and The Goodman Gallery (2015) David Goldblatt: The Pursuit of Values, exhibition catalogue, Johannesburg: The Standard Bank of South Africa and The Goodman Gallery, another example illustrated on page 91. Jonathan Cane (2015) Aperture Archive, David Goldblatt Interview with Jonathan Cane, online, https://archive.aperture.org/article/2015/3/3/david-goldblatt, accessed 22 January 2025, another example illustrated. Centre Pompidou (2018) David Goldblatt, exhibition catalogue, Paris: Centre Pompidou, another example illustrated on page 26. Osei Bonsu (2018) Frieze Magazine, Another Landscape: 70 Years since apartheid became law in South Africa , David Goldblatt's photographs offers profound insight into what it means to bear witness, online, https://www.frieze.com/article/david-goldblatts-photographs-and-what-it-means-bear-witness, accessed 5 February 2025.
Note : Thanks to the Goodman Gallery team for assisting with the cataloguing of this lot. "In an image from 1985, for instance, a teenager looks just past the frame that Goldblatt has placed around him. His arms form a second frame. They are encased in white plaster and clasped between his knees. In a formal reading of this composition, these arms draw our eyes around the image and back to the boy's face, over and over. Though he looks calm, his face registers both alarm and exhaustion; urgency behind a veil of fear. In the years before apartheid was dismantled in 1994, and before Nelson Mandela ascended from being a political prisoner to the first black president of South Africa in the first election to allow black people the vote, violence was, of course, commonplace. Matjee's plaster-cast arms are the result of a police arrest, during which he was dragged by his feet from his home, his arms dislocated in the process."1 1. Pippa Milne (2019) 'David Goldblatt Review', Vault, 24 (Nov 2018 - Jan 2019), online, https://vaultmagazine.com/ISS24/features/goldblatt_feature.php, accessed 16 January 2025.
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