2007 has been a good year for lovers of Southern African art with two exhibitions, both with well illustrated catalogues and, towards the end of the year, two exciting publications.

The first exhibition, which ran from 23rd April to 30th September, was held in South Korea – perhaps an unlikely venue for an exhibition of South African art!  It formed a section of the ‘Spirit of Africa’ exhibition held at the Clayarch Gimhae museum.  The beautifully illustrated catalogue, titled ‘Southern Africa  by Design’, was compiled by guest curator David Lewin, who set out to “give an insight into the aesthetics of this part of Africa”.

The second exhibition was an ‘at home’ affair, held in the Johannesburg Art Gallery, South Africa.  Entitled ‘Dungamanzi – stirring waters’ it featured Tsonga and Shangaan art.  The important catalogue, which takes its place alongside the publications of the previous two exhibitions of Southern African art held at this venue – ‘Art and Ambiguity’ and ‘Evocations of the Child’ – as ‘must have’ volumes in any collection, is edited by curator Nessa Leibhammer and includes essays by such luminaries as Anitra Nettleton, Karel Nel and Natalie Knight.

September heralded the publication of ‘The Art of Southern Africa’ by 5 Continents Editions.  Following 5 Continents ‘The Art of Southeast Africa’, which featured the collection of Kevin Conru, the new volume features the collection, amassed over the past fifteen years, of Terence Pethica.  The book follows a familiar pattern with essays by Anitra Nettleton and Sandra Klopper entitled ‘Personal Objects and the Desire for Individuation’ and ‘Entangled Meanings: Historical Perspectives on Style and Patronage in Carving Traditions from Southern Africa’, followed by photographs of the collection.  Both essays are important additions to our knowledge and understanding of Southern African art and, once again, the photographs are outstanding, as are many of the fine pieces illustrated – predominantly headrests and other pieces in wood.  A beautifully produced book.

Finally, in November, came ‘African Dream Machines’ – the culmination of fifteen years of research into African headrests by Anitra Nettleton.  Clearly illustrated, mainly  with drawings by the author, this scholarly work, which ambitiously covers headrest design from the whole continent, is essential reading.  It formed a fitting climax to what was, with regard to publications on Southern African art, a very good year indeed!