Ending 27th Jul, 2021 21:03
Aspire X PLP | African Photography Auction 2021
120
David Lurie (South Africa 1951-)
District 6, Cape Town (from Images of Table Mountain)
pigment ink on Hahnemühle Fine Art Baryta (Fibre base) Paper 325 gsm
Artwork date: 2002
Signature details: accompanied by a certificate of authenticity signed by the artist
Edition: number 4 from an edition of 8
pigment ink on Hahnemühle Fine Art Baryta (Fibre base) Paper 325 gsm
Artwork date: 2002
Signature details: accompanied by a certificate of authenticity signed by the artist
Edition: number 4 from an edition of 8
(1)
image size: 38 x 47 cm; sheet size: 42 x 59.5 cm unframed
David Lurie lives and works in Cape Town. He studied economics, politics and philosophy, taught philosophy, did research in international political economy at the London School of Economics, and worked as a consultant economist before turning to photography. Lurie lived for many years in London, where he began doing documentary projects part-time in 1990 and full-time from 1995, following the publication of his first book, Life in the Liberated Zone. He moved back to Cape Town permanently in 2011.
His work has been widely published and exhibited in the United Kingdom, Europe, the United States, Australia, South Africa, and the Middle East. He is the recipient of several awards including Pictures of the Year International, the World Understanding Award for Cape Town Fringe: Manenberg Avenue is where it’s Happening; Nikon (UK); Ilford Pro Photo (SA); and Arts Council of Great Britain Grant Awards.
His monographs are Karoo – Land of Thirst (Hatje Cantz Verlag, 2019); Daylight Ghosts (Hatje Cantz Verlag, 2018); Undercity – the other Cape Town (Hatje Cantz Verlag, 2017); Images of Table Mountain, (Bell-Roberts, 2006); Cape Town Fringe: Manenberg Avenue is where it’s Happening, (Double Storey Books,2004); and Life in the Liberated Zone, (Cornerhouse, 1995). Dreaming the Street will be published by Skira in 2022.
“This shadow of guilt, of fear and denial – a shadow shadowed in turn by a bounteous and hysterical glee – is revealed in a strategic yet strikingly unmotivated way in David Lurie’s photographs. By unmotivated, I mean that Lurie does not intend to reveal to us the monstrosity of life lived at the foot of a mountain […] It is therefore a photographic project which does not appeal to the viewer’s conscience, but to a certain ethical nerve that is not wholly a matter of mind […] Lurie’s black and white photographs are shadow works, or, works caught in the physical and darkly mythic shadow of Table Mountain.
[…] None of these images are posed or stately. Rather, as if seen through a rearview mirror, at once backwards and forwards, they quicken a nerve, combust a settlement, allowing the viewer a state of seeing that is neither that of the flaneur or the voyeur, but rather that of Iggy Pop’s passenger: ‘I am a passenger / and I ride and I ride…’
…] Sometimes the mountain appears as a mere sliver on the distant horizon, sometimes it appears in fragments in the urban thicket. Never is the mountain memorialised. When the mountain dominates the frame it also engulfs it. As a long shot or close up the mountain invariably disturbs the frame. Never is the mountain steadied in a medium shot, and, as a consequence, never is the mountain naturalised or perceived as a normative framing register. This decision is not merely a perverse one. Rather, what this decision suggests is the complexity and the uncertainty of human habitation in relation to the mountain.”
— From ‘Shadow of the Mountain’ by Ashraf Jamal, Images of Table Mountain (Bell-Roberts, 2006).
Exhibitions of Images of Table Mountain include Bell Roberts Gallery, Cape Town; Standard Bank Gallery, Johannesburg; Hereford Photography Festival, UK; and Bonani Africa, Johannesburg.
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Auction: Aspire X PLP | African Photography Auction 2021, ending 27th Jul, 2021
The sale, presented in partnership with the Photography Legacy Project (PLP) was the largest collection of African photography ever to come to auction.
Notable inclusions were works by Zimbabwean photographer Tamary Kudita and young award-winning woman photographer, Lee-Ann Olwage who collaborated with Belinda Qaqamba Kafassie. Emerging photographers like Kongo Astronauts collective (DRC) and the documentary imagery of Etinosa Yvonne (Nigeria) added depth and diversity, while the older generation of established practitioners like David Goldblatt, Alf Kumalo and Ernest Cole also featured.
HIGHLIGHTS
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