Art Catalogue Wayne Barker 2013
Overview of Wayne Barker artworks - With texts of Brenda Atkinson, Wilhem Van Rensburg, Carol Brown, Prof. Alan Krump, Braam Kruger and more. Published 2013
Overview of Wayne Barker artworks - With texts of Brenda Atkinson, Wilhem Van Rensburg, Carol Brown, Prof. Alan Krump, Braam Kruger and more. Published 2013
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<strong>Wayne</strong> <strong>Barker</strong>’s artistic career spans two decades, marked by a bitter-sweet mix of<br />
politics, poetry and a passion for subversion. <strong>Barker</strong>’s work over the last several years<br />
has sought to work out his identity (as a white person of Afrikaner heritage) in relation<br />
to South African history. His work has dealt with apartheid South Africa’s most violent<br />
years to the new democratic dispensation, but always trying to explore the contradictory<br />
impulses of an ‘African identity’. Identity politics, as well as African state politics are<br />
intrinsically linked to the continent’s commodification. <strong>Barker</strong>’s work tries to show how<br />
these factors are all intertwined in everyday identity politics. His paintings try to interrogate<br />
a history of colonialism, racism, the way people view Others, issues of identity<br />
and culture.<br />
At times part Pop <strong>Art</strong>, at others a layered deployment of traditional genres and media,<br />
<strong>Barker</strong>’s work stands as much an indictment of colonialism as of misplaced political<br />
correctness, From the first seduction to the twist in the gut, it is as beautiful as it is<br />
provoking. ‘The Coke Adds Life’ series is a ghoulish installation dealing with the awful<br />
irony of the cheapness of consumerism and the cheapness of life during the civil war<br />
in Mozambique in the 1980’s. The glamourising of a multinational carbonated sugar<br />
beverage in preference to subsistence food is reminiscent of Marie Antoinette’s absurd<br />
statement revisited in Africa two centuries later. The installation, adorned by contemporary<br />
advertising lights, AK 47’s, traditional religious icons and a Tonga maize-grinding<br />
vessel are chilling reminders of the clash between past and present, ‘Blood’ and ‘Hope’,<br />
impassive multinationalism and ancient rituals in the chaos of present day Africa.<br />
Brenda Atkinson
« Over the years I have always been interested<br />
in the economic and social changes taking<br />
place in South Africa: the plight of the underprivileged<br />
is at the heart of my subject matter.<br />
Using fragments of Pierneef’s paintings as<br />
readymade, my work suggests new meanings<br />
from the past colonial way of seeing Africa.<br />
My work depicts the anarchy of a society in<br />
transition, a country trying to make sense of it<br />
all.»<br />
Transit Culture / 1990 / oil and found objects on canvas / 118 x 127 cm
Hope / 1995 / mixed media and neon tubing on wood / 200 x 123 cm
Sorrow / 2007 / oil, neon and objects on canvas / 200 x 200
Clandestin / 2008 / mixed media and neon tubing on board / 181 x 243 cm
<strong>Wayne</strong> <strong>Barker</strong> is a latter day Guy Debord, a belated artist who would have fitted in<br />
perfectly with Debord’s coterie of Situationist International artists. Such artists are ‘psychogeographers’,<br />
exploring and reporting on psychogeographical phenomena, or on the specific effects the<br />
geographical environment, consciously organized or not, have on the emotions and behaviour of<br />
individuals . Their chief means of psycogeographical investigation are the strategies of dérive and<br />
détournement, the former being defined as drifting and deliberately trying to lose oneself in the city<br />
, a feat early and admirably achieved in <strong>Barker</strong>’s 1980s Pretoria map works , and also, admirably,<br />
and ironically, in ‘loosing’ himself in his South African National Defense Force stint. The latter,<br />
détournement, is defined as the transformation of both everyday ephemera, such as advertising<br />
slogans and comic strips, and significant cultural products, such as old master painters . <strong>Barker</strong> deconstructs<br />
typical Pierneef landscapes, using them as ‘wallpaper’ for his own exploration of place.<br />
<strong>Barker</strong> is a veritable psychogeographer of the South African landscape.<br />
For these ‘geographers’ détournement is “a method of propaganda, a method which testifies to the<br />
wearing out and loss of importance of these [old cultural] spheres.” Essentially, it is a form of<br />
redistribution of culture. Détournement could, however, also be described as ‘creative plagiarism’.<br />
According to Lautréamont, however, “plagiarism is necessary. It is implied in the idea of progress.<br />
It clasps an author’s sentence tight, uses his expressions, eliminates a false idea, and replaces it<br />
with the right idea.” Many precursors of the Situationist International can thus be identified such as<br />
the Dadists, the Surrealists and the Lettrists.<br />
<strong>Wayne</strong> <strong>Barker</strong>’s psychgeographical strategies have evolved dramatically over his prodigious artistic<br />
career. He no longer loses himself in and through his art. He has found a place in the South African<br />
art world. He redistributes culture in a unique way. “Everybody wants to find their place in the<br />
world” according to Tacita Dean and Jeremy Millar . But where is it and what is it? How does one<br />
recognize place as important and not merely empty space? What makes one place special and another<br />
not? In a world where people continuously fight over land, where land is readily and sometimes<br />
violently redistributed, where some spaces are safe and others not, place is a living reality that<br />
can cause conflict or bind people together. In <strong>Barker</strong>’s art he is quite explicit: the words, ‘worlds<br />
apart’ echo through many of his landscapes.<br />
<strong>Barker</strong>’s art stands midst in the contemporary art world and its endeavor to reinvent place: Dean<br />
and Millar’s book explores exactly that: they show that “some artist find inspiration in the heterogeneity<br />
of the crowded city street, while others celebrate the wilds of nature as a counter to urban<br />
life. Some present imagined or fantastic worlds of their own invention, or explore the way place is<br />
often a creation of the mind. Others investigate the deep marks that myth and history can leave on<br />
the land, or consider how place can be used as a form of political control. Territorial divisions demarcating<br />
one place from another, often with terrible consequences, are the chosen subject-matter<br />
of many artists; others prefer to look at itinerant wanderers with no claims on the earth, or to focus<br />
on anonymous non-places that lack any real identity of their own.” <strong>Barker</strong> stakes his claim in this<br />
landscape of landscapes unequivocally: “I am interested in how the media, through popular images,<br />
inform, confuse and rape the African continent. For the past two decades, since 1987, I have also<br />
been dealing with land, which is quite trendy now. My approach has been to deconstruct the icons<br />
of South African painting, particularly works by Pierneef.”<br />
<strong>Barker</strong>’s art is as much the deconstruction, the ‘wearing out’ of obsolete cultural icons, as it is<br />
about the reconstruction, the restitution of the landscape. He was, however, overlooked for many<br />
prestigious exhibitions dealing with issues of land and place, notably, Panoramas of passage: changing<br />
landscapes of South Africa that toured the US in 1995. His work is also often omitted from political<br />
redress in perfunctory exhibitions hailing the South African ‘decade of democracy’ or from<br />
the faddish quest for a new South African identity . <strong>Wayne</strong> <strong>Barker</strong> is, however, not a marginalized<br />
artist, working in the margins: he has made his mark, quite literally, on Pierneef prints, and on the<br />
South African art scene, as well as the international art circuit, having exhibited his world map installation<br />
of army uniforms and beer bottles, entitled The World is Flat at the Trade Routes:History<br />
and Geography Biennale in Johannesburg (1997) and doing his performance piece at the Venice<br />
Biennale (1997), washing the feet of the curators, forgiving them for the sin of omitting Africa from<br />
this prestigious event.<br />
He has not only become a (re)distributor of culture, but also a painterly cultural theorist, analogous<br />
to the literary cultural theorist, JM Coetzee. It is no coincidence that when Coetzee wrote White<br />
Writing: On the Culture of Letters in South Africa (1988), critiquing the picturesque and the sublime<br />
in the South African landscape in the travel writing of the 19th century colonialists William<br />
Burchell and Thomas Pringle (and their futile attempts at taming this wilderness), <strong>Barker</strong> was<br />
critiquing the picturesque in contemporary South African art. <strong>Barker</strong> has been trying indefatigably<br />
to make sense of the morass of the post-colonial apartheid legacy with regard to land, as well as of<br />
the effect globalization has on place. <strong>Barker</strong>’s art is no mere critique; it is a quest for the essence of<br />
freedom of a place. He realigns the politics of place: violence in and conflict over land give way to<br />
introspection over the peace of and in a place. <strong>Barker</strong> ceaselessly asks whether freedom is merely<br />
fought over, whether freedom is bought, or whether freedom is simply given to people. <strong>Wayne</strong> <strong>Barker</strong><br />
has always reflected the complexities of the South African cultural mix in his work . Cultures in<br />
his work, however, are never ‘worlds apart’. Rather, they are hybrids of each other: mutually affecting<br />
and reflecting change among one another and finding mutual co-habitation in this place we call<br />
South Africa.<br />
Wilhem Van Rensburg<br />
<strong>Art</strong> on Paper Gallery
Hope 2007 / oil, neon and objects on canvas / 200 x 200 cm Masked Landscapes 2004 / enamel on digital prints / 25 x 25 cm
The Rest is History / 2008 / mixed media and neon tubing on canvas / diptych / 200 x 400 cm
LAND & DESIRE SERIES //<br />
B arker’s landscapes, which unlike ,Pierneef’s have superimposed images of people, as well as<br />
being overlaid with pop imagery indicating material desire, also contain cartographers’ signs and<br />
route markers bringing to mind the subordination of the land under the colonists’ control. Marking<br />
and mapping imply possession (and dispossession) and, as we look deeper into his paintings, we see<br />
how possession and desire are linked. He also uses words to emphasise his theme and these words,<br />
which are scattered sparingly across the compositions, tease out ideas. “ Worlds”, “apart”, “desire”,<br />
“land” all come together in a relationship of control and commerce.<br />
T his serie is undoubtedly built on his own artistic history where he has, in one way or another,<br />
pursued the same ideas. Sometimes this pursuit has been outrageous and symptomatic of a man<br />
who is angry with a complacent society. These works veil that anger by attractive surfaces but their<br />
strength lies in that passion, which is the quality which lifts <strong>Barker</strong>’s work above the ordinary into<br />
the extraordinary.<br />
CAROL BROWN<br />
Untitled / 2004 / monoprint and enamel on canvas / 19 x 17 cm
Untitled / 2004 / monoprint and enamel on canvas / 19 x 17 cm<br />
Untitled / 2004 / monoprint and enamel on canvas / 19 x 17 cm
ROCK’N ROLL SERIES //<br />
Vaak en Moeg / 2010 / oil and neon tubing on canvas / 200 x 200 cm Rock’n Roll Series / 2010 / mixed media on canvas / 216 x 190 cm
Mandela Light / 2010 / oil and enamel on canvas / 300 x 300 cm Jozie Rock ‘n Roll / 2010 / oil and enamel on canvas / 300 x 300 cm
LEGENDS SERIES //<br />
T he ‘Legends’ series deals with individuals. Personally significant to the artist, they also<br />
resonate in the history of South Africa. As ‘household names’ they have lost some of their individuality<br />
and have become ciphers for a passage in South Africa’s story that they influenced, precipitated<br />
or described. Nevertheless, behind the familiar face and the name attached to it lies an<br />
individual life, far richer, more complex and nuanced than the invariable one liner that it evokes.<br />
While <strong>Wayne</strong> <strong>Barker</strong> is undoubtedly referencing their contributions to our history, he also appears<br />
to be demanding that we look beyond their obvious achievements to the personality that produced<br />
them. In titling this series ‘Legends’ it seems that he is reminding us that a legend loses its grip on<br />
the reality that produced it by being told too many times and by having too much erased (or conveniently<br />
forgotten) that confl icts with the‘official’ story being told.<br />
F or <strong>Barker</strong> the reason why they are remembered is the fact that they challenged the system in<br />
one way or another. This defiance, be it of the system or of the conditions they found themselves<br />
in, is what draws him to his subjects and underpinning each painting as a process of research into<br />
their lives. Each work is his personal take on their actions for change or reform. These are his<br />
legends and he has created a tableau in which their need to act, their refusal to accept injustice<br />
and their desire to better that which is around them are what engages him. When he speaks of his<br />
‘legends’ he does so with genuine affection and admiration. I suspect he sees them as fellow-strugglers<br />
against injustice and this comradery evokes a playful familiarity which sees C.J. Langenhoven,<br />
author of Die<br />
Stem, facing-off against Enoch Sontonga, author of Nkosi Sikelel i’Africa, in Duel. The punning<br />
title has as much to do with them fi ghting it out, High Noon style, as it does to their dual role as<br />
authors of our current national anthem.<br />
Legends Serie / 2010 / oil on canvas, neon tubing and objects / 138 x 138 cm
Siel: Nelson Mandela / 2010 / mixed media and neon tubing on canvas / 138 x 138 cm<br />
Miriam Makeba / 2010 / oil on canvas, neon tubing and objects / 200 x 200 cm
DRAWINGS //<br />
FEAR / 170 x 170 cm / pastel charcoal and enamel<br />
Money for Nothing and the Chicks for Free 1 & 2 / 2010 / digital prints and watercolor 30 x 40 cm
Untitled / 1997 / 300 x 170 cm / pastel charcoal, celotape and enamel Le Monde à l’Envers / 1997 / 300 x 170 cm / pastel charcoal, celotape and enamel
WATERCOLORS //<br />
DANCE OF LIFE
PORTRAITS //<br />
Ladies of the Night / 2012 / oil on canvas / 39.5 x 27 cm
Young Woman in Berlin 1 & 2 / 2011 / water colour on paper / 30 x 20 cm<br />
Amy 1 & 2 / 2012 / oil on canvas / 30 x 20 cm<br />
Ladies of the Night / 2012 / oil on canvas / 39.5 x 27 cm
HEALING SERIES //<br />
H ealing has been a central theme for <strong>Barker</strong> for many years. Along with his under-recognised<br />
social responsiveness this can be seen very clearly in The Bees, the Beekeeper, the Children and the<br />
<strong>Art</strong>ist (2007-2008). Submitted as his work as a finalist in the Sasol Wax Awards (won in that year<br />
by Walter Oltman) the final work presented was underpinned by a complex process of collaboration<br />
and community engagement that would have ramifications lasting long beyond the duration of the<br />
exhibition of the works. Beginning with a workshop with underprivileged kids that <strong>Barker</strong> encountered<br />
in Troyeville he had the children trace their hands (and other symbolic drawings produced) on<br />
pieces of paper. These drawings were then taken into the fi eld with a beekeeper and the children<br />
cut the traced images out of active combs and then replaced them in the hives. Over the weeks the<br />
bees worked to rebuild the missing areas of their hives but the scar made by the incision led to the<br />
new area formed on the comb being constructed from wax cells of a different colour and texture to<br />
the original. Clearly referencing the legacy of damage and the process of healing, the reformed<br />
hives became an integral part of multi-media panels that <strong>Barker</strong> created as a series.<br />
@africa.com / 2001 / found objects and oil on canvas with recycled books / 200 x 400 cm
Guérir / 2007 / beeswax, paraffin wax, oil paint, neon tubing, paper / 140 x 80 cm
JOBURG, CAPE TOWN & POLOKWANE ART MUSEUMS //
STANDARD BANK MUSEUM & CIRCA GALLERY //
Red light Jozie /, 200 x 200 cm, oil, neon and objects on can-<br />
« Most of the women portrayed in the beadworks are real women who have been photographed.<br />
Often from Zimbabwe, Zambia and Swaziland, they are mostly well educated, but<br />
through circumstance have been forced to turn to prostitution to survive. The concept of a<br />
beadwork is meticulously thought through and conceived over a short period. While making<br />
the drawings on computer I am very aware of the pop artists as well the way Wassily Kandinsky<br />
produced: fast and furious. Beads cant be mixed like on a pallet, so flattening colors<br />
is a key consideration when composing the work. In the past I deconstructed and used<br />
images, putting African craft objects onto my Pierneef paintings. In the current bead works<br />
I use Pierneef’s landscapes as found objects that I collage into images of my experience of<br />
everyday life in <strong>2013</strong>»
BEAD WORKS //<br />
I n this series, <strong>Barker</strong> has drawn upon local craft and materials to invent his own language of critique<br />
and celebration. These new artworks are constructed from strung glass beadwork (an African<br />
technique for presenting symbolic meaning in visual terms that has been utilized for centuries) to<br />
make a seemingly fl at, painterly plane that also has a three-dimensionality embedded in it. Within<br />
the history of South African visual art language, networks of strung beads have been employed for<br />
everything from simple ‘love letters’ presented by a maiden to her beloved to the adornment of<br />
princely palaces and everyday ceremonial costume. These have usually been ascribed to‘traditional’<br />
or ‘native’ production.<br />
I n the work <strong>Barker</strong> presents here, this rich tradition has been appropriated to present a visual<br />
plane that viscerally echoes the very medium of oil paint: the suspension of solid particles in the<br />
carrier of oil or another medium. While echoing mosaics and other similar art forms, <strong>Barker</strong> has<br />
reinvigorated painting by addressing one of its own fundamental desires: the illumination of the flat<br />
surface not just through strategies of perspective or drawing but also through the illusion of radiating<br />
light by means of suspended particles of light that refract and project their own inner power of<br />
illumination.<br />
I n terms of subject, this series presents the promise of reconciliation by overlaying images of those<br />
who could be claimed to have been most marginalised by apartheid and Pierneef’s vision – black<br />
women – upon and into his re-problematised landscapes. This, coupled with a new interpretation of<br />
the free abstract painterly gesture so typical of <strong>Wayne</strong> <strong>Barker</strong> invigorates his latest work as much as<br />
it resolves both the picture plane and the subject it addresses. In this he has adopted a new language<br />
of tolerance and in this new native tongue demonstrated the lie of the speech of hate which he has<br />
so consistently raged against.<br />
B arker has always raged, but the product of that rage is gentleness. Overarching all that he has<br />
done is a desire to see healing take place. He has always been outraged by injustice but is always<br />
prepared to see inherent good in people.
Land for Sale / 2012 / beads / 200 x 200 cm Lady Gaga / 2012 / beads / 200 x 200 cm
THE WORLD IS FLAT //<br />
I t was at The Castle in 1995 that The World is Flat began its life as Is the World Flat? - on a show called<br />
“Scurvy” organised by <strong>Barker</strong>, Kevin Brand and Brett Murray - in which they recolonised the military museum<br />
and claimed it for contemporary culture.<br />
F or <strong>Barker</strong> it was a milestone and a political victory. Particularly considering that in order to construct his<br />
work - in the very first room ever built at the Castle - he would have to request materials from the army. In 1995<br />
the Defence Force was trying desperately to incorporate the former resistance armies into its ranks. «I had to<br />
negotiate with them,» says <strong>Barker</strong>. «I told them it’s all about forgiveness.»<br />
T oday <strong>Barker</strong> says that “Scurvy” was the first time that he began to think globally about his work. That he<br />
was looking at identity. What were his own colonial origins? Was the VOC logo - the first multi-national logo in<br />
the world - a bit like the Coca Cola logo today? In a press release for “Scurvy” he added:<br />
«Is this how we see the world through the media? Through a flat plain of images?»<br />
Excerpt from the artist’s monograph, 2000..
TRUTH & RECONCILIATION<br />
COMMISSION //<br />
Europa Descending Africa / 1997 / neon tubing & plastic dolls / size variable<br />
Notice / 1997 / 300 x 170 cm / pastel charcoal, celotape and enamel
Nothing Gets Lost in the Universe / 1996 / latex gloves and found objects /
Nothing Gets Lost in the Universe / 1996 / latex gloves and found objects /
COKE ADDS LIFE
Coke Adds Life» is a ghoulish installation dealing with the<br />
awful irony of the cheapness of consumerism and the cheapness<br />
of life during the civil war in Mozambique in the 1980s.<br />
The glamourising of a multinational carbonated sugar beverage<br />
in preference to subsistence food is reminiscent of Marie<br />
Antoinette’s absurd statement revisited in Africa two centuries<br />
later. The installation, adorned by contemporary advertising<br />
lights, AK 47’s, traditional religious icons and a Tonga maizegrinding<br />
vessel are chilling reminders of the clash between past<br />
and present, «Blood» and «Hope,» impassive multinationalism,<br />
and ancient rituals in the chaos of present day Africa.<br />
Professor Alan Krump<br />
His and Her Mozambique / 1995 / mixed media and neon tubing on metal / 200 x 246 cm
ERASURE //
A paper structure is turning as if by its own volition in the centre of a<br />
darkened room. It has been torn and ripped and through the gashes<br />
another cube of paper can be seen, its surface also gashed and pierced.<br />
Upon this revolving screen two moving images are projected, their<br />
subject hard to discern due to their projection on a damaged surface.<br />
In the background, Bob Dylan’s song ‘Knocking on Heaven’s Door’ can<br />
be heard, sometimes louder and then sometimes softer than the overlay<br />
of other voices, taken from an archive of historical media recordings.<br />
Around this three-dimensional kaleidoscope is a circular barrier of salt,<br />
preventing direct access other than watching and listening.
Slave Painting Slave Doll / 1992 / media bronze plastic oil on belgium linen / variable sizes<br />
She was the first black girl to go to<br />
a white school but on the arm of a child.
Salt on the Wound / 2010 / Painted found objects Something Fishy / 2010 / Painted found objects<br />
Black Label / 2010 / Painted found objects Shop til you Drop / 2010 / Painted found objects<br />
PAINTED FOUND OBJECTS
Young <strong>Art</strong>ist Who Signs Contract with a Galarist / 2012 / bronze 1/3 / 155 x 76 cm
WAYNE C. BARKER //<br />
« There is always more to <strong>Wayne</strong> <strong>Barker</strong> that meets the eye, or the heart, for his legacy<br />
will be an enduring one, as the best of the best this country has everproduced, reverberating<br />
long afer his or our time.<br />
It is impossible to overestimate <strong>Barker</strong>’s contribution the art worldas a whole. When he<br />
founded F.I.G (Famous International Gallery), where artists who cut their teeth there,<br />
reads like a who’s who of today’s art circuit: William Kentridge, Neil Goedhals, Lisa Brice,<br />
Joachim Schonfeldt, Kevin Brandt, Kendell Geers, Stephen Cohen, Ian Waldeck, Barend de<br />
Wet, MinetteVari, etc.<br />
Braam Kruger, 2006 Business Day <strong>Art</strong><br />
PERSONAL<br />
»<br />
Born<br />
Pretoria, South Africa, 1963<br />
Tertiary Education<br />
Postgraduate degree, Fine <strong>Art</strong>, Ecole des Beux <strong>Art</strong>, Luminy, Marseille, France, 1998<br />
BA Fine <strong>Art</strong>, Michaelis, University of Cape Town, South Africa, 1984<br />
Diploma Fine <strong>Art</strong>, Technikon Pretoria, South Africa, 1981<br />
Awards<br />
Volkskas Atelier, Merit award winner, 1998<br />
Volkskas Atelier, Merit award winner, 1992<br />
Other<br />
<strong>Wayne</strong> <strong>Barker</strong> has been involved in numerous projects, symposiums and workshops, involving<br />
academics, artists as well as children and communities.<br />
<strong>Wayne</strong> <strong>Barker</strong> founded the Famous International Gallery, South Africa, 1989–1995<br />
SOLO EXHIBITIONS<br />
2012 ‘Love Land’, Circa Gallery, Johannesburg, South Africa.<br />
2010 ‘Super Boring’ [solo exhibition and retrospective], SMAC <strong>Art</strong> Gallery,<br />
Stellenbosch; Standard Bank, Polokwane and Standard Bank Gallery,<br />
Johannesburg, South Africa.<br />
2008 ‘Heal’ [solo exhibition], UCA gallery, Cape Town, South Africa Colletion101,<br />
[group exhibition] SMAV <strong>Art</strong> Gallery, Stellenbosch, South Africa.<br />
2007 ‘007’ [group exhibition], Polokwane <strong>Art</strong> Museum. Sasol Wax <strong>Art</strong> Award<br />
Exhibition Johannesburg <strong>Art</strong> Gallery, Johanesburg, South Africa.<br />
2005 ‘Land and Desire’, Gerard Sekoto Gallery, Alliance Française, Johannesburg.<br />
2004 ‘Evidence’, ARTSPACE, Johannesburg, South Africa.<br />
2003 ‘Black & white’, <strong>Art</strong> on Paper, Johannesburg, South Africa.<br />
2003/2 ‘Lovers and Gurus’, Contemporary <strong>Art</strong> Space, Caen, France – 2 solo shows.<br />
2002 ‘ITS ALL GOOD’, Crosspath Culture, New York.<br />
‘Erratum’, Alliance Française of Johannesburg, South Africa.<br />
2001 ‘Two Cousins’, Fig Gallery, London, UK.<br />
2000 ‘Lost and Found’, NSA Gallery, Durban.<br />
1999 ‘Fin de Ciècle’, Nantes, France.<br />
1998 ‘Kunst is Kinderspielen’, Kunsthalle, Krems, Austria.<br />
‘Beauty in Politics’, Millennium Gallery, Pretoria, South Africa.<br />
‘All Washed Up in Pretoria’, Millennium Gallery, Pretoria, South Africa.<br />
1997 ‘All Washed Up in Africa’, Gallery Frank Hanel, Cape Town, South Africa
COLLECTIONS //<br />
South African National Gallery, Cape Town, South Africa, Sandton Civic Gallery,<br />
Sandton, South Africa, Johannesburg <strong>Art</strong> Museum, Johannesburg, South Africa,<br />
Durban <strong>Art</strong> Museum, Durban, South Africa, Gertrude Posel Gallery, University of<br />
Witwatersrand, Johannesburg, South Africa, GENCOR Collection, South Africa, Anglo<br />
American Collection, South Africa, SASOL Collection, South Africa, SABC Collection,<br />
South Africa.Various private, local and international art collectors of note.<br />
// SELECTED PUBLICATIONS, CATALOGUES AND ARTICLES //<br />
Super Boring, celebrating 25 years of <strong>Wayne</strong> <strong>Barker</strong>’s work (catalogue), 2010, Marelize van Zyl<br />
(ed). Published by SMAC Gallery, Stellenbosch, South Africa.<br />
The ID of South African <strong>Art</strong>ists (catalogue), 2004, Sharlene Khan (ed). Fortis Circus Theatre,<br />
Holland.<br />
<strong>Wayne</strong> <strong>Barker</strong>: <strong>Art</strong>ist’s Monograph, 2000, Brenda Atkinson (ed). Published in association with<br />
Chalkam Hill Press & the French Institute of South Africa.<br />
Trade Routes: History and Geography (catalogue), 1997, Matthew DeBord (ed), 2nd Johannesburg<br />
Biennnale.<br />
Contemporary South African <strong>Art</strong>: Gencor Collection, 1997, Kendal Geers (ed) <strong>Art</strong> in South Africa:<br />
The Future Present, 1996, Sue Williamson and Ashraf Jamal (eds)<br />
Colours, (catalogue), 1996, Haus Der Kulturen Der Welt.<br />
Africus: First Johannesburg Biennale (catalogue), 1995 Candice Breitz.<br />
Black Looks, White Myths (catalogue), 1995, Octavio Zaya (ed)<br />
Various reviews and articles in newspapers, art magazines and journals both locally and<br />
international. Including: NKA: Journal of Contemporary Africa <strong>Art</strong>, USA, <strong>Art</strong> South Africa, South<br />
African quarterly magazine, published by Bell-Roberts Publishing, South Africa, Revue Noire,<br />
Paris, France, Flash <strong>Art</strong>, New York, USA, Frieze, London, UK, <strong>Art</strong> News, USA, <strong>Art</strong> Monthly,<br />
London, UK, <strong>Art</strong> Forum, New York, USA, Asian <strong>Art</strong> News.<br />
Various television and radio interviews both locally and international.<br />
// CURRENT EVENTS //<br />
A R T F A I R S 2 0 1 3 : London <strong>Art</strong> 13, Dubai <strong>Art</strong> Fair, Sydney <strong>Art</strong> Fair, Johannesburg <strong>Art</strong> Fair.<br />
G R O U P S H O W S 2 0 1 3<br />
June <strong>2013</strong> : ”My Joburg”, Fondation Maison Rouge.<br />
Several local group shows in South Africa.<br />
P U B L I C A T I O N S<br />
1.Featured in“Earth Matters: Land as Material and Metaphor in the <strong>Art</strong>s of Africa»,<br />
Smithonian Museum, <strong>2013</strong>.<br />
2. Featured in «<strong>Art</strong> at the end of apartheid» by John Peffer, University of Minnesota Press.<br />
3. «<strong>Art</strong> in South Africa» by Sue W illiamson an Ashraf Jamal.<br />
4. ’Super Boring’ catalogue, Standard Bank retrospective.<br />
5. <strong>Art</strong>ist’s Monograph, <strong>Wayne</strong> <strong>Barker</strong>.
His work is reminiscent of both the embattled emotional past and the present<br />
in South Africa. However, his work is never gloomy or negative. His<br />
strong emotional lifestyle is infused on canvas.<br />
JOHANN KRITZINGER<br />
27 FEBRUARY 2010, JOHANNESBURG<br />
WHERE IS IT ?<br />
<strong>Wayne</strong> enthusiastic reprobate friendly persistent good looking happy sad sensitive<br />
rough tough father rich poor good bad drunk sober hard working lazy loving old<br />
young fun sex art politics passionate shoes colourful money powder vomit friend<br />
flamboyant painting drawing jacket hat computers objects galleries music drink paintings<br />
women clean dirty sleep awake gallerist book.<br />
BAREND DE WET, 2010, CAPE TOWN<br />
«HATS OFF TO THE JOKER IN SOUTH<br />
AFRICA’S CULTURAL PACK»