David Goldblatt: No Ulterior Motive | Art Institute of Chicago
David Goldblatt. Sunday morning: A not-white family living illegally in the “White” group area of Hillbrow, Johannesburg, 1978, printed later. Yale University Art Gallery, purchased with a gift from Jane P. Watkins, M.P.H. 1979; with the Leonard C. Hanna, Jr., Class of 1913, Fund; and with support from the Beinecke Rare Book and Manuscript Library. © The David Goldblatt Legacy Trust
Written by Aundréa Verdi
David Goldblatt's photographic journey is deeply rooted in his desire to unveil the intricacies of South African society without any hidden agenda. As an artist, he navigated the difficulty of apartheid and its aftermath with a keen eye and an empathetic spirit.
The Art Institute of Chicago presents an insight into South African heritage with the exhibition "David Goldblatt: No Ulterior Motive," running until March 25, 2024. This retrospective presents six decades of Goldblatt's photographic legacy, showcasing his commitment to capturing the unvarnished realities of daily life in South Africa. Goldblatt's work is renowned for its nuanced depictions of apartheid and the following years, emerging as a testament to his pursuit of truth in societal turmoil.
David Goldblatt. Miriam Diale, 5357 Orlando East, Soweto, 18 October 1972, 1972, printed later. Yale University Art Gallery, purchased with a gift from Jane P. Watkins, M.P.H. 1979; with the Leonard C. Hanna, Jr., Class of 1913, Fund; and with support from the Beinecke Rare Book and Manuscript Library. © The David Goldblatt Legacy Trust
"No Ulterior Motive” provides a comprehensive overview of Goldblatt's photographic development. One of the particularly striking elements of the exhibition is the juxtaposition of Goldblatt's early black-and-white photographs with his later color works, offering viewers a glimpse into the evolution of his perspective. His journey mirrors the profound socio-political shifts in South Africa, from the oppressive grip of apartheid to the fragility of new-found liberation. His work serves as an introspection regarding his privileged position within a racially segregated society, which influenced his artistic vision.
Inspired by language from one of his newspaper ads seeking subjects for his images, the exhibition's title is derived from Goldblatt's words. The title encapsulates his commitment to transparent and impartial observation. It reflects his ethical stance as a photographer, eschewing sensationalism or secondary intentions and favoring authentic representation. With each picture, Goldblatt invites viewers to engage with the complications of South African social relations.
David Goldblatt. Sylvia Gibbert in her apartment, Melrose, Johannesburg, 1974. The Art Institute of Chicago, promised gift of Cecily Cameron and Derek Schrier. © The David Goldblatt Legacy Trust
Viewers are confronted with the harsh realities of apartheid-era South Africa and the challenges that persist in its aftermath. However, amidst the adversity, a sense of resilience and defiance shines through. Goldblatt's photographs serve as a reminder of the fortitude of the South African people. His lens captures the essence of humanity with a blend of empathy and sincerity.
One cannot help but be captivated by the rawness and honesty conveyed in these photographs. Whether depicting sheep shearers out of work or the bliss of a Sunday morning despite its illegality, his images evoke a unity that transcends cultural and geographical boundaries.
In conclusion, "No Ulterior Motive" is a thought-provoking and emotionally resonant collection of images that showcases the enduring legacy of David Goldblatt's photographic vision. He invites viewers to witness South African society's complexity and confront the realities of its past and present. It shows the power of photography as a tool for social commentary and a poignant reminder of the importance of acknowledging history. As Goldblatt once remarked, "I'm not an artist. I'm a recorder of how things are." In this exhibition, his unassuming yet profound artistry speaks volumes.
David Goldblatt. In the office of the funeral parlour, Orlando West, Soweto, 1972. The Art Institute of Chicago, promised gift of Cecily Cameron and Derek Schrier. © The David Goldblatt Legacy Trust
