Lot 267 - Anton Kannemeyer - The De-Platformed Blues 1
Acrylic, Pen and Ink on Paper
A6 (15x10cm) Original Artwork
Signed on Verso
Anton Kannemeyer is a satirical artist and co-founding editor of "Bitterkomix", an anti-apartheid and socio-political comic magazine in South Africa. Anton lectured at three universities in South Africa as senior lecturer for 15 years, and became a full time gallery artist in 2006.
1991: BA Fine Arts (Graphic Design) at the University of Stellenbosch, South Africa.
1993: Honnours in BA Fine Arts (Illustration) cum laude at the University of Stellenbosch.
1997: MA in Fine Arts cum laude at the University of Stellenbosch, South Africa.
Anton has exhibited his work extensively in South Africa, Europe and the USA (sixteen solo exhibitions in Johannesburg, New York, Paris, Vienna, Lisbon and Cape Town). He is represented by galeries in New York, Paris, and Vienna. His work has been published in numerous publications and catalogues around the world, and is held in many permanent art collections, including the Museum of Modern Art in New York. His book, "Pappa in Afrika", won the best international graphic novel award at the Amadora BD Festival in Portugal in 2015.
Huberty & Breyne, Paris, Jack Shainman, New York and Ernst Hilger, Vienna.
Statement about AOAP Submitted Artwork
Anton Kannemeyer has lately been criticized for his satirical works dealing with race. The exact same works were praised in articles in "The New York Times", "Art in America", "Modern Painters", "Art South Africa", etc. in the past. His work has always been anti-racist, yet after a series of attacks in social media in 2020, it has become impossible for him to show his work in South Africa - no gallery dares to exhibit his political work anymore. The liberal media, academics and journalists that used to support him, are all very quiet today, afraid of a backlash on social media. There is, according to him, a strong reaction against satire and irony today, and especially against controversial art. The submitted artworks are satirical, showing a "white man" in the position of the traditional American blues guitarist, a metaphor for the loss of political power.
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