David Goldblatt, ‘Crosses Erected by farmers in Commemoration of those killed in farm murders and in protest against the frequency and violence of these crimes, Rietvlei, district Polokwane, Limpopo, June 19, 2004’, 2004, Phillips

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Image: 81 x 101.8 cm (31 7/8 x 40 1/8 in.)
Sheet: 85 x 106 cm (33 1/2 x 41 3/4 in.)

From the Catalogue:
David Goldblatt’s documentary photographs highlight how little has changed for South Africans since apartheid. In the present work, which depicts a roadside memorial, we see the figurative and literal changes on the South African landscape that is still plagued by racism and violence. To honour the thousands of victims of farm murders that took place between 1994 and 2003, local farmers tied crosses to fences. In 2004, when the crosses were removed by the National Roads Agency, one farmer donated a part of his land for the crosses in the victims’ memory. This image was included in the 2009 New Museum, New York’s exhibition Intersections Intersected, and another print of this image is held in the collection of the Museum of Modern Art, New York.
Courtesy of Phillips

Signature: Signed in ink, printed title, date and number AP1 on a Certificate of Authenticity accompanying the work. AP1 from the edition of 10 plus 2 artist's proofs.

D. Goldblatt, South African Intersections, Prestel, 2005, p. 89
D. Goldblatt, Intersections Intersected, Serralves, 2008, p. 95
D. Goldblatt, Regarding Intersection, Steidl, 2014, p. 157

Goodman Gallery, Johannesburg

About David Goldblatt

For over 60 years, photographer David Goldblatt has documented the far-reaching effects of Apartheid in South African society with directness and humanity. A descendent of Jewish immigrants, Goldblatt’s own position as an outsider afforded him a deeper appreciation for the daily injustices suffered by South Africa’s oppressed majority. He rarely takes pictures of obvious violence or brutality, instead turning his lens toward the complexities of everyday life, observing the quiet suffering of black workers on their daily bus commutes or the casual privilege of white Afrikaners. In South Africa: The Structure of Things Then (1998), Goldblatt published a collection of photographs capturing literal and ideological structures that shaped his native country. He has expanded his practice in recent years to include color photography, as well as broadened his focus to cover the ravages of AIDS and consumerism on an already delicate post-Apartheid society.

South African, 1930-2018, Randfontein, South Africa