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Tracey Rose was born in 1974 in Durban, and currently lives and works in Johannesburg, South Africa. She received her B.A. in Fine Arts from the University of the Witwatersrand, Johannesburg, in 1996, and earned a Masters of Fine Arts from Goldsmiths College, University of London, UK, in 2007. In 2006, she was named one of the 50 greatest cultural figures coming out of Africa by The Independent newspaper in London, UK. Rose has had solo presentations in South Africa, as well as in Europe and the Americas, has been featured in major international events such as the Venice Biennale in 2001 and her work has been included in seminal exhibitions such as Snap Judgments: New Positions in Contemporary African Photography and Africa Remix. Tracey Rose: Waiting for God, the artist’s mid-career retrospective, was held at the Johannesburg Art Gallery in 2011. The exhibition was co-produced with Bildmuseet, Umeå University, Sweden, where it traveled to in September 2011.
— Courtesy of Goodman Gallery
Signature: Certificate of Authenticity
Limerick City Art Gallery, Limerick, Ireland, 2017; Goodman Gallery, Cape Town, 2017; False Flag, Art Parcours, Art Basel, Basel, 2016; Museum of Modern Art, Buenos Aires, Argentina, 2016; Goodman Gallery, Cape Town, South Africa, 2016; Lassooing with the Post Colonial Pirates, Dan Gunn, Berlin, Germany, 2015; Art thou not fair: KniggerKhaffirKhoon, Art Basel Miami Beach, Positions, Miami, 2014; (x), Museo Reina Sofia, Madrid, Spain, 2014; The Black Paintings, Dan Gunn, Berlin, Germany, 2013; The Shoah, GAT (Bundesplatz 17), Berlin, Germany, 2013; Waiting For God, Nikolaj Kunsthal, Copenhagen, Denmark, 2012; Waiting For God, Johannesburg Art Gallery, Johannesburg, South Africa, travelling to Bildmuseet, University of Umea, Umea, Sweden, 2011
O’Toole, Sean, “CHAOS QUEEN”, frieze, May, pages 174 – 179, 2016; “What Time Is It on the Clock of the World”, Art Africa online, 12 May, 2016; O’Toole, Sean, “Senior Moment: Rebirth of the radical artist”, The Times South Africa, 10 May, 2016; Diarra, Lilian. “Ten African artists to look out for”, The Guardian, Wednesday, March 26, 2014; Zvomuya, Percy. “A Rose thorn in the flesh”. Mail & Guardian, Friday, March 4-10, pages 8-9, 2011; Williamson, Sue. “South African Art Now”, Harper and Collins, New York, pp 264-267, 2009; “The 50 Best African Artists.” The Independent, December 1, 2006, 6., 2006; Meyer, James. “Snap Judgments.” Artforum, vol. XLV no. 2, October 2006, 257.
Brielmaier, Isolde. “I Am Not Myself: A Quick Take on the Photographs of Samuel Foss and Tracey Rose” and “Tracey Rose.” In Masquerade: Representations and the Self in Contemporary Art, exh. cat., edited by Isolde Brielmaier, Rachel Kent, and Shelley Rice, 28-33; 88-91. Sydney: Museum of Contemporary Art, 2006; Cotter, Holland. “What Africa Looks Like Now.” The New York Times. March 17, 2006, E33; E40; Jones, Kellie , TRACEY ROSE: POSTAPARTHEID PLAYGROUND , Ebsco Host Connection, Academic Journal, 2004
Courtesy Dan Gunn, Berlin
With a practice that centers on performance but includes photography, video, and installation, Tracey Rose explores cultural stereotypes imposed on Africans, women, and African women. Rose’s body is usually at the center of her art, which often recalls the work of Cindy Sherman in format and content. Ciao Bella (2001), the piece with which she represented South Africa at the 2001 Venice Biennale, combines photographs of Rose disguised as various feminine archetypes (including Lolita and a nun) with a video of similarly feminine characters (including a mermaid and Marie Antoinette) playing out an absurd, chaotic narrative. Other works make biting statements about sexuality and femininity—for the 1998 work Ongetiteld (Untitled), she shaved her entire body and recorded the act using surveillance cameras.
South African, b. 1974, Durban, South Africa, based in Johannesburg, South Africa