Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-gvvz8 Total loading time: 0 Render date: 2024-12-23T19:22:42.906Z Has data issue: false hasContentIssue false

References

Published online by Cambridge University Press:  17 October 2019

Eliza Garnsey
Affiliation:
University of Cambridge
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Justice of Visual Art
Creative State-Building in Times of Political Transition
, pp. 210 - 226
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Archivio Storico delle Arti Contemporanee (ASAC), Venice, Italy

Constitutional Court Archives, Johannesburg, South Africa

South African History Archives, Johannesburg, South Africa

Adam, Georgina. ‘Trading Places’. Financial Times, 6 June 2009.Google Scholar
Allo, Awol. ‘The Courtroom as a Space of Resistance Reflections on the Legacy of the Rivonia Trial’. In The Courtroom as a Space of Resistance: Reflections on the Legacy of the Rivonia Trial, edited by Allo, Awol, 120. Surrey: Ashgate, 2015.Google Scholar
Alloway, Lawrence. The Venice Biennale, 1895–1968: From Salon to Goldfish Bowl. Greenwich: New York Graphic Society, 1968.Google Scholar
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 2006.Google Scholar
Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.Google Scholar
‘Art Throb’. http://artthrob.co.za/about/. 1 June 2016.Google Scholar
ARTAFRICA. ‘DAC Provides Documentation on South African Pavilion at 2011 Venice Biennale’, 2012, https://artafricamagazine.org/dac-provides-documentation-on-south-africa-pavilion-at-2011-venice-biennale/. 3 November 2015.Google Scholar
ARTREVIEW. ‘Gulf Labor Occupies Israeli Pavilion and Calls for Cultural Boycott’. 2015, http://artreview.com/news/news_4_aug_2015_gulf_labor_occupies_israel_pavilion/. 30 October 2015.Google Scholar
ARTSMART. ‘NAF Curators of SA Pavilion’. 2013, http://news.artsmart.co.za/2013/02/naf-curators-of-sa-pavillion.html. 3 November 2015.Google Scholar
Ashcroft, Bill. ‘Constitution Hill: Memory, Ideology and Utopia’. Tydskrif vir letterkunde, vol. 51, no. 2 (2014): 94114.Google Scholar
Awad, Ammar. ‘Italian Lawmakers Urge Recognition of Palestinian State’. 2015, Reuters, www.reuters.com/article/us-italy-palestinians-vote-idUSKBN0LV1FY20150227. 1 May 2016.Google Scholar
Bahun, Sanja. ‘Transitional Justice and the Arts: Reflections on the Field’. In Theorizing Transitional Justice, edited by Corradetti, Claudio, Eisikovits, Nir, and Rotondi, Jack Volpe, 153166, Oxford: Routledge, 2015.Google Scholar
Bambanani Women’s Group. ‘Background History of the Bambanani Women’s Group’. www.memorybox.co.za/index.php?option=com_content&task=view&id=12&Itemid=53. 17 April 2016.Google Scholar
Basilico, Gabriele, ed. Common Pavilions: The National Pavilions in the Giardini of the Venice Biennale in Essays and Photographs. Zurich: Scheidegger and Spiess, 2013.Google Scholar
Beaubien, Michael C.The Cultural Boycott of South Africa’. Africa Today, vol. 29, no. 4 (1982): 516.Google Scholar
Becker, Carol. ‘The Art of Law’. In These Times, 15 March 2003.Google Scholar
Bell, Christine. ‘Transitional Justice, Interdisciplinarity and the State of the “Field” or “Non-field”’. International Journal of Transitional Justice, vol. 3, no. 1 (2009): 527.Google Scholar
Bell, Duncan. ‘Agonistic Democracy and the Politics of Memory’. Constellations, vol. 15, no. 1 (2008): 148166.Google Scholar
Bell, Vikki. The Art of Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina. Abingdon: Routledge, 2014.Google Scholar
Bell, Vikki. ‘Contemporary Art and Transitional Justice in Northern Ireland: The Consolation of Form’. Journal of Visual Culture, vol. 10, no. 3 (2011): 324353.Google Scholar
Bell, Vikki, and Di Paolantonio, Mario. ‘The Haunted Nomos: Activist-Artists and the (Im)possible Politics of Memory in Transitional Argentina’. Cultural Politics, vol. 5, no. 2 (2009): 149178.Google Scholar
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford: Stanford University Press, 2005.Google Scholar
Bennett, Jill. Practical Aesthetics. New York: IB Tauris, 2012.Google Scholar
Berns, Marla C.Africa at the Venice Biennale’. African Arts, vol. 36, no. 3 (2003): 18.Google Scholar
Biber, Katherine. Captive Images: Race, Crime, Photography. Cavendish: Routledge, 2007.Google Scholar
Biko, Nkosinathi. ‘Amnesty and Denial’. In Looking Back Reaching Forward: Reflections on the Truth and Reconciliation Commission of South Africa, edited by Villa-Vicencio, Charles and Verwoerd, Wilhelm, 193198. Cape Town: University of Cape Town Press, 2000.Google Scholar
Bilbija, Ksenija, Ellen Fair, Jo, Milton, Cynthia E, and Payne, Leigh A. The Art of Truth-Telling about Authoritarian Rule. Wisconsin: University of Wisconsin Press, 2005.Google Scholar
Blackman, Matthew. ‘Department Mum on Venice Biennale Exhibition’. 2012, www.misa.org/media-and-children/item/328-department-mum-on-venice-biennale-exhibition. 3 November 2015.Google Scholar
Blackman, Matthew. ‘Department States It Has No Reason to Doubt Faked Invoices’. 2013, http://artthrob.co.za/News/Department_states_it_has_no_reason_to_doubt_faked_invoices_by_M_Blackman_on_30_July.aspx. 11 May 2016.Google Scholar
Blackman, Matthew. ‘Open Letter to the Minister of Arts and Culture Regarding the Venice Biennale 2011’. South African Art Times, 2012, 7.Google Scholar
Blackman, Matthew. ‘Silence from South African Art World Following Venice Biennale Controversy’ 2011, www.theartnewspaper.com/articles/Silence+from+South+African+art+world+following+Venice+Biennale+controversy/24634. 23 March 2013.Google Scholar
Blackman, Matthew. ‘Taxpayers Dish Out R10m for “Private” Exhibition’. 2012, http://mg.co.za/article/2012-04-02-taxpayers-dish-up-for-private-initiative-exhibition. 11 May 2016.Google Scholar
Bleiker, Roland. Aesthetics and World Politics. Hampshire: Palgrave MacMillan, 2009.Google Scholar
Bleiker, Roland, and Hutchison, Emma. ‘Fear No More: Emotions and World Politics’. Review of International Studies, vol. 34 (2008): 115135.Google Scholar
Bokhorst, Mattys. South Africa: Venice Biennale 1968. Exhibition catalogue. Cape Town: Disa Printers, 1968.Google Scholar
Brand, Stewart. How Buildings Learn: What Happens after They’re Built. London: Pheonix Illustrated, 1994.Google Scholar
Breckenridge, Keith. ‘Verwoerd’s Bureau of Proof: Total Information in the Making of Apartheid’. History Workshop Journal, vol. 59, no. 1 (2005): 83108.Google Scholar
Brenner, Neil. ‘Global Cities, Glocal States: Global City Formation and State Territorial Restructuring in Contemporary Europe’. Review of International Political Economy, vol. 5, no. 1 (1998): 137.Google Scholar
British Council. ‘From the Outside In’. 2013, http://venicebiennale.britishcouncil.org/media/album/item/from-the-outside-in. 1 July 2016.Google Scholar
Brunschwig, Colette R.On Visual Law: Visual Legal Communication Practices and their Scholarly Exploration’. In Zeichen und Zauber des Rechts: Festschrift für Friedrich Lachmayer, edited by Schweihofer, Erich, Hanstanger, Meinrad, Harald, Hofmann, Kummer, Franz, Pimosch, Edmund G, Schefbeck, Günther, and Withalm, Gloria, 899933. Bern: Editions Weblaw, 2014.Google Scholar
Buikema, Rosemarie. ‘Monumental Dresses. Coming to Terms with Racial Repression’. In Teaching Race with a Gendered Edge, edited by Hipfl, Brigitte and Loftsdóttir, Kristín, 4361. Budapest: Central European University Press, 2012.Google Scholar
Buikema, Rosemarie. ‘Performing Dialogical Truth and Restorative Justice: The Role of Art in the Becoming Post-apartheid of South Africa’. Journal of Memory Studies vol. 5, no. 3 (2012): 282293.Google Scholar
Buikema, Rosemarie. ‘Restorative Justice and the Arts’. In Eighty Eight Mieke Bal PhD’s 1983–2011, edited by Aydemir, Murat, 5159. Amsterdam: ASCA, 2011.Google Scholar
Bydler, Charlotte. ‘The Global Art World, Inc.: On the Globalization of Contemporary Art’. In The Biennial Reader, edited by Filipovic, Elena, van Hal, Marieke, and Øvstebø, Solveig, 378405. Bergen: Hatje Cantz, 2010.Google Scholar
Camerer, Sheila. ‘SA Art at Venice Biennale Makes Me Proud’. 2013, www.thoughtleader.co.za/sheilacamerer/2013/08/12/sa-art-at-venice-biennale-makes-me-proud/. 3 November 2015.Google Scholar
Cameron, Edwin. ‘Report: Pollsmoor Correctional Centre – Remand Centre and Women’s Centre’. Constitutional Court of South Africa, 2015.Google Scholar
Cameron, Edwin, and Sachs, Albie. ‘Celebrating Transition: Apartheid to Democracy’. In World Policy Blog: World Policy Institute, 2014.Google Scholar
Caney, Simon. ‘Cosmopolitanism’. In Ethics and World Politics, edited by Bell, Duncan, 146163. Oxford: Oxford University Press, 2010.Google Scholar
Cascone, Sarah. ‘Ukrainian Guerrilla Art Group Protests Occupation with a Vacation’. 2015, https://news.artnet.com/art-world/on-vacation-ukraine-protest-contest-306633. 30 October 2015.Google Scholar
Castillejo-Cuéllar, Alejandro. ‘Knowledge, Experience, and South Africa’s Scenarios of Forgiveness’. Radical History Review, vol. 97 (2007): 11.Google Scholar
Chen, Shirong. ‘Chinese Artist Ai Weiwei Held for “Economic Crimes”’. 2011, BBC, www.bbc.co.uk/news/world-asia-pacific-12994785. 1 June 2016.Google Scholar
Chernis, Linda. ‘David Koloane Biography’. David Krut Projects, http://davidkrutprojects.com/34459/david-koloane-biography. 1 June 2016.Google Scholar
Chikukwa, Raphael. ‘Curating Contemporary African Art: Questions of Mega-Exhibitions and Western Influences’. African Identities, vol. 9, no. 2 (2011): 225229.Google Scholar
Clark, Toby. Art and Propaganda in The Twentieth Century: The Political Image in the Age of Mass Culture. New York: Harry N. Abrams, 1997.Google Scholar
Clark-Brown, Gabriel. ‘Cause for Alarm: The DAC Shady Dealings: Venice Biennale Debacle 2011’. South African Art Times, 2011, 8–11.Google Scholar
Clarkson, Carrol. ‘Drawing the Line: Justice and the Art of Reconciliation’. In Justice and Reconciliation in Post-Apartheid South Africa, edited by du Bois-Pedain, Antje and du Bois, François, 267288. Cambridge: Cambridge University Press, 2008.Google Scholar
Clarkson, Carrol. Drawing the Line: Toward an Aesthetics of Transitional Justice. New York: Fordham University Press, 2014.Google Scholar
Clarkson, Carrol. ‘Photo Essay: Welcome to Our Hillbrow’. Safundi: The Journal of South African and American Studies, vol. 10, no. 2 (2009): 215222.Google Scholar
Cohen, Cynthia E, Varea, Roberti Gutiérrez, and Walker, Polly O, eds. Acting Together: Performance and the Creative Transformation of Conflict. Oakland: New Village Press 2011.Google Scholar
Cole, Catherine M. Performing South Africa’s Truth Commission: Stages of Transition. Bloomington: Indiana University Press, 2010.Google Scholar
Cole, Catherine M.Reverberations of Testimony: South Africa’s Truth and Reconciliation Commission in Art and Media’. In Transitional Justice, Culture, and Society: Beyond Outreach, edited by Ramírez-Barat, Clara, 397432. New York: Social Science Research Council, 2014.Google Scholar
Combrinck, Lisa. ‘Press Release: Participation of South Africa at the 55th la Biennale di Venezia’. Department of Arts and Culture, 2013.Google Scholar
‘Come Back Africa’. https://comebackafrica.com/about/. 11 May 2016.Google Scholar
Constitutional Assembly. ‘The Constitution’. 1996.Google Scholar
Constitutional Assembly. ‘Interim Constitution’. 1994.Google Scholar
‘Constitutional Court Art Collection: Foundation’. 2014, https://ccac.org.za/foundation/. 11 April 2016.Google Scholar
Constitutional Court of South Africa. ‘August and Another v Electoral Commission and Others’. In Case No. CCT 8/99, 1999.Google Scholar
Constitutional Court of South Africa. The Constitutional Court of South Africa: The First Ten Years. Pretoria: Constitutional Court of South Africa, 2004.Google Scholar
Constitutional Court of South Africa. ‘Economic Freedom Fighters v Speaker of the National Assembly and Others and Democratic Alliance v Speaker of the National Assembly and Others’. In Case CCT 143/15 and CCT171–15, 2016.Google Scholar
Constitutional Court of South Africa. ‘Government of the Republic of South Africa and Others v Irene Grootboom and Others’. In Case No. CCT 11/00, 2000.Google Scholar
Constitutional Court of South Africa. ‘Minister of Health and Others v Treatment Action Campaign and Other’. In Case No. CCT 8/02, 2002.Google Scholar
Constitutional Court of South Africa. ‘Pheko and Others v Ekurhuleni Metropolitan Municipality (No 2) Media Summary’. In Case No. CCT 19/11, 2015.Google Scholar
Constitutional Court of South Africa. ‘The State v T Makwanyane and M Mchunu’. In Case no. CCT3/94, 1995.Google Scholar
Cooke, Rachel. ‘The Daring Art of Marlene Dumas: Duct-Tape, Pot Bellies and Bin Laden’. The Guardian, 11 January 2015.Google Scholar
Coombes, Annie E. History after Apartheid: Visual Culture and Public Memory in a Democratic South Africa. Durham: Duke University Press, 2003.Google Scholar
Corradetti, Claudio. ‘Transitional Times, Reflective Judgement and the “Hōs mē” Condition’. In Theorizing Transitional Justice, edited by Corradetti, Claudio, Eisikovits, Nir, and Rotondi, Jack Volpe, 185198. Oxford: Routledge, 2015.Google Scholar
Cotter, Holland. ‘South Africans, Isolated No More’. 1999, www.nytimes.com/1999/09/24/arts/art-review-south-africans-isolated-no-more.html?pagewanted=all. 1 June 2016.Google Scholar
Cowan, Geoffrey, and Arsenault, Amelia. ‘Moving from Monologue to Dialogue to Collaboration: The Three Layers of Public Diplomacy’. The Annals of the American Academy of Political and Social Science, vol. 616, no. 1 (2008): 1030.Google Scholar
Cowell, Alan. ‘South African Artists on Show at the Biennale’. 1993, The New York Times, www.nytimes.com/1993/06/26/arts/south-african-artists-on-show-at-the-biennale.html. 25 September 2015.Google Scholar
Cull, Nicholas J.Africa’s Breakthrough: Art, Place Branding and Angola’s Win at the Venice Biennale, 2013’. Place Branding and Public Diplomacy, vol. 10, no. 1 (2014): 15.Google Scholar
D’costa, Bina. ‘Marginalized Identity: New Frontiers in Research for IR?’ In Feminist Methodologies for International Relations, edited by Brooks, A, Stern, Maria, and True, Jacqui, 129152. New York: Cambridge University Press, 2006.Google Scholar
Dahlberg, Leif, ed. Visualizing Law and Authority: Essays on Legal Aesthetics Law and Literature. Berlin: De Gruyter, 2012.Google Scholar
Daniel, John, and Vale, Peter. ‘South Africa: Where Were We Looking in 1968’. In 1968: Memories and Legacies of a Global Revolt, edited by Gassert, Philipp and Klimke, Martin, 137146. Washington, DC: German Historical Institute, 2009.Google Scholar
David Krut Projects. ‘Zwelethu Mthethwa Pulls Out of South Africa’s Venice Biennale Pavilion’. 2011, http://davidkrut.bookslive.co.za/blog/2011/06/01/zwelethu-mthethwa-pulls-out-of-south-africas-venice-biennale-pavilion/. 3 November 2015.Google Scholar
Department of Arts and Culture. ‘Annual Report 2013–2014’. South African Government, 2013–2014.Google Scholar
Department of Arts and Culture. ‘Participation of South Africa at the 55th la Biennale di Venezia’, news release, 27 February 2013, www.dac.gov.za/media_releases/2013/27-02-2013.html.Google Scholar
Department of Arts and Culture. ‘Project Plan for Revised White Paper on ACH’. 2015, https://artsculturesa.files.wordpress.com/2015/10/2015-october-11-internal-consultation-presentation-cultural-diplomacy.pdf. 11 July 2016.Google Scholar
Department of Arts and Culture. ‘Revised White Paper on Arts, Culture and Heritage’. 2013, http://heritagesa.org/wp/2194-2/. 1 June 2016.Google Scholar
Department of Arts and Culture. ‘Revised White Paper on Arts, Culture and Heritage: Second Draft’. 2016, www.dac.gov.za/content/second-draft-revised-white-paper-arts-culture-and-heritage-1. 1 December 2018.Google Scholar
Department of Arts and Culture. ‘Revised White Paper on Arts, Culture and Heritage: Third Draft’. 2017, www.dac.gov.za/content/third-draft-revised-white-paper-arts-culture-and-heritage. 1 December 2018.Google Scholar
Department of Arts and Culture. ‘Revision of the Department of Arts and Culture 1996 White Paper: Fourth Draft’. 2017, www.dac.gov.za/content/revised-white-paper-arts-culture-and-heritage-fourth-draft-0. 1 December 2018.Google Scholar
Department of Arts and Culture. ‘Strategic Plan 2011–2016’. 2011.Google Scholar
Department of Arts Culture Science and Technology. ‘White Paper on Arts, Culture and Heritage’. 1996, www.dac.gov.za/content/white-paper-arts-culture-and-heritage-0#CHAP6. 1 July 2016.Google Scholar
Department of International Relations and Cooperation, ‘Annual Report’, 2013–2014.Google Scholar
Dewey, John. Art as Experience. New York: Penguin, 2005.Google Scholar
Di Stefano, Chiara. ‘The 1968 Biennale: Boycotting the Exhibition’. In Starting from Venice, edited by Ricci, Clarissa, 130133. Milan: EtAl, 2010.Google Scholar
Dlamini, Jacob. Askari: A Story of Collaboration and Betrayal in the Anti-Apartheid Struggle. Auckland Park: Jacana, 2014.Google Scholar
Dlamini, Victor. ‘Press Release, Desire’. South African Pavilion, 2013.Google Scholar
Dobson, Andrew. Listening for Democracy: Recognition, Representation, Reconciliation. Oxford: Oxford University Press, 2014.Google Scholar
Donnelly, Jack. Universal Human Rights in Theory and Practice. Ithaca: Cornell University Press, 2013.Google Scholar
Douglas, Stacy. ‘Between Constitutional Mo(nu)ments: Memorialising Past, Present and Future at the District Six Museum and Constitution Hill’. Law and Critique, vol. 22, no. 2 (2011): 171187.Google Scholar
Douzinas, Costas, and Nead, Lynda. Law and the Image: The Authority of Art and the Aesthetics of Law. Chicago: University of Chicago Press, 1999.Google Scholar
Du Plessis, Lourens. ‘Affirmation and Celebration of the “Religious Other” in South Africa’s Constitutional Jurisprudence on Religious and Related Rights: Memorial Constitutionalism in Action?African Human Rights Law Journal, vol. 8, no. 2 (2008): 376408.Google Scholar
Dumas, Marlene, and Bedford, Emma. Marlene Dumas: Intimate Relations. Edited by Standard Bank Art Gallery. Johannesburg: Roma Publications, 2007.Google Scholar
Durbach, Andrea, and Geddes, Lucy. ‘“To Shape Our Own Lives and Our Own World”: Exploring Women’s Hearings as Reparative Mechanisms for Victims of Sexual Violence Post-Conflict’. The International Journal of Human Rights, vol. 21, no. 9 (2017): 12611280.Google Scholar
Enders-Bhatia, Melissa, and Flouty, Elie. In a World of Your Own. Edited by La Biennale di Venezia. Kingdom of Bahrain Ministry of Culture, 2013.Google Scholar
Enwezor, Okwui. ‘Mega-exhibitions: The Antinomies of a Transnational Global Form’. In Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age, edited by Huyssen, Andreas, 147180. Durham: Duke University Press, 2008.Google Scholar
Enwezor, Okwui. ‘A Space of Encounter: Interview with Victoria Lynn’. Art and Australia, vol. 46, no. 2 (2008): 216218.Google Scholar
Evans, Martha. ‘Mandela and the Televised Birth of the Rainbow Nation’. National Identities, vol. 12, no. 3 (2010): 309326.Google Scholar
Evans, Matthew. ‘Structural Violence, Socioeconomic Rights, and Transformative Justice’. Journal of Human Rights, vol. 15, no. 1 (2016): 120.Google Scholar
Fadda, Reem, ed. Mohammed Kazem. Bologna: Damiani, 2013.Google Scholar
Feigenson, Neal. ‘The Visual in Law: Some Problems for Legal Theory’. Law, Culture and the Humanities, vol. 10, no. 1 (2014): 1323.Google Scholar
Ferguson, Bruce, and Sharaf, Rawan. ‘Otherwise Occupied’. 2013, www.palestineatvenice.com/curatorialstatement.html.Google Scholar
Ferguson, Bruce, and Sharaf, Rawan. ‘Otherwise Occupied (exhibition handout)’. Edited by La Biennale di Venezia, 2013.Google Scholar
Filipovic, Elena, Van Hal, Marieke, and Øvstebø, Solveig, eds. The Biennial Reader. Bergen: Hatje Cantz, 2010.Google Scholar
Ford Associated Press. ‘No Trial of Police in Biko Case’. 2003, http://articles.latimes.com/2003/oct/08/world/fg-safrica8. 1 June 2016.Google Scholar
‘Forum for the Empowerment of Women’. www.few.org.za. 1 June 2016.Google Scholar
Fransman, Marius. ‘Keynote Address by Deputy Minister Marius Fransman on the Topic of “Cultural Diplomacy and Sports as Tools for Nation Building and Development” on the Occasion of DIRCO’s Annual Conference’. 2010, www.dirco.gov.za/docs/speeches/2010/frans1119.html. 1 July 2016.Google Scholar
Freedberg, David. ‘The Case of the Spear’. Art South Africa, vol. 11, no. 1 (2012): 3641.Google Scholar
‘Freedom of Expression Awards’. https://awards.indexoncensorship.org/#about. 1 June 2016.Google Scholar
Freschi, Federico. ‘Postapartheid Publics and the Politics of Ornament: Nationalism, Identity, and the Rhetoric of Community in the Decorative Program of the New Constitutional Court, Johannesburg’. Africa Today, vol. 54, no. 2 (2007): 2749.Google Scholar
‘From the ‘70s to the reforms of 1998’. www.labiennale.org/en/biennale/history/vb3.html?back=true. 1 May 2016.Google Scholar
Gaensheimer, Susanne. ‘Interview: There’s No National Culture Anymore’. 2013, www.goethe.de/en/kul/bku/20374620.html. 30 September 2015.Google Scholar
Garnsey, Eliza. ‘The Battle for HeARTs and Minds: Art and the War on Terror’. The Diplomatic Courier, February 2012.Google Scholar
Garnsey, Eliza. ‘Framing Human Dignity: Visual Jurisprudence at South Africa’s Constitutional Court’. Australian Journal of Human Rights, vol. 22, no. 2 (2016): 81102.Google Scholar
Garnsey, Eliza. ‘On Representation(s): Art, Violence and the Political Imaginary of South Africa’. Critical Review of International Social and Political Philosophy, vol. 22, no. 5 (2019): 598617.Google Scholar
Garnsey, Eliza. ‘Rewinding and Unwinding: Art and Justice in Times of Political Transition’. International Journal of Transitional Justice, vol. 10 (2016): 471491.Google Scholar
Garnsey, Eliza. ‘The Site and Sights of Transitional Justice: Art at the Constitutional Court in Johannesburg’. In New Critical Spaces in Transitional Justice: Gender, Art, and Memory, edited by Kurze, Arnaud and Lamont, Christopher K., 4462. Bloomington: Indiana University Press, 2019.Google Scholar
Garnsey, Eliza. ‘South Africa’s Blue Dress: (Re)imagining Human Rights through Art’. Angelaki, vol. 24, no. 4 (2019): 3851.Google Scholar
Gaut, Berys Nigel. Art, Emotion and Ethics. Oxford: Oxford University Press, 2007.Google Scholar
Gevisser, Mark, and Nuttall, Sarah. ‘From the Ruins: The Constitution Hill Project’. Public Culture, vol. 16, no. 3 (2004): 507519.Google Scholar
Ghiu, Bogdan. ‘The Myth of Place’. 2013, http://commonpavilions.com/pavilion-romania.html. 3 October 2015.Google Scholar
Gielen, Pascal. ‘The Biennale: A Post-institution for Immaterial Labour’. Open: The Art Biennial as a Global Phenomenon, vol. 8, no. 16 (2009): 817.Google Scholar
Gienow-Hecht, Jessica C E.What Are We Searching For? Culture, Diplomacy, Agents, and the State’. In Searching for a Cultural Diplomacy, edited by Gienow-Hecht, Jessica C.E. and Donfried, Mark C., 312. New York: Berghahn, 2010.Google Scholar
Gioni, Massimiliano. Il Palazzo Enciclopedico. Vol. I and II. Venice: Fondazione La Bienale di Venezia, 2013.Google Scholar
‘Giving Voice to the Past, Hope to the Future’. City Press, 19 May 2008.Google Scholar
Global Project. ‘Occupied Turkish Pavilion at the Venice Biennale (flyer)’. 2013.Google Scholar
Gobodo-Madikizela, Pumla, Fish, Jennifer, and Shefer, Tamara. ‘Gendered Violence: Continuities and Transformation in the Aftermath of Conflict in Africa’. Signs, vol. 40, no. 1 (2014): 8199.Google Scholar
Goniwe, Thembinkosi. Desire: Ideal Narratives in Contemporary South African Art. CulArt Productions, 2011.Google Scholar
Goniwe, Thembinkosi. ‘DESIRE: Ideal Narratives in Contemporary South African Art South Africa’s Exhibition at the Venice Biennale, 4 June–27 November 2011’. African Identities, vol. 9, no. 2 (2011): 247248.Google Scholar
Goodale, Mark. ‘Locating Rights, Envisioning Law between the Global and the Local’. In The Practice of Human Rights: Tracking Law between the Global and the Local, edited by Goodale, Mark and Merry, Sally Engle, 138. Cambridge: Cambridge University Press, 2007.Google Scholar
Gould, W T S. ‘Regional Labour Migration Systems in East Africa’. In The Cambridge Survey of World Migration, edited by Cohen, Robin. Cambridge: Cambridge University Press, 1995.Google Scholar
Green, Charles Rick, and Gardner, Anthony. Biennials, Triennials, and Documenta: The Exhibitions That Created Contemporary Art. Chichester: Wiley, 2016.Google Scholar
Green, Jeffrey Edward. The Eyes of the People: Democracy in an Age of Spectatorship. Oxford: Oxford University Press on Demand, 2010.Google Scholar
Greiff, Pablo De. ‘On Making the Invisible Visible: The Role of Cultural Interventions in Transitional Justice Processes’. In Transitional Justice, Culture, and Society: Beyond Outreach, edited by Ramirez-Barat, Clara, 1124. New York: Social Science Research Council, 2014.Google Scholar
Groys, Boris. ‘From Medium to Message: The Art Exhibition as Model of a New World Order’. Open: The Art Biennial as a Global Phenomenon, vol. 8, no. 16 (2009): 5665.Google Scholar
Grynsztejn, Madeleine, and Valdes, Adriana. ‘Pavilion of Chile: Alfredo Jaar Venezia, Venezia’. edited by La Biennale di Venezia: National Council for Culture and the Arts, 2013.Google Scholar
Gulf Labor Artist Coalition. ‘An Intervention at the Biennale: G.U.L.F and Gulf Labor at Venice’. 2015, http://gulflabor.org/2015/an-intervention-at-the-biennale-g-u-l-f-and-gulf-labor-at-venice/#more-2068. 30 October 2015.Google Scholar
Gunkel, Henriette. The Cultural Politics of Female Sexuality in South Africa. New York: Routledge, 2010.Google Scholar
Hamilton, Lawrence. Are South Africans Free? London: Bloomsbury, 2014.Google Scholar
Hardin, Debbie, and Grove, Migs. ‘Claiming Art Reclaiming Space: Post-Apartheid Art From South Africa’. Edited by National Museum of African Art, 1999.Google Scholar
Hayner, P B. Unspeakable Truths: Transitional Justice and the Challenge of Truth Commissions. London: Routledge, 2011.Google Scholar
Himonga, Chuma, Taylor, Max, and Pope, Anne. ‘Reflections on Judicial Views of Ubuntu’. PER: Potchefstroomse Elektroniese Regsblad, vol. 16, no. 5 (2013): 161.Google Scholar
Hobbs, Philippa, and Rankin, Elizabeth. Rorke’s Drift: Empowering Prints. Cape Town: Juta, 2003.Google Scholar
Human Rights Watch. ‘South Africa’. In World Report, 2014.Google Scholar
Hutchison, Emma. Affective Communities in World Politics. Cambridge: Cambridge University Press, 2016.Google Scholar
Ignatieff, Michael. Human Rights as Politics, Human Rights as Idolatry. The Tanner Lectures on Human Values. Princeton University, 2000.Google Scholar
‘Imaginary Fact’. 2013, www.imaginaryfact.co.za. 20 November 2013.Google Scholar
Incroci del Sud: Affinities. Venice: Palazzo Giustinian Lolin, 1993.Google Scholar
‘Inkanyiso’. https://inkanyiso.org/about/. 1 June 2016.Google Scholar
Jachec, Nancy. Politics and Paintings at the Venice Biennale 1948–64: Italy and the ‘Idea of Europe’. Manchester: Manchester University Press, 2007.Google Scholar
Jason, Stefanie. ‘Venice Biennale: SA Pavilion Finally Announces Artists’. 2015, http://mg.co.za/article/2015-04-16-venice-biennale-sa-pavilion-finally-announces-artists. 1 May 2015.Google Scholar
Jeffrey, Alex, and Jakala, Michaelina. ‘Using Courts to Build States: The Competing Spaces of Citizenship in Transitional Justice Programmes’. Political Geography, vol. 47 (2015): 4352.Google Scholar
Keegan, Tim. Colonial South Africa: Origins Racial Order. Charlottesville: University Press of Virginia, 1996.Google Scholar
Khoza, Amanda. ‘I am going to throttle Ayanda Mabulu – Edward Zuma’. 2016, News24. 15 July 2016.Google Scholar
LA BIENNALE. ‘Extraordinary success at the Biennale Arte 2013’, news release, 2013.Google Scholar
LA BIENNALE. ‘From the post-war period to the reforms of 1973’. www.labiennale.org/en/biennale/history/vb2.html?back=true. 5 November 2015.Google Scholar
Laduke, Betty. ‘Sue Williamson: The Artist’s Struggle toward Freedom in South Africa’. Journal of Social Theory in Art Education, vol. 7 (1987): 3948.Google Scholar
Lapsley, Michael. ‘Testimony’. Truth and Reconciliation Commission, 1996. www.justice.gov.za/trc/hrvtrans%5Ckimber/ct00654.htm. Accessed 3 July 2019.Google Scholar
Law-Viljoen, Bronwyn, and Buckland, Angela. Light on a Hill: Building the Constitutional Court of South Africa. Johannesburg: David Krut Publishing, 2006.Google Scholar
Law-Viljoen, Bronwyn, and Law-Viljoen, Ben, eds. Art and Justice: The Art of the Constitutional Court of South Africa. Johannesburg: David Krut, 2008.Google Scholar
Law-Viljoen, Bronwyn, and Karel, Nel. ‘Art and Justice’. In Art and Justice: The Art of the Constitutional Court of South Africa, edited by Law-Viljoen, Bronwyn and Law-Viljoen, Ben, 113182. Johannesburg: David Krut, 2008.Google Scholar
Le Roux, Hannah. ‘Hell/Whole: The Inversion of Constitution Hill’. Art South Africa, vol. 2, no. 4 (2004): 3845.Google Scholar
Le Roux, Wessel. ‘The Aesthetic Turn in the Post-Apartheid Constitutional Rights Discourse’. Journal of South African Law, vol. (2006): 101–120.Google Scholar
Le Roux, Wessel. ‘Book Review: Linda Mulchay: Legal Architecture: Justice, Due Process and the Place of Law’. Feminist Legal Studies, vol. 21 (2013): 109112.Google Scholar
Le Roux, Wessel. ‘Descriptive Overview of the South African Constitution and Constitutional Court’. In Transformative Constitutionalism: Comparing the Apex Courts of Brazil, India and South Africa, edited by Vilhena, Oscar, Baxi, Upendra and Viljoen, Frans, 135175. Johannesburg: Pretoria University Law Press, 2013.Google Scholar
Le Roux, Wessel. ‘Designs of the Times: The Remaking of South African and Dutch Courtroom Architecture during the 1990s’. Fundamina: A Journal of Legal History, vol. 13, no. 2 (2007): 5074.Google Scholar
Le Roux, Wessel. ‘Directory Provisions, Section 39 (2) of the Constitution and the Ontology of Statutory Law’. SA Publiekreg (SA Public Law), vol. 21, no. 2 (2006): 382401.Google Scholar
Le Roux, Wessel. ‘War Memorials, the Architecture of the Constitutional Court Building and Countermonumental Constitutionalism’. In Law, Memory, and the Legacy of Apartheid: Ten years after AZAPO v. President of South Africa, edited by Van Marle, Karin and Le Roux, Wessel, 6592. Pretoria: Pretoria University Law Press, 2007.Google Scholar
Lederach, John Paul. The Moral Imagination: The Art and Soul of Building Peace. Oxford: Oxford University Press, 2004.Google Scholar
Lee, Taedong. Global Cities and Climate Change: The Translocal Relations of Environmental Governance. New York: Routledge, 2014.Google Scholar
Leslie, Robyn. ‘Truth Will Set You Free: Implications of a Creative Narrative for the “Official” Discourse of the South African Truth and Reconciliation Commission’. In Art and Trauma in Africa: Representations of Reconciliation in Music, Visual Arts, Literature and Film, edited by Bisschoff, Lizelle and Van de Peer, Stefanie, 170191. London: IB Tauris, 2013.Google Scholar
Levitt, Peggy, and Merry, Sally. ‘Vernacularization on the Ground: Local Uses of Global Women’s Rights in Peru, China, India and the United States’. Global Networks, vol. 9, no. 4 (2009): 441461.Google Scholar
Longair, Sarah. ‘Unlocking the Doors of Number Four Prison: Curating the Violent Past in Contemporary South Africa’. In Art and Trauma in Africa: Representations of Reconciliation in Music, Visual Arts, Literature and Film, edited by Bisschoff, Lizelle and Van de Peer, Stefanie, 110130. London: IB Tauris, 2013.Google Scholar
Louton, Bobbie, Still, David Allen, Pearson, Ian, Sitholimela, Godfrey, Mphahlele, Tirelo, and Shaylor, Esther. ‘Exploring the Issues around Rural On-Site School Sanitation in South Africa’. Water Research Commission, 2015.Google Scholar
Maart, Brenton. Imaginary Fact: Exhibition Catalogue. Grahamstown: National Arts Festival, 2013.Google Scholar
Maart, Brenton. ‘Venice Distilled’. Archive and Public Culture, www.apc.uct.ac.za/news/venice-distilled.Google Scholar
Madra, Yahya M.From Imperialism to Transnational Capitalism: The Venice Biennial as a “Transitional Conjuncture”’. Rethinking Marxism, vol. 18, no. 4 (2006): 525537.Google Scholar
Makin, Andrew, Masojada, Janina, and Wygers, Paul. ‘The New Constitutional Court Building of South Africa: Part 1’. OMM Design and Urban Solutions, 1997.Google Scholar
Makin, Andrew, Masojada, Janina, and Wygers, Paul. ‘The New Constitutional Court Building of South Africa: Part 2’. OMM Design and Urban Solutions, 1997.Google Scholar
Mall, H, Wilson, A, Ngoepe, B, De Jager, C, and Khampepe, S. ‘AC/99/0030: Amnesty Committee: Application in Terms of Section 18 of the Promotion of National Unity and Reconciliation Act, No. 34 of 1995. Jacques Hechter Applicant (AM 2776/96)’. 1999, Truth and Reconciliation Commission, www.justice.gov.za/trc/decisions%5C1999/99_hechter.html.Google Scholar
Mandela, Nelson. ‘Speech by President Nelson Mandela at the Inauguration of the Constitutional Court’. 1995, www.constitutionalcourt.org.za/site/thecourt/mandelaspeech.html. 3 March 2016.Google Scholar
Mandela, Nelson. ‘Statement from the Dock at the Opening of the Defence Case in the Rivonia Trial’. Pretoria Supreme Court, 1964.Google Scholar
Manderson, Desmond. ‘The Law of the Image and the Image of the Law: Colonial Representations of the Rule of Law’. New York Law School Law Review, vol. 57 (2012): 153168.Google Scholar
Mani, Rama. ‘Dilemmas of Expanding Transitional Justice, or Forging the Nexus between Transitional Justice and Development’. International Journal of Transitional Justice, vol. 2, no. 3 (2008): 253265.Google Scholar
Mani, Rama. ‘Women, Art and Post-Conflict Justice’. International Criminal Law Review, vol. 11 (2011): 543560.Google Scholar
Marchart, Oliver. ‘The Globalization of Art and the “Biennials of Resistance”: A History of the Biennials from the Periphery’. World Art, vol. 4, no. 2 (2014): 263276.Google Scholar
Marikana Commission of Inquiry. ‘Report on Matters of Public, National and International Concern Arising out of the Tragic Incidents at the Lonmin Mine in Marikana, in the North West Province’. 2015.Google Scholar
Marschall, Sabine. ‘The Impact of the Two Johannesburg Biennales (1995 and 1997) on the Formation of a “New South African Art”’. Social Dynamics, vol. 25, no. 2 (1999): 119137.Google Scholar
Martin, Andrew, Kelly, Annie, Turquet, Laura, and Ross, Stephanie. Hate Crimes: The Rise of “Corrective” Rape in South Africa. London: Action Aid, 2009.Google Scholar
Martin, Marilyn. ‘Death in Venice’. Artthrob, no. 73 (2003).Google Scholar
Martini, Federica, and Martini, Vittoria. Just Another Exhibition: storie e politiche delle biennali. Milan: Post Media Books, 2011.Google Scholar
Marx, Gerhard, Marx, Maja, and Miller, Philip. ‘REwind: Venice Monitor 2 Rewind HD/Scene for Wawela Awards 2015’. 2007–2013, www.youtube.com/watch?v=XzdGruYiTyo. 5 March 2015.Google Scholar
Marx, Gerhard, Marx, Maja, and Miller, Philip. ‘REwind: Venice Monitor 6 Mrs Plaatjies & Edward Juqu HD/Scene for Wawela Awards 2015’. 2007–2013, www.youtube.com/watch?v=6gya0j3w0PY. 5 March 2015.Google Scholar
Marx, Gerhard, Marx, Maja, and Miller, Philip. ‘REwind: Venice Monitor 7 Calata/Scene for Wawela Awards 2015’. 2007–2013, www.youtube.com/watch?v=EcDBXvKZ6IA. 5 March 2015.Google Scholar
Mashatile, Paul. ‘Speech on Occasion of the Opening of South African Pavilion at the 55th Venice Biennale’. 2013, www.dac.gov.za/content/speech-paul-mashatile-occasion-opening-south-african-pavilion-55th-venice-biennale. 20 September 2015.Google Scholar
Mashatile, Paul. ‘Statement by the Minister Paul Mashatile on the Occasion to Announce Artists to Represent South Africa at the 55th International Art Exhibition – La Biennale di Venezia’, 2013, Department of Arts and Culture, www.dac.gov.za/media_releases/2013/18-03-2013.html. 23 March 2013.Google Scholar
Masojada, Janina. ‘Interview’. Constitutional Court Trust Oral History Project (2012).Google Scholar
Masojada, Janina. ‘TedXUmhlanga’. 2014, YouTube, www.youtube.com/watch?v=FBEkvSC1sNc. 3 March 2016.Google Scholar
Mason, Judith. ‘The Man Who Sang and the Woman Who Kept Silent (Triptych) 1998’. 2013, www.judithmason.com/assemblage/5_text.html. 23 March 2013.Google Scholar
Mcnamee, Eugene. ‘Fields of Opportunity’. In The Arts of Transitional Justice, edited by Rush, Peter D and Simić, Olivera, 124. New York: Springer, 2014.Google Scholar
Meersman, Brent. ‘An Imperfect Past and Its Impact on the Present’. Mail and Guardian, 2013, 4–5.Google Scholar
Melissen, Jan. ‘The New Public Diplomacy: Between Theory and Practice’. In The New Public Diplomacy, edited by Melissen, Jan, 327. Hampshire: Springer, 2005.Google Scholar
Meskell, Lynn. ‘Trauma Culture’. In Memory, Trauma and World Politics, edited by Bell, Duncan, 157175. Hampshire: Springer, 2006.Google Scholar
Metz, Thaddeus. ‘Ubuntu as a Moral Theory and Human Rights in South Africa’. African Human Rights Law Journal, vol. 11, no. 2 (2011): 532559.Google Scholar
Mihai, Mihaela. ‘Democratic “Sacred Spaces”: Public Architecture and Transitional Justice’. In Theorizing Transitional Justice, edited by Corradetti, Claudio, Eisikovits, Nir, and Rotondi, Jack Volpe. Oxford: Routledge, 2015.Google Scholar
Mihai, Mihaela. ‘From Hate to Political Solidarity: The Art of Responsibility’. In Hate, Politics, Law, edited by Brudholm, Thomas and Schepelern, Birgitte, 192212. Johansen: Oxford University Press, 2016.Google Scholar
Mihai, Mihaela. Negative Emotions and Transitional Justice. New York: Columbia University Press, 2016.Google Scholar
Milton, Cynthia E. ‘Images of Truth: Rescuing Memories of Peru’s Internal War through Testimonial Art’, in Art from a Fractured Past: Memory and Truth-Telling in Post-Shining Path Peru, Cynthia E Milton ed., 3774. Durham: Duke University Press, 2014.Google Scholar
Miya, Eunice. ‘Testimony’. Truth and Reconciliation Commission, Case No. CT/00818, 27 November 1996, 2. www.justice.gov.za/trc/hrvtrans%5Cpolls/ct00818.htm. Accessed 3 July 2019.Google Scholar
Modisane, Litheko. ‘From Africa to America, and Back Again: Come Back, Africa (1959)’. In South Africa’s Renegade Reels: The Making and Public Lives of Black-Centered Films, 25–69. New York: Palgrave Macmillan, 2013.Google Scholar
Mokoena, Lethole. ‘Radio Interview: South African Pavilion’. 2011, www.spreaker.com/user/roma_radio_art_fair/south_african_pavilion_lethole_mokoena. 7 November 2015.Google Scholar
Möller, Frank. Visual Peace: Images, Spectatorship and the Politics of Violence. Hampshire: Palgrave Macmillan, 2013.Google Scholar
Moon, Claire. Narrating Political Reconciliation: South Africa’s Truth and Reconciliation Commission. Lanham: Lexington Books, 2008.Google Scholar
Mooney, Christopher. ‘Anri Sala’. 2013, http://artreview.com/features/feature_anri_sala/. 1 June 2016.Google Scholar
Moravčíková, Henrieta. ‘Sensing the Common Ground’. 2013, http://commonpavilions.com/pavilion-czech-slovak-republic.html. 3 October 2015.Google Scholar
Mosely, Erin. ‘Visualizing Apartheid: Re-framing Truth and Reconciliation through Contemporary South African Art’. In Curating Difficult Knowledge: Violent Pasts in Public Places, edited by Lehrer, Erica, Milton, Cynthia E., and Patterson, Monica Eileen, 128141. New York: Palgrave Macmillan, 2011.Google Scholar
Muholi, Zanele. Faces and Phases. Munich: Prestel Verlag, 2010.Google Scholar
Mulcahy, Linda. ‘Architects of Justice: The Politics of Courtroom Design’. Social and Legal Studies, vol. 16, no. 3 (2007): 383403.Google Scholar
Mulcahy, , Legal Architecture: Justice, Due Process and the Place of Law. Oxford: Routledge, 2010.Google Scholar
Munro, Brenna M. South Africa and the Dream of Love to Come: Queer Sexuality and the Struggle for Freedom. Minneapolis: University of Minnesota Press, 2012.Google Scholar
Mutua, Makau. ‘What Is the Future of Transitional Justice?International Journal of Transitional Justice, vol. 9, no. 1 (2015): 19.Google Scholar
Mwambene, Lea, and Wheal, Maudri. ‘Realisation or Oversight of a Constitutional Mandate? Corrective Rape of Black African Lesbians in South Africa’. African Human Rights Law Journal, vol. 15, no. 1 (2015): 5888.Google Scholar
Nagy, Rosemary. ‘Transitional Justice as Global Project: Critical Reflections’. Third World Quarterly, vol. 29, no. 2 (2008): 275289.Google Scholar
Nagy, Rosemary. ‘Violence, Amnesty and Transitional Law: “Private” Acts and “Public” Truth in South Africa’. African Journal of Legal Studies, vol. 1, no. 1 (2004): 128.Google Scholar
Naidoo, Indres. Island in Chains by Prisoner 885/63. Harmondsworth: Penguin, 2012.Google Scholar
Nako, Nontsasa. ‘The Memory Market: Black Women’s Stories and the Legacy of the South African TRC’. In Excavating Memory: Sites of Remembering and Forgetting, edited by Starzmann, Maria Theresia and Roby, John R., 265289. Gainesville: University Press of Florida, 2015.Google Scholar
Ndevu, Thomaza. ‘Body Maps’. 2002, https://ccac.org.za/thozama-ndevu-body-maps-2009-0037/. 17 April 2016.Google Scholar
Ndlovu, Sifiso Mxolisi. ‘Sports as Cultural Diplomacy: The 2010 FIFA World Cup in South Africa’s Foreign Policy’. Soccer and Society, vol. 11, no. 1–2 (2010): 144153.Google Scholar
Noble, Jonathan Alfred. African Identity in Post-Apartheid Public Architecture: White Skin, Black Masks. Farnham: Ashgate, 2011.Google Scholar
O’doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Santa Monica: University of California Press, 1999.Google Scholar
O’Toole, Sean. ‘The Hanging Judge’. Sunday Times Lifestyle, 22 February 2004.Google Scholar
O’Toole, Sean. ‘The Venice Effect’. 2011, www.timeslive.co.za/lifestyle/2011/05/27/the-venice-effect. 3 November 2015.Google Scholar
Olsen, Tricia D, Payne, Leigh A, and Reiter, Andrew G. Transitional Justice in Balance: Comparing Processes, Weighing Efficacy. Washington, DC: United States Institute of Peace, 2010.Google Scholar
‘On Vacation’. 2015, http://on-vacation.info/. 30 October 2015.Google Scholar
Papastergiadis, Nikos, and Martin, Meredith. ‘Art Biennales and Cities as Platforms for Global Dialogue’. In Festivals and the Cultural Public Sphere, edited by Delanty, Gerard, Giorgi, Liana, and Sassatelli, Monica, 4562. London: Routledge, 2011.Google Scholar
Parekh, Bhikhu. ‘Non-Ethnocentric Universalism’. In Human Rights in Global Politics, edited by Dunne, Tim and Wheeler, Nicholas J, 128159. Cambridge: Cambridge University Press, 1999.Google Scholar
Patel, Zarina, and Van Der Merwe, Clinton David. ‘Constitution Hill: Just Space or Space for Justice?’ In Architecture and Justice: Judicial Meanings in the Public Realm, edited by Simon, Jonathan. London: Routledge, 2016.Google Scholar
Payne, Malcolm. ‘Chronology’. www.malcolmpayne.co.za/. 15 July 2013.Google Scholar
Perryer, Sophie. 10 Years 100 Artists: Art in a Democratic South Africa. Cape Town: Bell-Roberts, 2004.Google Scholar
Phillips, Anne. ‘Global Justice: Just Another Modernisation Theory?’ In Empire, Race, and Global Justice, edited by Bell, Duncan, 145162. Cambridge: Cambridge University Press, 2019.Google Scholar
Pienaar, Gary, and February, Judith. ‘Twenty Years of Constitutional Democracy’. In State of the Nation 2014: South Africa 1994–2014: A Twenty-Year Review, edited by Nkondo, M, Sithole, M, Nyamnjoh, F, Meyiwa, T, and Chitiga-Mabugu, M, 2558. Cape Town: HSRC Press, 2015.Google Scholar
Piettre, Céline. ‘France and Germany Will Trade Pavilions at the 2013 Venice Biennale’. 2012, http://blogs.artinfo.com/artintheair/2012/11/21/france-and-germany-will-trade-pavilions-at-the-2013-venice-biennale/. 15 June 2013.Google Scholar
Pissarra, Mario. ‘Death to Venice! A South African Perspective on the Irrelevance of Representation at the Venice Biennale’. 2006, Africa South Art Initiative, http://asai.co.za/death-to-venice-a-south-african-perspective-on-the-irrelevance-of-representation-at-the-venice-biennale/. 1 May 2016.Google Scholar
‘Poetic World Politics’. Alternatives: Social Transformation and Humane Governance, vol. 25, no. 3 (2000).Google Scholar
Powell, Ivor. ‘Venice: A Site of Memory’. 1995, http://mg.co.za/article/1995-06-09-venice-a-site-of-memory. 20 August 2013.Google Scholar
Ramirez-Barat, Clara, ed. Transitional Justice, Culture, and Society: Beyond Outreach. New York: Social Science Research Council, 2014.Google Scholar
Rancière, Jacques. The Politics of Aesthetics. Translated by Rockhill, Gabriel. London: Continuum, 2006.Google Scholar
Reddy, Enuga S. ‘The United Nations: Partner in the Struggle against Apartheid’. www.un.org/en/events/mandeladay/apartheid.shtml. 7 November 2015.Google Scholar
Reinhardt, Mark. ‘Picturing Violence: Aesthetics and the Anxiety of Critique’. In Beautiful Suffering: Photography and the Traffic in Pain, edited by Reinhardt, Mark, Edwards, Holly, and Duganne, Erina, 1336. Chicago: University of Chicago Press, 2007.Google Scholar
Resnik, Judith, and Curtis, Dennis Edward. Representing Justice: Invention, Controversy, and Rights in City-States and Democratic Courtrooms. New Haven: Yale University Press, 2011.Google Scholar
Resnik, Judith, Curtis, Dennis, and Tait, Allison. ‘Constructing Courts: Architecture, the Ideology of Judging, and the Public Sphere’. In Law, Culture and Visual Studies, edited by Sherwin, Richard K and Wagner, Anne, 515545. Dordrecht: Springer, 2014.Google Scholar
Right to Know. ‘What’s STILL Wrong with the Secrecy Bill?’ 2014, www.r2k.org.za/2014/09/11/whats-still-wrong-with-the-secrecy-bill/. 1 June 2016.Google Scholar
Roht-Arriaza, Naomi, and Mariezcurrena, Javier, eds. Transitional Justice in the Twenty-First Century. Cambridge: Cambridge University Press, 2007.Google Scholar
Rorty, Richard. ‘Human Rights, Rationality, and Sentimentality’. In Wronging Rights?: Philosophical Challenges for Human Rights, edited by Rathore, Aakash Singh and Cistelecan, Alex, 107131. New Delhi: Routledge, 1993.Google Scholar
Roux, Theunis. ‘Constitutional Courts as Democratic Consolidators: Insights from South Africa after 20 Years’. Journal of Southern African Studies, vol. 42, no. 1 (2016): 518.Google Scholar
Rush, Peter D, and Simić, Olivera, eds. The Arts of Transitional Justice: Culture, Activism, and Memory after Atrocity. New York: Springer, 2014.Google Scholar
Russell, Barbara. ‘The Woman Who Kept Silent: Remembering and Reconciliation in South Africa’. In Violent Depictions: Representing Violence across Cultures, edited by Scarparo, Susanna and McDonald, Sarah, 178203. Newcastle: Cambridge Scholars Publishing, 2009.Google Scholar
Sachs, Albie. ‘Interview’. Constitutional Court Trust Oral History Project (2011).Google Scholar
Sachs, Albie. The Jail Diary of Albie Sachs. London: Sphere Books, 1969.Google Scholar
Sachs, Albie. The Strange Alchemy of Life and Law. Oxford: Oxford University Press, 2009.Google Scholar
Sachs, Albie, and September, Vanessa. The Free Diary of Albie Sachs. Johannesburg: Random House, 2004.Google Scholar
Sassatelli, Monica. ‘The Biennalization of Art Worlds’. In Routledge International Handbook of the Sociology of Art and Culture, edited by Hanquinet, Laurie and Savage, Mike, 277289. Oxford: Routledge, 2015.Google Scholar
Savage, Michael. ‘The Imposition of Pass Laws on the African Population in South Africa 1916–1984’. African Affairs, vol. 85, no. 339 (1986): 181205.Google Scholar
Schaap, Andrew. ‘The Time of Reconciliation and the Space of Politics’. In Law and the Politics of Reconciliation, edited by Veitch, Scott, 931. Oxford: Routledge, 2007.Google Scholar
Schneider, Cynthia P.Cultural Diplomacy: The Humanizing Factor’. In International Cultural Policies and Power, edited by Singh, J P, 101111. London: Palgrave Macmillan, 2010.Google Scholar
Schneider, Cynthia P.Culture Communicates: US Diplomacy That Works’. In The New Public Diplomacy, edited by Melissen, Jan, 147168. Hampshire: Springer, 2005.Google Scholar
Schwartz-Shea, Peregrine, and Yanow, Dvora. Interpretive Research Design: Concepts and Processes. New York: Routledge, 2012.Google Scholar
Segal, Lauren. Number Four: The Making of Constitution Hill. Johannesburg: Penguin, 2006.Google Scholar
Segal, Lauren, Van Den Berg, Clive, and Madikida, Churchill. Mapping Memory: Former Prisoners Tell Their Stories. Johannesburg: David Krut, 2006.Google Scholar
Shapiro, Michael J. Studies in Trans-Disciplinary Method. Oxford: Routledge, 2013.Google Scholar
Sherwin, Richard K. Visualizing Law in the Age of the Digital Baroque: Arabesques and Entanglements. Oxford: Routledge, 2011.Google Scholar
Sherwin, Richard K.Visual Jurisprudence’. New York Law School Law Review, vol. 57, no. 11 (2012): 1139.Google Scholar
Siddiqui, Nadia, Marifat, Hadi, and Kuouvo, Sari. ‘Culture, Theatre and Justice: Examples from Afghanistan’. In The Arts of Transitional Justice, edited by Rush, Peter D and Simić, Olivera, 113134. New York: Springer, 2014.Google Scholar
Simić, Olivera, and Milosevic, Dijana. ‘Enacting Justice: The Role of Dah Theatre Company in Transitional Justice Processes in Serbia and Beyond’. In The Arts of Transitional Justice, edited by Rush, Peter D and Simić, Olivera, 99112. New York: Springer, 2014.Google Scholar
Simić, Olivera, and Volcic, Zala. ‘In the Land of Wartime Rape: Bosnia, Cinema and Reparation’. Griffith Journal of Law & Human Dignity, vol. 2, no. 2 (2014): 377401.Google Scholar
Smith, David. ‘ANC’s Secrecy Bill Seen as Assault on South African Press Freedom’. 2012, www.theguardian.com/world/2012/jun/06/south-africa-secrecy-bill-press-freedom. 1 June 2016.Google Scholar
Smith, David. ‘South Africa’s “Secrecy Bill” Attracts International Condemnation’. 2012, www.theguardian.com/world/2012/jun/13/south-africa-secrecy-bill-un-condemnation. 1 June 2016.Google Scholar
Smith, Theresa. ‘SA Art Back in Global Showcase’. 2013, www.iol.co.za/tonight/what-s-on/western-cape/sa-art-back-in-global-showcase-1.1515423#.UouNJ2S4GLE. 3 November 2015.Google Scholar
Snyman, Cara. ‘Constitutional Court Wins Again’. 2006, www.artlink.co.za/news_article.htm?contentID=2271. 3 March 2016.Google Scholar
Snyman, Johannes. ‘Interpretation and the Politics of Memory’. Acta Juridica, vol. (1998): 312–337.Google Scholar
Soko, Mills, and Balchin, Neil. ‘South Africa’s Quest for Leadership in Africa: Achievements, Constraints and Dilemmas’. In Global and Regional Leadership of BRICS Countries, edited by Kingah, Stephen and Quiliconi, Cintia, 225242. Cham: Springer, 2015.Google Scholar
‘South African Exhibition at the 55th International Art Exhibition – Venice Biennale 2013: Expression of Interest: Visual Arts Curators’. Newspaper advertisement, 25 January 2013.Google Scholar
South African Government. ‘Census 2011 Listing Database’. 2011, www.census2011.co.za. 3 March 2016.Google Scholar
South African Government. ‘Govt’s Q&A Advertorial on the POSIB’. 2011, www.politicsweb.co.za/news-and-analysis/govts-qa-advertorial-on-the-posib. 1 June 2016.Google Scholar
South African Human Rights Commission. ‘Report on the Right to Access Sufficient Water and Decent Sanitation in South Africa’. 2014.Google Scholar
South African Parliament. ‘Superior Courts Act’. South Africa, 2013.Google Scholar
Staal, Jonas. ‘Ideological Guide to the Venice Biennale’. 2013, http://venicebiennale2013.ideologicalguide.com/about/. 3 November 2015.Google Scholar
Stone, Maria. ‘Challenging Cultural Categories: The Transformation of the Venice Biennale under Fascism’. Journal of Modern Italian Studies, vol. 4, no. 2 (1999): 184208.Google Scholar
Tang, Jeannine. ‘Biennalization and Its Discontents’. In Negotiating Values in the Creative Industries: Fairs, Festivals and Competitive Events, edited by Moeran, Brian and Pedersen, Jesper Strandgaard, 7393. Cambridge: Cambridge University Press, 2011.Google Scholar
Teitel, Ruti G. Globalizing Transitional Justice. Oxford: Oxford University Press, 2014.Google Scholar
Teitel, Ruti G. Transitional Justice. New York: Oxford University Press, 2000.Google Scholar
Teitel, Ruti G.Transitional Justice and the Transformation of Constitutionalism’. In Comparative Constitutional Law, edited by Ginsberg, Tom and Dixon, Rosalind, 5776. Cheltenham: Edward Elgar Publishing, 2011.Google Scholar
The Human Sciences Research Council. ‘An Assessment of the Visual Arts in South Africa’. edited by Gerard Haag, 2010.Google Scholar
‘The Index on Censorship’. www.indexoncensorship.org. 1 June 2016.Google Scholar
Thornton, Sarah. Seven Days in the Art World. London: Granta Books, 2012.Google Scholar
Truth and Reconciliation Commission. ‘Amnesty Decision on Death of Steve Biko’. 1999, www.justice.gov.za/trc/media/pr/1999/p990216a.htm. 1 June 2016.Google Scholar
Truth and Reconciliation Commission. ‘TRC Final Report – Summary and Guide to Contents’. 1998.Google Scholar
Truth and Reconciliation Commission. ‘Truth and Reconciliation Commission of South Africa Report: Volume Five’. Cape Town: Truth and Reconciliation Commission, 1998.Google Scholar
Truth and Reconciliation Commission. ‘Truth and Reconciliation Commission of South Africa Report: Volume Two’. Cape Town: Truth and Reconciliation Commission, 1998.Google Scholar
United Nations General Assembly. ‘Lifting of Sanctions against South Africa’. In Resolution 48/1, 1993.Google Scholar
United Nations General Assembly. ‘The Policies of Apartheid of the Government of South Africa’. In Resolution 2396, 1968.Google Scholar
Urban Works. ‘Flame of Democracy at Constitution Hill’. http://urbanworks.co.za/flame-of-democracy/. 3 March 2016.Google Scholar
Van Den Berg, Niekie. ‘Controversy Surrounds South Africa’s Participation in the 2011 Venice Biennale’. 2012, www.da.org.za/archive/controversy-surrounds-south-africas-participation-in-the-2011-venice-biennale/. 25 September 2015.Google Scholar
Van Der Merwe, Hugo, and Chapman, Audrey R. Truth and Reconciliation in South Africa: Did the TRC Deliver? Philadelphia: University of Pennsylvania Press, 2008.Google Scholar
Van Graan, Mike. ‘Revised White Paper on Arts, Culture, Heritage: A Critique’. African Arts Institute, 2013.Google Scholar
Van Graan, Mike. ‘The Spear and the Marikana Massacre: Mirroring the Decline of South African Democracy’. African Arts, vol. 46, no. 2 (2013): 14.Google Scholar
Van Marle, Karin. ‘The Spectacle of Post-Apartheid Constitutionalism’. Griffith Law Review, vol. 16, no. 2 (2007): 411429.Google Scholar
Van Marle, Karin, De Villiers, Isolde, and Beukes, Eunette. ‘Memory, Space and Gender: Reimagining the Law’. Southern African Public Law, vol. 27, no. 2 (2012): 559574.Google Scholar
Vartanian, Hrag. ‘Procedure for National Participations’. La Biennale di Venezia, 2015.Google Scholar
Vartanian, Hrag. ‘Resistance to Turkey’s Protest Violence Reaches the Venice Biennale’. 2013, http://hyperallergic.com/72413/resistance-to-turkeys-bloody-protests-reach-the-venice-biennale/. 30 October 2015.Google Scholar
Visual Arts Network of South Africa. ‘VANSA Statement on the Venice Biennale’. 2011, http://vansa.co.za/voice/art-voice/copy_of_vansa-statement-on-the-venice-biennale. 10 June 2013.Google Scholar
Vladislavic, Ivan. Portrait with Keys: The City of Johannesburg Unlocked. London: W W Norton and Company, 2009.Google Scholar
Von Eschen, Penny. Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War. Cambridge, MA: Harvard University Press, 2009.Google Scholar
Voparil, Christopher J.General Introduction’. In The Rorty Reader, edited by Voparil, Christopher J and Bernstein, Richard J, 152. Chichester: Wiley, 2010.Google Scholar
Vorster, Stacey L.Storytelling and Fraught Histories: Phila Ndwandwe’s Blue Dress’. Safundi: The Journal of South African and American Studies, vol. 19, no. 2 (2018): 164189.Google Scholar
Wagner, Anne, and Sherwin, Richard K, eds. Law, Culture and Visual Studies. Dordrecht: Springer, 2014.Google Scholar
Wei, Chu-Chiun. ‘From National Art to Critical Globalism: The Politics and Curatorial Strategies of the Taiwan Pavilion at the Venice Biennale’. Third Text, vol. 27, no. 4 (2013): 470484.Google Scholar
Whyte, William. ‘How Do Buildings Mean? Some Issues of Interpretation in the History of Architecture’. History and Theory, vol. 45, no. 2 (2006): 153177.Google Scholar
Williams, Kent Lindiwe. ‘Dress as a Site of Multiple Selves: Address and Redress in Judith Mason’s The Man Who Sang and the Woman Who Kept Silent and Wanja Kimani’s You Have Not Changed’. Image & Text, vol. 29 (2017): 163184.Google Scholar
Williamson, Sue. ‘A Few South Africans’. www.sue-williamson.com/#!a-few-south-africans/cl06. 11 April 2016.Google Scholar
Williamson, Sue. Resistance Art in South Africa. Cape Town: Double Storey, 1989.Google Scholar
Williamson, Sue. South African Art Now. New York: Harper Collins, 2009.Google Scholar
Williamson, Sue. ‘Sue Williamson’s Diary: Venice and the World’. 2015, Artthrob, http://artthrob.co.za/2015/03/30/sue-williamsons-diary-venice-and-the-world/. 1 May 2016.Google Scholar
Wolff, Spencer. ‘Human Dignity and Freedom of Speech in the Post Apartheid State’. Macquarie Law Journal, vol. 13 (2014): 99127.Google Scholar
Wu, Chin-Tao. ‘Biennials without borders’. New Left Review, vol. 57 (2009): 107115.Google Scholar
Zaugg, Isabelle Alice, and Nishimura, Emi. ‘Angola and Kenya Pavilions in the 2013 Venice Biennale: African Contemporary Art and Cultural Diplomacy in the “Olympics of Art”’. The Journal of Arts Management, Law, and Society, vol. 45, no. 2 (2015): 134149.Google Scholar
Zunino, Marcos. Justice Framed: A Genealogy of Transitional Justice. Cambridge: Cambridge University Press, 2019.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • References
  • Eliza Garnsey, University of Cambridge
  • Book: The Justice of Visual Art
  • Online publication: 17 October 2019
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • References
  • Eliza Garnsey, University of Cambridge
  • Book: The Justice of Visual Art
  • Online publication: 17 October 2019
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • References
  • Eliza Garnsey, University of Cambridge
  • Book: The Justice of Visual Art
  • Online publication: 17 October 2019
Available formats
×