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Everard Read’s Mesh Photography Series is an annual programme aimed at exposing more people to photography as a genre of art. This year, it’s presenting an exhibition that celebrates the work of self-taught East London-born photographer Daniel Morolong, as well as a photo retrospective of the late Hugh Masekela. Thabiso Hika took a look.
Daniel Morolong | Hugh Masekela: Mesh Photography Series
Everard Read Circa Gallery, Rosebank
Until September 28
Monday to Friday: 9am to 5pm, Saturday: 9am to 1pm
I’ve always held the opinion that photography as an art form has been taken for granted. First demonstrated to the wider world in 1839, it was initially used for studio portraits to mimic those painted for the wealthy, at a fraction of the cost.
It did not take long for photography to replace drawing as the most immediate method of recording a visual appearance.
Today, of course, technology has completely democratised the medium; it is a feature to boast about on every smartphone and images have become easy to distort and manipulate.
When I heard about a photography exhibition that celebrated self-taught photographer Daniel “Kgomo” Morolong, coupled with a photographic retrospective on jazz giant and icon Hugh Masekela, I was captivated.
I was instantly transported to the heydays of Drum Magazine in the 1950s and 1960s, and the sombre embracing sound of Bra Hugh’s flugelhorn.
I had the opportunity to chat with Musa Nxumalo from Everard Read’s curatorial team, who worked on this year’s Mesh Photography Series. Nxumalo, who himself is a photographer, introduced the annual programme in an effort to acquaint new audiences with critical photography practice.
“This idea came about from my frustration as a photographer and realising that if you fail to break into the international market it becomes very difficult to keep up.
The core idea is to educate about critical practices in photography and hopefully catch up with European markets in terms of investment,” he said.
I also got the chance to sit down with Brett Rubin, who worked as Masekela’s official photographer from 2012 until the icon’s passing last year.
I asked Rubin about his working relationship with Masekela and how he got to select the images on display in this exhibition.
“Working with him was like working with a historical monument, the only difference was that he spoke back me,” said Rubin.
He went on to describe his approach when working with Masekela: “He was fond of a lot of these images. Everyone always took pictures of him playing his instrument; no one ever did anything different with him and the instrument.
“I wanted to take portraits of him that were more true to who he was and make him more human.
“My approach was much more respectful. I tried to document moments rather than have him play a character and I think he enjoyed that.”
Some of the standout images from Rubin’s selection include a portrait of Masekela taken backstage at the Oppikoppi Music Festival in 2014 which depicts the music legend with his hand to his ear, as if he is listening out for something.
But perhaps most poignant is a black and white portrait reminiscent of Miles Davis’ Tutu album cover. The close-up photograph has Masekela covering his face with his hands.
Rubin recalls suggesting the idea of the image and explains that he likes the photograph because there is still eye contact with the viewer: “With musicians, especially trumpeters and flugelhorn players, their hands become such a fundamental part of what they do. I like that that’s a feature in this image.”
In its entirety, this exhibition captures two interesting aspects which give texture to our country’s history.
Morolong’s captivating compositions celebrate the layman’s lived experience in the townships. Accompanied by the amazing portraiture and newly released footage of one of South Africa’s greatest musicians, they breathe renewed life into the subjects and hope for an art form often cast aside.
