GAVIN JANTJES | A SOUTH AFRICAN COLOURING BOOK, 1974/5

Dawn Zain, New York, acquired from the artist, mid 1980s

Acquired from the above, early 1990s

Private Collection, New York

Dawn Zain was Executive Director of The African Arts Fund, an organization affiliated with the United Nations Centre against Apartheid, that assisted South African artists find training and educational opportunities in the United States while there were no or few opportunities for them in apartheid South Africa. 

Jean Kennedy, New Currents Ancient Rivers, Washington D.C. , 1992, illustrated p. 181

Christine Mullen Kreamer (ed.), Inscribing Meaning: writing and graphic systems in African art, Washington D.C., 2007, illustrated in colour p. 220-222

Sue Williamson, South African Art now, New York, 2009, illustrated in colour p. 40-41

Gavin Jantjes, Maria Pissarra (eds.), Visual Century: South African Art in Context 1907-2007, Johannesburg, 2010

Shannen L. Hill, The Biko's ghost: the iconography of black consciousness, Minneapolis, Minnesota, 2015, illustrated in colour p. 15

David Bindman, Suzanne Preston Blier, Henry Louis Gates, Jr., The image of the Black in African and Asian art, Cambridge, Massachusetts, 2017, illustrated in colour p. 202-203

Carlos Capelan, Gavin Jantjes, The Complexities of Exile - Self-Marginalisation, Exclusion & Inclusion, Art Africa, 30 June 2017, illustrated in colour 

Allison Young, Visualising Apartheid abroad: Gavin Jantjes's Screenprints of the 1970s, Art Journal, Winter 2017, illustrated in colour p. 15 

Celeste-Marie Bernier, African American and Black British Art, 1965-2015, Stick to the Skin, Oakland, California, 2018, p. 174-175 

Hamburg, HfBK, Hochschule für Bildende Kunste, 1975 

London, ICA, Gavin Jantjes, 1976; Geneva, Ecumenical Centre World Council of Churches, 1976; Lund, University of Lund, 1976; Høvikodden, Henie Onstad Art Centre, 1976 (another example)

Gronningen, Provinciehuis, Gavin Jantjes, 1977 (another example)

Kassel, Documenta 6: 100 days, Joseph Beuys Free International University, 1977 (another example)

Stockholm, Kulturhuset, Gavin Jantjes, 1978; Gothenburg, Gothenburg Museum, 1978 (another example)

Berlin, Kunstnerhaus Bethanien, Gavin Jantjes, 1979 (another example)

London, Edward Totah Gallery, Gavin Jantjes, 1980 (another example)

Paris, Fondation Nationale des Arts Graphiques et Plastiques, Art contre/against Apartheid, 1983; Lund, Sweden, Konsthall Lund, 1983; Porin, Finland, Porin Taidemuseo, 1983; Lahti, Finland, Lahden Taidemuseo, 1983; Tampere, Finland, Tampere Modern Art Museum, 1983; Copenhagen, Udstillingsbyningen, 1984; Aalborg, Denmark, Nordjyllands Kunstmuseum, 1984; Paris, Roissy Charles de Gaulle, 1984; Amsterdam, NieuweKerk, 1985; Madrid, Círculo de Bellas Artes, 1985; Saint Brieuc, Centre Culturel de Saint Brieuc, 1985; Marseille, Maison de l'Etranger, 1985; Bremen, He Ubersee Museum, 10 February-23 March 1986; Dijon, S.N.E.S., 4-28 April 1986; Thessaloniki, Foire Internationale de Salonique, May 1986; Athens, Kostis Palamas, June 1986; Pointe-à-Pitre, 8 November-2 December 1986; Martinique, Fort de France, 20 December 1986-12 January 1987; Le Havre, Musée des Beaux-Arts André Malraux, 5 June-15 July 1987; New York City, New York, United Nations Headquarters, 1987; Bethlehem, Pennsylvania, Lehigh University, 1 September-11 October 1987; Japan, 1988-1990 (another example)

London, Hayward Gallery, Shocks to the System, 12 March-24 April 1991; Sunderland, Northern Centre for Contemporary Art, 30 April-1 June 1991; Birmingham, Ikon Gallery, 10 August-22 September 1991; Eastbourne, Towner Art Gallery, 11 January-23 February 1992; Plymouth, City Museum & Art Gallery, 29 February-31 May 1992; Ayr, Maclaurin Art Gallery, 13 June-28 July 1992 (another example)

Cape Town, Houses of Parliament, Inauguration of First Democratic government, 1994 (another example)

Johannesburg, Warren Siebrits Contemporary Art, States of Emergence, 1994, illustrated in colour in the catalogue (another example), 

Munich, Museum Vila Stuck, The Short Century: independence and liberation movements in Africa 1945-1994, 15 February-22 April 2001, illustrated in colour in the catalogue p. 110-113; Berlin, Martin Gropius-Bau, 18 May-22 July 2001; Chicago, Illinois, Museum of Modern Art, 8 September-30 December 2001; New York City, New York, PS1 Contemporary Art Centre MOMA, 10 February-5 May 2002 (another example)

Cape Town, South African National Gallery, Beyond the Material: Conceptual Art from Iziko S A National Gallery's Permanent Collection, 2002 (another example)

Washington DC, Washington, Smithsonian Museum of African Art, Inscribing Meaning: Writing and Graphic Systems in African Art, 2007 (another example)

Barcelona, Centre de Cultura Contemporània de Barcelona, Apartheid The South African Mirror, 26 September 2007-13 January 2008, illustrated in colour in the catalogue p. 135; Valencia, Centre de Cultura Contemporània de Bancaja, April-June 2008 (another example)

Cape Town, South African National Gallery, Strengths and Convictions: the life and times of South African Nobel Peace Prize laureates Albert Luthuli, Desmond Tutu, FW DeKlerk and Nelson Mandela, 2009, illustrated in colour in the catalogue p. 151-153; Oslo, The Nobel Peace Center, 2009 (another example)

Barcelona, Museu Picasso, Economia: Picasso, 2012 (another example)

New York City, New York, Centre for Photography, Rise and fall of apartheid: photography and the bureaucracy of everyday life, 2013, illustrated in colour in the catalogue p. 308-315; Munich, Haus der Kunst, 2013 (another example)

Rio de Janeiro, Museu de Arte Moderna do Rio de Janeiro, artevida, 2014 (another example)

London, The British Museum, South Africa: the art of a nation, 2016, illustrated in colour in the catalogue p. 192-193 (another example)

Eindhoven, Van Abbemuseum, The 1980's: Todays Beginning, 2016 (another example)

Stockholm, Bonniers Konsthall, Images of War, 2017 (another example)

Nottingham, Nottingham Contemporary UK, The Place is Here, 2017; London, South London Gallery, 2017 (another example)

Brussels, Gallery Bozar Centre for Fine Arts, Resist, 2018 (another example)

London, Camberwell School of Art, A History of Drawing, 2018 (another example)

Dawn Zain was Executive Director of The African Arts Fund, an organization affiliated with the United Nations Centre against Apartheid, that assisted South African artists find training and educational opportunities in the United States while there were no or few opportunities for them in apartheid South Africa.