Hand-signed by artist, front
The artwork titled "D is for Dancing Ministers, 2006. Works on Paper" is immediately striking and engaging, blending humor with social commentary. The piece showcases two African American men, both attired in dark suits, immersed in an animated dance. Each figure is vividly characterized; their dynamic postures and facial expressions capture an infectious exuberance and sheer joy of dancing. One man is depicted mid-step with his leg raised and a jubilant smile, while the other matches his energy with an equally spirited movement. The artist employs a keen eye for detail and a vibrant color palette, particularly in the lively contrasts within the dancers' suits and backgrounds, which emphasizes the figures and their movements. The illustration invokes a sense of rhythm and celebration, allowing the viewer almost to hear the music that might accompany such a scene. Below the central figures, the text "d is for dancing ministers" is boldly and clearly written, adding a layer of narrative and perhaps a playful critique or commentary regarding roles and expectations in society. This work not only captures a joyous moment but also serves as a provocative and entertaining piece, inviting viewers to ponder the delightful irony presented. The artist's ability to blend exuberant energy with pointed societal reflection establishes "D is for Dancing Ministers" as a uniquely compelling piece in contemporary art.
D is for Dancing Ministers, 2006. Works on Paper
Anton Kannemeyer
D is for Dancing Ministers, 2006
Lithograph on Archival Paper
DIMENSIONS:
Image size: 19 H x 18 W in.
Frame size: 27 H x 28 W x 2 D in.
Edition 9/20 + 1AP.
ColorLithograph Mounted to a passepartout
Anton Kannemeyer is renowned for his darkly humorous comics, drawings, and paintings confronting South Africa’s societal and political failings both past and present. He co-founded the comics journal “Bitterkomix” with Conrad Botes in 1992; its subversive stance and dark humor would come to define Kannemyer’s entire oeuvre. Greetings from South Africa (2013) illustrates the satirical use Kannemeyer makes of Georges Remi’s (Hergé’s) Tintin character and ligne claire style, repurposing the racially offensive Tintin in the Congo (1931) as a means of critiquing colonialism and apartheid. His “Alphabet of Democracy” series takes an equally satirical approach, criticizing post-apartheid politics and society in a format reminiscent of a children’s primer. Throughout his work, Kannemeyer aims to make his viewers laugh while also inviting reflection. Although best known for his satirical words, Kanneymer also produces finely detailed pen and ink landscapes.