id: 297989
accession number: 2017.67
share license status: Copyrighted
url: https://clevelandart.org/art/2017.67
updated: 2022-01-04 18:06:35.427000
Portrait #16, South Africa, 2016, printed 2017. Pieter Hugo (South African, b. 1976). Digital chromogenic print; overall: 120 x 160 cm (47 1/4 x 63 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 2017.67 © Pieter Hugo, Courtesy Yossi Milo Gallery, New York
title: Portrait #16, South Africa
title in original language:
series:
series in original language:
creation date: 2016, printed 2017
creation date earliest: 2016
creation date latest: 2016
current location:
creditline: Dudley P. Allen Fund
copyright: © Pieter Hugo, Courtesy Yossi Milo Gallery, New York
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culture: South Africa
technique: digital chromogenic print
department: Photography
collection: PH - Misc. 21st Century
type: Photograph
find spot:
catalogue raisonne:
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CREATORS
* Pieter Hugo (South African, b. 1976) - artist
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measurements: Overall: 120 x 160 cm (47 1/4 x 63 in.)
state of the work:
edition of the work: Edition of 5 + 2 Artist's Proofs
support materials:
inscriptions:
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CURRENT EXHIBITIONS
title: Recent Acquisitions
opening date: 2018-03-17T04:00:00
Recent Acquisitions. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018).
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LEGACY EXHIBITIONS
* The Cleveland Museum of Art (03/17/2018-06/06/2018): "Recent Acquisitions 2014-2017"
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PROVENANCE
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fun fact:
The brothers' pose echoes an iconic photograph of a child killed during a 1976 uprising against apartheid.
digital description:
Hugo’s series depicts Rwandan and South African children born after 1994, a year marked by Rwandan genocide and the end of apartheid in South Africa. Without direct experience of those horrors, can these children escape past hatreds and build a better world?
wall description:
Pieter Hugo’s series 1994 depicts Rwandan and South African children born after 1994, a year marked by Rwandan genocide and the end of apartheid in South Africa. In 1994, Hugo prompts the viewer to question: “Without direct experience of the horrors of their countries’ recent tragic histories, can these children escape past hatreds and build a better world?”
The pose assumed by the boys in this photograph is reminiscent of two images of sacrifice: the Virgin cradling Christ’s body after the Crucifixion and an iconic photograph of a South African child killed during the Soweto uprising against apartheid in 1976. Through its layered references, Portrait #16, South Africa poetically brings together past, present, and future.
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RELATED WORKS
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