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In this article, I consider a selection of photographs of a man of color from a luxury book of male nudes, Images (1982), aimed at white gay men and published in South Africa by Alternative Books (AB) in the late apartheid period. Given the exclusive association of assimilable homosexuality with whiteness in the national gay press and other homoerotic commodities available in South Africa at the same historical juncture, I propose that these photographs, which interrupted longstanding, racist homoerotic iconographies, elicited experiences of ambivalence (and thus critical reflection) amongst their historical audiences. To this end, I analyze the editorial and commercial content of the newspapers Link/Skakel and Exit for the period that AB was active (1981–1991), anticipating an overlap of readership between these papers and the publisher's titles. More precisely, I discuss the prevalence of the figure of the "good homosexual" and representations of classical (that is, white) male beauty in these papers to plot how apartheid logic was broadly reproduced (and same-sex desire disciplined according to such dictates) in mainstream South African gay movements, institutions, and print cultures during this time, but, notably, not in Images. [ABSTRACT FROM AUTHOR]

When Matlala and Matom first began photographing their respective worlds in the 1980s, demand for political images of apartheid overshadowed quotidian concerns. Since then, a shift away from the political to the personal in South African photography has offered a space of reflection for the kinds of images that they sought to make. This paper focuses on the historical, social and political aspects of these two photographers' photo-archives. It attempts to place their work and photographic concerns within the broader archive of South African photography and to demonstrate continuities and ruptures between the past and the present.Photographs are first and foremost, records, and markers of time. Although photographs might be seen to be of their time, of everyday occurrences, they also transcend time. Thus, their relationship to time is necessarily complex, and requires interpretation and analysis within a disciplinary and discursive frame, which in this paper is work and the everyday. [ABSTRACT FROM AUTHOR]

Documentary photography has undergone a process of devaluation in post-apartheid South Africa. In response, Patricia Hayes has introduced the term "empty photographs" into the scholarly conversation, using it to designate images that have been derided as "'bad,' 'boring,' or repetitious" in post-apartheid settings ("The Uneven Citizenry," 189). This article revisits a subset of such images to contest their seeming emptiness—pallbearers escorting dead activists to their graves during political funerals in late-apartheid South Africa. Focusing specifically on Afrapix photographer, Gille de Vlieg's images of Themba Dlamini's funeral in Driefontein in 1990, the paper restores their local history to view and unpacks the visual cultural and material cultural circuits of militant mourning in which they were embedded. It then uses various orders of metonymy in the visual field to comment on the "necropolitics" of the apartheid regime (Achille Mbembe, "Necropolitics"). The paper concludes with a reflection on Ariella Azoulay's notion of the "civil gaze" (Civil Imagination) and considers what unfolds when a reckoning with the differential distribution of death that characterizes necropower reorients this faculty away from the individual photograph towards series, genre or corpus. [ABSTRACT FROM AUTHOR]