Teacher with Class, Inanda
Disabled worker. Lorne street, 1981
Tadkeshwar, 1995.

Seedtime Retrospective - a review by Khehla Chepape Makgato (ampersandonline)

A review of Omar Badsha’s ‘Seedtime Retrospective’ at Museum Africa, Johannesburg

Better known as a social documentary photographer, anti-apartheid activist, unionist, historian, writer, many people do not know that Omar Badsha started his professional career as an artist in the 60’s. To introduce this my article on Badsha, I will quote Eric Newton, scholar, artist and art critic, from his book The Arts of Man. He wrote in the dawn of Badsha’s art career, ‘To note that man is a recorder of his own experience is important, for that is equivalent to saying that man is an artist.’

Meqoqo: He Forces Us All To See Differently - Omar Badsha In Conversation By Linda Fekisi

Omar Badsha, considered a pioneer of “resistance art”, is one of South Africa’s most celebrated documentary photographers. He has exhibited extensively at home and abroad and is our guest this week in our occasional Meqoqo (Conversations) slot. Iziko Museums is currently hosting a retrospective exhibition entitled Seedtime at the National Gallery in Cape Town. It showcases Badsha’s early drawings, artworks and photographic essays, spanning a period of 50 years. The epitome of the self-taught professional, he currently runs SA History Online (SAHO).

The visibility of invisible moments by Ashraf Jamal

IT WAS English art critic John Berger who said: "The true content of a photograph is invisible, for it derives from a play not with form, but with time." His interpretation is of particular relevance to the work of Omar Badsha, a trade unionist, activist, and artist who, since the 1960s, has devoted himself to recording the workers’ struggle, the plight of the disenfranchised, and the longing for a truly nonracial, democratic settlement in SA.

Praise poem for the photographer Omar Badsha by Neelika Jayawardane

Emmanuel Kant would have been distraught if he were to see Omar Badsha’s work.

Neither great beauties nor scenic vistas meant to evoke sublime pleasure were the focus of Badsha’s camera. His eye—sharp and contentious as his tongue is known to be—cuts through the cultural baggage that trains us to look at the beautiful and the acceptably pretty.

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