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The Wits Art Museum

The Wits Art Museum

Museum
01 Apr 2019

Digital print onto brushed metal with lazer cutouts  560 x 1 200mm, Edition 5 The collision and collusion of the two ‘languages’ of ‘art’ and  ‘science’  are brought together in Below the Sediments to reveal their different epistemological strategies. The first register is a depiction of a karoo landscape in which over two thirds of the image depicts the earth below. The second register is from the realm of science and engineering. Diagrammatic images of horizontal drilling and hydraulic fracturing create the hard edge ‘pipes’. The karoo soil depicted on the front panels has literally been cut away to create the scientifically ordered, ‘pipes’ laid below the ground to extract gas from below the surface of the earth. Collection: Wits Art Museum, Johannesburg

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1. The New York Public Library

1. The New York Public Library

The Binding Special Edition Book
Museum, University Gallery
30 Nov 2014

Collections:  The New York Public Library, New York The Jack Ginsberg Book Collection,Wits Art Museum This limited-edition artist’s book is visually and conceptually linked to Christine Dixie’s installation,The Binding. Working collaboratively with bookbinder Hélene van Aswegen, Dixie brought the deluxe edition into being as a project in its own right. The different surfaces of the book – leather, mohair, embossment, paper, string – were carefully considered and constitute a conceptual point of departure for the book.

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3. The Smithsonian Museum of African Art

3. The Smithsonian Museum of African Art

Museum
31 Dec 2010

The Binding/Installation This multi-media Installation consists of six large scale framed prints, six sculptures and six veils. “The Binding examines the wider psychological and cultural impact of this lost body of fatherhood. Using her own son as a model, Dixie makes reference to key texts of Western culture which illustrate how the invisibility of paternity is, in fact, key to the establishment of patriarchal masculinities – an absence which is resolved through the actual or symbolic sacrifice of the son. “(Deborah Seddon, Paternity and Intertextuality in Christine Dixie’s The Binding) Further Reading: Von Veh, K. 2014. Deconstructing Dogma: Transgressive Religious Iconography in South African Art. Johannesburg, de Arte 89. Interview: Dr. Karen Milbourne, Senior curator at the Smithsonian National Museum of African Art The Binding Catalogue 2010

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4. The Smithsonian Museum of African Art

4. The Smithsonian Museum of African Art

Museum, Corporate Collection
30 Nov 2010

Unravel Mezzotint and linocut 1 550 x 960mm,  Edition 10. https://africa.si.edu/collections/view/objects/asitem/Objects@19405/8/title-asc?t:state:flow=4389901b-8d5b-452a-ac49-f12a27b27984 Publications: Walters, J and Schmahmann, B. 2008. Against the Picturesque: Christine Dixie’s Bloodspoor. Johannesburg: De Arte 77, 2008. Dixie, C. Unravelling the use of engraving in Unravel (artist’s talk)

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1. The Smithsonian Museum of African Art

1. The Smithsonian Museum of African Art

Museum, University Gallery, Private Collection
30 Nov 2010

Even in the Long Descent I – V Etching and mezzotint on paper Each panel 1 165 x 695mm

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2. The Smithsonian Museum of African Art

2. The Smithsonian Museum of African Art

Museum, Corporate Collection
30 Nov 2010

Hide: to withhold or withdraw from sight mezzotint with perforations and silkscreen, 610 X 2 480mm https://africa.si.edu/collections/view/objects/asitem/Objects@19407/4/title-asc?t:state:flow=8b5940a9-0c70-466c-9e15-046db725810415. Further Reading: Bunn, D. 2007  A Sidelong Glance: Christine Dixie’s Thresholds. Corporeal Prospects catalogue. Johannesburg, Standard Bank Gallery Exhibition  

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The Fowler Museum, UCLA

The Fowler Museum, UCLA

Museum, University Gallery
31 Oct 2009

  Birthing Trays: Digital Prints, 830 x 540 mm   Collections:  Fowler Museum, UCLA UNISA Art Gallery, Pretoria The Nelson Mandela Metropolitan Museum ‘In the Birthing Tray series, as in The Interior, an interest in the ways in which gendered norms play out in birth processes is explored through references to discourses associated with expeditions and discovery.’ (Brenda Schmahmann, 2007) Texts: Schmahmann, B. 2007. Figuring Maternity: Christine Dixie’s Parturient Prospects. Johannesburg, de Arte 75, University of South Africa Press.  

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1. The Nelson Mandela Metropolitan Museum

1. The Nelson Mandela Metropolitan Museum

Museum
30 Sep 2007

Reliquary Cabinets: woodcut on silicone, found objects and electrical light, 900 x 470mm Collection: Mucosa in the Nelson Mandela Metropolitan Museum The objects placed on the upper level of the containers function as sanctified ‘relics’ due to their placement. “Electrical illumination of each ‘reliquary’ performs a similar function: while red light conveys a sense of the mystical glow of candlelight in sacred shrines, white light is suggestive of a surgical theatre. Word­ing carved on the base of each object, likewise, offers a conflation of the religious and the medical. ( Brenda Schmahmann, 2007) Further Reading: Schmahmann, B. 2007. Figuring Maternity: Christine Dixie’s Parturient Prospects. Johannesburg, de Arte 75, University of South Africa Press.

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The Iziko National Gallery

The Iziko National Gallery

Museum, University Gallery, Private Collection
30 Nov 2002

Collections: The Iziko National Gallery of South Africa Rhodes University Collection The Jack Ginsberg Art CollectionCollections: The Iziko National Gallery of South Africa Rhodes University Collection The Jack Ginsberg Art CollectionWhile I was working towards my exhibition, FrontTears (1997) I came across a small, faded photograph of my grandfather. He looks about five or six years old, it was taken in 1915, the beginning of the First World War. He is standing in a suburban living room in Graaf-Reinet, Eastern Cape, South Africa. The glare of the Karoo light or maybe just the bleached quality of the photograph makes him appear spectral. He is holding a toy wooden gun over his shoulder and is standing to attention. What captured me, when I saw this photograph, was the look on his face, he looks off into the distance, old beyond his years.     

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2. The New York Public Library

2. The New York Public Library

The Terrain Thresholds
Museum, Private Collection, Corporate Collection
30 Nov 1998

Thresholds 1997, Eleven works in the series. 6 prints 300 x 400mm. 5 prints 350 x 260mm, Edition 20. Christine Dixie's work is concerned with landscape. However, it is also interested in the relationship between vision, surveillance, and trauma. Instead of the azure distances and aerial perspective we find in topographical illustration, her printmaking offers a different view of gendered, threshold spaces. (David Bunn, 1998) Collections:  The New York Public Library The Nelson Mandela Metropolitan Museum Sanlam Art Collection Further Reading: Bunn, D. 2007  A Sidelong Glance: Christine Dixie’s Thresholds. Corporeal Prospects catalogue. Johannesburg, Standard Bank Gallery Exhibition Schmahmann, B. 2004  ‘Enactments’, in Through the Looking Glass: Representations of Self by South African Woman Artists. David Krut Publishers, Johannesburg

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