The Bishop Rt. C.S. Mallory 1981

Editor: This is "The Bishop Rt. C.S. Mallory" by John Muafangejo, created in 1981. It's a striking black and white woodcut, and what jumps out at me is the explicit expression of gratitude and faith communicated through the text. What are your initial thoughts? Curator: It's important to understand the social and institutional context in which this print was made. Muafangejo was a Namibian artist trained at a mission school. The narrative and explicit text reveal how mission education intertwined with the local artistic development and faith. Note how he acknowledges the Bishop's support directly in the artwork. What does this overt expression suggest about the relationship between religious institutions and artistic opportunities in Namibia at that time? Editor: That’s a good point. It highlights how patronage could be intertwined with religious guidance. The bishop essentially gave him the tools for his career. Is the woodcut medium itself significant? Curator: Absolutely. Relief printing, like woodcut, was a common and relatively accessible medium for artists in Southern Africa. Its bold contrasts suited the didactic and narrative purposes that were relevant in 1981 Namibia under South African administration. Do you think this work critiques or supports colonial influence? Editor: Hmm, that's complex. It seems both grateful for the opportunities provided and assertive in its own cultural expression through the style. Curator: Precisely. It's a visual negotiation of power, faith, and artistic identity within a specific historical framework. Thank you, I understand the artist and his work better now. Editor: Me too. I had never considered how the institutions play such a huge role for the artwork being what it is today.