Photographic CreditsCover: Trevor Gray.p.1a and p.1: Wayne Barker and Wayne Oosthuizen - Identity - Living in Yeoville. p.2: Martin Jacklin.p.4: Sally Shorkend.pp.6-7, 54-55: Caro Kaizer.p.12: Graeme Williams (SOUTH Photographs).p.13: Barbara Hollub.pp.16-17: Paul Weinberg (SOUTH Photographs), Wayne Oosthuizen.p.20, p.23: Abrie Fourie.p.21: Daniel Stier.p.25: Graeme Williams (SOUTH Photographs).p.26: Gideon de Wet.p.29: Wayne Oosthuizen, Jodi.p.30: Graeme Williams (SOUTH Photographs).p.32: Wayne Barker.p.35: Wayne Oosthuizen.p.36: Abrie Fourie.p.37: Wayne Oosthuizen.p.38: Paul Weinberg (SOUTH Photographs), Wayne Oosthuizen.p.40-41: Graeme Williams (SOUTH Photographs).pp.46-7: Graeme Williams (SOUTH Photographs), Wayne Barker.pp.49-50: Sally Shorkend.Worksp.2: Homage to African Artists in Exile. Performance (Nantes), 1997.pp.6-7: Kunst ist Kinderspielen. Performance (Kunsthalle, Krems), 1997. p.13: Kunst ist Kinderspielen. Video Projection (Kunsthalle, Krems), 1997. p.14: CV Can't Vote. Pastel and enamel on board, 900 x 370 cm, 1990.p.16: Epilogue is the Prologue, Prologue is the Epilogue. 110 x 700 cm, 1992. p.18: Dishonorable Discharge. South African Government certificate, 1985.p.20: Peace through Blood. Installation, size variable, 1995. p.23: Elephant's Lost its Ears. Installation (neon tubing/found objects), 1995. p.23-24: Images on Metal. Installation on scaffolding (oil, tar, and wax on metal), dimensions variable, 1989.p.25: Victims. Pastel and enamel on paper, 900 x 300 cm, 1989.pp.26-27: Pierneef Series: Transit Culture. Oil, enamel, and found objects on canvas, 118 x 127 cm, 1989.p.28: Our Home on the Range. Oil, enamel and hardwood on canvas, 124 x 130 cm, 1989.p.29: Epilogue is the Prologue, Prologue is the Epilogue. Oil and rope on canvas, 110 x 700 cm, 1992.p.29: A Spade is a Spade is a Spade. Oil, bomb cannister, and spade on canvas, 420 x 180 cm, 1989.p.29: A Thing of Beauty is a Joy Forever. Oil, goldleaf and found objects on canvas, 160 x 160 cm, 1992.p.29: Can Art Exist Alone. Installation (Pierneef originals, army uniforms, pigment, found objects, and museum cabinet), dimensions variable, 1995.p.29: Blue Colonies. Oil and found objects on canvas, 140 x 130 cm, 1995. p.30: East Berlin - Soweto. Wax, tape, and photographs on board, 900 x 700 cm, 1996.p.30: Hope. Performance with Nelson Mandela. Found objects and neon tubing on wood, 180 x 120 cm, 1996.p.32: Postcard. Drawing charcoal & cellotape, 1996.p.35: Slave Painting - Slave Doll. Oil and masonite on canvas, 800 x 1400 cm; oil and plastic on bronze, 35 x 15 x 15 cm, 1992.p.37: Coke Adds Life. Installation (neon tubing, chicken feathers, and found objects), 800 x 400 x 300 cm, 1993.p.37: Coke Adds Life. Blood. Hope. Installation (neon tubing, oil, and wax pigment on board), 180 x 120 cm, 1996.p.38: Kill the Joke. Installation (painted bronze weathervain, neon tubing), 200 x 90 x 90 cm, 1992.p.38: His and Hers Mozambique. Neon tubing, found objects, oil and enamel on metal, 280 x 300 cm, 1993.pp.40-41: Laager 14. Shipping containers, 1995.p.43: Notice. Press advertisement, 1998.p.43: The World is Flat. Installation (3000 army uniforms, beer bottles, and neon tubing), 700 x 1400 cm, 1997p.44: Love and Faith. Installation (wax bicycle, photographs, neon tubing), dimensions variable, 1996.p.44: Love and Faith. Installation (wax bicycle, photographs, neon tubing), dimensions variable, 1996.p.44: East Berlin - Soweto - Germany - South Africa. Drawing detail, beeswax, charcoal, plexiglass, 180 x 120 cm.p.45: Tiempo de Amor (Time to Love). Wax and news headlines, dimensions variable, 1995.p.47: Zelbst. Uncollected photos and neon, dimensions variable, 1996.pp.48-49: Nothing Gets Lost in the Universe. Installation (latex gloves and found objects), dimensions variable, 1995 - 2000.p.50: All Washed Up in Nantes. Installation detail (video projection, washing line, washing machine, charcoal on paper, and clothes), dimensions variable, 1997.p.52: Past Future Present. Found objects, neon tubing, wax, on glass, 900 x 1300, 1998.p.53: Kunst ist Kinderspielen. Performance, 1998.Photo Credits & Works


Wayne Barker: Artist's Monograph
Introduction
Vienna Calling
60's Suburbia
Johnny Rottenism
Anyone for Tennis?
Fourteen Days in Hell
The Bad Art Attacks
The Famous Five do Downtown
Fragments of a Murder
Have you Hugged a Fascist Today?
Landscape with Target
Blood Money
Le Monde a L'envers
Bigotry on a Stick
The Heart of Neon
Divorce in Paradise
The South African Thing
Storming the Ramparts
The Wax Hand
A Love Story
Frankfurt in Latex
The Talking Curio
Back to Basics
Dirty Laundry
A New Kind of Freedom
Biography
Photo Credits & Works