Paul Emmanuel was born in 1969 in Kabwe, Zambia, and graduated in Fine Art from the University of the Witwatersrand, Johannesburg, in 1994. His multidisciplinary practice explores the relationships between memory, identity, the body, public space, and the cultural traces of violence and loss.

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In 2004, on the tenth anniversary of South Africa’s democracy, Emmanuel installed the first phase of his counter-memorial series The Lost Men at the 1820 Settlers National Monument in Makhanda, formerly Grahamstown, South Africa. The second phase took place in Maputo, Mozambique, in 2007. In 2014, the third phase was installed adjacent to the Thiepval Memorial to the Missing of the Somme in France as an official event of the First World War centenary.

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Emmanuel’s work has been exhibited internationally at venues including the Apartheid Museum, Wits Art Museum, Freedom Park Museum, the National Museum of African Art, Smithsonian Institution, Boston University Art Galleries, the Sylt Foundation, the International Film Festival Rotterdam, the Edinburgh International Film Festival, and the Dakar Biennale.

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His work is represented in South African private, corporate, and public collections, as well as internationally in collections including the National Museum of African Art, Smithsonian Institution; Art in Embassies, U.S. Department of State; the Sylt Foundation in Germany; and the Fontmaure Art Culture Centre in France.

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In 2020, Emmanuel’s work was the subject of a monograph published by Wits Art Museum, Johannesburg. From 2022 to 2025, he was a Fulbright Scholar in the United States, researching the cultural dimensions of public space and the visual legacies of U.S. involvement in Middle East conflicts. In 2024, he graduated with a Master of Fine Arts from the Mount Royal School of Art at the Maryland Institute College of Art in Baltimore.

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In 2025, he was awarded an honorary Doctor of Fine Arts degree, honoris causa, by Montserrat College of Art in Boston.

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Emmanuel is currently fulfilling his Fulbright home residency in South Africa. He is also a Consulting Executive Director for the Tour de Force Foundation in Washington, D.C., working across civic engagement, arts education, and public-facing cultural initiatives. He is also a content expert, co-curriculum designer, and lecturer for the Medical College of Wisconsin’s Talking with Monuments: Veteran Dialogues on Remembering, supported by the National Endowment for the Humanities program Dialogues on the Experience of War.

 

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Education

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2024

• Master of Fine Arts, Mount Royal School of Art (Multidisciplinary MFA), Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

• Thesis exhibition: Untethered

• Thesis paper: Untethered: Exploring Intimacy and Estrangement in Military Culture and Civilian Society

 

1994

• Bachelor of Fine Art, University of the Witwatersrand, Johannesburg, South Africa

• Majors: Printmaking and Drawing

 

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Solo exhibitions and public installations

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2021

• Substance of Shadows, University of Johannesburg Art Gallery, Johannesburg, South Africa

• Rising-falling, General Louis Botha Monument, Union Buildings, Pretoria, South Africa

 

2020

• Men and Monuments, Wits Art Museum, Johannesburg, South Africa

 

2018

• Impermanence, Fried Gallery, Pretoria, South Africa

 

2017

• Remnants, The Reservoir, Oliewenhuis Art Museum, Bloemfontein, South Africa

 

2016

• Remnants, Gallery 808, Boston University, Boston, Massachusetts, U.S.A.

 

2015

• Remnants, Freedom Park Museum, Pretoria, South Africa

 

2014

• The Lost Men France, Thiepval Memorial to the Missing of the Somme, First World War centenary, Picardy, France

 

2011

• Transitions Multiples, Gallery AOP Featured Artist, FNB Joburg Art Fair, Johannesburg, South Africa

• Transitions Multiples, Goya Contemporary Gallery, Baltimore, Maryland, U.S.A.

• Transitions, Rosenberg Gallery, Brown Centre, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

• Transitions, Sylt Foundation, Rantum, Sylt Island, Germany

 

2010

• Transitions, National Museum of African Art, Smithsonian Institution, Washington, D.C., U.S.A.

 

2009

• Transitions, Spier Old Wine Cellar Gallery, Stellenbosch, South Africa

• Transitions, Albany Museum, National Arts Festival, Grahamstown, South Africa

• The Lost Men, Sylt Foundation, Rantum, Sylt Island, Germany

• Transitions, KZNSA Gallery, KwaZulu-Natal Society of Arts, Durban, South Africa

• Transitions, William Humphreys Art Gallery, Kimberley, South Africa

• Transitions, Oliewenhuis Art Museum, Bloemfontein, South Africa

 

2008

• Transitions, Apartheid Museum, Johannesburg, South Africa

 

2007

• The Lost Men Mozambique, Catembe Ferry Jetty, adjacent to the Mozambique Navy Command building, Maputo, Mozambique

 

2006

• After-image, Hollard Villa Arcadia, Johannesburg, South Africa

 

2005

• After-image, Constitution Hill, Johannesburg, South Africa

• After-image, Oliewenhuis Art Museum, Bloemfontein, South Africa

 

2004

• After-image, University of Stellenbosch Art Gallery, Stellenbosch, South Africa

• The Lost Men Grahamstown, 1820 Settlers National Monument, National Arts Festival, Makhanda, South Africa

 

2003

• Air on the Skin, Standard Bank Gallery, Johannesburg, South Africa

 

2000

• Pages from Cathexis, Open Window Contemporary Art Gallery, Pretoria, South Africa

 

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Selected group exhibitions and film screenings

(c) indicates catalogue

 

2026

• Here: Pride and Belonging in African Art, National Museum of African Art, Smithsonian Institution, Washington, D.C., U.S.A. (c)

 

2025

• If You Look Hard Enough, You Can See Our Future, Newcomb Art Museum, New Orleans, Louisiana, U.S.A.

 

2022

• Reviewing the Past, Carol Schlosberg Alumni Gallery, Montserrat College of Art, Boston, Massachusetts, U.S.A.

 

2021–2022

• Cartographies of Becoming, Sylt Foundation, Sylt Island, Germany

 

2020

• Cure, University of Johannesburg Art Gallery, Johannesburg, South Africa

 

2019

• Ampersand Foundation 21 Years Celebration Exhibition, University of Johannesburg Art Gallery, Johannesburg, South Africa (c)

• Digital Africa, Biennale de Casablanca project space, Casablanca, Morocco

• Jack Ginsberg Centre for Book Arts Opening Exhibition, Wits Art Museum, Johannesburg, South Africa

 

2018

• Material Gains: Contemporary Art from the Spier Collection, Stellenbosch University Museum, Stellenbosch, Western Cape, South Africa

• I Am Because You Are: A Search for Ubuntu with Permission to Dream (touring), Standard Bank Gallery, Johannesburg, and National Arts Festival, Grahamstown, South Africa

 

2017

• International Printmaking Alliance Exhibition, Taimiao Art Gallery, Imperial Ancestral Temple, Beijing, China

• Rethinking Kakotopia, University of Johannesburg Art Gallery, Johannesburg, South Africa

• Booknesses: Artists’ Books from the Jack Ginsberg Collection, University of Johannesburg Art Gallery, Johannesburg, South Africa (c)

• The Art of Reading: From William Kentridge to Wikipedia, Meermanno Museum, House of the Book, The Hague, The Netherlands (c)

 

2016

• In Plain Sight: Social Life in South Africa and Romania Before and After 1989, ApARTe Gallery of George Enescu University of Arts, Iași, Romania

• Rites of Passage: Between Light and Shadow, Irma Stern Museum, Cape Town, South Africa (c)

 

2015

• Between Democracies 1989–2014: Memory and Commemoration (touring), Constitution Hill, Johannesburg, South Africa, and Dom umenia/kunsthalle, Bratislava, Slovakia (c)

• Permanent War: The Age of Global Conflict, Barbara and Steven Grossman Gallery, Mrs. E. Ross Anderson Auditorium, School of the Museum of Fine Arts, Boston, Massachusetts, U.S.A. (c)

• Battleground, Standard Bank Gallery and Albany History Museum, National Arts Festival, Grahamstown, South Africa (c)

• Representations of Otherness and Resistance, Johannes Stegmann Art Gallery, University of the Free State, Bloemfontein, South Africa (c)

 

2014

• Doing Hair: Art and Hair in Africa, Wits Art Museum, University of the Witwatersrand, Johannesburg, South Africa (c)

• Twenty: Contemporary Art from South Africa (touring), Turchin Center for the Visual Arts, Appalachian State University, North Carolina, U.S.A.; Pretoria Art Museum, South Africa; and FADA Gallery, University of Johannesburg, South Africa

 

2013

• My Joburg (touring), La Maison Rouge, Fondation Antoine de Galbert, Paris, France (c); Staatliche Kunstsammlungen, Dresden, Germany (c)

• France–South Africa Seasons 2012–2013: “Touch me”, Le Cube, Issy-les-Moulineaux, Paris, France

 

2012

• At Home with the Ludskis: Midnight Mass Edition #7, 10th London Short Film Festival, Rio Cinema, London, U.K.

• Not My War, Michaelis Galleries, University of Cape Town, South Africa (c)

• Dak’Art: 10th Biennale of Contemporary African Art, National Museum, Dakar, Senegal (c)

 

2011

• 9th In-the-Palace International Short Film Festival, Balchik, Bulgaria (c)

 

2010

• Black Box, Smart Museum of Art, University of Chicago, Illinois, U.S.A.

• 5th Sardinia Film Festival, Sassari, Sardinia, Italy

• 19th Séquence Court-Métrage International Film Festival, Toulouse, France

• 39th International Film Festival Rotterdam, The Netherlands

 

2009

• 4th Africa-in-Motion International Film Festival, Edinburgh International Film Festival, Filmhouse Cinema, Edinburgh, U.K. (c)

• Antimatter Media Art, Open Space Arts Centre, Victoria, Canada (c)

 

2006

• Navigating the Bookscape: Artists’ Books and the Digital Interface (touring), Aardklop National Arts Festival, Potchefstroom, and FADA Gallery, University of Johannesburg, South Africa (c)

 

2004–2007

• Waldsee 1944 (touring), Collegium Hungaricum, Berlin, Germany; 2B Galleria, Budapest, Hungary; Hebrew Union College Museum, New York, U.S.A.; Florida Holocaust Museum, U.S.A.; Hibel Museum, FAU Jupiter, Florida, U.S.A.; Ben Uri Gallery, London, U.K.; and Alper JCC, Miami, Florida, U.S.A. (c)

 

2003

• The Ampersand Foundation (2nd exhibition), Warren Siebrits Modern and Contemporary Gallery, Johannesburg, South Africa (c)

 

2002

• The Sasol Wax in Art Competition, Sasolburg, South Africa (c)

 

2001

• The Bag Factory Show, Goodman Gallery, Johannesburg, South Africa

 

1999

• Postcards from South Africa, Axis Gallery, New York, U.S.A.

 

1998

• South African Printmaking, Stockholm, Sweden (c)

 

1996

• Artists’ Books in the Ginsberg Collection, Johannesburg Art Gallery, South Africa

 

1995

• The First Four Years, Civic Gallery, Johannesburg, South Africa

 

1994

• Open Bite – A New Look at Intaglio Printmaking, Civic Gallery, Johannesburg, South Africa

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Awards, fellowships, scholarships and grants

 

2025

• Doctor of Fine Arts, honoris causa, Montserrat College of Art, Boston, Massachusetts, U.S.A.

 

2024

• Gold Stern Mount Royal Emerging Artist Award, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

 

2023

• Community Endowed Fellowship, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

 

2022

• Production Grant for Untethered and The Veteran’s Memorial to the Living, Tour de Force Foundation, Washington, D.C., U.S.A.

• Graduate Research Grant for Untethered and The Veteran’s Memorial to the Living, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

• Fulbright Scholarship, Bureau of Educational and Cultural Affairs, U.S. Department of State, Washington, D.C., U.S.A.

• Merit Scholarship for a Master of Fine Arts degree, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

 

2021

• Production Grant for Rising-falling, Diversity Art Forum, London, U.K.

• Writing Fellowship for Rising-falling, Johannesburg Institute for Advanced Study, University of Johannesburg, South Africa

 

2020

• Production Grant for Men and Monuments exhibition and associated publication, Institut Français d’Afrique du Sud (IFAS), Johannesburg, South Africa

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2014

• Production Grant for The Lost Men France, 14-18 Mission du Centenaire de la Première Guerre Mondiale, Paris, France

• Production Grant for The Lost Men France, Institut français, Paris, France, and Johannesburg, South Africa

• Production Grant for The Lost Men France, National Arts Council of South Africa, Johannesburg, South Africa

 

2013

• Production Grant for “Touch me”, Institut français, Paris, France, and National Arts Council of South Africa, Johannesburg, South Africa

 

2010

• Best Experimental Film for 3SAI: A Rite of Passage, 5th Sardinia International Film Festival, Sassari, Italy

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2009

• Best Short Film for 3SAI: A Rite of Passage, 4th Africa-in-Motion Short Film Competition, Africa-in-Motion International Film Festival, Edinburgh International Film Festival, U.K.

 

2008

• Production Grant for Transitions, National Arts Council of South Africa, Johannesburg, South Africa

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2007

• Production Grant for The Lost Men Mozambique, Pro Helvetia Arts Council of Switzerland

• Production Grant for The Lost Men Mozambique, Swiss Agency for Development and Cooperation, Switzerland

 

2004

• Production Grant for The Lost Men Grahamstown, National Arts Festival, Makhanda, South Africa

• Production Grant for The Lost Men Grahamstown, National Arts Council of South Africa, Johannesburg, South Africa

 

2002

• First Prize for Air on the Skin, SASOL Wax in Art Competition, Johannesburg, South Africa

 

1997

• The Ampersand Fellowship, The Ampersand Foundation, New York, U.S.A.

 

 

Residencies

 

2012

• Institut français: Visas pour la Création, Cité internationale des arts, Paris, France

 

2009

• Sylt Foundation, Rantum, Sylt Island, Germany

 

 

Artist monographs, solo catalogues and other publications

 

2020

• Paul Emmanuel. Edited by Karen von Veh; texts by Annette Becker, Karen von Veh, and Pamela Allara. Wits Art Museum, Johannesburg, South Africa. ISBN 978-0-620-87116-7

 

2018

• Impermanence. Text by Johan Thom. Fried Contemporary, Pretoria, South Africa

 

2016

• Paul Emmanuel: Remnants. Text by Pamela Allara. Boston University Art Galleries, Boston, Massachusetts, U.S.A.

 

2011

• Transitions Multiples. Text by Art Source South Africa. Goya Contemporary, Goya-Girl Press, and Art Source South Africa, Baltimore, Maryland, U.S.A.

• Transitions Multiples. Text by Gallery AOP. Gallery AOP and Art Source South Africa, Johannesburg, South Africa

 

2008

• Paul Emmanuel: Transitions. Text by Art Source South Africa. National Museum of African Art, Smithsonian Institution, Washington, D.C., U.S.A.

• Transitions. Texts by André Croucamp and Robyn Sassen. Art Source South Africa, Johannesburg, South Africa. ISBN 978-0-620-41945-1

 

2004

• After-image. Text by Julia Charlton. Paul Emmanuel Studio, Johannesburg, South Africa. ISBN 0-620-32295-0

 

 

Public and corporate collections

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• National Museum of African Art, Smithsonian Institution (U.S.A.)

• Art in Embassies, U.S. Department of State, permanent collection, U.S. Embassy Lusaka, Zambia

• Sylt Foundation (Germany)

• La FAC – Fontmaure Art Culture Chamalières Charreton (France)

• Johannesburg Art Gallery (South Africa)

• Oliewenhuis Art Museum (South Africa)

• Stellenbosch University Permanent Art Collection (South Africa)

• Pretoria Art Museum (South Africa)

• University of South Africa Permanent Collection (South Africa)

• William Humphreys Art Gallery (South Africa)

• Spier Contemporary Collection (South Africa)

• Jack Ginsberg Centre for Book Arts, Wits Art Museum (South Africa)

• Rand Merchant Bank Collection (South Africa)

• Ellerman House Collection (South Africa)

• First National Bank Collection (South Africa)

• Hollard Insurance Company Limited (South Africa)

• Johannesburg Securities Exchange (South Africa)

• Gauteng Provincial Legislature (South Africa)

• Vodacom Limited (South Africa)

• MTN Limited (South Africa)

• Standard Bank Corporate Art Collection (South Africa)

• SASOL Limited Corporate Collection (South Africa)

• South African Broadcasting Corporation Limited (South Africa)

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Artist lectures, panel discussions and mentorships

 

2026

• Panel Discussion: “Here: Pride and Belonging in African Art”, National Museum of African Art, Smithsonian Institution, Washington, D.C., U.S.A.

• Inventive Leaps, Unruly Voyages: A Roundtable on “Here: Pride and Belonging in African Art”, online roundtable convened by American University, Washington, D.C., U.S.A.

 

2025

• Keynote Address, Montserrat College of Art Commencement Ceremony, Boston, Massachusetts, U.S.A.

 

2023

• Artist talk with Q&A, Interdisciplinary Sculpture Department, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

• Virtual artist talk with Q&A, Montserrat College of Art, Boston, Massachusetts, U.S.A.

 

2022

• Appointed mentor to Absa L’Atelier Art Competition prize winner, Johannesburg, South Africa

 

2020

• Return To Thiepval: Imprinting And Erasing Memories Of The First World War – Paul Emmanuel In Conversation With Pamela Allara, University of Johannesburg, Johannesburg, South Africa

 

2019

• Return To Thiepval: Imprinting And Erasing Memories Of The First World War, Ditsong Military History Museum, Johannesburg, South Africa

 

2018

• Paul Emmanuel In Conversation With Fred Khumalo, Alliance Française of Johannesburg, Johannesburg, South Africa

• Invited presenter, Art Source South Africa Artist Career Boot Camp Programme

 

2017

• Return To Thiepval: Imprinting And Erasing Memories Of The First World War, Unisa Art Gallery, University of South Africa, Pretoria, South Africa

• Invited presenter, Art Source South Africa Artist Career Boot Camp Programme

 

2016

• Return To Thiepval: Imprinting And Erasing Memories Of The First World War, Boston University, Boston, Massachusetts, U.S.A.

 

2015

• Panel Discussion: Egaf2015 Conference, The Wanderers Club, hosted by Alliance Française of Johannesburg, Johannesburg, South Africa

 

2014

• Return To Thiepval: Imprinting And Erasing Memories Of The First World War – Paul Emmanuel In Conversation With Bill Nasson, Alliance Française of Johannesburg, Johannesburg, South Africa

• On Making 3SAI: A Rite Of Passage, DIVA-Talk, Wits Art Museum, Johannesburg, South Africa

• Return To Thiepval: Imprinting And Erasing Memories Of The First World War, Tshwane University of Technology, Gauteng, South Africa

• Return To Thiepval: Imprinting And Erasing Memories Of The First World War – Paul Emmanuel In Conversation With Bill Nasson, Alliance Française du Cap, Cape Town, South Africa

 

2013

• Conférence de Paul Emmanuel, École Européenne, Angoulême, France

• A Quest For The Lost Men France, Tshwane University of Technology, Gauteng, South Africa

• “Touch me,” Conférence de Paul Emmanuel, South Africa–France Seasons 2012–2013, Le Cube Centre de Création Numérique, Paris, France

• A Quest For The Lost Men France, Institut français, Johannesburg, South Africa

 

2011

• Paul Emmanuel Talks To MICA, Falvey Hall, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

• Six Years Of Scratching: Insights Into An Obsessive Artist’s Project, Alfa Romeo Art Talk, FNB Joburg Art Fair, Sandton Convention Centre, Johannesburg, South Africa

 

2010

• Six Years Of Scratching: Insights Into An Obsessive Artist’s Project, National Museum of African Art, Smithsonian Institution, Washington, D.C., U.S.A.

• On Making 3SAI: A Rite Of Passage, Practice-Led Research Colloquium, University of Johannesburg, Gauteng, South Africa

 

 

Teaching certification and experience

 

2024–2026

• Content expert, co-curriculum designer, and lecturer, Talking with Monuments: Veteran Dialogues on Remembering, Medical College of Wisconsin, Milwaukee, Wisconsin, U.S.A. National Endowment for the Humanities, Dialogues on the Experience of War, grant AV-298396-24, $99,880. A two-year project using memorial site visits, poetry, and veteran-led discussions to examine military service, remembrance, omission, and moral injury.

 

2024

• Certificate in the College Teaching of Art, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

• Graduate teaching internship, Dwelling: Restoration and Renewal, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

 

2023

• Curriculum development, The Warrior’s Path, Milwaukee, Wisconsin, U.S.A.

• Graduate teaching internship, Intervention: Art in the City, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

 

2022

• Graduate teaching internship, Film as Art: The Films of Robert Altman, Maryland Institute College of Art, Baltimore, Maryland, U.S.A.

 

 

Public projects, workshops and civic engagement

 

2024–2026

• Talking with Monuments: Veteran Dialogues on Remembering, a two-year civic-engagement and public-humanities project led by the Medical College of Wisconsin and supported by the National Endowment for the Humanities program Dialogues on the Experience of War. Content expert, co-curriculum designer, and lecturer. Co-developed and delivered a veteran-centred curriculum using memorial site visits, poetry, and facilitated dialogue to examine military service, public memory, omission, and moral injury.

 

2022–present

• The Veteran’s Memorial to the Living, an ongoing digital public artwork, participatory memorial, and archive developed with Katinka Hooyer and U.S. military veterans. Project direction, design, public engagement, and digital stewardship.

 

2007

• Two scratch-plate lithography skills-transfer workshops for students at the National School of Visual Arts (ENAV), followed by a curated public exhibition of the students’ prints at the Centre Culturel Franco-Moçambicano, Maputo, Mozambique

 

2004

• Scratch-plate lithography demonstration and skills-transfer workshop for students at the Egazini Arts Centre, Grahamstown, Eastern Cape, South Africa

 

2003

• Book and catalogue design and production presentation for third- and fourth-year Fine Art students at the University of the Witwatersrand, Johannesburg, South Africa

 

2002

• Scratch-plate lithography skills-transfer workshop for participants from the Imbali Visual Literacy Project, Fordsburg Artists’ Studios, Newtown, Johannesburg, South Africa

 

2000

• Three scratch-plate lithography skills-transfer workshops for participants from the Ipopeng Project, Open Window Contemporary Art Gallery, Pretoria, South Africa

 

1995

• Three-day scratch-plate lithography skills-transfer workshop for members of the Thapong Visual Arts Centre at the National Art Gallery, Gaborone, Botswana

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Professional appointments and independent consulting

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2026–present

• Tour de Force Foundation, Washington, D.C., U.S.A. — Consulting Executive Director

 

2025–2026

• Tour de Force Foundation, Washington, D.C., U.S.A. — Civic Engagement Consultant

 

2024–2026

• Medical College of Wisconsin, Milwaukee, Wisconsin, U.S.A. — Consulting curriculum developer and lecturer, Talking with Monuments: Veteran Dialogues on Remembering, a National Endowment for the Humanities-supported project

 

2024–2025

• Tour de Force Foundation, Washington, D.C., U.S.A. — Fulbright post-degree academic trainee; Director of Civic Engagement

 

2003–present

• Self-employed, Johannesburg, South Africa — Artist, graphic designer, lecturer, and consultant

 

1995–2002

• The Artists’ Press, Johannesburg, South Africa — Collaborative printmaker and graphic designer

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Selected bibliography

 

2025

• Irene Bronner, “Critical Commemorative Practices in The Lost Men France by Paul Emmanuel,” De Arte, Taylor & Francis, Johannesburg, South Africa, November. ISSN 0004-3389; online ISSN 2471-4100

 

2022

• Irene Bronner, “Light on Loss in New Works by Paul Emmanuel,” Image & Text, no. 36, Taylor & Francis, University of Pretoria, Pretoria, South Africa, December. ISSN 2617-3255

• Karen von Veh and Landi Raubenheimer, “Memorials, Landscape and White Masculinity: Dialogic Interventions in South African Art,” Image & Text, no. 36, Taylor & Francis, University of Pretoria, Pretoria, South Africa, November. ISSN 2617-3255

 

2021

• Mark Auslander, “Altered Carbon: Dramas of Detachment. Reflections on Paul Emmanuel’s Substance of Shadows,” Moving Cube, University of Johannesburg Art Gallery, Johannesburg, South Africa, September

• Adelheid von Maltitz, Art, Place, Death: The Transformative Power of Dynamic Thresholds, thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy, University of the Free State, Bloemfontein, South Africa, July. Document ID: 2002119739

 

2020

• Mark Auslander and Pamela Allara, “Platform Number 5: Paul Emmanuel,” Art Beyond Quarantine, Mark Auslander, June

• Karen von Veh, “The Material of Mourning: Paul Emmanuel’s Lost Men as Counter-memorials,” Image & Text, no. 34, Taylor & Francis, University of Pretoria, Pretoria, South Africa, December. ISSN 2617-3255

• Ellen Schattschneider, Mark Auslander, and Pamela Allara, “Ex Unitate Vires: Paul Emmanuel,” Art Beyond Quarantine, Mark Auslander, April

• Mark Auslander, “Veil 1954: Paul Emmanuel,” Art Beyond Quarantine, Mark Auslander, April

• Pamela Allara, “Carbon dad 2017: Paul Emmanuel,” Art Beyond Quarantine, Mark Auslander, March

• Pamela Allara and Mark Auslander, “Between Men and Monuments: The Art of Paul Emmanuel,” Art Beyond Quarantine, Mark Auslander, March

• Pamela Allara, “Shrouds on the Somme’s Body,” in Paul Emmanuel, Wits Art Museum, Johannesburg, South Africa, March. ISBN 978-0-620-87116-7

• Karen von Veh, “Where Have All the Young Men Gone?” in Paul Emmanuel, Wits Art Museum, Johannesburg, South Africa, March. ISBN 978-0-620-87116-7

• Annette Becker, “Paul Emmanuel: The Lost Men France (2014),” in Paul Emmanuel, Wits Art Museum, Johannesburg, South Africa, March. ISBN 978-0-620-87116-7

 

2019

• Karen von Veh, “The Politics of Memory in South African Art,” De Arte, UNISA Press, Pretoria, South Africa, and Routledge, Taylor & Francis Group, London, U.K., February. ISSN 0004-3389

 

2018

• Andrew Peter Swanepoel, Repositioning the Problematic Gender Formation of a Generation of White South African Men Through Performance Art, dissertation submitted in accordance with the requirements for the degree of Master of Visual Arts, University of South Africa, Pretoria, South Africa, August

• Robyn Sassen, “Your Name, My Body,” My View: The Arts at Large, Robyn Sassen, Johannesburg, South Africa, March

• Johan Thom, “Impermanence: Paul Emmanuel,” in Paul Emmanuel: Impermanence, Fried Contemporary, Pretoria, South Africa, March

• Matthijs Sluiter, “The Lost Men Project,” Fonts in Use, Fonts in Use LLC, Oakland, California, U.S.A., March

 

2017

• Paul van Capelleveen, “Paul Emmanuel, The Lost Men Project,” Reading Is Touching in The Art of Reading, Museum Meermanno, The Hague, The Netherlands, November

• Pamela Allara, “Paul Emmanuel: The Counter-memorial in the Age of Permanent War,” in Aesthetic Justice, College Art Association Conference, New York, U.S.A., February

 

2016

• Pamela Allara, “Shrouds on the Somme: Paul Emmanuel’s World War I Counter-Memorial,” in Paul Emmanuel: Remnants, Boston University Art Galleries, Boston, Massachusetts, U.S.A., January

 

2015

• Pamela Allara, “Mechanized Bodies: From the Armored Body to Technological Vision,” in Permanent War: The Age of Global Conflict, School of the Museum of Fine Arts, Boston, Massachusetts, U.S.A., January

 

2014

• Clare Humphries, Material Remains: The Afterlife of Personal Objects, project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy, RMIT University, Melbourne, Australia, October, pp. 228–231

• Annette Becker, “À guerre mondiale, art Mondial,” in Voir La Grande Guerre – Un Autre Récit, Armand Colin, Paris, France, October. ISBN 978-2-200-28757-3

 

2013

• Dominic Thorburn, “Borderline – Sweeping a Mind Field,” in Borders & Crossings, IMPACT 8 International Printmaking Conference, University of Dundee, Scotland, U.K., August

 

2012

• Irene Enslé Bronner, “The ‘Person without the Person’ in the Early Work of Paul Emmanuel,” De Arte, vol. 85, UNISA Press, University of South Africa, Pretoria, South Africa, pp. 42–58. ISSN 0004-3389

• Pamela Allara, “Diane Victor and Paul Emmanuel: Lost Men, Lost Wor(l)ds,” Gender and South African Art, African Arts, vol. 45, no. 4, MIT Press Journals, Cambridge, Massachusetts, U.S.A., October, pp. 34–45. ISSN 0001-9933

 

2011

• Pamela Allara, “Paul Emmanuel’s Transitions: The White South African Male in Process,” NKA Journal of Contemporary African Art, issue 28, Duke University Press, North Carolina, U.S.A., November, pp. 58–66. ISSN 1075-7163

• Michael Smith, “FNB Joburg Art Fair Featured Artist Paul Emmanuel,” ArtThrob, Cape Town, South Africa

• Irene Enslé Bronner, Intimate Masculinities in the Work of Paul Emmanuel, thesis submitted in fulfilment of the requirements for the degree of Master of Arts, Rhodes University, Makhanda, South Africa. Document ID: 2108

 

2008

• Robyn Sassen, “Under Covers: South Africa’s Apartheid Army—an Incubator for Artists’ Books,” The Blue Notebook: Journal for Artists’ Books, vol. 3, no. 1, Centre for Fine Print Research, University of the West of England, Bristol, U.K., October. ISSN 1751-1712 (print); ISSN 1751-1720 (online)

• André Croucamp, “Conversations on the Transience of Light,” in Transitions, Art Source South Africa, Johannesburg, South Africa. ISBN 978-0-620-41945-1

• Aryan Kaganof, “Interview with Paul Emmanuel,” Kagablog, Aryan Kaganof, Johannesburg, South Africa

• Robyn Sassen, “Of Circumcising and Circumscribing and Understanding Where I Fit In,” in Transitions, Art Source South Africa, Johannesburg, South Africa. ISBN 978-0-620-41945-1

 

2007

• David Paton, “The Sound of a Book: Sound as Generator of Narrative in the Reception of Selected New Media Objects as Books,” Image & Text, no. 13, University of Pretoria, Pretoria, South Africa. ISSN 1020-1497

 

2006

• Robyn Sassen, “Attention Seeking Images,” in IMPACT International Printmaking Conference, Tallinn, Estonia

• David Paton, “Interview with Paul Emmanuel,” in Navigating the Bookscape: Artists’ Books and the Digital Interface, David Paton, Johannesburg, South Africa. ISBN 0-620-37094-7

• Robyn Sassen, “Navigating the Bookscape: Artists’ Books and the Digital Interface,” in Navigating the Bookscape: Artists’ Books and the Digital Interface, David Paton, Johannesburg, South Africa. ISBN 0-620-37094-7

 

2004

• Julia Charlton, “Drawing out of the Darkness: Contemplating after-image,” in After-image, Paul Emmanuel Studio, Johannesburg, South Africa. ISBN 0-620-32295-0

 

2003

• Lisa Cohn, “The Lost Men,” ITCH, vol. 1, issue 1, Bell Roberts Publishing, Cape Town, South Africa. ISBN 0-6203-1894-5

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