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An absent image Screenshot from Holland Cotter, “Finding the Great America, 250 Years On. The Real One”, The New York Times, 16 July 2026. Installation photograph by Brad Simpson, National Museum of African Art, Smithsonian Institution. Reading Cotter’s recent essay in The New York Times, I was struck by how strongly it returned me to an image that isn’t present in the exhibited version of Untethered/Retethered. During the installation of Here: Pride and Belonging in African Art at the Smithsonian National Museum of African Art, I’d developed three projection versions of the work. One combined landscapes in Iraq and Afghanistan, footage of a nighttime firefight, and Horatio Greenough’s monumental sculpture George Washington, 1840. Washington’s face was withheld from view. After further internal review, the museum and I agreed to use the landscape-only projection now on view in the exhibition. His essay places a group of Smithsonian exhibitions against a narrowed and triumphalist account of American history during the nation’s 250th anniversary. Within this wider argument, he describes Here as a globally minded exhibition, calls Untethered/Retethered an “ethereal installation,” and writes that it: “…might be read as a vision of safe landing in the supportive company of brotherhood across racial and affectional lines.” I believe that his reading suggests that the historical and political questions carried by Greenough’s monument hadn’t disappeared when the image was removed. It seems they remained active in the decommissioned military parachute and its severed suspension lines; the detached harness; the juxtaposition of bodies marked by different histories; and the work’s movement between violence and care, detachment and attachment, falling and the possibility of safe landing. An image can be absent while the social pressures that produced it remain. For me, the installation-stage projection and Cotter’s essay resonate strongly with one another in this archive. Each approaches, from a different direction, the unsettled historical field from which Untethered/Retethered emerged. Read Holland Cotter on Untethered/Retethered in The New York Times. Related content Newspaper article Holland Cotter, “Finding the Great America, 250 Years On. The Real One,” The New York Times, 16 July 2026. News post Untethered/Retethered at NMAfA, installation-stage projection, 2026 Exhibition Here: Pride and Belonging in African Art, Smithsonian National Museum of African Art, 2026

Field notes from a week between the Smithsonian and Milwaukee Native American burial mound with bronze plaque in Lake Park, Milwaukee, Wisconsin, USA. Middle Woodland Period, c. 200 BC–AD 400. Photographed in 2023. When I returned in June 2026, the bronze plaque was no longer in place. Talking With Monuments at the Milwaukee County War Memorial Center In 2023, while working in Milwaukee with veterans and medical anthropologist Dr. Katinka Hooyer, I photographed a burial mound marker in the city. The bronze plaque identified the site as a prehistoric burial mound and noted that it was the last of a larger group of mounds formerly located there. By the time I returned to Milwaukee in June 2026, the plaque was no longer in place. I don’t yet know whether it had been removed for conservation, replacement, or another reason. It’s also possible that the older language on the plaque, including the word “prehistoric,” is being reconsidered. Whatever the reason for its absence, the missing marker stayed with me. It made me think about another layer in a longer story of erasure: not only the loss of many mounds themselves, but also the disappearance, revision, or replacement of the markers that once named them. A place can be sacred and still look ordinary to someone passing by. A history can be present and still remain unseen. A marker can tell us where to look, and then the marker itself can vanish. I’ve been thinking about that missing plaque alongside the events of this past week, which carried me between Washington, D.C. and Milwaukee, between the Smithsonian National Museum of African Art and the Milwaukee County War Memorial Center, between museum space and veteran testimony, between public visibility and quieter acts of witnessing. Arriving at the Smithsonian National Museum of African Art for the artist panel for Here: Pride and Belonging in African Art. I began the week in Washington, D.C., where I took part in the artist panel for Here: Pride and Belonging in African Art at the Smithsonian National Museum of African Art. My work Untethered/Retethered is included in the exhibition. The installation is made from a decommissioned military parachute, severed suspension lines, a detached harness, video, and audio built around the recorded voices of military veterans. The work brings military material into close proximity with voices, bodies, memory, and the difficulty of returning to civilian life. At the panel, I spoke briefly about the work’s material presence and the long process of developing it with veterans. I also spoke about how strange it can feel to work with something visually beautiful that comes from a military context. It’s my hope that viewers can sit with the parachute, the severed lines, the harness, and the voices in their own way. Below is a selection of images from the artist panel and opening programme for Here: Pride and Belonging in African Art at the Smithsonian National Museum of African Art, Washington, D.C., 2026. Photography by Studio Ari. Speaking about Untethered/Retethered during the Smithsonian artist panel. Photographed by Anastasia Gekis. A few days later, I travelled to Milwaukee for the final session of Talking With Monuments: Veteran Dialogues on Remembering, a project developed with Dr. Katinka Hooyer and veteran participants through the Medical College of Wisconsin. The session was held on Thursday, June 25, 2026 at the Milwaukee County War Memorial Center. The move from the Smithsonian to Milwaukee felt important to me. In DC, the work was being held within an exhibition. In Milwaukee, some of the questions that had shaped the work were being carried into a room with veterans, facilitators, and members of the public. Talking With Monuments materials at the Milwaukee County War Memorial Center. Katinka introduced me at the beginning of the session, and I gave a brief introduction to myself, my work, and the exhibition I’m part of. But once the session began, I mostly just listened. That felt right. As a South African artist and a non-American visitor in that room, I didn’t feel I needed to speak more. I’d helped shape the guide for the session with Katinka, but the conversation belonged to the people gathered there: veterans, civilians, facilitators, and people carrying their own relationships to service, land, memory, and loss. I think that sometimes presence is enough. Somehow witnessing seemed the more honest role. This final discussion group focused on Native American burial mounds in and around Milwaukee. Marquette University historian Dr. Bryan C. Rindfleisch opened the session with an overview of the mounds and their historical context. The guide Katinka and I created asked participants to consider a deceptively simple question: are these mounds monuments? We often think of monuments as things that stand upright in public space: statues, plaques, columns, war memorials, civic markers. They tell us where to look. They often tell us whose names have been made visible. Mounds however, ask for a different kind of attention. They don’t dominate the landscape in quite the same way. They belong to it. They’re made of earth and many are burial or ceremonial places. They hold memory without necessarily announcing themselves in the familiar language of bronze or stone. So what happens when a monument isn’t above us, but beneath our feet? Veterans, facilitators, and members of the public during the final Talking With Monuments session. The discussion moved quickly beyond history alone. Participants spoke about land, removal, military service, American imperialism, immigration, moral injury, and the stories nations tell about belonging. Veterans spoke with striking honesty about serving in other countries and later questioning why they’d been sent there at all. Some of the questions in the room were difficult to hear: What were they protecting? Whose land were they standing on? Which histories had they been taught to see? Which ones had remained outside the frame? These questions didn’t resolve into a single position. They moved around the room and sat uneasily beside service, loyalty, harm, responsibility, grief, and moral injury. A slide from Dr. Bryan C. Rindfleisch's mini-lecture titled: Milwaukee Mounds and Erasure. One participant spoke movingly about growing up on reservations, and about the stark differences between the facilities available to Native children’s schools and white schools. That testimony shifted the room and brought with it the question about land back to lived experience: childhood, schooling, infrastructure, neglect, and survival. In the guide, the Milwaukee mounds were paired with Louise Erdrich’s poem Indian Boarding School: The Runaways. I remember selecting that poem and hearing it read again in that room, among veterans, civilians, and people carrying different relationships to land, return, and displacement, I cried. Other people cried too. I think I cried because of the difficulties so many of us are experiencing in the political and social environment we find ourselves in now, in 2026. The poem also made me think of my own family, and of the silences I carry in me. I felt the swirling resonances between apartheid South Africa and the current moment in the United States. And I cried because it’s so difficult to speak about these things at all, when silence so often remains the obvious choice. Hearing that poem in that room brought the mound into contact with children, removal, return, punishment, longing, and the question of who gets to decide where a person belongs. At points, the discussion moved into current debates around immigrants and immigration policy. That shift made sense to me because once a room begins to speak honestly about land, removal, borders, belonging, and state power, the conversation rarely stays neatly contained. Native land and immigrant lives aren’t the same story, but I found myself wondering how both become caught in public arguments over who is allowed to belong and who gets to claim the authority of “home.” That felt especially important inside a war memorial. The Milwaukee County War Memorial Center is already a place shaped by remembrance, service, and public mourning. Holding a conversation about Native American mounds there brought different forms of memory into the same room: military memory, Indigenous memory, civic memory, personal memory. They didn’t sit comfortably together and perhaps they shouldn’t. Final Talking With Monuments gathering, Milwaukee County War Memorial Center. I left Milwaukee grateful, but also uncertain. The future of this work isn’t guaranteed. Funding is fragile. Humanities programs are under pressure and veteran-led public memory projects often depend on people continuing to hold open spaces that institutions may not sustain. I don’t know what happens next, but I know what happened in that room was important. With Dan after the final Talking With Monuments session. Photo by Katinka Hooyer. At the end of the session, Dan, one of the veterans featured in Untethered/Retethered, gave me a DC Superman comic book, joking to the room that its gloriously homoerotic cover made it the perfect gift for me. Of course, I clutched it to my chest with my usual camp reverence! I was also able to give him copy of the Here: Pride and Belonging in African Art exhibition book. For me, it was a funny, absurd, generous, and unexpectedly tender moment. Here: Pride and Belonging in African Art, Smithsonian National Museum of African Art. Photo by Mark Auslander. I’ve been thinking about that exchange alongside the removed bronze plaque in Milwaukee. One object disappeared from the landscape. Another object passed from hand to hand. A marker was removed. A book was given. A comic book became a joke, a gift, and a form of recognition. A poem opened a room. A group of people sat together and listened. Some monuments stand above us. Others are beneath our feet. And some forms of memory survive because people carry them, however briefly, from one room to another. Related content Exhibition Here: Pride and Belonging in African Art, Smithsonian National Museum of African Art, 2026 News post Untethered/Retethered at NMAfA, installation-stage projection, 2026 News post Collaboration on Talking With Monuments discussion series, 2024

Rough Collar, 2018 Hand-incised, perforated carbon paper, carbon thread, carbon residue 45 × 40 × 40 cm Archival studio views and documentation of Rough Collar from Substance of Shadows. These images document the work’s surface, construction, material detail, and presentation outside its original exhibition context. Related content Exhibition Substance of Shadows, University of Johannesburg Art Gallery, 2021 Intervention Rising-falling, General Louis Botha Monument, 2021 Archive post Field Notes: Studio | Ex Unitate Vires in its new frame case, Paul Emmanuel Studio, 2026

Biography and CV of Paul Emmanuel, South African artist working across drawing, installation, film, public art and counter-memorial projects. Photograph by Brad Simpson, 2026, National Museum of African Art, Smithsonian Institution 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. 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. 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. 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. 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. In 2025, he was awarded an honorary Doctor of Fine Arts degree, honoris causa, by Montserrat College of Art in Boston. Emmanuel is currently fulfilling his Fulbright home residency in South Africa. He is also a Civic Engagement Consultant 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 . Education 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 Solo exhibitions and public installations 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 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 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 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, Johannesburg, South Africa 2013 Production Grant for “Touch me” , Institut français, Paris, France, and National Arts Council, Johannesburg, South Africa 2010 Best Experimental Film for 3SAI: A Rite of Passage , 5th Sardinia International Film Festival, Sassari, Italy 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. 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, 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 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) 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 Employment and independent consultant work 2025–present 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 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

Official website of Paul Emmanuel, South African artist working across drawing, installation, photography, film, public art and counter-memorial projects. Untethered/Retethered (تائه في العدم/مستعيد جذوره ) (detail) 2025, featured in Here: Pride and Belonging in African Art , Smithsonian National Museum of African Art, 23 January – 23 August 2026. See more→ Untethered (detail) 2024, featured in MICA Grad Show III , Maryland Institute College of Art, 27 September – 13 October 2024. See more→ Parade of shadows featured in If You Look Hard Enough You Can See Our Future, Newcomb Art Museum, 10 March – 20 June 2025. See more→ Substance of Shadows, University of Johannesburg Art Gallery. 11 September – 2 October 2021. See more→ The Lost Men Mozambique featured in Cartographies of Becoming, The Sylt Foundation, 24 December 2021 – 30 December 2022. See more→ Rising-falling, General Louis Botha Monument, 15 June 2021. See more→ Paul Emmanuel, published by Wits Art Museum, 2020. See more→ Men and Monuments, Wits Art Museum, 3 – 18 March 2020 and 6 – 30 April 2021. See more→ Impermanence, Fried Contemporary Gallery, 8 March – 7 April 2018. See more→ The Lost Men France, Thiepval Memorial to the Missing of the Somme, 1 July – 1 October 2014. See more→

Selected press and media coverage of South African artist Paul Emmanuel’s exhibitions, artworks and public projects. 2026 Cotter, H. Finding the Great America, 250 Years On. The Real One , The New York Times , New York, USA, July. 2025 Judkis, M. Smithsonian National Museum of African Art Delays LGBTQ Pride Exhibit , Washington Post, Washington D.C. USA, May. 2021 Ntwasa, T. Artist Questions Our Place in the World – Using Fashion as the Canvas , TimesLive in Sunday Times Newspaper, Johannesburg, South Africa, October. 2021 Delmont, L. Paul Emmanuel Substance of Shadows at University of Johannesburg Art Gallery until 2nd October , Lizatlancaster Guest House , Johannesburg, South Africa, September. 2021 Myburg, J. Substance of Shadows: Onthou Skyn Soos Lig Deur , Netwerk24 , Johannesburg, South Africa, September. 2021 Auslander, M. Altered Carbon: Dramas of Detachment, Moving Cube , University of Johannesburg Art Gallery, Johannesburg, South Africa, September. 2021 Ngidi, S. June 16: Redemption Through Negation , Mail & Guardian , Johannesburg, South Africa, June. 2021 Delmont, L. Paul Emmanuel’s Men and Monuments , Lizatlancaster Guest House , Johannesburg, South Africa, May. 2021 Khumalo, A. Review: WAM Exhibition a Ghostly Memorial to Men Lost to War , Wits Vuvuzela , Johannesburg, South Africa, April. 2020 Hart, G. Paul Emmanuel’s Men and Monuments: A Tender Perspective on Masculinity and the Military Machine , Bubblegumclub , Johannesburg, South Africa, March. 2020 Allara, P and Auslander, M. Between Men and Monuments: The Art of Paul Emmanuel , Art Beyond Quarantine , Blogger, Google, California, USA, March. 2020 Auslander, M. Veil 1954: Paul Emmanuel , Art Beyond Quarantine , Blogger, Google, California, USA, April. 2020 Allara, P. Carbon Dad 2017: Paul Emmanuel Art Beyond Quarantine , Blogger, Google, California, USA, April. 2018 Sassen, R. Your Name, My Body in My View: The Arts at Large , online blog at WordPress.com, Automattic Inc., San Francisco, California, USA. April. 2018 Sluiter, M. The Lost Men Project , in Fonts in Use , Fonts in Use LLC, Oakland California, USA, March. 2017 Emmanuel, P. Paul Emmanuel: Artists at Work in Creative Feel magazine, DeskLink Media, Johannesburg, South Africa. April. 2017 Britz, E. Paul Emmanuel se Aangrypende ‘Remnants’ in Rosestad in Volksblad , Media24, Bloemfontein, South Africa. May. 2016 McQuiad, C. Memorials, Ethereal and Elegiac, at Boston University in The Boston Globe , Boston Globe Media Partners LLC, Boston, USA. February. 2016 O'Rourke, J. A Ghostly Tribute to the Fallen of World War I in BU Today , Boston University, Boston, USA. February. 2016 Werbe, S. 'Remnants' – Review of South African Artist's Somme Exhibition in Boston in Centenary News: First World War 1914-1918 , Centenary Digital Ltd, London, UK. March. 2015 Stehle, R. Oorblyfsels van 'antimonument' nou in Vryheidspark uitgestal , in Beeld , Media24, Johannesburg, South Africa, June. [PDF] 2014 Jones, J. Why Nudes Are a Fitting Tribute to the Somme's Fallen Soldiers , in The Guardian , Guardian News and Media Limited, London, August. 2014 Castro, P. The Lost Men, contra-memorial de Paul Emmanuel en los campos de batalla de Somme, in Catálogodiseño , Inversiones Diseño Medios, Colombia, Chile, August. 2014 Azzarello, N. Paul Emmanuel Installs Counter-Memorial on France's Somme Battlefields , in designboom , designboom magazine, Milan, Italy, August. 2014 Stehle, R. Kuns Wat Wapper, in Beeld , Media24, Johannesburg, South Africa, July. 2014 Watterson, L. (editorial). The Lost Men of France , in Classicfeel , DeskLink Media, Johannesburg, South Africa, August. 2014 Malexis, S. Dix Questions pour un Centenaire , in Le Monde , 14-18 Les leçons d'une guerre, Les enjeux d'un centenaire, Le Monde, Paris, France, February-March. 2013 IFAS-Culture & Research. Public Installation as Part of the Official Commemoration of the World War One Centenary in France , in Extra! magazine, Institut Français, Johannesburg, South Africa, December. 2013 Alhadeff, P. South African Artist's Work "The Lost Men France" to Remember Soldiers Killed on the Somme , in Centenary News online news bulletin, Centenary Digital Ltd. London, UK, December. 2013 Michel, N. Afrique du Sud: une exposition sur Johannesburg à la Maison Rouge de Paris , in Jeune Afrique online news bulletin, DIFCOM, Paris, France, July. 2012 Emmanuel, P. Paul Emmanuel in France , in Classic Feel magazine, Desklink Media, Johannesburg, South Africa, December 2012 Corbier. C, À la quête des hommes perdus in L'Est Républicain , Verdun, France, September 2012 Art Source South Africa, Paul Emmanuel Selected for 2012 French Residency , in South African Art Times , Global Art Information, Cape Town, South Africa, February 2011 Watermeyer, N. Mortality, Vulnerability, Mutability , in Classic Feel magazine, Desklink Media, Johannesburg, South Africa, December 2011 Van Rensburg, W. SA Art Highlights , in South African Art Times newspaper, Global Art Information, Johannesburg, South Africa, December 2011 van Wyk A. Bites of Art , in Life , Sunday Independent newspaper, Independent News & Media, Johannesburg, South Africa, October 2011 Bester, R. Making a Lasting Impact with First Impressions , in Mail & Guardian , M&G Media Limited, Johannesburg, South Africa, September 2011 Smith, M. Labour Intensive: An Interview with the FNB Joburg Art Fair's Featured Artist Paul Emmanuel in ArtThrob , Cape Town, South Africa, September 2011 Bosman, N. Moments of Change: Joburg Art Fair Featured Artist Paul Emmanuel Adds Yet Another Intricate Layer to His 'Transitions Project' , in CityVibe , The Citizen newspaper, The Citizen, Johannesburg, South Africa, September 2011 Ober, C. Light from Dark: Two New Exhibits at Goya Contemporary Gallery Highlight Contrasting Values , in Urbanite magazine, Tracy Ward, Baltimore, USA, September 2011 Minors, D. Witsie Is Featured Artist at Africa's Only Art Fair , in Wits Alumni magazine, University of the Witwatersrand, Johannesburg, South Africa, September 2011 Myburg, J. Bekroonde Emmanuel se Litos op Art Fair , in Beeld newspaper, Nuus24.Com, Johannesburg, South Africa, September 2010 Weaver, A. M. Paul Emmanuel, National Museum of African Art, Washington DC , in Art South Africa , Bell Roberts Publishing, Cape Town, South Africa, Spring 2010 McKenna, A. Paul Emmanuel: Transitions: Identity Construction in South Africa in California Literary Review , California Literary Review, Carlsbad, California, USA, June 2010 Harvey, A.L. Smithsonian National Museum of African Art in The InTowner , Intowner Publishing Corp., Washington DC, USA, June 2010 O'Sullivan, M. At Smithsonian's African Art Museum: Rite of Passage and Drawn Precisely in The Washington Post , The Washington Post Company, Washington DC, USA, May 2010 Cavenaugh, A. Transitions in South Africa: Paul Emmanuel's 'Transitions' at Smithsonian National Museum of African Art in Express Night Out , The Washington Post Company, Washington DC, USA, May 2010 O'Sullivan, M. Smithsonian African Art Museum's 'Transitions' Exhibit Includes Film on Infantry in The Washington Post , The Washington Post Company, Washington DC, USA, May 2010 Dodd, A. Lost & Found in Wanted , Business Day, Johannesburg, South Africa, March 2010 Dobson, W. Identity in Flux: The Transition to New Perspectives in The Cape Times , Cape Town, South Africa, March 2009 Dodd, A. Soundscapes Painstakingly Created in Business Day Arts , Business Day, Johannesburg, April 2009 Dias, J. Lost Men Moçambique , in Arte em Movimento , Muv'art, Maputo, February 2009 Britz, E. Kunstenaarsoog Bekyk Manlike Identiteit in Volksblad , Bloemfontein, February 2009 Roßkothen, K. Verlorene Männer im Wind in Sylter Spiegel , Rantum, June 2009 Roßkothen, K. The Lost Men in Rantum in Hallo Sylt , Rantum, June 2009 Retzlaff, C. Fragile Zeichen gegen Gewalt in Sylter Spiegel , Rantum, June 2009 Sassen, R. Emmanuel Explores Evolution of Life in Cue , Grahamstown, July 2009 Sassen, R. Festival's Half – 'Arted Attempt in Cue , Grahamstown, July 2009 Myburgh, J. Transitions na die Smithsonian in die VSA , in Beeld , Johannesburg, September 2008 van Schalkwyk, K. Identity in Focus in ScreenAfrica , Sun Circle Publishers (Pty) Ltd, Johannesburg, September 2008 Corrigal, M. Fine Artist Shows a Flare for Video in The Sunday Independent , The Sunday Independent, Johannesburg, September and in SA Art Times, Global Art Information, Johannesburg, October 2008 Bosman, N. Intricate Obsession in The Citizen , The Citizen, Johannesburg, October 2008 Dodd, A. Art Pig in SA Art Times , Global Art Information, Johannesburg, November 2008 Cohn, T. Transitions in Classic Feel , DeskLink Media, Johnannesburg, November 2008 Kaganof, A. Paul Emmanuel Apartheid Museum in Art South Africa , Bell Roberts Publishing, Cape Town, December 2008 Dodd, A. Transitions Paul Emmanuel in Business Day Arts , Business Day, Johannesburg, December 2008 Buys, A. Transitions in The Guide-Visual Arts , Mail & Guardian, Johannesburg, December 2007 Strauss, G. Chutzpah and a Solid Plan to Realise a Dream in Business Day Arts , Business Day, Johannesburg, June 2007 Myburg, J. Kunslesse in Maputo in Beeld , Beeld, Johannesburg, June 2007 Humbelino, C. O Soldado Desconhecido in Canal de Moçambique , Imprel, Maputo, May 2007 O’Toole, S. No Thank You in Art South Africa , Volume 6 Issue 2, Bell Roberts Publishing, Cape Town, December 2006 Doherty, C. Navigating the Bookscape in @Joburg, Art and Technology , Wits School of the Arts, Johannesburg, October 2006 Dodd, A. Hollard Enters the Art World with a Bang in Business Day Arts , Business Day, Johannesburg, March 2006 Lampbrecht, B. Paul Emmanuel After-Image in Beeld , Beeld, Johannesburg, January 2006 Sassen, R. Paul Emmanuel at the Old Fort in Artthrob , Artthrob, Cape Town, February 2005 Cohn, T. Paul Emmanuel, Old Fort, Constitution Hill in Art South Africa, Volume 3, Issue 4, Bell Roberts Publishing, Cape Town, June 2004 Greslé, Y. Wars Incarnated in Cue , Rhodes University, Grahamstown, July 2004 Tipping-Woods, D. Hanging on the Hill in Cue , Rhodes University, Grahamstown, July 2004 Gurney, K. National Arts Festival in Artthrob , Artthrob, Cape Town, September 2004 Greslé, Y. Performances of Masculinity in Art South Africa Volume 3, Issue 2, Bell Roberts Publishing, Cape Town, December 2004 Greslé, Y. /Paul Emmanuel in Art South Africa Volume 3 Issue 1, Bell Roberts Publishing, Cape Town, September 2003 Lampbrecht, B. Paul Emmanuel by die Standard Bank Galery in Beeld , Beeld, Johannesburg, March 2003 Dodd, A. Paul Emmanuel Perfects the Fine Art of Turning Oddness into Transcendence in The Sunday Independent , The Sunday Independent, Johannesburg, March 2002 Smith, K. Wax Lyrical in Art South Africa , Volume 1 Issue 2, Bell Roberts Publishing, Cape Town, March 2001 Lampbrecht, B. Paul Emmanuel by die Big Bag Show by the Goodman Gallery in Rapport , Rapport, February 2000 Warrington, R. The Emergence of Something into Being: Paul Emmanuel at the Open Window , in ArtThrob , Issue No. 33, May