The Art of Life in South Africa opens with a telling anecdote of how art teachers at Ndaleni Teachers’ Training College petitioned for a modern kiln to alleviate the gruelling work of gathering and preparing firewood for the simple brick kilns they had built. Yet when their wish was finally granted in the 1970s, the new electric kiln stood unused throughout the rest of the art school’s life. There seemed little point in trainee teachers becoming accustomed to its advantages when they would never encounter such upto-date equipment after they took up positions in apartheid-era schools. But if readers imagine that this is a prologue to a book that dwells on the privations of making art under apartheid, they are mistaken. Nor is it simply a history of the art school at Ndaleni Teachers’ Training College over its thirty years of operation from 1952 to 1982. Daniel Magaziner may make his focus Ndaleni, but in the introductory chapters he casts his net far wider to engage more generally with art education and the writing of art history in South Africa. Questioning the way this writing has typically been framed, he perceptively comments that:

中文翻译：

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南非的生活艺术

《南非生活的艺术》以一则生动的轶事开篇，讲述 Ndaleni 教师培训学院的艺术教师如何申请建造一座现代窑炉，以减轻为他们建造的简单砖窑收集和准备木柴的艰苦工作。然而，当他们的愿望最终在 1970 年代实现时，这座新的电窑在艺术学校的余生中都没有使用过。实习教师在种族隔离时代的学校就职后，再也不会遇到如此先进的设备，他们似乎没有必要习惯它的优势。但是，如果读者认为这是一本讲述种族隔离下艺术创作的匮乏的书的序幕，他们就错了。它也不仅仅是 Ndaleni 教师培训学院艺术学校从 1952 年到 1982 年运营 30 年的历史。Daniel Magaziner 可能会将他的重点放在 Ndaleni，但在介绍性章节中，他将自己的网络撒得更广，以更广泛地参与在南非从事艺术教育和艺术史写作。质疑这篇文章的典型框架，他敏锐地评论说：