Curated by Joost Bosland, Disguise explores threads of pageantry, trauma, drag, political pretence, fashion and stealth in the work of Yto Barrada, Zander Blom, Dineo Bopape, Wim Botha, Candice Breitz, Nick Cave, Steven Cohen, Rotimi Fani-Kayodé, Dumile Feni, David Goldblatt, Simon Gush, Pieter Hugo, Lunga Kama, Natasja Kensmil, Kalup Linzy, Julie Mehretu, Nandipha Mntambo, Zanele Muholi, Youssef Nabil, JD 'Okhai Ojeikere, Athi-Patra Ruga, Claudette Schreuders, Berni Searle, Yinka Shonibare and Penny Siopis. Images of the works are accompanied by texts on each artist by Bosland, the artists and other writers.

Nicholas Hlobo's second solo exhibition at Michael Stevenson, Kwatsityw'iziko ('crossing the hearth') comprises large-scale installations, sculptural pieces and works on paper. Hlobo brings new clarity to his explorations of his favourite themes - chief among them sex, and specifically gay sex, subjected to the interpretations and innuendo of Xhosa metaphor. He also brings a new scale to his engagement with his signature materials, which include rubber inner tubing, silicone, thread and ribbons, applied to found, modified props. In addition to images of all the works, the catalogue features an interview with Hlobo by Joost Bosland.

Published to accompany an exhibition presented by Michael Stevenson, Michael Graham-Stewart and Johans Borman, 'Take your road and travel along' pairs South African artists including Gerard Sekoto, George Pemba and Ernest Mancoba with their contemporaries from other parts of Africa, such as Ben Enwonwu from Nigeria and Sam Ntiro from Tanzania. It also includes the work of the next generation - artists associated with the Zaria Art Society and Oshogbo workshops in Nigeria, the Polly Street Art Centre in Johannesburg, Frank McEwen's workshops at the National Gallery in Harare and the initiatives of Pancho Guedes in Maputo. The essay and commentary on the works are by Michael Stevenson and Jost Bosland.

Published by Prestel, this is Pieter Hugo's third monograph following Looking Aside (2006) and Messina/Musina (2007). Many myths surround the Hyena Men who haunt the peripheries of Nigeria's cities. Accompanied by hyenas, rock pythons and baboons, these men earn a living by performing before crowds and selling traditional medicines. Hugo's extraordinary portraits of their liminal existence reveal an uncanny world of complex, codependent relationships, where familiar distinctions between dominance and submission, wildness and domesticity, tradition and modernity are constantly subverted.

The side gallery project at Michael Stevenson hosted four exhibitions by young artists from June to November 2007 - She is Dancing for the Rain with her Hand in the Toaster by Athi-Patra Ruga, Unravelled and Rewoven Canvas by Fabian Saptouw, Aboleleng & Hema by Lerato Shadi and Salute by Simon Gush. These exhibitions are documented here accompanied by an introductory text by curator Joost Bosland. Click on the artists' names to view exhibitions.

Michael Stevenson's annual summer season catalogue showcases new and recent works by the gallery's artists, including paintings by Deborah Poynton, Mustafa Maluka, Odili Donald Odita, Anton Kannemeyer and Tracy Payne; sculptural and mixed media pieces by Wim Botha, Conrad Botes, Doreen Southwood, Nicholas Hlobo and Nandipha Mntambo; photography by David Goldblatt, Youssef Nabil, Pieter Hugo, Guy Tillim, Zanele Muholi and Athi-Patra Ruga; a video by Berni Searle, a print by Claudette Schreuders and ceramics by Hylton Nel. Accompanying texts are by Michael Stevenson, Sophie Perryer and Joost Bosland.

Jointly published by Michael Stevenson and the Johannesburg Art Gallery to accompany exhibitions at both these venues, the catalogue features an essay by JAG curator Khwezi Gule and an interview with Gaba by Joost Bosland, highlighting the importance of humour and play in Gaba's work. The South African Tresses - iconic buildings translated into braided wigs made from artificial hair - are reproduced along with images of recent works at venues including Tate Modern, SMAK Ghent, and the 2006 Sydney Biennale.

Willem Boshoff's work since the late 1970s has explored the interplay of art and language in the forms of concrete poetry, dictionaries, sculptures and installations. This catalogue accompanies Boshoff's exhibition in which he substantially extends two seminal bodies of work, Blind Alphabet and KykAfrikaans; comments on politics and culpability in characteristically playful yet pointed manner; and reflects on the vital role that trees and wood play in his work. The catalogue contains extensive texts on the works, written by the artist.

In her catalogue introduction, Siopis writes: 'Lasso speaks of the "poetics of vulnerability". Ideas work more by association than direct narration. In this, the medium is as important as image or narrative.' More than 30 of Siopis' paintings - in oil, ink and viscous glue - are reproduced in this catalogue, which accompanied her first solo show in Cape Town since 1984.

Published on the occasion of Nandipha Mntambo's first solo exhibition, Ingabisa, this catalogue brings together her works to date, including pieces produced for her BAFA and Master's degree shows. Mntambo has developed a distinctive aesthetic through her use of cowhide, which she tans and moulds onto casts of the female body. The hairy skin is used to 'challenge and subvert preconceptions regarding representation of the female body', and to 'disrupt perceptions of attraction and repulsion'. Images of the works are accompanied by an essay by Bettina Malcomess.

This catalogue accompanies Tracy Payne's third exhibition at the gallery. In Payne's early work she expressed the domination of yang over yin, and subsequent bodies of work have been concerned with bringing these energies into balance. Following her exhibition Sacred Yin (2005), Payne's mind turned to the notion of sacred yang after encountering the actions of China's Shaolin monks. Her portraits, in oils, Chinese and Japanese ink and watercolours, mostly exist in the space of meditation just prior to action, while others explore a range of emotions from inward serenity through to an outward expression of power.

Pieter Hugo is the Standard Bank Young Artist for Visual Art 2007, and this book accompanies his award exhibition touring South Africa during 2007/8. Published by Punctum Press in association with Michael Stevenson and Standard Bank/National Arts Festival, the large-format book features Hugo's photographs of South Africa's northernmost town on the border with Zimbabwe - both portraits of its inhabitants and details of its landscape. In addition the book includes a short story by Stacy Hardy titled 'The Donkey Fuckers', and a conversation between Hugo and writer/photo-editor Joanna Lehan.

In this first monograph on his work, Youssef Nabil photographs young men in intimate situations, asleep or on the threshold of sleep, interspersed with self-portraits, and sets up dreamlike moments that are imbued with a brooding sexuality. Published by Michael Stevenson and ABP Autograph, the book explores the interior and exterior worlds of drama, beauty, glamour, sexuality and identity.

This catalogue accompanies Conrad Botes' first solo exhibition at Michael Stevenson. Botes’ imagination is embedded with the evils of apartheid, its obsession with power and repression, the violence and anarchy of the times and the moralising role of the Dutch Reformed Church. His latest work is less overtly concerned with politics however, opening itself up to wider concerns. A sense of masculine identity in crisis runs throughout the show, as does Botes’ distinctive comic aesthetic and dark humour.

Curated by Sophie Perryer, who also edited the catalogue, Afterlife brings together works by 10 artists exploring 'the nebulous zones where the material and spiritual realms intersect, and where the past and future converge, revealing themseves in the present'. Participating artists are Wim Botha, Ângela Ferreira, Moshekwa Langa, Nandipha Mntambo, Samson Mudzunga, Claudette Schreuders, Penny Siopis, Minnette Vári, James Webb and French/Algerian guest artist Zineb Sedira.

The Interview (a transcript) is Maluka's second exhibition at Michael Stevenson following Accented Living: a rough guide in 2005. It comprises a series of his signature paintings, head-and-shoulders portraits that draw stylistically on the history of painting and mark-making with a street culture edge. The catalogue documents the 19 works on exhibition plus others shown over the past year in São Paulo and Copenhagen.

This catalogue accompanies Botha's third solo exhibition at Michael Stevenson. The title is a neologism formed by combining 'apocalypse' and 'agnosia', and implies our inability to truly possess knowledge about the world even as it reveals itself to us. In addition to installation views of the works, the catalogue includes text, written by Botha in Afrikaans, which is rendered illegible, its meaning obscured as the letters are mirrored and distorted to form images within the body of the text.

In this series of photographs Pieter Hugo looks directly at people whose appearance makes us look aside. In doing so, he forces us to confront ourselves and our preconceptions and prejudices, and question why we are so awkward when we encounter people who are unusual in some way. This beautifully presented book is published by Punctum and contains an essay by Antjie Krog.

This large format book was jointly published by Renate Wiehager, Michael Stevenson and extraspazio (Rome) with the kind support of DaimlerChrysler AG. Guy Tillim took this series of images in July 2006 during the weeks of the Democratic Republic of Congo's first general election held since successive conflicts in the late 90s killed 3.5 million people. The images mirror the political wasteland and civic disorder that resulted from the rivalry between presidential candidates Etinenne Tshisikedi and President Josef Kabila.

In 2006, the Hasselblad Foundation selected David Goldblatt as the recipient of the Hasselblad Foundation International Award in Photography. Previous winners include: Ansel Adams, Henri Cartier-Bresson, Manuel Alvarez Bravo, Iring Penn, Josef Koudelka, Robert Frank, Cindy Sherman and Jeff Wall. This handsome book was published to coincide with the opening of an exhibition of his work at the Hasselblad Center in Göteborg and the presentation of his prize. Only previously unpublished colour images were chosen for inclusion in this book, among them triptychs from his most recent body of work.

David Goldblatt, Photographs published by Contrasto was conceived by David Goldblatt and curated by Martin Parr. It covers a selection of Goldblatt's images divided into 8 very distinctive bodies of work: The early Icons; The Transported; In Boksburg; Particulars; South Africa: The Structure of Things Then; Painters; Municipal Office Workers and Johannesburg Streets. The publication includes an introduction by Martin Parr and essays by Lionel Abrahams and Rory Bester.

The much awaited Some Afrikaners Revisited is published by Umuzi to coincide with David Goldblatt's exhibition of the same name. Between 1961 and 1968, Goldblatt photographed Afrikaners initially around small-holdings near Randfontein, next in the Marico Bushveld and then more generally. Some of the black and white photographs were reproduced in specialist magazines, but it took Goldblatt until 1975 to find a publisher for the book that he envisaged - today a much-sought-after collector's item. This new book contains all but one of the photographs reproduced in the 1975 publication (some that were previously cropped are now shown in their entirety), as well as 20 additional photographs taken at the same time.

For the first time in 11 years, Michael Stevenson's annual exhibition and catalogue of South African art focus exclusively on the work of contemporary artists, in recognition of the increasingly high profile of the gallery's artists. Among the works included are a huge shark-shaped drum by Samson Mudzunga, new mixed media works by Nicholas Hlobo, recent sculptures by Wim Botha, a large-scale wall painting by Conrad Botes, and Anton Kannemeyer's Alphabet of Democracy. Photographic works include previously unseen photographs of the Congo's Mai Mai militia by Guy Tillim; Pieter Hugo's portraits of boy scouts in Monrovia, Liberia; recent colour South African landscapes by David Goldblatt and new portraits by Zanele Muholi. Mustafa Maluka, Deborah Poynton and Tracy Payne all show new paintings.

Over the last 10 years or so, Bitterkomix has been (as one critic remarks) "consistently challenging and outrageous, undeniably brilliant, and impossible to ignore". The Big Bad Bitterkomix Handbook brings together the full range of Kannemeyer and Botes's work from the early 1990s until now, including published covers, postcards, posters and drawings from personal sketchbooks. Interspersed with these images are essays by, among others, Antjie Krog, Andy Mason, Ryk Hattingh and Gregory Kerr. The book, published by Jacana and designed by Garth Walker of Orange Juice Design, is an essential chronicle and visual cornucopia of the work of the Bitterkomix artists.

This monograph is published jointly by Michael Stevenson, the University of South Florida Contemporary Art Museum and Johannesburg Art Gallery, and accompanies exhibitions at the three galleries during 2006/7. The beautifully designed book includes essays by Gabeba Baderoon, Clive Kellner and Laurie Ann Farrell and numerous images of Searle's work from the Colour Me series (1998) through to her latest body of work, Night Fall (2006).

This catalogue documents Nicholas Hlobo's first solo exhibition, Izele. Hlobo has built up a distinctive body of work that engages the viewer in conversations about sexual identity, masculinity and ethnicity. To these ends he harnesses the associative potential of materials such as rubber inner tubes, ribbon, soap, silicon and found objects, and makes use of his own body in performance. Photographs of the exhibition are accompanied by texts on the work by Hlobo, from an interview with Sophie Perryer.

In this new series of colour photographs Guy Tillim looks intimately at the daily life of the residents of a village in central Malawi. On two occasions he stayed for a week in the village and quietly observed the conversations and routines of the day. His lyrical images of the residents and the textures of the village linger with their stillness and reserve.

Churchill Madikida won the Standard Bank Young Artist award for Visual Art 2006, and this catalogue is a record of his artistic production leading up to that achievement. Essays by Steve Kwena Makoena and Colin Richards are illustrated with many full-colour photographs of both entire installations and details of his work. Edited by Sophie Perryer, this 84 page monograph is a tribute to the richness of Madikida's art.

This catalogue accompanies Distant Relatives / Relative Distance, a curated exhibition of work by six contemporary artists from elsewhere in Africa, all currently living overseas. The exhibition features installations created for the gallery space by visiting artists Barthélémy Toguo (Cameroon/ France) and Senam Okudzeto (Ghana/UK), as well as paintings by Odili Donald Odita (Nigeria/USA) and Owusu-Ankomah (Ghana/Germany), prints by Julie Mehretu (Ethiopia/USA) and a video projection by Wangechi Mutu (Kenya/USA).

Published by Michael Stevenson and STE, with support from the French Institute (IFAS), to coincide with Zanele Muholi's exhibition at Michael Stevenson, this book features more than 50 photographs dating from 2002 to 2006. A prominent activist, Muholi confronts the notion that lesbian practices are alien to African cultures, and offers a radical break from stereotypical narratives about black female sexualities. The book features an essay by academic Pumla Dineo Gqola, and reprints of newspaper articles in response to Muholi's groundbreaking work.

In early 2006, Samson Mudzunga held a solo exhibition at the Jack Shainman Gallery in New York, and staged performances in New York and at the opening of the group exhibition Personal Affects at The Contemporary Museum in Honolulu. This catalogue showcases his large-scale drums produced in 2004-2006, and features an essay by Michael Stevenson which discusses the central theme of transgression in his performances and sculptural works.

This catalogue accompanied Deborah Poynton's exhibition at Michael Stevenson in January 2006, comprising four large-scale paintings (each 2m x 6m): Betrayal, For Ever and Ever, Safety and Security and Surrender. Poynton explore the disjunctions between our inner worlds and outer realities, and the vulnerability and loneliness of everyday life, and the isolation of the individual in our noisy and crowded contemporary world, are immediately apparent in these works. The catalogue features an essay by Peter Rech, an art therapist and professor of art education at the University of Cologne, Germany.

Michael Stevenson's annual season exhibition and catalogue features a selection of choice works by South African 20th-century masters - Irma Stern, Gregoire Boonzaier, Gerard Sekoto, Albert Adams, Ezrom Legae, Sydney Kumalo, Ephraim Ngatane, Walter Battiss, Stanley Pinker and Peter Clarke - as well as a selection of major new works by the gallery's contemporary artists including Guy Tillim, Pieter Hugo, David Goldblatt, Zanele Muholi, Mustafa Maluka, Deborah Poynton, Tracy Payne, Hylton Nel, Churchill Madikida, Nicholas Hlobo and Wim Botha.

Accompanying her exhibition at Michael Stevenson in September 2005, Tracy Payne's Sacred Yin catalogue features reproductions and details of five large-scale hexagonal canvases and five smaller circular canvases, each exquisitely painted in oils using a combination of photographic realism and abstract washes of colour. The works takes their inspiration from sacred geometry, morphing flowers and the female form to resemble mandalas. The catalogue also features source material and a statement by the artist.

This catalogue accompanies a curated exhibition featuring 11 South African artists - Alan Alborough, Dineo Bopape, Paul Edmunds, Retha Erasmus, Nicholas Hlobo, Nandipha Mntambo, Walter Oltmann, Stefanus Rademeyer, Doreen Southwood, Jeremy Wafer and Sandile Zulu - and guest artist El Anatsui (Ghana/Nigeria). They share a deep concern with materials and materiality, as well as a tendency towards obsessive working processes. The catalogue is lavishly illustrated with installation views and details of all the works, and includes statements by the artists on their working processes.

In the Jo'burg series Guy Tillim considers the private lives of the residents of inner-city Johannesburg, the often-forgotten subjects of the decay and renewal of a city undergoing radical transformation. The series, produced with the support of Tillim's DaimlerChrysler award for South African Photography in 2004, went on to win him the Leica Oskar Barnack Award for photojournalism in July 2005. With its concertina binding, the book - published by Filigranes Editions and STE - is a beautiful art object in its own right.

Published by Prestel to coincide with Goldblatt's solo exhibition of the same title at the museum kunst palast in Düsseldorf, this substantial publication features 92 colour photographs, an interview by Mark Haworth-Booth and essays by Christoph Danelzik-Brüggemann and Michael Stevenson. 'Intersections' is the term Goldblatt has come to use for the cross-currents of "ideas, values, ethics, postures, people and things" that he has probed for more than 50 years. This is the first extensive publication of his personal colour work and of his explorations of post-apartheid South Africa.

Wim Botha won the Standard Bank Young Artist award for Visual Art 2005, and this wonderfully produced catalogue documents the eight years of work leading up to that achievement. An essay by Liese van der Watt and an interview with the artist by Michael Stevenson are illustrated with many full-colour photographs of both entire installations and details of his work. Edited by Sophie Perryer, these 72 pages form the most significant record of Botha's art to date. The book is also available in a limited edition of 120 signed and numbered copies with gold page edging and hardcover slipcase.

This catalogue features twenty-three full-colour reproductions of Maluka's paintings, as well as images of his digital works, studio shots, and an interview with the artist by Sophie Perryer. The title of the exhibition and catalogue, Accented Living (a rough guide), situates Maluka's work in today's globalised world, which is characterised by large-scale displacement and relocation. Maluka is drawing on the notion of 'accented cultures', accents being distinctive modes of expression that convey the characteristics of different regions and classes, and are only noticed once the speaker leaves his or her home territory.

The moment in which one is "about to forget" is also the moment in which one remembers. As the title of Berni Searle's exhibition and this accompanying volume suggest, this work looks at the intermediate space of memory where a sense of return and a sense of loss are simultaneously invoked. The process of forgetting entwines both the presence and absence of memory, and, in between, a series of gradually fading after-images of people and events that linger in the mind. This catalogue illustrates the exhibition, provides photographs of the process of making the work and images of source material.

This catalogue accompanies and fully illustrates Wim Botha's solo exhibition of the same title at Michael Stevenson in March/April 2005. Key works include Leda and the swan, a suspended sculpture made out of bone meal and resin; Tremor, an installation comprising a fragmented simulated pressed lead ceiling, stained glass nuclear mushroom clouds, a vanitas painting and other elements; and Premonition of war I-III, comprising bronzes and a burnt wood sculpture installed in relation to framed photographs of clouds made up of puzzle pieces. The catalogue includes a section of source material, including word diagrams and art historical references.