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Modern & Contemporary Art


FOR VALUATIONS & SALES CONTACT JOHANNESBURG +27 71 675 2991 | enquiries@aspireart.net CAPE TOWN +27 83 283 7427 | ct@aspireart.net

David Goldblatt, A former gold-miner sits in a wheelchair and begs at a crossroad on the Johannesburg-Cape Town highway, while pursuing winning numbers for the national lottery. Springsfontein. 7 August 2003 (6_128_8) Estimate: ZAR 150 000 – 250 000

Cape Town Auction | 4 & 5 August

Fine Art, Decorative Arts, Books, Furniture, Silverware, Militaria, Fine Jewellery, Watches & Designer Handbags

Preview and register on www.swelco.co.za or contact us for updated information on 021 794 6461 or email info@swelco.co.za

Next Auction | 22 & 23 September | Johannesburg

Maurice Mbikayi | MBULA MATARI I | Estimate R 50 000 - R 80 000



Cover: Heather Gourlay-Conyngham, Shedding light, Oil on canvas, 84 x 120cm, from the exhibition Woman Who Read Are Dangerous, Rust-En-Vrede Gallery.

10 M.O.L. 10 Ashraf Jamal Column 14 WOMEN WHO READ ARE DANGEROUS / BOYS DON’T CRY / FLUX 20 MARGINS Group exhibition featuring the work of South African womxn artists 26 KURARAMA - TO SURVIVE Ronald Muchatuta’s solo exhibition 32 DIRTY BOOKS Conrad Botes and Anton Kannemeyer talk about their new books 40 PRINTMAKING LEGACY SELECTION Unique Work From South Africa’s Fine Art Engine Room 46 NEW CHAPTER The transformation of a ‘book’ to an art object 48 SOUNDS IN SOLITUDE Andrew Ntshabele and Stompie Selibe 60 OBITUARY The art world has lost a very fiery and colourful character, Antoinette Murdoch 62 BUSINESS ART 82 ARTGO August Exhibition Highlights

Diana Hyslop, Sharing Notes, print 30 x 30cm, paper size 35cm, digital drawing, series 1 of 9, 2020


From the Editor


ust as the world seems to have slowed in turning, a slight shift forward has happened with the opening of galleries even if “by appointment only”. No one knows how to sail these uncharted waters, save with 100% innovation and courage. I don’t believe that you will find any reference to a Covid-19 situation in the history of art books and there was also no teaching on how to get over Covid-19 in art school. Somehow in a space of a few months the artworld of artists making art seem to have developed into forming a type of warm long distance relationship with its lover, its clients, and vice versa. At present we are sailing uncharted waters. The Dias crew thought that they would fall off the edge of the world and in present times we hope that there will be enough money to sustain ourselves making good art. Our oceans are the internet, which has single handily kept commerce going. If we are going to find our passage to the market it seems clear that you will find it online for the time being – while galleries re set their sails and charts accordingly and keep on sailing on the oceans of time and dragons - until we reach the dry and exotic lands of the new normal. Here’s hoping the voyage of discovery will be a short, safe and prosperous one. In the meantime, I would like to thank our patrons for their support for our 24/7 art media platforms, we promise to be your wind beneath their sails and then some. Thank You!, Gabriel


CONTACT ART TIMES Tel: +27 21 300 5888 109 Sir Lowry Road, Woodstock, Cape Town PUBLISHER Gabriel Clark-Brown editor@arttimes.co.za ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ON THE KEYS Brendan Body ARTGO CONTENT info@artgo.co.za




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Neonism. Aldo Balding 3 July - 14 August www.christophermollerart.co.za; @christophermoller_gallery

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istening is not a word one typically associates with art – one looks – but when listening to Coral Bijoux on the phone – the video capacity having seized up – I am struck by the artist’s preoccupation with a sensory and multidimensional relationship with art. The eye is not enough. Bijoux has spent just shy of a year immersed in an art project as evolutionary as it aspires to be revolutionary, or better, revelationary, because what Bijoux strives to reveal, through all the senses, is our relationship to the earth – our native land – which we have squandered and abused. As the French philosophy, Paul Virilio, reminds us, ‘there is an enormous lesson in humility for us to learn. What we must take on board and pass on is humility’. Not to do so is tantamount to moral and spiritual neglect. Worse, our lack of humility in the face of the disasters of our own making would prove catastrophic. It is in a neglected nursery on UKZN’s Westville Campus that Bijoux has been exploring the relationship between the human and plant kingdoms – our relationship to the earth, and the sacred role of art in sustaining it. Before the video seizes on our phones – I am in Cape Town, Bijoux in Durban – the artist introduces me to the small world she has been inhabiting for the past year, which has also been inhabiting her. Her installation in the nursery, which is a collaborative endeavour, is organic. Bijoux is not interested in nature as a backdrop for art, but nature as an integral dimension of a greater conversation. Plants grow in the midst of human-hewn objects. She ‘waters’ the sculptures and plants, they grow in unison. The sculptures are not organic, Bijoux is being metaphorical, but what cannot be ignored is the artist’s realisation that all of life, to sustain itself, must be watered and composted.


The organic relationship to art is central to Bijoux’s understanding of our relationship to it. She is concerned with our detached and objectified relationship with things, our alienated dialogue with the worlds within and outside of ourselves. What she seeks is a join that is nurturing. In her view the artworld is yet another expression of our alienated relationship to what we revere, consume, fetishise, and waste. As Bijoux guides her camera, I see a neighbouring dumpsite. The proximity of the nursery to a landfill – growth and waste – is bracingly revealing. Our lives, the ways in which we live, are troublingly heedless to the contradictions the underpin it. What Bijoux does is try to suture growth and waste, so that we can understand that consumption is a precarious state, that it has an expiry date built into it, unless we begin to accept humility, grace, as the most essential biproduct of our wanton disregard for ourselves and our world. The materials used to create the works on display are synthetic and organic. Tagged Plastic sheeting supports drawings in pastel, plants grow in the crevasses of reclining figures wrought from polymer. It is the interface of the synthetic and organic which heightens our awareness of our complicity in our wasted and wasteful lives. ‘I have wasted time, now time wastes me’, Richard II opines as he abdicates the throne. The king’s realisation comes too late. Can one say the same thing about Bijoux’s meditation? Is it too little too late? Do we now exist in what Virilio dubs ‘the shrinking of the world’? It is ‘the end of geography’? Virilio is not alone is recognising that we are in an ecological crisis. However, the position one takes, even in these so-called ‘End Times’, remains crucial. By calling her curatorial project ‘Dreams as

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R-evolution’ Bijoux is staking her position: One can, and must, maintain a belief in art as a dreaming tool, one must acknowledge that art can help us to evolve – that art can be consoling and engendering. In Art as Therapy, John Armstrong and Alain de Botton remind us that art has a crucial role to play in human growth. Art commemorates, gives hope, echoes and dignifies suffering, rebalances and guides, assists self-knowledge and communication, expands horizons and inspires appreciation. It is these qualities which Bijoux foregrounds. If art has a crucial therapeutic role it is because it can ‘help us lead better lives … access better versions of ourselves’. This purchase that art possesses – often forgotten in an art world overly preoccupied with art’s canonization, monetization, exclusivity, and remoteness – is central to Bijoux’s vision. A diverse audience has frequented Bijoux’s nursery, amongst them UKZN’s ground staff, students majoring in life sciences and the arts, families and children. Responses vary, as so they must, but what is revealing is the ballast the exhibition provides – the audience feels included, it sees itself in the quiet drama that is taking place. This is because Bijoux is addressing fundamental questions: Who and What we are. What we have neglected and abused, and how we can right these wrongs. Art as an integral part of the natural and spiritual world. Art as a guide, a reckoning, a divining rod. In Bijoux’s project there are four key aspects in play. She is interested in space – how an environment possesses a key role in our understanding of what we experience, see, and feel. She is concerned with the divergent and opposed realms of femininity and masculinity – the former nurturing, the latter endangering. Her vision, in this regard, is not reductively gendered. Women in power can also prove abusive. However, statistically, historically, it is the male species which has played the key role in our civilizational, cultural, and ecological fate. It is against this man-made fatalism that Bijoux pits ‘a return to innocence’. Her focus may seem utopian, but it is our life on earth that matters most to her – how we choose to live singularly and collectively, how we sustain the best in ourselves and evolve healthily. She seeks none other than tomorrow’s health today. I began by speaking of the importance of


humility. This is not the same thing as servility, or craven deference. Bijoux does not subject herself unthinkingly to received custom and order. Rather, she embraces the ‘ordinary’ – the value of ‘ordinary lives’ – as opposed to the presumption and arrogance that human beings stand apart in the ecological chain of life. When she asks – ‘Where does my authority lie? Do I have any authority?’ – Bijoux signals her keen awareness of context and perspective. She is no ideologue. When she asks – ‘Is the world listening? Does the world care?’ – she is posing a question for which all of us would like an answer. We roam the earth with a gnawing sense that our pleas are no heeded, that our smallest needs – our dignity and personhood, our aspirations and dreams – are woefully disregarded. It is against this deafening silence, this sense that we barely exist in the eyes of power, which Bijoux expresses. If ‘Dreams as R-evolution’ is comforting, it is because it tells us that we are being listened to, that our hapless beings have a place in this world. ‘Dreams as R-evolution’ seeds growth. It allows us to heed ‘what is embedded’ within ourselves. It helps us to reconsider how and why we have been ‘conditioned’ in the ways we have. The realm which Bijoux has built for us – an environment both synthetic and natural – is, she says, a ‘homecoming’. This return – this homecoming – is regenerative. We alter as the world around us alters. Nothing stays the same. Bijoux speaks of ‘a conversation with the wind’, listening as it ripples and flaps against the plastic sheeting that is the exhibition’s makeshift home, as it kisses the stems of plants, runs along the curved forms of sculptures, brushes a portrait in pastel of the artist latched to the plastic sheeting. We create our worlds in this greater world. Of her self-portrait, Bijoux notes that it is barely perceptible, that it is and is not her. I see her face and hands etched into a greater tempestuous whole. Is this because human life, like any other, is subject, always, to change? Because we are all changelings buffeted hither, thither, carried along by a greater song? As Bijoux and I speak, I can faintly hear the wind blowing. The ‘wind’ is also ‘ancestral’, she says. It returns to us the ‘lessons of the past’, is calls us onwards towards our future.

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WOMEN WHO READ ARE DANGEROUS / BOYS DON’T CRY / FLUX Rust-En-Vrede Gallery www.rust-en-vrede.com


ovid-19, it would seem, has heightened the global awareness of our human identity and interaction.

This is illustrated by two new group shows and a solo exhibition hosted by Rust-en-Vrede Gallery during the month of August. The first group show, an all-female exhibition is titled “Women who Read are Dangerous” and the second, an all-male show “Boys Don’t Cry”. André Serfontein’s solo exhibition is titled “Flux”. The human form and its ability to convey a mood or sense of being is André’s main interest as an artist, one that he explores primarily through the medium of oil painting. There is a general sense of nostalgia and melancholy that pervades his paintings. Although this series was started long before Covid-19 arrived on the scene and started shifting realities and transforming human relations, the individuals he depicts seem to be in a state of isolation, uncertainty and waiting.

Above: Shakil Solanki, You are afraid it may change you, 45 x 32cm, Opposite Page: Hanneke Benade, The Red Book. The Read Book, Soft pastel on cotton paper 700 x 900.

In addition to ‘anything happening in the moment’; longing, introspection and erotic male beauty are enduring themes: they provide the background, with colour and composition as the vehicle of exploration. The theme of Female literacy is explored by a group of sixteen female artists and one male artist in the group show “Women who Read are Dangerous.” “There was a time, when female literacy was a controversial idea, and it took many centuries before women were entirely free to choose what they read, whether for instruction or for pleasure. It was only when reading behaviour changed, with reading becoming a silent, solitary pursuit rather than a social activity, performed aloud, that women were able to


Diana Hyslop, Sharing Notes, print 30 x 30cm, paper size 35cm, digital drawing series 1 of 9, 2020.

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Margaret Nel, Member of the Book Club

Ian Engelmohr, Fragile Ego 1, Stoneware Ceramic Plate, 40cm in diameter

AndrĂŠ Serfontein, Secret garden, Oil on Canvas, 495x600mm

Andre Serfontein, Sitting on the dock, Oil on Canvas, 550x450mm. Opposite Page: Ruan Huisamen, Luminous, 71 x 53 cm, Charcoal on Paper, BW


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Helena Hugo, The Unwelcome Visitor, pastel on paper, 50cm x 70cm

escape the narrow confines of domestic life and male-dominated society for a world of unlimited thought and imagination. They acquired knowledge and aspirations that had previously lain beyond their reach” – from the book “Women who Read are Dangerous” by Stefan Bollmann. This is just one example of how the ways we behave and express ourselves are shaped by the cultures in which we participate. Since the mid-twentieth century, philosophers, social scientists, and historians have theorized that gender – the roles, characteristics, and activities that distinguish men from women – are not innate but socially constructed. Notions on gender, especially that of masculinity, have changed profusely in the 21st Century. The generational shift in how masculinity is perceived is explored by eighteen male artists and one female artist in a group show titled “Boys Don’t Cry”. Many men are in fact unhappy with the way they are depicted in


the world and frustrated with old school ideas of masculinity. The thought that men need to have certain traits to be considered manly are questionable. Today, it is crucial to look past feeble and outdated understandings of masculinity and femininity and explore the potential of human beings untethered by societal expectations and gender norms. All three exhibitions will open on Tuesday 18 August 2020 @ Rust-en-Vrede Gallery, Durbanville and will run until 23 September 2020. Viewing can be arranged by appointment and digital catalogues will be available online. Contact: 021 976 4691 rustenvrede@telkomsa.net www.rust-en-vrede.com/exhibitions

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A HIGHLY UNPOPULAR SUBJECT Lust, shame, desire, religion, race, censorship, pornography, erotica, art - these are all themes explored in two new art books, The Erotic Drawings of Conrad Botes (limited special edition available) and The Erotic Drawings of Anton Kannemeyer (reprint with new drawings). Get both of these as well as Bitterkomix and Lag-Lag titles from Soutie Press.

www.soutiepress.com | info@soutiepress.com | We ship worldwide

MARGINS Eclectica Contemporary www.eclecticacontemporary.co.za


s a womxn run and led gallery based in South Africa, August is a focal month in Eclectica Contemporary’s calendar. Our intentions, as a gallery and as a team, have always been to provide a platform that highlights and celebrates the narratives of and from the African continent and so, by hosting a group exhibition in August each year, our focus turns towards womxn and sharing their stories. To turn to womxn in this time, to us, means turning towards conversations around the impact of gender, its definitions and the constraints which shape and reflect society at large. Margins is a group exhibition featuring the work of South African womxn artists working in painting, mixed media, collage, photography, video and installation. Artists represented by the gallery include Nina Holmes, Aimee Lindeque and Sue Greeff, and they are joined by newer or returning artists who collaborate with us, Yvette Hess, Kirstin Warries, Emma Blencowe, Alet Swarts and Chloë Jayne. The themes that are explored in the works range from domestic spaces, the constraints and questioning of time, bodies as ethereal, bodies as symbolic, bodies as collaborators, bodies as political sites and sites of memory, of activism and of dis/ comfort. There are flowers, there are voids, there are nipples, there are jaws, from faces to places and objects of symbolic meaning, the works in the exhibition vary as deeply as the questions and responses of Womxn’s month ought to. Margins celebrates this multiplicity in the curation of the works together as a multifaceted conversation.

Alet Swarts, Imagine in order to understand, 15 x 15 cm, Acrylic on canvas, 2019



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Sue Greeff, she loved the wildflowers he sent, 29.7 X 42 cm, Ink on paper, 2020. Opposite Page: Alice Toich, Frederica, 80 x 100 cm, Oil on belgian linen, 2019.

Kirstin Warries, Ouma Setta’s Doilies I, 29.7 x 42 cm, Digital Print on True Fibre, 2019.

In addition to the Womxn’s month group exhibition Margins, three curatorial collaborations also take place in the gallery throughout August. The collaborators were invited into the gallery space, either virtually or through the physical space, to bring in their own ideas, artists and artwork in order to extend the perspectives and voices that operate within our walls. Alice Toich, in Femme Bodies: the relationship between a female artist and her models, opens a conversation around the place of classical painting in South Africa today, while simultaneously honouring the relationship between the artist and model in her work and historically. Boni and Wes Leal present Moving Backwards is Still Moving, a video installation interrogating space, intimacy, repetition, and the impact of the COVID-19 pandemic as a ‘great pause’, while so much continues. LegakwanaLeo Makgekgenene has brought together a show titled Ke Namile that offers a querying and confrontation of issues around gender binarism and exclusionary feminism, as well as how this is implicated in

and perpetuates systems of gendered and racial violence. Explored through storytelling, sculptural installation and photography by LegakwanaLeo Makgekgenene, Malwande Mthethwa, Shana-Lee Ziervogel, Elijah Ndoumbé, Lamb of Lemila, Ranji Mangcu and Rona. Margins engages across multiple levels, in both acknowledging spaces and their implications as well as the limits and possibilities of access and representation. When Toni Morrisson gave the a Nobel Lecture in 1993, she invited deeper thinking on being and understanding. “Tell us what it is to be a woman”, she says, “so that we may know what it is to be a man. What moves at the margin. What it is to have no home in this place. To be set adrift from the one you knew. What it is to live at the edge of towns that cannot bear your company.” The exhibition title reflects this questioning, by considering the associations of the word ‘margin’ and what moves it. The show presents artworks as a vehicle to consider notions

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LegakwanaLeo Makgekgenene, Seipone sontaga le Mangeloi, (Mirror/reflective Sunday with the angels), 80 x 60 cm, Digital photomontage, 2020, Ed. 1/3. Opposite Page: Rona (Nkone Chaka), Ka tla ka kh’atsima, Dimensions vary, Beads, basket and fishing gut, 2019 (photograph by Matt Slater)

of being at the edge of space, writing in the margins, being marginalized, while extending the application of the word as a potential for the emergence and expansion of confined and demarcated patterns.

Chloë Jayne, It’s Not That Deep; It’s Layered (Cracks I & II), dimensions vary, Offset Lithograph on Tracing Paper & Munken Lynx, 2019

Central to the conceptualising of this year’s exhibition has been an effort to call together artists who identify across the gender spectrum while celebrating femininity, femme identities and the history of Womxn’s month in South Africa. In celebrating Womxn’s month, while acknowledging and offering a platform for various perspectives, the exhibitions bring together artists having and holding critical conversations, presenting work that generate beauty, articulate collective experiences and query understandings. Functioning as a central group show with adjacent collaborative project spaces, this exhibition aims to take a dynamic approach to exhibiting work amidst trying times, while also encouraging a broad and wide ranging engagement with the concept of Womxn’s month and what it means to hold exhibitions in honor of this month particularly.

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KURARAMA – TO SURVIVE Ronald Muchatuta’s solo exhibition The Melrose Gallery www.themelrosegallery.com

“The impact of the pandemic on the global community and the way in which it forced mankind to slow down, to take a breath and to consider what is most important in our lives has had a marked effect on Ronald’s life and this body of work in particular.” “Green, Orange, Brown. A smile a kiss. Joint shoes. A spectacle with sighting and vision. Shapes - forms within foresight. The Joy of Chaos. Happiness riding with thrill. Oh how I missed you colour “, Ronald Muchatuta.


ollowing on from Ronald’s well received exhibition at the Stellenbosch Triennale and it’s premature closure due to Covid-19, Ronald created this new body of works during the shutdown in South Africa. The impact of the pandemic on the global community and the way in which it forced mankind to slow down, to take a breath and to consider what is most important in our lives has had a marked effect on Ronald’s life and this body of work in particular. “‘Kurarama’ means ‘to survive’ and it is through survival that we find beauty in life and death. The Ying-yang philosophy reflects on how the end of life in one dimension can be seen as a fresh start in another. The circle of life. The burning of the veldt before new vegetation sprouts - The land needs to breath, We need to breath.” This body of work crosses points of our existence. The mark of existence comes in the forms of legacy, spirituality, youth, beauty, and cultural conditioning.


The exhibition consists of 21 new works that explore the range of techniques for which Ronald is swiftly developing a strong reputation and loyal following. Ronald uses collage, painting, illustration and marking to create works imbued and layered with texture and meaning. Ronald was born in Zimbabwe, lives in Cape Town, and much of his work explores one of Zimbabwe’s largest social issues; life in the Diaspora. His practice examines the effect of leaving one’s homeland physically, spiritually and psychologically. Migration, refugees, poverty and different forms of injustice are often portrayed in his artworks as Ronald uses his platform as a means of change and discourse in our contemporary context. For Ronald, art is a means of communication and connection: an inherently social and political dialogue that is engaged by the creator and the viewer. Art gives important context to our individual and collective lives. His work is fraught and harrowing – like a people’s collective nervous breakdown translated onto a canvas. Opposite: Sun Goddess, Mixed media and oil on canvas

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Yellow, 2020, Mixed media and oil on canvas,150 x 100. Opposite Page: Cancel Culture, 2020, Mixed media on canvas, 120 x 80 cm28


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(Detail) The Joy of Intimacy, 2020, Mixed media on canvas, 97 x 69 cm

Ronald works across different mediums including illustration, painting, collage and mosaics often combining different mediums and techniques that make his works relatable, tactile and evocative.   His works are almost melancholy in mood clearly portraying his longing for his homeland through the delicate, exquisite nature of his illustration and application of materials. Ronald’s artworks grace numerous private, public and corporate collections including The Spier collection, Hollard, Board members of the Museum of Modern Art (New York), Nandos – fine art collection, US Senate offices and others  based in Africa and abroad. He has


participated in numerous exhibitions in Africa and internationally including the Stellenbosch Triennale and is often invited to participate in dialogues around issues of pertinence to art and Africa. The exhibition will run from 16 July to 16 August 2020 and will be presented in The Melrose Gallery in Melrose Arch and online on a viewing room on www.themelrosegallery.com Contacts for further information: Craig Mark: craig@themelrosegallery.com 083 777 6644

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Conrad Botes, Censorship, Extract from Moleskine drawing book, 2017, Digital coloring. 29,7 x 21 cm 32

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Art Times sits down with Conrad Botes and Anton Kannemeyer to talk about their new books, a fresh wave of censorship and the hypocrisy of the middle class.


owards the end of 2019, artists Conrad Botes and Anton Kannemeyer, longtime friends and collaborators on the iconic, satirical Bitterkomix series, found themselves with a familiar problem censorship. This time it was Conrad’s new book The Erotic Drawings of Conrad Botes and the re-print of Anton’s The Erotic Drawings of Anton Kannemeyer that earned the ire of would-be censors. Featuring drawings they have collated over the course of their careers, in the two books the duo probe and finger our inherent hypocrisy around sex, religion, race, pornography, misogyny, art and freedom of speech. When your art creates a spaghetti junction of taboo topics most people abhor, it’s inevitable that someone will take issue. Art Times caught up with Botes and Kannemeyer to discuss the books.

We understand that in the publishing process, your printer tried to pull the plug and then your gallery launch got cancelled? Why so much drama? Conrad Botes (CB): After being rejected by six major mainstream printers (of which at least one was the printer of porn titles like Hustler SA and Loslyf), on the basis that they were taking a ‘moral stance’; we eventually found a printer that agreed to print the books. Several weeks into the job and after having received a deposit from our publisher, the printer suddenly  refused to print my book because staff had threatened management with strikes etc. The reason was that a certain

image was considered blasphemous, and they demanded that it be removed from the book before they would continue. I discussed it with Anton and against our better judgement we decided to replace the image. A week later another image was deemed unacceptable by the print staff and again they demanded we remove it. This time we fought back and threatened them with legal action. In the end, after successfully censoring one image from the book, they printed it.  Meanwhile, we were getting ready to launch the books at Everard Read in Joburg. After getting wind of the controversy with the printers, the gallery staff decided that the exhibition and books were unacceptable and immoral and threatened to resign if the exhibition were to continue. In light of this, Everard Read decided to cancel the exhibition two weeks before the opening. We went ahead and launched regardless, indiestyle, at Love Books in Joburg, Fokof Bar in Pretoria and 131A Gallery in Cape Town. Anton Kannemeyer (AK): What was really disturbing was the complete silence about the Everard Read incident from the art community in South Africa. No repercussions whatsoever for the gallery. In fact, they’re probably now regarded as a morally upright gallery, selling morally upright art. Nice people selling nice art. And allow me to quote Bertrand Russell here: “Whoever invented the phrase ‘the naked truth’ had perceived an important connection. Nakedness is shocking to all right-minded people, and so is truth.”

“The moment a sexually explicit image is juxtaposed with a political thought or a religious idea, most people are upset. Why? Because it’s a subversion of their expectations, it requires them to think.”

Above: Anton Kannemeyer, Soccer Star, 2013, black ink and acrylic on paper, 21 x 29.7cm Opposite Page: Anton Kannemeyer, Untitled, 1995, acrylic on paper with bromide overlay, 22 x 31cm

Your books feature depictions of sex, nudity, lust, dominance, misogyny all wrapped in a satirical, mostly humorous take. What in this day and age do you think people are so afraid of? CB: I think the major aspect that makes people uncomfortable or ‘afraid’ is the fact that the work is not erotic. The work is not intended to titillate. We use explicit imagery in order to confront people with taboos and to undermine middle class values. Considering the amount of pornography on the Internet, the fact that everybody watches porn and it’s the biggest online business there is – it’s clear that people are not afraid of pornography, because a lot of people consume it. What Anton and I do is completely different – that’s what upsets people. AK: Well, the difference between our work and a porn site is that our work stimulates thought and hopefully debate. There is also an aesthetic value that no one comments on, but that’s ok for now, let’s talk about the meaning. The moment a sexually explicit image is juxtaposed with a political thought or a religious idea, most people are upset.


Why? Because it’s a subversion of their expectations, it requires them to think. And that entails untangling the hypocrisies of their lives: religion (for instance) is something pure they do on Sundays, jacking off to a porn site is something dirty to do when no one’s looking, and to forget about. If (according to a 2016 statistic) Pornhub’s videos (one porn site) were watched an astounding 92 billion times in 2015, surely finding offence in a publication that challenges conventional porn is hugely hypocritical. I get the idea nowadays that humour is unacceptable to most people. Our books are certainly humourous. You’ve been censored frequently in your career. How is this time any different?  CB: When we started out we were attacked by the conservative right. In 1994 our comic, Gif, was banned. It was the first book to be banned under the new constitution, but we were pretty sure it was old apartheid government structures that were responsible for this. Gif was a full on attack on Afrikaner values and culture and it ridiculed  white male identity.  Today our work and exhibitions are censored by the liberal left. We have come full circle. 

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Corad Botes, Le rêve américain démystifié, Extract from Leuchtturm drawing book 2009, ink and pencil on paper 22x31,5cm

Conrad Botes, Sunday painter, Extract from Canson drawing book 2005, acrylic on paper 25 x 30 cm

Above: Conrad Botes, Trots om ’n mansmens te wees, Extract from Moleskine drawing book 2005, collage, pen and ink on paper 36,5 x 25 cm. Opposite Page: Conrad Botes, Complicated machinery, 1995, acrylic on paper with bromide overlay, 331,5 x 43cm

Anton Kannemeyer, Pathetic Male, 2004, pen and ink on paper, 21 Ă— 29.7cm


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Conrad Botes, Hypocrisy, Extract from Zerkall-Bütten drawing book 2018, pen and ink on paper, 26,5 x 21cm

AK: I think there are different levels of censorship: when Gif  was banned in 1994 it was by the hangover of the last apartheid government. The attacks on our work came from the Afrikaans conservative community. At the time the liberal press and even academics supported our work and pointed out how shortsighted the attacks on our work were. Now the “liberal” press and academics do not support our work, either because they BOOK Erotic Drawings Conrad Botes.indd 65 are afraid to support such controversial publications, or because they truly believe that it has no conceptual merit in these times. Since the Charlie Hebdo-killings in 2015 the world turned against satire: all of a sudden certain symbols or metaphors became hurtful. Offence became a crime. Social media has also made everyone with a Twitter or Facebook account an art critic. If they see an explicit drawing it’s all they see, the satire and meaning disappears. This new censorship is not forced down by the government, but by a mob on social media. Unfortunately the press now listens to social media and popular opinion, rather than to

common sense or factual evidence. Most publishers, curators, editors and the media in its totality are toeing the line. 65 Are we going backwards as a society? CB: Yes. I think a lot of people would welcome the restrictions on freedom of speech. This would be one of the  biggest catastrophes of our age.

AK: I’m very interested in history: it teaches us all we need to know about the future. Having lived under censorship, I know how dangerous it can be. The so-called liberals of today are enabling censorship to return in the legislature, while students are begging for censorship to come back. Both the right and the left are fighting for censorship, it’s shocking to witness.  The Erotic Drawings of Conrad Botes and The Erotic Drawings of Anton Kannemeyer are available from Soutie Press (www.soutiepress.com).

2019/09/15 16:

ARTIST PROOF STUDIO - PRINTMAKING LEGACY SELECTION Unique Work From South Africa’s Fine Art Engine Room www.artistproofstudio.co.za


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ozi’s iconic printmaking studio is selling a range of investment art in an initiative that will allow it to maintain its place as one of the engine rooms of the booming South African fine art scene... When Limpopo born and Jozi based artist Nelson Makamo hit the cover of Time Magazine in 2019 his achievement was celebrated by nearly every creative in the city. Makamo’s Time cover wasn’t only a personal triumph, it also encapsulated the journey travelled by a generation of young artists drawn to Johannesburg from across the country, and bound together by the shared experience of making it on the toughest streets of all. Twenty years ago, the Jozi fine art scene was as starkly racially delineated as life across the rest of the country and featured only a small handful of stalwart black artists: figures such as Dr. David Koloane, Patrick Kagiso Mautloa and Sam Nhlengethwa. Today, the same scene features a litany of fast rising names who have collectively developed a unique, and globally compelling, aesthetic and culture. The likes of Nelson Makamo, Phillemon Hlungwani, Nicholas Hlobo, Bambo Sibiya, Blessing Ngobeni, Mongezi Ncaphayi and many others already represent South Africa powerfully on international stages, and following behind them is a new set of rising stars, including Themba Khumalo, Sizwe Khoza, Lebohang Motaung, Jan Tshikhuthula and Lindo Zwane, to name just few. But while the story of Jozi’s 21st century fine art boom is increasingly well documented locally and internationally - less recognised is the role played by Artist Proof Studio (APS), the Newtown-based printmaking studio and educational centre that many of the city’s most compelling new names have in common. Phillemon Hlungwani, Matimba ya nwanseti male ndzeni ka mbilu, Drypoint with Handcolouring, 99 x135cm - 2018

Printing of Kentridge, Skeletal She-wolf 2

Lebohang Motaung

Themba Khumalo 42

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Bambo Sibiya, A Lamant On Misrepresentation, Linocut, 119,5 x 197cm - 2019

‘We’re proud of what our alumni are achieving. It’s incredible to see the power of their art, the impact they’re making on the world and the standard they’re setting as artists and people, ’says Nathi Simelane, APS Project and Marketing Manager. ‘Even more exciting is the fact that there’s another equally powerful generation of talent rising up right now. Our challenge is to make sure that we can continue to give these emerging artists access to opportunities and resources. That’s what our July Sale is all about. Making sure APS continues to do what it does, even as COVID-19 threatens our existence.’ Founded in 1991, APS offers a three year printmaking course to applicants who meet qualifying criteria, including artistic ability. For many years the APS course was offered completely free of charge, but today the studio actively fundraises to meet the cost of educating each student without access to financial resources. APS ’rich creative legacy means its own art collection – which features work from a wide range of established and emerging artists – has proved to be an important revenue stream at art fairs and fundraising events. In addition, major names like William Kentridge have been active APS supporters for many years. Kentridge works with the APS professional print studio on some of his own projects, and supports some of the young artists as his assistants, giving them experience of professional art at the highest level. Ultimately, APS is most notable for its unique mix of primary skills development and professional career guidance and opportunity. This kind of offering is so rare in the South African arts world that most APS students have travelled vast distances – literally and metaphorically – to access the studio and its community. Phillemon Hlungwani and Nelson Makamo, for example, both made their way to APS from Limpopo as aspirant young artists with clear visions about their future. Similarly, Jan Tshikhuthula arrived in Johannesburg from Tzaneen in 2009 with little more than a bag on his shoulder and a dream of professional art. And, many APS artists born and raised in Gauteng have fought just as hard as those from outlying areas to be accepted into the studio, a space where the people you meet and the


social, cultural and political experiences you have are just as impactful as the education you receive. ‘Generational depth is something we try and nurture as much as possible’, says Simelane. ‘When someone moves from APS into a successful career they have a huge impact in their community as role models. Youngsters can see that it is possible to establish a career as a creative professional, no matter where you come from, or what you’ve experienced. This is why it’s so important that APS stays strong and active – we need this generational depth to grow, not diminish. ’ In the COVID-19 era APS faces the same crushing financial pressure as most NGOs. Its professional print studio is operating, but its public classes are currently closed and a significant portion of its student

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education has to happen remotely. Ensuring Internet access for students is complex and expensive, and because the country’s schedule of exhibitions has been paused neither the artists nor the studio are able to generate revenue through sales. APS partnered to establish The Lockdown Collection with two of its founders (Carl Bates and Lauren Woolf) at the beginning of the COVID-19 pandemic to address this challenge. The collection included donated work from the country’s most prominent artists and raised more than R2 million, which was split between the contributing artists, the President’s Solidarity Fund and a newly established Vulnerable Artists Fund. 335 grants comprising over R1 million have already been paid out to vulnerable artists, many of whom are students affiliated to the studio with no access to alternative income.

‘The Lockdown Collection was very successful, but it also illustrated the extent of the challenge we’re facing now, and are likely to have to address for the extent of the pandemic’, says Simelane. ‘Which is why we’re launching the July sale, which includes incredible work from some of the country’s best artists, young and old. We’re confident, given the studio’s history and quality of work on offer, that the initiative will get the support it deserves.’ The APS Sale includes work from: William Kentridge, Mongezi Ncaphayi, Phillemon Hlungwani, Bambo Sibiya, Sizwe Khoza, Themba Khumalo, Lebohang Motaung Above: Themba Khumalo, Crossing Roads, Drypoint Monotype, 82 x 124,5cm, 2019

NEW CHAPTER 9 August 2020 – 9 September NWU Gallery

Marna de Wet, White Sleeve

Jean Lampen, Dangerous times.


he ‘book’ is no longer the Holy Grail of the information world. We can access almost anything instantly through new technology by the brush of a fingertip.

Physical books, as differentiated from digital versions, tend to trigger memories both visual and tactile: our hands hold a book and feel the texture, our eyes read a book and adore the pictures, our minds awaken to the conceptual potential of the printed page and our muscle memory deepens our relationship with it. The transformation of a ‘book’ to an art object is not only intentional recycling in the material sense, it is a rebirth of ideas, images, text and textures from a cultural past. 46

This exhibition, “NEW CHAPTER”, intends to engage not only the visual appeal on the viewer’s eyes, but also the intellect, allowing for powerful  commentary and exploring questions about the history and future of books as symbols of knowledge and joyful experience.   Artwork details: Marna de Wet White Sleeve, 26X18 cm, Pencil and oil on old book cover. This image does not reveal the woman’s identity. The painting is unfinished, imperfect, and incomplete like human nature. Jean Lampen: Dangerous times. Medium used: old book on snakes with watercolour

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Elna Venter, Crippled of Love / Krank van Liefde

of older woman and an image used of a bird stitched in resin. As history is scientifically solidified in amber, I am putting information from old books in resin (it should also survive an apocalypse) preserving a piece of history for eternity.

the inside and tied together with a button. The subject-matter (in old Dutch script) deals with lifestyle doctrines and interhuman relationships. The title of this artwork “Krank van Liefde” (meaning ‘desperately in love’) is also the title of a chapter in the book.

Elna Venter: Crippled of Love / Krank van Liefde. Medium: Handmade paper with dried leaves and beads, paper collage on linen book cover, button. Dimensions: (Framed) Width 95.00 cm, height 71.00 cm, depth 3.50 cm

Exhibition details: Opening 9 August 2020 Follow us on social media for updates. Facebook: NWU Gallery Instagram: @NWUGallery Twitter: @NWUGallery

I found this very old book on the pavement in a wastepaper container destined for recycling. The original cover of this book is handmade from linen, handsewn with cotton thread on

SOUNDS IN SOLITUDE Andrew Ntshabele and Stompie Selibe

24 July – 30 September 2020 Curated by Karen Cullinan and Lynette van Tonder www.Artyli.com

Andrew says: “The Covid-19 pandemic has shifted how we interact and socialize. I’ve had time to reflect and to improve spiritually, physically and mentally. Solitude can be positive: a time to reset and refresh your life. The artworks presented show how COVID-19 has caused the world to let go of old ways and prepared it for a digital future. Solitude has caused me to listen, to think of the past and prepared me for the future. I believe there is still hope.” Music plays an essential part in the inspiration of Daniel Stompie Selibe’s art. Selibe’s studio practice is not silent but initiated by music with an spontaneous approach to his paintings. Abstract, free and vibrant, his art defeats lock-down depression. The same unscripted process used during musical improvisation is used to ignite Selibe’s playful self-expression. Using a variety of materials and mark making in his artistic process, which is therapeutic for artist and viewer alike.


ife has forced us to be silent and listen with new ears. Noisy routines numb the senses obscuring obvious problems or solutions. In solitude the inner voice becomes clearer, freeing pictures, poems and songs from the demand to perform, allowing them to just be. During isolation Andrew Ntshabele and Stompie Selibe produced diverse yet complimentary artworks for this exhibition. Andrew Ntshabele reflected inwardly during the period of solitude in order to reset and realign his life. Optimistic images of a happy young girl are superimposed over backgrounds, revealing society’s changing modes of communication, music creation, navigation and the news. He has been positively impacted by the lockdown.


Selibe improvises freely between audio and visual to produce rhythmic outbursts of colour in combinations of collage, abstract mark making and delicately placed textures. He purposefully deconstructs and reconstructs to create a fresh perspective. Stompie embraces new outcomes from old patterns with success. His work influences and shifts communities and so shapes the world. Selibe’s artworks are widely exhibited and appear in many prominent collections. Sounds in Solitude is a painterly duet by these two African Contemporary Artists, presented by Artyli.com as an exclusive online exhibition on Artsy. Physical exhibition at: Artyli.com Gallery, 6 Stanley Studios, Milpark, Johannesburg 29 July – 30 September 2020 Above: Andrew Ntshabele, There is room for hope 1 Opposite Page: Stompie Selibe, Before the war

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ith the Coronavirus outbreak changing the way everyone in the world is working and living their daily lives, artists are learning to adapt to a “new normal” as art fairs, exhibitions and workshops are indefinitely put on hold. COVID-19 has already rapidly changed the way that everyone—including artists and creative freelancers—will conduct business this year.

were feeling isolated and afraid, she set up a Facebook group called the “Cabin Fever Creative Community” to share the work that everyone was making during this time of sheltering-in-place. “I will use this time to finally finish setting up an online watercolor workshop that I have been thinking about for five years,” she added.

In an effort to understand how art careers are changing due to the Coronavirus, we asked artists how the outbreak has affected their careers and how they are planning to alter the way they approach their art businesses.

Full-time artist Terrill Welch is also taking her workshops online. While she said her art business was already well-positioned to function online with a website, Artwork Archive online gallery, social media following, and newsletter subscribers, she did add one twist to her online offerings as news of workshop cancellations began to spread.

What we found is that there were many commonalities in how artists were responding to the shifting professional landscape around them. While all the artists we spoke with experienced a level of loss from sales, delayed workshops, and cancelled openings, they were already planning ways to innovate and move their careers online.

“I immediately offered 200 seats free in my introductory Independent Study Skill Building Masterclass in oil painting,” she told Artwork Archive. This is to support artists and casual painters to get started painting in water-mixable or traditional oils while they are social distancing or self-isolating.”

Here are just some of the ways that artists have begun to change the way they run their art business during this time, and how you can too.

She said it’s just a small way that she can support others as an artist during these unprecedented times.

Strengthen your online presence In response to cancelled art shows, exhibits, conferences, workshops, and coaching sessions, artists are taking a positive approach to overcoming the challenges of the Coronavirus.

Increasingly over the last ten years, artists have learned to depend on online tools to run their art business and market their artwork. Now, more than ever, it’s time to harness and tap into the power of the internet to make connections and readapt your business to a changing landscape.

Visual artist Helen Klebesadel told us that she plans to focus more on online creativity coaching. “I will focus less on in-person teaching and creativity coaching for money, but will offer some online options,” she said in response to how she would be adjusting her art business in the face of the obstacles presented by COVID-19. Klebesadel is already planning for a year with a more limited income, but more time for making artwork. After noticing that some of her students


What can you do now to strengthen your digital presence? Here are some concrete ways to strengthen your business through your online presence during this international “pause”. Do a social media audit: Is your information the same across all platforms? Do the links to your social media accounts work? Are your bios strong and accurate?

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Offer an online workshop: Tools like Zoom, Facebook Live and even Google Hangouts allow you to teach a workshop from anywhere—even your couch. Here is a full list of tools for you to run your art business, teach online classes, conduct video conferences and more during the time of social distancing. Check-in with your contacts: When did you send out your last newsletter? Is your client list up to date? Have you organized your contacts into groups based on your relationships with them? Create new content: When was the last time you made a time-lapse video of you working on an artwork? Is there something you can teach or share about your process to engage your audience? Your online presence is important now and will continue important when we come out of isolation as well. Being online allows you not only the ability to communicate with those around the world also sheltered-in-place, but also creates ways to connect with your audience or with other artists. Focus on creating new work Artists are also using this forced downtime to create new work for the future, experiment with new series, and delve into longer-term projects. For visual artist Penny Heather, who is used to ramping up her year around the end of March and the start of April, but saw all of her in-person engagements put on hold indefinitely, she is quickly pivoting her focus. Heather told us her plan is to ramp up her creative productivity for an online market. “In the next couple of weeks, I am going to be maintaining production, focusing on creating new exciting works,” Penny told us. “I will be catering to a lower price point so I can more reliably sell online, which will be my primary market source. I will also try to secure more commission work.” What are the best ways to stay focused during this time? Set aside a dedicated space in your home to make your work. If you have a studio setup that works for you, mimic the layout in your home the best that you can. Work-from-home newbies are advised to create a space that is different enough from their non-work spaces. Set yourself up for success by limiting distractions and attempting to make a separate area where you can create. Create a schedule for yourself to manage your work availability. Artists are used to having nonstructured days, but it’s even more important now to give yourself a little structure. Can you give

yourself a set period of time each day to work on your art? Setting out dedicated time will help you produce and allow you to take a complete break when you aren’t working later in the day. Make sure you are leaving time to do the other things that will keep you healthy during this extended time in isolation. Having structured time for work will allow for time to exercise, make healthy meals, get enough sleep, connect with loved ones, and get outside. Keep your creative brain active and healthy. Take care of yourself to be in a headspace where you will be able to work and create. Make sure that despite the craziness around us, that you are kind to yourself and that you are making sure your needs are met. Participate in online creative prompt challenges to keep exercise your creativity. Organize your artworks and studio If there is something you have always said you’ll get around to when you have more time, it’s organization. If you’ve ever said, “If only I had a week off to just get this all done,” now is your time. During “normal life” it can be hard to focus your time and attention on organization activities. With deadlines, projects, social commitments, and events, the details often get pushed to the bottom of the to-do list. However, getting organized in both your physical studio and your business can help freshen up your art career and lay a solid foundation for when we are back to “normal.” Kristin Krimmel, an independent artist who had an exhibition close midway through the show is now working on getting organized. “I am self-isolating,” she said, “so I can spend more time at home reorganizing my studio and storage space, paint more, keep in contact with my art friends and fans, re-organize, think and read more.” What’s the best plan of attack for organizing your workspace and business? Get rid of what you can. Sometimes the designated space for something is in the trash or recycling. Maybe it’s time to detox your studio of harmful chemicals. Donate materials that you never use. The less clutter you have, the less you have to organize and the freer you’ll be to create. Designate a place. A sure-fire way to stay organized is by making sure every paintbrush, every piece of mail, or finished artwork has a designated space to call home in your studio or temporary studio. Tools you use often should be easy to reach. Try making a pegboard for your studio tools. Pegboards make it easy to see and put back all your tools, they use space wisely with vertical storage, and they are inexpensive—win, win, win.

Conduct an artwork inventory. If you are like most artists, you most likely have bits and pieces of this information all over the place. You have information on your website, at your galleries, in past publications, on your social media, and in your own records. Take organization to the next level by using a cloud-based system like Artwork Archive that keeps track of all your artworks, details and business details online helps you focus on what really matters in your career—plus, it’s free for 30 days. Document your past exhibitions. You can’t currently have in-person shows, but you should be keeping up to date on the shows you have participated in the past. The longer your career, the harder it is to remember past shows and exhibitions. Update your CV with your past shows and enter them in your inventory system to build provenance on your artworks. When everything is organized, you’ll be able to run your art business more effectively and have more room for creativity. You’ll be able to keep on top of projects and deadlines, give buyers, gallerists, and collectors the information they need to work with you and feel more in control of your art career. Think about how to use your skills to contribute If you have spare time, energy, or resources, think about how you can contribute to connect with and help other people during this crisis. As artists, we want to maintain a healthy and strong art community. Danielle Ziss, an artist, writer, and director who had all of her work indefinitely halted until at least May told us that she will be partnering with local nonprofits to provide online platforms for artists to show their work. She said she is, “a strong believer in making the best of any situation. When people have outlets to express themselves, they will experience less fear.” She hopes that partnering with nonprofits will allow a bigger platform for artists. With a larger audience, Ziss hopes that virtual performances and online art showcases will become an opportunity to fundraise money to support artists without income during this time. Here are some questions to ask yourself during this time. What skills do I have that I could help share with others right now? What information can I share to help support others? In what ways can I use my artwork and skills to help brighten the world around me? If I am in a place financially to offer support, how can I do this? Can I offer free seats in a class or organize a fundraiser?


Which groups can I partner with to provide support or aid? Is there a crowdfunded site already in my local region? To get you started, you can share these financial relief resources for artists experiencing the effects of COVID-19. Create community & connection through art The arts have always brought us together. Artists continue to innovate in the face of recent challenges and inspire the world around them to find new ways of connecting. One such artist that is responding with her community in mind is visual artist Victoria Helena. In the face of lost wages and delayed work, she launched a global collaborative art project called The Co19 Project. Her project works to collect and share creative expressions around the world. Other artists are connecting digitally through online lessons and by creating resources for their communities. Janet Sellers, a fine artist who was forced to cancel all of her teaching engagements due to COVID-19 is adapting to this difficult time by going online. “I will be sending out emails and teaching on Facebook and other places like Nextdoor.com. The students have enjoyed it enormously I think because they need something to do. I’m also creating coloring pages for people to buy and download to keep themselves and their kids busy and have fun.” While we might not be able to gather physically, we can still be together and foster meaningful community from a distance. How can you create connections in your community through art? Practice your digital handshake by reaching out to and connecting with artists and art groups that you respect. Make a list of groups that you are interested in, write an intro email and ask if you can be a part of their COVID-19 programming. Or, use this time to build out a list of people you plan to contact in the future. Plan out connections and collaborations digitally by finding like-minded artists. Propose a mini art-in-isolation type of collective. Use the art community to continue to inspire and motivate you. Seek out supportive groups. Join webinars, digital art critiques, remote book clubs, and create online versions of studio visits for the public. Just because the world has slowed down doesn’t mean that you have to lose your community.

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Record your artistic legacy You’ll want to ensure that your life and work as an artist are remembered and written into history. You devote their life to their work, spending decades honing your craft and producing works of art, putting your heart and soul into what you create. By building a comprehensive inventory and documenting your life’s work and story, you will ensure that your legacy lives on—plus, it’s something you can work on while you have downtime at home. So, how do we ensure that your life’s work is not forgotten in a pile of cardboard boxes at the back of a studio? How do we record our artwork, vision and voice to be remembered for generations to come? How do we keep the burden of protecting your legacy from resting on your family’s shoulders? Preserve your legacy as an artist should start with a complete and detailed record of your art inventory. When it comes to archiving your artwork, here are steps you can take to get started: Record the title, medium, dimensions, and creation date along with high-quality photographs for each artwork. You may also want to consider recording the original selling price, inventory number, and any other vital information about its creation or sale. Choose a program to organize your artworks and manage your inventory. Artwork Archive is an online inventory system designed to help artists keep and manage a complete catalog of their artworks in order to preserve their artistic legacy. Think beyond the titles and dimensions, in order to record your artist legacy in a more comprehensive way. “Vision, technique, process—they are all essential to understanding an artist’s lifetime and legacy,” explains CERF+’s Mark Leach. “Authentic artistic legacy is reflected in and through an artist’s actions, words and thought. Together, these provide the public with a close sense of the artists’ peculiarities of style, technique, and influences.” Plan for the future While we aren’t quite sure when things will return to “normal,” it’s always a good idea to plan for the future. Even if residency programs in the next few weeks or months might be put on hold, you can take this time to prepare application materials for future use. Fill out a calendar of various opportunities that you’d like to apply to and make a plan for when you are going to get going on your applications.

Here are a few resources to help you plan for the future: Review all of your application materials. Revisit your artist statement, bio, CV and resume. Upload your most current version to your Docs section on Artwork Archive to have them ready to apply. Get tips on writing a strong artist statement here. Create a marketing calendar. With possibly more downtime right now, focus on what you can control. You can still make work and you can still create content or campaigns. Plan out the next few months by front-loading your content creation and promotions strategy. Take pictures, create videos of your work, strategize on your next online sales and don’t release it all right away. Use the time to build up an online library that you can count on when you get back to a busier studio and exhibition schedule. Seek out new opportunities. When your regular routine has been shaken up, it’s a perfect time to look into doing things differently. Apply for a grant or exhibition to keep things going. Find your next opportunity in the Complete Guide to Artist Grants and Opportunities in 2020. Commit to your goals. As an artist, you’re not only in the business of expressing yourself creatively, but you’re in the business of running a business. Hit the reset on your creative goals with these tips or spend some time filling out these financial goals worksheets. There are challenges, but artists are innovating It is no surprise that artists are getting creative with new ways to build community, support themselves and others and keep creative. While the way we are used to doing business in the art world has temporarily changed, artists are finding new ways to innovate, move online, and stay connected. We may be mourning the loss of cancelled events, shows, and fairs, but there are new opportunities to connect and bring art to new audiences during this time.

A mock-up of “Boijmans Ahoy Drive-Thru Museum.” Courtesy of the Museum Boijmans Van Beuningen and Rotterdam Ahoy.

A Good Read


A Rotterdam Art Museum Is Launching a Drive-Thru Art Exhibition With Works by Bas Jan Ader, Paul McCarthy, and Others Published on Artnet News, July 17, 2020


ere’s a thought you’ve probably never had: “I wish I could drive through a museum like a McDonald’s pick-up window.” Well, a museum in the Netherlands is nonetheless giving art lovers the chance to do just that. Next month, the Museum Boijmans Van Beuningen in Rotterdam is launching a drive-thru art museum for electric cars. The idea, of course, is to bring the concept of a public museum to a space where people can experience art from a safe, isolated distance. The museum will project some 40 works from its collection on screens at the Rotterdam Ahoy, an arena in the Dutch hub. The three-weekshow will look at “man’s complex relationship with nature,” according to its description, asking viewers to consider this dynamic from the metal machinery of their vehicles. Among the artists whose works are “going on view” are Bas Jan Ader, Paul McCarthy, Ugo Rondinone, Joep van Lieshout, and Jim Shaw. On site will also be in-person installations by Bas Princen, Trenton Doyle Hancock, and Anselm Kiefer, among others.


“We are extremely excited that everyone in the museum has endorsed this plan and that we have been able to realize such a beautiful project in partnership with Ahoy within such a short time, with funds that have been raised extremely quickly from foundations and sponsors,” said Sjarel Ex, director of the museum. Each day, 750 visitors will be allowed to see “Boijmans Ahoy Drive-Thru Museum,” which is set to run August 1-23. Those interested can arrive with their own electric cars or borrow one on site. From there, they’ll drive around the 33,000-square-foot space on a track that will regulate speeds at a walking pace. The Museum Boijmans Van Beuningen isn’t the only effort to merge the museum experience with the magic of a drive-in theater. Last month, event organizers in Toronto created a driveable exhibition dedicated to Vincent Van Gogh after a more traditional, walking show was canceled. Tickets to the 10-day event, which was presented as a light and sound show, sold out before the opening.

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Aimee Lindeque Alet Swarts ChloĂŤ Jayne Emma Blencowe


Moving backwards is still moving

Kirstin Warries Nina Holmes Sue Greeff Yvette Hess

LegakwanaLeo Makgekgenene Malwande Mthethwa Shana-Lee Ziervogel Elijah NdoumbĂŠ

Alice Toich Femme Bodies: The relationship between a

Lamb of Lemila Ranji Mangcu Rona

female painter & her models

06.08.2020 +27 214224145 | 69 Burg Street,Cape Town info@eclecticacontemporary.co.za| www.eclecticacontemporary.co.za

A Good Read


It was long believed-wrongly-that the artist died of syphilis. Published on Artnet News, July 20, 2020

“We are sure that bloodletting contributed to Raphael’s death,” Michele Augusto Riva, one of the study’s authors, told the Guardian. “Physicians of that period were used to practicing bloodletting for the treatment of different diseases, but it would not generally be used for diseases of the lungs. In the case of Raphael, he did not explain the origin of the disease or his symptoms and so the physician incorrectly used bloodletting.” Riva and his team point to Italian historian Giorgio Vasari’s description of Raphael’s death, in which the Pope sent Rome’s top physicians to tend to the ailing artist. But in an effort to hide his romantic exploits, Raphael refused to tell them about his “frequent night outings in the cold” to visit lovers, per Vasari’s account. Raphael, Self portrait (1506-1508)


New Study Suggests the Real Cause of Renaissance Master Raphael’s Death Was a Disease Similar to the Coronavirus. It was long believed—wrongly—that the artist died of syphilis. Raphael’s reputation for having a wild sex life has long fed myths that the Renaissance artist died of syphilis in 1520 at age 37. But 400 years after his death, medical researchers have finally put that tall tale to rest. According to an article that appeared this week in Internal and Emergency Medicine, a journal published by the Italian Society of Internal Medicine, the painter likely died from a pulmonary disease. The researchers at the University of Milano-Bicocca who authored the report say the illness was wrongly identified by physicians, who treated the feverridden Raphael by bloodletting with incisions or leeches—a process that likely sped up his death rather than aiding in his recovery.


“A medical mistake, and his own mistake in not faithfully recounting his history, contributed to Raphael’s death,” Riva summed up to the AFP. (A good lesson: tell your doctor the truth!) Notably, the true cause of Raphael’s death was a pulmonary illness that Riva described as “very similar to the coronavirus we’ve seen now,” including a continuous fever. A child prodigy, the artist, whose full name was Raffaello Sanzio da Urbino, was among the most celebrated artists in Europe at the time of his death. Today, he’s considered one of the three most influential creators of the era alongside Michelangelo and Leonardo da Vinci. A comprehensive, once-in-a-lifetime show of the artist’s work is on view now at the Scuderie del Quirinale in Rome.

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08.08 - 05.09.2020

A Good Read


A UK Museum Challenged Bored Curators Around the World to Find Art History’s ‘Best Bums.’ See Their Cheeky Responses Here Museums all over the world submitted their finest fannies. Published on Artnet News, July 15, 2020


hree months ago, the Yorkshire Museum went viral when it challenged fellow museums to share the creepiest objects in their collections. Things got weird, fast.

Now, the small UK institution with outsize socialmedia influence has thrown down another gauntlet. And it’s decidedly… flashier. For its weekly #CURATORBATTLE series in late June, the venue put out a call for the “Best Museum Bum.” Setting the example, they shared a picture of a Roman marble statuette depicting “an athlete at the peak of fitness.” The butt? Decent, for sure. But then institutions around the world took a crack in an attempt to up the ante. The results, predictably, were all over the board. For every fine fanny there was a heinous heinie. For every classy ass, a humble bum. For every cute glute—well, you get the idea. A UK Abbey submitted a sensuous male nude with cushy tush by English artist William Etty, while the Ashmolean Museum in Oxford contributed a statue of Zeus bearing a behind befitting a god. Others were cheekier. The Ukiyo-e Ōta Memorial Museum of Art in Japan weighed in with a Sumo rear courtesy of Hokusai and the Fred Jones Jr. Museum of Art at the University of Oklahoma shared a bodacious Botero. Others were just plain ASS-inine. A medieval bull relieving himself and a stooped-over trout with legs? Come on. The Yorkshire Museum’s #CURATORBATTLE series has been a huge hit since it launched in March to foster a sense of community among shuttered arts and culture institutions. Previous challenges include calls for mysterious objects, best dogs, and interesting interiors. This week’s (more modest) “#TremendousTransport.”



Us, though, we’re still stuck on those derrières.


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In Remembrance

ANTOINETTE MURDOCH 1972 – 2020 By Gordon Froud


he art world has lost a very fiery and colourful character, Antoinette Murdoch; Artist, arts administrator and former head of the Artbank- Jhb and the Johannesburg Art Gallery (JAG). I have known Antoinette since she was an exceptional student at the then Wits Technikon in Jhb. Her work as a student was best known through her iconic series of wedding dresses made entirely out of tissues, embroidered, smocked and exquisitely sewn together as a statement around women and the roles they are required to play. Her solo exhibitions at the Civic gallery, Spark and most recently at Circa continued the themes of the role of women and the perceptions of women in society. Her work was skilfully made, charted new material uses (like the use of tape measures, felt or carpeting as a medium) and was loaded with social commentary often with a sharp and acerbic sense of humour and wit. I got to know her better when she was appointed as curator/ manager of the Civic Gallery where she came into her own as an administrator and feisty champion of the arts within the Civic Theatre complex where she fought for the gallery to remain open. (This sadly is no longer so). Later on, Antoinette took over the running of the Jhb Artbank – an initiative that I had helped to get off the ground. Sadly, again this did not get the local government support that it needed and was closed down and sold off. She fought hard to make this work but lost out to the powers that be. All the while, she was


making her own art and raising two beautiful daughters. She showed on group exhibitions at Gordart Gallery (which was my space at the time) and other spaces in Jhb and taught at various tertiary institutions like LISOF Fashion Design College. When the Chief curator position opened up at JAG, Antoinette was appointed and her fight for the arts continued. She engaged with Jhb city officials in every possible way to repair the aging building, she worked on policies for the collection and supported the Friends of JAG in their efforts to raise funds and provide money for acquisitions. Her days became increasingly frustrated taken up by endless city council meetings and lobbies on behalf of JAG. Because she was an opinionated fighter, she bore the brunt of antagonism from many in these meetings who made their fight personal. In spite of this, she was able to get funding to initiate various phases of the roof and building repairs that are still ongoing to this day. These fights took their toll on her mental and physical self, culminating in her resignation while at breaking point. This resulted in her publishing a scathing open letter about her experience at JAG. Her health suffered as did her state of mind. After a selfimposed break, she started making artwork again and engaging with the art world through her work with Stephan Welz and Co auctioneers as a consultant. Sadly, her situation worsened to a point where she was isolated again. My last engagement with her was her contribution to the Ampersand Foundation Award 21st Anniversary exhibition at the University of Jhb Art Gallery that I curated in September 2019. At that point she was already frail and disoriented. She remained fairly reclusive from that point onward and only really engaged with family and close friends by telephone. It was with shock that we learned of her succumbing to COVID related complications. I pay tribute to her talent as an artist, her role as a mother and a feisty fighter for the art world in South Africa. Antoinette leaves behind a legacy that will be continued by her daughters Zoey and Mia. RIP dear Antoinette – may you find peace at last. Gordon Froud 2020

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Business Art News

STEPHAN WELZ & CO. Cape Town Auction 4-5 August 2020 www.swelco.co.za


he upcoming Stephan Welz & Co. Cape Town auction will be taking place on the 4th and 5th of August, and there are a number of highlights that are sure to interest collectors. Bidding opens online from the 28th of July, and live bidding will take place from the 4th through to the 5th of August. As we wait for the lots to go under the hammer in August, the Johannesburg team is preparing for an equally exciting sale in September. The auction industry has faced many challenges during the nation-wide lockdown, but at a time when the country has had no choice but to slow down and take a step away from the bustle of the art scene, our specialists have had the luxury of being able to explore, and truly connect, with some of the works that will be offered on the upcoming Fine Art and Design auctions in both Cape Town and Johannesburg. Our art specialists have been afforded the opportunity to dive into the imaginative world of Salvador Dali and we are pleased to present a wonderful collection of woodcut engravings from all three of the Divine Comedy series portfolios, namely: Inferno, Purgatory and Paradise. The eccentric, sometimes bizarre imagery seen in these works acts as a surrealistic visual translation of Dante Alighieri’s poetic concepts of the soul’s journey to through loss and suffering to ultimate redemption. Robert Hodgins presents a more humorous form of whimsy in his work American Beauty, indicating a sheer sense of delight in the use of bold colour and stylized composition. The artist’s use of a vibrant orange, and his clear definition of space, creates the stylistic quality that has become synonymous with Hodgins’s name. While the work’s palette and subject matter


Salvador Dalí (Spanish 1904-1989), Dante Purified (Purgatory 33), wood engraving in colour on woven paper (after a watercolour), 33 by 26,5cm.

are seemingly uncomplicated, the artist skillfully presents this as a deliberate action through accomplished layering of tones, and manages to distill the depth and character of his subject. Stephan Welz & Co. looks forward to presenting multiple works on the September sale by Walter Battiss, another cherished South African artist known for his use of exciting colours and texture. While Frangi Pani and Boy may not make use of the brilliant and bold colours that have become synonymous with the artist, Battiss’s use of colour and tone creates an atmosphere of concentrated contemplation that ultimately allows him to tell his stories through colour. The artist’s sensitive approach to the subject

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Robert Griffiths Hodgins (South African 1920-2010), American Beauty, lithograph, 76 by 57cm, R15 000—R20 000 64

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Walter Whall Battiss (South African 1906-1982), Frangi Pani and Boy, watercolour on paper, 28 by 38,5cm, R8 000—R12 000

Walter Whall Battiss (South African 1906-1982), Blydskap, oil on panel, 29,5 by 41cm, R30 000—R50 000

Tinus de Jongh (South African 1885-1942), Winter Stream, oil on canvas, 78,5 by 97,5cm, R60 000—R 90 000

matter shows his ability to insert context and life into a simple scene, and is contrasted and complimented with the naturalistic oil, Blydskap.

the artist’s relocation to South Africa, where he adopted a richer colour palette that captured the unique warmth that washes over the South African terrain.

While Tinus de Jongh is most known for his prolific representations of South Africa’s landscapes, the artist’s upbringing and education in the Netherlands created the grounding for his style and approach to his depiction of those scenes. De Jongh was trained in the fundamentals of painting and traditional paint techniques during his time at Ambachtschool, Amsterdam. The traditions of Dutch painting are showcased in this fine, sombrely coloured landscape, Winter Stream, which was completed before

The upcoming Johannesburg auction will showcase many exciting works by local and international artists of stature, including pieces by, among others, Alexis Preller, J.H. Pierneef, John Muafangejo, Cecil Skotnes and Deborah Bell. For more information about the works discussed in this article, please contact Stephan Welz & Co. via email at info@swelco.co.za or via telephone at 011 880 3125.


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Business Art News

STRAUSS & CO Welgemeend Art Month August 2020 www.straussart.co.za


elgemeend Art Month, a firm favourite on the Cape Town August art calendar for the past seven years, will take on a different format this year. Four online (Zoom) discussions will be presented on the Strauss & Co platform, covering interesting topics concerning the historical homestead of Welgemeend, Boerneef the poet and collector, the Boerneef Art Collection housed at Welgemeend, and the behindthe-scenes excitement and highlights of exhibitions held during past Welgemeend Art Months. Strauss & Co specialist Dr Gera de Villiers will present a talk on the rich history of Welgemeend (which was built in about 1693) and the people associated with it, drawing on the in-depth research she has carried out. Amanda Botha, who knew the academic and poet, Boerneef (Izak Wilhelmus van der Merwe), will talk about his life, his love for art and his connection with Welgemeend, in conversation with other guests. Senior Strauss & Co art specialist Wilhelm van Rensburg will discuss selected artworks from the Boerneef Art Collection, including works by Irma Stern, Alexis Preller, Maggie Laubser and Cecil Higgs, among other South African artists.

(Deatil) Jean Welz, Stillewe Papaja, From the Boerneef Art Collection. Right: Florence Zerffi, Groenteverkopers, From the Boerneef Art Collection


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Above: Alexis Preller, Mango. Below: Maggie Laubser, Werkershuisie Oos. Opposite Page: Irma Stern, Die Blompot, From the Boerneef Art Collection

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The chairperson of Strauss & Co, Frank Kilbourn, and his wife Lizelle, who were instrumental in establishing Welgemeend Art Month, will along with Strauss & Co Art Specialist Matthew Partridge provide a glimpse into how Welgemeend Art Month exhibitions have been curated over the years and discuss some of the works that have been on display. Welgemeend Art Month was originally created as a fund-raising initiative for the restoration and maintenance of the historic Cape Dutch homestead, and in this spirit, Frank and Lizelle will donate a work of art from the Kilbourn Collection that will be auctioned by Strauss & Co in aid of the Friends of Welgemeend. Welgemeend Art Month is a collaboration between the Friends of Welgemeend, Frank and Lizelle Kilbourn, Strauss & Co, Delaire Graff Estate and others, with the support of Jan van Riebeeck HoĂŤrskool. Program of Zoom Talks August 2020: Thursday 6 August at 4pm The Life and Legacy of Welgemeend Homestead conducted by Dr Gera de Villiers, Art Specialist, Strauss & Co Thursday 13 August at 4pm Boerneef the Poet, the Academic, the Collector and his Friendship with Artists conducted by Amanda Botha, Art Journalist and Writer Thursday 20 August at 4pm The Boerneef Art Collection conducted by Wilhelm van Rensburg, Senior Art Specialist, Strauss & Co Thursday 27 August at 4pm Six Years of Exhibitions at Welgemeend conducted by Frank and Lizelle Kilbourn and guests Further information about the series of online Zoom talks and the artwork to be auctioned will be available soon. www.straussart.co.za

Alexis Preller, Drie Figure, From the Boerneef Art Collection


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Business Art News

COLLECTING PHOTOGRAPHY Aspire Art Auctions www.aspireart.net


he collecting audience for contemporary photographs is global and growing exponentially, underscoring the broad appeal of the medium to collectors. Increasingly an important part of major museum and private collections around the world, the debate on photographs as merely a tool for visual documentation has been challenged, with photography now holding its own as an esteemed fine art medium, comparable to other practices. A wealth of major exhibitions, art fairs (like Paris Photo and Photo London) and new spaces dedicated to photography exists, indicating the increased prominence of photography as a collecting category in the art market. Both the global development and the rise of value in the photography market show a sometimes intermittent but consistently upward trajectory over the last three decades. For instance, between 1990 and 2017 (representing a period when the performance of photography was reliably measured) auction turnover for photography rose 1,330%. In 1990, the average price for a photograph at auction was close to $5,000. Today, the average price is more than double that – with the first half of 2019 reflecting an average of around $11,800. Yet the entire segment still accounted for just 1.1% of global fine art auction turnover in mid-2019. This indicates a highly specialised market with plenty of room for growth in its prices and collector base. With increasing interest in collecting from Africa, nascent markets like those in South Africa, Mali, Kenya and Nigeria present good opportunities. Considered one of the most popular contemporary art forms on the continent, a substantial number of artists work exclusively with photography – or as part David Goldblatt, A miner waits on the bank to go underground, City Deep Gold Mine, 1966, printed later.


Guy Tillim, Portraits II, IV, V, VII, VIII, IX, X, XI, XIII and XIV (Mai Mai militia in training near Beni, December 2002), 2006


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Mohau Modisakeng, Ditaola XV, 2014

Mary Sibande, Her Majesty, Queen Sophie, 2010. Opposite Page: Cyrus Kabiru, Macho Nne 09 (Caribbean Peacock), 2014.

“Aspire Art Auctions has nurtured a passion for the medium of photography and an unwavering belief that the work of South African photographers is amongst the most rigorous and compelling lens-based art produced today.” of their mix of mediums. Prominent names include Malian Malick Sidibé, Kenyan Cyrus Kabiru and Zimbabwean Kudzanai Chiurai, as well as South Africans like David Goldblatt, Guy Tillim, Pieter Hugo, Mikhael Subotzky, Mohau Modisakeng, Athi-Patra Ruga and the much sought-after Zanele Muholi. Aspire Art Auctions has nurtured a passion for the medium of photography and an unwavering belief that the work of South African photographers is amongst the most rigorous and compelling lens-based art produced today. The company’s emphasis on the excellent quality and incredible value inherent in the photographic tradition is evident in their consistently strong results. Aspire holds several international and local auction records for important photographers like Pieter Hugo, Guy Tillim, Mohau Modisakeng, Mary Sibande, Robin Rhode,


Steven Cohen and Mikhael Subotzky. In 2017, Aspire was the first South African auction house to handle a photographic work by internationally acclaimed performance artist Marina Abramović. As a specialist in the field, Aspire regularly sources rare examples of highly collectable photography including images uniquely handprinted, like David Goldblatt’s hand-printed gelatin silver prints. Most recently, Aspire’s collaborative auction with French auction house Piasa in June saw a new world record for such a photograph by Goldblatt which sold for €32,500, exceeding Aspire’s previous record at auction for a single work by the artist. Given the rising global popularity and interest in photographs, how should art lovers go about growing their own collections? First and foremost, collecting the medium involves, as

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Malick Sidibé, Dansez le twist, 1965, printed 2007.

with all other types of art, a passion for the work. It also invites an engagement with and an understanding of various types of prints and their condition as these factors are largely affected by light, humidity and temperature. To better safeguard the condition of photographs, a general rule is to avoid their exposure to direct or harsh light and to place them in a fairly dry and cool room, which will lessen the chances of mould growth, warping and general decay. Additionally, avoid touching photographs with bare hands and be sure to wear appropriate gloves when handling is required. Also crucial to the collecting process is understanding editioning. Edition sizes and numbers can vary widely and are factors that will affect the price. Generally, certain principles of collecting value hold true – handmade prints by the artist as well as


signed and unique prints will generally be more valuable, as will editions with good provenance or those smaller in number. Socalled ‘vintage’ prints, made immediately or shortly after the negative is created, will also generally be of higher value. The latter, however, is not necessarily an indicator of better quality. Additionally, some prints may have been produced posthumously. Aspire has made meaningful advances in developing the market for photography at auction and the carefully curated selection of photographic works in upcoming auctions will excite new and discerning collectors. For more information on photography or buying and selling photographs at auction, visit www.aspireart.net.

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Nonzuzo Gxekwa X Pierre le Riche //thread THK GALLERY 52 Waterkant Street, Cape Town t: +27 (0) 87 470 0178 | e: office@thkgallery.com | w: thkgallery.com/


Emma Blencowe, Gorgeous, 29.7 x 21cm, Food colouring on hot press watercolour paper, 2019, Eclectica Contemporary

131 A GALLERY WINTER GROUP SHOW 20/07/2020 - 15/08/2020 WWW.131AGALLERY.COM

Conrad Botes, Untitled Landscape, 2017, Oil on canvas, 200cm x 80cm



Lauren Redman, 2019, Oil and Acrylic on Canvas, 120x90cm

Andrew Ntshabele, There is room for hope 2 (Detail)


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Next Auction Sunday 2nd August 2020 Live online only

Fine Art, Antiques, Persian Rugs, Collectibles Now accepting entries Tienie Pritchard (SA, Born 1938)

Irma Stern (SA 1886 - 1966)

www.5aa.co.za 011 781 2040 404 Jan Smuts Ave Craighall Park, Sandton Enquiries: stuart@5aa.co.za Trusted Fine Art Auctioneers Since 1985


Philip Steele, Without Giving Way, Still from digital film, 2019


Aldo Balding, Los Caracoles IV, 90 x 120 cm


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Art, antiques, objets d’art, furniture, and jewellery wanted for forthcoming auctions

John Ndevasia Muafangejo, linocut SOLD R 24,000 View previous auction results at www.rkauctioneers.co.za

011 789 7422 • 011 326 3515 • 083 675 8468 • 12 Allan Road, Bordeaux, Johannesburg

nathi@artistproofstudio.co.za • +27 71 835 8602



Lwando Dlamini, Self Portrait II, Oil Thread and Zipper on Canvas, 82cm x 59cm, 2020


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LegakwanaLeo Makgekgenene, Seipone sontaga le Mangeloi, (Mirror/reflective Sunday with the angels), 80 x 60 cm, Digital photomontage, 2020


Liberty battson, Unprecedented Line, Hyundai, 2020, collage on fabriano Artistico (Detail)


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Julio Rizhi, Mapping, The Now Part 5 (Detail)


Oliver Scarlin, Papaya On Green Plate, 30 by 35cm, oil on panel



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Marna de Wet, White Sleeve, Pencil & oil on old book cover, 2020

Anico Mostert, Let’s talk about it, Oil and Acrylic on canvas




(Detail) JP Meyer, Trophy Average, Acrylic on Canvas


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Marolize Southwood, Pretty Pressed, 2020, Oil on paper, 140 x 120mm



Alecia Loxton, Blinded by Faith, Oil on Canvas


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Ulrich de Balbian Fine Art Foundation. Home.Studio.Gallery. ulrichdebalbian.org Painting/video library. Torch night tours. Several galleries. Garden installations & exhibitions. 17 Vierde Laan MoorreesburgW. Cape. 0844604541 ravenyoung1806 @gmail.com

SA Print Gallery We buy and sell investment prints 109 Sir Lowry Road, Woodstock, Cape Town Tel 021 300 0461 gabriel@printgallery.co.za www.printgallery.co.za Spilhaus, Nita 1878-1967, Corner of Table Mountain, 1920 ish

ONLINE-ONLY AUCTION Modern, Post-War and Contemporary Art, Decorative Arts, Jewellery and Wine 27 August - 7 September 2020 www.straussart.co.za Peter Clarke, Passing Yacht (detail) R8 000 - 12 000

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Art Times August 2020  

Art Times August 2020  

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