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BUSINESS ART JULY 2010 | E-mail: | Member of the Global Art Information Group

William Kentridge wins the coverted Kyoyo Prize

William Kentridge, the South African artist whose self-professed “stone-age” animations have dealt with apartheid and its legacy as seen through the lives of humanistically-sketched individuals, was selected as the winner of this year’s Kyoto Prize. The award, similar in status to Nobel Prize in Japan, is bestowed annually by the Inamori Foundation to recognize three visionaries in the categories of arts and philosophy, advanced technology, and basic sciences. Along with the other two winners — skin-cell researcher Shinya Yamanaka and mathematician Laszlo Lovasz Kentridge will receive 50 million yen ($550,000 or R 4.1 M), an honorary diploma, and a 20-carat gold medal in a November ceremony in Kyoto. Kentridge was chosen by the award committee for creating “a new contemporary vehicle of artistic expression within which various media fuse together in multiple ways” and for his “deep insight and profound reflection on the nature of human existence,” according to a statement announcing the prize.

New format for ArtLife to follow in August The SA Art Times- Art Life Artist’s Supplement will come out as a Magazine format (roughly a standard A4 magazine) in August’s SA Art Times. The decision was taken by Gabriel Clark-Brown in wanting to be able to focus The SA Art Times branding as a cutting edge local and international art news and issues newspaper, and The Art Life Magazine as more of an artists lifestyle magazine that could be easly consumed by a wider art buying public who enjoy art diversity.

William Kentridge and Jillian Ross of David Krut Publishers view William’s latest prints from The Nose Series, Johannesburg.

An artist’s incentive wins the day after endless floundering of City Council and Vansa art policies ‘Exuberance’ takes up it’s city place: Van Nazareth’s controversial sculpture unveiled Melvyn Minnaar It may well later become known as the city’s well-travelled public artwork. It certainly has arrived amidst controversy, but Herman van Nazareth’s ‘Exuberance’, a massive bronze on a raised pedestal of two figures, was positioned in downtown Cape Town just as the Fifa World Cup was to kick-off - and thereby hang a tale. Mostly one of egg on the face of the nescient city council and its hapless so-called art and culture department. The new giant sculpture was placed on the seaside corner of the Naspers building on the Foreshore, opposite the Heerengracht circle. It’s a temporary position, but has re-activated the area with public art. It faces Gavin Young’s Man opposite at the CTICC, and the exquisite Bartolomeu Dias statue on the circle amidst the flags. Naspers agreed to place the sculpture after the Cape Town city council rejected it for a space near the new stadium. Van Nazareth, a well-known Belgian-South African artist who had a large public showing of his humanoid sculptures at the last Beijing Olympic

Games, had offered the work for temporary or permanent display at the soccer stadium. At the unveiling of the work, Naspers chairman, Ton Vosloo, was scathing of the city council’s behaviour and rejection of the modernist piece. The city council, who had neglected to include any plans or budget for the billion-rand building, hastily got it’s art and culture department to engage Vansa as ‘service provider’ (sic!) when a number of artists and others submitted ideas and proposals for public art around the stadium and new park. Vansa got a committee of sorts together which did the safe thing of sitting on the fence. In the process the Van Nazareth project, which had been funded by the artist himself, was rejected. Naspers agreed to house the sculpture temporarily. It may well travel to some other spot. Meanwhile it is cutting quite a figure, in a manner of speaking, on the Foreshore.

Join Joshua Miles for a refreshing Woodblock Printmaking Class, Prince Albert Join Joshua Miles for a two day colour reduction block woodcut workshop from Sat 07 to Sunday 08 August at the famous 7 Arches Gallery in Prince Albert. Contact Brent Phillips-White 0827492128, or The Prince Albert tourist office at 023 5411 366 for more information on prices and what to bring, as well as the many beautiful places you can stay in this exquisite part of the Klein Karoo.

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Do we respect our South African Artists? By John Smith Things appear to have changed so much since I was young. Maybe you too can remember that the local GP was treated with utmost respect and even awe. If the doctor had to be called out you would be dragged to the bathroom regardless of your condition and were scrubbed, combed and attired in clean fresh pyjamas. Fresh flowers would be displayed and the reception would be tantamount to receiving Royalty or some great celebrity. That doesn’t seem to happen these days, and perhaps that is because doctors don’t like to make house calls any longer and so have lost their aura and mystique, or have we just lost respect for just about everything and in many cases that includes ourselves? When I was a little boy and living near Vereeniging in the then Transvaal, my dad came home one day in a very rare state of excitement. The cause of the excitement was that two British artists, Littlejohn and Langton, had opened a studio on the banks of the Vaal River. It was understood that this was really a wonderful stroke of luck for us ‘Platteland’ plebs as they were considered to be highly regarded in the U.K and so we really were fortunate and blessed. The very first Sunday at the end of the month I think it was, we were again scrubbed and dressed in our ‘going out’ finery and deposited into the back of my dad’s Vauxhall, and so transported to what was one of the turning points in my life. That was to visit the studios of real live international artists. To us it was a mystical place with walls covered with huge oils and delicate watercolours, and where cool light from lofty windows showered the room in a kaleidoscope of hues. It was mesmerising, and I can remember that experience clearly after all these years. What also impressed itself on me was the hushed tones in which people spoke, and the awe and respect that my dad and other visitors had for the artists and their work. I really do not know if their work was that good or not. I was too young, but I do remember that the lady across the road, who was a Mrs. Truter, had bought one of the works and for some time after that she had a steady stream of admirers paying homage to her reclining nude. Perhaps it was not the painting they had come to see after all. This may be a good place to stop and consider what this thing known as respect and also self respect are. My Collins dictionary says the following: Respect: 1) Consideration. 2) An attitude of deference. 3) The state of being honoured or esteemed. That is pretty straight forward? Also, Self–respect: n. A feeling of confidence and pride in one’s own abilities and worth. An attitude of deference, admiration and regard is what we used to feel for people who had exceptional or advanced skills, but do we still feel that way today? Perhaps this is peculiar to baby boomers and those that came before, but I have always had this great respect for skilled artists, and that includes my peers, but am I alone in this now, because there no longer appears to be much respect for people who excel in the things that really matter like maths and science and the arts. There is the story doing the rounds about one of the world’s greatest violinists who was asked to play his wonderful music in the subway of an underground station, and hardly a soul even noticed him or stopped for a moment to listen to this famous artist. Strange then that there are those that pay huge amounts of money to hear him in concert. Does this mean that only some people have respect for great artists but the rest not? Or is it we only respect people when there is a high price attached? Why would that be? Breeding, education or ignorance? My wife Ingrid puts forward the premise that perhaps the bulk of us have no opinions or particular taste, and are swayed this way and that by the media or those that we deem to be experts. There was no media hype when the world famous violinist played in the subway so people had no opinion at all and ignored him. I’m sure there are many opinions relating to this. Sports people, pop singers and movie actors are idolised but great scientists, mathematicians and the people who bring us healing and advancement are seldom mentioned at all. Perhaps they are mistakenly seen as boring, even though civilisation could hardly exist without them? (Personally I see great art and scientific and engineering discoveries so much more exciting than some repetitive sports match or game, but then perhaps I’m boring and un-cool too?) When looking at rewards it appears to be those that would hardly affect the course of humanity in any meaningful way who are so ridiculously and excessively rewarded. I do feel it is strange that every stage of our advancement as civilised humans has been essentially through discovery, arts and science. All great heroes of the past fall under that group. In all of history whereas great discoverers and artists are revered, no sports heroes have been remembered until very recent history. So what has brought about this misguided change? Sadly now many great and skilled artists fall mainly into the poorly rewarded category, whereas the equivalents of the visual furniture or décor artists are handsomely rewarded by society. One needs to stop here and think about this – why is it so? Has our society become shallow and myopic? I think in the main it has. I wrote an article in 2004 just after a list of ‘100 GREATEST South African’s’ had been published. Out of those top 100 eminent people only one was an artist. That was Pierneef, and he figured pretty low down on the list. I’m sorry I do not have that list any longer because it would be interesting to look back and see who were considered

the ‘Greatest’. Who of those are still considered the greatest? Perhaps a 2010 list would be even more revealing. I have little doubt that the importance and respect for our artists would not have changed to any great extent since that last list. Who do we really consider important now? Do any of the readers of this ‘Thoughts’ article have any ideas, and would they perhaps like to shed some light on this phenomenon? I think the root of the problem possibly lies in the fact that artists, especially visual artists, have little respect for themselves, and if this is the case then one can hardly expect anyone else to have respect for them. It seems the public have scant regard for artists in general now. For years I have heard academics making the claim that ‘easel painting is dead’ but it never ever was, and seemed to go merrily on and rise up again and again. Lately though I think that maybe they were right, but not in the obvious way. Not in that people do not paint any longer, or that there is no longer any need for paintings or sculpture, but in that standards and the values and respect that artists had previously enjoyed is no longer there, and so the thing that made painting, sculpture and art in general special has evaporated. Somehow artists no longer seem to demand respect, and have little respect for themselves or their creations, and are as one experiences daily, only too happy to prostitute themselves for a couple of Rands. Integrity is a rarity and even some of the well established artists will without a single pang of conscience steal someone else’s intellectual property, even while wailing that the country is going to pot and about all the crime, fraud and theft we are surrounded by. How very bizarre is this society, and equally the state of the arts? Money and sales are pursued in a frenzy by the non-academics, with little concern about the quality of thought and quality of work. At the same time many of the academics see selling art as obscene and to be ridiculed and then end up with garages full of unsold work which is also regurgitated and displayed in a frenzy each time there is the slightest chance of selling it. One only has to cast one’s mind back to the Brett Kebble exhibitions and the mad scramble there was to be included. It had little to do with art but a lot to do with greed. The whole thing is bizarre; but then art reflects the society it is made in, does it not? Here in Durban, once proud arts societies and arts organisations with proud members scramble to display their works in Shopping Malls. Not so much to show their understanding of art or to display their expertise but only for the unholy ‘buck’ (The buck is king we are told) I remember the artist Titta Fasciotti finding his work being displayed in the foyer of a Building Society. He went to the person concerned and introduced himself and asked for his work to be removed as he did not want it shown in that place or in that manner. The dealer refused to do his bidding so Titta went and drew money and bought his own paintings and took them away. It may seem foolish to some now but I take my hat off to him because he believed in his work and had pride in it. Sadly this is not often the case any longer. The question then again is do we as artists have any respect for our profession or our creations. Do we have respect for ourselves or our peers? I would say no, little or none at all. If I am correct and we have somehow lost respect, can we then expect anyone else to respect what we do or respect who we are? Although it seems more and more people are taking up painting, very few young people are joining art societies, or have any real interest in pursuing painting, sculpture or art as a career any longer, and the excuse is that they are too busy and life is too frenetic. Is that really the reason? Is it that, or is being an artist now seen as un-cool and too badly paid? Many misguided people believe that artists are coining it because of high prices but the truth is that the artists in many cases only receive a small portion of the asking price. Artists except this without a murmur, and again this thing, respect and self-respect are further eroded. Many galleries no longer even try and show art but either show academic experiments or on the other side ‘wall furniture’ I personally believe that the art work that publicizes the visual arts organisations, and the exhibitions presented are essentially a put-off rather than an attraction? Somehow we have lost the respect of the public by the work we are doing and how we present ourselves. People who respect themselves and their creative endeavours would only want to show their very best and in the best possible way. Are we doing that? Is the work we are presenting good and compelling or just ‘stuff?” Maybe we have not only lost the public respect and our self-respect, but also respect for those who achieve, have achieved, and made a huge contribution to our art and society. If by some chance I am correct in what I have said here, and there are those that will differ, but if I am correct then how can we put it right? Just perhaps some of you out there will give a thought to what we have spoken about here. Is it too late to turn things around? Perhaps there is no need to do that, and there is no need to mend that which is not broken. I think it is really worth taking a minute or two to think about where we are, where we are going and about this thing respect and how it affects our work and the society we live and bring our children up in Till next time…. From John Smith’s monthly newsletter: From my studio. John Smith is a practicing Artist based in Durban

Gabrielle Goliath and Carmen Sober win the Brait -Everard Read Award 2010

CIRCA on Jellicoe is proud to announce the up-coming exhibition of the two Brait-Everard Read Award winners Gabrielle Goliath and Carmen Sober. The winners work will be on show from the 15 July – 28 July

Brait and Everard Read, Johannesburg in collaboration with the University of the Witwatersrand School of Arts celebrate and host the Brait-Everard Read Art Award 2010. This prestigious award comprises a R30 000 cash prize, a fully sponsored exhibition, including opening event, as well as a full catalogue of the exhibition. This exhibition represents the School of Arts very best post-graduate work. It also gives Johannesburg insights into the academic environ, within a commercial gallery. The winners for the first time are responsible for and involved in all aspects of mounting an exhibition within a professional commercial environment.

Carmen Sobers’ exhibition Girl, You know it’s True uses photography, installation and performance to confront the viewer with the absurd and the ridiculous. She looks at the abject and the base and how only madmen are seen to revel in this; while a person who is seen as ‘normal’ would not. She challenges this distinct divide and raises important questions about the relationship between knowledge and belief as well as reality and illusion. Gabrielle Goliath’s exhibition Haunted by Memory probes into the darker aspects of the human condition. Many of her works produced thus far in her career set out to investigate the psychological effects of violent crime. Building on this theme she has created three new works for her current exhibition at CIRCA. The works are linked by the theme of deceased victims of violent crime. She looks at the experience of loss in the aftermath of violent crime as well as the shifting meaning of the scene of the crime after the event. Judges: Dr Federico Freschi (WSOA) Prof Jeremy Wafer (WSOA) Prof Penny Siopis (WSOA) Thembinkosi Goniwe (WSOA) Colette Ball (Brait Foundation) Lara Koseff (Assistant Editor, Classic Feel) Gina Mollé (Everard Read) Francki Burger (Brait – Everard Read Winner) Mary-Jane Darroll (Strauss & Co.)



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SA Art Times: Art Leader

Caitlin Hood (right) at her brand new gallery entitled The ORE Gallery (Observatory, Cape Town), whose gallery walls are made of steel

Caitlin Hood Caitlin Hood has worked as a spin doctor, fund raiser, BBC news reader, journalist, events organizer and publicist and information officer for the Design Council. Lloyd Pollak An inveterate globe-trotter, she has lived in Italy, France, Borneo and the Greek isles. She has been almost everywhere, and done almost everything, and travel and trans-continental experience, have given this feisty lady a gloss of cosmopolitanism and far wider perspectives than those of the Sloane ranger she might have become. She told me that as a shrinking violet of eighteen in County Down, she got engaged six times to suitors she didn’t fancy because she did not want to appear impolite. Now she has learned to utter this indispensable syllable and acquired a daunting confidence, tenacity and savoir-faire. Kate can immediately settle in wherever circumstances land her, sum up her surroundings, make contacts and spot opportunities. One expects such a mercilessly efficient go-getter to be as tough as blazes, but Kate combines chirrupy English bonhomie with self-deprecating drollery. When asked what brought her to South Africa, a radiant smile illumined her features, and suddenly she looked exactly like that icon of swinging sixties feminine pluck and independence, Julie Christie. Same smile, same alert blue eyes, same vigorously modeled bone structure, and crisp, no-nonsense London accent. “I came to Cape Town for medical treatment after breaking my spine whilst wind-surfing, and I was swept away. After Europe where everyone is guarded, wary and proprietary about their pitch, the South Africans bowled me over with their warmth, openness and generosity.” “I was also hugely impressed by the depth and quality of the artistic talent. South Africans do not appreciate just how good it is, and how eagerly it would be snapped up by international galleries. I wanted to participate in cultural life, make a contribution and have a stake in the country, and that’s why I decided to become a gallerist.” Kate worked for twelve years as a BBC journalist and hard-news

reporter, and she believes that that trained her eye, and paved the way to her becoming a dealer. “Painters continually pick out what is quirky, revealing and exciting, and when you shoot a program you do exactly that. You seek out the revelatory detail, the telltale gesture that will bring the news to life and produce insightful reportage.” As she strokes her puppy, Chloe, Caitlin lights her fifth cigarette and orders her fourth espresso, adding, “If something big happens anywhere in the world, you get to go there. One day you’re sniffing roses at the Chelsea flower show and the next you are interviewing a serial killer at Wormwood Scrubs. I got hooked on the adrenalin, but eventually sniffing out stories became a reflex, and as I didn’t want to become a bloodhound, I left.” “Besides a girl has a limited shelf life at the Beeb. It teems with ageing male anchors who exude dashing, silver haired authority, but who needs a craggy lady the hag end of thirty?” Another reason for leaving was to pursue her interest in arts and culture. Kate started collecting ceramics as a young teenager, and as soon as she moved to London, a pattern of gallery-going and visits to museums and art institutions in and around London developed. Caitlin believes too few South African artists have learned to exploit the new media to market themselves abroad, and she intends to share her knowledge of publicity and promotion to help them break into that market. Already she is talking to foreign gallerists and dealers about hosting South African shows. ORE, the gallery she has established on the Lower Main Road in Obz, may well be the first magnetized gallery in the world. The walls are clad with matt grey steel panels enabling staff to use magnets to hang work, and effortlessly shift art around. Ore will concentrate on up and coming talent in all media. “We will show anything and everything, provided the quality is exceptional.” Cape Town’s big established galleries are glacial and forbid-

ding. You might, with some effort, wring a smile from a frosty receptionist, but otherwise there is rarely any interaction with the invisible gallery personnel, and one can wander through the entire space without exchanging a word with anyone. Caitlin intends to provide visitors with a far more pleasurable and entertaining experience. She will film artists at work, and use floor i-pods to transport the public into their private world and hear them discuss the work on the walls. She also intends to give art events full coverage, and provide visitors with something like an art news service. All this footage will be projected onto both sides of a giant, super-flat glass screen suspended from the ceiling. This will also enable gallery-goers to view the entire stock in store in the back-room at the touch of a button. The second gallery, Harrington House off Roeland street will be a more traditional space showcasing established artists. This heritage building which was originally the rectory of the church next door, oozes the charm of yesteryear, and the interior still possesses the intimate domestic flavour of a vicar’s parlor. There are two large spaces. One will be a studio accommodating an artist in residence so that visitors can engage with art-makers. The other will serve as gallery, and the covered courtyard at the back will become a sculpture garden, coffee bar and venue for discussions, informal talks and other events. ‘Critical Mass’, a show of the private collections of South African and British art critics, will be the first exhibition. A second Ore will open early next year in Johannesburg, and there Kate has entered into partnership with the prominent architect and collector, Krynauw Nel. Kate’s resolve to make her galleries convivial, rather than intimidating spaces, and her revolutionary plans to use up-to-the-minute technology to contextualize her stock of art, and disseminate information in an absorbing way, must surely attract art-lovers and ensure this imaginative gallerist a well-deserved success.



FREE STATE Bloemfontein Oliewenhuis Art Museum 17 June-18 July, Painted works on paper by Roxandra Dardagan Britz. 10 June-08 August, Group exhibition by Dystopia. 16 Harry Smith Street, Bloemfontein T.051 447 9609

Clarens Johan Smith Art Gallery A fine selection of paintings, ceramics, glass, bronze and other works of art. Windmill Centre Main Street Clarens T. 058 256 1620 Blou Donki Art Gallery Contemporary Art, Steel Sculptures, Functional Art, Photography, Ceramics. Windmill Centre Main Street Clarens T. 058 256 1757

GAUTENG Johannesburg Aid to Artisans South Africa Trust 11 June-11 July, “Southern African handicraft and Ndebele exhibition” Exhibition preview and opening 10 June 12pm-3pm. 54 Jeppe Street, on Mary Fitzgerald Square, Newtown, Jhb. T. 011 836 60105 Alliance Française of Johannesburg During July, “Fleshy Wasteland” by Retha Ferguson 17, Lower Park Drive, Corner Kerry Road, Parkview. T. 011 646 1169 The Art Place 5 June- 10 July, “South Africa my country” 144 Milner Avenue, Roosevelt Park, Jhb. T. 011 888 120 Artist Proof Studio 19 June-15 July, Beaded and embroidered relief prints on fabric by Bronwen Findlay, Sandile Goje, Joel Mpah Dooh and Tamar Mason The Bus Factory, 3 President Street, West Entrance, Newtown Cultural Precinct, Newtown. T. 011 492-1278 Artspace –Jhb 23 June-14 July, “Civilised Violence” a solo exhibition of drawings in charcoal by Jaco Van Den Heever. 17 July-07 August, “Dreamsweepers” by Nomusa Makhubu, the first solo exhibition by a past mentee from the 2007 Mentorship Programme. 10-17 August, a solo exhibition and intervention by Murray Turpin. 1 Chester Court, 142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 8802 Artspace Warehouse 24-25 July, “Careers in the Visual Arts” Johannesburg based Artspace Gallery and consultancy Art Source South Africa will be hosting a seminar aimed at assisting Grade 10 - 12 learners learn more about careers in the visual art fields, and giving them tools to navigate the important decisions of what their next steps should be. 09h00 - 17h00 on Saturday 24th and Sunday 25th July 2010. Cost: R2000-00 (which covers a professional MBTI assessment of each learner, course materials, lunches, and refreshments on both days) 01-28 August, “Fine Line” a solo exhibition by Estie Serfontein. 3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 The Bag Factory Until 12 July, Exhibition of work by students of the Africa Cultural Centre. 10 Mahlatini Street, Fordburg, JHB. T. 011 834 9181 Brodie/Stevenson Until 16 July, “This is our Time” Part of the Forex Project. 22 July-20 August, Solo exhibition by Penny Siopis. 373 Jan Smuts Ave., Johannesburg T. 011 326 0034, Brown spice Boutique at the Peech Hotel Until 30 July, “The world through my eyes” by Babi Prokas. The Peech Hotel, 61 North street, Melrose. T. 011 537 9797 Cathy’s Art Gallery Until 29 July, “Art 2010” a group show. Cullinan Diamond Lodge, 2 Hotel Street, Cullinan C. 082 461 7916


CIRCA on Jellicoe 03 June-09 July, “Is it our goal…? And other related issues” featuring Pastels and photographs by Zwelethu Mthethwa. 15 July-02 August, Brait-Everard Read Art Award 2010-Gabrielle Goliath and Carmen Sober. 2 Jellicoe Ave. T. 011 788 4805

Jozi Art Lab Until 29 August, “Remotewords” by Achim Monhé and Uta Kopp. Arts On Main, corner of Main and Berea Streets, Doornfontein, Johannesburg. T. 076 501 4291

CO-OP 10 June-03 July, “Comeback boys’ – New works By Michael Taylor. 68 Juta Street, Braamfontein T. 011 023 0336

Main Street Life Until 15 August, “Maboneng-Place of Light” German artists Detlef Hartung and Georg Trenz will be presenting a light installation dealing with the Maboneng precinct, which translated means the place of light. Main Street Life Entrance Gallery (one block from Arts on Main) T. 011 3345023 Project in cooperation with the Seippel Gallery Johannesburg:

David Brown Fine Art 11 June- 11 July, Mixed South African Artist exhibit at the International Football Village, hosted at Birchwood, Jhb. 36 Keyes Avenue, off Jellicoe, Rosebank. T.011 788 4435 David Krut Projects During June and July, Fifa 2010 Official Poster Art editions will be available: “Art and Football” Available in limited numbers in South Africa from David Krut Projects and Bookstores. during August, works by Stephen Hobbs. 140 Jan Smuts Ave., Parkwood, Johannesburg T. 011 447 0627 Everard Read Gallery Jhb 05-14 August, “A World Without Collisions” by Nicola Taylor. 19 August-05 September, Works by Haneke Benade. 6 Jellicoe Ave., Rosebank, Johannesburg T. 011 788 4805 Gallery 2 11 September-02 October, “Position in Space” by Karin Daymond. 140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98 Gallery AOP 03-24 July, “9 Linocuts” (in conjunction with Artist Proof Studio) 44 Stanley Ave., Braamfontein Werf (Milpark), T. 011 726 2234 Gallery MOMO 10 June- 05 July, “Urban Africa” by David Adjaye. 52 7th Avenue, Parktown North, Johannesburg T. 011 327 3247 Gauteng Craft and Design Centre 21 June-31 July, “2010 Pan African Craft Exhibition.” Corner of Rivonia Road and West Street, just off Nelson Mandela Square, in Sandton. Gertrude Posel Gallery This gallery has a permanent exhibition of traditional southern, central and West African art. Address: University of the Witwatersrand, Senate House, Jorissen Street, Braamfontein Tel: 011 717 1365 Goethe on Main 25 June-04 August, “LooObyHy no 50” by Pascale Marthine Tayo. 245 Main Street City & Suburban Johannesburg. Goodman Gallery 29 May-10 July, “Winter Show” featuring a range of luminarystatus local and international artists. 15 July-14 August, “In Other Words” 163 Jan Smuts Ave., Parkwood, Johannesburg T. 011 788 1113 In Context A series of exhibitions that engage with the city of Johannesburg. 23 May-17 July. Until 17 July, “In Context” runs at Arts on Main. Until 17 July, Two films by Kara walker will be shown daily at the Apartheid Museum. 17 June-09 July, “A 21st century Portrait” featuring Philippe Parreno, Douglas Gordon and Zidane. At the Melrose Arch outdoors. 10 June-11 July, “Big druid walks in the city” by Willem Boshoff. Daily from Arts on Main. 08 July, Two films by Kara Walker-“William Kentridge/Gerhard Marx, The World on its Hind Legs” @ 6pm at the Apartheid Museum. T. 011 334 1054 Johannesburg Art Gallery Until 01 August, “I am not me, the horse is not mine” by William Kentridge.22 June-26 September, “Borders” an exhibition from the 8th Bamako Encounters, The African Photographic Biennale.Until 29 August, “Without Masks” 06 June-04 September, “Deep Play” by Harun Farocki King George Str., Joubert Park, Johannesburg T. 011 725 3130

Market Photo Workshop Until 15 July, The World Cup Rural and Urban Photo Diary. 2 President Street, Newtown, Johannesburg. T. 0 11 834 1444 Manor Gallery Until 21 July, “A Piece of Africa” The artists are sourced from the ranks of the Watercolour Society of South Africa and the Black Like Us group of artists. Norscot Manor Centre, Penguin Drive. T. 011 465 7934

Museum Africa Until 11 July, “Space: Currencies in Contemporary African Art.” Works by contemporary artists from Africa and the Diaspora. Until 31 August, “Insurrections – sense of invisible footprints in moments of complexity” by Pitika Ntuli. Until 24 Dec 2010, “l’Afrique: A Tribute to Maria Stein-Lessing and Leopold Spiegel” co-curated by Nessa Leibhammer and Natalie Knight. 121 Bree Str., Newtown, Johannesburg T. 011 833 5624 Rabbi Cyril Harris Community Centre (RCHCC) Until 17 July, Works by Anton Uys and Andre Naude. Cnr Glenhove Rd & 4th Street Houghton. Hazel or René (011 728 8088/8378) After Hours (011 728 8378) Red Line Gallery Until 12 July, “A sense of place” This exhibition showcases the artistic skill and insight of the 3rd year fine art students at the University of Johannesburg. 6 Roberts Gallery, Kensington, Johannesburg. Resolution Gallery 05 June-31 July, “Amen” by the photographer Jessica Hilltout (from Belgium) 142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 4054 Seippel Gallery 16 May-01 July, “A gentle invasion” by Auke de Vries. Arts on Main, Cnr of Fox and Berea, Johannesburg T. 011 401 1421 Spaza Art Gallery Until 11 July, “Football Mania” an exhibition of sculpture, mosaic, drawings and paintings. 19 Wilhelmina Street, Troyville. T. 011 614 9354 C. 082 494 3275 Standard Bank Gallery 02 June-17 July, “Halakasha!” a flagship exhibition celebrating the historic first FIFA World Cup™ in Africa, is housed in both the upstairs and downstairs exhibition spaces at the Standard Bank Gallery, Johannesburg, and showcases a range of artworks dealing with the global phenomenon of soccer and the passion it evokes in Africa in particular. 03 August-18 September, Works by Louis Maqubela. Cnr of Simmonds & Frederick Str.’s, Johannesburg, 2001 T. 011 631 1889 Unity Gallery Until 16 July, “Wasted III” a group exhibition. 3 President Street, Newtown, Jhb. T. 072 119 5004 University of Johannesburg Art Gallery 02 June-14 July, “SA @ work” by Helena Hugo. Auckland Park Kingsway, Campus Cnr. Kingsway and Universiteids Rd., Auckland. T. 011 559 2099/2556



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Upstairs @ Bamboo 08-14 July, Raw Studios installation-sustainable and environmentally friendly. 17-25 July, Carol Lee Fine Art’s “Decade” (2000-2010) celebrates more than 10 years of sourcing and presenting works by a vast array of contemporary South African artists. Some of the artists who participated in the very first shows will be included in this show – like Carl Becker, Jaco Benade, Estelle Marais, Guy du Toit, Jacobus Kloppers, Alet Swarts, Hermann Niebuhr and Kagiso Pat Mautloa. All are established artists with flourishing careers. As always, exciting newer artists will be featured too – including Louis Nel, Karin Preller and Kobus Walker. T.011 486 0526 Corner 9th Street & Rustenburg Road Melville Johannesburg. C: 083 284 6226

Pretoria Alette Wessels Kunskamer Exhibition of Old Masters and selected leading contemporary artists. Maroelana Centre, Maroelana. GPS : S25º 46.748 EO28º 15.615 T. 012 346 0728 C. 084 589 0711 Alliance Française of Pretoria During July, “L’Esprit du Sport” by Amélie Debray 99 Rivier Street, Sunnyside, Pretoria. T. 0 12 343 6563 / 0263 Association of Arts Pretoria 18 June-07 July, “stil(a)life” by Adéle Adendorff. 20 June-08 July, “•20•06•2010•” with paintings, sculptures, drawings and digital work by Philip Badenhorst, Francois Jonker, Lizl Roos, Gustav Vermeulen & Francois Visser. 09-28 July, “City Collage” by Cecile Burger 11-29 July, African landscapes in clay by members of Ceramics SA (Gauteng Region) with guest artists, Lucia Hambiri and John Hunter from Namibia. 16 July-04 August, Stillife Objects by Elna Venter. 01-17 August, ‘ES(CAPE)” an exhibition of work by Pretoria artists now living in the Cape. 173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012 346-3100 +27 Design Café During July, “Open Window” an exhibition of students work from the Open Window School. Cnr South and Duncan Street, Hatfield, Pretoria. T. 012 362 4975 Fried Contemporary 17 June-18 July, “Games people play”, featuring Angus Taylor, Diane Victor, Jan van der Merwe, Fabian Wargau and Derek Zietsman. 22 July-22 August, “Cities in transition” by Titus Matiyane. 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 Gallery Michael Heyns 12 June-02 July, “The Head: 1962-2010” Works by Michael Heyns in his gallery. 351 Lynnwood Road Menlo Park Pretoria T.012 460 3698, Cell.082 451 5584

Rochers Carres from the exhibition entitled: “Borders” an exhibition from the 8th Bamako Encounters, The African Photographic Biennale, Johannesburg Art Gallery The Tina Skukan Gallery Until 01 July, “Expanding horizons” by Liekie Fouche. 04-29 July, “Wanderlust” an exhibition of paintings by Anne Archer. Opening @ 11:30am on 04 July. 6 Koedoeberg Rd, Faerie Glen, Pretoria. T. 012 991 1733 Trent Gallery 19 June-01 July, “Self-portraits”, a group exhibition. 03-15 July, Etchings by Hardus Koekemoer and Hülgard Vos. Opening 3 July between 9:00 and 12:30 17 July-05 August, Group exhibition featuring Lien Botha, Rossouw van der Walt and Berco Wilsenach. Opening 17 July between 9:00 and 12:30. Curated by Basie Botha. 198 Long Street, Waterkloof, Pretoria. T. 012 460 5497.

MPUMALANGA White River The Loop Art Foundry & Sculpture Gallery Casterbridge Complex Corner R40 and Numbi Roads White River T. 013 751 2435

This year’s Thami Mnyele Fine Arts Award was won by Angeline-Anne le Roux her installation titled “Open Plan”, won a plane ticket to Paris and a R30 000.00 first prize. See for more details

Platform on 18th Until 03 July, “Paraat” a group exhibition. 08-24 July, “Snap II” Photographic Exhibition 10 Press Photographers. 232 18th Str., Rietondale, Pretoria T. 084 764 4258 Pretoria Art Museum Until 26 July, A selection of 17th-century Dutch paintings from the Michaelis Bequest. (Henry Preiss Hall) Until December, A selection of ceramics, representing the development of studio ceramics and the work of traditional rural potters of South Africa over the past thirty years, is on display. A selection of artworks from the permanent collection of the Museum tells a brief story of South African art from the time of the first San artists. North Gallery and Preiss Hall, T.012 344 1807/8 St Lorient Fashion and Art Gallery 05 June-24 July, “African Narrative” and “Rooftop Sculptures” Group exhibitions.

Sam Maduna - Big sound, one of the winners in the “Black like us” show at The Manor Gallery, Jhb.




WHAT’S ON IN THE WESTERN CAPE Cape Town 3RD i Gallery 13 July- 06 August, “Integration: Of Circles & Squares” Feauturing Lesley-Ann Green and Ellalou O’Meara. The show explores the integration of the physical and metaphysical in both our external and internal mind/landscapes. Artists’ Walkabout @ 11:30am 24 July. Opening @ 6:30pm 24 July, with music by Chris Tokalon. 95 Waterkant Street, Cape Town, 8001 T. 021 425 2266, /A Word Of Art From 25 June, “Chapter 2: Friends” 66 Albert rd, Woodstock Industrial Centre. T. 021 448 7889

Standard Bank Young Artist of the Year : Michael MacGarry

NEW: EASTERN CAPE BUZZ: JEANNE WRIGHT In the freezing weather of the Eastern Cape, artists once again geared up for the Grahamstown Festival which opened for a two week period this year. The art events kicked off here in Port Elizabeth with a curated exhibition which was hung at the Belling Gallery. The work of the 38 artists from PE and environs formed part of the festival Fringe programme. The other main exhibition was a Pan- African exhibition which was hung at the Nelson Mandela Metropolitan Art Museum around the corner. The Museum outdid itself with a spare and intelligently selective exhibition of contemporary work from around Africa including pieces by Nigerian Odili Odita, our own Nicholas Hlobo’s show-stopper - the leather, rubber and metal piece called ‘Izinquande Mathe’ and other important works by Siopis, Kentridge, Diane Victor and a local artist called Jenny Ord whose commanding piece ‘White Bull With Wings’ which was proudly displayed as a centerpiece. The two side halls held a specialist exhibition of traditional Xhosa bead forms with rare pieces from the 19th century on show and a “Know Your City” exhibition about Port Elizabeth which showcased most of the leading East Cape artists like Brooks, Page, the Podlashucs and Hopwood alongside the older Baines, Bowlers, Dorothy Kays and Fred Pages. At the Belling, as with most Fringe exhibitions at the festival, the offerings on show were patchy, needing some discrimination to sort the better pieces from the merely pedestrian. Port Elizabeth has a pool of talented people who seldom get the chance to exhibit their work, quite a few producing the kind of images which should be shown on solo exhibitions, so finding powerful works cheek by jowl with indifferent pieces makes it not only hard on the viewer but tough on the works themselves. The ones which stood were Derrick Erasmus’s jazzy mask images, Tim Hopwood’s pungent photographs of the PE beachfront, Greg Kerr’s Papal group and his Nguni cattle and most of the ceramic pieces which were diverse and splendid and were the best facet of this show. PE has a thriving ceramic community who make anything from Meshak Masuku’s intaglio beast vessels to Bianca Whitehead’s ultra cool mixed media forms. At the Festival itself in Grahamstown, there was the usual plethora of local exhibitors who took the opportunity to show their work to a wider public. Many come every year so you can generally skip the lower echelons and concentrate on what is on offer on the Main programme which this year had a theorist as its Young Artist of the Year. Michael MacGarry took a political perspective and presented hybrid fictional products and totems from the political life of four African countries with a look at the effects of imperialism on modern Africa and its contemporary elites. The work has its intellectual basis in French New Wave cinema which explains process and ideas through analysis and writing - sometimes before it was made. Another exhibition, this time with personal politics at its core, was Mary Sibande’s installation of four life-sized figures cast in resin, each representing a “maid” (domestic worker) called Sophie who wears pseudo-Victorian dresses in a way which draws attention to the tenor and climate of black female identity in post-colonial South Africa. Through the use of clothing, Sibande raised questions about stereotypes and the depiction of black women. The Keiskamma Art project had escalated its intentions and produced their version of Picasso’s ‘Geurnica’ focusing their intellectual anger on the havoc wrought by AIDS on rural people. A team of felt workers, embroiderers and beaders led by six individual craftspeople have sewn ideas into the blankets used by patients at the Treatment Centre in Peddie using the same colour palate and design style of the original painting. The installation work is commemorative and includes other artefacts from the past lives of AIDS patients. Other exhibitions included a retrospective exhibition on Steve Biko, an inquisition on issues of borders (in America) by documentary photographer Damien Schumann, a documentary on film-maker Werner Herzog and two one-man exhibitions which both dealt with

dead or discarded objects – one by Rat Western who used Museum specimens from the Hewitt Gallery of the Albany Museum and the other by Rosemarie Marriott who collects dead material from taxidermists and farms – all of which inclines one to cogitate on the morbidity of fine art at the Festival. One of the disappointing facets of the Festival is the lack of good fine art exhibitions…. one supposes because it costs a good deal to fund and transport visual material and because it also doesn’t bring in door-money. Weighted with politically correct material on the Main this year, the fine art arena needs overhauling and a re-think around the kind of work on view and the scruffy ad-hoc venues found on the Fringe.

WHAT’S ON IN THE EASTERN CAPE East London Ann Bryant Gallery The Main Gallery 17 June-07 July, “Traces” an exhibition of large-scale paintings and an animated film projection by Greg Schultz. 21 July-03 August, “Santam Child Art exhibition.” This annual competition is open to all schools, with a calendar produced at the end of the competition featuring the winning entries and a travelling exhibition. The Coach House Until 12 June, “East London Fine Art Society Anything but painting” 9 St. Marks Rd, Southernwood, East London. T. 043 722 4044

Port Elizabeth Epsac Gallery Until 17 July, Spier Contemporary 2010 Winners. 20-31 July, Works by Nico Swart. 19-31 July, “Renaissance” a solo exhibition by Guillaume AH Shene. Opening Monday 19 July @ 6pm with Guest speaker: Michael Barry (Head of Department of Arts and Culture, Nelson Mandela Metropolitan University) 36 Bird Street, P.E. T. 041 585 3641 Montage Gallery Until 19 July, “Under the African sun” featuring Alida Bothma and Lou Almon. 59 Main Road, Walmer, Port Elizabeth. T. 041-5812893 Nelson Mandela Metropolitan Art Museum Permanent exhibition, “Art in Mind” Until 10 October, “Ubuhle bentsimbi: The beauty of beads” Until 18 July, “Know your city” Views of Nelson Mandela Bay from artists’ perspectives. Until 09 August, “Gateway to Africa” An exhibition of contemporary African art. 1 Park Drive, Port Elizabeth. T. 041 506 2000 Ron Belling Art Gallery 10-17 June, “Xpressions 2010” a group exhibition. 30 Park drive, Port Elizabeth. T. 041-586 3973

Alex Hamilton Art Studio 01-30 July, “Roadtrip” an exhibition about memory, adventure, landscape and the car that always broke down on the side of the road. Opening 01 July 6 pm to 9 pm. After 30 July 2010 this exhibition will go on it’s own road trip to Johannesburg and Knysna. Unit 203, 2nd floor, Back Building,Woodstock Industrial Centre 66 - 68 Albert Road, Woodstock. T. 021 447 2396 The Arts Association of Bellville 09 June-17 July, Main Gallery: Solo exhibition of paintings by Merle de Jager. 09-17 July, Vestibule Gallery: Solo exhibition of ceramics by Sue Symonds. 14 July- 04 August, “Voyages of Discovery Fibre Works IV” Featuring Joy Savage and Ingrid de Haast. The Arts Association of Bellville, The Library centre, Carel van Aswegan Street, Bellville. T. 021 918 2301 Atlantic Art Gallery A permanent display showcasing leading contemporary South African artists. 25 Wale Street, Cape Town. T. 021 423 5775 AVA 28 June-23 July, “Offside: Cape Town 2010” a photographic exhibition by David Lurie. 28 June-23 July, “Creative Block” 150 Participating artists including Ricky Ayanda Dyaloyi, Liza Grobler, Marlise Keith, Nomthunzi Mashalaba and Xolile Mtakatya. 28 June-23 July, “Ordinary People” by Mzimkhulu Manyisane. 26 July-20 August, works by Erika Elk, Nike Romano and David Rossouw. Association for Visual Arts, 35 Church Street, Cape Town. T.021 424 7436 Barnard Gallery 02 June-16 July, A Group exhibition featuring Willie Bester, Rachelle Bomberg, Norman Catherine, Gail Caitlin, Uwe Pfaff, Robert Slingsby and Beezy Bailey. 55 Main Street , Newlands. Blank Projects. Until 10 July, “Inverting the Pyramid” a group exhibition 113-115 Sir Lowry Rd, Woodstock, Cape Town. T.072 1989 221 Cape Gallery 27 June- 17 July, New paintings by Makiwa Mutomba, Sandy Esau and Walter Zand. 22 August-02 October, Wildlife Exhibition. 60 Church Street, Cape Town. T. 021 423 5309. Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings. Constantia Village Shopping Centre, Main Rd., Constantia T. 021 794 6262 Cape Quarter Square, 27 Somerset Road Green Point 021 4213333 Casa Labia A collection of South African Contemporary Portraits. 192 Main Rd, Muizenberg. T. 021 788 6067 Cedar Tree Gallery Until 11 August, “World Cup Fever” one, which has work that will remind our visitors of the beautiful game and of our beautiful country. 17 August-30 September, “The Palette and the Palate” A wine-centric exhibition, with works of vineyards, events inspired by wine, perhaps works while under the influence of wine and works using wine as a medium. Rodwell House, Rodwell Road, St James, Cape Town. T. 021 787 9880

BUSINESSART | JULY 2010 David Porter Antiques Buyers and sellers of South African art. T. 021 6830580/083 452 5862 David Krut Art DKA opens their outlet at Shop 116, Clock Tower Shopping Centre, V&A Waterfront, Cape Town on 3 June. David Krut Publishing and Bookstore - proud to be the official distributor in South Africa of the FIFA 2010 Official Art Posters Edition series in association with the European publisher of the posters – will be running a store at the V & A Waterfront for a six week period, from 3 June to 15 July 2010, to make these special posters accessible to locals and visitors alike. Erdmann Contemporary /Photographers Gallery 26 June-31 July, South African Contemporary Art drawn from the Heidi Erdmann collection. 31 July-07 August, “Conceptual Matter.” 07-28 August, a solo exhibition of new paintings and drawings by Manfred Zylla. 63 Shortmarket Str., Cape Town T. 021 422 2762 Everard Read Gallery Until 31 Jan 2011, “Untamed”, an installation by Dylan Lewis. 10 June- 12 July, “View from the South” A group exhibition of some of South Africa’s finest contemporary painters & sculptors. 03 June-17 June, “Dancing Jesus & Other Friends” by Beezy Bailey 3 Portswood Road, Victoria and Alfred Waterfront, Cape Town. T. 021 418 4527 34 Fine Art 26 May-11 August, Gallery Closed. All Works available online at / C. 082 354 1500 Focus Contemporary 26 June- 30 July, “The Half” by Simon Annand. 67 Long Street, Cape Town. T. 021 419 8888 The Framery 17 June-10 July, An exhibition by Tyrone Appollis. 67g Regent Road, Sea Point. T. 021 4345022 Galleria Gibello Cape Quarter Until 09 July, “Heaven and Earth” by Caroline Gibello Shop 31, Cape Quarter Square, 27 Somerset Road, Green Point. T. 021 425 0439 Gallery F Contemporary and archival South African Art. 221 Long Str., Cape Town T. 021 422 5246 Goodman Gallery, Cape Until 10 July, “Third World Disorder”, a new exhibition by acclaimed South African artist Kendell Geers. 3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock, Cape Town T. 021 462 7573/4, iArt Gallery 11June-16 July, “The Mechanics and Mysteries of Perception”, a group exhibition. 71 Loop Street, Cape Town. T. 021 424 5150 iArt Gallery Wembley Until 31 July, Works by Gerald Tebata. Wembley Square, Gardens, Cape Town T. 021 424 5150 Infin Art Gallery A gallery of work by local artists. Wolfe Street Chelsea Wynberg T. 021 761 2816 and Buitengracht Str. Cape Town T. 021 423 2090 Irma Stern Gallery 03-31 July, Paintings by Greatmore Studio. Cecil Rd, Rosebank, Cape Town. T. 021 685 5686 Iziko SA National Gallery Until 03 October, “1910-2010: From Pierneef to Gugulective” a rehang of the entire gallery is being curated to showcase the very best of South African art. 30 May-15 August, “Umtshotsho” by Nicholas Hlobo. 25 Queen Victoria Street, Cape Town 021 481 3934 Iziko SA National Gallery-Old Town House 10 June-12 July, “The lie of the land: Representations of the South African landscape” 25 Queen Victoria Street, Cape Town 021 481 3934 Joao Ferreira Gallery 14 June-17 July, “Works on paper” by Beezy Bailey. Opening reception 15 June-24 July, “Amen” by Jessica Hilltout. At 70 Loop Street, Cape Town.

WESTERN CAPE GALLERY LISTINGS 70 Loop Street, Cape Town. T. 021 4235403 Kalk Bay Modern 09 June-25 July, “Mermaids and Mountains” paintings by Nicholaas Maritz. 04-22 August, Celebrating Ceramics, Christo Giles, Katherine Glenday, Clemintina van der Walt, John Newdigate, Christina Bryer, Lisa Firer, John Bauer and Ardmore. 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 Lindy van Niekerk Art Gallery During August, A solo exhibition by Zerk de Villiers. 31 Kommandeur Road, Welgemoed, Bellville. T. 021 913 7204/5 Michael Stevenson Contemporary 03 June-24 July, “This is Our Time”, a curated exhibition of local and foreign artists, as part of the gallery’s FOREX project series. Featuring Jane Alexander, Marc Bijl, Shepard Fairey, Meschac Gaba, Simon Gush, Thomas Hirschhorn, Anton Kannemeyer, Natasja Kensmil, MADEYOULOOK, Sabelo Mlangeni, Zanele Muholi, Lucia Nimcova, Serge Alain Nitegeka, Berni Searle, Penny Siopis, Frohawk Two Feathers and Akram Zaatari. 29 July-04 September, Works by Pieter Hugo, Dineo Seshee Bopape.Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Cape Town. T. 021 462 1500 Michaelis Art Gallery 02 June-10 July, “Soccer Kultcha” an exhibition of street photography. 17 June-10 July, “This is not final” UCT’s Michaelis School of Fine Art will be hosting its anticipated annual exhibition of diverse works by Masters students in their first, second and third years of study. University of Cape Town, 31-35 Orange Street, Gardens. Cell: 083 367 7168 Raw Vision Gallery 11 Feb-14 Sep 2010, “African Odyssey” 20 Internationally acclaimed photographers exhibiting. 89 Sir Lowry Rd, Woodstock, Rose Korber Art Until 15 June, “Play it again, Sam: Jazz and art in the world of Sam Nhlengethwa.” Vibrant Lithographs in colour and black and white from the artist’s vast oeuvre of the last 15 years. 16 June-15 July, ”Celebrating South Africa” A vibrant showcase of works by leading contemporary South African artists, including William Kentridge, Robert Hodgins, Willie Bester, Deborah Bell , Colbert Mashile and Susan Woolf, plus exotic ceramics and crafts and Shangaan beadwork pieces by Jane Makhubele and others. 48 Sedgemoor Rd, Camps Bay, Cape Town T. 021 438 9152 Rust-en-Vrede Gallery 15 June-08 July, Salon A & B: “Ruby Reeves”, a retrospective exhibition in water colour of the fairy world of a remarkable woman. Salon C: Fantasy illustrations by well- known illustrators. The Cube in the Clay Museum: Fantasy jugs for sale by various potters. 13 July-05 August, Works by Koos de Wet, Sam Brown, Glen Tong, Mariette Brown and Anastasia of “Open Art Studios” 10 Wellington Rd, Durbanville.T.021 976 4692 Salon 91 23 June-31 July, “Tretchikoff and me”, a mixed group show. An exhibition of vintage Tretchikoff prints and responses to his work by contemporary artists, both up and coming and established. 91 Kloof Street, Gardens, Cape Town. T 021 424 6930. South African Museum Until end July, “Subtle Thresholds, the representational taxonomies of disease”, a mixed media show curated by Fritha Langerman. 25 Queen Victoria Str., Cape Town T. 021 481 3800 South Gallery Showcasing creativity from KwaZulu-Natal including Ardmore Ceramic Art. Fairweather House, 176 Sir Lowry Rd, Woodstock, Ground Floor. T. 021 465 4672 South African Print Gallery 26 June-24 July, “Reflections” new work by Sharon Sampson. 107 Sir Lowry Rd, Woodstock, Cape Town. T. 021 462 6851 These Four Walls Fine Art 01-07 July, “36 Views of Lion’s Head” new work by Anne Sassoon. Exhibition opens 01 June @ 6pm. 05-14 August, “We/edition” a group exhibition of student work. 169 Lower Main Road, Observatory T. 021 447 7393 Cell. 079 302 8073

Page 07 Waterkant Gallery 02 June-17 July, “Altered States: Wildlife at large” by Luc Grant. 04 June- 04 August, “Dreams & Goals, Twenty years of global football photography” by Alastair Berg. 123 Waterkant Street, Cape Town. T. 021 421 1505 Wessel Snyman Creative 21 June-10 July, “Smorgasbord” group show of emerging creatives. 17 Bree Street, Cape Town. T. 021 418 0980. What if the World… 02 June- 03 July, “Hard Times/ Great Expectations” an exhibition of new large-scale colour drawings, sculpture, and video by Cameron Platter. 07 July-14 August, Works by Dan Halter. First floor, 208 Albert Rd, Woodstock, T.021448 1438 Worldart Gallery 01 June-30 July, A Group show, featuring Alex Hamilton, Gavin Rain, Richard Scott and Thembinkosi Kohli. 54 Church Street, cape Town. T. 021 423 3075 Youngblackman Gallery Opening 02 June, “1993” by Kendell Geers. For this exhibition, Geers recreates his 1993 work Title Withheld (Brick). The show, simply titled 1993, is at best an accurate representation of years past, at worst a comment on years present. 69 Roeland Street, Cape Town. T. 083 383 0656


Galerie L’ Art A permanent exhibition of old masters. Shop no 3, The Ivy, Kruger Str., Franschhoek T. 021 876 2497 The Gallery at Grande Provence 27 June-28 July, “who” portraits by various South African artists. 01-26 August, “Where” contemporary Landscapes. Main Road, Franschoek. T. 021 876 8600.

Paarl Hout Street Gallery 29 July-30 September, “The Winter Gala” 270 Main Street, Paarl. T. 021 872 5030

Piketberg (West Coast) AntheA Delmotte Gallery Until end June, “Historical buildings of Piketberg” a group show. Feathers Inn, 1 Church Str, Piketberg 073 281 7273,

Stellenbosch Art on 5 Permanent exhibition of paintings and ceramics by Maryna de Witt, Pera Schillings, and Karen Kieviet. 7b Andringa Str., Stellenbosch T. 021 887 7234 Glen Carlou Estate On exhibition is The Hess Art Collection, including works by Deryck Healey, Ouattara Watts and Andy Goldsworthy. Simondium Rd, Klapmuts T. 021 875 5314 Red black and white Art Galleryin Conjunction with 03 June-18 July, “Through African eyes” 5A Distillery Road, Bosman’s Crossing, Stellenbosch. T. 021 886 6281 Sasol Art Museum 16 June-12 July, “Sokker – Stellenbosch – Soccer” An exhibition in collaboration with the Stellenbosch Museum giving an overview of the history of soccer in Stellenbosch as well as the current soccer culture in Stellenbosch. 07 June-31 July, “Johannes Meintjes: A Tribute 1923 – 1980” Ryneveldstraat 52 Ryneveld Street,Stellenbosch. T. 021 808 3691/3/5 SMAC Art Gallery 05 June-31 August, “Divisions” Aspects of Southern African Art 1945-2010. De Wet centre, Church Street, Stellenbosch. T. 021 887 3607

PAGE 08 Oude Libertas Gallery Until 18 July, Plant leaf engravings and hair knot sculptures by Kai Lossgott and Suzanne Duncan. Curated by Gerhi Janse van Vuuren, Roena Griesel & Ilse Schermers Griesel. Cnr Adam Tas and Oude Libertas Street, Stellenbosch. T. 021 883 9742 Tokara 05 June-25 August, “Hats off! 25 Year of Linocuts from The Caversham Press.” Crest of Helshoogte pass on the R310 between Stellenbosch and Franschoek. T. 021 808 5900 US Art Museum 18 May-19 July, “Impromptu” The Stellenbosch Arts Association presents Impromptu, a group show with Christina Bryer, Charles Biggs, Chris Diedericks, Hennie Meyer, Eric Palmer, Nicole Palmer, Mila Posthumus Reyneke, Lionel Smit, Clementina van der Walt & Diane Victor. corner of Dorp & Bird Streets, Stellenbosch. T. 0 21 808 3524/3489.

George Strydom Gallery 01 June-17 July, “South Cape 2010” the annual Winter Exhibition of Southern Cape Art Selected artwork from artists of the Southern Cape. 79 Market Str., George T. 044 874 4027

Oudstshoorn Artkaroo Gallery From 05 August, “Woman” 107 Baron van Reede Oudtshoorn, T. 044 2791093

Hermanus Abalone Gallery 03 July-21 August, El Loko (Togo) In Search of Traces-Woodcuts and sculptures. 2 Harbour Rd, The Courtyard, Hermanus. T.028 313 2935

Chris Swift’s new 2010 work Title: ‘Twenty year ago’ Medium: Light sculpture using floodlights, scaffolding and the original Robben Island prison fencing At a time when the whole world’s attention is focussed on South Africa as the first African nation to host the Fifa World Cup, it is easy to forget that none of this could have been possible without one incredible man. The legacy that Nelson Mandela has endured and created is inspiring, infectious and a model to all the worlds citizens. Artist Christopher Swift thought it poignant to highlight the real significance of this unprecedented year by signifying the 20th year anniversary of Nelson Mandela’s release from prison, signifying the beginning of the end of Apartheid and the road to a democratic and free nation which he was to become the first president of 4 years later. Artist’s statement: “This installation is a tribute to the construction of this great nation and the sacrifices made to get us there, as well as the destruction that almost destroyed it. It is a reminder of our past, lest we forget and it is an indicator of our future when seen at night. Not only because the fencing was rescued from a landfill, but because the rusty installation stands its proudest in the spot light against the darkest nights.” The Artist is currently trying to arrange a twin installation in Berlin to link the two Nations in their dual 20th year celebrations - In Germany’s case, the re-unification of East & West. Christopher Swift was the recent recipient of the Spier Contemporary 2010 Award, as well as the Michaelis Prize and Simon Gerswin prize recipient of 2009. Memoriabelia of the Robben Island fencing and the full story of its aquiring by the artist are available at



Review: ‘Ways of Seeing’ at The ORE Gallery By Lloyd Pollak The inaugural exhibition ‘Ways of Seeing’ at ORE, a newly established gallery dedicated to fostering emergent talent, is curated by William Martin and Julie Donald who investigate alternative art-making by youthful innovators creating work in unconventional techniques and materials. The show restored my faith in art which was shattered by two dud shows by big names at Michael Stevenson and the Goodman. Igshaan Adams appropriates feminine handcrafts, applying cotton, needle and thread to found objects to recreate the ambience of home and explore the tensions between his gay identity and his Muslim roots and Christian upbringing. In Angelique Kendall’s performance piece ‘Gentrification /Objectification’ the artist rolls cigarettes and smokes them in the no-smoking gallery in order to assess how her actions shape the audience’s perception of her. Gretchen van der Byle orchestrates a cosmic spectacle using a timing device and projector to simulate an eclipse by projecting moving orbs of light onto the gallery walls. The artists are predominantly Michaelis-trained, and differentiating between the good art, the bad art, the anti-art, the almost-art and the non-art, like Margaret Stone’s photography, provided an amusing challenge. Natasha Norman’s monotype ‘Short Slide Down’ represents the triumph of style over content, and exhibits considerable technical mastery. She photographed a banal ceiling fan straight from her television screen, and imbued the resultant image it with textural richness and the knubbly appearance of thick unraveling yarn. The fan, executed in deeply satisfying, full-bodied clarets and greys, emerges from a dissolving grid that creates patterns as wispy and ethereal as crumbling lace. Johke Steenkamp’s kites fashioned from candy wrapper and plaited ribbons are Klee-like in their playful inconsequence and never lapse into the twee. Wessel Snyman produces bargain basement Fabergé by reinterpreting that standard item of mournful Victorian décor, the taxidermied bird under a glass dome. By equipping it with lights and springs he gives his feathered concoction vitality and a toy-box charm. Three artists tower above the rest partly because two of them present substantial bodies of work rather than one isolated example. Werner Ungerer’s ‘A Boy Beyond it All’ is an excerpt from an environment he and his partner, Pierre Fouché created recently at Blank projects. They constructed the bedroom of a fictitious alter-ego, and used it to evoke their shared adolescent experience of coming to terms with their homosexuality within the prohibitive environment of an Afrikaans dorp. A question mark hangs over the fate of their invented doppelganger who disappeared, leaving only his room to mark his troubled passage through this life. This is a work of intimate confessional inspiration that blurs the boundaries between art and writing. It consists of a hand-written journal penned in a state of desperate urgency by the vanished writer who sifts through his dreams, imaginings and experiences in an attempt to overcome his sense of abnormality, isolation and confusion. Our ignorance of his fate and inability to sort delusion and fantasy from truth cast a pall of mystery over the text and enhance its magnetism. As he sieves through his psyche, his control breaks down and he defaces his impeccably neat writing with frantic, hastily scrawled injunctions that reveal how overpowering anger, frustration and self-contempt gnaw away at his analytic poise and precarious mental balance. The piece has the compulsive, but illicit, allure of a diary, love letter or suicide note. We cannot resist reading what should obviously be strictly private, and our voyeuristic browsing induces a queasy moral unease, making us question whether by figuratively peering through the keyhole and sniffing the soiled sheets, we do not contribute to the boy’s pariah status. In his profoundly unsettling ‘Blackface (Verwoerd)’ David Brits deals with the traumatic moral dilemmas that plagued hundreds of thousands of young servicemen during the border wars with Angola. The S.A. forces believed, or tried to believe, that they were fighting pro patria, upholding Christian values against the godless communist onslaught, but on discharge, they returned to an ideologically transformed country in which ‘terrorists’ were recast as heroic ‘freedom fighters’, and the demobilized soldiers were stigmatized as verkrampte zealots defending the indefensible. The war had become an embarrassment, and it was glossed over and soon expunged from the collective consciousness so there was no acknowledgement of their pain and sacrifice. Brits floats his images of the boyish conscripts casually chatting to each other as they perform their ablutions, or take a convivial leak, on the pages of anodyne illustrated books and magazines of the 50’s and 60’s - a volume on indigenous birds, a feature on ikebana in a ladies magazine. Their dated lay-outs give them a period charm taking us back in time and conveying something of the flavour of the homes the soldiers so sorely missed. The apparatus of warmongering, Nationalist propaganda - weaponry, crests, insignia, slogans, ox-wagons, springboks and proteas – are scattered over the field. However these national symbols fail to suppress the moral crises that assail the boys, and their doubt-ridden crises of

conscience manifest in their black, camouflaged faces that turn them into dead ringers for the black enemy they are attempting to extirpate. Dale Washkansky uses the same chemical ingredients as occur in the Zircon B gas that exterminated Jewry during the holocaust to reproduce old photographs of his refugee grandparents on framed ovals of springbok hide. The blue-tinctured photographs exude nostalgic overtones of a vanished past, and the old-fashioned oval wooden frames enhance their homely, old fashioned appearance. Ironically lethal cyanide becomes the means of affirming the continued survival of the Washkansky family. Dale, whose grandfather underwent the first heart transplant operation at Groote Schuur, uses his photograph and the transplanted heart as a symbol of the new identity the Washkanskys assumed in South Africa. He combines the photograph of the smiling patient lying on his hospital bed beneath the theatre lights with images of his barmitzvah to underline the family’s triumph over Nazism. The springbok hide carrying the images, and enclosing the frame, like a protective wrapping, proclaims their identification with their host country.

The Artful Viewer: July Melvyn Minnaar On Security Guard : This is a story about two security guards. Security guards, their conspicuous, issued uniforms (black-as-night being the colour of effect) and presence have, in these days, been very much on our minds. On the Fifa side, no doubt, an irritation for daring to protest a decent deal at the posh stadiums; on the human side, clearly a right to fair treatment and decency. The very words ‘security’ and ‘guard’, of course, resonate and reflect the deep distrust and uncertainty that all is hunky-dory in the world we inhabit a decade on into the 21st century. Brought about by the rampant infection of unbridled late-20th century capitalism (one which was preached and promoted to make us all equal and happy, but, in fact, made only the rich richer beyond imagination), ‘security’ and ‘guard’ virtually invented itself. To protect those that are rich. And that which those of wealth have possession of. Art objects feature - as ridiculous contemporary auction and outrageous gallery prices mirror - prominently among the possessions of the ultra wealthy these days. As much as it is acceptable for the money or the moneyed to be guarded, it seems not unreasonable that a security guard is engaged to keep an eye on those art pieces. On visits to Cape Town’s two major McMuseum institutions these past weeks, it thus only seemed only slightly theatrical that real-life security guards would be on duty within the hallowed spaces. But if it was coincidental that the Kendell Geers blow-out (Third World Disorder) at the Goodman Cape and the mixed-bag (This is Our Time) at Michael Stevenson should both have them around the art currently on display, the two situations could not have been different. And, on closer contemplation, not more amusing, even entertaining. Walk into the Goodman and the chap on duty (his cap neatly branded ‘Security’) jumps up from his white chair in the far corner, nearly dropping his paperback as he notices the presence of a stranger entering the manicured space. For a brief moment the visitor is tickled by the idea that this motion is part of the artist’s strategy to “shock and disrupt our perception of the status quo – to map the degree to which individual agency is constrained by the existing establishment, and to attempt to explode those borders” (the gallery’s constipatory bumf). But then, when Security Guard doesn’t move more than a few metres from the encased box, the penny drops. He is keeping an eye on the R1 million gold cast inside of an broken bottle neck that Geers has called ‘Mined’. (The piece refers one of his earlier ‘title-withheld works’, a ‘real’ beer bottle neck.) Like the rest of the exhibition, it’s a polished Jeff Koons production, sans the humour, idiotic irony or even fun. And neither shocking or disruptive. At the Michael Stevenson, the uniform of the security guard duty at the entrance to Jane Alexander’s newly-ordened installation called ‘Yield’ is more demure. He too has a book, the Bible, which he briefly closes as he gets up to direct the visitor into the piece and onto the floor of “industrial strength gloves, Bushmanland earth, 1 000 machetes, 1 000 sickles”. As usual, Alexander and her invention just mess delightfully with one’s mind. This art, in fact, is rather ‘disruptive’. In a challenging way. Unlike the one upstairs at Geers’, her security guard (like those at the Cape Town stadium before they were fired) is visitor friendly. Yet both are guarding ‘art’. On the face of it, these fellows have, perhaps, only taken on an extended role of the tradition museum supervisors who refrain enthusiasts from ‘stepping over the line’. On the other hand, outfitted and placed as they are, theirs is hardly a gentle, shadowy presence. It’s the presence of money, not art. And a judder of existential anguish.



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The Lie of the Land: Representations of the South African Landscape Brendon Bell opens “Jabulisa 2010 The art and craft of Kwazulu-Natal.” at The Tatham Gallery, Pietermaritzburg

The Art Cowboy : Peter Machen

Peter is currently taking a well earned break this month

What’s on in Kwazulu- Natal Durban Alexander Podlashuc (1930-2009). View from my Balcony (Andre’s farm, Tamboerskloof) (1998) Oil on canvas

At the Iziko Michaelis Collection, Old Town House, Greenmarket Square This unique new exhibition, curated by Professor Michael Godby of UCT, presents a comprehensible overview of the history of the art of landscape painting in South Africa. While there have been many exhibitions of South African landscape art in the past, this is perhaps the first time that this theme has been tackled thematically so as to prompt new thinking on a subject that we all-too-often take for granted. The Lie of the Land: Representations of the South African Landscape, which opened on 10 June 2010 at the Iziko Michaelis Collection, Old Town House, is structured so as to invite visitors to experience and also ponder the variety of approaches to this much-loved genre that has been prompted by our history, politics and evolving cultural shifts and changes. In the light of this, the provocative title of the exhibition has a deep resonance. To what extent is a representation of a landscape ‘truthful’? To what extent is it a fabrication constructed to suit the attitudes, needs and demands of makers and viewers at a particular time in history? Landscape is perhaps the oldest and certainly the most popular type of art in South Africa. The complex issues it raises are perpetually with us. Landscape paintings commemorated the first contacts of European explorers at the Cape, and it is still widely practiced throughout the country to this day. While a seemingly exhausted genre, landscape nevertheless remains a central and vital concern in the practice of many young and contemporary South African artists who are strongly featured in this exhibition. This is perhaps because land and land ownership issues lie at the core of South Africa’s fractured political history. In this long history, the representation of landscape has assumed many forms, not just because the actual physical geography of South Africa is so varied and inspiring, but because different groups, and individual artists, at different times, have wanted to communicate different things about their natural environment. The exhibition has been arranged in five discrete sections spread through the rooms of Cape Town’s famous colonial landmark, the Old Town House. Each section is clearly explicated for the benefit of visitors. The sections cover some of the wide range of purpose behind landscape representation – from statements of awe in the face of a new landscape; to records of various methods of exploiting the landscape’s natural resources; to commemorations of struggles over possession of the landscape; to expressions of poetic or patriotic feelings through the medium of landscape; to recent interrogations of the very means of representing landscape. The exhibition runs until 11 September 2010 and is accompanied by a well-illustrated catalogue with major essays, edited by the exhibition’s curator, Professor Michael Godby. The catalogue is in press and will be available shortly. This new exhibition and catalogue are a sequel to Michael Godby’s previous and highlypopular exhibition Is there Still Life?, held at the Iziko Michaelis Collection in 2007–2008. The Old Town House has recently undergone renovations and is now wheel-chair friendly, with a lift to accommodate disabled visitors to the upper floors of the building. Disabled visitors may gain access to the Old Town House from a new entrance in Burg Street.

The African Art Centre Durban 09 June-11 July, “Woza 2010: A celebration of Craft” 94 Florida, Durban. T. 31 312 3804/5 ArtSPACE Durban 21 June-10 July, “ConglomerART” group exhibition Kay Berg – photographs. 12-31 July, Works by Laurie Glennie, Grace Kotze and Dee Donaldson. 02-21 August, Young Artists Unite, a group show. 3 Millar Road, Stamford Hill, Durban. T.031 312 0793 BAT Centre 16 June-16 July, “Amandla” Exhibiting Artist: Zamani Makhanya; Sifiso KaMkame; Thami Jali; Lindelani Ngwenya; Langa Mangwa. @ The Menzi Mchunu & Democratic Gallery. BAT Centre, 45 Maritime Place, Small Craft Harbour, Durban. T. 031 332 0451/2079 Durban Art Gallery Until 01 August, “The Interactive Street Child Experience” 01 June -01 August, “Art of the Ball” Until 01 August, “Conflicting Interests” This exhibition, curated by Vaughn Sadie, explores the conflicts inherent within the collection of the Durban Art Gallery. 2nd Floor City Hall, Anton Lembede St (former Smith St) Durban T. 031 311 2264 Elizabeth Gordon Gallery A variety of new South African artworks, including paintings by Hugh Mbayiwa, Nora Newton, Wheildon and Hussein Salim. 120 Florida Rd., Durban. T. 031 303 8133 KZNSA Gallery 29 June-25 July, ”Under the Surface” oil paint on board by Jane Oliver; “Park Views” an exhibition of the KZNSA’s Fourth Professional Practice Course, in association with the Isimangaliso Wetland Park. 166 Bulwer Rd., Glenwood. T. 031 2023686

Margate Margate Art Museum Museums art collection on display. T.039 312 8392 C.072 316 8094

Pietermaritzburg The Blue Caterpillar Gallery 01 June-31 July, An exhibition by Jocelyn Boyley’s (the late Errol Boyley’s wife) The Blue Caterpillar art gallery at Butterflies for Africa 37 Willowton Road, Pietermaritzburg. T. 033 3871356 or Tatham Art Gallery 08 June-26 September, “Jabulisa 2010 The art and craft of Kwazulu-Natal.” Until 26 September, First floor Exhibition Rooms: The Whitwell Collection 1923-1926. Until 26 September, Perimeter Gallery: Gallery Permanent Collection 1903-1974-works that are part of the Storm in the Wheatfieldan anthology of the Gallery history. Cnr of Chief Albert Luthuli (Commercial) Rd. and Church Str. (Opposite City Hall) Pietermaritzburg T. 033 342 1804

Jocelyn Boyley’s exhibition at The Blue Caterpillar Art Gallery at Butterflies for Africa in Pietermaritzburg continues till the 31 July 2010. Jocelyn is an experienced artist who studied art in Johannesburg under Elaine Marriott and later under Walter Battiss, Cecily Sash and the watercolour artist Henri Wood. She later married Errol Boyley and he was a mentor and tutor for 32 years until his death in 2007.

Arts and Heritage Bus back on the road Especially for the World Cup season, the popular Arts Bus - and a new addition, the Heritage Bus - will alternate daily in Durban. This offers two different cultural experiences with a free hop-on, hop-off city bus which allows arts lovers to visit eight of the city’s premier galleries and some of the city’s top heritage attractions in a day. The World Cup season will see the bus travel daily (except Sunday) from Sat 12 June until 9 July – offering 24 trips in total. The Arts Bus will run every Saturday, Tuesday and Thursday over the season, and the Heritage Bus will run every Monday, Wednesday and Friday. The idea is for residents to explore their city with comfort and ease; and for visitors to discover some of the arts and heritage treasures which the city has to offer. Packaging day trips makes visits easier with no transport, navigation or parking issues. A major benefit is that the bus has an onboard guide to explain the attractions en route and to provide a narrative context to all the places to be visited.

The bus for both routes will depart daily at 8.30am in front of the old Pavillion site on the beachfront which is used as the World Cup Info Site, ideally for holiday-makers and World Cup visitors to be able to embark. The second stop will be at 9am at the KZNSA Gallery in Glenwood primarily for those wanting to park their cars in the KNZSA car park. Guests can join the bus either at the beachfront Tourist Info Site (old Pavillion site) at 8.30am or the KZNSA Gallery at 9am. The Arts Bus takes visitors to some of the premier galleries in the city – with special focus on those galleries who have a World Cup or soccer themed exhibition. It is anticipated that the route will include The KZNSA Gallery; The Durban Art Gallery; The BAT Centre; Artisan Gallery; African Art Centre; Durban University of Technology Gallery, ArtSPACE Durban and the 2010 International and African Fine Art Collection at Suncoast Casino. The Heritage Route includes: Mazisi Kunene Museum; the KwaMuhle Museum; the Old Court House Museum; Durban Botanic Gardens, the Juma Masjid Mosque and Emmanuel Cathedral. An in depth guided tour through the precious artifacts of the Phansi Museum has also been organized for bus commuters (for a cost of R35 per person). En route passengers will be shown various civic attractions: the John Ross statue; Vasco Da Gama clock; Dick King statue; Fernando Pessoa statue; Port Natal Maritime Museum, the Victoria St Indian Market and City Hall / Post Office precinct. This will be the third year that the Arts Bus has been running. It has previously been an integral part of the Celebrate Durban September season, but due to its enduring success, the city officials from Ethekwini Municipality have created a platform to run the Arts Bus and its new sister – the Heritage Bus – daily over the World Cup season as an attraction for visitors and residents alike. Bus entry is free and all are welcome. The only charge will be for the guided tour at the Phansi Museum on the Heritage Bus route. There will be lunch stops factored into the itinerary for passengers to purchase a light meal. Seats are limited so booking is advisable. The Arts and Heritage Bus is presented by Ethekwini Municipality, Durban Tourism, Dept of Arts and Culture, KZN and The Visual Arts Network of South Africa. Free Arts and Heritage Bus Season: 12 June – 9 July The Arts Bus: every Saturday, Tuesday and Thursday The Heritage Bus: every Monday, Wednesday and Friday. Enquiries and bookings: Domy Cortes 031 208 9430 / 073 719 0444 / Detailed info / online booking on www. Routes and attractions are subject to change!




Works from: ‘This is not final’ an exhibition of artwork by the Master of Fine Art students, University of Cape Town Curated by GIPCA 2010 Fellows Bettina Malcomess and Peter Van Heerden Michaelis Galleries, UNTIL – 10 July 2010 UCT’s Michaelis School of Fine Art will be hosting its anticipated annual exhibition of diverse works by Master’s students in their first, second and third years of study. The varied explorations in painting, video, new-media, print, sculpture and installation expose concerns that question accepted image tropes and modes of representation within contemporary art practice. (Continued across)

The GREAT Walk and MORE Arts Festival has been generously funded by the National Lottery Distribution Trust Fund (NLDTF). It will be hosted by the Greatmore street studios and will showcase newly created site specific and live art in the surrounding area of GREATMORE Street, Woodstock. This two day interactive festival will bring contemporary art into the community of Woodstock by featuring art works, live art performances, sound installations, projections, music and street performances.FESTIVAL DATES : FRIDAY 25TH June : 6.15PM-9PM Saturday 26thJjune: 11-4pm For PROGRAM INFO: 47-49 Greatmore Street,, tel: 021 447 96 99

(Above and right) Works from the South Cape Art Show 2010. This year there were 162 artists that submitted 492 peaces of artwork, of which 149 were chosen. Greg Schultz was this years judge to see more go to (Works: Van der Vyver - Joyful spirit; (Leon Strydom right, Greg Schultz left) and Hanekom Franko - Used to know



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The work on the show brings together many thematic threads, in very diverse media.Venue: Michaelis Galleries, University of Cape Town Hiddingh Campus, 31 – 37 Orange Street , Cape Town, Dates and times: 17 June to 10 July 2010, Tue- Fri 10:00 - 15:00, Sat 10:00 - 12:00For more information contact:Nadja Daehnke at 021 4807170, 0823165272 or Images (Left - Right) : View of Katherine Spindler’s Studio, Elgin Image, Nina Flower 2, Syntax Black & Blue Natasha Norman

(Left) Gaint works by Dylan Lewis participating in the Untamed exhibition in Kirstenbosch. (Right: Dylan Lewis middle) For more details see The SA Art Times website:

A Work from: ‘Tretchikoff and Me’ is a salon-style exhibition that shows original archival prints produced under the supervision of Vladimir Tretchikoff while he was still alive alongside new works by emerging and established South African artists that respond to his legacy, creativity and influence. This exhibition aims to fill the walls of Salon91 on Kloof Street, Cape Town, with fresh new takes on his work, his life, his style and his techniques. In a nod to Tretchikoff’s own unstuffy approach to art the work will be in many media but primarily in two-dimensional print work.The exhibition is curated by Andrew Lamprecht and is presented by Salon91 in association with the Tretchikoff Foundation. 23 June – 31 July 2010, 91 Kloof Street, Gardens Cape Town,

Nicolas Maritz’s whimsical and colourful show entitled: Mountains and Mermaids was opened by Yvette Stevens at Kalk Bay Modern earlier this month.




Works by Simon Annand – entitled: The half - portraying actors and actresses behind the scenes of the london theatre stages – spanning over the last three decades will be showing a Focus Contemporary 67 Loop Street Cape Town from 25 June to 24 July 2010. Above images: Cate Blanchett, Dawn French and Tilda Swinton

The Heath family of artists from Kwazulu Natal have been exhibited frequently in the past yet it is rare to find their works appear on the open market. In Ebony’s current Exhibition at their Franschhoek Gallery there is an opportunity to see a unique selection of works previously shown at the Heath combined retrospective at the Tatham in 2009. Left: Jane Heath White Cloth 1974 Oil on board , (Right) Jinny Heath Green Still Life with two Pears 1995

Pierneef: Koringlande

Maggie Laubser: Flaminke

Forthcoming : Strauss & Co. Cape Town Auction, October 2010 Strauss & Co are gearing up for yet another spectacular sale on 11 October 2010 at the Vineyard Hotel in Newlands. Managing Director Stephan Welz’s recent visit to Cape Town drew phenomenal responses from eager collectors seeking valuations and wanting to consign valuable items to the next auction. The turnout netted a cache of top works by Irma Stern, J H Pierneef, Maggie Laubser, Stanley Pinker, Cecil Skotnes, Lucky Sibiya, William Kentridge and many more. J H Pierneef’s Koringlande Agter Paarl (R2 500 000 – 3 500 000), painted in 1952, is a rare example of the artist’s Cape landscapes, depicting a Cape Dutch farmhouse nestled amongst sweeping wheat fields at the foot of a dramatic mountain range. A striking pair of paintings by Maggie Laubser featuring a coastal landscape with flamingos (R700 000 – 900 000) and a Free State landscape with a Blue Crane (R600 000 – 800 000) are outstanding examples of her work, evoking her abiding affinity with nature and her deep love of the South African soil and its rich birdlife. Also included is a rare painting of a bather on the beach by Irma Stern (R800 000 – 1 200 0000) and other works from the estate of the late Neville Dubow. In addition to being one of this country’s foremost scholars of art and an authority on Irma Stern about whom he authored several publications, Dubow was, for many years, Professor and Head of the University of Cape Town’s Michaelis School Fine Art and Director of the UCT Irma Stern Museum in Rondebosch. Wheel of Life (R700 000 – 1 000 000) painted in 1974 by Stanley Pinker, who was, for many years, senior painting lecturer at the same art school, vividly conveys the acute intelligence and wicked wit he brings to bear on his explorations of the peculiarities of South African cultural and political life. Carved wood panels by Cecil Skotnes and Lucky Sibiya, ranging in estimates from R60 000 to R350 000, will give collectors and enthusiasts the opportunity of comparing their techniques and iconography. William Kentridge’s Dutch Iris II, an etching and acquatint with sixteen colours, demonstrates the mastery of the fine art of printmaking that has assured him a place in major international collections such as The Museum of Modern Art, New York and confirms why his work is so sought after across the globe. With South Africa’s top fine art auctioneer at the helm and a team of esteemed specialists at hand, Strauss & Co offers sellers and buyers the most sought-after expertise in fine art and antiques and the market savvy to ensure the best possible results. After all, it’s the end result that counts, not what’s promised you. Two sales held by Strauss & Co thus far this year bring the total turnover close on R80m, reaffirming their undisputed position as market leaders. With two more auctions still to go, Strauss & Co’s annual turnover is set to exceed last year’s figure by some considerable measure. Focusing on offering top quality art and antiques, from private collections and fresh to the market, is proving to be a winning strategy. The company has also handled major estates recently including the Dodo collection and the Leslie Milner collection, achieving substantial prices for the estates. Says Stephan Welz of his last visit to Cape Town: ‘my day was made within the first three appointments when I saw the calibre of artworks and objects being brought to us. I then appreciated that we are now the first point of enquiry for serious collectors and owners of important paintings when it comes to exploring the possibilities of selling. More importantly, all left their artworks with us for sale’. Welz, who is to honoured by the Ann Bryant Gallery in East London for his contribution towards the recent refurbishment of the museum, will be in the Eastern Cape in the week of 19 July, in Cape Town on 29 July and in Hermanus on 30 July, to provide valuations and offer sellers the last opportunity to consign art and antiques to Strauss & Co’s 11 October sale. For further information please call: 021 683 6560 / 078 044 8185 or email or view website at

Heather Auer

Art & Sculpture Gallery

Himba Girl on crystal base

We are a family run business. In the photo are my two sons, Uwe and Michael, my husband, Manfred and myself. We have been running the gallery in Simon’s Town for over eleven years now and I have been painting and sculpting on a professional basis for about thirty years. I love South Africa although I was born in Scotland and emigrated here with my family at eight years of age. I love the fact that we can all work together at making the gallery a success. Michael does the framing and looks after the Hout Bay gallery and Uwe and Manfred run the Simon’s Town one. The theme running through most of the work is African as I am passionate about South Africa and consider this my home. Quayside Centre, Wharf Street, Simon’s Town 7975 Tel: 021 786 1309 Shop 3, Red Sails, 22 Main Rd, Hout Bay 7806 Tel: 021 790 0947

African Sister

Girl with Dove

Township Soccer Player

Male Torso



Australia joins droit de suite scheme


Latest sign-up reignites controversy as UK anticipates end of “70 years” exemption Two of the largest international markets do not currently participate in the scheme: the United States (barring California) and China, which some believe causes market distortions. “It is a very leaky boat unless there is global enforcement,” said Lisson Gallery director Nicholas Logsdail. New York art advisor Todd Levin, director of Levin Art Group, generally favours the concept but echoed the need for universal application: “The problem is that not everyone is on an even footing—when L&M in LA, Gagosian in New York, White Cube in Lon­don and Roslyn Oxley9 in Aus­tralia are all subject to [the legislation], no one will care about paying it.” Nevertheless, some in the UK are particularly concerned. Since its inception in 2006, the UK has only applied the royalty to living artists—unlike most other EU countries, it has been exempt from paying royalties on works by artists who have been dead for less than 70 years. But this is set to change in 2012, according to the EU directive, and the British trade is worried about losing its market share—currently the second largest internationally—to its competitors in China and the US. First Published in The Art Newspaper By Maura Cahill Pettengill Fair deal? Australia’s new droit de suite law should help prevent exploitation of native Australian artists (Photo: Anoek De Groot/ AFP/Getty Images) presto, pennsylvania. This month, Australia joins 52 other countries in enacting droit de suite or “artist resale royalty” legislation. The Australian art trade “is very anxious”, said Alida Stanley, interim chief executive of Viscopy, the foremost lobbyist for resale royalty in Australia: “They don’t know how it is going to work and are frustrated because they don’t think it’s a workable scheme.” Stanley stressed that it will most benefit Australia’s indigenous artists, who have often been exploited. Droit de suite affords artists a cut of the profits from secondary market sales—which usually fetch higher prices than primary market transactions. While the Australian scheme differs from other countries’ in having a flat uncapped royalty of 5%, and in ex

empting the first resale of the work, all European countries, except Switzerland, have a version of the system. Several trade sources argue that it is an added tax that drives down prices, hurting both artists and dealers. “Dealers are having to discount work by as much as 30%, particularly in the mid-section of the market—£10,000 to £2m—because the artist resale royalty is a significant amount relative to the price,” said art economist Clare McAndrew. “It only really helps those that are already doing well,” said Christopher Battiscombe, director general of the Society of London Art Dealers. “The significant sums are going to a…small group of artists—the top 10%.” New York-based art advisor Avi Spira, director of Art­ Ventures International, said the scheme is punitive. Referring to his purchase of an early Damien Hirst work at Christie’s London last October, at auction for the fourth time, he said: “In that case, a £10,000 royalty—on top of the hammer price and buyer’s premium—went far afield of the intention to provide for artists.”

“The UK art market employs 60,000 people, and gradually there will be jobs lost as the London market will become less attractive internationally,” ac­cord­ing to Anthony Brown, chair­man of the British Art Market Federation. However, London-based René Gimpel, director of Gimpel Fils, reproached the British trade for squabbling over “a relatively small, capped amount that benefits artists”. As for the feared flight of art to non-European markets outside Europe, Gimpel pointed out the issue of the European 5% import tax: “If a European collector buys in New York to avoid the capped resale royalty of E12,500, they will have to pay an uncapped 5% import tax to bring the work back into a European country.” New York counterparts are understandably more relaxed. Lucy Mitchell-Innes, president of the Art Dealers Association of America, said droit de suite was unlikely to be implemented across the US any time soon, saying: “It’s not a widely discussed matter.” Meanwhile, China is staying out of it. “I was in Beijing recently, and they have never even heard of the European directive,” said McAndrew.

Galleries and museums face summer of protest over BP arts sponsorship Prestigious institutions defend links with oil firm as artists and green activists plan action

First Published in The Guardian, UK John Vidal and Owen Bowcott ‘Greenwash Guerrillas’ protesting outside the National Portrait Gallery. They want the gallery to stop accepting sponsorship money from BP. Photograph: Akira Suemori/AP The summer season of events at Britain’s most prestigious galleries and museums will be picketed by artists and green groups intent on portraying BP’s arts sponsorship as a toxic brand. Protests are planned next Monday by an eco-alliance styling itself “Good Crude Britannia” at Tate Britain’s celebration of its 20-year association with the international oil conglomerate. Climate change activists, artists and musicians opposed to the fossil fuel industry are determined to highlight BP’s link to the arts in the context of the company’s international embarrassment over the continuing oil spill in the Gulf of Mexico. But the main recipients of BP’s corporate largesse – the Royal Opera House, Tate Galleries, British Museum and the National Portrait Gallery – today issued a joint statement defending the connection and signalling their determination to preserve the commercial relationship. The calls for cultural institutions to distance themselves from the oil industry comes at a time when government spending on the arts is about to be slashed amid efforts to cut public debt. Many of Europe’s leading artists, donors and cultural supporters are expected to be greeted at the glittering annual Tate summer party by

Lord Brown of Madingley, chair of the Tate and former head of BP. The planned demonstration next Monday follows protests this week by a group of artists calling themselves the Greenwash Guerrillas, who distributed leaflets outside the National Portrait Gallery at a BP-sponsored arts event. Greenpeace campaigners followed up with an “alternative exhibition” at a private viewing at the gallery. The oil company has refused to divulge how much money it donates to the arts in Britain but it is thought, along with Shell, to be one of the most generous donors. In 2005 the figure was estimated to be more than £1m a year. BP also sponsors the Almeida theatre, the National Maritime museum, and the Science and Natural History museums. “Organisations like the National Portrait Gallery help shape public attitudes towards the big issues of the day and if the gallery is serious about climate change then the sponsorship deal with BP has got to end,” said Robin Oakley, Greenpeace’s campaigns director. In a separate development, musicians including Lady Gaga, Korn, Disturbed, Godsmack, Creed, and the Backstreet Boys said they planned to boycott BP on their national tours this year. “It is absurd that the Tate should be sponsored by a company that is as irresponsible and polluting as BP,” said Matthew Herbert, an electronic artist and composer who will headline the jazz stage at Glastonbury this weekend. The oil industry has been a target for artists and activists for many years. Shell was widely boycotted in the 1990s for its involvement in the Nigerian government’s decision to hang the writer Ken SaroWiwa. Last month a group called Liberate Tate entered the gallery’s main turbine hall and released dozens of black balloons attached to dead fish in protest against the Gulf oil spill. Gallery staff had to shoot the balloons down with air rifles. The press opening of the BP Portrait Awards was gatecrashed this week by a film crew from the Don’t Panic collective who distributed wine glasses filled with thick black liquid symbolising the spill. “In the past Imperial Tobacco used to sponsor the portrait awards,” said Heydon Prowse, one of Don’t Panic’s film-makers, “then it was considered no longer acceptable. Perhaps the same should be considered now for BP given its attitude to regulation and tar sands.”

The Tate gallery said it had an ethics committee which regularly reviewed its sponsorship deals. “BP is one of the most important sponsors of the arts in the UK supporting Tate as well as several other leading cultural institutions. Tate works with a wide range of corporate organisations and generates the majority of its funding from earned income and private sources. The Board and Ethics committee regularly review compliance with the policy,” it said. The National Portrait Gallery said: “The sponsorship of the annual Portrait Award by BP is now in its 21st year and their support directly encourages the work of artists and helps gain wider recognition for them.” A joint statement – from the Tate, Opera House, British Museum and Portrait Gallery – added: “The income generated through corporate partnerships is vital to the mixed economy of successful arts organisations and enables each of us to deliver a rich and vibrant cultural programme. “We are grateful to BP for their long-term commitment, sharing the vision that our artistic programmes should be made available to the widest possible audience.” Suggestions that the massive bills being shouldered by BP for the clean up operation in the Gulf might force it to scale back on its support for the arts were dismissed by the company. Many of the deals are subject to long-term contractual agreements. Abandoning them would generate adverse publicity at a sensitive time. “Everyone has a right to protest,” a BP spokesman said, “but we feel sad they would choose to do so since we are doing the best we can to deal with a difficult situation. “In the States, we have offered grants for research on the impact of the oil and detergents and there are people looking to get that sponsorship. I’m not aware of any arts institutions in the USA or the UK withdrawing [from sponsorship deals].” Maurice Davies, of the Museums Association, which represents UK galleries and museums, doubted that any institution would immediately disown BP given the firm’s record of sustained commitment to the arts. “Museums make judgements about who is a suitable sponsor,” he said. “No one would take [money] from tobacco firms or arms companies. BP has a long and distinguished record of sponsorship. No one will rush to judgment on a company that has been a loyal supporter for such a long time. I don’t hear a national clamour for BP petrol stations to be shut down.”



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Polaroid sells off collection as part of bankruptcy proceedings Polaroid, one of the most venerable names in photography, sold off its treasured archive including some of the most famous images of the 20th century yesterday as part of bankruptcy proceedings. America, ranging from the classic black and white landscapes of Ansel Adams to Andy Warhol’s celebrity portraits. The collection included Dorothea Lange’s Migrant Mother, a haunting image of a destitute woman and her children. Taken at a roadside pea-pickers’ camp in California in 1936, it became a symbol of the Great Depression. It sold for $218,500, four times its original estimate. Ansel Adams photograph sells for record $722,000 3D FujiFilm camera to go on sale in SeptemberImages by Robert Mappletthorpe, Helmut Newton and David Hockney also featured in the sale at Sotheby’s in New York, alongside 400 works by landscape photographer Ansel Adams. Clearing Winter Storm, Adams’ mural-sized photograph of Yosemite National Park, sold for $722,000, an auction record for the artist.

Andy Warhol being strangled First Published on The BBC Website Anita Singh, Showbusiness Editor The Polaroid Collection was a documentary history of 20th century

Around 1,200 photographs from the 16,000-strong collection were auctioned and Sotheby’s hailed them as “masterworks from an era when Polaroid was king”. The story of the sale illustrates how the once-great Polaroid Corporation fell victim to technological advances. The company was founded in 1937 by Edwin H Land, a US inventor. Land was inspired by his daughter, who asked why she could not view the family’s holiday snapshots as soon as they were taken. He rose to the challenge, and the instant camera was introduced in 1948.

Sotheby’s said the Polaroid picture heralded a change “not only in technology and aesthetics, but a change in expectations. To see a photograph moments after it is taken is an unchallenged right of our digital age. But in 1948, the hours it took to make prints from rolls or sheets of film were the tedious norm.” By the 1960s, half of all US homes had a Polaroid. But the instant cameras fell out of fashion as consumers switched to digital photography. Polaroid filed for bankruptcy in 2001 but appeared to find a saviour in the form of Tom Petters, who bought the firm in 2005. However, it was forced into bankruptcy again in 2008 when Petters was arrested for orchestrating a £2.4 billion Ponzi scheme fraud. He was jailed in April for 50 years. Several artists featured in the sale campaigned for the collection to be kept together in a museum, but to no avail. They included Chuck Close, whose nine-part self-portrait was estimated at $70,000 but fetched $290,500. “These were not Polaroid’s works to sell. I gave my best work to the collection because it was made clear that it was going to stay together and be given to a museum,” Close said. The Polaroid Corporation is under new ownership and hopes to move into the 21st century by developing a range of cameras that combines instant printing with the latest digital technology. The firm has hired Lady Gaga, the eccentric US singer, as a creative director.

Africa is the next China - Puma CEO WAY TO GO: Puma CEO Jochen Zeitz admires a Kehinde Wiley painting of Cameroon soccer star Samuel Eto’o at Studio 1 gallery in Cape Town. He believes that Africa could soon show the same rate of growth as China Scoff at your peril. Zeitz has proved the cynics wrong before. He took charge of Puma at the age of 30, and turned the near-bankrupt German group into the world’s fourth-largest retailer of sports gear. In his 17 years as CEO, Zeitz has transformed Puma from a plodding shoemaker into a trendy brand that sets the pace. In South Africa this week for the World Cup, Zeitz hailed the tournament for making the doom-sayers eat their words. “Whenever a new country or new continent gets a big event there’s always scepticism, which I always find annoying. Way to go: Puma CEO Jochen Zeitz admires a Kehinde Wiley painting of Cameroon soccer star Samuel Eto’o at Studio 1 gallery in Cape Town. He believes that Africa could soon show the same rate of growth as China First published in The Telegraph, UK By Anton Ferreira Sceptics may call him a Pollyanna, but Afro-optimist Jochen Zeitz thinks the continent’s market could, in the coming decades, show the same sort of growth as China’s.

“Not everything has to always be perfect. I’ve been very, very pleased at the spirit of the people, how the World Cup unites the nation and the world.” Zeitz joined the masses taking the train to Soccer City for the Ghana-Germany match. “It was just great to see the atmosphere, everyone asking, ‘Where are you from?’ ... to be able to take public transport where before so many in Europe were saying: ‘Oh you can’t do this, you can’t do that.’ I think it’s nothing but positive.” Zeitz has long been drawn to Africa, visiting the continent every year for the past 22 years. He owns a farm in Kenya.

“I love Africa, the continent, the diversity of its people, the different cultures. Being very interested in not only art but also nature, it’s certainly one of the areas in the world where you can still experience pure nature.” Puma sponsors 12 African teams, including four which qualified for the World Cup: Ghana, Cameroon, Ivory Coast and Algeria. It recently launched a “unity” line of football kit for African national teams. A portion of the sales of replica jerseys will go to environmental conservation projects in Africa. “If you look at the last World Cup in Germany, the second-favourite team after the home team was always an African team. I think there’s a lot of sympathy for Africa and African football,” he says. Zeitz acknowledges that not many Africans can afford a nice little Puma top selling for just under R1000. “(The market) is still single digits, but it’s a growing market,” he says. “Everything has its time. Ten, 20 years ago China wasn’t a big market either.” In Cape Town, Zeitz opened an exhibition by the latest Puma collaborator, African-American artist Kehinde Wiley. “Art is the ultimate expression of creativity and design, and we are a design-driven company,” Zeitz says.

‘Bureaucratic’ Bullying Continues at Namibian National Art Gallery First Published: New Era Paper Frederick Philander, Windhoek — The director of the National Art Gallery, Joseph Madisia, has angrily and scathingly accused the directors of art in the ministry of culture of having done nothing in 20 years to promote the development of the visual arts in the country. Director of Arts, Retha-Louis Hofmeyr, and her deputy, Ervast Mtota, have been tongue-lashed in a revealing letter to her, currently the acting permanent secretary in the Ministry of Youth, National Service, Sport and Culture. Art/Life is in possession of the letter. The letter was also sent to Prime Minister Nahas Angula and Minister Kazenambo Kazenambo. “It has been more than seven years that I have been frustrated, humiliated and that I had to live in anxiety because of the autocratic way in which your office has handled affairs wherein I am involved. The trauma that I went through under you power has gone to the extent that it affects my work, my family, my life, and in whatever I do, which leaves me with no other alternative that I am sometimes longing to return my career as an artist, especially if one considers that very little was done over the last 20 years by you and Ervast Mtota’s offices for the visual arts in this country,” the letter reads.

Madisia challenged Hofmeyr, Dr Peingeondjabi Shipoh, her Permanent Secretary, and Mtota, as government officials to come out and tell him whether the ministry of culture still requires his service in the absence of a legal board or not. “I am sure I will be able to contribute in a more meaningful and respectfull way to the development of the NAGN and visual art in general if you can make up your minds,” the internationally respected artist said. He effectively accused the threesome of undermining his authority, as director of the gallery. “The re-appointment of Ervast Mtota, as NAGN board member already on 20th May 2010 without my knowledge, as director, and to only be informed on 18th June 2010, comes to me rather as a surprise. It can be only deduced that it happened after the media article: “NAGN WITHOUT A BOARD AND OUT OF POCKET” on 17th June 2010. It is therefore malicious from you to state that I made allegations, because I was uninformed when I forwarded my letter on 17th June to your office,” he said in the letter. “Personally I feel that Ervast Mtota is not the right person to serve at this stage as board member of the NAGN, because of long-standing differences since 2003 between me, as the current director of NAGN, and he, as a government official. Even you (Hofmeyr) have attacked or threatened me through letters that you

wrote to me indicating my downfall, as director,” he charged.. He further referred to and emphasised the lack of a full board of the gallery. “This leaves us once again with no quorum because the two government officials, as the only board members available, cannot make resolutions. The current state of NAGN Board of Trustee composition is contrary to what the NAGN Act 14 of 2000,” Madisia reminded the officials. According to Madisia, it could be perceived that the NAGN is reduced to a department of the ministry of culture under the Arts Directorate and not considered as a statutory body governed by an Act of Parliament. “It is for such reasons that I do have my reservations with you and Mtota in this state of affairs. It was also clear for the last year that Dr Shipoh was also out to get me on any technical error that he could find on me and continued to downplay the status of the NAGN, as an SOE. It is not worth to solve the problem, if we cannot cure the causes creating the problem. The problem, in this case, is personality clashes and long-standing differences between us, which is detrimental to the development of visual arts development, as well as for the protection of our visual art heritage. We need to think about the common good of art development and not about ourselves in this crisis. I bet this will be very hard for some of us, who are the cause of dwindling visual arts development affairs in the country,” he said.

Ernst de Jong Academy of Fine Art Professional Painting and Specialized Graphic Design


MISSION Our quest is for aesthetic excellence. “Art is Anything done essentially to Achieve Beauty” Ernst de Jong 1960 “While Creative Visual Art may achieve and express many ideas and concepts, ideologies, symbols, rituals and religions. Propaganda, advertisting, sensationalism, information and messages, decoration and a variety of other human expressions and stories, it must achieve one goal:- BEAUTY. Once the propaganda has been forgotten, such as with the Russian Poster, the only thing that remains is the Beauty - the Fine Art. The Egyptian Messages are generally obscure but the Beauty, the Art remains. Artists’ may say what they like and tell stories, but without aesthetic logic the message is short lived and no Art remains. Great Art is always beautiful. There are no ugly paintings in the great Art Museums of the world. Style and fashion will only reflect the mood of the era briefly but inevitably there is no progress in Art. Art is eternal” Ernst de Jong 2010

Studios Since 1957 53 years of teaching modern art

DIPLOMA COURSES Painting and Design


Bijou Moynot ‘Nuances Brunes’ 2009

Carol van Tonder ‘Rejuvenation; 2010

he Academy strives to attain an International Modern Art and Design calibre in line with the foremost Art Institutions in America such as the Chicago Art Institute, Cooper Union and NYU as well as the famous Manhattan Galleries. We are already well known for the outstanding results that our ARTISTS OF THE ACADEMY achieve as well as the hundreds of designers we have trained who are today in top positions in South Africa and abroad. We concentrate on Modern Art at its best and train talented beginners and advanced Painters. The Professinal Painter’s skills are honed and their work is widely viewed here and internationally.

Rachel Wickwar Odyssey Series ‘The Arrival’ 2010

Tel: 012 430 4677 Fax: 012 430 6391 Cell: 082 951 4533 Email:

Ernst de Jong ‘It’s a Marvellous night for a Moon dance’ 2010 Esther Booysen ‘Gateway to Unknown’ 2010

Jan van Schalkwyk ‘Shadows’ 2010

AN ART LEGEND Ernst de Jong

American Trained. BFA Oklahoma Univ. USA Lecturer: Pretoria Univ, Pretoria Tech. School of New Vision NYC. Oslo Academy.The Academy of Fine Art. 50 Solo shows and as many group exhibitions. Retrospective Exhibition, Pretoria Art Museum 1998 Solo show Pretoria Art Museum 2000 Collections worldwide. 30 Murals. Painting for new shows in SA and USA

Luxury studios at 366 Hill Street Arcadia 0083 Pretoria


Continuous quarterly enrolment throughout the year. Small classes. Application, interview and fees Call: 082 951 4533 or 012 430 4677 or Fax 012 430 6391