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

DAC kills NAC’s funding ability Arts funding is now greatly compromised “The fact that a R14 million NAC budget equates to only R 2 million for individual arts and cultural initiatives suggests that over 85% of the NAC budget is being used elsewhere, presumably for paying fat cat salaries. While it’s easy to express distaste for the Department’s budget cuts, one also can’t help wondering what the NAC is doing with the money it does have” The Department of Arts and Culture has cut the National Arts Council budget in half for the 2010/2011 financial year, leaving only R 14 million in the NAC budget. Furthermore, the NAC has calculated that this will leave only R 2 million across all provinces and all 7 disciplines (including film, theatre, music and visual arts). The NAC will thus only be having one funding call this year, and, as anyone who has organised a large-scale project, event or exhibition will attest, R 2 million is close on what one large-scale cultural project requires, an amount now intended to serve all proposals across the country. The Chairperson of the NAC, Adv. Brenda Madumise exclaimed that “We are of course disappointed at this reduction to the NAC and the sectors we support, and even more distressed by the painful consequences that this will automatically have for our artists.” She went on to say that “the NAC will continue to make a strong case to government on behalf of the creative industries during the Council’s remaining term of office. However, given the political consensus already reached on the overall budget, we recognise that we must all prepare for difficult times ahead.” In a slew of mismanagements and budget cuts (this announcement comes shortly after the DAC’s termination of the 2010 Task Team), this new hurdle only confirms government’s lack of commitment to the Arts and Culture sector, particularly in 2010, despite President Zuma’s proclamation at his November adress to the Arts and Culture Sector that: “The cultural industry sector is a very important partner in our drive to build a social and cultural identity for our nation. Any foreigner who wants to understand South Africans better is likely to listen to our music, watch our films or television dramas. That is how important you are to the image of this country and its identity.”

Dutch disease 2010, Bronze, taxidermied African Crow, antelope hair, nylon leaves, timber, epoxy, enamel paint. by Michael McGarry from his show entitled: “This is the world in which we grow and we will grow to hate you.” to be seen at The Brodie/Stevenson Johannesburg.

Major Tretchikoff Exhibition planed for end October

Furthermore, the fact that a R14 million NAC budget equates to only R 2 million for individual arts and cultural initiatives suggests that over 85% of the NAC budget is being used elsewhere, presumably for administrative costs (read paying salaries), so while it’s easy to express distaste for the Department’s budget cuts, one also can’t help wondering what the NAC is doing with the money it does have.

Rumours have been circulating for some time about a major Tretchikoff exhibition in 2010, and yesterday during his Pecha Kucha talk at the Design Indaba, curator to the stars, Andrew Lamprecht, confirmed that he is working with the Tretchikoff Foundation on launching the

The NAC Communications and Marketing manager was unavailable for comment at this time.

exhibition end October. Billed as a major retrospective, the exhibition will present many of Tretchikoff’s rarely seen paintings, as well as multiples and responses to Tretchikoff’s oeuvre by other South African artists. The exhibition is set to re-examine Tretchikoff’s place

in the annals of South African art history, not only a a marketing genius, but as an artist as well. Lamprecht confirmed that he is “in negotiation with a major gallery” to host the exhibition. See to follow this story.

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The Jo-Marie Rabie Column


Illustration by Nils Burwitz, reproduced in The South African Art Market 1971/72. Image courtesy: Esmé Berman

“I got myself into hot water”, she replied in reference to “handbook for collectors”. “Among several informative articles contributed by knowledgeable writers was a segment for which I had called upon half-a-dozen nationally respected art experts to evaluate the collectibility of the artists whose works had been sold in various notable commercial galleries and on auction sales during the preceding year. Their selections were carefully collated and the top recommendations in the fields of painting, sculpture and graphic arts were presented in declining sequence. The outcome? I was not among the arbitrators, but I was pilloried by artists who considered themselves far more important than the experts had decreed. My good friend Cecil Skotnes actually expressed the fear that my career in art was over!”


I am almost completely convinced that most of you would know what those three letters stand for, but until a few days ago, I did not. “What’s the expected ROI?”, I was asked by a board member at a meeting I attended to discuss a potential branding and marketing project I have become involved in. I could not answer her question. I had no clue what an ROI was - the boardroom and it’s jargon is an alien world to me. It turned out to mean Return On Investment. Unlike me, terminology like “Return on investment” clearly belongs in a boardroom, but like all else in a world possessed by the notion that anybody can do anything (did you hear that Britney Spears has now written a children’s book?), jargon seems to seep and creep across borders and boundaries – moving effortlessly between boardroom and auction room, gambling hall and art gallery. So, it probably comes as no surprise that ROI is now a recognized incentive for buying works of art or that the term “blue chip” is used not only to refer to casino money, but to a secure investment as well. “Did you know that the expression “blue chip” comes from the game of Poker - thereby retaining hints of the element of risk? But in referring to the highest value chips, it also implies an assured choice.” The source of this wonderful tit-bit? None other than the (and here, dear reader, please allow me to gush) doyenne of South African art books, Esmé Berman. A few weeks ago my editor suggested I write an article about “Esmé Berman’s idea of blue chip art and artists”. I was little bit perplexed but did not want to sound completely out of the loop (I imagined that it was a term Berman used in her comprehensive anthology/bibliography), so I did not question the origin of “blue chip artists” - I just believed that when I start doing my research I will come across the reference and take it from there. But alas, in Berman’s Art and Artists of South Africa (An illustrated biographical dictionary and historical survey of painters, sculptors & graphic artists since 1875) no such category or list was to be found. I realized soon enough that the most likely source for such a selection of (lucky) artists might be found in a small handbook for collectors she edited and published in 1972 . Entitled The

South African art market, 1971/72: a handbook for collectors (Johannesburg, Art Institute of South Africa, 1972) it was an attempt to answer the questions most frequently put to her by the public. But search as I may, I could not find a copy of this rare little gem. So, I took the plunge and e-mailed Mrs Berman with a list of questions pertaining to the so called “blue chip artists”. “I got myself into hot water”, she replied in reference to “handbook for collectors”. “Among several informative articles contributed by knowledgeable writers was a segment for which I had called upon half-a-dozen nationally respected art experts to evaluate the collectibility of the artists whose works had been sold in various notable commercial galleries and on auction sales during the preceding year. Their selections were carefully collated and the top recommendations in the fields of painting, sculpture and graphic arts were presented in declining sequence. The outcome? I was not among the arbitrators, but I was pilloried by artists who considered themselves far more important than the experts had decreed. My good friend Cecil Skotnes actually expressed the fear that my career in art was over!” It is ironic that she had to take the blame for other’s opinions as she, like most others with an academic or creative inclination, has never been comfortable with the commercial aspects of art. Yet, with the wisdom that only experience brings she warns against casting the first stone. “It would be incorrect to hold contemporary collectors responsible for “commoditising” art. That began a long time ago – the tendency merely intensified as the 20th Century proceeded – and ultimately it brought about a radical reaction. The 1960s witnessed the rise of movements that deliberately emphasized process and/or abstract concept, to the detriment of the end-product or art object. Hence, Conceptual Art, Performance Art, etc.” Mrs Berman has no quarrel with the practice of investing in art, she assured me. There is, however, a definite distinction between ‘investing’ and ‘speculating’, she hastens to add. “For genuine investment offers the promise of more than financial appreciation.” Most “good” art appreciates in financial value over time – even if the appreciation is not spectacular and worthy of a newsflash. What is infinitely more valuable is the aesthetic pleasure it provides during that time, she suggests. “It may actually exceed any

profit to be gained from its increased financial value.” Who’s the next “sure thing”, I dared to ask. “When it comes to ear-marking the potential ‘Blue Chip Artist’, the reckless stick their neck outs. The wisest dealers did not recognize the investment worth of Vincent Van Gogh during his life-time. Who dreamed during the 1930s that the ‘appalling’ Irma Stern would ultimately become the highest priced South African artist.” “‘Blue Chip Artist’ certainly does not apply to the Flash-inthe-Pan, to the Politically Correct or to the current Wunderkind – voguish figures that can more appropriately be described as ‘Hot’! And it is the case of the ‘Hot Artists’ that confuses the issue – and reinforces my personal disinclination to associate myself with financial values. I was very much aware, for instance, as I observed the art scene during many years in Los Angeles, that several of the most prominent collectors there – determined to be seen to be on the cutting edge – made a beeline for the ‘Hot Artists’. Indeed, in many cases it was their patronage that accounted for the artist’s ‘Heat!’ Yet, I was often dubious about the durability of the talents they espoused. ‘Blue Chip Art’ implies stability, which usually requires a certain test of time. And, by then, the apposite artists, more often than not, are no longer active – or alive!” “How then does one make the wisest choices?” She posed the question. “My advice to prospective investors is – and always was – “Educate your eye!” While keeping track of market factors, cultivate your personal judgment by looking, looking, looking – in important art books, at significant exhibitions, in the company of expert commentators. No matter how ‘hot’ an artist make appear, remember that you have to like the work, after all, you have to live with it. And could you really live with a bottled cow in your living room?! Buy works that give you pleasure – if you have done the necessary work on developing your aesthetic appreciation, it is more than likely that financial appreciation will accompany the rewards that you derive.” Thank you, Esmé Berman. As always, a pleasure to work with a master of their craft – especially when they are wise and wonderful as well!

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Robert Watermeyer Selected for Acclaimed International Photography Exhibition

‘Prodigal son”, Kendell Geers “Freeballs” FIFA National Gallery Closes for 6 weeks for rehanging

2008 Michaelis Prize Winner, Robert Watermeyer has been selected for the second installment of the Aperture Foundation’s reGenerations 2: Tomorrow’s Photographers Today. The show is an elite travelling exhibition accompanied by a shiny Thames & Hudson catalogue, which claimss to exhibit the 80 best young photographers in the world.

The South African National Gallery will be closed for six weeks from the 1st March for both a refurbishment and rehang in preparation fr the World Cup.

In 2006 famed photography curator, William A. Ewing and his two fellow-curators at lElysée sought out the 50 photographers of tomorrow that they included in reGeneration by deciding, in association with the museum’s director of education, which were the 60 best photography schools in the world. They then invited each school to submit 10 of their students. Then the three curators took their pick of the submissions. Though this approach was criticised, this year’s organisers have at least broadened their search to over 120 art schools, ending up with 80 young photographers who represent 30 nationalities and 48 schools from 25 different countries. The first edition of reGeneration was seen by over 120 000 visitors. Between 2005 and 2009, it travelled to 10 different cities in North America, Europe and Asia. This year it will be presented at the Musée de l’Elysée from 19 June to 31 October 2010. From November 2010 reGeneration 2 will be traveling, apparently “with the high possibility of being hosted by the Michaelis School of Fine Art”, where Watermeyer would no doubt be happily received by his South African contemporaries.

Kendell Geers was in Cape Town to deliver a paper at the Dada South? Symposium this month (entitled Much ado about nothing, the secret history of Fuck).

Instead of hosting yet another soccer themed exhibit, Riason Naidoo has chosen to rehang the entire gallery so that it will be filled with South African art, a bold and exciting move for a gallery positioning itself to represent the country to both locals and tourists. When asked about the aims of the re-hang, Naidoo stated: “The aim of the re-hang, which overlaps with the period of the world Cup, is to showcase South African art during this period. The exhibition covers the period from when modern South African art started to articulate itself and assert a unique identity in relation to the rest of the world.

Speaking at a surprisingly low-key, though very packed, lunchtime lecture at the Michaelis School of Fine Art today, Geers drew attention to his Fifa Art Poster, a decidedly innocuous image made by covering a soccer ball in ink and bouncing it around on white paper.

(see http://www.freeballing. com/): Anarchy-lite perhaps?

Nadja Daehnke leaves SA National Gallery for UCT Michaelis Gallery / GIPCA Nadja Daehnke worked her last day at the Iziko South African National gallery last Thursday, and has now taken up her position as curator of the Michaelis Gallery on Hiddingh campus. With the Michaelis Gallery much in need of real curatorial attention and management for some time, this new GIPCA post was hotly contested amongst the South African art

world, with Daehnke joyfully coming out on top. When asked for her thoughts on the move, Nadja said that although she was going to miss her collection, she was “very excited for the opportunity to work in such a new and challenging environment”, and is looking forward to the year ahead.

Barbara Jackson: ‘Visionary rebel with a cause’, artist dies al art” creator Carrol Boyes, died at the home she shared with Boyes and their daughters Kim Jackson-Meltzer, 34 and Martine Jackson-Clotz, 31, on Saturday morning.

The selection will be based primarily on the Iziko SANG Permanent Collection, a rare opportunity to display treasures from the storeroom”.

Jackson was a well-known artist, famous for her ceramic pieces and her work with crafters in Cape Town’s townships. She had exhibited her artwork in the UK, the US, France, Holland, Switzerland, Germany and Italy.

Many will be no doubt disappointed to note the absence of the Abe Bailey Collection both currently and in Naidoo’s proposed schema. Commenting on this, Naidoo confirmed that: “As our timeline starts with modern South African art, we have come to an agreement with the Bailey Trust that the Bailey Collection will not be on display during this time, and as the works from the Bailey Collection do not fit into this timeline”.

When challenged as to the ethics of making a commercial print for FIFA (a capitalist giant of questionable ethics), considering Geers’ much publicised love of anarchy, the once-controversial artist stated that he had managed to subvert the organisation by titling the poster ‘Free Balling’, which, unbeknownst to Fifa, apparently refers to men not wearing underwear, thus letting their balls hang free

By Jason Warner After a short battle with cancer, one of South Africa’s respected artists, described as a “visionary rebel with a cause”, has died. Barbara Jackson, 60, life partner of world-famous “function-

Her work is displayed as permanent collections in the South African Cultural History Museum in Cape Town, the Johannesburg Art Gallery, South Africa House in London, the National History Museum in Taipei and Musee des Arts

Decoratif, in Montreal, Canada.

Meltzer said.

Together with Shirley Fintz, both passionate collectors of African beadwork and art, she created a non-profit income-generating bead project Monkeybiz in 2000 for a community of more than 450 bead artists.

“She connected to the person on the street as well as the celebrity. She was herself. She never attempted to be anyone else and she always followed her heart,” she said.

These artists, many of whom were sole breadwinners, create unique, signed artwork to sell while the profits are funnelled back into Khayelitsha, Philippi and Mandela Park.

The family held a private funeral for Jackson on Sunday. This article first appeared in The Cape Times, February. Photo: Michele Horwitz

“During the last few years she felt very responsible for all the women who were involved in Monkeybiz. One of her dreams was to have a travelling exhibition,” her daughter Jackson-

The South African Print Gallery


Black on White Recent prints from Kwa Zulu Natal Courtesy African Art Centre, Durban

06 March - 03 April

“Black on White” Straight from the African Art Centre, Durban. The group exhibition of eleven artists represented by the African Art Centre, namely Ezequiel Mabote, Gabisile Nkosi, George Msimang, Judas Mahlangu, Linga Diko, Malibongwe Shangase, Thabani Msomi, Mxolisi Sithole, Thulani Makhaye, Vukile Teyise and William Zulu. Sandile Goje: How can humans fly

The South African Print Gallery: 107 Sir Lowry Road, Woodstock, Cape Town. View the show at

Linga Diko: Water the Need


Free State Bloemfontein Oliewenhuis Art Museum 28 Jan-14 March, “Ten years later” paintings by Walter Meyer 11 Feb-04 March, “Umshotsho” an installation of works made from Rubber inner tube, ribbon, organza, lace, found objects, steel and a couch by Nicholas Hlobo. 18 March–18 April, Free State Ceramics Competition, Exhibition and Workshops. 08–23 April, “TERRA: Above and Below” Very large drawings and infused glass works by Jeanette Unite. 22 April–30 May, “Retrospective” Melted plastic, wall-hung works by Mbongeni Buthelezi.(Main building) 16 Harry Smith Str., Bloemfontein T.051 447 9609

FREE STATE, GAUTENG AND MPUMALANGA GALLERY LISTINGS Pauline Marcelle (Dominica, Austria), works in a variety of mediums. 10 Mahlatini Street, Fordsburg, Johannesburg. T. 011 834 9181

CO-OP 11 Feb-13 March, Peter Eastman “For The Term Of Their Natural Lives” 68 Juta Str., Braamfontein T. 011 023 0336

Brodie/Stevenson 18 Feb-19 March, “This is the world in which we grow and we will grow to hate you.” Solo exhibition by Michael MacGarry, who won the Standard Bank Young Visual Artist for 2010. 23 March-30 April, Latest work by Sabelo Mlangeni (the winner of the Tollman Award for the Visual Arts 2009.) 373 Jan Smuts Ave., Johannesburg T. 011 326 0034,

David Brown Fine Art 18 March-18 April, “Passages” an exhibition by Carl Jeppe and Ariana van Heerden. 36 Keyes Avenue, off Jellicoe, Rosebank. T.011 788 4435 David Krut Projects 17 Feb–10 Apr, William Kentridge, The ‘Nose’ Series, 2007—2010. New Etchings by William Kentridge. The prints

Gallery MOMO 11 Feb-08 March, Photographic Exhibition featuring Sammy Baloji Until 08 March, Group Show with Patricia Driscoll, Derek Mawudoku, Johannes Phokela, Lyndi Sales, Mary Sibande and Ransome Stanely. 07 March 3-6pm, “Vandalism” live performance presented by The Zimology Institute and film by African Noise Foundation featuring musicians Zim Mgqawana and Kyle Shepherd, filmmaker Aryan Kaganof and photographer Andrew Tshabangu. 11 March-12 April, “Blur Zone” an exhibition of new works by Lyndi Sales. (Opening on Thursday 11 March @ 6pm –8pm)

BUSINESSART | MARCH 2010 Graham Fine Art Gallery Will be at the Joburg Art Fair. Shop 31, Broadacres Lifestyle centre, Cnr. Valley & Cedar Rd’s Fourways, Johannesburg. T.011 465 9192 Johannesburg Art Gallery 07 Feb-25 April, In celebration of the MarketPhoto Workshop’s 20th anniversary, the acclaimed photography exhibition “I am not afraid.” The exhibition is curated by Christine Frisinghelli and Walter Seidl to celebrate the publication of no.100 of the journal Camera Austria, which was dedicated to this exhibition. 21 Feb-02 May, “Gae Lebowa” an exhibition by George Mahashe. “Gae


Blou Donki Art Gallery Contemporary Art, Steel Sculptures, Functional Art, Photography, Ceramics. Windmill Centre Main Street Clarens T. 058 256 1757


Alliance Francaise of Johannesburg Gallery Gerard Sekoto 02-06 March, “Wild Dreams” a photographic exhibition by François d’Elbée 17 Lower Park Drive, Cnr of Kerry Rd., Parkview- opp. Zoo Lake T.011 646 1169 Art on Paper 06-27 March, “Beast at Home” works by Bonita Alice 44 Stanley Ave., Braamfontein Werf (Milpark), T. 011 726 2234 The Artists Proof Studio 16-31 March, “Critical Mass” Monotype prints and Etchings by Cheryl Gage. 3 President Street, Newtown Cultural District, Johannesburg, T. 011 492 1278 Artspace -Jhb 27 Feb-27 March, “Last one standing” an exhibition of works by Tanya Poole. Chester Court, 142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 8802 Bag Factory Artists’ Studios 25-31 March, “Losing Virginity” international visiting artists - Beate Spitzmüller (Germany) , Su Tomesen (Netherlands) and

Market Photo Workshop 07 Feb-25 April, The exhibition “I am not afraid” is being Exhibited at the Johannesburg Art Gallery. 10 Feb-02 April, “Considering documentary” is the third in a series of exhibitions commemorating the 20th anniversary of the Market Photo workshop. (Market Photo Workshop Gallery) Market Photo Workshop 2 President Street, Newtown, Johannesburg. T. 011 834 1444

Manor Gallery 06 Feb-06 March, “Love Story” at Manor Gallery Fourways. A mixed media exhibition, honouring the “power of love”, includes paintings by top South African artists. 14 March-30 April, 83rd National Open Exhibition of the Watercolour Society of South Africa. Arthur Atkins, Colleen Dryer, Helen Lamprecht, Margaret Mason and Susan Kimber. Edward Selematsela, Malaki Ndlovu and Elias Sewape from the Black Like Us group will also display their work. Norscot Manor Centre, Penguin Drive. T. 011 465 7934 www.wssa.

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


“Driving with Fanon” a movie by Steve Kwena Mokwena in cooperation with “Bioscope” and the “TriContinental Festival” @ 8pm.( Bioscope Cinema in the Main Street Life building on Fox Street, one Block from Arts on Main.) 245 Main Street, Johannesburg. Cell: 082 972 2111

Michael McGarry 2010 The Discreet Charm of the Bourgeoisie, 2010 Pigmented urethane, quartz crystal, taxidermied Vervet Monkey, epoxy, cotton 52 x 48 x 18 cm from the show: “This is the world in which we grow and we will grow to hate you.” Solo exhibition by Michael MacGarry, to be seen at The Brodie/Stevenson Until 19 March,

Carol Lee Fine Art: Upstairs@ Bamboo 24 Feb-03 March, “Absurd objects and other relics for the future” An exhibition of modern sculptures, puppets, drawings and paintings made by Peter Mammes. 06-14 March, “Here & there” featuring works by Guy du Toit, Diek Grobler, Jaco Benade, Cobus Haupt, Liekie Fouche, Kobus Walker, Angela Banks, Lori Schappe-Youens, Phillipa Allen, Louis Olivier, Kagiso Pat Mautloa, and Eugenie Marais. Upstairs at Bamboo, 53 Rustenburg Rd, Melville, Johannesburg. T.082 401 4213. Centurion Art Gallery 01-26 March, TUT Annual Photography Exhibition Opening @18:30 c/o Cantonment Rd & Unie Ave, Lyttelton T. 012 667 3743/3374; 012 358 3477 CIRCA on Jellicoe 20 Feb-15 March, “New York” new works by Angus Taylor. 2 Jellicoe Ave. T. 011 788 4805 Cool Art Space 12 Feb-14 March, “Israel” works by Trevor Coleman 17 6th Street, Parkhurst. T. 011 422 6469

will be launched, along with the book Nose: Thirty Etchings. 140 Jan Smuts Ave., Parkwood, Johannesburg T. 011 447 0627 23 Feb–10 Apr: David Krut Projects, 526 West 26th St, New York, NY, with a book signing on 27 February. 28 Feb- 17 May, Museum of Modern Art, New York Everard Read gallery Jhb 05 Feb-01 March, Anton van Wouw 19 March-19 April, The Great South African Nude “Group Show” 18 February–07 March, Works by Keith Joubert 11 March–04 April, Works by Kerri Evans 26-28 March, JOBURG ART FAIR @ The Sandton Convention Centre 6 Jellicoe Ave., Rosebank, Johannesburg T. 011 788 4805 Gallery Le Rouge 25 Feb-24 March, ‘Anemone & Clay’ Collaborative works by Nic Sithole and Wilh. Opening @ 6pm 28 6th street, Parkhurst

26-28 March, Gallery MOMO at Joburg Art Fair. 52 7th Avenue, Parktown North, Johannesburg T. 011 327 3247 Gertrude Posel Gallery This gallery has a permanent exhibition of traditional Southern, Central and West African art. University of the Witwatersrand, Senate House, Jorissen Street, Braamfontein Tel: 011 717 1365 Goodman Gallery 20 Feb-29 March, “Halaal Art”, an exhibition of photographs and a video installation by twin brothers Hasan and Husain Essop. 163 Jan Smuts Avenue, Parkwood, Johannesburg, 2193 06 Feb-06 March, “FICTION #1-The autobiography without form of Bernardo Soares.” By Bili Bidjocka. (Project Space at Arts on Main) 18 February-10 May, Kudzanai Chiurai. (Project Space at Arts on Main.) (Arts on Main Precinct, Corner Main Street and Berea Street, Downtown Johannesburg, 163 Jan Smuts Ave., Parkwood, Johannesburg T. 011 788 1113

Lebowa” translates to “home North” in this exhibition George Mahashe begins his travels north to seek the wisdom of his ancestry. 21 Feb-18 April, ‘Time’s Arrow live readings of the JAG collection’ curated by Anthea Buys. Opening @ 5pm on 21 Feb. King George Str., Joubert Park, Johannesburg T. 011 725 3130 Email: Johannesburg Arts on Main 01-24 March, “Right on the Rim” Georg Bernsteiner, Austria, and James de Villiers, South Africa will be working in Right on the Rim on the different dimensions of living in Johannesburg. James de Villiers will also be showing his “Earth & Sky” exhibition dealing with decay, transformation and random patterns in nature. 13 March, Artist talk Georg Bernsteiner and James de Villiers on their artistic response to life in Johannesburg @ 2 pm. 20 March, Opening of Georg Bernsteiner’s exhibition of his work in Right on the Rim’ @6pm 20 March, Screening of a documentary film work in progress by Steve Kwena Mokwena about two Johannesburg poets @ 7pm. 22 March,

Museum Africa 25 May 2009-24 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 Resolution Gallery 11 Feb-24 March, “Velocity” an exhibition of new photographic work by Paul Freinkel and Michael Smith. 24 March-01 June, “Foreign Affair” featuring works by Rodney Place and Leila Anderson. Opening @ 6:30 pm. 142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 4054 Rooke Gallery 18 March-31 May “Chaos” paintings by Olaf Bisschoff By Appointment, the Newtown, 37 Quinn Str., Newtown, Johannesburg T. 072 658 0762

SPAZA Art Gallery Exhibits work including paintings, sketches, drawings, stone work from Lesotho, recycled works, decorated iron furniture, mosaic pieces, jewellery and lots more. Spaza Gallery is a community gallery that runs mosaic

BUSINESSART | MARCH 2010 workshops, has Sunday lunches, music sessions and shows. During March, SPAZA is celebrating its sixth birthday. 19 Wilhelmina Street, Troyeville T. 011 614 9354 Cell.082 494 3275 Seippel Gallery 22 Jan-10 April, “Shape Dialogues” works by Pedro Calapez. 11 Feb-30 March, Bob Gosani: Retrospective. At the Bailey Seippel Cnr of Fox and Berea, Johannesburg T. 011 401 1421 Standard Bank Gallery 10 Feb-13 March, “Symphony of Soweto” by Ephraim Ngatane 30 March-08 May, “Umtshotsho” by Nicolas Hlobo (SBYA) Cnr of Simmonds & Frederick Str.’s, Johannesburg, 2001 T. 011 631 1889 Unity Gallery This gallery exhibits works by emerging artists, young and old, handcrafted figures and hosts spoken-word events. Address: 19 Harries Street, Cnr Kruis, 2nd floor of Kruis House, Marshalltown Tel: 082 584 9924 University of Johannesburg Art Gallery 10-31 March, “White City” oil paintings, prints and mixed media work by Samson Mnisi. University of Johannesburg Auckland Park Kingsway, Campus Cnr. Kingsway and Universiteids Rd., Auckland. T. 011 559 2099/2556

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 +27 Design Café 18 Feb-05 March Exhibition of Sean Buch’s artwork. 18 Feb-16 March, ‘Muggers’ works by Gerhard Uys and Louis Minnaar. Cnr South and Duncan Street, Hatfield, Pretoria. T. 012 362 4975 Gallery Michael Heyns 27 Feb-20 March, Etchings and paintings by Pretoria artist Mimi van der Merwe. 351 Lynnwood Road Menlo Park Pretoria T.012 460 3698, Cell.082 451 5584 Platform on 18th 04-27 March, “Out Of Koyaanisqatsi” by Wayne Vivier. A master’s exhibition by Pretoria artist and student at Tshwane University of Technology. The exhibition of 12 paintings inspired by the 1983 film, Koyaanisqatsi.


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232 18th Str., Rietondale, Pretoria T. 084 764 4258 Pretoria Art Museum From 04 March, “Enter Exit” photography exhibition by Pierre Crocquet De Rosemond. 05 March-31 April, “Lady Michaelis” Paintings by Dutch and Flemish masters from the 17th Century. 05 March-31 April, “South African Art” –North Gallery featuring Various South African Artists and a variety of mediums. Permanent exhibition, South African Art. From the earliest artworks up until now (School Syllabus) – South Gallery. “Corobrik Collection” Ceramic artist in South Africa. This collection represents the development of studio ceramics and the work of the rural traditional potters of South Africa. North Gallery and Preiss Hall, T.012 344 1807/8 Pretoria Trent Gallery 20 Feb-04 March, “Works on paper” featuring works by Johann Louw Diane Victor, Robert Hodgins, Kim Berman, Claudette Schreuders, Conrad Botes, Sam Nhlengethwa and Judith Mason. 06-18 March, “Time lapse landscape” by Hardus Koekemoer 20 March-08 April, Botanical Exhibition, Gillian Condy and her art group 198 Long Street, Waterkloof, Pretoria. T. 012 460 5497 The Tina Skukan Gallery 14 Feb-11 March, Sculptures by a young Shona sculptor from Zimbabwe-Felix Mlungisi 6 Koedoeberg Rd, Faerie Glen, Pretoria. UNISA Art Gallery 13 March-30 April, “An Evolving Consciousness” exhibition in collaboration with the Johannesburg Art Gallery. Artists on show include Maggie Laubser, Lefifi Tladi, John Muafangejo and others. Main Campus, Theo Van Wijk Building B-block, 5th Floor T.012 429-6255/6823.


Alex Dodd

When I heard that Peter Eastman was exhibiting at Co-op, Whatiftheworld’s sleek new Joburg satellite, I was quick to diarise the date of his Thursday evening opening soiree in Braamfontein. Although my appreciation of his work has always been something of a staccato affair, punctuated by the blur of distance between Joburg’s 26˚10 South and Cape Town’s 33˚55 South, I’ve often been struck by his fleet and streety, clean cut graphic approach to creative production. I say ‘creative production’ here, because I first encountered Eastman as a jeweller whose cult South African rings, fashioned from coins are covetably contemporary and layered with history in the same breath. I was also very taken with his image, Stadium, one of the more successful contributions to the FIFA 2010 Official Poster Art Edition (available in limited numbers in South Africa at David Krut Projects and Bookstores). Six local and eleven international artists – including William Kentride, Marlene Dumas, Kay Hassan and Kendell Geers – were selected to create this poster selection, and Eastman’s work stands out as being one of the least literal and gimmicky interpretations of the World Cup theme. Football aside, his alluring cityscape features a deeply serene blue sky over a darkening post-dusk Cape Town, rendered with the clean graphic lines of a mystery comic book. I didn’t allow my impressions to be shaped by any adjectival prepublicity or descriptions of his current modus operandi. Decided to just step out of the night into the gallery and see what I found there. And being of a mildly Gothic disposition, enjoying the dark Victoriana of Emily Dickinson, the twisted melodies of the Pixies and Marilyn Manson, I was thrilled to discover a palette of unmitigated blackness.

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

Artspace -Jhb 27 Feb-27 March, “Last one standing” an exhibition of works by Tanya Poole.

Left: Peter Eastman’s Fifa Poster. Above and Below: Nathaniel Stern & Jessica Meuninck-Ganger.. Woodcut, LCD with video. 305X355mm

The show, which runs until 13 March, is morbidly entitled For the Term of Their Natural Lives, conjuring a faint stain of criminality or badness. On initial impression, caught at a particular angle, the large shimmering acrylic canvases could be mistaken for being empty tabula rasa. But as you move before them, the impressions of figures emerge from these shallow pools of sleek blackness, the outlines of facial features in acrylic relief catching the light in intriguing ways so the image slips in and out of focus. Only for a moment does the face appear, like a quick pop phantasm in the spotlight, but one step to the left or right, and it’s gone again into the anonymous blur of obscurity. I enjoyed the game of dodg ing and darting around the gallery, making myself tall, then short again, playing with the interactivity of the images which appear and disappear based on the position of the viewer and the play of light. There was no shortage of enchantment with the play of light for me in February. Stepping into Gallery Art on Paper one afternoon just as Nathaniel Stern and Jessica Meuninck-Ganger were putting the finishing touches on their two-hander, Passing Between, I was overcome by a refreshing spell of newness. Stern had built up quite a following as an experimental installation and video artist here in Joburg before he left a few years ago to embark on a PhD at Trinity College in Dublin. He is currently an assistant professor in the Department of Art and Design at the University of Wisconsin, Milwaukee. He met Meuninck-Ganger at their first Visual Art Faculty Meeting in August 2008. With a shared interest in new media, they became fast friends, and decided to begin collaborating while on a trip to the Milwaukee Zoo with their children a few months later. This show at Art on Paper featured works from their collaborative Distill Life series. Working simultaneously in both old and new media, Stern and Meuninck-Ganger mount translucent prints and drawings on top of video screens, creating moving images on paper. The result is breath-takingly poignant – combining the illumination and movement of the video image with the authenticity and humanness of mark making. The etchings recall the graphic quality of Japanese prints, but are lit up from behind with a second image that moves behind the surface transforming the print into a kind of animated haiku. The small scale of the works, established a tone of humility and tenderness. And I exited the gallery reminded of the magic that quietly ripples beneath the surface of a weekday afternoon.


Eastern Cape East London Ann Bryant Gallery The Coach House 25 Feb–13 March, Friends of the Ann Bryant Mosaic Exhibition. The Main Gallery 18 March-02 April, ABSA Atelier Art Competition Regional Selection (works in 01-05 March, judging 15 March.) 9 St. Marks Rd, Southernwood, East London. T. 043 722 4044

Port Elizabeth Montage Gallery 09-23 March, Oil paintings by Hannes Meintjes and ceramics by Delphine Niez, David Moss & Lynnley Watson. 59 Main Road, Walmer, Port Elizabeth. T. 041-5812893 Nelson Mandela Metropolitan Art Museum Until end of April, “Animals in art” various artists, various mediums. Part of the gallery’s collection. Permanent exhibition, “Art in Mind” 1 Park Drive, Port Elizabeth. T. 041 506 2000

EASTERN, NORTHERN AND WESTERN CAPE- GALLERY LISTINGS AVA Gallery 08 Feb-05 March, “The Window” Paintings by Ndikhumbule Ngqinambi’s and works by Max Wolpe and Angela Briggs. 8 March-31 March, “WatersVestia-Amanzi” featuring work by Kristiina Korpela, Jill Trappler, Leena Mäki-Patola, Witty Nyide, Jaana Partanen and Eunice Geustyn. 06 April-30 April, “We already know how this will end” Gretchen Van Der Byl Association for Visual Arts, 35 Church Street, Cape Town, 8001. T.021 424 7436 Blank Projects 03-20 March, “Swallow my pride” a group exhibition featuring works by Zanele Muholi, Andrew Putter, Pierre Fouché and Werner Ungerer, Ernst Van der Wal, Lizza Littlewort, Robert Hamblin, James Taylor, Julie Donald, Kai Lossgott, Jody Paulsen , Igshaan Adams, Genevieve Louwe and Johke Steenkamp, William Martin, Lindsay Nel, Andrea Brand, and others. 113-115 Sir Lowry Rd, Woodstock, Cape Town. T.072 1989 221


Belville Association of Visual Arts-Art b 17 March–07 April, 25th ABSA L’Atelier Regional Competition Exhibition. 14 April–05 May, Solo exhibition of sculptures by Ann Marais The Arts Association of Bellville, The Library centre, Carel van Aswegan Street, Bellville. T. 021 918 2301

William Humphreys Art Gallery From 11 March, “Trees, The Recollections of a Dendrogenealogist” by Leigh Voigt. Opening 11 march @ 6:30pm. Civic Centre, Cullinan Crescent, Kimberley. T. 053 831 1724

Cape Gallery 14-27 March, Mixed media Works by Aidon Westcott. 28 March-17 April, Oil paintings by Paula Vize and ceramics by Theo Ntuntwana. 60 Church Street, Cape Town. T. 021 423 5309.

Western Cape

Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings. 66 Vineyard Rd., corner Cavendish Str., Claremont T.021 671 6601 Constantia Village Shopping Centre, Main Rd., Constantia T. 021 794 6262

Northern Cape

Cape Town 34 Fine Art 16 March-17 April, Random Graphics from Private Collections – William Kentridge. Second Floor Hills Building, Buchanan Square 160 Sir Lowry Road, Woodstock. Alliance Française 25 Feb-19 March, An exhibition of oil paintings by Pierre Florenchie 22 March-04 April, “Paris Streets – Perceptions” photography by André L Heyns. 155 Loop Str., Cape Town. T. 021 4235699 Atlantic Art Gallery A permanent display showcasing leading contemporary South African artists. 25 Wale Street, Cape Town. T. 021 423 5775

Christopher MǾller Art Dealers in South African contemporary art and South African Masters. 82 Church Str., Cape Town T. 021 439 3517 David Porter Antiques Buyers and sellers of South African art. T. 021 6830580/083 452 5862 Erdmann Contemporary / Photographers Gallery 27 Feb-27 March, “Deep down everybody wants to rob a bank” solo exhibition by Norman O’Flynn. Of his new work in a variety of media including painting, sculpture and works in mixed media. Opening Wednesday 3 March @ 6pm

63 Shortmarket Str., Cape Town T. 021 422 2762 Everard Read Gallery - Cape Town 18 Feb-04 March, a series of new paintings by Penelope Stutterheime. 25 March-08 April, “Threshold” four painters - Anton Brink, Brad Gray, Anthony Scullion and Peter van Straten - use distortion, fantasy, surrealism and satire (amongst other devices) to investigate the realm between sanity and insanity, dreams and reality. Opening 6.30pm on Thursday 25th March. 3 Portswood Rd., V&A Waterfront T. 021 418 4527 Gallery 91 25 Feb-25 March, “The Cute Show” The exhibition features Artist/Jewelry designerGeraldine Fenn; Illustrator/artist-Jaco Haasbroek; Sculptor/painter/animator-Frank van Reenen; Deco Stylist/artist-Tracy Lee Lynch and artist/Jewelry designer-Erik Loubser. 91 Kloof Street, Gardens, Cape Town. T 021 424 6930. Gallery F Contemporary and archival South African Art. 221 Long Str., Cape Town T. 021 422 5246 Gill Allderman Gallery 02-31 March, A collection of canvases by artists Dathini Mzayiya, Donovan Ward, Sophie Peters, Trudi McPherson, Donna McKella, Kemang Lehulere, Geoff Hayland, Velile Soha, Selvin November, Pincus Catzel and Giancarlo Giardini. 278 Main Road, Kenilworth, Cape Town T. 0835562540 Goodman Gallery, Cape 18 Feb-13 March, “re collections” works by rosenclaire- Rose Shakinovsky and Claire Gavronsky present a conversation between their respective and collective practices and identities in re collections. 3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock, Cape Town T. 021 462 7573/4, Greatmore Studios 18-25 March, “Gold, burden of paradise” a project by visiting artist from Netherlands Eveline van der Griend. 47-49 Greatmore Street, Woodstock. T. 021 447 9699 Houtbay Gallery 19 March-04 April, Works by Koos De Wet, Anastasia Sarantinou and Mariette Bergh 71 Victoria Avenue, Houtbay. T. 021 790 3618/ 021 790 0137.

iArt Gallery 01-14 March, “Sub rosa” by Louis Jansen van Vuuren. 71 Loop Street, Gardens, Cape Town T.021 424 5150 iArt Gallery Wembley 04 March-02 April, “Visitor: The Square” by Liza Grobler. 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 16 Feb-06 March, Works by Olivier Scholinck. Cecil Rd, Rosebank, Cape Town. T. 021 685 5686 Iziko SA National Gallery 01 March-15 April, Gallery is closed in preparation for FIFA 2010. 25 Queen Victoria Street, Cape Town T. 021 481 3934 Iziko Museums of Cape Town 09 Dec 2009-13 March 2010, Wildlife Photographer of the Year 2009, an international showcase for the very best photography featuring natural subjects For further info contact Esther Esmyol T. 021 464 1262 Joao Ferreira Gallery 17 Feb-28 March, New Paintings by Gail Catlin using liquid crystal mixed with emulsion and pure liquid crystal. The gallery will also curate additional and new paintings from Joao’s extensive collection mixed with Gail’s work throughout March in an ever changing and dynamic show. 26-28 March, Joburg Art Fair, Booth 22, Sandton Convention Centre. Various paintings and photographs including Anthony Scullion, Araminta de Clermont, Dorothea Kreutzfeldt, Kate Gottgens, Sanell Aggenbach, Gordon Clark, Peter Eastman and Michael Taylor 70 Loop Street, Cape Town T. 021 4235403 Johans Borman Fine Art Gallery Currently showing a selection of works by Hugo Naudé, Gerard Sekoto, Walter Battiss, Cecil Skotnes and Ephraim Ngatane as well as new works by Walter Meyer and Philip Barlow. In-Fin-Art Building, Upper Buitengracht Street, Cape Town T. 021 423 6075 Kalk Bay Modern 24 Feb-31 March, “San art” An exhibition of paintings, sculptures, lino prints and beaded embroideries. Representing San communities from South Africa, Namibia and Botswana. Opening Wed 24 Feb at 6pm with speaker Nicolaas Maritz.

BUSINESSART | MARCH 2010 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 Kunshouse 16 Feb-20 March, “The Summer show 2010” latest works by resident artists 62 Kloof St, Gardens, Cape Town 8001 T. 021 422 1255 Michael Stevenson 21 Jan-06 March, Mixed media works by Steven Cohen and paintings by Lynette Yiadom-Boakye. Also on exhibition is “Black & White Hemisphere”, an installation by Thomas Hirschhorn as part of the FOREX series. 11 March-17 April, Solo shows by Angela Ferreira and Natasja Kensmil. Walid Raad will exhibit concurrently as part of the FOREX project series. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Cape Town T. 021 462 1500 Michaelis Gallery 18 Feb-19 March, “Third Worlds: Model Cities” a group exhibition presented by The Gordon Institute for Performing and Creative Arts (GIPCA.) The exhibition features an interdisciplinary collaborative approach, and uses fine art, architecture, language and literature to explore the urban landscape of Cape Town, and to research and investigate the changing land and identity of South African and to critique its built structures. For more information about the exhibition contact Niek de Greef at GIPCA T. 021 480 7156 or Nova Constantia 10-13 March, “…on the verge”, Studio Babaya’s annual exhibition of oils with over 200 paintings by over 40 artists. A percentage of the proceeds of sales will go to Red Cross Children’s Hospital ‘Breathe Easy Unit.’ 18-28 March, “Enduring” a group exhibition (women artists) under the guidance of Debbie Field. Works are in various media – mixed, water and oil. For more details contact Debbie Field T.021 797 5865. Nova Constantia Cellars, Nova Constantia Rd. Follow signs near Uitsig Wine Farm. Raw Vision Gallery 11 Feb-14 Sep 2010, “African Odyssey” 20 Internationally acclaimed photographers exhibiting. 89 Sir Lowry Rd, Woodstock, Rose Korber 15 Feb-15 March, “Artist of the month”, works by Matthew Britton 48 Sedgemoor Rd, Camps Bay, Cape Town T. 021 438 9152 Email: Rust-en-Vrede Gallery 23 Feb-18 March, Portraits in Mixed media by Fanie Marais, paintings by

Shui-lyn White and mosaic portraits by Marianne Burger. 23 March-15 April, “In Translation” a body of new work in mixed media by Theo Paul Vorster. Paintings by Tania Rosenbroch. 10 Wellington Rd, Durbanville. T.021 976 4692 Salon 91 Contemporary 25 Feb-25 March, “The Cute Show” artist / jewellery designer- Geraldine Fenn, illustrator / artist- Jaco Haasbroek, sculptor/ painter/ animator Francois van Reenen, deco stylist/ artist Tracy Lee Lynch and artist/ jewellery designer Eric Loubser. 91 Kloof Street, Gardens, Cape Town. T. 021 4246930 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. Ground Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock, T. 021 465 4672 South African Print Gallery 01 March - 03 April, “Black on White” Straight from the African Art Centre, Durban. In line with the Mission of The African Art Centre, which is to promote the work of artists and crafts people mainly from KwaZulu-Natal, but also from the other provinces in South Africa. The group exhibition of eleven artists represented by the African Art Centre, namely Ezequiel Mabote, Gabisile Nkosi, George Msimang, Judas Mahlangu, Linga Diko, Malibongwe Shangase, Thabani Msomi, Mxolisi Sithole, Thulani Makhaye, Vukile Teyise and William Zulu. 107 Sir Lowry Rd, Woodstock, Cape Town. T. 021 462 6851 These Four Walls Fine Art 05-26 March, Sculptor Lebeoana Lefuma and print maker Velile Soha will be showing their work. 169 Lower Main Road, Observatory janet@thesefourwalls T. 021 447 7393 Cell. 079 302 8073 Urban Contemporary Art 03 Feb-20 March, “In Consequence” featuring works by Vaughn Sadie and Fabian Saptouw 49 Lower Main Rd, Observatory, Cape Town. T. 021 447 4132 Wessel Snyman Creative 13 Feb-06 March, “Skeleton woman” works by Berry Meyer. 08-29 March, “Searching for Shangri-La” a solo photographic exhibition by Vanya du Toit. 17 Bree Street, Cape Town.



What if the World… 3 Feb-27 March, “Paradise Apparatus”, a new solo exhibition by Cape Town artist Julia Rosa Clark. First floor, 208 Albert Rd, Woodstock, T.021448 1438

52 Ryneveld Str., Stellenbosch. T. 021 808 3029


Spier Arts Academy 27 Feb-31 March, “Transitions” by Paul Emmanuel. (At the Spier Old Wine Cellar Gallery, Spier Estate, Stellenbosch) Opening Saturday 27 Feb @ 3pm. Union House, 25 Commercial Street, Cape Town. T. 021 465 9029

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 14 Feb-10 March, “Hartland/Heartland” an exhibition of paintings by Mila Posthumus Reyneke and Jane Eppel; and sculptures by Marieke Prinsloo. Main Road, Franschoek. T. 021 876 8600.

Piketberg Anthea Delmotte Gallery 26 Feb-26 April, Group show featuring Annelie Venter, AntheA Delmotte, Clare Menck, Glynnis Creamer, Jacolene de Haan, MURG informal academy, Neville Creamer, Sandra Hanekom, Susan Kemp, and Teresa Harling. Opening @ 7pm on 26 Feb. Feathers Inn, 1 Church Str, Piketberg 073 281 7273


Art on 5 Permanent exhibition of paintings and ceramics by Maryna de Witt, Peta Schillings, and Karen Kieviet. 7b Andringa Str., Stellenbosch T. 021 887 7234 Dorp Straat Galery During March, Works by Jenny Parsons. Church Street, Stellenbosch. T. 021 887 2256 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 Sasol Art Museum 01 March-16 April, “Woordfees” with Andries Botha.

SMAC Art Gallery From 20 March, “Super Boring” by Wayne Barker. De Wet Centre, Church Street, Stellenbosch. T. 021 887 3607

US Art Gallery 01 March-07 March, “Woordfees exhibition”(This includes official posters for the 2010 Soccer World cup with William Kentridge, Paul Emsley and Lees Tussen die Lyne) see woordfees website for more info 11 March-29 March, “Origination” a Project by Katie and Rebecca Beinhart. Cnr. Dorp & Bird Street, Stellenbosch. T. 021 808 3524

George Strydom Gallery 04–30 April, “Drawing Conclusions?” Strydom Gallery’s annual theme exhibition of South African art - a response by a few selected artists 08 June-17 July, “Annual Winter Exhibition of Southern Cape Art” Selected artwork from artists of the Southern Cape. 79 Market Str., George T. 044 874 4027

Knysna Knysna Fine Art 17 Feb-18 March, “Collected celebrity” by Alex Hamilton. 19 Feb-09 March, “Aides Memoires”’ solo exhibition by Gregory Kerr 8 Grey Str., Knysna, T.044 382 5107

Hermanus Abalone Gallery A wide selection of paintings, drawings, graphic art, photographs and sculptures by leading South African artists. 2 Harbour Rd, The Courtyard, Hermanus. T.028 313 2935

Neil Rodger, Karoo nude / 90 x 90 cm. Everard Read Gallery, Cape Town

The Artful Viewer

Page 07

a desperate lack of decent art history documentation - so much so that it sometimes seems as if we’re permanently adrift: coming from nowhere, going nowhere.

Melvyn Minnaar Walk-about, talk-about The latest fashion, in case you’ve not noticed, is the gallery walkabout. Even hole-in-the-wall exhibition spaces that pop up a few artworks under what they think is a witty title and call it ‘curated’, now advertise ‘walkabouts’. Sometimes they even serve cups of tea, or a drink. We all know that art museums have a long-established tradition of guided tours - and a fine one it is too. Possible the word ‘guide’ have fallen victim of political correctness, or maybe it’s just a sign of the dumbed-down times that the ‘walkabout’ - with it’s more informal, we’ll-talk-about-it-together, nothing-serious nuance - is now the modus operandus. (The Friends of the Iziko SANG, when the latter was still the cultural hub it was, had some very cheerful walkabouts - more a social get-together than anything else.)

That much was evident at, and one of the strong undertones of, the Dada South? symposium late last month. Held to flesh out Roger van Wyk and Kathryn Smith’s important exhibition at the Iziko SANG with a rather loose, open-ended agenda, it (together with the Iziko exhibition, one might add) suggested that so much of our artistic past has gone unrecorded. Throughout the sessions, it was obvious that there are many art ghosts floating out there. Some are still vaguely visible, others have disappeared altogether in the gloom of South Africa’s difficult past. Speakers were talking about artists who once played important roles and are now unknown and forgotten. Of course, given the country’s history, documenting culture was always going to be, if not vigorously hegemonic (which it was), a onesided, even emotional, affair. Yet, at the Dada South? get-together, one got the sense that we are still seriously lacking to at least try to write about our cultural past in reasonably objective, neutral fashion. If there is an elephant lingering far too long in this room, it is political correctness. If Berman was the lead scriptwriter of a previous era’s art history, is the present one Williamson? What of those in-between and beyond? Can’t we move past the fades and favourites?

From the art museum the walkabout has now migrated to your every commercial and other art gallery. What is the significance of this? Have gallery visitors, art lovers and cultural poseurs become so stupid that they have to be led around by the nose?

During the conference, the charming Susan Hapgood, director of the American Independent Curators International, demonstrated in her quiet, thorough way what a knuckle-down art-historical researcher gets up to. Shun the fashion and get down to the forensic.

Methinks the gallery walkabout is somewhat of a motion of no confidence in their clientele by the owners. (Maybe it’s that sweet-talk thing: convincing them how valuable their highly-priced art purchase is.) If this new fade evokes cynical thoughts, it does not mean a call that galleries should skimp on the information they provide. The decent catalogue, detailed labelling (omitting wall tags next to artworks altogether is another contemporary nonsense), and, obviously gallery staff who can provide answers to questions are essential. (Thankfully, more and more galleries realise the importance of effective and detailed web information. Is there any greater blessing to the visual arts than the internet?) Galleries who provide well-researched catalogue information (itsybitsy and/or pretentious essays don’t always do the trick) play an important role in documenting cultural trajectories. South Africa has

In his challenging opening remarks, our own art enfant terrible, Thembinkosi Goniwe, suggested very sensibly that we can develop a unique (South) African way of engaging and writing about our art history. His suggestions, unfortunately, didn’t leads to much discussion later. It should be a vigorous debate, of course. And so the questions around South African art history and its manners of recording evaporated at this event, even though Malcolm Payne made a strong plea for jacking up art school academia. If art history isn’t being nurtured, researched and documented at these institutions, where would it? South African art history is in an appalling, depressing state of neglect. So perhaps those commercial gallery walk-abouts make sense. At least, someone needs to talk about art and whence it comes.

Bird eternalises the Zuma two figures With a remarkable sense of timing, provocative artist Stuart Bird opened Two Fingers at Youngblackman last night. Bird is well known for criticising Zuma’s policies in the past, with his Zuma Biscuits, which comprised of giant Zoo Biscuits imprinted with images of a skirt, shower, machine gun and Zulu shield causing much controversy in 2007/8. Though it may not be his original intention, Bird’s latest work once again could be seen to take a satirical look at our president. Just a few days ago 25-yearold UCT student, Chumani Maxwele, was arrested for pulling a zap sign at President Jacob Zuma’s convoy while jogging with a friend on De Waal Drive. It was alleged the student was taken into custody by gunpoint and a bag was put over his head. In the 24 hours that he was held, Maxwele claimed he was interrogated about his political affiliations and officials searched his Woodstock home. In actions remarkably reminiscent of a police state, the police ministry said the sociology student pointed his middle finger at the president which was synonymous with swearing and showing disrespect.”No person is permitted to use foul language, swear at another individual, especially as such conduct may lead to promoting hate conduct in the Republic,” said spokesman Zweli Mnisi. With this in mind, Bird’s Two Fingers, which consists of three

circles of unique white casts of the artist’s fingers pulling what, on the inside of the circles is a peace or victory sign, and from

the outside a “fuck you”, adds many new levels to an already clever piece.

When asked about the work, Bird said simply, “It’s about exclusion.”




The economics of collecting art Finance writer The food chain in the arts is not one in which the product moves from manufacturer to retailer to consumer with consumption occurring on average once in the products lifespan. The artwork flows between artist, dealer, collector and auction house. Although the work may come to rest for short periods in homes of collectors and in the stock room of galleries, its circulation is ceaseless until it enters a museum collection. As curator Robert Storr states “the function of museums is to make art worthless again. They take the work out of the market and put it in a place where it becomes part of the common wealth”. The paths the artwork travels can be confusing to the ‘green’ collector thus from one adoring collector to another, I hope that what follows will demystify this circuit and provide you, the collector, with an approach. And, as Mera Rubell says, “[c]ollector’ is an earned category. An artist doesn’t become an artist in a day, so a collector shouldn’t become a collector in a day. It’s a lifetime process”. Referred to as the primary market the dealer has recently been titled the gallerist. As Adam Lindenmaan notes “many dealers who represent artists exclusively or partially prefer the title “gallerist” to the more bluntly commercial “dealer”, with the implication that they’re not in the business just for the money”. At the heart of this relationship is the representation of the artist and their work. A fluid relationship in which many galleries and artists rely on a handshake and ‘gentleman’s agreement’, representation allows the gallerist first option to the artist’s work as well as a vested interest in the where and with whom the artist exhibits. This is especially true of many of the top contemporary galleries in South Africa where a gallery aspires to place their artist in the international arena. Another rationale for the term primary market is that this is the first occasion that the artwork features in the public realm. Although the development of the work would have occurred under the watchful eye of the gallerist, the first public viewing will be an exhibition. The exhibition can be in two forms, group or solo. An artist and their gallery aim to have the artists work on as many good group exhibitions as possible as well as ensuring that notable private collectors and museums collect the artist’s work. An invitation to a preview evening is an exciting confirmation of the collectors notability however

when an artist’s work is highly sought after, many of the best pieces will have being scooped up before the opening. It is this list to which many collectors aspire. Early in a collectors vocation good work will be hard to source. This is where the secondary market helps in that work reenters the market and can be acquired. The secondary market takes place in the storage rooms of galleries or through independent dealers. Spending time acquainting oneself with a gallery’s stock room will assist the collector in several ways. Being in a gallery whose artists interest you helps increase the knowledge about the artists and their work. You learn more about the gallery with which you should form an intimate and trusting relationship. The personnel will become trusted allies in the your building of a collection. Finally, and most importantly, the education gleamed from the hours viewing work through an educated eye is invaluable for any collector. Do not underestimate the employees of galleries, most often even the receptionist has a degree in art and can have an incredible eye and a wealth of knowledge.

360-degree views”. With that in mind it is, when one has the time, better to go to a dealer to sell an artwork but it can take a year to conclude the sale. Therefore, an auction is perfect for the seller in need as it wraps up negotiations in minutes. As Thornton notes traditionally reasons for selling at auction were the “three D’s - death, debt and divorce”. Baer believes a fourth D has entered the fray – “collectors who are effectively dealing”. Collecting, as an investment is best viewed over the time period of a generation. I believe that Gran and Gramps were on the button. They collected as an investment for their heirs or even as part of their retirement portfolio. At Bonhams’ sixth South African art sale, work fetched record prices and new world record prices were achieved for six artists. For example, Irma Stern Ripe Fields was sold for £252,000.00, Maggie Laubser Pondo Woman for £168,000.00 and Gerard Sekoto’s Boy with a Yellow Cap for £102,000.00. “The message of this sale is clear,” said Giles Peppiatt, head of South African Art at Bonham’s, “South African art has bounced out of the recession ahead of many other sectors of the art market”.

Then there are the auctions. Sarah Thornton, author of Seven Days in the Art World quotes an avid collector couple who believe that art “has become an accepted way of diversifying your investment portfolio”. The husband states that although “it offends the sensibilities of older pure collectors. The new collectors, who have been making their money in hedge funds, are very aware of alternatives for their money. Cash pays so little now that to invest in art doesn’t seem like such a dumb idea. That’s why the art market’s been so strong – because there are few better options”. To some degree art journalist Josh Baer agrees “[w]ithout auctions, the art world wouldn’t have the financial value it has. They give the illusion of liquidity. A liquid market is the New York Stock Exchange. Someone will buy your IBM stock at a price. There is no law to say that someone will buy your Maurizio, but the auctions give the sense that most of the time, most things will sell. If people thought they couldn’t resell – or that if they died, their heirs couldn’t sell – many wouldn’t buy a thing”.

Open to the public, the day of the auction is not the time to be viewing the work and researching the artist. Auction houses have viewings and collectors should attend. Buy a catalogue and take notes. Auction houses will have their specialist staff present. Speak to them. Spend time with the works you admire and garner information. Research the artist and the previous auction prices on their work. Speak to a dealer who worked with the artist before or to a gallery who carries their work. Go to your first auction as an observer and become a participant once you are comfortable with the auction process and the work you will be bidding on. Have a set figure to which you will bid and stop before you lose the family farm.

For me art, as Amy Cappellazzo, specialist at Christie’s, states “is more like real estate than stocks. Some Warhols are like studio apartments in midblock buildings with northern exposures, while other Warhols are penthouse properties with

As a collector one cannot dismiss the importance of knowledge. Knowledge is not only accumulated through one’s own research but by ensuring that one is surrounded by those who understand the art which one would like to collect and

From the primary market to the auction what is most important is to get the lay of the land. It is going to take time and you will have to invest much of your precious hours in galleries and museums as well as at openings. This requires a dedication not unlike that of a religious devotion.

knowledge of the markets in which the artwork moves. As art consultant Philippe Segalot states “do your homework and get to know what you really want” but realize that tastes will change and grow and in this way the bar is raised as a collector moves from collecting that which is familiar to that which is challenging. As Baroness Marion Lambert states; collecting is “like following Ariadne’s thread, one work leads to the other, and one’s understanding benefits from the continuous search”. Thus, the collector is best served by having a trusted group of people from which to draw. This includes but should not be limited to gallerists including the gallery owner, directors and curators. One should not limit oneself to one gallery but should have several which one uses as resources for information on artists and their careers. This is to ensure that those advising on one’s purchase are not simultaneously those who are in a position to benefit from the transaction. Another trusted group is art historians who are much harder to find but come in several forms. One is as curators of the majority of group exhibitions held in galleries and at times museums. These are easily found when one looks for the by-line ‘curated by’ in the press release. Museum curators are excellent sources of assistance and are best placed to ensure the critical acceptance of an artist. One must be aware that there is a political bend in every opinion given and that it will take time to find the opinions one wish to align oneself with. For me one of the most important opinions is that of the artist. A serious collector should meet the artist they support or at the very least attend a walk-about. Remember that although this is a wonderful opportunity to see the person whose work you admire it might not be integral to understanding the work. If the work speaks to you it does not require the artists explanation. Also the artist will always be intensely involved in their new project so do not expect them to take you through an older work’s process. Spend time with the artist but do not command their time. Enjoy being in a studio and seeing their creative process but do not expect them to take you through their process step by step. The artist exists outside of the market in which their art circulates so do not expect them to wax lyrical on market values of their work. As Eli Broad, a US collector states, “in the end, it’s the quality of the work that wins out”.

One of the most important yet least utilized resources is the artist’s curriculum vitae. Generally the CV will have the artist’s year of birth and where they reside, a list of solo and group exhibitions detailing the year, title of exhibition, gallery, city and country (if a group exhibition it should detail the curators name). There will also be the particulars of the artists tertiary education if the artist studied further as well as competitions participated in, residencies the artist has been a part of and a list of literature the artist features in. I believe that there are two important areas one should look at; group exhibitions and solo exhibitions. An artist should show in many group exhibitions but the integrity of the curator and the gallery or museum is imperative. If you are purchasing an established artist ensure that they are shown internationally, not only in art fairs but also in exhibitions. An example of an exhibition that will travel internationally is ‘Strengths & Convictions’, an exhibition recently opened at the Iziko South African National Gallery. The exhibition will travel to London and Oslo.

last outing”.

Solo exhibitions should be at established galleries. The artist can move from project spaces to galleries and back but make sure that the galleries are of a certain standing and research the gallerist and/or curator’s career.

To both a speculator and collector who wishes to see dividends on their investment I would quote Sadie Coles. “Art is an investment of course - of ideas and money. We invest in culture to work out intellectual and emotional dilemmas. Art is a fantastic investment of intellect that pays back big time. Obviously, when you are working with contemporary culture you are in some way gambling on, investing in the future. That is what makes it so exciting. In money terms, of course, you can cynically play the art market in the same way that you can play cotton or something. But if you are in it for that reason, you are short-changing yourself – give it some rope for God’s sake!”

Another aspect of an artist’s career is the competitions. Competitions do not have to be won nor is it crucial to an artist’s career to participate. Many artists for personal reasons chose not to participate in competitions and there are some competitions such as the Tollman Awards, which are based on selection by a board. Competitions such as the Standard Bank Young Artist, ABSA Atelier and more recently the Spier Contemporary create an arena of awarding excellence in the arts. Winners have gone on to enjoy greater exposure and international notoriety. More importantly the winnings are used to buy the artist precious studio time and materials. It is my belief that the economy of the art world is improved by the introduction of accessibility of contemporary art to the general public by organizations such as Spier creating a traveling biennale type competition. That said the status of a prize can change, as Nick Serota, director of the Tate’s, states the prize “will only carry authority while it continues to be awarded to artists who are held in high regards or who are seen, in a relativity short time, to have merits that perhaps people didn’t recognize at that moment. It’s only as good as it’s

London art dealer, Sadie Coles eloquently states that a collector must “see as much art as you can and read, and read, and read”. There are several websites and writers that have good reputations. Websites include arttimes and artthrob, and newspapers and magazines include Art Times, Art South Africa, Die Burger and Mail & Guardian. There are also many great art critics with blogs, websites and books. Catalogues are an incredible source of information. If there is one on your artist, even if it is a few years old, buy it. Now to turn the attention to ourselves - there are two types of collectors in the art market. The first driven by necessity is a collector, the second by investment and termed speculator. It is my hope that this article will speak to those who like me are driven by an ever-deepening love for artists and their work. Unsupported by the state, the market in which their work operates requires investors to sustain them and most artists I meet work day jobs to survive.

I believe the best type of collector is the one that Berlin art dealers Bruno Brunet and Nicole Hackert succulently describe as “a person who doesn’t believe the hype; who helps to make artists big; who collects in depth, not with bits and pieces from everybody; who is crazy sometimes. It is someone who lets the collection reflect himself or herself rather then what was at the latest Frieze”. And like Sarah Thornton states “when the talk dies down and the crowds go home, it’s bliss to stand in a room full of good art”. What drives a collector is to live in that room.



Page 09



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CURRENT SHOWS IN KWA ZULU - NATAL Imbizo Gallery From 11 March, “Shapes and Scapes” Richard Scott, Katherine Wood and Philip Briel. Opening 11 March @ 6:30pm Shop 7A, Ballito Lifestyle Centre, Ballito, KwaZulu-Natal. T. 032 946 1937

Peter Machen The tale of Andries Botha’s latest elephants, stone-and-gabion creatures trying against the odds to emerge from the soil of eThekwini, reminded me of another eThekwini narrative, one that was sadly never visually documented, but which lives on in the minds of many Durbanites. Durban – both the municipal City and the bulk of its residents – has never looked too kindly on graffiti or embraced street art with much fervour. And so the fragments of expression that emerged in the nooks and crannies of public space in the late ‘90s and early 21st century, pieces of spirited subversion from an otherwise obedient population, didn’t charm the heart of the local residents, the council or anyone except a small group of public art fans. And so when a man who came to be known as Mr John started painting over the public art with large white rectangles, only a similarly small group were outraged. It was the most ludicrous form of censorship, the crude white rectangles taking up a whole lot more wall than the work it replaced, with one particular wall in Glenwood consisting of a row of rectangles that might or might not have made Robert Rauschenberg proud.

And very quickly, the graffiti and street artists realised that Mr John had actually supplied canvases for all to use. Which they briskly did, leaving the one-man censor board with the increasingly Sisyphean task of keeping all his white bits white, a task which according to those who saw him (I never did) he devoted most of every weekend for a good few months. One night, I went out with a friend, some kisses and a few cans of spray paint and we stencilled the word “love” all over the Berea to see if Mr John had the heart to paint over it. It felt all pure and sweet and romantic and political. But a few mornings later, driving around to see what damage had been done, my heart lifted clear into the sky. Some cunning soul had the taken a row of the white rectangles on what was then Bulwer Road and used them as the basis for a herd of animals – the rectangles becoming the bodies of bucks, wildebeest, rhino – beings that would have roamed the area two centuries before. I later learnt that the artist responsible had gone overseas a few days later, the urban herd a parting gift to the city. Mr John never did deface any of my stencilled love. But the water canon did. The whole

story came to an end when the City bought themselves a superduper high powered hose that seems to get rid of everything, scouring away to the surface of the brick or concrete. I remember seeing it in action, watching one of the last of Mr John’s white squares fall away into the street, along with the art that had lain beneath it. When I contacted artist and curator Khwezi Gule for an example of his work to use in a book on Durban, Gule, who was in Durban at the time of Mr John and still mentions him whenever we meet, directed me to photograph a stencilled graffito that read “no war in iraq”. Interestingly the powercleaners had yet to remove that one. There’s a quiet protester in everyone. Meanwhile, another piece of interventionist art from that period survives just around the corner from my house, a stop sign which has been altered to read “stop being afraid”. It’s a sign of the times that I omit the name of the artist – which I’ll admit is hypocritical. But defacing traffic signage is a criminal offence. Still, if you want to place a similar sticker on the stop sign near your house, I won’t tell anyone. Or how about ‘never stop loving’. That would be two stickers.

Durban Artisan Contemporary 17 Feb-15 March, “Trees, Space & Light” Lecturer, author, painter and ceramicist Susan Sellschop will be showing her paintings, drawings and pots. Exhibition will be opened by arts coordinator and marketing manager of the Artist Proof Studios in Johannesburg, Cara Walters. 344 Florida Road, Morningside, Durban 4001.T 031 312 4364 ArtSPACE Durban 15Feb-06 March, “Big is Beautiful” 12 artists/12 works (The Main Gallery), “Silently Singing” works by Ellis Pearson (The Middle Gallery), “An Exploration of the Southern African Geography” - Video (Front Room) 15 March-27 March, ABSA L’Atelier Art Award 2010 – KZN Regional exhibition (The Main Gallery) 3 Millar Road, Stamford Hill, Durban. T.031 312 0793 Durban Art Gallery 27 Jan-19 March “Under the Umdoni Tree” featuring Ebrahim Badsha and Omar Badsha.

2nd Floor City Hall, Anton Lembede St (former Smith St) Durban T. 031 311 2264 Durban University Art Gallery. 01–18 March, “Exploring exile as personal and social transformation through critical reflection and creative and artistic expression.” by Simmi Dullay (in completion of her Masters Degree in Fine Arts.) 22 March–01 April, As part of the Art for Humanity’s conference titled “Art and social justice” guest Curator Kim Berman will present an exhibition titled “Art as Advocacy: An AIDS action exhibition from Artists Proof Studio” Steve Biko Campus, Steve Biko Road T. 031 373 2207 Elizabeth Gordon Gallery A variety of new South African artworks, including paintings by Hugh Mbayiwa, Nora Newton and Hussein Salim. 120 Florida Rd., Durban. T. 031 303 8133 KZNSA Gallery 23 Feb-20 March, “Imizwa Yami”, a major exhibition of the work of Mbongeni Richman Buthelezi. 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 Art Gallery 16 March-16 April, Paintings by Marion Townsend. The Blue Caterpillar Art Gallery at Butterflies for Africa 37 Willowton Road, Pietermaritzburg. T. 033 3871356 art@ or bluecaterpillarart@hotmail. com Tatham Art Gallery Until 14 March, Schreiner Gallery: Recent Acquisitions Exhibition, including a linoprint by Vuli Nyoni, and a rolling ball sculpture by Zotha Shange. And “Art Through Technology” exhibition aimed at grade 07-09 learners. 16 Feb-04 April, “Curriculum Curricula” a Visual Arts supplementary exhibition for grades 10-12 using the National Curriculum Statement syllabus. 18 march-27 April, “African colour notes” an exhibition of acrylic paintings by Nicky Chovuchovu 02 March-23 April, “The Whitwell collection” (Perimeter Gallery, first Floor) Cnr of Chief Albert Luthuli (Commercial) Rd. and Church Str. (Opposite City Hall) Pietermaritzburg T. 033 342 1804



The State of Art: The SA Art Times report card Peter Machen canvassed the country’s various Arts and Culture culture departments for their plans for 2010. The results were not hugely encouraging.

With the Fifa World Cup about to bring global attention to South Africa, 2010 presents a rare opportunity to showcase all that the country has to offer in terms of arts and culture. With this is mind, I contacted various governmental departments to see what they had panned for the year. The results were not encouraging. For starters, there was the difficulty in garnering responses: waiting for the phones to answer, determining who the correct person is to speak to in often complex heirarchies, awaiting approval and validation. Then there was the fact that while many departments had had an active 2009, plans for 2010 were thin on the ground. I contacted the nine provincial departments of arts and culture as well as the National Department, The National Arts Council and four Metro Councils. Departments had ten days to respond. Only the Metros of Cape Town and Joburg and the Free State Ministry replied without being coaxed, harassed or vaguely threatened. The results are below, along with an overall rating. Note that the rating is based solely on the information supplied by the various departments.


of all city-owned monuments; the Collectors and Hobbies Expo; Certificate Ceremony for the beneficiaries of development programmes; Archival Research Training Programme; International Comedy Festival; Information Sessions in all communities in Cape Town and with arts organisations; Cape Philharmonic Summer Festival Concerts.

Major Plans for 2010

Projects relating to the 2010 World Cup, including arts and culture promotion with appointed service providers in the fields of visual art, craft and performing art; Monument Restoration and Promotion Programme; Art Map of City-owned facilities and monuments; Minstrel Carnival; Suidoosterfees. Note: these items cover only the programme for January.


The budget for Projects and Partnership Funding for 2009 was R7m. For 2010, it is approximately R7,5m.

Mark: B+

Steven Sack Director of Arts, Culture and Heritage, Johannesburg

Johannesburg Municipality Key achievements in Arts and Culture in 2009? Hosted the World Summit of Arts and Culture with the International Federation of Arts Councils and Council Agencies (Ifacca), the NAC, Gauteng Province and the national DAC. Hosted the annual Arts Alive Festival which included a number of associated festivals. Hosted the annual Africa Day Celebrations, the New Years Carnival and the June 16th Commemoration. Also worked with the Joburg Development Agency to install public art in various locations across the City.

Major Plans for 2010?

Comments: While Cape Town doesn’t yet have a detailed roadmap for the year, their huge list of activities in 2009 suggests that at least they have an idea of where they’re going and they seem to make good use of a slim budget.

Durban Municipality (supplied by Guy Redman, Deputy Head of Parks, Recreation & Culture: Libraries & Heritage)

Key achievements in Arts and Culture in 2009

The city hosted the eThekwini Living Legends Ceremony. It also assisted in the dof community art centres and audiences though the Umlazi Arts Festival, which was part of a larger plan to convert some of the city’s community halls into art centers. Blazing Fridays at the Durban University of Technology was a poetry development programme targeted at students from DUT as well as from surrounding schools. Red Eye a multi-media arts event which creates a platform for up-and-coming artists to exhibit their work alongside well known artists in a prominent space that is accessible to all.

Comments: Despite the lack of public art in the city (and the current debacle over Andries Botha’s elephants), the city regularly embraces arts and culture, both locally and internationally. The long-awaited arrival of an offical Arts, Culture and Heritage policy should go some way to making the city’s cultural contributions more efficient.

Nelson Mandela Bay Municipality Despite frequents mails and phone calls, I did not get a response from Niel Langeveld who is responsible for Arts and Culture at NMB Municipality. The Mandela Bay website does, however, list the following arts and culture activities on their website: - The establishment of a number of heritage sites. - Rendering assistance to over 100 local artists and crafters. - The establishment of an arts and crafts centre in Uitenhage. - The consolidation of the Freedom Trail Project as a tourist at traction. - The upgrading of the Langa Memorial. - The computerisation of six municipal libraries. - The implementation of a  number of programmes targeting children from disadvantaged areas. - The implementation of a number of programmes promoting the culture of reading and writing

Northern Cape

Mark: B

Red Eye event, Durban Art Gallery

HOD of Sport, Arts and Culture, Sunita Vallabh, was apparently sick for most of the ten day period starting from when I first sent her an email to the final deadline for this story. She said that she would respond but ultimately failed to do so. She did however manage to attend an event which her very helpful assistant referred to her as the Uraguay Games.

Major Plans for 2010

Mark: F

Comments: The City of Jo’burg clearly recognises the importance of art in the urban fabric. But their plans for 2010 currently seems a little thin on the ground.

A long list of diverse items was provided including the Minstrel Carnival; Jazzathon; Concerts in the Park in a variety of locations; Indaba; various skills development, heritage and cultural awareness workshops;the International Jazz Festival; the Cape Winelands Film Festival; an animation skills development project with Face Cape Film Commission; Environmental awarenes days; Monitoring and Evaluation; Grants in Aid; a monument database

Mark: B


The total operating budget for the City is R22.7 billion. The Community Development Department receives about R600 million and Arts, Culture and Heritage receives about R60 million.

Key achievements in Arts and Culture in 2009

The city make a significant contribution to Arts and Culture through various departments. Most of these interventions form part of broader initiatives making it difficult to attach an absolute a figure. It is envisaged that the new Arts, Culture and Heritage Policy, when developed, will be able to quantify this effort.

Comments: The Mandela Bay Municipality seems fairly culturally committed but the lack of response ensures a low mark.


(supplied by Sonja de Jager, for Chris O’Connor, Acting Director of Social Development)


Mark: D

programme of important exhibitions to coincide with the World Cup is planned, including ‘Art of Africa’ at Museum Africa, ‘Without Masks’, a showcase of Afro Cuban Contemporary Art at the . Johannesburg Art Gallery and the ‘Bamako Photo Biennial’. Additionally, William Kentridge and various other artists will have work installed numerous locations across the City. The Joburg Theatre will be showing ‘The Boys in the Photograph’

Cape Town Municipality

labourers in South Africa. - The Maqubu Ntombela – Dr Ian Player inaugural lecture. - The Suitcase Project which focuses on Xenophobia and Migration. - The Streetchild World Cup Exhibition. - Red Eye Jomba 2010 which will navigating the politics of the body through different artistic media including film, dance, performance, visual art and music.

To be the first municipality in the country to adopt an Arts Culture and Heritage Policy. This will ensure effective expenditure, more tangible and direct benefits to arts development and help to establish a more coordinated and quantifiable effort towards enhanced service delivery in arts and culture. The city will also initiate a process to address unfunded mandates in Arts, Culture and Heritage. Additionally, it plans on hosting important, socially relevant exhibitions and commemorations including: - A century of the Shembe movement. - The 20th anniversary of the release of former president Dr. Nelson Mandela. - The 150th anniversary of the arrival of Indian indentured

Comments: Fail

Gauteng Despite repeated emails and telephone contact, no response was received from Nomazwe Ntlokwanam, Media Liaison Officer for Sport, Arts, Culture and Recreation in Gauteng.

Mark: F

Comments: Fail


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Mpumalanga Despite repeated emails and telephone contact and a promise to deliver the information (which he said had been emailed to me), no response was received from Sechaba Mphahlele, Media Liaison Officer for Culture, Sport and Recreation in Mpumalanga.

Mark: F

Comments: Fail

Western Cape Despi te repeated emails and telephone contact and a promise to deliver the information, no response was received from Angus Flowers, Media Liaison Officer for Sport, Arts, Culture and Recreation in the Western Cape.

Mark: F

Comments: Fail

Free State (supplied by Tankisa Zola, of Communications for the province)

Key achievements in Arts and Culture in 2009 - The success hosting of the Mangaung African Cultural Festival (Macufe). - The training of 250 crafters in product development in partnership with Productivity South Africa. - The completion of a Sesotho soccer dictionary. - Contributing to the Cultural programme at the FIFA Confederations Cup 2009 Public Viewing Areas. - The successful roll-out of an outreach programme with the Strings Music Programmes in two Municipal Districts, as well as a tour of Belgium by the Bochabela Strings Orchestra which is composed of learners from the Strings programme. - Promotion of national symbols through the distribution of pamphlets in schools as well as the distribution of flags to different government buildings. - A training programme for youth at the Mmabana Community Arts Centre.

Major Plans for 2010

- Enhancing Arts, Culture and Heritage Programmes in Free State schools. - Spreading the roll-out of the Strings music outreach programme to the rest of the province. - Hosting Public Viewing Areas for the FIFA 2010 World Cup in different districts. - Opening a Free State Craft Emporium in Bloemfontein. - Promotion of National Symbols. - Hosting of Macufe 2010


The budget is to only be officially tabled in the Legislature on the 16th March 2010. Therefore we cannot pronounce on it yet.

Mark: C

Comments: The Free State Department seems to be committed to a small number of large projects. This comittment is laudable but it does seem that they should be spreading their net a little wider.

Eastern Cape (supplied by Mazandonga Vabaza, Deputy director of Communications for the province)

Key achievements in Arts and Culture in 2009

- The province hosted another successful National Arts Festival in Grahamstown, as well as the Wild Coast Cultural Festival, held annually in Port St John’s. - The Chris Hani Craft Hub was launched as the 3rd Craft Hub in the Eastern Cape. These Craft Hubs train crafters in production, marketing, storage and distribution of craft goods produced by crafters in the province. - The OR Tambo Choral festival was held in partnership with the Eastern Cape Choral Music Festival. - The renovation and upgrading 26 libraries, as well as the supply of ICT infrastrusture to 14 Libraries and a brand new library at Cofimvaba. Major plans for 2010 Since our financial year ends in March, at the moment the department is still working on the finalisation of the Annual Performance Plans and the Annual Operational Plans. Authentic information can only be available once these plans have been finalised. These will be tabled by the MEC at her policy speech in March.


Details of the budget will also be available once the MEC has approved and tabled her budget at her Policy Speech in March.

Mark: C+

Comments: Although, the Department is unable to deliver any plans for the year and would have a very thin calendar without the National Arts Festival, it earns its relatively high mark for paying attention to its libraries at a time when the library system is far too thinly spead and reportedly falling apart in many provinces.

Limpopo (supplied by Adele van de Linde, Media Liaison Officer: Sport, Arts and Culture) Van de Linde was not able to deliver approved answers to my three question but she did provide a response which included the following: - The Department of Sport, Arts and Culture, through its Investing In Culture programme, presented the talent search “I can sing!” competition for aspiring vocal artists.After receiving training, 10 finalists competed for the accolades of being named Limpopo’s first “I can sing!” winner. The finalists’ songs will be recorded in a professional studio and compiled onto a CD.   - The Department continues to support the arts and crafts industries throughout the Province by hosting exhibitions at all Provincial and National events within the Province.  A highlight from 2009 included National Heritage Day celebrations in the Sekhukhune District, which included a multicultural group of women from the Musina Police Service performing a traditional tsonga dance indigenous to Limpopo. - The Province is still struggling without a fully fledged theatre complex but a Film and Video Committee is being established to establish and sustain film makers in the Province. The committee will identify and train new talent, as well as assisting them in producing their own short films.  - The department’s flagship project remains the Mapungubwe Arts Festival, which aims to create social cohesion by presenting a melting pot of cultural activities in a weeklong festival held in Polokwane.

Mark: D-

Comments: If a department cannot provide any kind of plan for the year, or adequate list of achievements for the previous year, one suspects that may be because of their absence.

Northwest Province Despite repeated emails and telephone contact, no response was received from ShirleyMontsho, MLiaison Officer for Sport, Arts and Culture in Northwest Province.

Mark: F

Comments: Fail

Kwa Zulu - Natal (Supplied by Funi Makhanya, Special Project Manager in the KZN DAC)

Key achievements in Arts and Culture in 2009

The department hosted a range of festivals including Freedom and Heritage Day celebrations, an Indigenous Indian Music Festival and King Shaka Day Celebrations. Financial support was provided to arts and culture institutions and arts centres and visual arts and craft development workshops were conducted, targeting poor communities in the most deprived wards. The department also provided funding for art centres, halls and campsites. The construction of the Osizweni and Bulwer community art centres commenced and the planning of four other art centres were finalised. The department also continued to partner with various craft exhibition organizers, such as Art in the Park and Kizo Art Gallery. Performing arts and theatre development projects continued, with music, song and dance competitions in all districts, with the winners being mentored as part of skills development. The department also participated in critical provincial government flagship programmes, including programmes focussed on food security and the empowerment of youth and women. Additionally, it won the SAIGA Award for Annual Public Sector Reporting.

Major Plans for 2010

The arts, particularly the performing arts and craft, will play a significant role during the 2010 Fifa World Cup, including the following activities driven by the Department of Arts and Culture: - Siyayishaya Ingoma competitions in rural parts of the Province which will be used as a social mobilization tool. -Working with KZN-bred artists on a Proudly KZN song. - Working with the Playhouse Company on a Performing Arts Plan for those parts of KZN outside of Durban which are expecting a flow of tourists. - Hosting Carnivals in various municipalities as part of a programme that kicked off in 2009 during the Confederations Cup. - The Department has selected artists to provide entertainment at public viewing areas, with an emphasis on small performance groups in need of exposure. - The Department has also ensured that more experienced – but still relatively unknown – groups will receive international exposure during the Province’s international activations.


The total budget for the Department is R357,018m. 20.5% of that goes to administration. The arts and culture budget is R101,765m. This includes the construction of art centres throughout KZN.

Mark: B+

Comments: The long list of activities in 2009 and the presence of a plan for 2010 as well as provision of budget figures puts KZN ahead of the pack, as does the comittment to indigenous culture and community art centres. Challenges that remain include improved marketing of its activities and the increased linking of indigenous cultural activities to sustainable economic activity.

National Arts Council

(supplied by Goodwin Mnisi, Acting CEO) Key achievements in Arts and Culture in 2009 - Successfully hosted the 4th World Conference on Arts and Culture during September. - Participated in the Confederation Cup by hosting the Public Viewing Areas in collaboration with North West Province and the Free State. - Partnered with Arterial Network, together with the SADC countries, to develop an Arts Marketing Toolkit during the Harare International Arts Festival. - Disbursed a total of R43 million to the arts community, with R21 million spent on project funding and R 22 million on company funding. - Initiated Artspeak as a summit dialogue forum, which will become a regular part of stakeholder engagement. - The NAC, represented by the CEO, sits on the board of the International Federation of Arts Councils and Culture Agencies (Ifacca). Major Plans for 2010 - Supporting the Woman in the Arts project as one of the NAC’s key strategic projects. - Supporting around 10 festival to the tune of about R 7 million. - Partnering with Writes Associates to host the South African literary Awards. - Will participate in 2010 festivities by partnering with the following provinces: Free State, North West, Mpumalanga, Eastern Cape, Northern Cape and Limpopo. - Will also be conducting research on Public Participation in the Arts.


The NAC budget for the 2010/2011 financial year is R 65,625m. 25% of the total budget is allocated towards administration as per the NAC Act. The remaining 75% is utilised towards public projects and support of the local arts sector. This is allocated to funded companies, orchestras, bursaries and projects.

Mark: D

Comments: The existence of the NAC is clearly important to South Africa’s cultural landscape. Timeous payment of promised funds would improve their mark.

DAC (supplied by Eric Mudzanani, Deputy Director of Media Relations, on behalf of Lisa Combrinck, Head of Communication)

What were the key achievements of the Department of Arts and Culture in 2009?

Projects include national days such as Freedom Day, Women’s Day, Heritage Day and Nelson Mandela Day. Hosted the World Summit on Arts and Culture, the Oral History Conference, the Academy of African Languages Conference, an izimbizo and an Afrikaans conference. Other smaller projects were also implemented. Most importantly, the department was responsible for the cultural programme for the historic Fifa 2010 Soccer World Cup draw. The event was a huge success from the point of view of the cultural programme. Our artists managed to showcase our rich cultural heritage as Africans.

Major plans for 2010?

The Department will continue with many of the programmes that it has already begun, such as: Investing in Culture; the transformation of our Heritage Landscape; the promotion of our arts during the 2010 FIFA World Cup; the promotion of our indigenous languages in a variety of ways; developing policies for our cultural industries; job creation with skills development and skills transfer; further name changes; focusing on arts development with women, youths and persons of disability; promotion of books and publishing in all the official languages of our country; continue promoting music and filmmaking, screening and distribution; developing, promoting and sustaining performing arts; implementing national programmes in the country’s community arts centres; supporting and promoting arts and culture festivals for social cohesion, poverty alleviation and job creation. We will also continue to safeguard and promote South Africa’s intangible cultural heritage through national policy and protect and preserve South African heritage using international instruments. We will continue maintaining and strengthening our multilateral international relations.


Total budget for the department is just under R2,1 billion.

Mark: DComments: The Department promotes South

African culture in many diverse ways but many South African creative talents still feel that it is too distant from the concerns of the creative community. Additionally, the department, together with national government has yet to embrace culture fully as an important component of GDP.




Excitement builds in anticipation of Strauss & Co. Cape auction

Timlin : The Galleon Signed and signed with the artist’s owl device mark Watercolour, 60,5 by 49cm R80 000 – 120 000

Stanley Pinker: Night Signed and inscribed on the reverse with the title, artist’s name and address Oil on canvas, 151 by 92cm

JH Pierneef: Matlala, Pietersburg Signed, Oil on canvas, 51 by 66cm. R800 000 – 1 200 000

Walter Battiss: Bathers Oil on canvas, 60 by 101cm R900 000 – 1 200 000

A range of international and local paintings, sculptures and prints from the Edith Dodo Estate are guaranteed to whet connoisseurs’ appetites. Highlights include Figure on Purple (R300 000-500 000) painted by British artist, Ivon Hitchens in 1965, an abstract painting by French Tachiste Alfred Manessier (R50 000-60 000) and Picasso’s etching Rêve de Marin (R80 000-100 000) from his famous 347 Suite published in 1969. New York’s Museum of Modern Art recently acquired one of the etchings from this suite for its prestigious collection. Polish-born School of Paris artist Henri Hayden’s Les Champs (R45 000-65 000) painted in 1962 displays the lyrical composition and bejewelled colours that have assured him a place in major collections such as the Tate Gallery. Also included are prints by leading international artists Georges Braque, Joan Miró, Fernand Léger, Alberto Giacometti and Marc Chagall and the European Lyrical Abstractionists, as well as a Portrait of Monsieur Duchamp (R12 000-15 000) by Jacques Villon, brother of Marcel Duchamp. Some fine jewellery from the Edith Dodo Estate will also be auctioned along with exquisite jewels and rare gems that are being offered for the first time

Freida Lock : The Upstairs Landing Signed and dated 46, Oil on canvas, 59 by 50cm R800 000 – 1 000 000

at Strauss & Co. One of the auction highlights is undoubtedly a rare edition of Anton Van Wouw’s Bad News (R1 200 000-1 400 000) that was cast in Italy at the foundry of Giovanni Massa by founders and patineurs whose extraordinary skills captured to perfection the fine detail and finish of Van Wouw’s original model. Works of this calibre rarely come onto the market. This is only the third example of an Italian cast of Bad News to be sold at auction over the last forty years. The last example, sold in May 1988, was formerly in the collection of Sir Lionel Philips. J. H. Pierneef’s Matlala, Pietersburg (R800 000-1 200 000) depicts the village of Matlala nestling beneath a great rocky outcrop near Cheune’s Poort, a scene that made such a great impression on the artist that it inspired several paintings, watercolours and a linocut. Two floral paintings by Frans Oerder – Rhododendrons (R200 000-250 000) and Still Life of Hibiscus (R120 000-150 000) – will ensure that collectors are spoilt for choice. Amongst the several Maggie Laubser’s on offer, her Fisherman in a Boat with Seagulls (R500 000-700 000) and two very early landscape paintings

900 000) bears the heart-warming story of the lucky winner of a raffle that took place in 1994 to raise funds for the South African National Gallery. Being a philanthropist, she approached a dealer to sell the work for her with a view to donating the proceeds to charity. When he turned it down at the R25,000 recommended price, she decided to keep the work. Both works, with their sumptuous bowls of fruit and olives, wine bottles and a coffee pot, evoke the hospitality that Cecil and Thelma so enjoyed and for which they became legendary in Johannesburg and Cape Town.

Irma Stern: Cleaning Fish Signed and dated 1956 Oil on board, 63,5 by 51cm R2 000 000 – 3 000 000

stand out. Irma Stern’s Cleaning Fish (R2 000 000-3 000 000) displays all the confidence of the artist’s mature style with vermillion boats, Naples yellow beach sand and sparkling emerald sea vigorously painted in bands of thick impasto. Jean Welz’s Resting Model (R500 000-700 000) dated 1945 and Maurice van Essche’s Nude (R300 000-500 000) dated 1965, offer viewers the rare opportunity of comparing the draughtsmanship and subtle paint qualities of two of South Africa’s greatest painters. Auction followers might like to place bets on whether Freida Lock’s The Upstairs Landing (R800 000-1 000 000) will surpass Strauss & Co’s world record for the artist achieved in 2009.

Jean Welz: Resting Model Signed and dated 45, Oil on canvas, 75 by 56cm R500 000 – 700 000

Walter Battiss’s Bathers (R900 000-1 200 000) is one of the most exciting works by this artist ever to come up at auction. The seductive surface of turquoise and white flecked with warm orange tones is achieved through his expertise in handling a palette knife and paint. The distribution of figures across the picture plane owes much to Battiss’s pioneering research into San rock art paintings. Several works by Cecil Skotnes are included in the sale with estimates ranging from R8 000 to R900 000. Two carved, incised and painted wood panels from 1994 form a stunning pair. African Still Life (R600 000-900 000) combines the totemic figures for which Skotnes is famous along with his more painterly still lifes. Hospitality (R600 000-

Following the success of the world record for a Johannes Meintjes achieved at Strauss & Co’s Cape Town sale in October 2009, a group of his paintings is on offer that includes the sensuous and introspective Boy with Lilies (R100 000-140 000) dated 1943 and Flowers in an Eartheware Jar (R100 000-120 000) in the vibrant colours and dramatic lines of his later career. Stanley Pinker’s Night (R500 000-600 000) is a seductive painting that utilises the modernist language of Matisse to suggest a languorous evening with a naked woman, moonlight through a picture window and a cat on the window sill. One of William Kentridge’s most popular prints, Iris (R115 000130 000), is sure to attract lively bidding in the auction room. Major contemporary sculptures do not come up often at auction in South Africa. Two rare exceptions that are being offered are

Ezrom Legae’s Goatherd and Goat (R250 000-300 000), a key work by this highly respected artist and teacher, that demonstrates the modernist influence of European sculptors like Picasso on local artists, and Jane Alexander’s Racework – in the event of an earthquake (R800 000-1 000 000). While Alexander is an internation ally recognised sculptor whose work is sought after for major collections and exhibitions, her sculptures have never before come up at auction anywhere in the world. Produced in 1999 , this work was included on her DaimlerChrysler Award for South African Sculpture exhibition at the South African National Gallery, and would form the cornerstone in any serious art collection. And if you’re in training for the Argus and in need of a break, pop in at the preview exhibition and see Alexander Podlashuc’s Training for the Argus Cycle Race (R30 000-40 000) painted in 1993. These and many more works are on exhibition at the Vineyard Hotel and at Strauss & Co’s offices in the Oval, Newlands from Friday 12 until Sunday 14 March. Preview dates and times: Friday 12 March 2.30 – 4.30pm Saturday 12 March 9.00am - 4.00pm Sunday 14 March 9.00am - 6.00pm Enquiries: 021 683 6560 or 0778 044 8185


Page 13

An impressive array of top quality works of art, furniture, silver, ceramics and jewellery has been gathered together for Strauss & Co’s next auction scheduled to take place at the Vineyard Hotel in Newlands on 15 March 2010. More about upcoming work on the Strauss & Co auction Edith Dodo 1923 – 2009 More about Edith Dodo, who’s fine jewelery from her Estate will be auctioned by Strauss & Co.

Jane Alexander Racework – in the event of an earthquake, Anton van Wouw Bad News (Slegte Nuus) R1 200 000–1 400 000

The impact of the South African war, or more specifically, the second Anglo-Boer war (1899 – 1902) was deeply felt amongst South Africans when Van Wouw produced this bronze in 1907. A protracted war with the Boer fighters resorting to guerrilla tactics was counteracted by the British with a ‘scorched earth’ policy, concentration camps, strategic blockhouses and drives that decimated the countryside and demoralised the Boers, forcing them to surrender and negotiate a peace treaty that would incorporate the former South African Republic and the Republic of the Orange Free State into the British Empire as Crown Colonies. Van Wouw’s sculpture captures the moment when two Boer fighters, worn out from the battle against insurmountable odds, hear the ‘bad news’ of the loss of independence of their Republics. Van Wouw articulated this loss in very personal terms: “Vir die een man is alles verlore en hy soek instinkmatig steun by sy sterker wapenbroeder; die ander een voel dat alles eers verlore is as die moed verlore is”. [For one man everything is lost and he instinctively searches for support from his stronger brother-in-arms; the other one feels that everything is lost when courage is lost.] The two exhausted men lean on one another for physical and emotional support, in a complex elliptical composition that leads the eye around and over the sculpture, encouraging closer observation. Their faces reveal expressions haunted by grief and dejection, making the sculpture both a tribute to extraordinary courage and a powerful evocation of terrible loss. Attention to the minutest detail both attests to the sculptor’s virtuosity and enhances the meanings of the work. The lizard, on the rock behind the two fighters, indicates how long they have been sitting there, immobilised by despondency. The wearied expressions, the worn-out shoes and the bandolier with only two bullets remaining are evidence of Van Wouw’s ability to put naturalism in the service of emotional expression. According to Hans Fransen “he was a naturalist through and through, achieving in his sculptures an authenticity and feeling for texture and surface detail which is unequalled”. Van Wouw is acknowledged as one of South Africa’s foremost sculptors. Born near Utrecht in Holland in 1862, he received a thorough training in academic sculpture during evening classes at the Rotterdam Academy under the guidance of Flemish architect and artist, Vieillevoye, and later in the studio of Belgian sculptor, Joseph Graven. Through visits to galleries in Brussels and Paris he familiarised himself with the European masters. The sculptor immigrated to South Africa and settled in Pretoria in 1890. His first commission came in 1896, from South African industrialist and financier, Sammy Marks, for the bronze sculpture of Paul Kruger that now stands in Pretoria’s Church Square. This edition of Bad News was cast in Italy at the foundry of Giovanni Massa by founders and patineurs whose extraordinary skills captured to perfection the fine detail and finish of Van Wouw’s original model. Works of this calibre rarely come onto the market. This is only the third example of an Italian cast of Bad News to be sold at auction over the last forty years. The last example, sold in May 1988, was formerly in the collection of Sir Lionel Philips. Having been acquired directly from the artist and remained within that family, this edition has an exceptional provenance and is in excellent condition. It has a rich brown patina and honey-toned highlights. Seldom do such well-preserved bronzes become available. According to Professor Dr Alexander Duffey, Bad News was exhibited during Van Wouw’s first review exhibitions in Johannesburg and Pretoria in July 1908 and also in 1909 during a review exhibition at the Fine Art Society Galleries in London.

R800 000 - R1 000 000

While Jane Alexander is an internationally recognised sculptor whose work is sought after for major collections and exhibitions, her sculptures have never before come up at auction. Racework – in the event of an earthquake, one of Jane Alexander’s most appealing and affecting sculptures, was made in response to Alexander’s visit to Tokyo, where she was invited to show the Bom Boys on the exhibition, Africa Africa at the Tobu Museum of Art in late 1998. Identical to each other, the Racework figures make reference to preconceived ideas about difference, exoticism, and stereotypes based on visual markers, and with that, assumptions, discrimination and prejudice based on appearance. The ‘Japanese’ figure wears flannel trousers under the Kimono and has the same face beneath the mask as does the ‘Western’ figure. In notes on this work, Jane Alexander exposes apartheid-era double standards that accorded the relatively few Japanese people in South Africa ‘honorary white’ status for perceived economic reasons while the larger Chinese population was classified as ‘non-white’. Racework was exhibited at the University of Cape Town’s Irma Stern Museum in 1999 where, in a hand book accompanying the exhibition, Lucy Alexander explored the iconography of the work: This pair of boys dressed as men overtly exhibit compliance with social norms, dress, sobriety and restraint: in turn they will be rewarded and given leave to control. One is suited for the West; the other is masked for the East ... The work rests on issues of identity; both figures remake their identity in the cast of another’s more powerful, more controlling set of rules; thus they displace one set of imposed ‘racial’ or ‘cultural’ stereotypes and replace them with another. ... A shadow being disrupts their calm: a mischief-maker between them, dragging his booty, a tractor and a scythe, symbols of ‘a better era’, a ‘lost utopia’. Affixed to the back of the kimono of one of the figures is a facsimile of a hotel document in Japanese script giving instructions for what to do in the event of an earthquake, alluding to massive underlying forces with the power to disrupt equilibrium and ‘to the well-controlled society which is prepared for all eventualities’. Various elements of Racework recur in Alexander’s African Adventure photomontages produced between 1999 and 2000. Jane Alexander is widely acknowledged as one of South Africa’s foremost contemporary sculptors. Since completing her BAFA and her MAFA at the University of the Witwatersrand, she has continued her professional art practice while teaching sculpture at the University of Cape Town’s Michaelis School of Fine Art. She “works mainly with figurative sculpture installation and tableaux, and photomontage. Her research interests include migration, security, and contemporary art production in Africa and the Diaspora as well as its reception, distribution and marketing within an international context”. Winning the Standard Bank Young Artist Award for 1995 brought Alexander wide recognition. The Butcher Boys (1985-1986), the most popular work in the South African National Gallery’s Permanent Collection, has been exhibited extensively on major international shows and is regarded as one of the most important works of contemporary South African art achieving iconic status amongst connoisseurs and the general public alike. In 2002 Jane Alexander was awarded the DaimlerChrysler Award for South African Sculpture, enabling her to produce her solo exhibition that toured to DaimlerChrysler KonzernZentrale, Forum StuttgartMöhringen; DaimlerChrysler Contemporary, Potsdamer Platz, Berlin; Pretoria Art Museum, Pretoria and Oliewenhuis Art Museum, Bloemfontein, from 2002 until 2003 before its final showing at the South African National Gallery, Cape Town, where Racework – in the event of an earthquake was included.

Edith Dodo with Walter Battiss at an exhibition opening in Pietermaritzburg

Ivon Hitchens – highlight from the Edith Dodo Collection Figure against purple, Oil on canvas, 40 by 73 cm R300 000 – R500 000 Edith Dodo, née Azgour, was born in Cairo where her father was a perfumier. They relocated to Paris where Edith went to school and was introduced to a world of art, design and fashion that was to leave a lasting impression on her. When Edith was fifteen the family immigrated to South Africa and settled in Johannesburg where she completed her schooling before going on to the Johannesburg Art School. Her mother, Rachel Azgour, had opened a dress shop in Eloff Street, where Edith met Maud Sumner. They formed a close bond and soon Edith was enjoying painting lessons with Sumner. The many superb Sumners in the collection confirm this enduring friendship as does her portrait of Edith as Joan of Arc. After meeting and marrying Monte Dodo the couple relocated to Pietermaritzburg where the Dodo family operated a business that was to develop into the nation-wide Dodo Shoe Stores and Dodo Fashion Boutiques. They travelled throughout Europe, often spending extended periods in Paris, where Edith frequented museums and galleries and familiarised herself with the top artists of the day. Edith Dodo became a member of the Tatham Art Gallery Advisory Committee and was commissioned to look for suitable work for the collection. On a trip to London in 1965 she acquired a Manessier watercolour and an Ivon Hitchens oil. In all likelihood she would have purchased the Hitchens for her own collection at the same time. These acquisitions were viewed by the committee as very important additions which added to the Modernist thrust they were developing in the Tatham collection at that time. Her own international collection confirms her innovative and courageous choices based on sound judgment and an eye for design, style and colour. Highlights include Figure on Purple painted by British artist, Ivon Hitchens in 1965, an abstract painting by French Tachiste Alfred Manessier and Picasso’s etching Rêve de Marin from his famous 347 Suite published in 1969. Polish-born, School of Paris artist Henri Hayden’s Les Champs painted in 1962 displays the lyrical composition and bejewelled colours that have assured him a place in major collections such as the Tate Gallery. Also included are prints by leading international artists Georges Braque, Joan Miró, Fernand Léger, Alberto Giacometti and Marc Chagall and the European Lyrical Abstractionists, as well as a Portrait of Monsieur Duchamp by Jacques Villon, brother of Marcel Duchamp. Edith Dodo involved herself actively in the local art scene with regular attendances at exhibition openings and events. She engaged with artists such as Walter Battiss and added their works to her substantial and growing collection. The numerous delightful Sumners are complemented by Alexis Preller’s Blue Nude and many attractive still life and landscape paintings by Terence McCaw and Gordon Vorster amongst others.




Strauss Cape Town Some good prices at Swelco’s auction preview Cape February 2010 auction By Michael Coulson

Not surprisingly, Strauss & Co’s first auction of 2010 can’t match up to its no-strings-left-unpulled debut last year, but a gross low estimate of just over R26m is respectable enough and the catalogue includes some interesting features. Notably, there are a score of works from the collection of the late Edith Dodo, and no fewer than 30 works, all apparently from one private collector, by William Timlin. If estimates are realised, new auction records could be set for several artists.

By Michael Coulson

Gallery on the Square is now G2 has moved up to The Jhb Arts Strip, Jan Smuts Gallery on the Square has over the past 15 years established itself as one of South Africa’s leading fine art galleries, showcasing an eclectic mix of South African and International fine art, sculpture, and ceramics; as well as supporting various development projects. The gallery’s continuous vision aims at promoting a cross section of established and emerging South African artists in a variety of disciplines. Drawing on the ever-present talent and energy of its country’s visual artists, the gallery has found its niche within the South African art market, as well as providing an environment that is enjoyed and supported by artists, patrons and collectors alike. Included in the gallery’s vision have always been the concepts of sustainability and development, and as such Gallery on the Square has played an integral part in the support and promotion of a number of highly successful development projects, namely the Ardmore Ceramic Studio, Mapula Embroidery and MonkeyBiz. By providing these projects with exhibitions the gallery has not only gone a long way towards raising their profiles and collectors’ awareness, but also bridged the gap between what is considered high art and craft. Together with a business partner, Gallery on the Square has also forged a strong relationship with the Artist Proof Studio and provides an annual exhibition for their final year students, thus providing the foundation, and often ongoing exhibitions, for a number of its success stories, namely Phillemon Hlungwani and Nelson Makamo. Over the years the gallery has also been successfully appointed as Art Consultants and suppliers for various corporate projects and collections. Moving Forward in 2010 At the end of 2009 a space became available on what is now referred to as Johannesburg’s “Art Strip” on Jan Smuts Ave in Parkwood, presenting the Gallery on the Square with the opportunity it had been looking for to relocate. The owners of Gallery on the Square regard this as an exciting new project, and look forward to the transition to Gallery 2, which will open its doors towards the beginning of April 2010, with the opening exhibition to be held on Saturday 8 May 2010.

While the sell-through rate by number at the first art auction of the year may have disappointed auction house Stephan Welz & Co, and four of the top estimate lots went unsold, the lots that did sell fetched good prices. While the overall gross (including buyer’s premium) of about R8.6m trailed the low estimate of R10.5m, the average price realised of R46 140 (admittedly, including buyer’s premium) topped the average pre-sale low estimate of about R45 140. The afternoon session of minor works actually produced the better result, 95 of the 120 lots (79.3%) selling for a total of R1.12m (low estimate: R961 000). However, the only notable prices were R50 400 for a bog standard Gabriel de Jongh landscape (est R18 000-R24 000) and R54 900 for a Hennie Niemann jnr portrait (est R30 000-R40 000). Only 70 of the 112 lots (62.5%) of the evening session sold, top price being R1.74m for a Pierneef landscape (est R1.4m-R1.6m) . The only other R1m+ estimate, Tretchikoff’s Hindu Dancer (R1m-R1.2m) , didn’t sell, and the runner-up price was R784 000 for a Maggie Laubser head (est R700 000-R900 000). Irma Stern’s Woman Reading, Zanzibar went for R336 000 (est R200 00-R250 000) and a Hugo Naude Malay quarter scene for R280 000 (est R250 000-R300 000). The other big casualties were a Cecil Skotnes painted wood panel) est R600 000-R800 000), an Ephraim Ngatane township scene (est R350 000-R400 000) and a Laubser landscape (est R200 000-R300 000). A few lower-priced works boosted the result by selling for well above their estimates. Anton van Wouw’s bronze Slegte Nuus, perhaps conservatively valued at R60 000-R80 000, was bid up to R313 600. A Stanley Pinker nude (Pinker being one of the flavours of the moment) also commanded R313 600 (est R80 000R120 000). A Gregoire Boonzaaier still life, estimated at R140 000-R180 000, fetched R257 600, and Bettie Cilliers-Barnard was in demand: two lots estimated at R50 000-R70 000 and R30 000R40 000 went for R134 400 and R89 600 respectively. The evening session grossed about R7.5m, some R2m below the low estimate, entirely due to the high-estimate failures. If any moral can be drawn from this, it seems to be that buyers are still highly selective at the top end of the market and looking for value lower down the scale. The cover lot, incidentally, an 18th-century Italian commode estimated at R60 000-R80 000, was sold for R112 000.

The Timlins are in fact the highlight of the afternoon session, three of them carrying estimates of R80 000-R120 000 and another three R70 000-R90 000. The other significant afternoon work is a view of Table Bay by Thomas Bowler (est R70 000-R100 000), while the eight works from the Dodo collection in this session have a gross low estimate of just over R70 000, for an average of just over R8 800. The total afternoon session gross low estimate is just under R2.6m on 137 lots for an average of about R18 740. Top price for the evening session is a R2m-R3m estimate for an Irma Stern beach scene. In another far cry from last year, the only other R1m+ estimate is R1.2m-R1.4m for Anton van Wouw’s Bad News (a Rome casting). In all, 13 lots carry low estimates of R500 000 or more, the closest to R1m being R900 000-R1.2m for the cover lot, Walter Battiss’s oil painting Bathers. Low estimates of R800 000 are attached to a Pierneef landscape, a Freida Lock interior and Jane Alexander’s multiple sculpture Racework -- in the event of an earthquake. Three painted wood panels by Cecil Skotnes are each estimated at R600 000-R900 000, while a Freida Lock landscape is put at Rt600 000-R800 000. The 12 lots from the Dodo collection in the evening sale have a gross low estimate of about R895 000, an average of R74 500, making a total for the collection of about R965 000 and an average of R48 200. The Dodos were friendly with Maud Sumner, whose works figure prominently in the collection, a portrait of Mrs Dodo being estimated at R120 00-R160 000, a landscape at R120 000-R160 000 and a still life at R100 000-R150 000, though the collection’s top estimate is R180 000-R240 000 for a Battiss landscape. Including the Dodo lots, the evening session comprises 124 lots with a gross low estimate of just over R19m, averaging about R190 500. This takes the auction’s total low estimate to just under R26.2m, the average topping R100 000 by a few hundred rand. The sale is being held at Cape Town’s Vineyard hotel on March 15. In Strauss’s previous Cape sale, last October, the gross low estimate was a similar R25.4m. However, there were only 196 lots, of which 148 sold, for an excellent R33.6m, so the average was much higher than is likely this time. And there’s nothing this time to match October’s Sterns: the cover lot portrait of Carla fetched R5.57m, against an estimate of R2.5m-R3m, two still lifes fetched R4.23m each (est R3m-R3.5m and R3.5m-R5m) and another R2.1m (R1.2m-R2.6m). Still, if the overall result matches last time’s, the house will be more than happy.

Professional Practice Seminar for the Visual Arts Cost:

R 600-00 per person

(which covers course materials, tea and coffee on both days) Book: 021 465 7895 or and you will receive a confirmation The seminars have been successfully run in both Johannesburg and Pretoria. Due to demand we are pleased to offer this opportunity to Cape Town artists and members of the art community.

Johannesburg based Artspace Gallery and consultancy Art Source South Africa will be hosting a seminar on professional practice for visual artists wanting to learn how to effectively manage and direct their careers. This seminar is presented in association with VANSA Western Cape. VANSA’s sponsorship has al

Where: RHI House, 8 Spin Street, Cape Town

The seminar asks artists to take decisions about themselves, their desired career path and their artistic objectives. It looks at how to set and achieve goals and what strategies need to be applied to successfully reach these. It will also talk to the business side of the art world and consider how to engage with this successfully.

When: 09h30 - 16h30 on Wednesday 10th and Thursday 11th March 2010

Topics covered include: • Taking decisions on how to engage professionally outside

lowed us to offer this opportunity at R 600-00 per artist which constitutes a R 300-00 discount for the seminar.

of the studio • How to establish yourself as a professional artist • Defining a strategy related to your individual career plan • How to successfully build an artistic profile • The value of networks • Marketing yourself and your work to realise your objectives • How to increase and leverage the value of your work • Building a professional ethos in the South African art sector • The roles and responsibilities of the gallery or agent and the artist • The value of a well planned PR and marketing plan • How to engage with and man age the media • Art projects vs art exhibitions - the difference • Exhibition management and curation • The gallery system • Presenting your work – what to consider in a contemporary context • Sales and pricing of artworks

• Funding and sponsorship – the differences in approach • Mobilising resources About the presenters: Les Cohn Art Source South Africa was established in 2001 by Les Cohn, a qualified artist and an experienced arts administrator and arts project consultant. She well networked within the South African cultural sector. She specializes in strategic career management for artists Teresa Lizamore Over the past 27 Teresa Lizamore has developed a sound career in the industry, as an art consultant, curator and gallerist. She consults for several major corporate collections and has been director of Artspace gallery for the past 8 years. Taryn Cohn Since 2002 she has worked in various capacities within the

sphere of arts management and cultural marketing. Her areas of specialty include marketing and communications for art and development projects, financial management, project management and strategy A full programme for the seminar will be supplied upon confirmation of your booking. Payment in full is due by the 1 March to secure your booking. Seats are limited so booking is essential. For more information about the seminar: Call: 021 465 7895 or email: For media enquiries Taryn Cohn 083 6715139 taryncohn@artsourcesouthafrica.

Honouring South Africa’s inspiring achivers The Johnnie Walker Celebrating Strides Awards 2010 aims to honour and reward South Africa’s most inspiring achievers for the massive strides they have made in life. Some of these individuals have come from very humble beginnings, therefore making their strides to success even more remarkable, and are to be honoured and celebrated by having bursary funds created in their names to empower others. Joanne Lee Rolt and Andile Dyalvane are two of 12 finalists - in the four categories of Design, Business, Environment and the Arts - who have been chosen for the success they have achieved in their various fields. They have been hailed as symbols of entrepreneurial flair, drive, creativity, initiative, substance, strength and leadership. Each category winner will receive R125 000 to be used towards either a bursary fund in their name or to benefit a registered institution or initiative associated with the category for which they have been nominated. The chosen establishment must benefit people who are 18 years of age or older. The R125 000 in prize money is advanced solely for the benefit of the establishment and it will not be used for any other purpose. An independent panel of judges will score all three finalists in each category. The category winner will be the finalist whom the panel believes best fits the award criteria. The public will also have a chance to register their votes via a dedicated website . Their say will account for 30% of the final scores.

Joanne Lee Rolt A young environmentalist who first saw the need to teach people about green issues in order to help them create sustainable resources to feed themselves - through the lens of a camera has been nominated for a top award. Joanne Lee Rolt, 28, who has overseen the planting of 350 000 trees, the training of 5000 communitybased educators and co-ordinated workshops for over 20 000 people around the country through the Trees for Homes programme, started her career as a photographer. Raised in Parktown, Johannesburg, she has become a driving force behind community development in the greening of disadvantaged areas in South Africa and has been nominated in the environmental category in the Johnnie Walker® Celebrating Strides Awards 2010. Her passion for the environment came after completing a photographic thesis documenting people in disadvantaged areas in Gauteng and the North West. During her final year of studying she became involved with Food & Trees for Africa (FTFA) and was exposed to what she calls “a whole new world filled with possibilities”. After completing her thesis and her Bachelor’s Degree in Technology she went on to become Programme Manager at Food and Trees for Africa and also did a Permaculture Design Course. She runs the Trees for Homes and EduPlant programmes which have both grown tremendously over the past 5 years and she has been at the forefront of developing new systems, resources and materials

Andile Dyalvane

to spur and manage the growth. The EduPlant programme is the leading South African food gardening and greening programme, promoting the growth of organic food for better nutrition and more sustainable natural resource use and management for improved environments. Trees for Homes provides trees to low-income communities to plant at their homes and aims to address climate change whilst improving quality of life for these communities. It contributes to the development of sustainable settlements and provides training, short term employment and climate change and environmental awareness. Joanne says the daily experiences and personal rewards she receives interacting with the disadvantaged communities she engages are inspirational and could not be learnt at an institution. “I learn so much by listening to the community members, learners and educators I come into contact with and hope I can help make a valuable impact on the lives of many more people in communities across South Africa.” She spends a lot of time travelling around South Africa meeting with various government departments, sponsors and communities motivating improved environments and greater climate change awareness. “We are constantly in search of ways to improve our programmes and more effectively catalyse change in the lives of those less fortunate for the benefit of the people and the planet,” she says

A young man whose love for ceramics was born from river mud figurines he created after being inspired by the Nguni cattle he herded for his father, is set to open his second contemporary art gallery and is in line for a top design award. Andile Dyalvane, whose uncanny ability to create beautiful, valuable works of art with what he calls the elements of life - water, air and fire - has been nominated in the Design category of the Johnnie Walker® Celebrating Strides Awards 2010. Dyalvane, who now lives in Retreat, Cape Town and owns Imiso Ceramics with three other artists from different design disciplines, says his ceramic gallery and functioning studio which provides jobs for people, is a huge achievement. “I am also extremely honoured to have my work exhibited and sold from a number of galleries and to have received the FNB Vita Award for the best piece on exhibition as well as to have been named the VISI Magazine Designer of the Year and International Young Design Entrepreneur of the Year this year.”

He says he will not let his recent success go to his head and will continue mentoring students and trying to help others achieve success. His road to fame has not been easy. He graduated top of his class from Sivuyile Technical College in Gugulethu and received a scholarship to Nelson Mandela Metropolitan University, where he graduated with merit in ceramic design. He was one of a handful of designers chosen to represent South Africa in a 5 week exchange ceramic program workshop in Denmark. An obstacle Dyalvane faced in starting his business was “the family responsibilities” that he already had with no capital and difficulty finding business premises. “I had to sit my family down and explain what I was about to do and they supported me morally but not financially. I also had to team up with other people who had the same vision and goals as me. We had to borrow money from our families to secure the space where we are today and the rest is history…”

“Another great milestone was to have my work exhibited in Milan and to have been commissioned by a company to make my special pieces.”

Dyalvane says his secret to success is “always do what you are passionate about and teach others the little that you know. You will be surprised to know that you will learn a thing or two from teaching”.

“I am extremely proud and grateful for the incredible recognition I have received. Right now there are so many dreams I want to fulfil, including opening my second Imiso gallery space at the Cape Quarter next month.”

His interest in working with clay is the ability to create something beautiful, valuable and usable out of a shapeless piece of earth that was worth nothing. Also, clay allows him to express himself by letting him control the direction he wants to go.

The Johnnie Walker® Celebrating Strides Awards 2010 finalists- in the four categories of Design, Business, Environment and the Arts are: Design Architect Mokena Makeka, a force behind the redesign of the Cape Town station; jewellery designer Given Nkuna renowned for his coin wallets made from China bags and ceramic designer; art gallery owner and creative force, Andile Dyalvane

Arts Zulu literary star, renowned playwright, choreographer and entrepreneur, Welcome Msomi; the internationally acclaimed principal dancer and founder of ‘Dance for All’ and InSPIRAtions Dance Academies Philip Boyd; and famous musician, anthropologist and musical activist, Johnny Clegg.

Environment Joe Matimba, a community developer and a project manager at Food and Trees For Africa; environmentalist and photographer Joanne Lee Rolt as well as environmentalist, Simon Nicks, whose aim it is to design places that are pleasant to live in with minimal impact on our planet’s resources.

Business Max Maisela, a fearless fighter for financial rights whose company NBC helps protect retirement rights for workers; Ernest Kekana a young pilot turned operator for one of Africa’s leading Aviation Companies; and Chicken Licken magnate, CEO and founder George Sombonos.

To learn more about the finalists and vote for the most worthy winner, log onto

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Business Art March 10  

Please go to for more information, or call Eugene at 021 424 7732 for prices and availability The NAC Communications and...

Business Art March 10  

Please go to for more information, or call Eugene at 021 424 7732 for prices and availability The NAC Communications and...