ART TIMES The South African Art Times: SA’s leading visual arts publication | November 2011 | Free | Read daily news on www.arttimes.co.za
South Africa’s leading visual art magazine Photo: John Hodgkiss Photo: Jenny Altschuler
Joshua Miles, Artist Printmaker, Prince Albert Art Route. Photo: Bastienne Klein
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ART TIMES | EDITORIAL EDITORIAL
November 2012 Daily news at www.arttimes.co.za Editor: Gabriel Clark-Brown firstname.lastname@example.org Advertising: Eugene Fisher email@example.com Subscriptions: Julia Shields firstname.lastname@example.org News Editor: Jim Wolf email@example.com News Production: Gabriel Clark-Brown firstname.lastname@example.org Listings: Julia Shields email@example.com Admin: Bastienne Klein firstname.lastname@example.org Daily Website: Wil Burrows email@example.com Send Artwork To: Designer firstname.lastname@example.org Letters to the Editor:
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Somehow time goes faster at the end of the year where the last cycle of Summer season Fine Art Auctions, Summer Salons, Graduate Shows are already upon us. What seems evident is since the Joburg Art Fair, the art market is showing signs of warming up, galleries and art auction houses are getting their asking prices, and still breaking artists sales records, especially on the good work by the better known artists, locally and abroad. Nicholas Hlope sold his work (again) at the opening night of a major international arts event, this time at Frieze, London, while October saw strong auction prices for Peter Clarke, (some) Irma Sterns, Stanley Pinker, Erik Laubscher, Johannes Meintjes, Christo Coetzee and William Kentridge. In addition to this art Spring, new art incentives placing themselves on the arts map, such as the new Piketberg and Prince Albert art routes, as well as the Clover Aardklop Arts event showcasing great SA art to new audiences. On a more sombre and tragic note the DAC held a Visual Arts Indaba in Johannesburg, tragic because sadly it was (yet again) a lost opportunity for Government to claim any real legitimacy in claiming it represents the SA visual arts community- let along knowing what is going on in the SA art world. The organization was sloppy, with invitations going out less than a week before the event, hence professional arts delegates were given days, rather than months to make personal, travel and accommodation arrangements, the agenda and speakers were only finalized basically two days before the event. On the agenda was discussion of the Vansa and HSRC visual arts community findings of 2010, information which is now over two years outdated. What the worst of it, (if not almost fraudulent), was that the organizers threw in a huge amount of names of
This months cover artist is Joshua Miles who I bumped into at The Prince Albert Art Route giving classes in colour woodblock to a group of artists. Joshua is one of those few artists who lives his art and works everyday on it. Keep on rolling out those amazing gorgeous prints maestro!
STELLENBOSCH Kunsgalery Art Gallery
leading SA art practitioners and organizations, as part of the “suggested” people taking part in the Indaba on their website. These important “suggested” parties were both never formally invited, or gave any consent to being listed – most had no knowledge of their names being associated as supporting the Indaba! This “suggested” support “typo” gives the Indaba a totally false sense of legitimacy, to imply through a “suggested” “typo” that they might, or probably have, the support of the SA arts community, without their consent or knowledge. Either way why bother attending the Indaba, or making a contribution when some Indaba organiser has basically stolen your decition to “support” or not. What’s more is the DAC could be simply closer to writing the conclusion of the Indaba, before it slarts, which I believe has happened with previous calls for participation. Ironically those who did support the Indaba, I believe, did it because they wanted to “help out” and give DAC “a chance”, and to perhaps have an opportunity to “engage” with the elusive DAC. My guess is that with the dismal track record of DAC pre and post 1994, and with all the encouragement of these poor “do gooders” justifying their slackness, they can sink even lower in simply not bothering about public engagement. In future they could hook up with one of two desperately cash strapped SA arts organizations, (whose legitimacy lies in their representing a very small number of members), and simply proceed to rubber stamping policy involving the SA visual arts community (you and me). Simpler still, the DAC can simply “suggest” that because they have your name, they have your support (without letting you know about it) and save money in order to stash it away elsewhere (see .R8.8 million of irregular expenditure in DAC, Page 14). For all views, comments please email me at email@example.com Gabriel Clark-Brown
Please feel welcome to send in your work and url links to be considered being published in the SA Art Times. Last months submission to the AT was by Fanie Bekker who photographed the opening of Roger Ballen’s opening at The Erdmann Contemporary. CT.
SUMMER EXHIBITION SOMER UITSTALLING An extensive selection of prominent SA Artists for the discerning buyer Opening by
MARTIE MEIRING 15 Nov 2012 at 19h00 Conrad Theys, Namaqualand Spring Landscape oil on canvas, 30 cm x 40 cm
34 Ryneveld Str, Stellenbosch www.stellenboschartgallery.co.za Telephone: 021 887 8343 e-mail: firstname.lastname@example.org Mobile: 082 566 4630 & 076 279 2175 SA ART TIMES. November 2012
TOP ART NEWS MAKING THE SOUTH AFRICAN MEDIA / NEWS | ART TIMES See all story links on www.arttimes.co.za Art Times Dialy News The Spear ‘de-classified’ : TIMES LIVE: Katharine Child : The nudity classification of the controversial The Spear painting has been set aside by the Film and Publication Appeal Tribunal after an appeal by the Goodman Gallery. ‘Minister gee nie om’(Paul Mashatile) : BEELD: Johan Myburg : Die jaarverslag van die departement van kuns en kultuur, wat gister deur die parlementêre portefeuljekomitee vir kuns en kultuur in Kaapstad bespreek sou word voordat dit na die kabinetskomitee verwys word, is nie ter tafel gebring nie omdat sowel Paul Mashatile, minister van kuns en kultuur, as Joe Phaahla, adjunkminister, afwesig was. Charting our social landscape : MAIL & GUARDIAN: Mpho Moshe Matheolane : A collaboration between the Market Photo Workshop in Jo’burg and the French Rencontres d’Arles has resulted in the Social Landscape photo project. The project entails the coming together of South African and French photographers to look at areas in South Africa that have been the subject of historical, economic and social disturbances. Source Illustrated guide to a South African journey : MAIL & GUARDIAN: Brent Meersman : Ever wonder who comes up with those extraordinary covers for the New Yorker magazine? Meet one of the creators: comic-book artist Jacques de Loustal. He may not be well known in South Africa, but he is an exemplary figure for some South Africans, such as political cartoonist Zapiro and in particular Anton Kannemeyer of Bitterkomix. A ‘Robin Hood of the arts’ in Dark City : BUSINESS DAY LIVE: Suzy Bernstein: Siphiwe Ngwenya hails from Alexandra township, sometimes known as Gomorrah Maboneng (Dark City). The name originates from the time when there was no electricity in Alex. Affordable objects of affection : MAIL & GUARDIAN: Matthew Krouse : Even first-time buyers can kit out their homes in fantastic designer items, thanks to Lunetta Bartz. Lunetta Bartz is the owner of the design studio simply called Maker, started in 2010. Kaapstadse fotograaf is feeskunstenaar : Laetitia Pople :POTCHEFSTROOM. – Vanjaar staan fotokuns hier viervoet of dan driepoot vas as die hooftrekpleister op die visuele kunsteprogram van die fees met vier fototentoonstellings Witness Hilton Arts Festival Turns 20! : ARTSMART: Caroline Smart, looks back on the festival’s growth since its inception. The 2012 Witness Hilton Arts Festival celebrated its 20th anniversary last weekend with another successful event Bagging the best of Jo’burg : MAIL & GUARDIAN: Percy Zvomuya: Sara Hallatt, the director of the hip Bag Factory Artists’ Studios reveals some of her personal tastes. Hallatt (30) has been the director at the Bag Factory Artists’ Studios in Fordsburg, Johannesburg, since April last year. The 21-year-old venue - a place of germination for many ideas in the city - needed to take the next step in its evolution. Source Joe Wolpe (90) - Legendary Art Promoter and Gallerist : Joe Wolpe with the Life Story of the Cancerians Art Club, July 2012 In June 2012 legendary South African art promoter and gallerist Joe Wolpe sat down with Life Stories founder Lisa Chait and cameraman Ross Campbell to chat about life, art and everything in between. Known as ‘the man who brought modern art to Cape Town’ Joe has been a much loved and legendary figure on the South African art scene for over 60 years. He was a close friend and promoter of Irma Stern and was with her when she died. Conversations’ Art Conference Durban 2012 : ARTSMART: The Mwimbi Fine Art Gallery is to host the Conversations’ Art Conference Durban 2012. The conference aims to spark an ongoing conversation between researchers, artists and Galleries. A host of speakers such as Art historians, Artists, and Curators will present papers surrounding the issues local artists and researchers are faced with today. Filmed Interviews With Andrew Verster : ARTSMART: Forming part of the Mondays at Six programme, currently being held at Alliance Française de Durban, tomorrow’s programme (October 15) will feature filmed interviews with well-known visual artist Andrew Verster. In the 1960’s, the Neil Sack Gallery was the original home of alternative and often risqué art happenings. As a young artist, Andrew Verster was a shining star at the centre of this galaxy. Alf Kumalo was one of SA’s eminent historians: Mbeki : SAPA: Alf Kumalo.Farewell to a ‘tower of SA journalism’Former President Thabo Mbeki was saddened by the death of acclaimed photographer Alfred Kumalo on Sunday.Source Alf Kumalo’s history in pictures: gallery : TIMES LIVE: Alf Kumalo, the veteran journalist and acclaimed photographer who chronicled the story of South Africa, has died, but his pictures live on, telling the story of how South Africa’s struggle was won through the barrel of a camera. Source Die donker lê binne : Middagete met Roger Ballen : DIE BURGER: Sy omstrede foto’s van “armblankes” het niks met politiek uit te waai nie, het Roger Ballen aan Danie Marais gesê. Dis die onmiskenbare waarheid in sy werk wat mense diep tref en omkrap.
SA ART TIMES. November 2012
ART TIMES | NEWS / ALFRED KUMALO, SA PHOTO LEGEND DIES
Alfred Kumalo: Farewell to a ‘tower of SA journalism’
Image by: Moeketsi Moticoe Published in Times Live: Former President Thabo Mbeki was saddened by the death of acclaimed photographer Alfred Kumalo on Sunday.
national treasure which should be preserved for current and future generations. “No one could contradict the truth of what he captured so competently through the lens.” He said Kumalo had been subjected to harassment during apartheid but had not succumb to the pressure. “Aware that the power of his narrative was unimpeachable, the apartheid regime subjected him to constant harassment in the hope that Kumalo, a humble and tenacious man of integrity, would abandon his work or sell his soul altogether. He did not,” said Mbeki. As a self-taught photographer who became one of the best in the field,
“Alf Kumalo was more than a documentary photo journalist, he was, above all, one of South Africa’s eminent historians,” Mbeki was quoted in a statement. Kumalo passed away at a Johannesburg hospital suffering from renal failure, it was reported on Sunday night.
Kumalo was an example of what dedication, hard work and commitment to life-long learning can yield, said Mbeki. Kumalo, 82, was born in Alexandra, and made his name as a photographer for Drum Magazine. Kumalo who matriculated at the Wilberforce Institute in Evaton began his working career as a journalist and photographer for Bantu World in Johannesburg in 1951. In 1956 he joined the Golden City Post as a permanent staffer. He covered the 1976 student uprising, the State of Emergency during the 1980s, the unbanning of the liberation movements and the inauguration of South Africa’s first democratic government among a host of other events during a career which spanned over more than 50 years. Kumalo despite his advanced age still worked professionally and ran a professional photographic school in Diepkloof. In 2004, Kumalo was awarded the Order of Ikhamanga, an award recognising his contribution to documentary photography and journalism in South Africa.
Mbeki said Kumalo’s life and work was part of a
Opening: 6 November at 18h30 Walkabouts: 10 and 17 November at 11h00
Gallery Hours: Tuesday - Friday 10h00 - 18h00, Saturdays 10h00 - 14h00
139 Albert Rd, Woodstock, Cape Town
+27 21 447 5918
THE LOVELL GALLERY
Image: Mem Sevenster. Five-letter word dictionary (detail)
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ART NEWS IN THE INTERNATIONAL MEDIA / NEWS |YART C M CM TIMES MY CY CMY See all story links on www.arttimes.co.za Art Times Dialy News Turner prize 2012 exhibition review: is this the best one yet? : GUARDIAN (UK) Immerse yourself in Spartacus Chetwynd’s daft performances, Paul Noble’s filthy drawings, Elizabeth Price’s terrifying video and Luke Fowler’s film about schizophrenia opening on Tuesday at Tate Britain, the 2012 Turner prize exhibition is one of the most demanding and thoughtful in the award’s history. I’m no vandal: says man who defaced Rothko art : REUTERS: A man who claims to have defaced a major painting by Mark Rothko over the weekend in London said on Monday that Marcel Duchamp, the French artist most famous for his 1917 urinal that shocked the art establishment, would be “happy” at what he had done. When art gets vandalised : TELEGRAPH (UK) Rothko’s Black on Maroon is not the first artwork to be defaced. Here are ten other examples of art vandalism. The defacing of Rothko’s Black on Maroon (1968) by an unknown vandal in the name of ‘Yellowism’ is not the first time that art has been vandalised in a high profile public gallery. T Shock of the old: Frieze Masters art fair puts contemporary sibling in the shade : GUARDIAN (UK) Dealers selling art from the ancient world through to year 2000 find new audience – and customers find less stratospheric prices. For the art world, this week means one thing: Frieze art fair, the most important contemporary art fair in Britain, the annual event around which a thousand gallery openings and museum events bloom. Source Frieze London 2012: the speed-dating approach to art fairs : GUARDIAN (UK) Murder mysteries, squirrel dinners, cut-price milk – there’s more jostling for attention at the art fair than ever. But might Adrian Searle just get a date out of it all? I bought a pint of milk at the farm shop at Frieze art fair. Big spender, me. I toyed with the rhubarb, and the spuds looked good, but it’s all a pain to carry when you’re cruising the commercial stands and the artists’ projects, Director of Tate Modern compares job to producing a hit TV drama : THE ART NEWSPAPER: By Javier Pes.Chris Dercon on successfully mixing old and new art and disagreeing with Nick Serota about fashion shows. Chris Dercon, the director of Tate Modern since 2011, compares his job with running a public broadcasting company. The day before we met, he had held a brainstorming session with the Tate’s curators about its programme. “You start with set ideas and you come up with a completely different idea thanks to serendipity,” he says. “Everything is interconnected.” ArtReview’s Power 100 list reveals art-world battle for supremacy: Magazine’s survey of most important figures in contemporary art dominated by visionaries - and dealers for super-rich : GUARDIAN (UK): Charlotte Higgins, Two opposing camps are battling it out for domination of the international contemporary art world. On the one hand, the huge globalised art dealerships catering to the international super-rich - those individuals so dazzlingly wealthy as to be immune to the economic crisis. Art: the blood sport for the ultra-wealthy? : GUARDIAN (UK): The value of this week’s seven stolen masterpieces pales into insignificance against the prices charged, legally, for art today It was the biggest heist in American history.That’s what they call the carefully planned robbery at the heart of Martin Scorsese’s gangster film Goodfellas. But as soon as the raid hits the headlines, the participants start to be bumped off by their boss who doesn’t want to share his loot with anyone. Battle for private selling shows : ART NEWSPAPER: By Georgina Adam.Auction houses are vying for supremacy with art dealers by holding more exhibitions, and adjusting their business models accordingly For years now, the major auction houses have been going head to head with art dealers as part of their ongoing battle for supremacy. The Investment Value of Corporate Art : BUSINESS DAY: INVESTOR MAGAZINE: By Michael Coulson.Many corporate collections begin by buying young artists and as their value grows, their collections become impressive. Are corporate art collections intended as an investment asset class, a way of decorating the corridors of the head office or just the chairman’s wife enjoying a position of patronage? There’s no simple answer, but whatever the motivation, the corporate sector has been a major buyer of locally produced visual art, and some companies are sitting on collections with a considerable value. Collections may not have been built up for investment purposes, but can acquire investment implications. Source Lending against art seems to be booming, but interest rates can be sky-high and banks are taking few risks : THE ART NEWSPAPER: By Melanie Gerlis. The art-loan business is booming—or so it would seem from recent news. Today, Bloomberg reported that the collector and art magazine publisher Peter Brant has pledged 56 works of art from his collection to Sotheby’s lending arm, according to state filings. What’s a Fair Worth? Investigating the Economy of the New Event-Driven Art World ARTINFO: by Julia Halperin. “They are part of the business plan now,” says San Francisco dealer Anthony Meier of the fairs. Participating in any fewer than four such events a year, he says, “would be like not advertising or not having three phone lines. It’s critical to operat- Composite ing a business.
SA ART TIMES. November 2012
ART TIMES | GALLERY / PICTURES AROUND THE GALLERIES
Detail from ‘Taleo’ by Veronica Wilkinson from her experimental show entitled: ‘Merciless’ that incorporates significant elements from the East to explore cultural practice. See the show at The Alliance Francaise CT.Until 3rd December
Bronwyn Lace: A tendency towards complexity, Circa, Everard Read Gallery, Jhb. www.circaonjellico.co.za
Fragile Histories : Book One from Keith Dietrich’ Fragile Histories showing at Brundyn and Gonsalves Gallery, CT. www.brundyngonsalves.com
Work by Wim Botha on his show entitled: A thousand Things currently showing at The Stevenson Gallery.www.stevenson.info
Brad Grey, Das Boot, Everard Read, CT www.everade-read-capetown.co.za
Plane Shifter by Odili Donald Odita showing at The Stevenson Gallery, CT. www.stevenson.info
design | books and catalogues | large format graphics | archiving | specialised retouching | exhibition displays | digital scanning
KENTRIDGE CHOSEN AS ROLEX MENTOR AND PROTÉGÉ ARTS INITIATIVE / NEWS | ART TIMES
PAULA LOUW inner workings until 7 November Renowned South African artist, William Kentridge chosen as the Mentor in the Visual Arts category after worldwide search The Rolex Mentor and Protégé Arts Initiative has announced the names of six internationally recognized Master Artists who will serve as Mentors in dance, film, literature, music, theatre and visual arts in 2012 to 2013. The Rolex Arts Initiative brings together some of the world’s greatest artists and their protégés for an exciting year of creative collaboration and inspiration. Renowned South African artist William Kentridge has been chosen as the Mentor in the Visual Arts category. Kentridge is not the first South African artist to participate in this global initiative. In 2011 Johannesburg-based Xhosa sculptor Nicholas Hlobo, was the visual arts protégé who worked with the versatile and influential sculptor, Anish Kapoor. In 2004 award-winning playwright and director Lara Foot was selected as Sir Peter Hall’s protégé. William Kentridge, along with five of the world’s greatest artists have chosen their protégés. William Kentridge will work with Colombian visual artist Mateo López. Kentridge, 56, is acclaimed for his compelling work that meshes the personal and political influences on his life in South Africa during and after apartheid. “I am interested in a political art ... an art of ambiguity, contradiction, uncompleted gestures and uncertain endings,” says Kentridge whose parents, antiapartheid lawyers, taught him to question the world around him. López, 33, spent a year studying architecture at Javieriana University but graduated in fine arts from the University of the Andes. His early studies in architecture equipped him to consider drawing in terms of time and space, and three rather than two dimensions. López is known for setting up his studio in public and for using memories of his personal journeys in his work, which is a trademark of his installations. The installation Viaje sin movimiento (Travelling without movement, 2008-2010) was acquired by New York’s Museum of Modern Art (MoMA). López will spend at least six weeks, over the course of the year, with Kentridge. The pair will determine the structure, time and place of those meetings. In SA ART TIMES. November 2012
the past, some protégés have chosen to move to their mentors’ cities to allow for more sustained interactions, while others have decided to conduct their relationship by phone and email with regular visits to each other’s homes or studios. Each Protégé receives 25,000 Swiss francs to support his or her participation in the programme. At the conclusion of the mentoring year, he or she is eligible for an additional 25,000 Swiss francs for the creation of a new work. The Mentors and Protégés were all selected after a world-wide search for the most outstanding Mentors and young talents in literature, theatre, visual arts, dance, film and music. The Rolex Mentor and Protégé Arts Initiative is an international philanthropic programme created to assist extraordinary, rising artists to achieve their full potential. It seeks out these artists from around the world and brings them together with great masters, for a year of creative collaboration in a one-to-one mentoring relationship. The Protégés, all exceptional artists in their own right, were selected by the Mentors after a year-long, global search. “Since 2002, the Rolex Arts Initiative has brought together older and emerging artists for a year of creative collaboration,” said Rebecca Irvin, head of philanthropy at Rolex. “As a new mentoring cycle begins, we look forward to seeing the conversations that will take place, the ideas that will emerge and the relationships that will be forged. We know that the Protégés – as well as the Mentors – are in for a unique, life-changing experience.” Since Rolex founded the Arts Initiative more than a decade ago, some of the world’s most exciting emerging artists have been nurtured through the programme by renowned masters. Past Mentors are: John Baldessari, Tahar Ben Jelloun, Trisha Brown, Sir Colin Davis, Anne Teresa De Keersmaeker, Brian Eno, Hans Magnus Enzensberger, William Forsythe, Stephen Frears, Sir Peter Hall, David Hockney, Rebecca Horn, Anish Kapoor, Jirí Kylián, Toni Morrison, Mira Nair, Youssou N’Dour, Jessye Norman, Martin Scorsese, Peter Sellars, Álvaro Siza, Wole Soyinka, Julie Taymor, Saburo Teshigawara, Kate Valk, Mario Vargas Llosa, Robert Wilson, Zhang Yimou and Pinchas Zukerman.
LOCAL OBSESSIONS 8-21 November
FLORIAN WOZNIAK NEW WORKS
22 November - 6 December
EVERARD READ CAPE TOWN 3 Portswood Road, V&A Waterfront email@example.com +27 21 418 4527 www.everard-read-capetown.co.za 09
ART TIMES | NEWS / IN THE BRIGHT LIGHTS Reinhold and his wife immigrated to South Africa in 1935. He worked then with a mining engineering firm that had been a client of his father’s factory. In 1939 at the outbreak of war he volunteered to join the South African army, eager to fight against the Nazis. He did not yet have South African citizenship but was accepted on guarantees from the eminent South African lawyer, Vernon Berrange. On his return to South Africa he ran a mining engineering business for some years until the chairman of Sotheby’s in London, who knew of the Cassirer family’s knowledge of art, appointed him to open a branch of Sotheby’s in South Africa. He worked there for 10 years, from February 1969 through 1979.
Caroline Smart is presented with her award by Bonga Mpanza, Station Manager at Ukhozi FM
Caroline Smart’s life’s dedication to the Arts recognised Living Legend : Caroline Smart With its prestigious Living Legends Awards, now in their fifth year, the eThekwini Municipality last month celebrated those who have made a major contribution to the city in their various fields. Among the awardees was theatre personality and artSMart editor Caroline Smart who is well known in Durban’s theatre circles for her tireless contribution towards the local arts industry. She is an award-winning stage, television, radio and film actress and has been involved in almost every facet of the performing arts from script writing, drama direction for stage and radio, and as a voice-over artist and coach. Smart is a recipient of the former Durban Critics’ Circle Award for her professionalism in theatre and her work in promoting the arts in Durban. In 2003, the Durban Theatre Awards judges presented her with a Lifetime Achievement Award in recognition of services rendered to the theatre industry. In the same year she also received the prestigious Fool’s Award for Best Arts Journalist in KZN. In 2004, Smart reached a major highlight of her career when she acted in the international movie Wah Wah directed by Richard E Grant in Swaziland, Currently, Smart serves as a judge for the Mercury Durban Theatre Awards as well as KZN DanceLink and also serves on the Board of the Stable Theatre. She owns the online arts magazine, artSMart, attracting 30,000 hits a week. She has helped guide and develop young performers and visual artists who look to her for advice and support. Her years of dedication to the industry have earned her the respect and trust of artists and audiences alike. Whether teaching, directing or reviewing, she will endeavour to keep the Durban arts scene centre stage for many years to come. Other 2012 Living Legends in the arts were author Lauretta Ngcobo, jazz musician Theo Bophela and visual artist Paul Sibisi. 12
“Reigning Bus-boy” 2012 Mixed media on paper 170 x 108.5 cm
Blessing Ngobeni 2012 Reinhold Cassirer Award winner Blessing Ngobeni, opened his first solo show entitled “On this Earth” at Gallery MOMO in Parktown North last night. The opening was a phenomenal success with the who’s who in the art world attending. Nadine Gordimer, the patron of the Reinhold Cassirer Award at the Bag Factory even stopped in to congratulate Blessing on his success. This major annual award is funded by Nadine Gordimer on behalf of her late husband, Reinhold Cassirer. The award is aimed at young painters and drawers, under 35 whose work shows great potential but who have had limited access to artistic opportunities. The award provides the winner with a 3 month residency at the Bag Factory developing their technique and growing their confidence. Blessing is 27 years old and a self-taught painter. Working in collage and gel acrylics, his paintings are filled with the irony of the cabaret, sporting the influences of Norman Catherine and Miró, while never forgetting his township roots. He is fiercely critical of South Africa’s political elite, drawing attention to the reality of most South Africans lives. Blessing has worked with Red Pepper Pictures, Artist Proof Studio, David Krut Publishing and Unity Gallery. He is now represented with Gallery MOMO who have worked very closely with him to make this exhibition a success. He still retains studio space at the Bag Factory. About Reinhold Cassirer Reinhold Cassirer was born in 1908 in Berlin into a distinguished family. His father Hugo’s brothers were Ernst Cassirer, the renowned philosopher and Paul Cassirer, an art dealer and collector who introduced the French impressionists to Germany.
A year later, in 1980, he opened his own gallery, Cassirer Fine Art and exhibited the work in particular of a number of South African artists, black and white until his retirement. These included William Kentridge, David Koloane, Sam Nhlengethwa, Deborah Bell and Karel Nel. Cassirer also played a major role in bringing Gerard Sekoto’s work to South Africa. Reinhold and Nadine Gordimer were married in 1954. He died in October 2001. This award celebrates Reinhold’s love of the visual arts and his passion of providing a platform for young talented artists to be seen! Congratulations Blessing Ngobani and thank you to Nadine Gordimer, patron to the Bag Factory
Strijdom van der Merwe’s am/pm earthworks now viewable on Google Earth The first Google earth images can now been seen of the art work: am/pm Shadow lines that have been constructed in 2010. To see more log onto: www.strijdom.co.za
SA ART TIMES. November 2012
ART TIMES | NEWS / SHOCK FINDINGS AT DAC
Shocking Audit findings of Department of Arts & Culture 2012 : Auditor-General briefing ‘there was R8.8 million of irregular expenditure in DAC, and R61.7 million in the entities. This indicated the need for processes to be enhanced. In addition, R1.3 million in fruitless and wasteful expenditure was identified within the DAC, and R2.8 million in the public entities’. Members expressed their concern that the Minister and Deputy Minister rarely attended portfolio committee meetings, and also about the absence of the DAC from this meeting. They were very worried about the unauthorised and irregular expenditure, asked about condonation of this, but also commented that rarely was such expenditure recovered Arts & Culture : Date of Meeting: 9 Oct 2012 Chairperson: Ms T Sunduza (ANC) Documents handed out: AGSA presentation on Audit outcomes of Department of Arts and Culture Portfolio to March 2012 Overview and Analysis of the Annual Report of the Department of Arts and Culture Brief Overview and Analysis of the Performance of Arts and Culture 2011/12 PFMA Outcomes Department of Arts and Culture Annual Report 2011/2012 Audio recording of the meeting: PC Arts: Auditor-General on Audit findings of Department of Arts and Culture and its entities 1 PC Arts: Auditor-General on Audit findings of Department of Arts and Culture and its entities 2 Summary: The Auditor General South Africa (AGSA) presented an overview of the audit findings of the Department of Arts and Culture (DAC) and its entities. The general comment was made that if departmental officials attended to their jobs with diligence and accuracy, a number of the problems could have been avoided. In the case of the DAC, problems were largely attributable to lack of strong leadership, continuous monitoring, accountability and discipline. AGSA summarised the import of the various audit opinions. DAC had improved in producing evidence to support the information recorded in the financial statements. Entities who had improving their performance to clean audits were Afrikaans Taal Museum, Market Theatre and Iziko, whilst five others managed to retain clean audits from the previous year. National Museum and Williams Humphreys regressed from a previously clean audit to unqualified. State Theatre and Performing Arts Council of Free State had moved from unqualified to qualified opinions, and South African Heritage Resources Agency (SAHRA) moved from a qualified audit to a disclaimer. Film and Video Foundation, PanSALB, Nelson Mandela Museum, Robben Island, SAHRA and State Theatre were struggling with the basics, and five entities’ information was not reliably supported with documentation. Eleven of the entities submitted financial statements of poor quality and had to have their financial statements corrected, including the DAC itself. 52% of entities had adverse findings on supply chain management. There had been R8 million of irregular expenditure in the DAC. On the performance side, seven entities’ targets were not useful. 19% of the entities did not have the proper human resources processes in place, and vacancies at senior management level were of continuing concern, and impacted on the Department’s ability to prepare accurate financial statements and improve. PanSALB and the SAHRA had struggled with lack of leadership. On the performance side, four entities achieved between 90% and 100% of targets, twelve achieved between 80% and 90%, but four did not achieve more than 60% of targets. This meant that money was not being spent as it should be. 31% of the entities had complied fully with laws and regulations. Improving on the previous year, there was no unauthorised expenditure in the DAC, but there
was R8.8 million of irregular expenditure in DAC, and R61.7 million in the entities. This indicated the need for processes to be enhanced. In addition, R1.3 million in fruitless and wasteful expenditure was identified within the DAC, and R2.8 million in the public entities. Members expressed their concern that the Minister and Deputy Minister rarely attended portfolio committee meetings, and also about the absence of the DAC from this meeting. They were very worried about the unauthorised and irregular expenditure, asked about condonation of this, but also commented that rarely was such expenditure recovered. The extent of the performance audits was questioned. AGSA clarified in response to questions, that its role was only to identify and report information on performance and to identify non-compliance, and it was then up to the leadership of the departments to act on the information. The performance of every employee should be carefully monitored against performance agreements. A DA member expressed doubts whether any steps would in practice be taken against those defaulting, and said that strong questions, particularly about PanSALB and SAHRA, both of which had been deteriorating for some time, had to be asked. Members asked how they could ensure that performance improved, and commented that the filling of posts and more regular monitoring were vital. Minutes: Audit findings of Department of Arts & Culture 2011/12: Auditor-General South Africa (AGSA) briefing Ms Corne Myburgh, Senior Manager, Auditor-General South Africa, briefed the Committee on the audit outcomes of the Department of Arts and Culture Portfolio. Ms Myburgh reminded the Committee of the Combined Assurance on Risk Management model, which was introduced to the Committee at a previous meeting. This was based on the idea that risks should be identified early on in the process and when the auditors came in, there should not be any surprises to the Department or to the entities. There were three tiers of assurance. Firstly, the Senior Managers of the entities or the department, should have checks and balances to ensure that monitoring was happening, and the second stage was that reviews should pick up on if there was non-compliance. She stressed that any departments should not wait, because the last tier was the auditors. Ms Myburgh pointed out that departments should not be hoping that the auditors would fix problems that could have been avoided if the departments attended to their jobs, every day, with diligence and with accuracy. Ms Myburgh said that the Auditor-General South Africa (AGSA) had not seen a great deal of movement in the three years. In 2009/2010, 15% of departments had a qualification, and 63% were unqualified. She explained that “qualification” meant that the Auditor-General (AG) identified certain components where there was not enough evidence to express an opinion. Of the departments, 22% had clean audits, which meant that there were no findings on poor performance information. Although many depart-
ments had managed to retain their unqualified audit status, they needed still to improve to clean audits. Ms Myburgh then summarised the performance of the Department of Arts and Culture (DAC) entities. There were only five entities without qualifications, out of 27. The entities that improved their audit outcomes, from unqualified with findings, to clean, were the Afrikaans Taal Museum, Market Theatre and Iziko. The National Museum and William Humphrey Art Gallery regressed from a clean to an unqualified opinion. The State Theatre and Performing Arts Council of Free State (PACOFS) had moved from unqualified to qualified audit opinions, and the South African Heritage Resources Agency (SAHRA) moved from a qualified audit to a disclaimer. Ms Myburgh then explained that a disclaimer meant that the AG was unable to express an opinion because it had not been provided with all the relevant documentation that would enable it to make a finding. 48% of the entities did not have findings on the supply chain management, but 52% of them had findings. R8 million expenditure of the Department of Arts and Culture had been identified as irregular expenditure this year. There was an improvement in the quality of service delivery. However, there were seven entities whose targets were found not to be useful. That was of concern because a very basic requirement was that targets should be in place, and the AG had now been commenting on targets for six years. In this case, the AG found that the entities’ targets were not specific, time bound or measurable. The DAC had resolved its previous problems around producing evidence so that the AG was able to find evidence to support entries in the books. The entities who struggled simply to get the basics right, were the Film and Video foundation, Pan-South Africa Language Board (PanSALB), the Nelson Mandela Museum, Robben Island Museum, SAHRA and the State Theatre. In the case of the National Library, Nelson Mandela, Robben Island, SAHRA and the State Theatre, the information was not reliable because the AG could not trace supporting documentation for what was reported in the annual reports. In relation to human resources management, the AG had tested the recruitment process by asking whether contracts were in place, whether an advertisement process was followed, whether a panel considered the applications, and whether, on appointment, performance management contracts would be signed. 19% of the entities did not have these processes in place and many management positions were vacant. The AG had further found that there were no active processes to get the right people in the right positions, and this was felt to be one of the major reasons why the DAC was not progressing and moving on. This impacted on the DAC’s ability to prepare accurate financial statements, since nobody was driving the processes of making sure that the controls were in place. She cited the new leadership at the Arts Council and said that this had been directly responsible for moving that Council from an adverse opinion to a qualified audit.
SA ART TIMES. November 2012
SHOCK FINDINGS AT DAC / NEWS | ART TIMES She commented that at the moment, PanSALB had no proper leadership, being under the control of an Acting Chief Executive Officer only. There had been no permanent CEO for the last two years, and the Board had been dismissed. PanSALB came very close to having a disclaimer this year. It had not even submitted performance information, as a direct result of having no leadership. Although the human resources side did not regress, the AG had a serious concern about the leadership positions which had not been filled. There was not a regression of material errors and omissions in financial statements. However, it must be noted that 41% of the entities submitted financial statements that were not of high quality. Eleven entities submitted financial statements that had to be corrected: namely, DAC itself, Afrikaans Taal Museum, PanSALB, Arts Council, Film and Video foundation, the National Library, SAHRA, the State Theatre and William Humphrey. All had to make material corrections to their financial statements. The DAC had managed to correct all the misstatements in the submitted financial statements, when these were identified by the AG, and this resulted in the DAC not having any qualifications. Ms Myburgh said that 15 entities out of the 26 falling under DAC had submitted quality financial statements. Six entities had to go back to make material corrections to prevent a qualification. SAHRA had not done any corrections on its statements. Ms Myburgh then moved on to discuss performance. Four entities achieved between 90% and 100% of the targets that were included and approved in their strategic plans. Twelve entities achieved between 80% and 90%. 16% of entities managed to achieve what they promised and approved at the beginning of the financial year. Four entities did not achieve more than 60% of their targets. This was concerning, and the AG had questioned what these entities were doing with their money, as it was not being spent as it was supposed to be. National Heritage Council, PACOFS, SAHRA and State Theatre did not achieve what they were supposed to achieve. She noted that in the case of PanSALB, the information was not provided so that the AG could not see what this body had actually achieved. Ms Myburgh explained that when the AG made findings on non-compliance with laws and regulations, this meant that a policy and procedure process was not in place. This did not include achieving targets. There were findings of non compliance against the DAC in 2010 and 2011/2012. In 2010/2011, only 27% of the entities did not have non-compliance findings. In 2011/2012 there was a slight improvement to 31%. However, overall, there was still far too much non-compliance by the entities and DAC. Ms Myburgh noted that the audit position of 17 of the 25 entities did not change from last year, with non-compliance findings in both years. There were three entities that did manage to improve: the Afrikaans Taal Museum, Iziko, and Market Theatre. Iziko and Market Theatre managed to move to getting a clean audit. Five other entities who had clean audits in the previous year managed to get clean audits again in this financial year. The two regressions were William Humphrey and the National Museum. Ms Myburgh moved on to speak about unauthorised expenditure. She noted that this occurred where the DAC or an entity had spent more than the allocated funds, either overall, or in the different programmes. No unauthorised expenditure in the DAC was identified for 2012, an improvement on the previous year, where there had been R50 million reported as unauthorised. She then explained that irregular expenditure was said to occur when procurement processes were not followed.
SA ART TIMES. November 2012
R8.8 million was identified as irregular expenditure in the DAC this year, as a result of the audit process. In the entities, R61.7 million was identified as irregular expenditure. Their processes must therefore be enhanced to prevent and detect irregular expenditure. She then said that fruitless and wasteful expenditure was money that was spent in vain, in circumstances that could have been prevented. R1.3 million in fruitless and wasteful expenditure was identified within the DAC, and R2.8 million in the public entities. The one positive was that at least this unauthorised, irregular, fruitless and wasteful expenditure had reduced from the 2010 levels. Ms Myburgh concluded by reiterated that the main reasons for the negative outcomes stemmed from overall lack of leadership, continuous monitoring, accountability and discipline. Discussion Mr P Ntshiqela (COPE) commented that the huge amounts of money that were seen as unauthorised and irregular expenditure were in fact tantamount to corruption. He asked how unauthorised expenditure could ever be regarded as authorised at a later stage. Ms Myburgh replied that with regard to fruitless and wasteful expenditure, there was a process of condoning within the Department and within the entity, essentially an in-house review process. There was a different process for the unauthorised expenditure. Everything was disclosed in the financial statements, but the final condonation rested with Parliament, who could indicate approval by either supporting funding requests, or not. Ms E Van Schalkwyk (DA) said that she understood that the Auditor General looked at the theoretical framework, and asked if the Auditor General was doing any performance audits. Ms Myburgh replied that AGSA did have a performance audit unit, and that currently this was focusing more on transversal audits, through a committee chaired by the Auditor-General. The Acting Chairperson asked what the consequences of unauthorised expenditure and non-compliance were. It seemed that nothing was being done about them, and he thought solutions were required. Ms Myburgh replied that it was the AG’s mandate simply to identify and report information on performance and to identify non-compliance. It was then critical for the leadership of the institutions to take this information and act on it. From a practical point of view, this meant that the performance agreement must be considered, since every employee was to be measured against that performance agreement. If an employee did not deliver, this should impact on the salary increases and the decision whether to award a bonus. Not everyone should be receiving the same benefits, increases and bonuses, if they were not working on the same level. Mr N van den Berg noted that Ms Myburgh had just given a long explanation of people not doing their jobs, and the question was what should happen next. In his party, the Democratic Alliance, a person failing to do his or her job would not be allowed back, but he doubted, and this was of serious concern, whether anything would actually happen to the people in question in the DAC. Mr van den Berg further stated that there was no insistence that irregular expenditure was never paid back, so effectively the money was just gone and no one was held responsible for it.
noted that the disarray in PanSALB and SAHRA was not a recent occurrence; both had been deteriorating over the years, yet nothing was being done. He said that the Committee would have to be very specific and ask harsh questions of the DAC, which bore the responsibility to rectify the matter. He was very concerned about the whole issue. Mr P Ntshiqela (COPE) asked for his view to be recorded that the Committee needed more of these presentations, to empower Members to exercise oversight and find out what was going on. This was a major problem. He also noted his concerns that overall, the DAC had achieved only 75% performance and asked the AGSA’s advice on how the Committee could ensure that performance improved. Ms Myburgh replied that the DAC should to be asked what it was currently doing to fill the vacant and critical posts. The Director General should be asked to take action if they had not been filled. Performance agreements should also be signed. There should be day to day monitoring by senior managers in regard to financial management. Quarterly financial statements should also be prepared. Mr S Ntapane (UDM) requested clarity on the terms ‘unqualified report’ and ‘clean audit report.’ Ms Myburgh explained that the AG had to make a finding on whether the financial statements presented were a fair representation of the financial activities for the year. In order to do this, it was necessary to consider whether performance information was useful, reliable, and to state whether it had been possible to verify the accuracy of the information presented. Both of the terms meant that the financial statements in question were fair and accurate representations of what had transpired. However, whilst a clean audit meant that there were n no adverse comments about lack of compliance, or failure to meet pre-determined objectives, an unqualified report meant that although the financial statements were accurate, there were adverse findings either in relation to performance information, compliance, or both. Ms van Schalkwyk expressed her disappointment with fact that Mr Xaba, Director General of the Department of Arts and Culture, was not present. She also noted her concern that the Minister and Deputy Minister never attended portfolio committee meetings, and that they were only seen at budget vote speeches and conferences. The Acting Chairperson stated that the internal audit must exercise a watchful eye over the predetermined goals of the entities and the Department. This would help the Committee when doing oversight over the Department. He commented that fruitless and wasteful expenditure should have been discovered and prevented by internal audit or senior managers, even before being disclosed by the auditors. The Department should have continuous monitoring to ensure that these matters were not only discovered at year-end. Mr van den Berg thanked Ms Myburgh for her presentation, and said that everyone was working together for the people of South Africa. The Committee should focus on vacant positions, as that was certainly an area where something immediate could be done, and should follow up with the DAC, monthly, what had been done. He also suggested that the Committee should be placing pressure, on a more regular basis, on the DAC in relation to financial information, in order to do proper oversight. The meeting was adjourned. http://www.pmg.org.za/report/20121009-auditor-general-audit-findings-department-arts-and-culture-and-its-en
Mr van der Berg was particularly bothered about the fact that not all the information was provided to the AG. He
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Pretoria Alette Wessels Kunskamer The Alette Wessels Kunskamer operates as an Art Gallery and Art Consultancy, specialising in South African art as an investment, dealing in Old Masters, and selected contemporary art. Maroelana Centre, 27 Maroelana Str, Maroelana, Pretoria. T. 012 346 0728 email@example.com www.artwessels.co.za Association of Arts Pretoria 8 – 20 Nov, The PPC Cement Young Concrete Sculptor Awards Exhibition. 23 Nov – 14 Dec, an exhibition by Philip Badenhorst 30 Nov – 14 Dec, “Black and White” and an exhibition by Susanna Swart. 173 Mackie Str, Nieuw Muckleneuk, Pretoria. T. 012 346 3100 firstname.lastname@example.org www.artsassociationpta.co.za Centurion Art Gallery A commercial satellite of the Pretoria Art Museum. c/o Cantonment and Unie Avenues, Lyttelton T. 012 358 3477 email@example.com www.pretoriaartmuseum.co.za/centurion Fried Contemporary Until 8 Dec, “Me 3”, an exhibition curated by Elfriede Dreyer, with numerous participating artists. 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 firstname.lastname@example.org www.friedcontemporary.com Front Room Art Until 8 Dec, The big “R1,000 & below” Art Sale Open Saturdays , Nov 10 & 24 and Dec 8 (11am-4pm). Otherwise viewing by appointment. 22 – 25 Nov, “Tshayile”, Platform on 18th & Front Room Art present an exciting group exhibition by 30 contemporary illustrators, painters and sculptors. 116 Kate Ave, Rietondale. Jennifer Snyman 082 451 5584 Jennifer@frontroomart.co.za www.frontroomart.co.za Gallery Michael Heyns 194 Haley Str, Weavind Park, Pretoria. T. 012 804 0869 email@example.com www.michaelheyns.co.za
Pretoria Art Museum Until 25 Nov, “Flatlands” Photography by Marc Shoul, (North Gallery) 7 Nov – 27 Jan, “Call and Response”, a retrospective photographic exhibition by Cedric Nunn. Until Dec in the North Gallery, “A Story of South African Art” a selection of artworks from the permanent collection of the Museum (South Gallery). Until Dec, “Abstract Art” a selection of abstract artworks from the permanent collection of the Museum (East Gallery). Until December, “Study Collection” art media and techniques are illustrated in the Information Centre. Cnr Frances Baard and Wessels Str, Arcadia Park, Arcadia, Pretoria. T.012 344 1807/8 www.pretoriaartmuseum.co.za Sandton Auctioneers Fine Art, Furniture, Carpets & Collectables. Showroom: 367 Lynnwood Rd, Menlo Park, Pta. T. 012 460 6000 firstname.lastname@example.org www.sandtonauctioneers.com St Lorient Fashion and Art Gallery Until 17 Nov, “Love and Mortality”, a group exhibition. 492 Fehrsen Str, Brooklyn Circle, Brooklyn, Pta. T. 012 4600284 email@example.com www.stlorient.co.za UNISA Art Gallery Kgorong Building, Ground Floor, Main Campus, Preller Str, Pretoria. T. 012 441 5683 firstname.lastname@example.org www.unisa.ac.za/gallery University of Pretoria Until 15 Nov, “High Tea @UP” fine porcelain and antique teawares from the ceramic collections of the University of Pretoria Museums. Mapungubwe Gallery, Old Arts Building, UP. T.012 420 2968 email@example.com www.up.ac.za
North West Potchefstroom Edwards Fine Art, Modern & Contemporary Large selection of top South African Art, Kentridge, Dumas, Skotnes, Villa, Feni, etc. Large selection African Art – paintings, sculptures, ceramics, etc. Hartbeespoort Dam. C. 0764729812 firstname.lastname@example.org
NWU Gallery Until 16 Nov, “In Case Time Forgets”, a show of paintings by Coral Fourie. Until 16 Nov, “Hot Cross Nuns & Other Visual Puns”, a solo exhibition by Ian Marley (Botanical Gardens Gallery, Potchefstroom campus). 21 – 23 Nov, Graphic Design Graduates Exhibition. North-West University Gallery, Building E7, NWU Potchefstroom Campus, Hoffman Str, Potchefstroom. T. 018 299 4341 email@example.com
Mpumalanga Dullstroom Art @ sixty seven A selection of fine art, ceramics and blown glass art pieces, by well-known local artists. Shop no9, 67 Naledi St, Dullstroom, Mpumulanga. T. 013 254 0335 www.shopat67.com
White River The Artists’ Press Professional collaboration, printing and publishing of original handprinted artists lithographs, by the Artists’ Press. Also artists’ books, monotypes & letterpress prints, particularly for artists working in SA. Waterfield Farm near White River, Mpumalanga T. 013 751 3225 firstname.lastname@example.org www.artprintsa.com The Loop Art Foundry & Sculpture Gallery A collaboration and network for the avid art patron and collector as well as a full service facility for the artist. This is the place where you will find a unique and superior item or have something commissioned that you have always envisioned. Casterbridge Complex Corner R40 & Numbi Rds, White River. T. 013 758 2409 email@example.com www.tlafoundry.co.za The White River Gallery 3 – 13 Nov, an exhibition of photography by Cathy Prettejohn. Casterbridge Centre, R 40 Cnr. of Hazyview & Numbi Gate Rd, White River.C. 083 675 8833 www.whiterivergallery.co.za
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10 WELLINGTON ROAD, DURBANVILLE TELEPHONE +27 (021)976 0437 www.rust-en-vrede.com
Artist Leon de Bliquy signs off a Lithograph at ‘Atelier le Grande Village en Charente Limousine’, to be viewed at the CAPE GALLERY 4th - 24th Nov. 2012. The Cape Gallery, 60 Church Street, Cape Town seeks to expose fine art that is rooted in the South African tradition,work which carries the unique cultural stamp of our continent.
OPENING TUESDAY 23 OCTOBER A T 1 9 H 0 0 TO 12 NOVEMBER 2012
THE CAPE GALLERY
(Next to Newport Deli) T. 021 439 2124 firstname.lastname@example.org www.avitallang.com
Barnard Gallery 24 Oct – 28 Nov, “Money and God in his pocket”, a solo exhibition by Robert Slingsby. 55 Main St, Newlands. T. 021 671 1666 email@example.com www.barnardgallery.com
Absolut Art Gallery Permanent exhibition with the best Masters and Contemporary artists. Namely : JH Pierneef, Gerard Sekoto, Hugo Naude, Adriaan Boshoff, Frans Oerder, Maurice Van Essche, Tinus De Jongh, Gerard Bhengu, Ephraim Ngatane, Cecil Skotnes, JEA Volschenk, Conrad Theys, William Kentridge, to name a few. Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive, Tyger Valley, Bellville. T. 021 914 2846 firstname.lastname@example.org www.absolutart.co.za. The Great Cellar 8 – 15 Nov, “My World, My Life”, an exhibition by Beatrix Bosch. Alphen Estate, Alphen Drive, Constantia. Contact: Liza Dyason. T. 076 550 1422 email@example.com Art b Until 11 Nov, “ArtBeat”, the Prestige Academy final year photography student exhibition. 20 Nov – 11 Jan, UNISA Cape Town Third Level Visual Arts and Multimedia Students Exhibition 2012 The Arts Association of Bellville, The Library Centre, Carel van Aswegan Str, Bellville. www.artb.co.za/gallery.htm Artvark Gallery Margot Hattingh portrays her African experience on life and relationships in S.A in a quirky unique style. She is a printmaker and works in encaustic wax and mixed media. 48 Main Rd, Kalk Bay Tel 021 788 5584 firstname.lastname@example.org www.artvark.org AVA Until 23 Nov, “Life under Democracy”, a photographic exhibition by award winner, Dale Yudelman. Association for Visual Arts, 35 Church Str, CT. T.021 424 7436 email@example.com www.ava.co.za The Avital Lang Gallery Two Oceans House, Surrey Place, Mouille Point, CT.
Blank Projects. 1 – 24 Nov, “Epitaph” by Misheck Masamvu and “Everybody Knows UFeela” by Turiya Magadlela. 113-115 Sir Lowry Rd, Woodstock, CT. C.072 507 5951 firstname.lastname@example.org www.blankprojects.com Brundyn + Gonsalves Until 21 Nov, “Fragile Histories” by Keith Dietrich and “Fugitive Lives” by Elizabeth Gunter. 28 Nov - 23 Jan, a summer exhibition. 71 Loop Str, CT. T. 021 424 5150 email@example.com www.brundyngonsalves.com Cape Gallery 4 - 24 Nov, “A Gathering of Jesters”, an exhibition by Leon de Bliquy 60 Church Str, CT. T. 021 423 5309 firstname.lastname@example.org www.capegallery.co.za Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings. Cape Quarter Square, 27 Somerset Rd, Green Point. T. 021 4213333 email@example.com www.carmelart.co.za Casa Labia Gallery Until 25 Nov, Month of Photography exhibition, by Araminta de Clermont: “Transformations”, featuring work from “Life After”, “Before Life” and “A New Beginning”. Casa Labia Cultural Centre, 192 Main Rd, Muizenberg. T. 021 788 6068 firstname.lastname@example.org www.casalabia.co.za Cedar Tree Gallery Contemporary Fine Art Gallery at Rodwell House. Rodwell Rd, St. James, CT. T. 021 797 9880
Open Mon - fri: 9h30 - 17h00 Sat: 10h00 - 14h00 27 21 423 5309 email@example.com www.capegallery .co.za
firstname.lastname@example.org www.cedartreegallery.co.za The Cellar Private Gallery The Cellar Private Gallery of Art deals exclusively in original & investment art, offering works by a variety of renowned & upcoming SA artists. 12 Imhoff Str, Welgemoed, Bellville T. 021 913 4189 email@example.com www.thecellargallery.co.za Christie’s International Auctioneers. Juliet Lomberg, Independent Consultant. T. 021 761 2676 firstname.lastname@example.org www.christies.com Christopher Møller Art 29 Nov - 22 Dec, “Summer”, A group show featuring: Aldo Balding, Albert Coertse, Christiaan Diedericks, Ryan Hewett, MJ Lourens, Louis Nel, Nora Newton, Jaco Roux, Carla van Zyl. 7 Kloofnek Rd, Gardens, C T. T. 021 422 1599 Info@christophermollerart.co.za www.christophermollerart.co.za The City Bowl Gallery Hand thrown decorative and functional wares. Pottery Classes. Ceramic Design. Bespoke Pottery. 2 Norwich Ave, Observatory. T. 021 447 4884 C. 083 412 8098 Garth Meyer. email@example.com Commune.1 Gallery 64 Wale Str, CT. T. 021 423 5600 firstname.lastname@example.org www.commune1.com Dante Art & Decor A modern Art Gallery since 1995. Proudly South African Art, Ceramics, Gifts & Decor. Furnishing your home with a modern touch of Beauty. Shop L90- Cavendish Square, Claremont. C. 084 700 9196, email@example.com www.danteartgallery.co.za David Krut Projects David Krut Projects, Montebello Design Centre, 31 Newlands Ave. T. 021 685 0676 Jacqueline@davidkrut.com www.davidkrut.com
Eclectica is a purveyor of fine arts, antiques and objects d’art. We stock desirable, quality pieces and the investment element is a bonus as the acquisition of art is both a discretionary expense and a pursuit of the heart.
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Ebony Showcasing new works by Leo Daly, Ashleigh Olsen and Larita Engelbrecht. Also on show are new acquisitions by Leon de Bliquy, George Diededrick During, Cyprien Tokoudagba and many more. Jack Heath’s 1950’s Abstract Masterpiece also on show. 67 Loop Str, C.T. T. 021 424 9985. email@example.com www.ebonydesign.co.za Erdmann Contemporary & the Photographers Gallery ZA Dec - Jan, “Sojourn/Landskap” an exhibition by Brent Meistre and Carla Erasmus. 63 Shortmarket Str, CT. T. 021 422 2762 firstname.lastname@example.org www.erdmanncontemporary.co.za Everard Read CT Until 7 Nov, “Inner Workings”, a solo show by Paula Louw, focusing on a suspended, de-constructed piano. 8 - 21 Nov, “New Works”, an exhibition of Kerri Evans’ latest paintings, as well as new artworks from bronze sculptor Florian Wozniak. 1 Nov - 1 April, “A Summer of Sculpture”, In association with the Mount Nelson, an exhibition of sculptures in the grounds on the hotel, celebrating top South African sculptors. Portswood Rd, Victoria & Alfred Waterfront, CT. T. 021 418 4527 email@example.com www.everard-read-capetown.co.za 34 Fine Art Until 10 Nov, “Daydreamers”, Motel7’s second solo show. 13 Nov - 8 Dec, “Compendium”, a solo exhibition by Lionel Smit. 2nd Floor, The Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock. T.021 461 1863 firstname.lastname@example.org www.34fineart.com The Framery Art Gallery 67 Regent Rd, Seapoint. T. 021 434 5022, C. 0781227793 email@example.com G2 Art A gallery of diverse and interesting work by local artists, with exciting new offerings by Nicole Pletts, Ronel Human, Adolf Tega, Vanessa Berlein and sculpture by Armand du Rand and Aleri Odendaal. 61 Shortmarket Str between Loop Str & Bree Str. T. 021 4247169 firstname.lastname@example.org www.g2art.co.za
Gill Allderman Gallery The Gallery is dedicated to promoting some of South Africa’s valuable talent. Having moved into cyber space, but based in Kenilworth, Cape Town, the gallery will be specialising in home and corporate visits. C. 083 556 2540 email@example.com www.alldermangallery.co.za Goodman Gallery Cape Town 3rd Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock. T. 021 462 7573/4 firstname.lastname@example.org www.goodman-gallery.com Hout Bay Gallery New artworks by Sarah Danes Jarrett, David Kuijers, Koos De Wet and many more. 71 Victoria Ave, Hout Bay. T. 021 790 3618 email@example.com www.houtbaygallery.co.za Infin Art Gallery A gallery of work by local artists. Wolfe Str, Chelsea Village, Wynberg. T. 021 761 2816 & Buitengracht Str, CT. T. 021 423 2090 firstname.lastname@example.org www.infinart.co.za Irma Stern Museum Until 24 Nov, “Head and Shoulders”, An exhibition of new works by Richard Smith, curated by Rose Korber. Although Smith - one of South Africa’s most versatile artists - has generally tended to avoid the thematic in his exhibitions, his latest work explores themes of dialogue and communication, not necessarily of a harmonious nature. The contents of the show is mainly heads and shoulders - monumental portraits of living people he knows, and smaller ones of imagined characters, as well as multi-panel drawings in charcoal and mixed media on paper: there are also a number of oils on panels - all of which ‘showcase Smith’s virtuoso hand as a draftsman’ ( Sean O’Toole, art critic). These powerful pieces speak of Smith also as a social commentator and enter into a dialogue with broader social and political issues. Walkabouts with the artist: Saturday 3 & 17 Nov at 11 am. Cecil Rd, Rosebank, CT. T. 021 685 5686 email@example.com www.irmastern.co.za Iziko SA National Gallery 29 Nov - 9 Jan, “Retinal Shift”, an exhibition by Standard Bank Young Artist Mikhael Subotsky.
25 Queen Victoria Str, CT. T. 021 467 4660 firstname.lastname@example.org www.iziko.org.za Iziko Michaelis Collection Ongoing, Dutch treat: Dutch works from the 17th–20th centuries in Iziko collections Iziko Michaelis Collection, Old Town House, Greenmarket Square, CT. T. 021 481 3800 email@example.com www.iziko.org.za Iziko Castle of Good Hope 13 Dec - 28 Feb, MTN New Contempories Award 2012 (William Fehr Collection, Block B). Until 26 Feb 2013, “Fired”, an exhibition of South African ceramics. Buitenkant Str, opposite the Grand Parade, CT. T. 21 464 1262 firstname.lastname@example.org www.iziko.org.za Johans Borman Fine Art Currently showing a selection of works by SA Masters Hugo Naudé, Erik Laubscher, Maurice van Essche, Ephraim Ngatane and Gerard Sekoto, as well as new works by contemporary artists Hussein Salim, Philip Barlow, Jacobus Kloppers and Wehrner Lemmer. 16 Kildare Rd, Newlands, CT. T. 021 683 6863. email@example.com www.johansborman.co.za Kalk Bay Modern 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 firstname.lastname@example.org www.kalkbaymodern.com Lindy van Niekerk Art Gallery A large selection of artworks by new and prominent South African artists and SA old Masters. 31 Kommandeur Rd, Welgemoed, Bellville. T. 021 913 7204/5 email@example.com www.artpro.co.za T he Lovell Gallery 139 Albert Rd, Woodstock. T. 021 820 5505 firstname.lastname@example.org www.lovellgallery.co.za Lutge Gallery Until 17 Nov, An exhibition of recent paintings by Nicolaas Maritz and ceramics by Anthony Harris and Gerhard Swart (Ceramic Matters) 109 Loop Str, Cape Town. T. 021 424 8448 Lutgegallery@netactive.co.za
MM Galleries 2 Nov - 1 Dec, “Revelations”, Group show. Shop 3, 31 Palmer Road, Muizenberg, Cape Town. T. 082 739 7567 www.mmgalleries.co.za Michaelis Galleries University of Cape Town, 31 – 37 Orange St, CT. T. 021 480 7170 email@example.com www.michaelis.uct.ac.za The Pot Luck Club Gallery Contact curator Las Madurasinghe on 074 180 4895 The Old Biscuit Mill, 375 Albert Rd, Woodstock. firstname.lastname@example.org www.thepotluckclub.co.za Provenance Auction House Auctioneers of Fine Art, Antiques and Home Luxury. 8 Vrede str, Gardens, CT. T. 021 461 8009 email@example.com www.provenanceart.co.za
Red! The Gallery RED! The Gallery is a dynamic art gallery featuring work from South Africa’s best contemporary and emerging artists , including works by Andrew Cooper, David Kuijers, Wakaba Mutheki and Donna McKellar to name a few. Steenberg Village shopping centre, Reddam Ave, Tokai. T. 021 7010886 firstname.lastname@example.org www.redthegallery.co.za Rose Korber Art 1 – 30 Nov, “Recent Works, a Group Show”, an exhibition featuring new and recent works by a selection of contemporary South African artists, made in a variety of media. Names include William Kentridge, Simon Stone, Sam Nhlengethwa, Willie Bester, Robert Slingsby, JP Meyer, Stephen Inggs, Jurgen Schadeberg, Beezy Bailey, Paul du Toit, Deborah Bell, Diane Victor, Pamela Stretton, Georgia Lane, Anthony Lane, Jaco Sieberhagen and Roxandra Dardagan-Britz 48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152 C. 082 781 6144 or 083 261 1173 email@example.com www.rosekorberart.com
Framing Place 46 Lower Main Road, Observatory, 7925 Tel: 021 447 3988 firstname.lastname@example.org www.framingplace.co.za
With unwavering commitment to quality and timeous delivery, our Key Services include: •
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Rossouw Modern Groot Constantia An Extensive collection of Cobus van der Walt’s works are on exhibit at Bertram’s Tasting Room on the Groot Constantia Wine Estate. Groot Constantia Wine Estate, Constantia Main Rd, Constantia. T. 021 794 2605 email@example.com www.rossouwmodern.co.za Rudd’s Auctioneers Antique, Fine and Decorative Art. 87 Bree Str, CT. T.021 426 0384 firstname.lastname@example.org www.rudds.co.za Rust-en-Vrede Gallery Until 15 Nov, In Salon A: Johan Coetzee; In Salon B: Titia and Muller Ballot; In Salon C: Aidon Westcott; Clay Museum: Ceramics by David & Sarah Walters 10 Wellington Rd, Durbanville. T.021 976 4691 email@example.com www.rust-en-vrede.com
Ella Heyns A painting is like a story Which stimulates the Imagination and draws The mind into a place Filled with Expectation, excitement, Wonder and pleasure. Ella was born and educated in the town of Vrede in the Free State, South Africa. She has been painting professionally for the last 16 years and stays in the beautiful town of George in the Western Cape, where the beauty and simplicity of the surrounding add to big inspiration. Planning plays an integral part in producing the nal product and an idea would sometime takes weeks to nally take shape on canvas. Although it often portrays everyday life like a visit to the local bakery, ower shop or cafe, there is calmness about it, and the painting scenes are those of tranquillity and happiness. The beauty and spirit of Europe’s architecture and especially France is encapsulates through Ella’s eyes and it is as if one can take a ride through these countries on one of her bicycles so often seen in her paintings. For Ella the bicycles represent each one of us on our journey through life, travelling, not necessarily towards a destination. Ella’s view on paintings? “A painting is like a story which stimulates the Imagination and draws the mind into a place lled with expectation, excitement, wonder and pleasure.” Bold and bright colours, thick brush strokes are a trademark in her work, expressing this joy felt by a positive attitude and a passion for life.
Tel: 083 331 8466 Alice: 083 377 1470 217 Drive Street, Ruimsig
Level O, Cape Quarter Square 27 Somerset Road, Green Point, Cape Town Ph: 021 421 3333 or 083 252 8876 email: firstname.lastname@example.org website: www.carmelart.co.za
wide selection of works by leading South African contemporary artists Exclusive distributors of
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Salon 91 91 Kloof Str, Gardens, CT. T 021 424 6930 email@example.com www.salon91.co.za South African Print Gallery End Nov 2012- March 2013: SAPG Print Summer Salon: December - Mid January, Joshua Miles. 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851 firstname.lastname@example.org www.printgallery.co.za Sanlam Art Gallery Sanlam, 2 Strand Rd, Bellville. T. 021 947 3359 email@example.com www.sanlam.co.za SMAC Art Gallery, CT SMAC Plus: Until 22 Nov, Uwe Wittwer, “New Works”, and Jacques Coetzer, “The Atlas Complex”. In-Fin-Art Building, Buitengracht Str, CT. T. 021 422 5100 firstname.lastname@example.org www.smacgallery.com StateoftheArt.co.za Online Art Gallery A curated online art gallery showcasing original and affordably priced artwork by Fine Arts graduates and emerging artists. Each artist has been hand-picked by our curatorial panel to ensure the quality of the work that you are purchasing. Shop directly from the website and have your art delivered to your office or home. Start building your contemporary art collection today. T.072 470 9272 info@StateoftheArt.co.za www.StateoftheArt.co.za Stephan Welz & Company The Great Cellar, The Alphen Hotel, Alphen Drive, Constantia. T. 021 794 6461 email@example.com www.stephanwelzandco.co.za Stevenson Cape Town Until 24 Nov, “Event Horizon” by Odili Donald Odita and “Magog” by Steven Cohen. 29 Nov – 12 Jan, “Fiction as Fiction (or, A Ninth Johannesburg Biennale)”, the third exhibition in the year-long “Trade Routes Project”, in which the gallery pays tribute to the 1997 Johannesburg Biennale. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500 firstname.lastname@example.org www.stevenson.info
Strauss & Co. The Oval, 1st Floor Colinton House, 1 Oakdale Rd, Newlands. T. 021 683 6560 email@example.com www.straussart.co.za What if the World/Gallery 1 Nov - 1 Dec, “Mumbo Jumbo”, and exhibition by Michael Taylor 1 Argyle Str. Woodstock, CT. T. 021 802 3111 firstname.lastname@example.org www.whatiftheworld.com
Franschhoek Ebony Continuation of Winter exhibition of classic South African artists including James Thackwray, Matthew Whippman, Diederick During, Gordon Vorster, Alexis Preller and more. Also showing new work by contemporary artists Henk Serfontein, Claudia Ongaro, Shany van den Berg, Olaf Bisschoff and Erik Laubscher. 4 Franschhoek Square, 32 Huguenot Str, Franschhoek. T. 021 876 4477 email@example.com www.ebonydesign.co.za The Gallery at Grande Provence Until 16 Nov, “The Ceramists”, a group show coinciding with the “Art in Clay” Festival. Until 3 Dec, “Life as a House”, a solo exhibition of paintings by Donna McKellar. Main Rd, Franschhoek. T. 021 876 8630. firstname.lastname@example.org www.grandeprovence.co.za Is Art Until 16 Nov, “Franschhoek Art in Clay”, an exhibition with participating artists Jenny Parsons, Iwan Labuschagne, Wilma Cruise, Jacqueline Crewe-Brown, Nico Masemola, Ralph Johnson, Hannes van Zyl, Nicolene Swanepoel, Daniela Zondagh, Helen Vaughan, Judy Woodborne, Christine Gittins, Ellalou O’Meara, Evette Weyers, Christopher Smart, Christina Bryer, Willemien de Villiers, Rebecca Tetley, The Keiskamma Project, Cathy Stanley, Laura du Toit , Gráinne McHugh, Wiebke von Bismarck, Charmaine Haines and Marlene von Durkheim 16 Huguenot Str, Franschhoek. T. 021 876 8443 email@example.com www.is-art.co.za
George Hyatt Regency Oubaai 406 Herolds Bay Rd, George. T. 044 851 1234 Milissa.firstname.lastname@example.org www.oubaai.regency.hyatt.com Strydom Gallery 13 Dec - March, “George 44”, a summer exhibition. New works by Guy Du Toit, Pauline Gutter, Clare Menck, Jaco Sieberhagen, David Brown, Sarel Petrus, Willem Boshoff, William Kentridge, Simon Stone and the Artist Proof Studio. 79 Market Str, George. T. 044 874 4027 email@example.com www.artaffair.co.za
Mossel Bay Artbeat Gallery 21 Oct - 12 Nov, “Space and Place”, a solo exhibition of paintings and digital pigment graphics by Elsa Lamb 35 Gys Smalberger Str, Mossel Bay, T. 081 356 5295 firstname.lastname@example.org
Hermanus Abalone Gallery 10 Nov – 5 Jan, “Circumspect”, a solo exhibition by Andre Naudé (Annex). Showing in the Main Gallery, a selection of works by Lien Botha, Christo Coetzee, Hannes Harrs, Cecil Higgs, Elzaby Laubscher, Leonard Matsoso, Lynette ten Krooden and Louis van Heerden. 2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935 email@example.com www.abalonegallery.co.za Art Amble Hermanus Village Ten diverse and unique Galleries all within walking distance in the heart of Hermanus Village. Four resident artists’ studios to visit. Collect your Art Amble Guide at any one of the Galleries in Main Road or at the Hermanus Tourism Office. Contact Terry Kobus on 083 259 8869 or email firstname.lastname@example.org for more information.
Joshua Miles “Oppad” Reduction Woodblock
Bellini Gallery & Cappuccino-Bar 167 Main Rd, Hermanus. T. 028 312 4988 email@example.com www.bellini-gallery.co.za Originals Gallery The art studio and gallery of Terry Kobus. See the artist at work in his studio and view his latest paintings in an intimate gallery space. Shop 22 Royal Centre, 141 Main Rd, Hermanus. T. 083 259 8869 firstname.lastname@example.org www.OriginalsHermanus.blogspot.com Rossouw Gallery Hermanus 3 Harbour Rd, Hermanus. T. 028 313 2222 info@rossouwmodern. co.za www.rossouwmodern.co.za Walker Bay Art Gallery View the wide selection of paintings, sculpture & ceramics by established as well as up and coming South African artists. 171 Main Rd, Hermanus. contact: Francois Grobbelaar 028 312 2928 email@example.com www.walkerbayartgallery.co.za
Klein Karoo Sheena Ridley Open Studio and Sculpture Garden 2nd - 11th Nov, an exhibition showcasing Sheena Ridley’s quirky sculptures in the gardens of South Hill, Valley Rd, Elgin. Coincides with the Elgin Open Gardens. N9 Langkloof near Uniondale, Klein Karoo T. 083 5892881 firstname.lastname@example.org www.ridley.co.za
Knysna Dale Elliott Art Galleries Leaders of the painting course concept in South Africa! 2 Galleries: Woodmill Lane Shopping Centre & The Knysna Mall T. 044 382 5646 email@example.com www.daleelliott.co.za www.elliottartonline. wordpress.com A Different Drummer Featuring new ceramics by Marylou Newdigate and furniture by Wally Rossini as well as an ongoing exhibition of paintings, sculpture, photographs and object de vertu.Thesen House, 6 Long
Street, Knysna. C.082 552 7262 firstname.lastname@example.org Knysna Art Gallery Until 24 Nov, a watercolour exhibition by Bill de Lange. Old Gaol Complex, cnr of Main and Queen Street, Knysna. T. 044 382 7124 email@example.com Knysna Fine Art Thesen House, 6 Long Str, Knysna. T. 044 382 5107 C. 082 552 7262 firstname.lastname@example.org www.finearts.co.za Sally Bekker Art Studio Ongoing exhibition of recent watercolour and oil paintings. Upstairs in the Knysna Mall. C.082 342 3943 sally_bekker@ hotmail.com
Langebaan Bay Gallery Bay Gallery supports excellent, local artists, many of whom are members of S.A.S.A. All mediums exhibited. Marra Square, Bree St, Langebaan. Contact: Daphne 073 304 8744 email@example.com www.baygallery.co.za
Oudtshoorn ArtKaroo Gallery Original works of art by established and emerging artists. 107 Baron van Reede, Oudtshoorn. T.044 279 1093 firstname.lastname@example.org www.artkaroo.co.za
Paarl Hout Street Gallery The Gallery specialises in South African paintings and fine art and features an extensive range of paintings, ceramics and sculptures by more than thirty South African artists. 270 Main Str, Paarl. T. 021 872 5030 email@example.com www.houtstreetgallery.co.za
Piketberg The Art Business Contemporary Gallery and Art Consultancy From 3 Nov, “From Genre to Manifesto”. 17 Main Str, Piketberg. C. 083 739 6196 / 072 659 1973 firstname.lastname@example.org http://theartbusiness.yolasite.com/
Prince Albert Prince Albert Gallery Established in 2003, the Prince Albert Gallery always has an eclectic mix of art on display. From George Coutouvidis’s quirky post-modern cartoonism to Guy du Toit’s striking bronzes 57 Church Str, Prince Albert. T. 023 541 1057 C. 082 749 2128 (Brent) email@example.com www.princealbertgallery.co.za
Somerset West Dante Art & Decor A modern Art Gallery since 1995. Proudly South African Art, Ceramics, Gifts & Decor. Furnishing your home with a modern touch of Beauty. Waterstone Village shop 37, Somerset West. C. 084 700 9196, firstname.lastname@example.org www.danteartgallery.co.za Gallery 91 Currently showing an exhibition by Paris-based French artist, Jacques Ridereau. 91 Andries Pretorius Str, Somerset West. T. 021 852 6700 C. 084 441 7233 email@example.com www.gallery91.co.za Liebrecht Art Gallery 34 Oudehuis Str, Somerset West. T. 021 852 8030 C. 082 682 5710 firstname.lastname@example.org www.liebrechtgallery.com
An exhibition by two highly respected and award winning artists
“PE - Portraits and Environment”
(I) Object Sandra Hanekom
Loni Drager - Annelie Venter
“Towards the harbour” Acrylic on panel. 70x90cm
“Pensive” Oil on paper. 22x25cm
Tues 20 November - Sat 15 December
15 Dec - 28 Jan 2013 Hoof Straat 17 Piketberg Opening 18:30 Inge Bruwer 083 393 5862 Aidon Westcott 083 739 6196 email@example.com
Stellenbosch Sasol Art Museum Until 19 Jan 2013, “Altyd Lig”, Maggie Laubscher (1886 - 1973 ), retrospective exhibition, curated by Prof. Muller Ballot. 52 Ryneveld Str, Stellenbosch T. 021 808 3691 firstname.lastname@example.org
The “home” of:
Address: 51b Cuyler Street, Central Hill, Port Elizabeth
Times: Tues – Friday: 10am – 4pm Sat – 10am – 1pm Closed: Sun. Mon. Public holidays
Leaders of the painting course concept in South Africa! 80 Main Rd, Villiersdorp. T. 028 840 2927 email@example.com www.daleelliott.co.za www.elliottartonline. wordpress.com
Lecture, starting at 19h00. 30 Nov – 9 Dec, “East London Fine Art Society Annual Exhibition. 9 St. Marks Rd, Southernwood, East London. T. 043 722 4044 firstname.lastname@example.org www.annbryant.co.za
Floradale Fine Art Gallery A newly opened gallery at the Floradale complex showcasing a wide variety of works by local artists including paintings, ceramics, sculpture, mixed-media, photography as well as jewellery & decorative arts. Floradale Centre, Old Gonubie Rd, Beacon Bay. T. 043 740 2031 C. 078 294 7252 email@example.com
Slee Gallery 1 - 22 Nov, “Candidate Architects 2012”, an exhibition showcasing 14 of the best architectural thesis projects completed in 2011. 101 Dorp Str, Stellenbosch. T. 021 887 3385 firstname.lastname@example.org www.slee.co.za
Beatrix Bosch Studio Unique works in leather as well as paintings & photography can be viewed at her studio. 57 Die Duin, Wilderness. T. 044 877 0585 www.beatrixbosch.co.za
SMAC Art Gallery Until 25 Nov, “ARTOMS: Histopathology, Regeneration and Other Cases”, Solo Exhibition by Sandile Zulu. 1st Floor, De Wet Centre, Church Str, Stellenbosch. T. 021 887 3607 email@example.com www.smacgallery.com
Pharoah Art Gallery The gallery features an exquisite collection of Peter Pharoah’s fine art originals & prints including rich colourful portraits, unforgettable African wildlife and bold textured abstracts that are inspired by his travels around Africa. Wilderness Centre, George Road, Wilderness T. 044 877 0265 C. 076 976 2629 firstname.lastname@example.org www.peterpharoah.com
Stellenbosch Art Gallery An extensive selection of paintings, sculpture, handmade glass & ceramics by selected Western Cape artists are on offer to the discerning buyer. 34 Ryneveld Str, Stellenbosch. T. 021 887 8343 email@example.com www.stellenboschartgallery.co.za US Art Gallery Cnr. of Dorp & Bird str, Stellenbosch. T. 021 828 3489 firstname.lastname@example.org
Swellendam Kunstehuijs Fine Art Gallery Representing a wide variety of established and up-and-coming South African artists. 19 Swellengrebel str, Swellendam. T. 028 5142905 C. 082 4349291 email@example.com www.kunstehuijs.com
Villiersdorp Dale Elliott Art Gallery
Contact: Anthony Harris Cell: 072 379 5933 E: firstname.lastname@example.org
Eastern Cape Alexandria Quin Gallery & Sculpture Garden Enjoy refreshments under the jacaranda tree while enjoying the sculptures of international sculptor Maureen Quin. 5 Suid Str, Alexandria, Eastern Cape, following the signs from the main street. T. 046 6530121 C. 082 7708000 email@example.com www.quin-art.co.za
East London Ann Bryant Gallery 5 – 22 Nov, “Shift”, a solo exhibition of new paintings and cut-outs by Greg Schultz. 7 – 15 Nov, Walter Sisulu University B-Tech Exhibition. Until 10 Nov, an exhibition by Chanelle Staude and Sabine Verkuijl 15 Nov – 1 Dec, African Curio Art Display. Until 22 Nov, “The Erotic Dream”, Barry Gibb Slide and Video
Malcolm Dewey Fine Art Ongoing exhibition of oil paintings by Malcolm Dewey plus works by a selection of local artists. 60 Darlington Rd, Berea, East London. T. 043 7260421 firstname.lastname@example.org www.originalart.co.za
Port Elizabeth ART Gallery 16 Nov - 15 Dec, “You are invited to PE - an exhibition of portraits and the environment by Jaco Benade and MJ Lourens”, two remarkable painters who have mastered their personal genre. 15 Jan - 23 Feb, “COLLECT!VE III”, a selected exhibition of contemporary fine art from professional artists of the Eastern Cape. 51B Cuyler Street, Central Hill, Port Elizabeth. Contact: Anthony Harris. C. 072 379 5933 email@example.com www.artsjourney-nelsonmandelabay.co.za ArtEC 6 – 16 Nov, an exhibition by Eastern Cape Watercolour Association 20 - 30 Nov, YADP. 4 - 14 Dec, a solo exhibition by Esme Goosen. 36 Bird Str, P.E. T. 041 585 3641 firstname.lastname@example.org www.artecpe.co.za
in the SA Art Times Why we can claim that we are SAs’ Ieading, most read visual art resource: Monthly: we print and distribute 8 500 physical copies nationally (11 pa). 4000 additional copies read online each month. 12 000 e-newsletters weekly e-newsletters. Over 12 000 visits per month to our news website. Why advertise: The SA Art Times gives you great response for your marketing budget. Try us and find out why many of our advertisers renew their yearly contracts (some for over 6 years).Call Eugene at 021 424 7733 or email@example.com and lets chat how we can help you with the best exposure.
FA artist warehouse advert final paths.indd 1
Nelson Mandela Metropolitan Art Museum Until 18 Nov, “Melting Pot” artworks such as Indian miniatures, Chinese textiles, Japanese wood-cuts, Xhosa beadwork, British oil paintings, International prints and everything else in between. 24 Nov - March, “100 Shades of Grey”, an exhibition exploring the use of monotones in a selection of work from the NMM Art Museums Permanent Collection. Until 6 Jan, “Fun in the Sun”, a light hearted exhibition inspired by summer. Until 27 Jan, “Ship & Shore”, an exhibition displaying a variety of nautically-themed artworks. 1 Park Drive, Port Elizabeth. T. 041 506 2000 firstname.lastname@example.org www.artmuseum.co.za Ron Belling Art Gallery Opening 8 Dec, a joint exhibition of ceramics and paintings by Lee Hensburg and Stephanie Liebetrau. 30 Park Drive, P.E. T. 041 586 3973 email@example.com www.ronbelling.co.za
Northern Cape Kimberley William Humphreys Art Gallery A selection of drawings from the contemporary SA WHAG collection. Malcolm Payne – ‘Face Value’, and exhibition of graphic prints on loan from Oliewenhuis, Bloemfontein. 10th Annual David Walters and Friends Ceramic Exhibition in the newly opened Bonnie Ntshalintshali Ceramic Wing. 1 Cullinan Crescent, Civic Centre, Kimberley. T. 053-8311724/5 firstname.lastname@example.org www.whag.co.za
Kwazulu- Natal Durban The African Art Centre 94 Florida Rd, Durban. T. 031 312 3804/5
2012/10/17 6:41 PM
email@example.com www.afriart.org.za ArtSPACE Durban Until 13 Nov, “Mail Art Makes the World a Town” curated by Cheryl Penn, Main Gallery. “Re Imagining The Landscape – Sites of Ambiguity”, Anthea Martin – Middle Gallery and Corridor. 5 – 17 Nov, Audrey Rudnick –paintings and sculpture Main Gallery. 20 Nov – 1 Dec, UNISA Durban Third and Fourth level Visual Arts and Multimedia Students Exhibition 2012. 3 Millar Rd, Stamford Hill, Durban. T.031 312 0793 firstname.lastname@example.org www.artspace-durban.com Christie’s International Auctioneers. Gillian Scott Berning, Independent Consultant. T 031 207 8247 Gillian.email@example.com www.christies.com The Collective 5 – 10 Nov, “Differences”, An exhibition celebrating the diversity within the lecturers at Vega School of Brand Leadership Durban. 12 – 17 Nov, An exhibition showcasing the second year photography students at Vega School of Brand Leadership Durban. 12 Nov – mid Jan, “It’s a Wrap”, year-end show. 48b Florida Rd, (entrance in 4th Avenue) Greyville, Durban. T. 031 303 4891 thecollectivedurban.blogspot.com Durban Art Gallery 4 Nov – 27 Jan, “Bridges”, A photographic project by Andrew Tshabangu and Rene-Paul Savignan on the religious practices in South Africa and in Reunion Island. 2nd Floor City Hall, Anton Lembede (Smith) Str, Durban. T. 031 311 2264/332 7286 firstname.lastname@example.org www.durban.gov.za Elizabeth Gordon Gallery 28 Nov – end Dec, “Durban - City for All Seasons - Season II”, an exhibition to celebrate Christmas. 16 participating artists have been asked to contribute paintings on a Durban related theme. 120 Florida Rd, Durban T. 031 303 8133 email@example.com www.elizabethgordon.co.za
KZNSA Gallery Until 4 Nov, “Reconnect”, a solo exhibition by Hendrik Stroebel. From Nov to Jan, the KZNSA Galleries and the KZNSA Shop join forces to bring you a huge range of gifts, collectibles and just darn right desirable stuff. 166 Bulwer Rd, Glenwood, Durban. T. 031 277 1705 firstname.lastname@example.org www.kznsagallery.co.za Tamasa Gallery A small commercial gallery, Tamasa exhibits a broad variety of contemporary KZN artists. 36 Overport Drive, Berea, Durban. T. 031 207 1223
Pietermaritzburg Tatham Art Gallery Until 11 Nov, “Retinal Shift” by Mikhael Subotzky 2012 Standard Bank Young Artist, Photography exhibition. On show until 2013, in the First Floor Galleries, South African Landscapes: “Storm in the Wheatfields” - History of the Tatham Art Gallery 1903 to 1974. 12 Oct - 2 Dec, “Office Politics – scenes from the sinking ship”, Drawing, prints & paintings in a solo exhibition by Faye Spencer, Schreiner Gallery. Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str. (Opposite City Hall) Pietermaritzburg. T. 033 392 2801 Thulani.Makhaye@msunduzi.gov.za www.tatham.org.za
Underberg The Underberg Studio Set in a delightful garden facing the mountains, the gallery specializes in South African Fine Art landscape photography & Ceramics. Owned by photographer Lawrance Brennon and his potter wife, Catherine Brennon, the gallery is regularly updated with their latest work. 21 Ridge Rd, Underberg. Signage from R617 T. 033 701 2440 / 072 141 9924 / 082 872 7830 email@example.com www.underbergstudio.co.za
ART TIMES | INTERNATIONAL / REVIEW: ICP’s EXHIBITION “RISE AND FALL OF APARTHEID”
Review: ICP’s exhibit -- “Rise and Fall of apartheid: Photography and the Bureaucracy of Everyday Life” International Center of Photography in New York City
By Ettagale Blauer, NYC For The SA Art Times To walk through the exhibit, “Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life,” at the International Center of Photography in New York City, is to walk through the fifty-year history of the evil system of apartheid which South Africa’s National Party used as an excuse to deny the majority of its people from sharing in the nation’s riches and resources as well as a chance to live decent lives. Curator Okwui Enwezor, who took this reviewer and other media on a private tour of the exhibition just prior to its opening on Friday, September 14, has conquered the formidable task of finding, organizing and utilizing the photographic images of nearly 70 photographers, filmmakers and artists, nearly all of them South African, to lay out the system in all its brutal methods and manifestations. With the assistance of Rory Bester in South Africa, Enwezor grouped some 500 still images, artworks, films, videos, and ephemera into the periods of apartheid from its declaration in 1948 with the Orwellian statement that it was a neighborly system – apartheid meaning separate (apart) and neighborhood (heid) -- for separating people, through the decades of its escalation into a system of absolute segregation of people along racial and ethnic lines. In the process, the ruling party made life a living hell for the majority of South Africans and codified every aspect of that process until it became a crime to do almost anything while being a black person in that country. 30
According to Enwezor, South African photographers were crucially involved in capturing the apartheid system, often because they were the targets of that very system. They immediately recognized the need to record every aspect of the intrusion in people’s daily lives. The excesses of the system were not always evident in its most brutal moves but rather in the physical wear and tear it inflicted, like water dripping endlessly on a stone. The well-known series of photographs taken by David Goldblatt on the buses that carried workers on two-three hours daily trips from distant townships to their work in the “white cities,” with some even forced to stand the whole way, showed the inequities of the system as much as the images of police and soldiers firing into unarmed crowds. The subtitle of the exhibit points out the pain inflicted by South Africa’s bureaucracy; in the Afrikaner mind, if someone could be shown to be breaking a law that alone justified the punishment. The venality of the law was easy to overlook in the bureaucratic mind. The exhibition occupies the two floors of the ICP building at the corner of Sixth Avenue and 43rd Street, in the heart of the midtown business district, a few blocks’ walk from the Broadway theatre district and Rockefeller Center. The ordinariness of the location is in contrast to the painful story told, decade by decade in the museum. As the visitor enters the building, a full wall displays the curator’s introductory essay, brilliantly encapsulating the period in which apartheid came into being. The system grew through the fifties and sixties while elsewhere in Africa, anti-colonial movements were striving to become independent nations with Ghana becoming the first to achieve nationhood in 1957. The visuals show that system growing and becoming more and more oppressive. The rich life of the people who were brutalized by apartheid is also on display, with the stunning image of the young Miriam Makeba seen in a short cocktail dress, her head thrown back in soulful song. Afrikaners denied themselves contact with that rich culture even as they tried to deny the humanity of those they kept segregated. Copies of local magazines such as “Drum” show this alternative life that survived under the radar of apartheid. At the same time, women from the English-speaking community created their own protest against apartheid, forming the Black Sash movement. In silent protests, each one standing alone so as not to be arrested as being part of an “illegal gathering,” they used their only weapon – moral authority – to try to defeat the apartheid system. These women came into daily contact with black workers
in their own homes and knew firsthand what the system was doing to the workers’ daily lives/ One survivor of the system, black photographer Pete Magubane came to the preview. At the age of 80 he is the living embodiment of the system, through his powerful photographs as well as his ability to survive a five-year banning during which he was specifically prohibited from taking photographs. Enwezor cited the important work of the Afrapix Collective in the 1980s including Paul Weinberg and Eric Miller. He described the reportage of the four fearless members of the Bang Bang club, and the work of Paul Weinberg and Alf Khumalo. It is difficult for anyone who has not seen apartheid in action to understand the pervasiveness of the system. A collective gasp went up among the New York media at the walkthrough when curator Enwezor paused by photographs of signs and explained that South Africans used this medium to express their protests, in part because the government prevented the introduction of television until 1976. As surely as the Chinese government is able to close down internet sites today, the National Party prevented its own citizens – white and black – from learning how the outside world viewed them. On TV, black South Africans did not exist. The show will run through January 6, 2013 in New York. It travels to Germany early in 2013. . Ettagale Blauer, based in New York, is the co-author with photojournalist Jason Laure of the book, “South Africa, Coming of Age Under Apartheid,” published by Farrar Straus & Giroux, and is also the author “African Elegance,” a look at the crafts and cultures of sub-Saharan Africa, published by Struik.
SA ART TIMES. November 2012
ICP’s EXHIBITION “RISE AND FALL OF APARTHEID” / REVIEW | INTERNATIONAL | ART TIMES
SA ART TIMES. November 2012
ART TIMES | GALLERY BUZZ Opening of Motel7â€™s Solo Show at 34 Fine Art in Woodstock, CT. See more at www.34fineart.com
One Day photographic exhibition at The Lovell Gallery, Woodstock, CT
Admires view Michaela Irvings works, Johann Nepgen voting, Damian Osborne voting, Tamzin Lovell and Brendon van Kraayenburg doing the speeches, Michaela Irving salutes her work
Be sure to send your Gallery Buzz to us by the middle of the month, in order to be included. E-mail: firstname.lastname@example.org
GALLERY BUZZ | ART TIMES Clover Aardklop Art Safari
Top to Bottem (L-R) : Market Photo Workshop’s Tracing Territories,Christina Naurattel / Johan Myburg opens the show / Festival Artist : Daniel & wife Caren Naudé L’Ateliers / L’Ateliers Show:Du Pissani / L’Ateliers Show: Paul Bayliss, Pauline Gutter / Wordart Youth Project / ATKV Skilder met Woode III
ART TIMES | GALLERY BUZZ Opening of Faye Spencerâ€™s : Office Politics - scenes from the sinking ship opening night at the Tatham Art Gallery..
Brendan Bell (Tatham Art Gallery Director), Prof Ian Calder and Faye Spencer, Brendan Bell (Tatham Art Gallery Director), Faye Spencer and Christopher Duigan
Opening of People, Places and Prints, Oliewenhuis
Malcolme Christian Director of The Cavisham Press on a walkabout People, Prints and Process â€“ 25 years at Cavisham
Piketbergse Kunsnaweek (Pikuna)
Clare Menck en Johann Louw gesels hier met Emilio Sandri (links) van SMAC Galerye oor Clare se kamersolo in haar tuiste tydens die afgelope Piketbergse Kunsnaweek (Pikuna 2012). Emilio Sandri, van SMAC Galerye, besoek Kennett Sinclair se kamersolo hier tydens hierdie jaar se Piketbergse Kunsnaweek (Pikuna 2012).
GALLERY BUZZ | ART TIMES Prince Albert Art Route (PArt)
The very well attended art opening at The Prince Albert Art Gallery. The Director and co-organiser of the Part : Brent Phillips- White. William Kentridge spotted in the crowd, Mary Anne Botha and Brent Phillips-White opening the event, Art revellers, Piet Viljoen gave a speech about art investment at the amazing Prince Albert Gallery Restaurant Joshua Miles hosted a Print Workshop with other SA artists. See more on www.princealbertgallery.co.za
ART TIMES | NEW CAPE TOWN ART WEEK LAUNCHED & ART WALK
Some of the art studios that will be open on the Art Walk 30 Nov and 1 December: Top: Lytton Street Studios, Observatory : (L-R) : Gabby Raaff, Sarah Pratt, Tracy Payne. Newly established Eastside studio in Woodstock: (L-R) Sally Berg, Marna Hattingh, Elize Vossgatter, Swaine Hoogervorst, Tess Berlein, Patrick Dewet, Julita Dewet, Christopher Slack, Hanlie Coetzee, Liza Grobler, Kilmany-Jo Liversage, and Frans Smit (missing is Norman O’Flynn and Hannah Paton) Middle: Bijou Studios, Observatory : (L-R) Judy Woodborne, Conrad Hicks, Michele Rolstone, Birgit Thasenoehre, Janine Lange and Wonder Marthinus. Arlene Amaler- Raviv in her studio at home in Woodstock . Below: Blank Projects Woodstock, Greatmore Studios, Woodstock, Kwa-Mlamli’s, Gugulethu
Brand New Cape Town ART WEEK set to inspire
ArtWalk is is part of ART WEEK CAPE TOWN 2012, ART WEEK CAPE TOWN 2012 www.artweek.co.za is a collaboration between art galleries, public institutions, academic organisations, working art studios and community projects. Some highlights of Art Week’s programme include the Maboneng Arts Experience in Gugulethu, the GIPCA Live Art Festival and exhibition openings in all of the city’s major galleries and institutions throughout the extended week. For full programme details, visit Art Week’s website at www.artweek.co.za 36
a ten day programme of openings, performances and exhibitions that highlight Cape Town’s vibrant contemporary art scene. ArtWalk is an open studio event that brings members of the public into the studios of a diverse community of independent artists in the district triangle of Observatory, Woodstock and Salt River. Over two days, from November 30 to December 01 2012, participating artists and studio collectives will open their workspaces to the public, offering visitors a firsthand experience of the inner-workings of an atelier. Visitors will also have a rare opportunity to view and purchase artworks directly from the artists. A network of mapped routes has been designed to provide visitors with easy access to participating studios by simply following the ArtWalk routes. These routes will be included in the ART WEEK map, which shows the locations of and information about all of the exhibitions and events that make up the programme. Art Walk Studios include Eastside, Bijou, Lytton, Arlene and Greatmore Studios
SA ART TIMES. November 2012
Let us get the best prices for your Prints Home of South African Fine Art Printmaking
Sell your South African Fine Art Prints for the best prices through our great community of fine art print enthusiasts and collectors. Contact us at : SA Print Gallery: 109 Sir Lowry Road, Woodstock, CT. www.printgallery.co.za email@example.com
BUSINESS ART | SA ART AUCTIONS: SPRING SEASON RESULTS
BUSINESS ART Results of the Spring Art Auction Season 2012 Stephan Welz & Co., Strauss & Co and Bonhams do battle to get the best prices in the market
Warning signs from Stephan Welz & Co’s Cape sale By Michael Coulson After an encouraging start in the minor sessions -- the gross in the afternoon actually exceeded the low estimate -- buyers sat on their hands in the main, evening, session of Stephan Welz &Co’s sale in Cape Town this week. None of the top 15 estimates were sold, so although the sell-through rate was respectable, the total take was disappointing. A consolation, though, was record prices for local artist Peter Clarke, who is gaining recognition late in his career after a recent major retrospective of his work. On Tuesday morning, 70 of the 106 lots of SA art sold (66%) for about R510 000, about 97% of the low estimate of about R535 000. Top price was R28 000, for a Gabriel de Jongh landscape (estimate R15 000-R18 000). The afternoon fared even better: while only 46 of the 74 lots sold (62%), a gross of R945 000 was almost 10% above the low estimate (bearing in mind that reported prices are “hammer plus”, estimates are just for the hammer price) of about R860 000. Best prices here were R84 000
and R67 000 for two Angus Taylor sculptures (both est R15 000-R20 000), R50 000 for a Pieter van der Westhuizen portrait (est R15 000-R20 000) and R47 000 for Hendrik Niemann’s Three Flower Sellers (est R12 000-R16 000). In the early evening sale on behalf of the Lights From Africa charity, six of the 11 lots sold for just over R60 000, against the low estimate of R86 000. This good reception for minor and upcoming names made the evening all the more of a letdown. In all, 55 of the 104 lots sold, or 53%, which is no disaster, but with all the casualties at the top, a gross of just under R4.9m was barely a quarter of the low estimate of R18.9m. Totalling the four sessions, 177 or 60% of the 295 lots sold for just under R6.4m, about 31% of the low estimate of R20.34m. Clarke’s Ruined Houses at Simon’s Town (the artist’s childhood home, from which the family was evicted under the Group Areas Act) was bid up to R504 000
(est R180 000-R200 000) and his Netball Players to R269 000 (est R100 000-R120 000. The previous auction record for this artist was Other leading prices in this section were R392 000 for an Alexis Preller Figure Astride a Horse (est R220 000-R260 000), R269 000 each for landscapes by Pierneef (est R260 000-R300 000) and David Botha (est, scarcely credibly, a mere R40 000-R50 000) and R224 000 each for an Alexander Rose-Innes view of District Six (est R100 000-R120 000) and a Maurice van Essche portrait (est R220 000-R260 000). Of the most represented artists, Gabriel de Jongh and Rose-Innes sold five of six, Clarke four of six, Walter Battiss three of six, Gregoire Boonzaaier and Pranas Domsaitis all five, Adriaan Boshoff and Tinus de Jongh four of five, and Dino Paravano and Pierneef three of five.
Two failures don’t mar Strauss’s evening by Michael Coulson While the success of an art auction is generally determined by the fortunes of the top lots, the failure of two of the four seven-digit Irma Sterns to sell didn’t detract from the overall success of Strauss & Co’s Cape auction this week, thanks to good -- even outstanding -- results elsewhere. Of a total gross of R37m-plus, by my count 223 lots of SA art contributed about R27.1m, slightly above the low estimate of R26.75m, of which the five Sterns that did sell constituted R11.25m, or about 41.5%. Of course, reported prices are hammer-plus: hammer prices alone didn’t reach the low estimate. As the two Sterns that didn’t sell carried estimates of R3m-R5m and R1.5m-R2m, this confirms that demand was generally good. This is underlined by a sell-through rate of 79.4%, with 177 lots sold. The two Sterns were in fact the only unsold items among the top 13 estimates (those starting at R400 000 and upwards. Top price on the night was a couple of thousand under R7.8m for a Stern still life 38
(est R5m-R7m), followed by a few thousand over R2m for one of her Madeira scenes (est R2m-R3m). Third highest was a remarkable R891 000 for a William Kentridge Head graphic (est R400 000-R600 000). Also above estimate was R780 000 for Walter Battiss’s oil, Five People in a Cave (est R500 000-R700 000). Two Dylan Lewis bronze Cheetahs fetched R724 000 (est R500 000-R600 000) and R613 000 (est R600 000-R800 000). A Stanley Pinker landscape went for R668 000 (est R400 000-R500 000). A Stern gouache landscape was R646 000, an Erik Laubscher landscape was R613 000 (both est R400 000-R600 000) and two Maggie Laubser landscapes R501 000 (est R500 000-R700 000) and R446 000 (est R400 000-R600 000). New artists’ auction records were set for Johannes Meintjes’ Swazi Landscape (R666 000, est R300 000-R400 000), Cecily Sash’s Boy with a Violin (R189 000, est R30 000-R40 000) and Gerard Bhengu’s Figures in a Kraal (R155 000, est R20 000-R30 000). Among works with lower estimates, the most
remarkable price in relative terms was R267 000 for a Christo Coetzee self-portrait estimated at only R60 000-R80 000, followed by R635 000 for a Kentridge drawing (est R280 000-R320 000) and R334 000 for a Lewis figure (est R150 000-R170 000). Another Lewis bronze figure, at R535 000, was at the top of the estimate range of R300 000-R500 000. Also notable were R624 000 for another Stern Zanzibari gouache (est R300 000-R400 000) and R423 000 for a Maurice van Essche oil of Hout Bay (est R250 000-R350 000). Of the most represented artists, Battiss (10), Gregoire Boonzaaier (eight), Marie Vermeulen-Breedt (seven) and Lewis (five) sold 100%; Coetzee sold eight of 10, Kentridge six of eight, Meintjes six of seven, Stern five of seven, Hylton Nel four of six, and Cecil Skotnes, Hugo Naude and Andrew Verster all four of five. For once, Pierneeef was scarcely present, with just two minor linocuts. Attention will now switch to London, where Bonhams’ major two-part sale later this month will go far to putting the final seal on the market year, though both local houses also have closing sales in Joburg. SA ART TIMES. November 2012
SPRING SEASON RESULTS | SA ART AUCTIONS | BUSINESS ART
Quality again the key at Bonhams for a Transvaal landscape (est £300 000£500 000). Conversely, only six of the 17 Sterns in the main (Bond Street) session found buyers, including Malay Lady in Yellow (£361 000, est £350 000£550 000), Young Xhosa Woman (£205 000, est £150 000-£200 000), and the charming view of the backyard of her home in Rosebank (£193 000, est £120 000-£180 000). But overall the Sterns grossed only £792 000, against the low estimate of £1.75m (remember, reported prices are hammer-plus, estimates are hammer only), marginally less than the £796 000 grossed by the five (of 14 on offer) Pierneefs (est £930 000). By Michael Coulson The failure -- not for the first time in recent sales -- of some of the fancied Irma Sterns was partially redeemed by some remarkable prices in unexpected places at Bonhams’s sale of SA art in London last week. Notably, Vladimir Tretchikoff’s Red Jacket, a portrait of the artist’s muse and lover in wartime Java, Lenka, estimated at £50 000-£80 000, which auctioneer Giles Peppiatt tells me he thought could reach £100 000 on a good day, went for a staggering £337 000 (R4.7m). Another artist who’s attracting increasing interest is Stanley Pinker, and his The Garden of Eden also fetched £ 337 000 (est £70 000-£100 000). These were both artists’ records, while a pair of works on paper by Pierneef was bid up to £289 000 (est £70 000-£100 000), five times the previous record for a work on paper by the artist. Pierneef also chalked up the top price, £361 000
Peppiatt feels that there have simply been too many Sterns on offer recently. It may also be that the hype over the artist has brought works of secondary quality on to the market. Overall, though, he believes that -- repeating auctioneers’ standard mantra of recent months -- the sale confirms that there’s still good demand for top-quality art. He’s also pleased by the emergence of new non-SA buyers, reflecting growing international interest in SA art. The sale in fact did a little better than Bonhams’ corresponding sale last year. even though expectations (in the form of a lower estimate range) had been downgraded. At the minor (Knightsbridge) session, 115 of 225 lots sold for £225 000 (est £320 000-£440 000) and at Bond Street 60 of 130 for £3.31m (est £4.1m-£6m). So overall the return was 175 of 355, or fractionally under 50%, for £3.535m (est £4.4m-£6.44m). At last Wednesday’s closing rate of 13.89, that
Pinker sells at Rudd’s On Tuesday 16th October Rudd’s Auctioneers in Cape Town successfully sold items from the Estate Late Stanley Pinker (1924-2012) some of which are to be included in “The Centre for Creating the Archive” at UCT. One lot in particular (Lot 99) comprised Pinker’s own painting materials including 2 easels, brushes, palettes, oils, acrylics and instruments which he used to create his memorable works. This lot realized the amount of R25,300 (premium inclusive) and was eagerly bid by collectors from all parts of South Africa, finally going to UCT. His collection of art books, ceramics and various objects of African interest also sold well beyond expectation to bring in a further R38,000 (premium inclusive) some of which will be included with Pinker’s easels at UCT. SA ART TIMES. November 2012
equates to R49.1m. Last year’s sale grossed the equivalent of R42.1m on a low estimate as high as R107.9m. Lower down the scale, another remarkable price was £121 000 for a William Kentridge drawing (est £50 000-£80 000). Anton van Wouw’s Bushman went for £85 000 (est £60 000-£90 000), another Pierneef for £73 000 (est £60 000-£90 000), two Gerald Sekotos for £79 000 (est £70 000-£90 000) and £67 000 (£60 000-£90 000) and a Freida Lock Zanzibar scene for £59 000 (est £50 000-£80 000). The Sekotos are an indication of developing interest in black artists. There was also a record £27 500 for Gladys Mgudlandlu’s The Newly Weds (est £8 000-£12 000), while the top price at Knightsbridge was £21 250 for another Sekoto, a portrait of a Lady (est £3 000-£5 000). At Bond Street, all five Mgudlandlus sold, as did five of the six Sekotos. On the other hand, of the other most represented white artists, only two of 11 Skotneses went, three of six Stella Shawzins, and two of five Locks. At Knightsbridge, there were another 10 Mgudlandlus; seven sold, as did seven of eight John Muafangejos and all five Gerard Bhengus. Others well represented at Knightsbridge were Frans Claerhout (just one of eight sold), W H Coetzer (two of five), Gabriel de Jongh (five of six), Sidney Goldblatt (none of five), Kentridge (five of seven) and Douglas Portway (two of eight).
View all the SA Art Auction Summer Season Action, Drama and Michael Coulson’s SA Art Auction Reviews at: www.arttimes.co.za
BUSINESS ART | UPCOMMING STRAUSS & CO. JOHANNESBURG SALE
Museum quality works for sale at Strauss & Co. Strauss & Co, Johannesburg: The final sale of Strauss & Company’s 2012 auction calendar is set for 12 November 2012. Comprising 237 items across the full spectrum of South African art there promises to be something for everyone, it is however the number of museum quality works that is sure to draw the buyers in. Headlining the sale is Rosamund King Everard-Steenkamp’s Still Life with Erythrina Caffra. This seminal work is a vibrant and highly decorative painting reminiscent of works by the Bloomsbury Group of London. A flamboyant and unconventional character, Rosamund had no formal art training but was a pivotal member of the Everard Group, the remarkably creative family of five women painters who lived in Carolina in Mpumalanga and span four generations. Isolated as they were from the artistic communities of Pretoria and Cape Town, they developed a visual language that has avoided many of the sentimentalities of 20th century South African painting. It is the feast of Alexis Preller works on offer that has the Strauss & Company specialists aflutter. “Alexis Preller is one of our most important 20th century artist’s. He and his Pretoria contemporary, Walter Battiss, were responsible for creating a new visual language in South African art,” says the spokesperson for the Johannesburg office. “We are fortunate to be offering three major works by Preller in November: Girl with Oriole, Grand Mapogga III and Anubis. Their inclusion in our sale is exciting in that these works span his career and show the chronological development of his visual iconography.” Walter Battiss’s African Figures, a densely worked calligraphic composition was included in the Pretoria centennial exhibition of 1955 and is offered for the first time since purchase at auction. As a young boy Battiss became fascinated with rock art and this early interest was pivotal in his decision to change career paths and more importantly the way in which he chose to handle his subject matter. His style was unique and like Preller he was a true pioneer in exploring a uniquely South African iconography within his work. Contemporary collectors also have the opportunity to acquire a major work by Pieter Hugo from his Hyena and Other Men series. Titled Mallum Umaru Ahmadu with Amita, Abjuba, Nigeria this striking image was taken by Hugo after he received an MMS from a friend who was in Nigeria at the time. This prompted him to travel to Nigeria in 2005 and 2007 where he photographed the members of this unique band of animal handlers. Robert Hodgins is well represented in this sale with a number of major canvasses coming under the hammer. Lyric Suite, a triptych is being sold by a private collector who is donating the proceeds from the sale to Wits Art Museum – a fitting tribute given Hodgins long-standing involvement with Wits University as a lecturer. Public viewing is scheduled from 9 – 11 November from 10am till 5pm daily at the Johannesburg Country Club, Woodmead. Walkabouts hosted by specialists will be conducted at 11am on Saturday 10 and Sunday 11 November. Please contact 011-728-8246 or visit www.straussart.co.za for further details. 40
A Feast of Prellers Strauss & Co: the timelessness of Alexis Preller’s iconography has been unequivocally demonstrated through the prices in excess of two million rand achieved by Strauss & Co in 2010. To the delight of collectors of top quality South African art, a feast of Alexis Preller works are being offered at the company’s forthcoming auction. “We are fortunate to be offering three seminal works by Preller in November: Girl with Oriole, Grand Mapogga III and Anubis. Their inclusion in our sale is electrifying. That these works span the length of his career and show the chronological development of his visual iconography,” says the spokesperson for the Johannesburg office. Commonly referred to as “South Africa’s Gauguin” Preller’s iconography in his compositions is unparalleled in its universal visual language and unique African identity. Girl with Oriole is steeped in cultural reference: the beadwork seen draped on her shoulder is a nod to Pedi and Ntwana wares, the background textiles evocative of Swazi cloth, and the sitters pose harks to Florentine Quattrocento painting. Grand Mapogga III is a highly significant work. Throughout his career, Preller revisited this subject numerous times –eccentrically believing that there should be three versions of any major work. This example, the third of the second trinity of works engaging this theme, was purchased by the current owner’s father at the 1957 exhibition held at Vorster’s Gallery in Pretoria – where all three versions of this painting were on show. Anubis is a densely worked composition featuring rows of hieroglyphic forms running vertically throughout the canvas. Central to this composition is the figure of Anubis, the jackal-headed god associated with mummification and the afterlife in ancient Egyptian religion. The dark ground is punctuated by glints of gold and splashes of vermillion and sapphire tones, a rich composition and palette, true to the mythological subject it depicts. The auction is scheduled to take place on 12 November 2012 at the Johannesburg Country Club, Woodmead.
SA ART TIMES. November 2012
INTERNATIONAL INTEREST | BUSINESS ART
Art Thieves Struggle to Convert Monet, Picasso Into Hard Cash Catherine Hickley, Bloomberg News Oct. 18 (Bloomberg) -- The plan may be flawless, the booty priceless and the robbery perfectly executed. Yet art thieves seldom consider how they will get rich from their stolen masterpieces, art-crime experts said. Seven paintings, including works by Pablo Picasso, Claude Monet, Henri Matisse, Paul Gauguin and Lucian Freud were stolen from the Kunsthal museum in the Dutch city of Rotterdam on Oct. 15. The combined value may be as much as $130 million, yet as long as they are stolen goods, the paintings are effectively valueless, said Olivia Tait, manager of European clients at the Art Loss Register, an online database of lost art. “On the face of it, art theft seems like an easy way to get money -- after all, you can’t get $5 million by robbing a bank,” Tait said by telephone from London. “Criminals don’t think about the fact that they can’t resell artworks after. Then they realize that they can’t take the paintings across borders because they are listed in all the police databases.” The Rotterdam burglary ranks among the most spectacular art heists of the last decades. Comparable incidents are the 2010 theft of five paintings -- also including works by Picasso and Matisse -- from the Musee d’Art Moderne in Paris, and the 1990 burglary from the Isabella Stewart Gardner Museum in Boston of art worth an estimated $500 million. Hidden, Abandoned In neither case has the lost art been retrieved. Once thieves wake up to the difficulty of converting stolen masterpieces into hard cash, they often hide or abandon the paintings, which may not resurface for decades -- if ever. “Forty percent of stolen artworks return within seven years,” said Ton Cremers, who was head of security at Amsterdam’s Rijksmuseum for 14 years and has since advised more than 450 museums on security as an independent consultant. “If they don’t return in 10 years, the chances are very small that they will be recovered.” Sometimes paintings are even destroyed or damaged by the criminals who took them, said Lynda Albertson, chief executive of the Association for Research Into Crimes Against Art. The thief who stole Picasso’s “Pigeon With Green Peas” from the Musee d’Art Moderne in 2010 “threw it in a trash container shortly after the theft and the container was emptied before it could be retrieved,” Albertson said. Even with the difficulty of selling famous stolen masterpieces, Picasso’s works are the victims of theft more often than any other artist’s, according to the Art Loss Register, which lists more than 1,000 missing Picassos. Pinching Picassos “Everyone knows who he is, even people with only a couple of years of high-school education,” Cremers said. “These are not specialists in art. It is only in the movies that you get specialist thieves. In real life, it is just ordinary criminals who also steal cars and sell drugs.” Occasionally “works get traded on the black market, bartered for weapons for example,” Tait said. “But in our 20- year history, we’ve never come across the Hollywood scenario where a passionate art collector commissions thieves to steal specific works of art.” The paintings stolen from Rotterdam’s Kunsthal were Picasso’s “Tete d’Arlequin;” Monet’s “Waterloo Bridge, London” and “Charing Cross Bridge, London;” Freud’s “Woman with Eyes Closed;” Matisse’s “la Liseuse en Blanc et Jaune;” Gauguin’s “Femme devant une fenetre ouverte, dite la Fiancee,” and Meyer de Haan’s “Autoportrait.”
Dutch Collection They belong to a private collection called the Triton Foundation, started by the Dutch businessman Willem Cordia, who died in 2011, according to Dutch news agency ANP. The collection consists of about 250 paintings, drawings and sculptures from the period 1860 to 1970. About 150 works were on show in an exhibition called “Avant-Gardes.” The Kunsthal has no permanent collection and is reliant on loans to put on shows. “What happened is every museum director’s nightmare,” Emily Ansenk, the director of the Kunsthal, said in a statement on the website. “This incident came like a bombshell to the entire art world.” Police said the theft took place at about 3 a.m. local time and they are now scrutinizing video footage and talking to possible witnesses. Officers arrived at the Kunsthal just five minutes after the alarm was raised. Local press reported that there were tire tracks on the museum’s lawn after the burglary. Ansenk described the building’s security as “state-of-the- art,” and in accordance with insurer’s requirements. No one has disclosed how the thieves entered the museum. Night Guards Many museums don’t have security guards on duty overnight, Albertson said. “Having staff at night doesn’t necessarily eliminate the risk,” she said in e-mailed answers to questions. In the Paris heist, “the three night guards at that museum all reported that they saw nothing.” Cremers raised doubts about the suitability of the Kunsthal for art of the caliber of the current show. The building, designed by the Dutch architect Rem Koolhaas, “is like a box, and there are no barriers for thieves,” he said. “They should have arranged special security before the exhibition,” Cremers said. “They should have built a special vault inside. They will have problems with future loans.” Cremers said it’s possible the thieves will attempt to demand a ransom from the Triton Foundation for the paintings. Albertson at ARCA cited the recent example of bond fund manager Jeffrey Gundlach, the chief executive officer of DoubleLine Capital LP, who last month recovered $10 million in art stolen from his home in Santa Monica, California. That was after he offered $1.7 million in rewards. “The thief or thieves in this Dutch case could see the heirs to the Triton Foundation as a lucrative target,” Albertson said. Tait said such demands are rarely met. “Insurance companies discourage it,” she said. “And if you pay some kind of ransom, you identify yourself as someone who is prepared to go along with such demands and open yourself to future attempts.” Muse highlights include Scott Reyburn on the art market, Jason Harper on cars and Rich Jaroslovsky on technology. --With assistance from Fred Pals and Martijn van der Starre in Amsterdam. Editors: Mark Beech, Richard Vines.
ART TIMES DAILY: SA’S FIRST DAILY ONLINE NEWS SOURCE : WWW.ARTTIMES.CO.ZA
SA ART TIMES. November 2012
%YGXMSREXXLIVIUYIWXSJXLII\IGYXSVWSJXLIIWXEXIPEXI David Johannes Botha, E. Z. Wiegel, J. P. Nel, P. S. du Cane as well as private individuals. Items on auction to include: A component of the David Botha collection of paintings, watercolours, drawings, lino and woodcuts and ceramics. ,MWTIVWSREPIEWIPERHTEPIXXIPMFVEV]GSPPIGXEFPIWERH household effects. %ZIV]½RIGSPPIGXMSRSJSVMIRXEPFVSR^IWMZSV][SVOWERH [SVOWSRTETIV 7SYXL%JVMGERERH-RXIVREXMSREP[SVOWSJEVX A superb variety of glass to include impressive examples by 0PEPMUYI %GVSWWWIGXMSRSJ[SRHIVJYPJYVRMXYVI+ISVKMER:MGXSVMER )H[EVHMERERH(IGSEW[IPPEW'ETIERH1MHXL'IRXYV] design including an original Arne Jacobsen Egg Chair. %WMKRM½GERXP]MQTSVXERXGSPPIGXMSRSJ*MRI7MPZIV,MKLPMKLXW MRGPYHIE4EYP7XSVVGIRXVITMIGIEW[IPPEWRYQIVSYW+ISVKI I and II examples. %YRMUYIZMRXEKI:IWTEGSRZIVXIHF];SPJ 1EMHIR %RI\UYMWMXIZEVMIX]SJTVIGMSYWERHGSWXYQINI[IPPIV]ERH watches.
“In Conversation, the David Botha Collection” Book Launch, Thursday 22nd November 19h00 ;EPOEFSYX ERH GSRZIVWEXMSR [MXL XLI &SXLE´W ERH XLIMV collection. Saturday 24th November 11h00. Please RSVP by 16th November 6-8 Vrede Street, Gardens, 8005, Cape Town www.provenanceart.co.za firstname.lastname@example.org tel: 00 27 (0)21 4618009
:SPYQI Pêrel and Palette Auction: Wednesday 28th November 18h30 :MI[MRK 19th,21st, 23rd, 26th, 27th, 28th Nov 09h00-16h00 22nd Nov 09h00 - 19h00 24th Nov 09h00 - 13h00
Ending an era, Jane and Sassa Botha, wife and daughter of the late Cape artist David Botha, approached Provenance to auction a component of their collection and estate. As part of Provenance’s ethos, it was decided to present the family’s personal collection to the public through I\LMFMXMSRJSVXLI½VWXXMQI;LEXYPXMQEXIP]HIZIPSTIHEJXIVEGYPQMREXMSRSJRYQIVSYWMRXIVPYHIW[EWXLIE[EVIRIWWXLEXZIV]PMXXPI information was available about the man, husband, father, artist, teacher and friend.
“In Conversation, the David Botha Collection”, [MPPFIXLI½VWXFSSOTYFPMWLIHHIHMGEXIHXSXLMWMGSRMG7SYXL%JVMGEREVXMWX (EZMH.SLERRIW&SXLE MWVIKEVHIHEWSRISJXLIQSWXWMKRM½GERX'ETI-QTVIWWMSRMWXEVXMWXW[LSGERFIJSYRHOIITMRKKSSH GSQTER]EQSRKWXXLIPMOIWSJ,YKS2EYHI+VIKSMVI&SSR^EMIVERH8IVIRGI1E'E[ ,IJSYRHMRWTMVEXMSRMR¾S[IVWERHXVIIWEW[IPPEWXLIFIEYX]SJWMQTPI&SPERH8S[REVGLMXIGXYVI,MWQSWXTVM^IH[SVOWEVIXLSWISJLMW [IXWXVIIXWGIRIWMR4EEVPERH7XIPPIRFSWGL8LI[LMXI[EWLIHLSYWIWJVSRXIHF]HEVOPIE¾IWWXVIIWKPMWXIRSRFSXLGERZEWERHTETIV(EZMH [EWRSXSRP]ETEMRXIVFYXEPWSE½RITVSHYGIVSJPMRSERH[SSHGYXW0IWWIVORS[RMWLMWGETEGMX]EWGIVEQMGMWXEW[IPPEWLMWMRZSPZIQIRX in other artistic spheres, which included the ballet, poetry and music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
PROVENANCE %9'8-32,397) Paul Myson & Warren Scheuer
Pêrel and Palette
Auction: Wednesday 28th November 18:30 FINE ART
87 BREE STREET, CAPE TOWN, SOUTH AFRICA
IMPORTANT AFRICAN TRIBAL ART ‘THE COLIN SAYERS COLLECTION’ Wednesday 7th November at 10am
On view: Thursday 1st - Monday 5th November Lot 261: An early 20thC Kuyu headdress (DRC) Provenance: Egon Guenther Collection, Sothebys, NY, 2000 Estimate: ZAR30,000-40,000 (€3,000-4,000)
Comprising the entire stock in trade of ‘The Collector’, Church Street, Cape Town. 300 lots of authentic 19th and 20thC Tribal Art from Angola, Bakino Faso, Benin, Cameroon, DRC, Ethiopia, Ghana, Gold Coast, Ivory Coast, Kenya, Liberia, Mali, Morocco, Mozambique, Nigeria, SierraLeone, South Africa, Sudan, Swaziland, Tanzania, Uganda, Zambia, Zimbabwe Fully illustrated catalogue will be available on www.rudds.co.za and www.thesaleroom.com from early October For further details contact Charles Rudd +27 21 4260384 email@example.com
REFLECTIONS Cape Town docks and other works Alice Elahi Studio Gallery Pretoria November 2012 www.aliceelahi.co.za
Alice Elahi: Reflections and Smoke, Cape Town Docks 1979
Nushin Elahi’s London Letter Read more at http://london-letter.com but closer to Camden, it presents work made before 2000 and dating back to ancient and old masters. The show was obviously much emptier than its ten-year old counterpart, and I think Frieze is actually diluting its own impact. Even the most avid art lover has only so much tread in their stilettoes. Yes, you can see a Picasso alongside a tribal mask and a medieval icon, but I do believe that the price (£35 for both shows) and size will leave Joe Public behind and then the hype around the fairs could dwindle. And let’s face it, only hot air is really keeping those prices inflated. So when one smug gallerist said, the value of this work is… I was tempted to point out that price and value are not the same thing, especially these days. It’s funny how you can find any trend you want to see on these shows. Critics have commented on more film than before, and performance art, but at Frieze I kept seeing countless huge blocks of colour, in particular blue. Exquisite, saturated hues of blue, so it was a particular delight when I saw a grouping of Yves Klein’s Kleinbleu at Frieze Masters. Somehow it completed the circle. The £40 000 Turner Prize is another excuse for controversy in the art world, although these days people are almost surprised when there is anything that could be called painting or drawing on the shortlist. No longer shown in London every year, work by the four finalists is currently on display at Tate Britain until 6 Jan 2013 and the winner will be announced live on television on 3 December. The Frieze Art Fair in Regent’s Park is a major highlight on the arts calendar in London. It’s not only the rich and famous that hang out there to see nearly 200 galleries show the work of hundreds of contemporary artists. Not content with that, Frieze has now thrown its net wider to add yet another official fair, Frieze Masters, to the dozens that have spawned off this popular event. I have finally figured out why there are almost no labels at a show like the Frieze Art Fair. Aimed at collectors with more money than sense, it must be because if you can’t immediately see that those dots are a Damien Hirst, then the people you hope to impress with your collection won’t either, and your investment is pointless. That is also perhaps why this year’s Frieze felt and looked so much like last year’s. You can tick off all the regulars. The Damien pill cabinet is at Gagosian, his butterflies at White Cube, his spots at Victoria Miro, alongside Yayoi Kusama’s and a quirky new tapestry from Grayson Perry. Gagosian is not the only one with Franz West’s sculptures, Tracy Emin’s splayed nudes are instantly recognisable embroidered on white and Sarah Lucas showed with an Austrian gallery a wallpaper of a spindly nude pair of buttocks from behind clutching a bottle of milk. The lists go on and on. Most of the works were huge, unsurprisingly, as something small doesn’t stand a chance here. Nevertheless, what excites the public so about this decade-old event is the enormous range of work and galleries that you can find here. Although Europe, Asia and America are well represented, this year was the first time an African gallery was exhibiting. On the first day the Tate snapped up a piece by rising young South African artist Nicholas Hlobo, called Balindile I - strange ghost-like forms that appear out of rolls of black rubber tubing. The smaller stalls offer glimpses of art from around the world, some interesting and stimulating, much of it colourful and a fair bit quite awful. But that’s the fun of the fair – getting lost in a maze of art and suddenly realising that you’ve seen this one before! I find it unfortunate though that it is so difficult to learn about new artists here, although once you’ve braved the bored blank stare of most gallerists, they are happy to engage about whom they are showing. Frieze Masters, the newcomer on the block, is where the hundreds of thousands turn into millions (US dollars only here). Also in Regent’s Park, 46
Paul Noble is the only traditional artist among them, but although his intricate, detailed pencil drawings are painstakingly meticulous, the subject matter is curious, to say the least. Starting with a single word in the particular alphabet he has designed, Noble draws fantastical houses with no humans and strange, organic shapes, part of an enormous project of a mythical place called Nobson Newtown. Even the marble sculptures, in a strange black and white patterned stone, continue this monotone theme. Spartacus Chetwynd is the first performance artist to be nominated for the prize, and although her work certainly espouses spontaneity, and a fresh humour, I believe that it belongs under the umbrella of a theatre rather than an art gallery. In that more rigorous setting, however, it would be totally eclipsed by other challenging and engaging works. In fact, the artist talks about the gentler environment of the art gallery, one which allows extended experimentation, but the performances I saw looked like indulgent undergraduate drama school stuff rather than innovation. All this says is that the world of art has lost touch with reality while the theatre never has. Yet Chetwynd could well win because of the sheer novelty of her art in these confines. The other two artists are film makers. Luke Fowler works collaboratively in the art world, and has been artist in residence at the ICA this summer. He is committed to setting up platforms of creative exchange, something difficult to display. The Tate shows his photographs of musicians he works with and a feature-length film on RD Lang, which few people except psychology students will stay to watch. The vibrant creations of Elizabeth Price are much shorter and therefore more accessible. She weaves together existing archives of text, image and sound to create a bold new work. In The Woolworths Choir of 1979 she cleverly juxtaposes sound and image to merge choral singing, church decoration and the tragic fire in a Woolworth factory in Manchester, to explosive effect. (Captions right): Snaps from the Frieze Art Fair, Regents Park, London 2012) South African Nicolas Hlobe’s work on display, other gallery stands, (Top left) a still from Paul Noble’s video works on the Turner Prize
SA ART TIMES. November 2012
SA ART TIMES. November 2012
Marie van Reenen-Stander (1964 - ) Pepsie (alias Stoffel) - Jamestown, 2008 charcoal on paper 1 260 x 1 000 mm Sanlam Art Collection
SPI National Portrait Award 2013 R100 000
Prize awarded for the winning portrait.
Enter by 19 August 2013. Please visit www.spiportraitaward.co.za for the rules and entry form.