Page 1

The South African Art Times: SA’s leading visual arts publication | August 2013 | Free | Read daily news on


Pauline Gutter Wins The Absa L’Atelier Art Award 2013

Theo Paul Vorster Breathtaking Linocuts 2013 SA Print Gallery: The Home of SA Fine Art Prints

View Theo’s Catalogue on

South African Print Gallery : 109 Sir Lowry Road, Woodstock, CT Tel: 021 462 6851 E-mail:

Rosamund King Everard-Steenkamp, Barberton Daisies, signed, oil on canvas board, 37 by 45cm R180 000 – 240 000

AN INVITATION TO CONSIGN We are currently sourcing South African and International art for inclusion in our auction which takes place in Johannesburg on Monday 11 November 2013. For further information, or to book a consultation with one of our specialists, please call: 011 728 8246 / 079 367 0637

Stephan Welz Phillippa Duncan Ruarc Peffers

Entries close on Friday 30 August

Strauss & Co is the global leader in the South African art market















August 2013 Daily news at Commissioning Editor: Gabriel Clark-Brown Advertising: Eugene Fisher

Subscriptions: Julia Shields

Listings: Julia Shields

Send Artwork To: Designer

Letters to the Editor:

PO Box 15881, Vlaeberg, 8018. Tel. 021 424 7733 Fax. 021 424 7732

Deadline for news, articles and advertising is the 18th of each month. The Art Times is published in the last week of each month. Newspaper rights: The newspaper reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the SA Art Times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved.

Global Art Information Group

The July and August Art Times editions are always challenging ones as the art market is awakening after the mid-winter recess, to busily prepare for spring (heralded in by the Joburg Art Fair). I haven’t received figures from the Turbine Art Fair held at the end of July in Newtown yet, but I am certain that it will contribute towards keeping the art business busy in these winter months. In these few quiet months I have heard of a new trend, whereby gallery directors/owners employ a temp in order to get away and stimulate their business in the northern hemisphere, as well as educate themselves on the latest international art market movements. The break also helps them in getting a better context of their business in the drone of everyday market life. Art for All - a third Art Fair - is coming to Cape Town later this year, and promises to assist in the growing of new local art markets. Although Capetonians don’t have the Joburg Art Fair, they do have a prolonged yearly season lasting well after Christmas stimulated by an enormous tourism season of art lovers heading for the Cape coast. It seems too that galleries are sharing stock of their artists with other local and international gallerys like never before, in order to find new markets. Of course, the art auction season takes place four times a year with major sales houses having Cape Town and Johannesburg sales twice a year, and much of this cliental are not all weather dependent. And with the opening up of more auction houses going international and live bidding via sales-room, potential buyers increase many fold. Either way, despite the winter, galleries and artists it seems are making plans to create new markets beyond the current weather patterns and Facebook profiles.

Prime Artist Studio Spaces in the heart of Observatory CT Dynamic studio spaces available for manufacturing artists ranging between R1000 to R4000 p/m. A beautiful loft studio available from September. Please contact Jane on 082 954 7740 or email to find out more The Bijou is home to many artists, including artist Blacksmith Conrad Hicks

Be part of our Joburg Art Fair Edition 2013 Get your Gallery, artwork featred at the prestigious JAF 2013 through our pages that will be circuated at the JAF. Call Eugene at 021 424 7733 or e-mail


johans borma n F I N E



Wag met witskrif vir oorleg Beeld. Willem de Vries. Min tyd vir insette en voorleggings op die voorgestelde hersiene witskrif oor kuns, kultuur en erfenis, asook die talle vrae oor die dokument, beteken die departement kuns en kultuur sal nouer moet saamwerk met al die rolspelers en dat die afsnydatum uitgestel behoort te word. Dít het verlede week geblyk uit ’n openbare vergadering in Kaapstad waar die dramaturg en kunste-aktivis Mike van Graan, asook Deirdre Prins-Solani, ’n erfenisbeleidkenner, die woord gevoer het. Die Arterial Network in Suid-Afrika het die gesprek gefasiliteer. Op 12 Julie het die departement kuns en kultuur met belanghebbendes in Johannesburg ’n werksessie gehou. Daar was konsensus dat die dokument vol gebreke is, het Beeld toe berig. Die spertyd vir voorleggings is reeds Donderdag. Die eerste witskrif wat in 1996 aanvaar is, is opgestel ná uitgebreide oorleg met die kuns-, kultuur- en erfenissektor en deur mense benoem deur die sektor, het Van Graan gesê. Die hersiene dokument “is opgestel met weinig insette van die groter sektor en lyk soos die produk van konsultante wat min kennis en ervaring van die sektor het”. Volgens hom is die dokument se uitgangspunt nie die kuns-, kultuur- en erfenissektor nie, maar eerder ’n politieke doelstelling, naamlik dit sal, in minister Paul Mashatile se woorde, bydra tot “die land se uitdagings van werkloosheid, armoede en ongelykheid”. “In die dokument word die sektor gelyk gestel

aan kulturele en kreatiewe nywerhede,” sê Van Graan. “In die algemeen sluit die kunste, kultuur en erfenis die kulturele en kreatiewe nywerhede in, maar is nie daaraan gelyk te stel nie.” In die dokument word ook geen onderskeid tussen die sektore getref nie. Die dokument kom volgens Van Graan as ideologies verward voor: Dit beklemtoon aan die een kant die grondwetlike reg op vryheid van uitdrukking, maar aan die ander kant sal die finale goedkeuring vir finansieringbesluite by die minister en adjunkminister van kuns en kultuur berus. “Die eerste witskrif se visie was gegrond op ’n menseregtebenadering, terwyl dié een ’n markgedrewe en kultuurnywerhede-benadering beklemtoon.” Prins-Solani mis in die dokument veral aanduidings van wat alles oorbrug moet word tussen en binne sektore, ook watter voorsienings alles gemaak word. “Daar is ook geen historiese ontleding nie.” Vermoëbou ontbreek duidelik in die dokument, het sy gesê. In die dokument word genoem transformasie in die kunsnywerhede geskied nie teen die verlangde koers nie, maar geen navorsing wat dit staaf, word aangebied nie, sê Van Graan. Sy voorstel is daar moet wyd in die sektor oorleg gepleeg word. Bestaande raamwerke wat in Afrika en elders toegepas word, moet bekyk word en waar toepaslik, oorgeneem word. Volgens Van Graan is navorsing nodig ná die vordering wat sedert 1996 gemaak is.

Jacobus Kloppers ‘Middeland’ (2013) Oil on canvas

A showcase for the best of SA Masters and leading contemporary artists

Pranas Domsaitis ‘Three Sisters, Karoo’

Oil on board

Telephone: 021 683 6863 E-mail: Mon-Fri: 09h30 - 17h30 Sat: 10h00 - 13h00 or by appointment

16 Kildare Road, Newlands Cape Town

Besoek en www.arterialnetwork.

Read daily local and international art news everyday at- Art Times - Facebook Profile 17 500 likes

Francois Krige ‘Clifton’

Oil on canvas SA ART TIMES. August 2013


Advertise in the SA Art Times September 2013 : Joburg Art Fair Bumper edition

Joburg Art Fair 2013 Advertise your gallery, art or services in the bumper Joburg Art Fair 2013 edition. Call Eugene and be surprised with our specially designed advertising package that is compiled over multi-media platforms, in order to reach the best exposure your advertising budget can buy. Call Eugene on 021 424 7733 or

Asha Zero (1975 - ) Spandex-Vice (detail) 2005 acrylic on board Sanlam Art Collection

SPI National Portrait Award 2013 R100 000

Prize awarded for the winning portrait.

Enter by 19 August 2013. Please visit for the rules and entry form.


Everard Read, Cape Town


A GROUP EXHIBITION 31 July - 21 August 2013 3 Portswood Road, V&A Waterfront +27 21 418 4527

Standard Bank Gallery 10 July to 14 September 2013

Cnr Frederick and Harrison streets, Johannesburg. Monday to Friday 8am to 4.30pm and Saturday 9am to 1pm. Tel: 011 631 4467

Simon Stone: Novocaine Result, 1987, Oil on Metal, 29 x 20 cm

Authorised financial services and registered credit provider (NCRCP15). The Standard Bank of South Africa Limited (Reg. No. 1962/000738/06). SBSA 146002-5/13 Moving Forward is a trademark of The Standard Bank of South Africa Limited

Moving Forward



On the local art media radar

Hofmakery van boere lei tot L’Atelier Beeld: Die kunstenaar Pauline Gutter het die televisiereeks Boer soek ’n Vrou getap vir inspirasie vir haar wenwerk in vanjaar se L’Atelier-kunskompetisie. En eersdaags gaan dié Vrystater ses maande lank in Parys, Frankryk woon en werk, skryf Elretha Britz. Gutter se wenwerk, Die huweliksaansoek, is ’n installasie en bestaan uit ’n video, ou plaastelefoon, gegraveerde plaatjie en ’n houtsuil. Visueel is die werk betreklik simplisties maar agter dié fasade is dit barstens toe vol betekenis. Die 32-jarige kunstenaar verduidelik: “Die vertrekpunt is die kykNET-werklikheidsreeks Boer soek ’n vrou. Soos ’n boer sy stoetvee kies, so kies hy ’n vrou. Die bul verteenwoordig manlikheid en ’n patriargale stelsel. Die interaktiewe deel van die installasie (die telefoon) nooi die kyker om in te luister op die klankbaan van Boer soek ’n vrou en noop die kyker om ook voyeuristies op te tree. “Die verwekking van nasate word verwag. In die stemkuns (deur Gerben Kamper) loop Brakanjan die wêreld storm om harte te wen.” Gutter sê die verwewing van verskillende kunsdissiplines het ook in haar guns getel.Benewens die inspan van stemkuns en videobeelde, het sy die hout-obelisk laat maak, die telefoon as gevonde objek gebruik en ’n plaatjie laat graveer.

‘Wag met witskrif vir oorleg’ Beeld: William de Vries. Min tyd vir insette en voorleggings op die voorgestelde hersiene witskrif oor kuns, kultuur en erfenis, asook die talle vrae oor die dokument, beteken die departement kuns en kultuur sal nouer moet saamwerk met al die rolspelers en dat die afsnydatum uitgestel behoort te word. Dít het verlede week geblyk uit ’n openbare vergadering in Kaapstad waar die dramaturg en kunste-aktivis Mike van Graan, asook Deirdre Prins-Solani, ’n erfenisbeleidkenner, die woord gevoer het. Die Arterial Network in Suid-Afrika het die gesprek gefasiliteer. Op 12 Julie het die departement kuns en kultuur met belanghebbendes in Johannesburg ’n werksessie gehou. Daar was konsensus dat die dokument vol gebreke is, het Beeld toe berig. Die spertyd vir voorleggings is reeds Donderdag. Die eerste witskrif wat in 1996 aanvaar is, is opgestel ná uitgebreide oorleg met die kuns-, kultuur- en erfenissektor en deur mense benoem deur die sektor, het Van Graan gesê. Die hersiene dokument “is opgestel met weinig insette van die groter sektor en lyk soos die produk van konsultante wat min kennis en ervaring van die sektor het”.

Toegang tot geld bly remskoen vir kunste Beeld: Willem de Vries. Die Nasionale Kunstefees (NAF) skud reeds sy vere reg vir sy 40ste verjaardag volgende jaar. Tog bly toegang tot geld vir die kunste ’n remskoen. Daar is nie soseer ’n tekort aan geld vir die kunste nie, maar ’n tekort aan toegang tot bestaande finansiering bestaan wél. Só sê Tony Lankester, uitvoerende hoof van die NAF, oor die kwessie van beskikbare geld vir die kunste in Suid-Afrika. Talle kunstenaars wat deur die feeskomitee vir vanjaar se fees voorgestel is, kon as gevolg van die tekort aan geld nie deel van die program wees nie, voer Jay Pather, voorsitter van die fees se artistieke komitee, aan in sy feesgidsvoorwoord. En vanjaar maak die Oos-Kaapse toneelgeselskap Ubom! ná 11 jaar sy deure toe omdat daar nie betyds geld beskikbaar was nie. Administratiewe en burokratiese kwessies maak dit moeiliker vir kunstenaars en geselskappe om toegang te kry tot dié geld wat vir die kunste opsygesit is, sê Lankester. “Uit die fees se oogpunt is ons gelukkig dat ons nou ’n langtermyn-verhouding met die departement van kuns en kultuur het.

Ekonomie van kunste onder loep Beeld: Die Arts and Culture Trust (ACT) bied in samewerking met die Universiteit van Johannesburg (UJ) vanjaar weer ’n kunstekonferensie aan. Hierdie keer is die titel “Creative Currencies: Accessing Opportunities in an Expanding Marketplace”. Die konferensie op UJ se Auckland Park-kampus word van 6 tot 8 Augustus aangebied. Onder voorsitterskap van Mike van Graan kry konferensiegangers ’n oorsig van sake- en handelsaspekte met betrekking tot kulturele en artistiese ondernemings in Suid-Afrika, die vasteland en wêreldwyd. Volgens Melissa Goba, ACT-voorsitter, is dit noodsaaklik dat belanghebbendes in die kuns- en kultuursektor die geleentheid kry om sonder vooroordeel, onafhanklik en gestruktureerd gesprek te voer. Die hoofspreker op die eerste dag is die Britse kultuurstrateeg John Newbigin. Benewens Newbigin se lesing waarin die agtergrond en beginsels van die kreatiewe ekonomie verken word, is daar aanvullings tot dié onderwerp deur afgevaardigdes van Nigerië, Kenia en Ghana oor die manier waarop regerings in Afrika die ontwikkeling van die kreatiewe bedryf bevorder of striem.

Read daily local and international art news everyday at- Art Times - Facebook Profile

- Art Times -

17 500 likes


Imaginary Fact: Contemporary South African Art and the Archive South African Pavilion, 55th La Biennale di Venezia, 2013. Sale d’Armi, Arsenale, Venice. 1 June to 24 November 2013 Commissioner: Saul Malobi, South African Consul-General, Milan, Italy. Curating organisation: National Arts Festival, Grahamstown, South Africa. Curator: Brenton Maart Funder: South African Department of Arts and Culture By Brenton Maart Introduction In South Africa, during its turbulent twentieth century, visual art focused on political resistance and became a vehicle for insurgency against human rights abuses. After the advent of democracy it shifted towards an exploration of issues of identity, with race and gender gaining prominence. Today, contemporary South Africa is witness to a further significant movement – a renewed and invigorating focus on how and why histories continue to impact on the world today. To do this, contemporary artists are turning to the archive as the repository of these histories, and this is the concept behind Imaginary Fact: Contemporary South African Art and the Archive – the South African Pavilion exhibition at 55th La Biennale di Venezia, 2013 – which draws on South Africa’s key practitioners who, in very different and vibrant ways, draw on the archived record in order to make sense of our worlds today. The most common methods used are translation (into new and evolving languages), interpretation (into new and evolving meanings), and mediation (from one medium to another), sometimes used individually, sometimes in combination, but often to startling effect. The exhibition mapped the terrain into five key themes. Administering the archive looks forward from colonialism as its point zero, to here include more recent archives of social, union and other movements, records of private organisations, genealogical maps, personal and family ‘tin-trunks’ of manuscripts, religious texts and their commentaries, audio and photographic records. Sue Williamson’s For thirty years next to his heart (1990) is composed of multiple colour photocopies of Ncithakalo John Ngesi’s hated apartheid dompas, installed as a tightly gridded metaphor for the processes of administration and bureaucracy. Its insidiousness can be seen by the fact that, even after it was no longer necessary, Ngesi continued to carry the book. Nhlengethwa’s Glimpses of the Fifties and Sixties (2002–2003) examines a multiplicity of views through his use of the technique of collage with elements gleaned from archive of Drum manazine and the artist’s collection of family photograhs. The violence inherent in the collage process (tearing, cutting, splicing) is manifest in the content of certain of the works that reference the inhumanity that accompanied the growth of apartheid. However, Nhlengethwa is also adept at using the constructive elements of collage (piecing together, making things work, transforming disjointed components into narratives of love, creating sense from chaos) to present evidence of normal, everyday life. Bloch’s Hoard (2013) is a faux anthropological installation of modelling clay facsimiles – wonky, not to scale, sprayed gold – of items selected from the University of Cape Town’s Manuscripts and Archives Department, the Mapungubwe collection, and from the artist’s personal collection. Together, rendered cohesive by the materiality of their copies, the three collections become one. By giving these very different kinds of objects the same treatment, the artist adamantly calls into question, and defiantly overthrows, the arbitrary nature of the act of bestowing value. Performing the archive In antithesis to the archive as a traditionally inanimate repository, Performing the archive draws attention to how contemporary live performances are able to personify the past and present these to a contemporary audience with immediacy, relevance and advocacy. Of the range of curatorial methodologies applied here, one of the more powerful is the formative intellectual agency of the nature of affect. In response to the ethnographic photography of Alfred Martin Duggan-Cronin (c. 1930/1940), Andrew Putter created the two series of images that make up Native Work (2013). In the first, a group of black and white photo prints mimic Duggan-Cronin’s images. It is only when the viewer starts noting the niggling disjuncture in ‘typology’ that the power of the project emerges. Each of Putter’s ‘ethnographic’ photographs is given a title that begins to hint at the performance inherent in the imagery from the early 1900s. In an accompanying digital installation, each of Putter’s ‘ethnographic’ sitters is then shown in contemporary garments of their own choosing. Thus, ironically, inasmuch as the ethnography may be described as performative, the ‘real-life’ may be equally performative, where the presentation choices made by the sitter are designed to convey the representation of the self, as constructed on an individual basis.


And this is where the full power comes to the fore: it is possible that early ethnographic photography may, with contemporary hindsight, be interpreted as evidence of mutual, equal and opposing displays of vectors of power and representation, in the meeting of two very different groups of people. Athi-Patra Ruga’s public performance The Future White Women of Azania takes an ostensibly masculine history and imbues it with a violet hue that may, in a word, be described as queer, vested in aspect of the three methods of queer pedagogy described by Deborah Britzman as ‘the study of limits, the study of ignorance, and the study of reading practices’. The project may be read as a set of ‘impertinent performances’ that are, to quote William Haver’s reading of queer pedagogy, ‘an interruption’ of the world by pedagogies. It is then ultimately here that the work becomes more emphatic about its true allegiance to queer methodologies; that the actions of research become, not method or means to an end, but points of departures, positions of influence, intrusions and disruptions; constant creativity and the infinite possibility that, according to Britzman, what is important is not that ‘anyone might be queer’, but that ‘something queer might happen to anyone’. It is also within this realm that the public performances of Nelisiwe Xaba, Athi-Patra Ruga and Donna Kukama do their work. As with all archives worth their salt, the site-specific works presented as part of Imaginary Fact build on previous manifestations which then, in effect, become archives in their own right. Xaba’s Venus in Venice (2013) draws on the archive of Saartjie Baartman, focusing on the discord between the plethora of information on Baartman’s physicality on the one hand, and her psychology on the other. The fixidity of the archive of Baartman then becomes a body of material for interpretation with contemporary hindsight. Donna Kukama’s Investment Bank of Elsewhere (Is Survival not Archival?) (2013) examines the irony of archival ephemerality. Both these artists will performe their work during the Biennale’s finnisage week. Spatialisation of the archive Case studies of the agencies of performance lead into the power shifts that define post-independence, and its public statements where the built edifice – the monument – functions as emblem of nationalist identities, and also as a shift to an era where heritage has become a product. Spatialisation of the archive addresses the irony of packaging the social imperative of liberation movements for capitalist consumption. Johannes Phokela’s Collar Series (2006) are three oil on paper works of the unpainted faces of a City official/mayor, Son of a rich man and an Army officer. Their collars depict professional and personal status. Although their iconographical presentation hints at their European lineage, the fact that their faces are left blank introduces the element of doubt into Phokela’s rip-offs: creating subversion, creating parodies, characterising demeanour not origin. However, as we know that these characters have an alarming longevity, Phokela’s work may be viewed as an act of insurgency against today’s remainders of European colonial action, being and thought. It may be possible then that, through this reference, Phokela underlines his key intention: to question the insidious system of colonial values that perpetuate themselves through symbols, signs and icons, regardless of lineage, race, social or economic status. Cameron Platter appropriates a print of Rorke’s Drift’s John Muafangejo in his pencil crayon drawing The Good Shepard Presents Dr. Bombaka (2009). However, unlike Muafangejo’s (presumably) sincere depiction of the leader of the Christian faith, Platter presents him as a contemporary, crack healer, one of the many charlatans in South African cities who entice patients with promises of success at gambling and love, potions for penis enlargement and prolonged intercourse… Platter thus derives his work from two archives: and African art history in tandem with colonial European missionaries, and a contemporary collation of statements from leaflets of healers who, like the perpetuation of Christianity, create a situation for desperation. That is how the Christian movement made its money; this is how the crack confidence tricksters make theirs. David Koloane’s The Journey draws on Truth and Reconciliation Commission’s testimonies to narrate the final few hours of Steve Biko. For the work, Koloane relied on his own memory (a personal archive) and also the more recent TRC hearing on Biko’s death. Unlike the status of the icon, Koloane here attempts to restore the simplicity of the horror of torture and murder to a collective consciousness. The power of apartheid, and the methods it employed, have now become, for many, nothing more than a vague memory of a period in history. The TRC provided a temporary bump on an otherwise inevitable slide towards a relegation to the past; a forgetting.

REwind: A Cantata for voice, tape and testimony, composed by Philip Miller and visualised by Gerhard and Maja Marx, commemorated the tenth anniversary of the TRC. Its timing, intention and execution was, in effect, an attempt at monumentalising the monument that was the TRC. For Imaginary Fact, the three artists again collaborated to produce REwind (2007 to 2013) which, although using the source material of its original manifestation, is here recreated into an installation with separate video and audio components. Two discrete archives provide the starting points. In the first, Miller samples and recomposes audio recordings from the TRC hearings, where an individual story becomes a proxy for hundreds and thousands of similar narratives; one thing stands in for a host of others. In the second archive for REwind, Gerhard Marx and Maja Marx accessed their immediate, contemporary, environments to provide the filmic accompaniments to the audio score. A direct result of this thinking is the fact that contemporary archive practice may be used as a means to trace the perpetuation of history into the world, as we know it, today. Post-independence media formations In both colonial and post-independence regimes, traditional forms of video and audio played pivotal roles in political power plays and shifts. Their initial and often short-lived deployment in propaganda put to use the sector’s greatest asset: that of the seemingly one-way flow, where information generated and disseminated by the group in power reached an audience rendered as passive consumers without the means to register their critiques. More recently however, enhanced digital functionality – with its proliferation of user-friendly social media – challenges this unidirectional flow of power. Now, the means to choose, generate, selectively reproduce, alter and redistribute mass media broadcasts results in a practice that is often beyond the control of the state. The films of Penny Siopis weave together very different types of archives. For Obscure White Messenger (2010), Siopis reimagines the death of H F Verwoerd, the architect of apartheid, by the hand of Demitrios Tsafendas, a South African deprived of his land and home. The most striking of juxtapositions in the film is a psychiatrist’s interview with Tsafendas (played as text along the bottom of the screen) with found 8mm and 16mm footage of white South African families. The text and the film footage were originally unrelated; within their confines in history, they had different originators, audiences and functions. However, when Siopis splices them together, butts them up against each other, they begin to converse with each other, each supplementing the other as, together, they construct a narrative. Suddenly the films of white families at play reveal themselves as evidence of complicity in apartheid; simultaneously the psychiatrist’s interview with the ‘murderer’ reveals the covert practices of an apartheid that relied on obfuscation, misrepresentations, and half-truths… By this creative act of juxtaposition (video collage, as it were), Siopis highlights the mutability of meaning, even meaning vested within the archive, that bastion of ‘unchanging truth’. This is a radical approach to creative archival practice which extends on the traditional approach of using available archival fragments (what is there) to fill the gaps (what is not there), in a bid to construct a more complete and coherent narrative. By combining the tools of historiography and anthropology, these studies rely on extrapolation. Here, proof is never absolute, and the narrative is continually refined and channelled towards the realm of the increasingly probable (the possible). Eventually, this scientific approach reaches a tipping point where no further claims may be generated. It is here that the more unorthodox approach of Siopis steps in with the application of a contemporary literary technique, one that merges the documentary (the evidence) with fictional construction (the invention). This practice, termed ‘documentary fiction’ or ‘fictional documentary’, extends archival fragments to close the gaps with a narrative approaching the realm of the plausible (the believable). This blurring of genres signals an influential new direction in creative, archival narrative construction, one that celebrates a rare talent: that of productive imagination. It is this practice of transposition that James Webb applies to his Children of the Revolution (2013), where his primary archive is the original 1972 rendition of the glam rock anthem by T. Rex, here translated into isiXhosa and arranged for voice and megaphone. The function of this transposition is in resurrecting an archived political statement and making it contemporary in a manner that comments on the relevance of the past in today’s world. In effect, the work becomes a renewed call for rigorous, concerted and sustained political action.

SA ART TIMES. August 2013

VENICE 2013 / REVIEW | ART TIMES Archival absences and surrogate collections of the African state The dispersal of archives, along with the inherent temporal and dynamic nature of the archive, highlight an important reality: gaps are inevitable. Simply put, building a complete archive is an impossible task, and this is what the fifth and final theme – Archival absences and surrogate collections of the African state – interrogates with case studies that invent novel methodologies to make sense of ruptures in the archival body. Zanele Muholi chooses to deal with this directly with her Faces and Phases (2006 to date), an ongoing photographic project that addresses the absence of black lesbians in prevailing bodies of records. Muholi’s work is part activism and part art, a process she describes as ‘visual activism’. In all photographs, the subjects look directly at the camera, indicating not only the relationship between the photographer and the sitters, but also creating a conversation between the sitter and the audience of the artwork. This is the first, and major step, in the process of self-representation: the counterexertion of power through the gaze. Further, when the series of 200 images are installed in relation to each other, multiple conversations begin to emerge, and what began as an act of activism by Muholi has now, seven years later, developed into a network that inscribes a new archive into the prevailing canon. This concept is, in effect, an extension of an African aesthetics that developed during the 1950s. Based on the intellectual pillars of Negritude and Pan-Africanism, Muholi’s project is grounded in her earlier activist work which allowed an initial experience of a perceived otherness, a reflection on this disjuncture, a generalisation of its prevalence and effect, and an application of activist strategies to correct the problem. Because Muholi, and her subjects’, perspectives are grounded in Africa, the action of legitimation may, in effect, be classified as a decolonisation of the mind. In the same way the anti-racist racism was applied as a tool of synthesis and as a strategy for subversion and rebellion to contradict colonial alienation, Muholi applies her anti-homophobic activism within a country that still continues to negate, and is unable to digest, a natural state of being. Two bodies of sculpture make up Wim Botha’s contribution to Imaginary Fact, with all work constructed from books. The books, and their content, come pre-loaded, dragging behind them the weight of their histories that then, through sculptural agility, find a new home within new figurative forms. In various ways various books find their way into the sculpture, thus consciously or inadvertently addressing institutionalised attribution. Unlike the older procession of busts on exhibition, the work commissioned for this exhibition, Study for the Epic Mundane (2013), is seemingly physically incomplete, becoming increasingly fragmented with each new viewing. Sequences become splintered. Instead of generating a ‘bigger picture’ as the busts seem to lean towards, Study seems to lay bare provisional change; seems to revel in a situational contingency that flies in the face of the traditional approach to researching, recording, analysing and presenting historical information. This, in effect, subverts the arrogance of the modernist method of writing history: one ideology, one writer, one story that – through its prescription – becomes the prevailing dogma. Unlike the busts with their leaning towards an impossible harmony, consistency, rationality and significance, Study revels in entropy, in the existence of the interim, in the incoherence experienced during dynamic flux. The same argument holds for contemporary archival practice: different viewers read the same archive in different ways. It is here that Botha’s Study underlines the work’s remarkable contribution to the construction of the method of the open-ended conclusion. Conclusion A conclusion comes at the end, so it is apt that this conclusion deals with that most problematic of prefixes, the presumptuous, optimistic and oft erroneous post-. Post- is usually accepted to mean after, so post-colonial and post-apartheid seem to imply that these are periods where the colonial and apartheid cease to exist. From the perspective of historiography, this may be (slightly) acceptable as an attempt at linear temporality. However, from a perspective of the rest of the humanities (anthropology, sociology, political science) and its scientific cousin, a web-like, evolutionary theory, these terms do not take into account effect. So even though the legislative policies and practices of colonialism and apartheid are now a thing of the past, their effects continue into the contemporary. In other words, the past continues to live with us, and haunt us, in everything we do. The research question at the heart of Imaginary Fact understands that the archives accessed by South African artists on the exhibition were constructed within the contexts of, and expressed aspects of the ideologies of, colonial expansion and high apartheid; that political change has ensued, colonialism and apartheid have been dismantled, with concomitant ideological shifts. The exhibition seeks then in the first instance to track what has happened to these archives and their original intentions and interpretations and, more importantly, to consider what they currently express. The shift in meaning then provides the context that artists engage visually through photography, installation, sculpture, drawing, painting and performance. Imaginary Fact assesses visually the matter of failed social engineering and its evidence in contemporary legacies. The ultimate curatorial intention, then, is to track the insidious perpetuation of history into the world we call home today.

SA ART TIMES. August 2013

Grand entrance to the South African Pavilion at the Sale d’armi in the Arsenale; Photo by Mario Todeschini

Athi-Patra Ruga’s FWWOA at La Biennale di Venezia for South African Pavilion

Johannes Phokela: Collar Series (2006) (Left)

Andrew Putter: Native Work (2012)

Sue Williamson: For thirty years next to his heart (1990)

Joanne Bloch: Hoard (2012/13)

Wim Botha: Study for the Epic Mundane (2013)

Sam Nhlengethwa: Glimpses of the Fifties and Sixties (2002/3)



The SA Art Times : origination of local Artists Birthdays.

SA Art Times August Artists Birthdays

1 August: designer: Yves Saint-Laurent Yves Henri Donat Mathieu-Saint-Laurent, known as Yves Saint Laurent, August 1, 1936 – June 1, 2008, was a French fashion designer, and is regarded as one of the greatest names in fashion history. In 1985, Caroline Rennolds Milbank wrote, “The most consistently celebrated and influential designer of the past twenty-five years, Yves Saint Laurent can be credited with both spurring the couture’s rise from its sixties ashes and with finally rendering ready-to-wear reputable.” He is also credited with having introduced the tuxedo suit for women and was known for his use of non-European cultural references, and non-White models.

3 August: ‘Local’ artist: Marlene Dumas Marlene Dumas (born 3 August 1953) is a South African born artist and painter who lives and works in Amsterdam, The Netherlands. In the past Dumas produced paintings, collages, drawings, prints and installations. She now works mainly with oil on canvas and ink on paper.Stressing both the physical reality of the human body and its psychological value, Dumas tends to paint her subjects at the extreme fringes of life’s cycle, from birth to death, with a continual emphasis on classical modes of representation in Western art, such as the nude or the funerary portrait. By working within and also transgressing these traditional historical antecedents, Dumas uses the human figure as a means to critique contemporary ideas of racial, sexual, and social identity.

4 August: Nicolas-Jacques Conte Nicolas-Jacques Conté, born in Normandy, 4 August 1755 – 6 December 1805. was a French painter, balloonist, army officer, and inventor of the modern pencil.He distinguished himself for his mechanical genius which was of great avail to the French army in Egypt. Napoleon called him “a universal man with taste, understanding and genius capable of creating the arts of France in the middle of the Arabian Desert.”

between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist. The Andy Warhol Museum in his native city, Pittsburgh, Pennsylvania, holds an extensive permanent collection of art and archives. It is the largest museum in the United States dedicated to a single artist. Warhol’s art encompassed many forms of media, including hand drawing, painting, printmaking, photography, silk screening, sculpture, film, and music. He was also a pioneer in computer-generated art using Amiga computers that were introduced in 1984, two years before his death. He founded Interview Magazine and was the author of numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. He is also nnotable as a gay man who lived openly as such before the gay liberation movement.

7 August: Emil Nolde Emil Nolde (7 August 1867 – 13 April 1956) was a German painter and printmaker. He was one of the first Expressionists, a member of Die Brücke, and is considered to be one of the great oil painting and watercolour painters of the 20th century. He is known for his vigorous brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals. Nolde’s intense preoccupation with the subject of flowers reflect his continuing interest in the art of Vincent Van Gogh.

13 August: Local Artist: Jacobus Hendrik Pierneef Jacobus Hendrik Pierneef (usually referred to as Pierneef) (13 August 1886 Pretoria – 14 November 1957 Pretoria), was a South African landscape artist, generally considered to be one of the best of the old South African masters. His distinctive style is widely recognized and his work was greatly influenced by the South African landscape. Most of his landscapes were of the South African highveld, which provided a lifelong source of inspiration for him. Pierneef’s style was to reduce and simplify the landscape to geometric structures, using flat planes, lines and colour to present the harmony and order in nature. This resulted in formalized, ordered and often-monumental view of the South African landscape, uninhabited and with dramatic light and colour. Pierneef’s work can be seen worldwide in many private, corporate and public collections, including the Africana Museum, Durban Art Gallery, Johannesburg Art Gallery, King George VI Art Gallery, Pierneef Museum and the Pretoria Art Gallery.

farmer. Under the sponsorship of Max Liebermann he enrolled at the Royal Academy of Fine Arts in Königsberg in 1907, graduating in 1910; this was his first formal schooling. He then travelled to, and studied at, various European capitals; he was strongly influenced by a meeting with Edvard Munch. He befriended and travelled with the artist Fritz Ascher from Berlin, who drew a portrait of him im 1919/20. He spent World War I partially on his parents’ farm and partially in military service, and then resumed his travels and artistic career. His successful exhibitions in Germany, Switzerland, Austria, Romania, and Turkey were disastrously followed by his inclusion in a 1937 exhibition of Degenerate art and the removal of his works from German museums. In 1938 he began signing his pictures using the Lithuanian version of his name (he had taken Lithuanian citizenship in 1920). He spent the war painting “harmless” still lifes. In 1949 the University of Cape Town in South Africa offered his wife, the singer Adelheid Armhold, a position as a senior lecturer. He spent the rest of his life there.

17 August: Larry Rivers Larry Rivers (August 17, 1923 – August 14, 2002) was an American artist, musician, filmmaker and occasional actor. Rivers resided and maintained studios in New York City, Southampton, New York (on Long Island) and Zihuatanejo, Mexico. Rivers is considered by many scholars to be the “Godfather” and “Grandfather” of Pop art, because he was one of the first artists to really merge non-objective, non-narrative art with narrative and objective abstraction. Rivers took up painting in 1945 and studied at the Hans Hofmann School from 1947–48. He earned a BA in art education from New York University in 1951. He was a pop artist of the New York School, reproducing everyday objects of American popular culture as art. He was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery in 1955.

18 August: Local Artist: Matthew Hindley Matthew Hindley is a South African artist born in Cape Town 1974, who lives and works in Cape Town. After graduating with the Michaelis Prize from the Michaelis School of Fine Art in 2002, Hindley has explored sculpture, drawing, video and physical computing and more recently has focussed on painting. Hindley is represented in South Africa by Brundyn + Gonsalves.

19 August: Gustave Caillebotte Gustave Caillebotte, 19 August 1848 – 21 February 1894, was a French painter, a member and patron of the group of artists known as Impressionists, though he painted in a much more realistic manner than many other artists in the group. Caillebotte was noted for his early interest in photography as an art form. 6 August: Andy Warhol Andy Warhol (August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movement known as pop art. His works explore the relationship


15 August: Pranas Domsaitas Pranas Domšaitis (born Franz Domscheit, August 15, 1880 – November 14, 1965) was a painter. Born in Cropiens, a village in the Kingdom of Prussia near its border with Lithuania, Domšaitis spent his first 27 years as a

SA ART TIMES. August 2013


20 August: Local Artist: Jan Ernst Abraham Volschenk Jan Volschenk was a self taught painter who specialised and excelled in the landscape genre. He found inspiration from his local surroundings of Riversdale and the Langeberg range served as the subject matter for most of his work. He held very few exhibitions during his art career. On the rare occasions that he did exhibit, these took place mostly in Cape Town and a few were held internationally as well. Though he is most famous as a painter, Volschenk has also made a contribution to natural history with his collection of more than 4000 beetle specimens. He also did a lot of heraldry work around his home town.

22 August: Local Artist: Ephraim Ngatane Ephraim Ngatane was born in Maseru, Lesotho on 22 August 1938, and moved to Orlando West, Soweto, Johannesburg in 1943 with his parents, where he lived and worked until his early death in March 1971, at age 33. Taking artistic inspiration from his daily experience of urban black township life on the Witwaterstrand during the 1950’s and 60’s, his paintings are today regarded as important documents of social realism, authentically depicting township life during this period. At the Mooki Memorial College in Orlando, Ngatane’s artistic talent was recognised early on by his primary school teacher Mrs E.L. Mooki, who convinced his parents to allow him to pursue an artistic career. The loose, free-flowing watercolour technique taught by Cecil Skotnes at the Polly Street Art Centre appealed to Ngatane during his studies there between 1952 and 1954, resulting in him developing a personal approach which stylistically differed from the tradition of township expressionism.

24 August: Local Artist: Carl Buchner Carl Buchner was born in Somerset East, Cape Province. He studied languages at Wits and then art at Wits Tech Art School. He lectured at the Michaelis School in 1963, and, served on the selection boards for the Venice and Sao Paulo Biennali and various national exhibitions. In his work Buchner reveals himself as a romantic humanist. His early work was mostly devoted to human subject matter, sensitively portrayed, with frequent use of palette knife, scumbling colours to create texture and colour variation. Later works exhibit modelling with brush to create three-dimensional plasticity. In the late fifties was influenced by the minimalist still life technique of Morandi. He was closely associated with Maurice von Essche and one can clearly see the influence of his style on Buchner over the years.

25 August: Local Artist: Paul Emsley Paul Emsley (born August 25, 1947) is an artist who worked in South Africa until 1996 and is now resident in Bradfordupon-Avon, Wiltshire, England. He is a former lecturer at the Stellenbosch University and the 2007 winner of the BP Portrait Award for portrait painting.[1] His work can be found in most public collections in South Africa, The National Portrait Gallery London and The British Museum. He is known for his large detailed images of people, animals and flowers. There was a major retrospective of his work in 2012 at the Sasol Art Gallery in Stellenbosch. He is represented in the United Kingdom by the Redfern Gallery and in South Africa by BRUNDYN + GONSALVES. Emsley’s portrait of The Duchess of Cambridge has received mixed reviews.

The South African 26 August: Local Artist: Obie Oberholzer Born on a farm in Africa. (On the 26th of August 1947 to be exact). Spent most of my first eight years running around barefoot like a wild little madman. Later went to an English High School and started wearing shoes. Managed to scrape through final exams but excelled at sport and girls. Was drafted into the South African Air Force, but did a lot more athletics than aerial combat. Went to Stellenbosch University and became reckless and exuberant. Studied Graphic design, drinking, dancing, rugby and athletics. Was made aware that cameras can produce images. Fell in love with photography and Lynn. Bought a Hasselblad and got married.



Marketing Network Largest SA Visual Art distribution ever developed

27 August: Man Ray Man Ray (born Emmanuel Radnitzky, August 27, 1890 – November 18, 1976) was an American modernist artist who spent most of his career in Paris, France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known in the art world for his avant-garde photography, and he was a renowned fashion and portrait photographer.

29 August: Local artist: Peet Pienaar Peet Pienaar (born 29 August 1971 near Potchefstroom, South Africa) is a South African performance artist, most famous for having himself videotaped while undergoing circumcision in 2000. The discarded foreskin, displayed in a small perspex case, was part of an installation with a three-monitor video showing the circumcision operation in excruciating close-up. He studied fine art at the University of Stellenbosch graduating in 1993. Pienaar was first noticed by a wider public in 1996 when he (once a provincial rugby union player), the son of Afrikaans speaking farmers, dressed as a Springbok rugby player, stood motionless for hours in venues ranging from the South African National Gallery to shopping malls.

largest and fastest growing SA Visual Art magazine network 8 900 x 2 E-newsletters weekly 12 000 website reads pm 17 500 Facebook Likes x 5 daily 7- 8500 K printed magazine pm 12 000 online magazine reads pm Readers cover all facets of the visual arts community, as well as artists, buyers and collectors of art To boost your Art Business, or Art Gallery or Exhibition, call Eugene and find out more about our reasonable rates Tel: 021 424 7733

Read local and international art news everyday at- Art Times - Facebook Profile SA ART TIMES. August 2013

- Art Times -

17 500 likes 15

power in your pocket : The South African Art Times

Art Diary


Building on 10 years as SA Art Information leaders: The SA Art Information Directory becomes the dynamic SA Art Times Diary 1. Includes The SA Art Information Directory, the White & Yellow Pages of the SA visual arts community 2. Arts Diary Block - including important dates in SA art history and current events 3. Combines easy to use daily information diary format with arts community information

What’s in the all new SA Art Times Art Diary 2014

Advertising options in Art Times Diary 2014 Try our really low Early Bird prices - extended unti l 31 August 2013 Advert format


Full colour option: Full Page ( 210 x 148 mm ) Half Page ( 210 x 74 mm )

Early Bird R 3 200 R 2 000

Normal R 3 600 R 2 400

Black and White advertising option: Full Page ( 210 x 148 mm ) R 2 800 R 3 200 Half Page ( 210 x 74 mm ) R 1 800 R 2 200

What’s in the Diary : The largest verified source of information regarding SA art infrastructure such as: art schools, museums, galleries, studios, material manufacture, material retailers, publicity companies etc. Size and Print run: The Diary is roughly an A5 portrait format, with 2 000 printed copies Where does the Diary go: We will be sending over 1600 directories to leading decision makers, gallery owners and directors of collections, art libraries locally and internationally. Have a designer design your advert for R 390.00 Vat inclusive All advertisers receive a free Art Times Diary 2014 Deadlines for all artwork to be submitted by 30th October 2013 Contact Eugene on 021 424 7733, or e-mail




Free State Bloemfontein Oliewenhuis Art Museum Until 18 Aug, ‘Time and Space/Tyd en Ruimte’, solo show by Jan van der Merwe. Until 31 Aug, ‘National Heritage Project’, a temporary exhibition of life-size bronze figures of significant people from South Africa’s history. Until 1 Sept, ‘Linear Narratives’, an exhibition assembled from artworks of Oliewenhuis Art Museum’s Permanent Collection. This exhibition is a visual feast of meticulously executed pen and pencil drawings, etchings and lithographs. Until 1 Sept, ‘Additions to the Permanent Collection 2012 & 2013’. Artworks acquired recently for Oliewenhuis Art Museum’s Permanent Collection. 22 Aug - 19 Sept, ‘Jong Afrikaners’ by Roelof Petrus van Wyk. A published series of portraits of urbanised, creative and engaged Afrikaners who present a challenge to preconceived ideas about Afrikaner identity and values. 29 Aug – 24 Sept, ‘25th Sophia Gray Memorial Lecture and Exhibition’. 16 Harry Smith Str, Bloemfontein. T. 051 011 0525. Gallery on Leviseur 59 Dan Pienaar Avenue, Westdene.

Clarens Art & Wine Gallery on Main Housing a collection of art by well-known artists including: Frederike Stokhuyzen, Gregoire Boonzaier, J.H. Pierneef, Erik Laubscher and Jean Doyle, amongst others. 279 Main Str. T. 058 256 1298. C. 082 341 8161. The Gallery Clarens c/o Main and Market Street. T. 058 256 1913. Johan Smith Art Gallery The gallery permanently exhibits a wide variety of classical and selected contemporary art works featuring Johan Smith, Elga Rabe, Graham Carter, Gregoire Boonzaier, amongst others. Specializing in ceramics, the gallery supports artists such as Hennie Meyer, Karen Sinovich, and Heather Mills, among others. Windmill Centre, Main Str. T. 058 256 1620. Richard Rennie Gallery Gallery exhibits the work of Richard Rennie and a few personally selected guest artists. Known internationally for his water colours, he has recently been concentrating on modern works in oil. Main Str. T. 058 025 6017. C. 083 447 9925

Gauteng Johannesburg 5h Ave Auctioneers 404 Jan Smuts Avenue, Craighall Park. T. 011 781 2040. www.5aa. Absa Art Gallery Until 8 Aug, “Re-sampled 2012”, a collection of works from the Absa collection and a re-sampling of them by artists from the Absa L’Atelier art competition. Until 22 Aug, Absa L’Atelier exhibition. Absa Towers North, 161 Main Str. T. 011 350 5139. Alice Art 217 Drive Str, Ruimsig. T. 011 958 1392 C. 083 331 8466. Art Eye Gallery 7 – 14 Aug, ‘Revisiting Zanzibar’, a show by celebrated artist Trevor Coleman. 21 – 28 Aug, ‘A New Perspective’, a sculptural exhibition by Carl Roberts. Shop 109, The Design Quarter, Fourways. T. 011 465 7695. Art etc Showcasing a wide variety of SA artists, ranging from old masters to the budding future masters. Each artist has been hand-picked to make sure a high standard is maintained. We send paintings all over the world as well as deliver locally. Banking Level, Sandton City. T. 011 783 0842. Art Unlimited Gallery ‘The Gift’, the Art Works of Louwtjie Kotzé are permanently on exhibition. Art Retreat “Even More Beautiful” at Sunnyside farm, Clarens. Demo’s and info are geared for beginners and intermediate artists, but all artists are welcome. 15 - 20 September 2013. Phone

Louwtjie Kotzé on 083 779 9021. Baobab St, Sonneglans Ext 4, Randburg. T. 083 779 9021.

and Walter Battiss. 68 on Hobart, Block A, Corner of Hobart & Dover Road (Off William Nicol Drive) Bryanston. T. 011 463 7869.

Artist Proof Studio Bus Factory, 3 President Street, Newtown Cultural Precinct. T. 011 492 1278 C. 084 420 7998.

16 Halifax Art A visual art agency owned by Dana MacFarlane. 16 Halifax Str, Bryanston. Dana: 082 784 6695.

Artspace Johannesburg 7 – 31 August, ‘Transgression’, by Benon Lutaaya. These paintings manifest a duality between application and excavation. Chester Court, 142 Jan Smuts, Parkwood. T. 011 880 8802 The Bag Factory 10 Mahlatini Str, Fordsburg. T. 011 834 9181. Upstairs at Bamboo Bamboo Lifestyle Centre, 53 Rustenburg Road, Melville. C. 028 284 9827 Bonhams International Auctioneers. Penny Culverwell, Representative for South Africa. T. 071 342 2670.

In Toto Gallery ‘Scenes of Space: An Exhibition of Interiors’. “Belief in the significance of architecture is premised on the motion that we are different people in different places - and on the conviction that it is architecture’s task to render vivid to us who we might ideally be” (Alain de Botton). 6 Birdhaven Centre, 66 St Andrew Str. T. 011 447 6543. Isis Gallery ‘Reaching new Frontiers’, opening specials on artworks by Obert Jongwe. Etchings by Rhona Gorvy. New works of Nelson Mandela by Brian Rolfe. Shop 334, Upper level, Rosebank Mall. T. 011 447 2317.

Carol Lee Fine Art Upstairs@Bamboo, cnr 9th Str & Rustenburg Rd, Mellvile. T. 011 486 0526

Johannesburg Art Gallery Until 25 August, ‘Looking as Learning II’. A show curated by Musha Neluheni featuring international artists such as Lucien Freud and Andy Warhol and South African artists including Wim Botha, Penny Siopis and George Pemba. King George Street, Joubert Park. T. 011 725 3130/80.

Cherie de Villiers Gallery Shop UM25, Hyde Park Corner. Tel. 011 325 5395.

Market Photo Workshop Gallery 2 President Str, Newtown. T. 011 834 1444.

Christie’s International Auctioneers. Gillian Scott Berning, Independent Consultant. T 031 207 8247.

Manor Gallery Norscot Manor Centre, Penguin Drive, Fourways. T. 011 465 7934

CIRCA on Jellicoe 1 Aug – 5 Oct, an exhibition by Norman Catherine. 2 Jellicoe Ave. T. 011 788 4805.

Protea Gallery Specialising in well-known South African Artists, as well as those up-and-coming. Also specialise in professional framing. 94b Rietfontein Road, Primrose. T. 011 8285035.

Cire Perdue Art Focused on the selection and distribution of limited edition works of art, specifically bronze sculptures. T. 011 465 8709. David Krut Projects 142 Jan Smuts Avenue, Parkwood. T. 011 447 0627. Contact Claire Zinn. Everard Read Jhb 8 – 24 Aug, two exhibitions: ‘Beneath Southern Skies’, by Denby Meyer and ‘The South African Heritage Collection’, by photographer Matthew Willman. 6 Jellicoe Ave, Rosebank, Jhb. T. 011 788 4805. Ferreira Art Gallery New stock has just arrived! Ian Hertslet is painting in our art studio and offering workshops. Framing gallery and fully licensed Terrace Cafe open 7 days a week. 300 Main Rd, Bryanston, Sandton. T. 011 706 3738. Gallery 2 1 – 24 Aug, exhibiting work by various artists, including Wilma Cruise, Widus Mtshali and Collen Maswanganyi. 31 Aug – 21 Sept, ‘Ancient Future’, an exhibition of work by Eric Duplan. To be opened by Gordon Froud. 140 Jan Smuts Ave, Parkwood Jhb. Tel. 114470155, Gallery AOP 44 Stanley Ave, Braamfontein Werf (Milpark) Jhb. T. 011 726 2234. Gallery MOMO Until 26 Aug, ‘Prints on Paper’, by Cameroonian artist Joël Mpah Dooh. An exhibition of works on paper in mixed media. 29 Aug – 7 Oct, ‘Archival Impulse’, a continuation of Ayana V. Jackson’s series on Poverty Pornography. 52 7th Avenue, Parktown North. T. 011 327 3247. Goodman Gallery JHB 163 Jan Smuts Avenue, Parkwood. T. 011 788 1113. Graham’s Fine Art Gallery SA masters are on display at the new gallery in Bryanston. Artists include Irma Stern, Maggie Laubser, J.H Pierneef, Gerard Sekoto

Purple Heart Gallery ‘Where we colour outside the lines’. We are ‘Proudly South African’ and are currently showcasing a variety of established, as well as new, SA Artists. Honeydew Village Centre, Cnr. Christiaan De Wet & John Vorster Avenue, Weltevreden Park, Roodepoort. Tel. 011 475 7411. Resolution Gallery Until 17 August, exhibition by Michael Smith. Unit 4, Chester Court, 142 Jan Smuts Avenue, Parkwood. T. 011 880 4054 Russell Kaplan Auctioneers Auctioneers of Fine Art, Antiques and Collectables. Ground floor, Bordeaux Court, Corner of Garden & Allan Rds, Bordeaux. T. 011 789 7422 C. 083 675 8468. Sarai Interior Design & Decor cc Shop 4 Fox Street Studios, Maboneng Precinct, Jeppestown. C. 082 062 9402 Standard Bank Gallery Until 14 Sept, ‘Simon Stone: A Retrospective Exhibition’ is the first comprehensive review devoted to the career of one of SA’s foremost artists. C/r of Simmonds & Frederick Str. T. 011 631 1889. Stephan Welz & Co 6 & 7 August 2013, Johannesburg Auction, Decorative & Fine Arts Auction. Viewing Wednesday 31 July - Sunday 4 August, 10h00 - 17h00. 13 Biermann Avenue, Rosebank, Johannesburg. T. 011 880 3125. Stephan Welz & Co Until 26 Aug, ‘We Love Mandela’. An exhibition of art inspired by Madiba, a group show curated by Natalie Knight. Artists include Wayne Barker, Susan Woolf, David Koloane, Collen Maswangani, Joachim Schonfeldt. The Peacemakers Museum, shop L32, Nelson Mandela Square, Sandton. T. 079 545 2701. Stevenson 15 Aug – 28 Sept, ‘New Paintings’, Stevenson is pleased to present a solo exhibition by Zander Blom. This is his fourth show at Stevenson, and the third simply titled New Paintings. 62 Juta Street,Braamfontein. Tel. (011) 403 1055/1908,

Diane Victor new lithographs

Running out of patients. Hand printed lithograph, 50 x 70 cm. Edition 25.

The Artists’ Press

Box 1236, White River, 1240 ‡7HO013 007 0616 PDUN#DUWLVWVSUHVVFR]D‡ZZZDUWSULQWVDFRP

Art Times Diane July 2013 advert.indd 1

19/07/2013 2:00 PM

 

  

Bettie Cilliers-Barnard, Mymering, 1949, Oil on canvas, 95.5 x 60 cm


The NWU Gallery can be contacted at 018 299 4341 or

SA ART TIMES. August 2013


Looking back while moving forward FREE STATE, GAUTENG, MPUMALANGA | GALLERY GUIDE

Marjorie Wallace, Amandeltakke, Oil on canvas, 73.5 x 101 cm

Hanneke BenadĂŠ, Dropping a hint, 2010, Pastel on white cotton paper, 123 x 150 cm

The North-West University Gallery is proud to announce the launch of the publication NWU Art Collection: Looking back while moving forward on Thursday, 15 August 2013. The launch will coincide with an art exhibition of the NWU Art Collection, to be hosted at the NWU Gallery and the NWU $QVCPKECN)CTFGP)CNNGT[QPVJG2QVEJGHUVTQQO%CORWU6JGRWDNKECVKQPUJQYECUGUCUGNGEVKQPQHJKUVQTKECNCPFEQPVGORQTCT[CTVYQTMUCUTGƀGEVGFKP the university’s collection. A sample of these works will be on display at the galleries presenting art lovers with an exhibition where the old masters are placed alongside contemporary artworks, creating interesting dialogues between the present and the past. The NWU prides itself on a diverse collection that has been established over the course of 90 years.



In 1932, under the direction of prof Ferdinand 2QUVOC 4GEVQT VJGĹżTUVTGEQTFGFRCKPVKPIUYGTG


C RWDNKE CTV ICNNGT[ VJG 097 )CNNGT[ EQPPGEVU the cultural life of the NWU to that of the local

acquired for the then Potchefstroom University HQT %JTKUVKCP *KIJGT 'FWECVKQP 27 HQT %*' 



Consequently, The Committee for Physical Infrastructure decided that acquisitions and FQPCVKQPUEQWNFDGOCFGVQVJGWPKXGTUKV[YJKEJ marked the start of a committee for art affairs that FGEKFGFQPCJWODNGCPPWCNDWFIGVQHĆ• 6.



1XGT VJG FGECFGU VJCV HQNNQYGF FQPCVKQPU HTQO CTVKUVU UWEJ CU ,CEQD *GPFTKM 2KGTPGGH YQWNF come to form part of the physical infrastructure development of the university. In 1972 the EQNNGEVKQP ICKPGF OQOGPVWO YJGP RTQH )/ Ballot (then head of the Department of Art *KUVQT[ CPF (KPG #TVU  QTICPK\GF CP GZJKDKVKQP QH EQPVGORQTCT[ 5QWVJ #HTKECP CTV &WTKPI VJKU




The publication of NWU Art Collection: Looking back while moving forward marks a milestone for VJG 097 )CNNGT[ YJGTG QWT CWFKGPEG KU KPXKVGF


the last decade the collection has continued to GZRCPFFGXGNQRKPIKPVQQPGKPENWUKXGQHEWTTGPV and contemporary art. Recent acquisitions KPENWFG CTVYQTMU D[ *CPPGMG $GPCFĂƒ 5VQORKG 5GNKDG 2GVGT 'CUVOCP 2JKNGOQP *NWPIYCPK



*GNGPC *WIQ 5CO 0JNGPIGVJYC $CTDCTC Wildenboer and Christiaan Diedericks.

Christina Naurattel (NWU Chief Curator)

SA ART TIMES. August 2013


GALLERY GUIDE | GAUTENG, MPUMALANGA / NORTH WEST / EASTERN CAPE Strauss & Co. 89 Central Str, Houghton. T. 011 728 8246 C. 079 367 0637

University of Pretoria Mapungubwe Gallery, Old Arts Building, UP .T.012 420 2968.

UJ Art Gallery Closed for renovations. Will reopen 7 August with exhibition by Johan Louw. Cnr Kingsway & University Rd, Auckland Park, Jhb. T. 011 559 2099


The White House Gallery Featuring a wide ranging portfolio of renowned masters such as Chagall, Marini, Miro, Moore , Stella, Picasso, Dine & Hockney - to name a few. Also works of up and coming artists in Britain and France, along with globally acclaimed SA artists. Shop G11 Thrupps Centre, Oxford Rd, Illovo. T. 011 268 2115

Pretoria Alette Wessels Kunskamer Operates as an art gallery and art consultancy, specialising in SA art as an investment, dealing in Old Masters, and selected contemporary art. Maroelana Centre, 27 Maroelana Str, Maroelana. T. 012 346 0728 Art in the Park Association promoting art works in watercolor, oil, pastel, acrylics, batik, sculpture, pottery and photography, with regular member exhibitions. Exhibition dates for August are: 3 August (Greenlyn Village); 4 August (Pretoria Botanical Gardens), 31 August (Greenlyn Village), 25 August (Magnolia Dell). Contact Hannes: 071 676 3600. Association of Arts Pretoria 173 Mackie Str, Nieuw Muckleneuk. T. 012 346 3100 Centurion Art Gallery A commercial satellite of the Pretoria Art Museum. c/o Cantonment and Unie Avenues, Lyttelton T. 012 358 3477 Fried Contemporary Art Gallery Until 10 Aug, ‘Quotidian Life: the Importance of Small Things’, by Iris Dawn Parker. 17 Aug – 14 Sept, a duo show with Alex Hamilton and Rozan Cochrane. 1146 Justice Mahomed St, Brooklyn. Tel. 012 346 0158. Cell 082 523 6989 Front Room Art Until 31 Aug, ‘Morning’, Works by Marina Louw, Malose Pete, Johann van Heerden, Cryselda Venter and Wayne Vivier. Until 31 Aug At Kievits Kroon Country Estate: Works by Margaret Nel, Sanele Ngcai, Hetta Vontsteen-Pieterse and Jahni Wasserfall on show in Granita Signature Restaurant and Bar 41. Plot 41 Reier Road Kameeldrift East - see for directions. 116 Kate Ave Rietondale. T. 082 451 5584. Pretoria Art Museum Until 1 Sept, ‘Self Introspection’ by Tshepo DD Maponyane. An exhibition that brings together a body of work concerned with our society’s relationship with the environment as far as environmental pollution is concerned. 29 Aug – 13 Oct, ‘Sasol New Signatures 2013’. Recognised as the longest running national art competition in SA, the competition offers an opportunity for artists to showcase their artwork and build their profile in the industry. Artists can win fantastic cash prizes and the overall winner will hold a solo exhibition at the Pretoria Art Museum next year. Cnr Francis Baard (Schoeman) and Wessels Streets, Arcadia Park, Arcadia. T.0 12 344 1807.

Artistic Journey Art Gallery Please join us for a life drawing workshop in Randburg on 1 September. For more information on the ten workshops in Graskop, Mpumalanga, 23 - 27 September, please contact us by visiting T. 082 600 3441.

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. T. 013 751 3225. 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. White River Gallery 3 Aug – 29 Aug, ‘Roll Call’, by Majak Bredell. Casterbridge Shopping Centre. T. 083 675 8833.

North West Lichtenburg Jonel Scholtz Art Studio and Alice Art LTX On-going exhibition of SA Artists. Showcasing paintings of well known artists- Jonel Scholtz, Isabelle le Roux, Harry Erasmus, Michael Heyns and Hanlie Kotze Corner of Church str and Bandjes str. T. 082 853 8621.

Potchefstroom North-West University Gallery 15 Aug - 13 Sept, NWU Art Collection publication coincides with an art exhibition titled ‘Looking Back while Moving Forward’. With artists Bettie Cilliers-Barnard & Diane Victor. North-West University (Potchefstroom Campus), Hoffman Street, Building E 7. T. 018 299 4341.

Hartbeespoort Dam Edwards Fine Art, Modern & Contemporary Featuring works by William Kentridge, Marlene Dumas, Robert Hodgins, Cecil Skotnes and Edoardo Villa. Sculpture by Anton Smit. Shop 24, Xanadu X-ing Shopping Centre, Cnr. Xanadu Boulevard & R511, Xanadu, Hartbeesport. T. 076 472 9812. C. 076 472 9812.

Eastern Cape Alexandria

St.lorient Fashion & Art Gallery Until 10 Aug, “Running Out Of Black”, group show featuring: Danie Smith, Tony De Freitas, Daniel Novela, Marlien Van Heerden, Johan Marais and Johann Van Heerden. Until 30 Oct, ‘Rooftop V: Juxtaposition’, annual group exhibition of outdoor sculptures curated by Gordon Froud. 492 Fehrsen Str, Brooklyn Circle. T. 012 460 0284.

Quin Sculpture Garden A permanent exhibition of Maureen Quin’s sculpture’s, drawings and paintings. Maureen Quin’s work is exhibited in her peaceful garden and gallery, where you can not only enjoy refreshments but also engage with the artist. R15 entry fee. 5 Suid Str. Alexandria. T. 046 653 0121 / 082 770 8000.

Telkom Art Collection A collection featuring artworks by over 400 artists, some of them well established and some still up-and-coming. Telkom Towers North, ground floor, 152 Johannes Ramokhoase Str (formerly Proes Street), CBD Pretoria. Curator: Sophia van Wyk. T. 012 311 7260.


UNISA Art Gallery Kgorong Building, Ground Floor, Main Campus, Preller Str, Pretoria. T. 012 441 5876.


The Workshop Art & Craft Gallery Showcasing over 100 local artists & crafters - art, sculpture, ceramics, stained glass, mosaic, handweaving, handspinning, handcrafted furniture, antiques, Oregon frames, easels, fabric art, leather work, handcrafted jewellery, papier mache and handmade candles. 289 Kowie Rd, Bathurst. C. 073 3929 436.

East London Ann Bryant Art Gallery Coach House Entries invited for the East London Fine Art Society ‘Peep Show’ Exhibition - an exhibition of works in miniature. Closing date for entries 6 Aug. Exhibition opens 8 Aug at Ann Bryant Coach House and closes 24 Aug. For details on submissions contact Leon or Terry at 043 722 4044. 9 St Marks Road, Southernwood. Floradale Fine Art Floradale Art Gallery will take part in the wonderful Winter Festival to be held at the Floradale Centre in July. A Crafters day, the Gallery will be open to the public. Old Gonubie Rd,, Beacon Bay, East London. T. 078 294 7252.

Klein Karoo Doornkuil Art courses in the Great Karoo: if you love art, space, crisp Karoo air, good food and great company, then you should not miss this unique experience. C. 072 553 5547. Kraaldoring Gallery 9 – 11 Aug, ‘Wine Women and Soul’, a group show celebrating women and music as part of Art On Track, which is the Calitzdorp contribution to Klein Karoo Klassique in Oudtshoorn. Work by Clementina van der Walt and others.Groenfontein Rd, Calitzdorp. T. 082 575 7969. Marinda Combrink Studio & Gallery A Fine Art Miscellanium’. Currently showing recent paintings, watercolours and drawings by Marinda Combrinck 33 Andries Pretorius St, Calitzdorp. C. 079 968 1588. Sheena Ridley Art Studio & Sculpture Garden Langkloof, Klein Karoo. C. 083 589 2881. Portal Gallery An intimate gallery with works by selected contemporary artists, including Hermann Niebuhr, Es. Telle Marais, Sharle Matthews and Diane McLean. 41 Schoeman Str, De Rust. T. 082 297 6977. Village Art Gallery Ongoing exhibition with work by artists Mariaan Kotze, Glendine, Diane McLean, Neels Coetzee, Duggie du Toit, Ann Gadd, Karien Boonzaaier, Bill Strapp, Estelle Marais, Kevin Standly, Ella, Marianne Vorster and Lana van Blerk, amongst others. 29 Schoeman Str, De Rust, T. 044 241 2014.

Port Elizabeth ART Gallery Until 31 Aug, ‘Small Works - Big Concepts’, 68 Artists from throughout SA have responded to the call to submit work of all media, not larger than 30x30cm. Participating artists include Greg Kerr, Anthea Delmotte, Anton Momberg, Dian McLean, Es. Telle Marais to name a few. 51b Cuyler Str, Central. T. 072 379 5933. ArtEC - EPSAC Community Art Centre Until 9 Aug, a solo exhibition by John Lombardo. 13 – 24 Aug, ‘Reveal’, an exhibition exploring and exposing the skill of the contemporary glass-maker, aims to challenge traditional perceptions of glass. 36 Bird Street, Central, Port Elizabeth. T. 041 585 3641. Fischers Art Gallery Fischers is the first established Jewelllers in SA. This historical site, with one of the oldest lifts still in use, has been transformed into an exquisite gallery. It’s unique Art Nouveau architecture houses a display of fine art by many renowned EC Artists as well as gift ware. 1 Park Drive, PE. T. 041 585 6755. C. 082 460 6483 Nelson Mandela Metropolitan Art Museum 1 Aug – 1 Sept, The Standard Bank Young Artist Award for Visual Art 2013 has been awarded to Mary Sibande. Her solo exhibition titled The Purple Shall Govern employs the human form as a vehicle through painting, photography and sculpture, to explore the construction of identity, particularly black women’s identity, in a postcolonial South Africa. Until 16 Sept, ‘Transforming The Everyday Into Art’. Come and see how artists have used found objects in ways that challenges the boundary between art and the everyday. 1 Park Drive, Port Elizabeth. T. 041 506 2000.

SA ART TIMES. August 2013




1:54 PM

www. r u s t - e n - v r e d e . c o m C








Proudly presented by Salon91 | Show Dates: 24 July - 24 August 2013

Shu i - Ly n W h i t e : A l i a s G r a c e , 2 0 1 3 Exhibiting at Rust-e n - Vr e d e G a l l e r y f r o m 1 5 O c t o b e r - 7 N o v e m b e r 7-11-13 Art Times6.pdf



11:05 AM









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. featured artist: Elizabeth Poulsom


Open Mon - fri: 9h30 - 17h00 Sat: 10h00 - 14h00 27 21 423 5309 www.capegallery

Salon91 Contemporary Art Collection 91 Kloof Street, Gardens, Cape Town +27 21 424 6930 +27 82 679 3906

GALLERY GUIDE | NORTHERN CAPE / WESTERN CAPE Ron Belling Art Gallery 30 Park Drive, P.E. T. 041 586 3973.

Northern Cape Kimberley William Humphreys Art Gallery Until 18 August, David Walters & Friends - ‘Legacy’. A group exhibition of ceramists from all over SA, exhibiting work that celebrates the immense influence of the lecturers and alumni, past and present, of the Centre for Visual Arts, UKZN, as well as teachers and mentors in ceramics in SA. Cullinan Crescent, Civic Centre, Kimberley. T. 053 8311724/5.

Western Cape Cape Town /A Word of Art 66 Albert Road, Woodstock Exchange. C. 083 300 9970. www. Absolut Art Gallery Permanent exhibition with the best Masters and Contemporary artists, namely: JH Pierneef, Gerard Sekoto, Hugo Naude, Adriaan Boshoff, Frans Oerder, Tinus De Jongh, Cecil Skotnes, JEA Volschenk, William Kentridge, amongst others Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive, Tyger Valley, Bellville. T. 021 914 2846. Art.b 7 - 30 Aug,’ VULEKA’, exhibition of winners and other selected works, in the annual Bellville Arts Association`s competition. The Conrad Theys overall winner to be announced at the opening: 18:30 for 19:00. Library Centre, Carel van Aswegen St, Bellville. T. 021 917 1197. ArtMark Providing a diverse range of original and investment artworks, from established professionals, to upcoming superb talented artists. We cater for the private and corporate markets. Commissions are taken Imhoff Farm, Kommetjie Road. C. 082 303 6798. Artvark Gallery Artist in residence, Robin Daniels, SA artist, showcases his celebrated prints in mediums of linocut, monoprint and relief carving. Daniels will be in residence at Artvark till the end of October, his work is also available on the website. 48 Main road, Kalk Bay, Cape Town. T. 021 788 5584. Ashbey’s Galleries Antiques and fine art auctioneers and appraisers. 43-51 Church Str, CT. T. 021 423 8060. The AVA Gallery Until 23 Aug, Frans Smit employs the Long Gallery with his show ‘Brief Encounters’, Paul Painting in the Main Gallery with ‘Anthroposcopy’ and Wallen Mapondera ‘s ‘Ani-men a human in an animal)’ is housed in the Artstrip. 35 Church Street, CBD. T. 021 424 7436. Alex Hamilton Studio Gallery 3rd Floor, 9 Barron st, Woodstock. T. 021 447 2396. C. 084 409 6801 Allderman Gallery Newlands Quarter, Dean Street, Newlands. T. 083 556 2540 The Avital Lang Gallery Two Oceans House, Surrey Place, Mouille Point. (Next to Newport Deli) T. 021 439 2124. Barnard Gallery Until 29 August, ‘Point of view: Contemporary South African Photography’. Including work by Lien Botha, Stephen Inggs, Svea Josephy, Graeme Williams, David Southwood, Gary Van Wyk and Dillon Marsh, amongst others. 55 Main street Newlands 7700. T. 021 671 1553. Blank Projects Until 10 Aug, Kerry Chaloner’s ‘First Time’ (painting/installation) and Nico Krijno’s ‘Fulcrum Study’ (photography/installation). 113-115 Sir Lowry Road, Woodstock. T. 021 462 4276.


Bronze Age A multifunctional art foundry specialising in casting of bronze sculpture, as well as undertaking sculpture, interior and architectural commission work. Woodstock Foundry, 160 Albert Rd, Woodstock. T. 021 447 3914

EBONY Cape Town 1 Aug – 3 Sept, Group show by contemporary artists from within the EBONY stable such as Richard Smith, Ingrid Bolton, Kevin Collins and many more. We’re also delighted to welcome some new names to the gallery such as Kris Rossouw, Oliver Barnett and Johann Badenhorst. 67 Loop Steet, Cape Town, CBD. 021 424 9985.

Brundyn + Gonsalves 71 Loop Str, CT. T. 021 424 5150. The Cape Gallery 1 Aug – 7 Sept, ‘Encounters’, the theme of The Cape Gallery’s 2013 wildlife exhibition opens in conjunction with First Thursdays Cape Town in August. Participating artists include: Noel Ashton, Tania Babb, Lin Barrie, Edmund Barton, Bowen Boshier, Janet Botes, Fuz Caforio, Keith Calder, Ron Campbell, Teresa Decinti, Paul Dixon, Peter Diggery, Kitty Dorje and Zakkie Eloff, amongst others. 60 Church Street, CBD. T. 021 423 5309. 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 Casa Labia Gallery 9 Aug – 8 Sept, ‘Beyond this (and these)’ is a series of metaphorical studies in oil paint and mixed media works, by artist Thelma Mort - Walkabout with the artist, 24 August 2:30pm. Also showing is ‘New Flowering’ an exhibition of oil paintings, mono-types and etchings, by artist Cathy Layzell. Both Opening on 9 August 11am to celebrate Women’s Day. ‘Beyond this (and these)’, Family Learning Art Workshop 10:30 to 12:30. An interactive art appreciation and creation workshop for the whole family with artist Thelma Mort. Booking essential R30 p/p - 192 Main Rd, Muizenberg. T. 021 788 6068. The Cellar Private Gallery Dealing exclusively in original and investment art, offering works by a variety of renowned and upcoming SA artists. 12 Imhoff Str, Welgemoed, Bellville. T. 021 913 4189.

Eclectica Art & Antiques Purveyor of fine arts, antiques and objects d’art. Emphasis on finding beautiful, interesting pieces both locally and internationally. 11A Wolfe Str, Chelsea Village, Wynberg. T. 021 762 7983. The Photographers Gallery za & Erdmann Contemporary Until 17 Aug, ‘Bifröst’, a solo exhibition and sound installation by Espen Krukhaug. 63 Shortmarket Street, Cape Town. Tel. 214 222762. Everard Read, Cape Town Until 21 Aug, ‘Possessed’, a group exhibition of works exploring our relationship with objects. Artists included: Jillian Lochner, Caryn Scrimgeour, Kirsten Beets, Luan Nel, Candice Dawn Blignaut and Nigel Mullins. 3 Portswood Rd, V&A Waterfront. T. 021 418 4527. 34FineArt Until 17 August, ‘From the Gallery Collection’ (Group Exhibition): Asha Zero, Jade Doreen Waller, Warren Petersen, Lionel Smit, Mr. Brainwash, Norman. Open on Saturdays and by appointment. Second Floor, Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock T. T 021 461 1863. C. 072 536 7109. / The Framery Art Gallery 67g Regent Road, Seapoint. T. 021 434 5022. C. 078 122 7793. The Framing Place 46 Lower Main rd, Observatory. T. 021 447 3988.

Christie’s International Auctioneers. Juliet Lomberg, Independent Consultant. T. 021 761 2676.

G2 Art Permanent gallery, situated in the City Centre. G2 Art offers diverse affordable painting, sculpture and photography by artists Candice Dawn, Roelie van Heerden and many others. Open from 10am till 4.30pm 61 Shortmarket St, between Loop St & Bree St. T. 021 424 7169.

Christopher Møller Art 7 Kloofnek Rd, Gardens, C T. T. 021 422 1599.

Ghuba Gallery Ongoing collection of new works and contemporary African art. 73 Victoria Ave, Hout Bay. T. 021 790 0772.

Clementina Ceramics Showcase of contemporary South African ceramics, featuring one-off works by Clementina van der Walt, and complemented by designer crafts. Shop c 101/b, The Old Biscuit Mill, 375 Albert Road, Woodstock. T. 021 447 1398.

Goodman Gallery Cape Town 15 Aug – 14 Sept, ‘All Our Mothers’, A new exhibition by Sue Williamson 3rd Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock. Tel. 021 462 7567.

Commune.1 Gallery 17 Aug - 17 Sept, ‘The Void: Positive And Negative Spaces’ by Christopher Swift. Through large-scale installations and sculptures made almost solely out of original Robben Island prison fencing, the exhibition attempts to explore the dark shadow of our past and the brilliance of our liberation from it. 64 Wale Street, Cape Town, 8001. T. 021 423 5600, Culture – Urban + Contemporary Gallery First Floor, Woodstock Exchange, 66 Albert Rd, Woodstock. T. 021 447 3533 David Krut Projects Cape Town Until 31 August, ‘The Benediction of Shade’ is a group exhibition featuring a selection of artists who have engaged with the figure, idea or metaphor of the forest or the tree in different ways and through various media. Artists include Stephen Hobbs, William Kentridge, Virginia MacKenny, Joshua Miles, J. H. Pierneef , Gary Stephens, Chris Swift and Diane Victor, amongst others. Montebello Design Centre, 31 Newlands Avenue, Newlands, CT. T. 021 685 0676. Donald Greig Gallery & Foundry Private Gallery permanently exhibiting artworks of Donald Greig. Foundry is open to the public to observe the time-honoured cire purdue (lost wax) casting technique - a process virtually unchanged for 5000 years. Bronze pouring can be viewed every Tues, Wed and Thurs at 11 am. Please call us to confirm time. West Quay Road, V&A Waterfront. T. 021 418 0003.

Gold of Africa Museum 96 Strand Str. T. 021 405 1540. Heather Auer Art and Sculpture Original paintings, sculptures and ceramics by Heather Auer and other SA artists. Quayside Ctr, Wharf Str, Simonstown. T. 021 786 1309. Hout Bay Gallery Until 9 Aug, ‘Egos and Shegos’, by Ian Simons. A body of work exploring the ego. 71 Victoria Avenue, Hout Bay. T. 021 790 3618. Infin Art Gallery 2 branches: Wolfe Str, Chelsea Village, Wynberg. T. 021 761 2816 & Buitengracht Str, CT. T. 021 423 2090. Irma Stern Museum 10 – 24 Aug, an exhibition of paintings by Ruby Lara. Cecil Rd, Rosebank, CT. T. 021 685 5686. Iziko SA National Gallery Until 18 Aug, “Dialogues: Conversations between ‘old’ and ‘new’”, showcasing a variety of works from different periods that demonstrate a commonality in terms of either formal concerns or in theme and content. 25 Queen Victoria Str, CT. T. 021 467 4660.

SA ART TIMES. August 2013

Subscribe to SA’s No.1 Visual Arts Magazine Largest circulation, fastest growing

SA Art Times Get your subscription at at R280 pa You can’t afford to be left out

Framing Place 46 Lower Main Road, Observatory, 7925 Tel: 021 447 3988

With unwavering commitment to quality and timeous delivery, our Key Services include: •

Custom colour wood frames

Conservation Framing

Framing of art, objects, mirrors & prints

Stretcher frames


GALLERY GUIDE | WESTERN CAPE Iziko Michaelis Collection Ongoing: Dutch works from the 17th–20th centuries in Iziko collections Iziko Michaelis Collection, Old Town House, Greenmarket Square. T. 021 4813800. Iziko Castle of Good Hope Buitenkant Str, opp. the Grand Parade. T. 021 464 1262. Johans Borman Fine Art Currently showing a selection of works by SA Masters including Francois Krige, Cecil Skotnes, George Pemba and Hugo Naude, as well as works by contemporary artists such as Walter Meyer, Philip Barlow, Ben Coutouvidis & Jacobus Kloppers. 16 Kildare Road, Newlands. T. 021 683 6863.

Rose Korber Art Extended until 31 Aug, ‘Recent Prints by Major Artists’. Exciting showcase of recent, limited-edition prints by leading contemporary SA artists, including William Kentridge, Sam Nhlengethwa, Deborah Bell, Diane Victor, Claudette Schreuders, Pamela Stretton, Anton Kannemeyer and Senzo Shabangu. 48 Sedgemoor Rd, Camps Bay. T. 021 438 9152. C. 083 261 1173. Rosendal Art & Framing 23 Oxford Str, Durbanville. T. 021 976 8232. Rudd’s Auctioneers Antique, Fine and Decorative Art. 87 Bree Str, CT. T.021 426 0384. C. 083 406 4261.

Kalk Bay Modern 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571

Rust-en-Vrede Gallery 10 Wellington Rd, Durbanville. T.021 976 4691.

Kalk Bay Sculpture Studio Fine art bronze foundry offering a sculpture and casting service for artists as well as commissions for corporate and private collectors. We have four in-house sculptors producing their own work and overseeing the daily operation. 11 Windsor Rd, Kalk Bay. T. 021 788 8736. C. 073 180 7209.

Sally Louw Gallery 77 Roodebloem Rd, Woodstock, Cape Town. T.072 713 8907

Lindy van Niekerk Art Gallery A selection of artworks by new and prominent SA artists and SA old Masters. 31 Kommandeur Rd, Welgemoed, Bellville. T. 021 913 7204/5 The Lisa King Gallery Specializing in top SA abstract/contemporary art, sculpture and exotic glassware. Cape Quarter Piazza, 72 Waterkant Street, Green Point. T. 021 421 3738 The Lovell Gallery Until 8 August, ‘The Unsung Hymns of Clay’. International Environmental artist, Manav Gupta, shows his travelling exhibition. 24 Aug – 21 Sept, 2013 Artists Competition Winners Group Exhibition. 139 Albert Rd, Woodstock, CT. T. 021 447 5918. Lutge Gallery Works by Walter Meyer, Tom Cullberg, Jaco Benade, Paul Emmanuel, Hennie Niemann Jnr, Rob Macintosh, John Murray. 109 Loop St, Cape Town. T. 021 424 8448. MM Galleries Shop 3, 31 Palmer Road, Muizenberg, Cape Town. T. 082 739 7567. Michaelis Galleries University of Cape Town, 31 – 37 Orange St, CT. T. 021 480 7170 Mogalakwena Gallery Until 19 Dec, ‘A Glimpse - Dress & Fashion in Africa’. Garments and accessories from numerous African countries are for sale. The 3rd floor is dedicated to works by craft artists of the Mogalakwena Craft Art Development Foundation. 3 Church Street, between Adderly St and St-George’s Mall, CT. T. 021 424 74 88. C. 083 460 6460. Quincy’s Antiques Art and Collectables Shop 8, Riverside Mall, Main Rd, Rondebosch. T. 021 685 1986 The Pot Luck Club Gallery Contact curator Las Madurasinghe on 074 180 4895 The Old Biscuit Mill, 375 Albert Rd, Woodstock. Provenance Auction House Auctioneers of Fine Art, Antiques and Home Luxury. 8 Vrede str, Gardens, CT. T. 021 461 8009 Red! The Gallery A dynamic art gallery featuring work from SA’s best contemporary and emerging artists. Including works by Andrew Cooper, David Kuijers, Derris van Rensburg, Wakaba Mutheki and Michael Waters, to name a few. Shop G9 & 10 Steenberg Village Shopping Centre , Reddam Avenue, Tokai. T. 021 701 0886. Rialto Art Centre Ongoing exhibition by local artists. 22 Mill Str, Strand. T. 021 853 8061.


Salon 91 Until 24 Aug, ‘The Editions Show’, an eclectic collection of editions & multiples, including digital print, etching, laser-engraving, sculpture, screen-print, photography and more by emerging artists from CT and JHB. Expect to see a rich variety of affordable accessible artwork. 91 Kloof Street, Gardens. T. 021 424 6930. Sophea Gallery & Tibetan Teahouse 2 Harrington Rd, Seaforth, Simonstown. T. 021 786 1544 South African Print Gallery Theo Paul Vorster: Breath-Taking Linocuts. Until 15 August 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851. Sanlam Art Gallery 2 Strand Rd, Bellville. T. 021 947 3359. SMAC Art Gallery, CT Until 14 Sept, ‘A Retrospective Exhibition’ by Simon Stone at the Standard Bank Art Gallery in Johannesburg. 1 August - 5 Sept, ‘Don’t Jump Off Bridge’ by Luiza Cachalia and ‘Between Object and Place’ by Helen A. Pritchard. In-Fin-Art Building, Buitengracht Str. T. 021 422 5100. StateoftheART Gallery A permanent gallery offering art enthusiasts the opportunity to interact with a dynamic selection of affordable contemporary fine art. Current highlights include sculpture by Jesse Stevenson, new work by Floris van Zyl and the photographic essay ‘Facing Freud’ by Bettie Coetzee-Lambrecht. Visit for our full inventory of available art for sale. 61 Shortmarket Str (between Loop & Bree).T. 021 801 4710. Stephan Welz & Co Cape Town Established in 1968, Stephan Welz & Co provides a wide range of services across a full spectrum of Decorative and Fine Arts. Our areas of specialisation include South African Masters and Contemporary Art, Silver, Jewellery, Watches, Clocks, Furniture, Carpets, Ceramics, Books, Maps, Stamps, Gold Coins and Collectable Cars. Forthcoming Auction, Cape Town: 1 & 2 October 2013 (Consignments close mid July) The Great Cellar, Alphen Estate, Alphen Drive, Constantia. T. 021 794 6461. Stevenson Cape Town Until 31 August, two exhibitions running concurrently: ‘Work’ by Simon Gush and ‘The Borderlands’ by Jo Ractliffe. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500.

The Art Connection An online gallery curated by Priscilla Schoonbee, offering top class artwork by established and up-and-coming artists. C. 082 463 6307 What if the World/Gallery 21 Aug – 21 Sept, ‘Ecstatic Entropy’, a solo exhibition by John Murray. 1 Argyle Str. Woodstock, CT. T. 021 802 3111. Windermere House The private art collection of Cape Town based artist Rachelle Bomberg, showcasing large, mystical/surreal abstract oils. Artist available by appointment. 58 Windermere rd, Muizenberg. T. 021 788 1333. Worldart Gallery 54 Church Street, Cape Town CBD. T. 021 423 3075.

Breede River Edna Fourie Gallery An intimate, light-filled gallery space with the feel of a sanctuary. The exclusive home of Edna Fourie’s ethereal art : oil paintings, readymades and installations. Main Rd, McGregor. T. 083 302 5538.

Clanwilliam Kunshuis Contact Stephanie Stone for more info: 083 675 5606 14 Main Rd, Clanwilliam. T. 027 482 1940.

Franschhoek Art in the Yard Exhibiting works from both local and international artists with a number of themes and different media. Resident artists include British artist Orlanda Broom, Kenyan artist Alexandra Spyratos, South African artists Johannes Du Plessis, Richard Scott, Vanessa Berlein and Lindsay Patton and more. The Yard, 38 Huguenot Street, Franschhoek. T. 021 876 4280. EBONY New works by Dave Robertson, Tanya Swiegers, Olaf Bisschoff, Richard Smith, Shany van den Berg, Otto du Plessis, Claudia Ongaro and others. Continuation of Ardmore exhibition. Also on show recent work by classic artists including Lionel Abrams, Fred Schimmel, Gordon Vorster, Leon de Bliquy and Gerard Sekoto. 4 Franschhoek Square, 32 Huguenot Street. T. 021 876 4477 Is Art Le Quartier Français, 16 Huguenot Str, Franschhoek. T. 021 876 8443 The Gallery at Grande Provence Until 28 August, ‘1969’, David Brits’ second solo exhibition. A series of drawings based on a small family archive of personal photographs and newspaper clippings relating to that time, ‘1969’ offers a window into an unusual event from the past, as well as a glimpse into the life of Brits’ grandfather - a man he hardly knew. Main Rd, Franschhoek. T. 021 876 8630.

George Cape Palette Art Gallery Engen Centre, CJ Langenhoven Str, Heatherlands. T. 044 873 6581

Strauss & Co The Oval, First Floor, Colinton House, 1 Oakdale Road, Newlands. T. 021 683 6560.

Crouse Art Gallery Original paintings by well known South African Artists: Anton Benzon, Carla Bosch, Maria, Gerrit Roon, Makiwa, Danielle Novella & many more. We deal exclusively in original SA Art, specifically investment art. Shop no 83, Garden Route Mall, George / 368 Ontdekkers rd Flrorida Park, Roodepoort, Jhb. T. 044 887 0361 / 011 672 3821.

The Studio Kalk Bay 8 – 21 Aug, ‘My False Bay’, a photographic exhibition celebrating False bay, our iconic seascape. The Studio, The Majestic Village, 122 Main road, Kalk Bay. T. 083 778 2737

Strydom Gallery New works by Guy Du Toit, Pauline Gutter, Clare Menck, Jaco Sieberhagen, David Brown, Sarel Petrus, Willem Boshoff, William Kentridge and Simon Stone. 79 Market Str, George. T. 044 874 4027.

SA ART TIMES. August 2013

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.

Speelman Mahlangu

Herman Von Nazareth

Level 0, Cape Quarter Square, 27 Somerset Road, Green Point, Cape Town, South Africa Phone: 0214213333 / 0832528876 Email:

Sidney Goldblatt


Die Kunskamer moves up

Bastille Day celebrations in South Africa DIE KUNSKAMER under the direction of Charlotte Schachat would like to advise that our gallery has moved from Portswood Road, Green Point and has been relocated to Fresnaye.. We would be delighted to welcome clients and friends to pop in for a visit and/or view a selection of outstanding works by wellknown South African artists. Kindly call us on one of the following numbers to arrange a convenient time – 021 434 9529 / 021 419 3226 / 082 898 9717. Our website will be updated regularly ( and queries via our email ( are always welcome. We will continue to provide our clients with ongoing advisory services and the highest confidentiality that is our proud tradition. SA ART TIMES. August 2013

On Friday 12 July the Embassy of France in South Africa hosted its National Day celebrations at the Ambassador’s official residence in Pretoria. Bastille Day, celebrated throughout France on the 14th of July, is France’s national holiday and marks the anniversary of the storming of the Bastille during the French Revolution. The 2013 celebration in Pretoria was slightly different from past events because in addition to the usual festive air the Embassy also took time to celebrate one of South Africa’s great artists, William Kentridge, by bestowing the signet of “Commandeur des Arts et des Lettres”. The national anthems of France and South Africa were performed by the BuskAid Soweto string ensemble and the performers had learnt the French national anthem especially for the day. 27



Adele Claudia Fouche Ongoing exhibition. The artist exhibits her works which are mainly concerned with light. Adele also offers workshops and retreats in this beautiful setting. T. 082 522 4010.


Shell, Sealife & Art Experience ‘Shells & More’, a permanent exhibition that shows shells, silk scarves, original art & constructions by Mosie Hope. The shell cladding on the building was done over a period of eight years. Seasonally open. 8 Golf Street, L’Agulhas. T. 082 296 0144.

Mossel Bay

Artbeat Gallery Group Exhibition by Artists: Cara Steyn, Mariette Maarschalk, Leigh van Olst, Mariaan Kotze and more. 35 Gys Smalberger Street, Mossel Bay CBD. Tel. 081 356 5295. Art@39Long Quaint gallery, set in a delightful garden. Carefully selected art, complemented by beautiful ceramics and designer craft to be enjoyed in a warm and friendly village on the Garden Route. 39 Longstreet, Great Brakriver. C. 082 576 3338.

Hermanus Abalone Gallery 2 Harbour Road (The Courtyard) Hermanus. Tel. 028 313 2935. 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 Rd or at the Hermanus Tourism Office. Terry Kobus: C. 083 259 8869. 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. Tel. 083 259 8869. Rossouw Modern Art Gallery Hermanus Until 4 August, Bastiaan van Stenis’ first international solo exhibition in Holland at Dejavu Galerie Podium. Visit website for more details. 3 Harbour Rd, Hermanus. T. 028 313 2222. Mytile At Southern Art Ceramic Design ‘Fynbos & Proteas’, Hele’ Oosthuizen presents new ceramic arttiles & murals. Hemel & Aarde Village, Sandbaai, Hermanus. C. 083 232 9238. Village Art Gallery The gallery was established in 2006 by artist and owner Brian Robertson, who exhibits work in both oil and watercolour. Hemel en Aarde Village. T. 028 316 3355. Walker Bay Art Gallery View the wide selection of paintings, sculpture & ceramics by established as well as up-and-coming SA artists. 171 Main Rd. 028 312 2928. Willie Botha Sculpture Gallery Permanent exhibition of work by sculptor Willie Botha. Paintings by Pieter Vermaak and Johan Calitz. 171 Main rd. T. 028 313 2304.

Knysna Dale Elliott Art Galleries Leaders of the painting course concept in South Africa. Shop 11, Knysna Mall Shopping Centre, Main rd. T. 044 382 5646 A Different Drummer A collection of works by South African Masters. Thesen House, 6 Long Street, Knysna. T. 044 382 5107. Knysna Fine Art Thesen House, 6 Long Str, Knysna. T. 044 382 5107.


Lynn Schaefer Gallery Artworks and ceramics by SA artists including Derric van Rensburg, Ann Nosworthy, Darryl Legg and Lynn Schaefer. Thesen House, 6 Long Street. C. 072 174 4907. Sally Bekker Art Studio Exhibition In mixed media, oils, watercolours and pastel. Woodmill Lane. T. 082 342 3953. The Knysna Art Gallery Old Gaol Complex, cnr of Main and Queen Street. T. 044 382 7124

Langebaan Bay Gallery Supporting excellent, local artists, many of whom are members of S.A.S.A. All mediums exhibited. Marra Square, Bree St. C. 073 304 8744.

Oudtshoorn ArtKaroo Gallery 107 Baron van Reede, Oudtshoorn. T. 044 279 1093. Rosenhof Art Gallery Until 15 Sept: as part of the Klein Karoo Klassique (8-11 Aug), Lisl Barry & Richard Henley present an exhibition that is an inspiring visual pause between the music. Baron van Reede Str. C. 082 7696 993/044 2722232. /

Paarl Hout Street Gallery Specialising in paintings and fine art by more than thirty SA artists. 270 Main Str, Paarl. T. 021 872 5030.

Piketberg The Art Business Contemporary Gallery and Art Consultancy 17 Main Str, Piketberg. C. 083 739 6196.

Plettenberg Bay Lookout Art Gallery Featuring a wide variety of both new and well-loved artists, including Fiona Rowett, Jocelyn Boyley, Sue Kemp and Gail Darroll, amongst others. Main Str, Plettenberg bay. T. 044 533 2210. Old Nick Village Old Nick Village comprises a varied selection of individual shops and galleries showcasing some of the best of South African creative manufacturers and fine artists. Easy access from the N2 highway, 3km east of Plett. T. 044 533 1395.

Port Owen The West Coast Art Gallery 31 Aug - 16 Sept, ‘Flower Season on the West Coast’. Various artists will be displaying their compositions of flowers as seen on the West Coast. Shop 2 Harbour Centre, Port Owen, Velddrif. T. 082 460 6650.

Prince Albert Prince Albert Gallery Established in 2003, the gallery always has an eclectic mix of art on display. 57 Church Str, Prince Albert. T. 023 541 1057.

Riebeek Kasteel Deziree Fine Arts 27 - 29 Sept, ‘Co-Exist’ by Deziree Smith, hosted at the Shiraz and Art Festival, Riebeeck Kasteel. T. 021 785 1120. The Gallery - Riebeek Kasteel Main Street, Riebeek Kasteel. C. 083 653 3697. astridmcleod@

Robertson The Robertson Art Gallery We specialise in original art of more than 60 top South African Artists. 3 Voortrekker Rd. T. 023 626 5364. C. 082 921 2697

Somerset West Gallery 91 91 Andries Pretorius Str. T. 021 852 6700. Liebrecht Art Gallery 34 OudehuisStr, Somerset West. T. 021 852 8030. Wallace Hulley Gallery 27 Silverboomkloof Rd. C. 083 268 4356.

Stellenbosch Art at Tokara ‘The Garden’, a collection of nature-inspired artworks until end August , featuring artists from Kirsten Sims and Matthew Kay to Clifford M’Pai and Irma Stern. Crest of the Helshoogte Pass, Stellenbosch. T.021 808 5900 Art on 5 A studio gallery run by 2 artists, Maryna de Witt and Emzi Smit, exhibiting their work. Subject matter ranges from local landscaped and town scenes to ethnic figures and portraits. Also show ceramics and sculptures. 7b Andrings St. T. 021 887 7234. C. 072 249 3312. D-Street Gallery 31 Aug – 5 Oct, ‘Prototype’. Group exhibition with Louis Jansen Van Vuuren, Clare Menck, Judy Woodborne, Alex Hamilton, Marie Stander, Annelie Venter, Peter van Straten, Talitha Deetlefs, Aidon Westcott and Hannalie Taute, amongst others. Exhibition curated by Aidon Westcott ( 112 Dorp Str. T. 021 883 2337. Oude Libertas Gallery Until 27 Sept, ‘Celebrating The Soul Of Our Ecosystem’, with William Kentridge and other artists - part of proceeds go towards protection of the Rhino. Cnr of Adam Tas & Oude Libertas Str. T. 021 809 7463. Rupert Museum Showcasing the unique private art collection of Anton and Huberte Rupert. Stellentia Ave. T. 021 888 3344. Sasol Art Museum 52 Ryneveld Str, Stellenbosch. T. 021 808 3691. Slee Gallery Until 7 Aug, ‘Verse in Komberse II’ by Marie Schoeman. Creative quilting and embroidered phrases on fabrics collected on the artist’s travels through Africa. 101 Dorp Street. T. 021 887 3385 SMAC Art Gallery Until 31 August, ‘At The Quiet Limit’ by Jake Aikman 1st Floor, De Wet Centre, Church Str. T. 021 887 3607. 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. T. 021 887 8343. US Art Gallery Closed for renovation until 31 October. C/o Dorp & Bird str, Stellenbosch. T. 021 828 3489.

Swellendam Kunstehuijs Fine Art Gallery Representing a variety of established and up-and-coming South African artists. 19 Swellengrebel str, Swellendam. T. 028 5142905. Die Steg Art Galery 1 Voortrek Str, Swellendam. 028 514 2521.

SA ART TIMES. August 2013


Villiersdorp Dale Elliott Art Gallery 80 Main Rd, Villiersdorp.T. 028 840 2927.

Wilderness Beatrix Bosch Studio Unique works in leather, paintings & photography can be viewed at her studio. 57 Die Duin, Wilderness. T. 044 877 0585. Pharoah Art Gallery Featuring a collection of Peter Pharoah’s fine art originals & prints including rich colourful portraits, African wildlife and textured abstracts inspired by his travels. Wilderness Centre, George Road. T. 044 877 0265.

Kwazulu- Natal Durban The African Art Centre New Work by Jabulani Cele. Jabulani is an active, self-taught artist living in KZN. He works mainly in the medium of painting and his subject matter is concerned with his immediate surroundings and township lifestyles. 94 Florida Road, Morningside, Durban. T. 031 312 3804/05. Artisan Gallery ‘The Beauty and Brilliance of Women in Art’. Women are a powerful force in art, both as creators and as the subject for art. A varied selection of work by women painters, ceramicists, jewelers and fibre artists on view through August. 344 Florida Road, Morningside. Tel. 031 312 4364. ArtSPACE Durban 19 Aug – 7 Sept, ‘Portals’, Sharon McClelland, Di van Wyk and Ockert Kruger in the Main Gallery, as well as Paintings by Janine Holloway in the Middle Gallery. 3 Millar Rd (off Umgeni Rd). T. 031 312 0793. Christie’s International Auctioneers. Gillian Scott Berning, Independent Consultant. T 031 207 8247.

Imbizo Gallery 1 - 31 August, ‘The Viewing’, a show by Juli Jana. Shop 7, Ballito Lifestyle Centre. T. 032 946 1937.

The COLLECTIVE Until 9 Aug, The COLLECTIVE is launching an online art auction. Go to and click on the COLLECTIVE! 48b Florida Rd (entrance in Fourth Ave). T. 031 303 4891,


Dog on a Leash Art & Gift 93 Main Str, Kokstad. C. 083 690 3437.

Blue Caterpillar Gallery Gallery exhibiting wide range of styles and mediums covering both established and up-and-coming artists from South Africa and beyond. 37 Willowton Rd. T. 033 387 1356.

Durban Art Gallery 2nd Floor City Hall, Anton Lembede (Smith) Str. T. 031 311 2264

Tatham Art Gallery 4 Aug – Jan 2014, ‘Life and Work’, by Diamond Bozas. A retrospective exhibition in celebration of his 90th birthday. Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str. (Opposite City Hall). T. 033 392 2801.

Elizabeth Gordon Gallery Until 3 August, ‘Images of Africa’, an exhibition by Sudanese artist Hussein Salim. Wonderful canvases and oils on paper. 120 Florida Road, Morningside. T. 031 3038133.


Fat Tuesday Until 17 August, ‘Figure Form Foliage’, Hildegard van Heerden exhibits her intricate works which are created through a layered process of etching, embossing and painting. 5 Bellevue Road, Kloof. T. 031 717 2785.

Carnegie Art Gallery, Newcastle 3 – 31 Aug, Movie Directors International Textile Challenge, Exhibition of 90 textiles from France, Japan and South Africa. 30 film directors from around the world were selected and artists give a visual interpretation of their work. Voortrekker Street, Newcastle. T. O34 328 7622.

Gallery Umhlanga Shop 11, Umhlanga Centre, Ridge Road, Umhlanga. T. 031 561 2199

Nottingham Road

KZNSA Gallery Until 11 Aug, ‘What Lies Beneath’, by Colbert Mashile, Faye Spencer and Kristin Hua Yang. Across the disciplines of painting, drawing and print. 13 Aug 1 Sept, ‘Homosapien’, a group show by Christiaan Diedericks, Ledelle Moe, Vulindlela Nyoni, Niel Jonker, Grace Kotze, Peter Rippon, Elizabeth Balcomb, Sarah Lovejoy and Sandra Hanekom. 166 Bulwer Rd, Glenwood, Durban. T. 031 277 1705. www. Tamasa Gallery A small commercial gallery, Tamasa exhibits a broad variety of contemporary KZN artists. Currently showing Isabelle Leclezio’s latest works. 36 Overport Drive, Berea. T. 031 207 1223.


Aladdin’s Art and Ceramics Gallery Ongoing exhibition: Current works by ceramic artist Louise van Niekerk, featuring Raku, porcelain and stoneware. Other artists include Hermine Spies Coleman, Peter Feek, Ian Warden and “El Maestro” Bartolome Vaccarezza. Stained glass and art classes, please contact us 2 Robin Road, Nottingham Road, KZN. Tel. 033 266 6460.

Underberg The Underberg Studio Set in a delightful garden facing the mountains, the gallery specializes in 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.

Ster-Kinekor: Great Moments at their Greatest A Series Showcasing The World’s Greatest Fine Art Exhibitions, Uniquely Created For Cinema Audiences, Releases Exclusively At Cinema Nouveau EXHIBITION: Munch 150 (releases in SA on 14 September 2013)

In 2013, Norway will celebrate the 150th anniversary of the birth of Edvard Munch (1863–1944), a towering figure in modern art. Already hailed as a “once-in-a-lifetime show” global interest is understandably huge, especially after one of his four The Scream paintings recently sold for a record $120 million.

EXHIBITION: Vermeer and Music: The Art of Love and Leisure (releases in SA on 26 October 2013) The National Gallery, London, is offering a major retrospective on one of the most startling and fascinating artists of all – Johannes Vermeer, painter of the famous Girl with a Pearl Earring. The National Gallery has chosen to focus on Vermeer’s relationship with music.

Alice Elahi Veld at Evening, Grunau 2003

‘One of the most accomplished and subtle landscapists in the book of South African art’ - Johan van Rooyen

ART TIMES | COLIN RICHARDS SHOW dimensions of Richards’ oeuvre. The fineness of the line inferred by the title of the exhibition invokes as much the subtlety and quality of Richards’ line of inquiry in bringing together different fields of study, as the delicate, masterful line that typifies his art. It also references a story about a line connecting art and science that Richards saw as foundational to his thinking, and which he encountered in his first days as Medical School. In the exhibition examples of Richards’s medical illustrations are placed in relation to works in which ambiguity and the imagination are given free rein. All reflect the technical and conceptual virtuosity for which Richards is so esteemed, and his signature labour-intensive, painstakingly detailed, meticulous art practice. The medical illustrations also reflect the importance of drawing ‘by hand’ in scientific research of the time; there were parts of anatomy and the specimen that the camera could not access or capture and which only the human hand could render. Digital technology has since all but replaced the hand, and these illustrations are testament to a now distant era of medical illustration. Richards made other illustrations at the time that were not strictly in the service of science. These offered much scope for his wry humour. An example was the publication Milk and Honey (1981), a collaboration with scientists Randall Hepburn and Graham Mitchell, a satirical reflection on ecology and a comment on the truth claims of science. It was at Medical School that Richards made his first piece of autonomous art, his intermedial response to the play Endgame by Samuel Beckett. Beckett’s writing was to become a major inspiration for Richards and a portal through which he developed his interest in ‘the literary’ in his art. Endgame was the first instance in which Richards exploited illustration as a critical visual language, engaging the ideas of authenticity and copy that were to mark his oeuvre. It was also the first time he depicted a veil, a motif that was to become something of a leitmotif in his work.

A Fine Line. Colin Richards Origins Centre (16 August – 2 September 2012). A Fine Line is an exhibition of works by Colin Richards (1954 -2012) that links his early experience as a medical illustrator with his later practice a fine artist. Richards was renowned in both spheres, as he was for his scholarship, teaching and art therapy and the humanistic values he espoused in all his endeavours. It is thus fitting that the exhibition be part of the conference on medical humanities, Body Knowledge, hosted by Wiser (Wits Institute of Social and Economic Research) later this year. Curated by Penny Siopis and presented by the Origins Centre, Wits University, the exhibition will be open to the public from 16 August – 2 September. Colin Richards became a medical illustrator in the Department of Medicine, University of the Witwatersrand in 1977. During his tenure at Medical School he completed his fine arts degree part-time through UNISA. In 1985 he took up a lectureship in the Department of Fine Arts, also at Wits. Illustration remained an abiding creative and critical concern for Richards, a means through which he could bring together distinct bodies of knowledge and spheres of experience, as much in his art as in his scholarship. He saw illustration as “a hinge between the visual and the linguistic, which could turn many ways”. It is this idea of a hinge turning many ways that Siopis draws on in her curation of the exhibition. She sees the hinge as a line connecting different

One such veil features prominently in his Biko series (1996). Although this series was made after Richards left medical school, it references a potent memory of his time there. It was late in 1977. Richards was tasked with labeling forensic postmortem photographs in preparation for a legal inquest. It was only after he had completed the task that he found out that the body in the photographs was that of Steve Biko. This realization provoked intense feelings in Richards of complicity in the apartheid abuses that had martyred Biko. It was the exhibition Fautlines: Inquiries into Truth and Reconciliation (1996) for which Richards made the series, that gave him an opportunity to begin to work-through some of these feelings in his art. The exhibition was curated by Jane Taylor and presented at the Castle of Good Hope in Cape Town to coincide with the launch of the TRC. The piece was a complex installation of found objects, drawings, paintings and prints. Some of the postmortem photographs were included in mediated form, positioned within a motif of a veil. The veil referenced visual truth through art historical paintings of ‘the Veronica’, the name given to the veil that allegedly bore the direct imprint of Christ’s face after a woman (Veronica) used it to wipe his blood, sweat and tears as he laboured towards Calvary. Some view this relic as the first photograph. Like photography, the Veronica reveals the magic of an image appearing unmediated by the hand. In Richards’ work it could mean many things, not least a reflection on the truth claims of forensic photography. There are other works on the exhibition that reflect Richards’ interest in pictorial illusionism and its link with visual truth, many of these connecting the visual to the linguistic. All embody the complex processes of thinking and feeling involved in creativity, and with Richards, a particular kind of humanism in which the hand speaks volumes.

Read daily local and international art news everyday at- Art Times - Facebook Profile

- Art Times -

17 500 likes




Antiques Fair

JOHANNESBURG FAIR 27th - 29th September 2013

Salt Visual Communications S3058

10h00 - 18h00 GALA OPENING

26th September 2013 (by invitation only)

The Wanderers Club 21 North Street Illovo For further information visit

50th SAAIDA Antiques Fair : Johannesburg 27 - 29 September 2013 See more at SAADA 50th Gold theme: The hottest invite this spring is to the SAADA 50th Golden anniversary that will be celebrated at the annual antique fair held at the Wanderers Club from the 26th to 29th of September. The South African Antique Dealers Association (SAADA) was established in 1963 and represents 53 specialist dealers nationally. For 50 years we at SAADA have been helping our clients identify the golden thread running through all areas of art and antiques. The ability to recognise the exceptional quality in conception, design and production culminates in the display of unique items at our annual fair and this years golden ticket will surely be first prize. Today we offer unparalleled advice in what to look for when purchasing art and antiques. At present the new areas of 20th century design are a case in point and for our younger clients a designer piece of jewellery by Erich Frey or a simple coffee table by Alvar Aalto while fitting into the slick new decorative look will appreciate in value as well. How do you as a client know what will be Fool’s Gold or the real thing? Apart from the fact that you are buying from an acknowledged expert our system of vetting ensures this. SAADA’s vetting regulations along with the physical inspection of each item by our panel of expert’s checks for authenticity, date, condition and accurate descriptions. This ensures the high standards which have become our hallmark. In short at SAADA all that glitters is gold. For many collectors of antiques the challenge is always going to be the ability to recognize what will ‘alchemise’ into the golden nest egg and our expertise and passion will guide you on your quest. Georgian furniture that has been waxed and polished for more than two hundred years will have acquired a patina making each piece unique. It is this smooth and subtle golden glow, only acquired with the passing of time, which brings a feeling of tradition and quality to any home. Traditionally gold had always been the ultimate store of wealth and first prize is normally a gold medal. This fair will highlight some of these rarities and none more so than the Warwick vase, the detail of which can be seen on our golden ticket. Alchemy in the ancient world strived to turn lead into gold and while they never succeeded they laid the groundwork for modern chemistry. Too heavy to be made in gold the silversmiths cast the vase in silver and then using the process of fire gilding, transformed it into a golden masterpiece. This and other metalworking techniques will be highlighted in a collection of gold artefacts

brought together especially for this event. For bibliophiles seeking fun between the covers, a first edition with original dust jacket of Ian Fleming’s “THE MAN with the GOLDEN GUN” will be on show. This year also marks the fiftieth anniversary of James Bond in film in the United States of America with Dr. No having been the first James Bond film shown in US theatres. With some of our clients having a ‘GoldenEye’ and with numerous jewellery dealers on our fair don’t be surprised to see a ‘Goldfinger’ or two. Legend has it that cranberry glass with its subtle red colour was first discovered when a nobleman tossed a gold coin into a crucible of molten glass. Since the dawn of time glass blowers have experimented with colours and effects. The most famous glass designer and maker of the 20th century, Frenchman René Lalique excelled in this. His large range of opalescent glass, popular in its day, has become a gilt area of glass design in terms of desirability. The Murano glassmakers included gold foil in the walls of their vases throughout the 20th century and the golden era for Murano glass is the 50’s where art glass masters such as Venini and Seguso flourished. The South African art market has soared in the last fifty years and our golden anniversary will have on show art with an established track record. South African old masters such as Cecil Skotnes, Pierneef and Irma Stern will be on show as well as international ‘golden boys’ such as Jim Dine and David Hockney. Professional guidance in any art market is always advisable and our specialists are always willing to share their expertise. Many of them spend an entire year sourcing stock for this event and on the gala opening evening many of these golden nuggets are snapped up. In 2012 SAADA adopted a ‘Green’ theme that we called “RECYCLE THE PAST, ENSURE OUR FUTURE”. With many of our natural resources under threat we want to highlight the benefits of renewable and sustainable production and the protection of our natural resources especially the rhino which faces extinction within our lifetimes. As we celebrate our golden anniversary and look back over fifty years we see the effect of the developing modern world with its consumer based philosophy and a “throwaway mentality”. In the next fifty years we will continue to show clients the benefits in buying antiques as their carbon footprint has gone and Green will become the new Gold.


Young SA artists shine at 2013 Absa L’Atelier Art Awards doubt, the local arts community – truly value.” Gutter’s winning work, Die Huweliksaansoek, featured a video, old farm telephone, engraved plaque and wood. A 1.8m high association-rich obelisk confronts the observer with the intimate action of a stud-bull’s seminal discharge. The observer is encouraged to ‘listen in’ voyeuristically to the ‘agri-porno’ on the screen. The listening-in apparatus is a farm-line handset; the soundtrack is the voice of Gerben Kamper, recognisable as that of the heroic musketeer, Brakkenjan. Even though it’s now obsolete, the handset symbolises the first phase of the search for women, which is ‘listened to’ by the entire community. The text is a collage of dialogue from the kykNet reality show ‘Boer Soek ’n Vrou’, in which the female role is that of a homemaker and progeny-provider.

The 2013 Absa L’Atelier Art Competition drew to a close on Wednesday (17 July 2013) with four exceptionally talented young South African artists being honoured for their outstanding contemporary pieces. Three of the works reflected the country’s past in terms of its history and traditions, providing social and political comment, while the fourth explored the universal theme of death and transformation in a novel and engaging way. Pauline Gutter (Bloemfontein) took the overall award and main prize for her piece, Die Huweliksaansoek, while Mongezi Ncaphayi (Johannesburg) was awarded the Gerard Sekoto Award, sponsored by Alliance Française, for the most promising artist with an annual income less than R60 000 for his work, Migrant Workers’ Hostels.

Productivity and sustainability in agriculture are determined by the interaction between cattle-breeding, land ownership and the guarantee of descendants. The three elements are brought into context in a humoristic but also anthropological-museum-like manner. With social and gender implications, the piece raises the question, ‘Does a farmer search for a wife in the way he would search for stud animals and breed them?’ Ncaphayi’s etching, Migrant Workers’ Hostels, meanwhile focuses on the migration of, and first establishments of ‘urban’ settlements for, black labourers, especially the mine workers. This stems from the artist growing up in what used to be a mining town, and his fascination with the history of migration. The work commemorates those who died in the townships between 1990 and 1994, as such these hostels are perceived as living monuments.

The two Merit Award winners were Jaco van Schalkwyk (Johannesburg), awarded for his mixed media installation Beloofde Land?/Promised Land?, and Kathleen Sawyer (Port Elizabeth), recognised for Somata.

As part of her prize, Gutter won R125 000 from Absa, a return air ticket to Paris and a six months residency at the Cité Internationale des Arts in Paris. Ncaphayi won a return air ticket to Paris and three months’ stay in the Cité Internationale des Arts, sponsored by Alliance Française: The French Institute and the French Embassy.

Now in its 28th year, the Absa L’Atelier Art Competition, in partnership with the South African National Association for the Visual Arts (SANAVA), is rated as the longest-running and most influential art contest on the continent. It pays homage to both established and emerging young local artists and their compelling artistic vision.

This year, for the first time, two Merit Award winners were named, each also receiving a prestigious residency prize. Van Schalkwyk won a two months’ stay at the Sylt Foundation in Germany. Sawyer won a one month’s stay at the Ampersand Foundation in New York. As part of the prize, Sawyer also becomes a Fellow of the Ampersand Foundation.

Dr Paul Bayliss, Absa Art and Museum Curator, says more than 565 entries were received from across the country.

Aside from these four winners, the remaining Top 10 artists recognised for excellence this year included Jan Tshikhuthula for Thiko (Johannesburg); Louis de Villiers for You & Me (Durban); Heidi Fourie for Autasuggest ABC (Pretoria); Vincent Bezuidenhout for Food Court (Cape Town); Franli Meintjies for Tribute to Martha (Pretoria) and Ruan Huisamen for Reveal (Cape Town).

“It was so fascinating to see the depth of creativity exhibited by the entrants. It points to how our emerging artists are growing. Over the years that L’Atelier has been running, we’ve physically seen this growth among entrants, both personally and professionally as artists. At Absa, we’re delighted to see how these artists’ careers are flourishing through this platform, and we will continue to support and empower young SA artists in this way,” says Dr Bayliss. “We’d also like to thank the partners that have joined us in creating this platform and the exciting journey for these artists; it’s a vital partnership that we – and no


The competition is open to young artists between the ages of 21 and 35, and attracts entries from across the country, which is open to public viewing during the regional adjudication rounds. An exhibition of the top 100 works will be on public display from 18 July to 22 August 2013 at the Absa Gallery, Upper Ground Level, Absa Towers North, 161 Main Street. Members of the public are requested to bring their ID books along for parking and entry purposes.

SA ART TIMES. August 2013


Mongezi Ncaphayi: Striking art is his raison d’être Award-winning artist Mongezi Ncaphayi draws his audience in, hooking them in to a deeper reflection.

Absa L’Atelier Awards: Cruel jokes and abstract lives Mail & Guardian: Matthew Krouse. Mongezi Ncaphayi won the Gerard Sekoto Award. The drawcard is an opportunity to visit Paris for an extended stay – all expenses paid. For the overall winner, there’s the promise of a solo exhibition upon return. At the awards’ ceremony, on July 17, the event organisers projected a Skype link to the 2012 winner, Erlie Joubert. In a cutaway we saw Joubert and her family, who travelled overseas with her, enjoying the Parisian summer, among the Europeans. Then she was interviewed live in the Paris apartment at the Cité Internationale des Arts, owned by the bank’s award partner the South African National Association for the Visual Arts (SANAVA). On Skype Joubert looked content and relaxed. Of course, this was a showcase for the public who came to inspect Absa Bank’s investment in the emergent arts. So one could expect nothing less than the previous winner still basking in her good fortune. At the award ceremony there was no display of Joubert’s artwork since the occasion was not really about her at all. Her work will be shown at a later date and then the critics can judge whether her time away was well spent. The concentration on Wednesday night was on the abundance of submissions made to the award, probably the most far-reaching in the country since it is adjudicated across all provinces and includes the works of artists at all levels of skill. There was a radical performance video by Theko Collin Boshomane of Polokwane who, in the work, wandered around in an empty house, in his underpants, tied up with plastic tape. There was an attempt at a Marlene Dumas-like portrait by Luke Batha of Johannesburg. His work titled Eyes are the Windows of the Soul will not be the first by an artist hoping to learn by emulating the masters. In a contest like this, trends in the international artworld are bound to be rehashed. So the judges’ job, then, is to award works by artists who are starkly original and who may turn SA ART TIMES. August 2013

out to be the masters of the future. The Jo’burg printmaker Mongezi Ncaphayi may well be one of those. He is this year’s winner of the Gerard Sekoto Award that is given to a promising artist with an annual income less than R60 000. As a reward for his effort, an etching and spit bite titled Migrant Workers’ Hostel, he will do a three-month residency in Paris. But it will not be his first residency abroad since two years ago he attended an exchange programme at Boston’s School of the Museum of Fine Arts. There he observed processes of abstraction and decided to continue exploring his major theme of migrancy and labour, but through imagery that does not strive to be representational. About his winning abstract work, that is really just a series of lines and squares representing the monotony of the worker’s hostels, but in a way they is light and full of mystery, he says, “I chose to work like this because I wanted to create a beautiful piece. I don’t like creating artworks that, when you see them, they make you feel very sad. “From afar, I had to draw you in. And then once you get closer to it you get a sense of what I’m talking about. The work is actually kind of beautiful [although] the meaning behind it is not a good one.” In an interview at the Absa Bank Gallery, having won the award Mcaphayi admitted that he has gradually begun to work against his instinct to depict the sad reality of people in the street, people like common beggars. “But if someone buys that art how can they live with it in their dining room? They have this artwork depicting beggars and stuff and at the same time people are eating? So I thought I should have a different approach where you don’t get a sense of what it is from a distance but when you get closer the title will guide you.” The important and the mundane. The overall winner, this year is Pauline Gutter of Bloemfontein. Her obelisk has a video embedded in it of a farm procedure where semen is extracted from bulls. On an antique telephone handset you can hear an actor reciting lines originally spoken by real farmers who entered a television reality show – a search for a suitable partner—titled Boer soek ‘n vrou [Famer seeks a wife]. The work is, to a limited degree, monumental but then it has an old phone sticking out of it, indicating a tussle between the important and the mundane. It has feminist undertones although Gutter is loathe to pigeonhole the work. But even she has to admit that the issue of marriage and the woman’s place in the home is central to the work “For me the question I raise is, does a farmer choose his future wife in the same way that he breeds stud cattle? It’s a trophy, she has to do all these things. In a sense the topic of looking for a role for women and looking for a future wife is based on statement participants in the Afrikaans documentary made.”

Gutter comes from a family of farmers, and she asserts that her mother is a powerful force in the home. In a previous work, created for the Afrikaans arts festival Aardklop Gutter depicted her own mother as a “volksmoeder”, a traditional, hardworking matriarch. “If I think about my own life, very few men have had the guts to date me,” Gutter says jokingly, about the antagonisms that exist between the genders. The work takes this on with a similar, cruel humour.

Mongezi Ncaphayi (Johannesburg) was awarded the Gerard Sekoto Award, for his work, Migrant Workers’ Hostels. The two Merit Award winners were Jaco van Schalkwyk (Johannesburg), awarded for his mixed media installation Beloofde Land?/Promised Land?, and Kathleen Sawyer (Port Elizabeth), recognised for Somata.


ART TIMES | GALLERY BUZZ Monty Sack Retrospective Exhibition (1924-2009)

The posthumous retrospective exhibition of Monty Sack’s architectural and fine art practice at the University of Johannesburg’s FADA Gallery

Simon Stone: A Retrospective Exhibition Standard Bank Gallery.

w w w. s c a n s h o p . c o . z a

design | books and catalogues | large format graphics | archiving | specialised retouching | installations | exhibition displays | digital scanning


Art Eye Galery Opening

Carol Hamman and Sibusiso Duma | Dalene Marais, George Mazarakis and Penelope | Tafadzwa Gwetai and Mercy Dhilwayo

Point of View: Contemporary South African Photography exhibition Barnard Gallery

Alastair Whitton, Barnard Gallery Art Director, gives a speech

Gary van Wyk with his work

Svea Josephy and Raymond Smith

Olaf Dambrawski, Deborah Calmeyer and Barnard Gallery art consultant Brad Twaddle

Gary van Wyk and Carla Erasmus with Heidi Erdmann and Naomi Menyoko of Erdmann Contemporary | artist Ashley Walters and Stephen Inggs with Lien Bothas work in background

Sitaara Stodel and Marguerite Venter

Sue and Gavin Stewart

BUSINESS ART Amazon to launch virtual art gallery Internet retail giant is targeting smaller dealers with a plan to offer more than 1,000 objects online—and it will take a commission By Julia Halperin.: The retail giant’s new art site would resemble Amazon Wine, which launched last fall. is expected to launch an online art gallery later this year. The online retailer of books, electronics and apparel aims to offer over 1,000 art objects from at least 125 galleries, according to dealers who have been approached by the website’s business development group. Amazon executives told one dealer that 109 galleries have already agreed to participate. The retail giant’s interest in launching an art gallery first came to light in May, when it organised an information session for New York dealers. Since then, the Seattle-based company has approached dozens, if not hundreds, of galleries from across the US about participating in the programme. A representative for Amazon declined to comment on its plans, saying, “We have not made any announcements about art”. At least one dealer was told his gallery could offer art under a pseudonym until the website became successful. Amazon representatives told dealers the site would resemble Amazon Wine, which launched last fall and works directly with 450 different vineyards and winemakers across the country. The art platform will take a commission from all sales conducted through the site rather than charge galleries a monthly fee to present their wares, according to dealers familiar with the venture. Commissions will range from 5% to 15% based on the work’s sale price, dealers say. (For comparison, the online sales site Artspace charges commissions ranging from 10% to 20%.) Rather than focus on international, blue-chip businesses, Amazon appears to have targeted smaller dealers, including Eleven Rivington, On Stellar Rays, Vogt Gallery and Zach Feuer. Most have not followed up. “I didn’t really have to think much about it and said it wasn’t for me,” says Augusto Arbizo, the founder of the New York-based gallery Eleven Rivington. “I have said no to most e-commerce opportunities for the simple reason that I just do not have that much inventory. And we work with very few artists who do editions or prints.” Feuer says he will reserve judgement until the site launches. His decision to participate depends on “how much control we get over presentation”. His artists would also have to approve any work he placed on Amazon, he says. He is more likely to offer prints than original paintings or sculptures. Costco launched a similar art platform last year, and currently offers prints by Henri Matisse and Marc Chagall as well as original works by Johnny Botts and Hilary Williams. (The most expensive work on Costco’s site is a lithograph by Jean-Michel Basquiat priced at $5,999.99.) Some doubt that Amazon’s scheme will be successful. “This is a stunning idea and I find it hard to believe they can pull it off in fine art,” says James Hedges, the president of the art-oriented investment firm Montage Finance. “Prints, multiples and editions may be the low end of the market but there is still a low end of the low end.” 36

Stephan Welz & Co moves to quality by Michael Coulson The ambition of Stephan Welz & Co’s new chairman, Alan Demby, to move away from low-priced items seems to be taking another step forward in the firm’s sale in Joburg next month. SA art is on offer in two sessions on Tuesday August 6; the afternoon session of minor work contains only 46 lots, with a low estimate of only R263 000, and even the evening session, of 117 lots, is more selective than has been the case. The low estimate of about R7.8m for the evening takes the total low estimate for the overall 160 lots to R8.1m. Reflecting the revival of interest in the artist, three of the top 11 lots (low estimates starting at R250 000 and upwards) are for paintings by Tretchikoff. Daughter of Java is put at R600 000-R1.2m, Nude in Mink at R400 000-R800 000, and Still Life with Poinsettias at R400 000-R600 000. Top price, though, is the only seven-digit estimate, R1m-R1.5m for a rare Irma Stern landscape. Two Pierneef landscapes are R900 000-R1.5m and R600 000-R900 000. A Gwelo Goodman scene of Venice is on R500 000- R700 000. On R400 000R600 000 are a Freida Lock portrait, Gregoire (Boonzaaier?), and Robert Hodgins’ Businessman. An Alexis Preller still life is R250 000-R350 000 and Anton van Wouw’s bronze Dagga Smoker R250 000-R350 000. The cover features Billie Zangewa’s stitched silk on silk If Not Now Then When? (R80 000-R150 000). Hodgins is the most represented artist, with seven lots, followed by Walter Battiss and Gregoire Boonzaaier (five each) and Adriaan Boshoff, Peter Clarke, Frank Spears and Piet van Heerden (four each). NEXT UP Lot 337. Vladimir Griegorovich Tretchikoff (South African 1913-2006) NUDE IN MINK. signed oil on canvas 126 by 75cm (1) PROVENANCE: The Vladimir Tretchikoff Collection and thence by descent R 400 000 - 800 000* Condition report available

SA ART TIMES. August 2013

Multiple values By Griselda Murray Brown

Limited editions, from sculptures to photographs, are hitting new highs in the marketplace

In February 2010, “L’Homme qui marche I” (“Walking Man I”), a life-size sculpture by Giacometti, became the most expensive work ever sold at auction. After just eight minutes of bidding at Sotheby’s in London, it was sold for over £65m – almost four times its asking price. That record has since been broken: first by Picasso’s painting “Nude, Green Leaves and Bust”, which went for $106.5m (£66m) that April; then by Munch’s “The Scream”, sold for $119.9m (£74m) in 2012. But the fact that the “Walking Man I” fetched such a sum remains significant, for it is not a unique piece of art – rather it is one of an edition of six, with four additional “artist proofs”. After the sale, Melanie Clore, Chairman of Sotheby’s Europe, commented that “Walking Man I” achieved such a price because it is “an extremely rare masterpiece”. But isn’t unique better than rare? Not necessarily. As Georgina Adam, FT Art Market columnist and editor-atlarge of The Art Newspaper, explains: “Up until about a generation ago, what people prized in an artwork was the fact that it was unique. That’s really been turned on its head by the arrival of financiers in the market and the culture of buying art as an investment. People feel reassured if something very similar to what they are buying is in a museum collection – and also that there is a clear price comparison.” A work by a famous artist in a low edition is therefore regarded by some as a safer investment than a solo work. Most of Giacometti’s five other walking men are in museums or major private collections, where they are likely to stay. So while the one up for auction had a measurable value – there are directly comparable objects against which it can be assessed – it is still rare enough that demand hugely outstrips supply. There are other reasons why editioned artworks – or “multiples” – are considered valuable. Picasso’s “La femme qui pleure”, an etching from 1937, sold for $5.1m at Christie’s in New York in 2011, setting a new record for a single print at auction. It is in an edition of 15, most of which are in museums, and were distributed only to Picasso’s friends during his lifetime. As Jonathan Rendell of Christie’s explains, the work is important in its own right – unique SA ART TIMES. August 2013

THE RISE OF THE MULTIPLE MARKET / BUSINESS ART or not. “Picasso regarded it as the print version of ‘Guernica’. He doesn’t usually let his emotion out as he does here – it’s really all about his feelings about the Spanish civil war. And, crucially, it doesn’t exist in any other form. Printmaking was central to Picasso’s working technique.” Other artists have shown a more cynical attitude towards printmaking, treating it as merely another source of revenue. “People nowadays are more interested in buying a print by a famous artist than buying it because it’s a print,” the London gallerist Alan Cristea tells me. “There are lots of Francis Bacon prints about, but they weren’t done by Francis Bacon. They were signed by him but done by professional printers, and they were done because his galleries wanted to make more money – as did he. But he had no interest in printmaking. They are simply prints which are copies of his paintings. They still fetch large sums at public auction because people don’t know the difference.” ‘Piccolomini’ by Gillian Ayres (2013) Though a print may not be unique, it is an original – not to be confused with a reproduction. When Cristea went into the business of selling prints more than 40 years ago, it was with the desire to “paper the world in original art”. He adds, “I see it as a more democratic form. A print is something that can be disseminated rather than just going to one Russian tycoon.” The original purpose of printmaking was, in fact, to disseminate imagery. There were no permanent public art collections in England until 1817 – when the Dulwich Picture Gallery was established – so, before that, prints were how most people saw the Old Masters. Britain’s first public exhibition to include prints was held by the Society of Artists in 1760, and its popularity proved there was a hunger for such work. Moreover, prints were reasonably affordable, costing around a guinea. Indeed, despite the eye-watering prices achieved by the very best, raresteditioned work by Picasso or Giacometti, multiples are still generally more affordable than unique artworks, making them appealing to new collectors. Christie’s first impression prints and multiples auction in New York next month is aimed at such buyers: a midseason sale containing lower-priced objects, carefully timed to coincide with its off-season contemporary art sale. There have been print auctions at Christie’s since 1781, and a section for editions at Art Basel – widely considered the most important art fair – since it was founded in 1970. Today, with the proliferation of biennales and art fairs, artists are under greater pressure to produce work – and multiples meet that demand. The art fair Multiplied filled a gap in the market when it launched in London in 2010. It runs at the same time as the Frieze Art Fair in October – but, at Frieze, editioned multiples are confined to just one booth, in partnership with select galleries. The internet is also changing the way people buy art, particularly less expensive pieces like artist multiples. The entrepreneurial Young British Artists were always quick to spot a selling opportunity: Tracey Emin and Sarah Lucas set up “The Shop” in 1993 in east London – and nowadays you can buy Damien Hirst prints directly from his website for as little as £950, or visit Emin International, the London shop and website. Auction houses, too, are adapting. “As we move into the online world, we will see more online sales at greater frequency to meet demand,” says Rendell. “People do like to have things straightaway nowadays.” As with a one-off piece of art, quality, condition and provenance are important criteria when buying a multiple. “The point is to try and get as close as possible to the artist,” Adam advises. So a print made during an artist’s lifetime is usually worth much more than a posthumous edition. The same goes for photography. For vintage pictures, price is determined by the age of the photograph, date of printing, whether it was printed by the photographer, whether it’s signed, its condition and its provenance. Ben Burdett, founder of the London photography gallery Atlas, is currently showing pictures by the celebrated photojournalist Robert Capa. Capa’s poignant picture of “Mothers of Naples” (1943) – whose sons were killed four days before the city’s liberation – is on sale for £11,000, while several pictures from his more famous Omaha Beach series cost just £1,500 each. The former, from Life magazine, was printed at the time it was taken; the latter were printed in 2006. The difference is all-important. And yet, compared with the rest of the art market, photographs are still relatively cheap – and that’s partly because they are seldom unique. While artist multiples at the top of the market attract major collectors amassing important works and buyers seeking a safe investment, the lower end can be a good place for new collectors to begin. As Rendell puts it, “With multiples, you can get a major name without the major price tag attached.” 37


SA ART TIMES. August 2013


On the business art media radar

Jesus is my art patron: The Vatican takes a leap of faith into modern art Katie Engelhart: The Vatican was once the world’s most awesome patron of contemporary artists. But two centuries ago, the Church turned away from modernism, retreating to the safer grounds of Michelangelo and Botticelli. Now things look ripe for change. Last month, the Vatican unveiled its first-ever contemporary art pavilion at the Venice Art Biennale. Three modern artists were commissioned to design works around a spiritual theme; their designs were not approved by Church officials, and the artists did not have to be Christian. (One was raised Catholic.) Biennale president Paolo Baratta dubbed the exhibit (which cost some $1 million to mount) “an act of courage.”

Amazon: Fine art dealer? Smart Planet: By Tyler Falk : Amazon has come a long way from its roots as an online bookstore. Among many other things, the company is now in the wine business, the 3D printer business, and could soon become a fine art dealer. A new online art store on Amazon is rumored to soon sell over 1,000 pieces of art from more than 100 galleries. As The Art Newspaper reports: Amazon representatives told dealers the site would resemble Amazon Wine, which launched last fall and works directly with 450 different vineyards and winemakers across the country.

For Art Buyers, Is Price More Important Than Talent? Forbes: Artist Eric Fischl, speaking at Sky Church, American artist Eric Fischl believes that the price tag has replaced artistic talent in the dialogue about art. The Los Angeles Times ran an interesting interview with Eric Fischl at the weekend, in which the American artist discussed his new memoir Bad Boy: My Life On and Off the Canvas and his belief that money, rather than artistic merit, has recently become the universal definition of worth in the art world.

Multiple values : Limited editions, from sculptures to photographs, are hitting new highs in the marketplace. Financial Times: By Griselda Murray Brown : In February 2010, “L’Homme qui marche I” (“Walking Man I”), a life-size sculpture by Giacometti, became the most expensive work ever sold at auction. After just eight minutes of bidding at Sotheby’s in London, it was sold for over £65m – almost four times its asking price. That record has since been broken: first by Picasso’s painting “Nude, Green Leaves and Bust”, which went for $106.5m (£66m) that April; then by Munch’s “The Scream”, sold for $119.9m (£74m) in 2012. But the fact that the “Walking Man I” fetched such a sum remains significant,

Vancouver art exchange a first of its kind The Globe and Mail: ANDREA WOO When Cheryl Cheeks moved into Vancouver’s Mount Pleasant neighbourhood in February and decided to unload a few books, she brought them to one of the area’s pop-up libraries, built and maintained by community residents. The location she chose was a two-tiered structure crafted from an old shelf found in an alley, located on East 10th Avenue near St. George Street. In its year or so of existence, the free-for-all roadside library has seen the exchange of countless books in the neighbourhood, with its simple motto: lend or borrow, give or receive.

A new globalism hits contemporary art market sales Telegraph Sotheby’s reports that potential buyers from 38 different countries registered to bid in last week’s contemporary art sales, reflecting a new globalism in the nationalities of the artists themselves, says Colin Gleadell.By Colin Gleadel: Every season, the global nature of the contemporary art market seems to expand. Last week, Sotheby’s, Christie’s and Phillips clocked up £200 million of contemporary art sales, and even though the total was down from the past two years, the number of countries taking

Read daily local and international art news everyday at- Art Times - Facebook Profile 40

- Art Times -

17 500 likes SA ART TIMES. August 2013

FNB Joburg Art Fair 2013 Artlogic is pleased to announce the sixth edition of the FNB Joburg Art Fair, which will take place from 27-29 September, in Exhibition 1 at the Sandton Convention Centre in Johannesburg. The FNB Joburg Art Fair was founded in 2008 as the first art fair on the African continent. From the beginning, Artlogic has aimed to bring together the best of contemporary art from Africa, and to create a platform on which the continent’s artists, curators, collectors, writers and art lovers can congregate. Over the past five years the Fair has also hosted top international curators and directors from institutions such as The Tate Modern and the Venice Biennale, but more importantly it has helped to build a solid base of buyers from South Africa and the continent. For the FNB Joburg Art Fair’s sixth edition, Artlogic has carefully curated a selection of forward-thinking galleries, special projects and developmental programs. This year the Fair will see more galleries from Africa and Europe participating in the event, with seven non-SA countries represented: England, France, Spain, Germany, Mozambique, Nigeria and Zimbabwe. We are pleased to announce the selection of 33 confirmed galleries for the 6th edition of the FNB Joburg Art Fair. The 12 new galleries* to join the Fair this year are: • Art First, London • blank projects, Cape Town • Commune.1, Cape Town • Dawid’s Choice Gallery, Johannesburg • Empire Art Gallery, Bulawayo • Galeria Senda, Barcelona • Ilovemyjob, Paris • Johans Borman Fine Art, Cape Town • Kulungwana, Maputo • The Lovell Gallery, Cape Town • The South African Print Gallery, Cape Town • Sibisi Gallery, Johannesburg

The 21 returning galleries are: • Gallery AOP, Johannesburg • ARTCO Galerie, Cologne • Artspace, Johannesburg • Barnard Gallery, Cape Town • Bailey Seippel Gallery, Johannesburg • Baudoin Lebon, Paris • Brundyn+Gonsalves, Cape Town • David Krut Projects, Johannesburg • Everard Read Gallery, Johannesburg • Fred Gallery, London • Galerie Galea, Avignon • Gallery MOMO, Johannesburg • Goodman Gallery, Johannesburg • Erdmann Contemporary, Cape Town • Jack Bell, London • Omenka Gallery, Lagos • Rooke & van Wyk, Johannesburg • Seippel, Cologne, Johannesburg • SMAC Art Gallery, Cape Town, Stellenbosch • Stevenson, Johannesburg, Cape Town • Whatiftheworld/Gallery, Cape Town *Please note this list is subject to change. Fair opening hours Friday 27 September: 11am – 8pm Saturday 28 September: 10am – 8pm Sunday 29 September: 10am – 5pm Ticket Price R50 per person on Friday 27 September R100 per person on Saturday and Sunday, tickets can be bought online at R15 for scholar group bookings

Regular updates on all the Fair’s news will be available on or you can contact Artlogic on 011-447-3868 or

Artlogic Presents ‘The FNB Art Fair” Founded in 2004 by Ross Douglas and Cobi Labauscagne, ArtLogic has become synonymous with lifestyle-based exhibitions and fairs. To maximize and promote the current surge in African contemporary art -Artlogic, for the sixth year in a row in conjunction with FNB will launch the FNB Johannesburg Art Fair. This year, The Art Fair will host top international curators and directors from well-known institutions, 12 new entrant galleries as well as 21 returning galleries. Distinct highlights throughout the event will be Artist and photographer such as Legendary artist: Santu Mofokeng Mr Mofokeng’s The Black Photo Album/ Look at me: 1890 – 1950 focuses on imagery of urban black working- and middle-class families during 1890 – 1950 with distinct imagery that are evocative of artifices of Victorian photography. The Black Photo Album / Look at Me: 1890–1950 is drawn from an ongoing research project. The project seeks to create an archive of images that black working- and middle-class families commissioned during the period 1890 to 1950 and the stories about the subjects of the photographs. Visit their Website at:

Kudzanai Chiurai was the 2012 FNB Art Prize Winner

The FNB Art Prize We will once again be awarding the FNB Art Prize, the winner of which will receive a R100 000 cash prize as well as a booth in which to showcase their work at this year’s Fair. All galleries that take part in the Fair are given the opportunity to submit one of their artists. Our guest judges this year are Elvira Dyangani Ose, Curator for International Art at the Tate Modern, and Federico Freschi, Executive Dean of the Faculty of Art, design and Architecture at the University of Johannesburg.

The FNB Art Fair 2013 Special Projects Programme The 2013 FNB Joburg Art Fair will see photography as its focus, and as such, this year’s program will house the biggest selection of photography of the continent under one roof. Some of the special projects surrounding this medium are: a. The Featured Artist Space will present a solo show of David Goldblatt, acclaimed South African documentary photographer and founder of the Market Photo Workshop b. The CIRCA Gallery Space will present a retrospective of photographer Roger Ballen. c. Nandipha Mntambo will present a new photographic series …everyone carries a shadow. The series is produced for the Pirelli space and is based on the dance Paso Doble d. A curated space will host photographer Santu Mofokeng’s installation The Black Photo Album / Look at me 1890 - 1950 e. In partnership with the French institute we will present the exhibition African Emerging Photography, an overview of the new generation of African artists by Michket Krifa and Laura Serani, artistic directors of the

9th Bamako Encounters. We are also extremely excited to announce that we will be presenting a video art installation by Mohau Modisakeng in the new curated section “Video art empowered by Samsung”, which will be launched at this year’s event. As part of our partnership with the City of Johannesburg we will host a satellite booth within the Fair that uses video and photographs to document the making of a public sculpture by Neil Le Roux. This sculpture will be donated to the city of Johannesburg during the Arts Alive Festival. Please note that the list of Publishers and Booksellers, as well as the complete FNB Joburg Art Fair programme will be released in July, along with the announcement of keynote speakers and participants of the Talks programme.

Mr Mofokeng’s The Black Photo Album/ Look at me: 1890 – 1950 focuses on imagery of urban black working- and middle-class families during 1890 – 1950 with distinct imagery that are evocative of artifices of Victorian photography. The Black Photo Album / Look at Me: 1890–1950 is drawn from an ongoing research project. The project seeks to create an archive of images that black working- and middle-class families commissioned during the period 1890 to 1950 and the stories about the subjects of the photographs.

Mohau Modisakeng : Modisakeng was born in Soweto in 1986 and lives and works between Johannesburg and Cape Town. He completed his undergraduate degree at the Michaelis School of Fine Art, Cape Town in 2009 and his Masters degree in Fine Art at the same institution in 2012.

Nandipha Mntambo: Narcissus 2009 Images courtesy of STEVENSON Johannesburg

David Goldblatt : The Frock and Other Pictures : David Goldblatt was born in Randfontein in 1930. He is one of South Africa’s most acclaimed photographers and was one of the first South African artists to be represented in the Museum of Modern Art, New York. Most recently he was announced the winner of the Infinity Lifetime Achievement Award from the International Center for Photography, New York 2013. ‘

Nushin Elahi’s

London Letter

LS Lowry has always been loved by the public and scorned by the critics. He is the ultimate outsider in art. The world he portrayed in his modest sized canvasses was the grim ‘up-North’that Londoners didn’t want to know about: a world of smoking factory chimneys, rows of identical houses, figures bent by toil. These were people whose only interest was the football stadium, or who could be found at street markets. They all look the same, Lowry’s matchstick people, bowed with work, scurrying through a foreboding landscape. The folks from the North felt he captured their landscape, and the critics down South derided him as folksy and untrained. The Tate Britain offers the first retrospective of Lowry’s work since his death in 1976 – 37 years ago. Lowry and the Painting of Modern Life (until 20 Oct) presents a large number of paintings, many of them from Salford in Manchester, where his work is on permanent display. Drawing parallels with the French tradition and Lowry’s regular showings at the Parisian salons, the curators have included contemporary works by Utrillo, Pissarro and an early Van Gogh, also depicting scenes of an emerging modern society. Working as a rent collector all his life, Lowry had the opportunity to observe up close the dehumanising effect of industrialisation on the working classes. He remained the detached observer throughout, but in the poverty and gloom he also found a vitality that engages. He used something of a shorthand for the figures in his crowds, but when examined they offer infinite variety. There is movement and purpose in the whole, and then he captures snippets like gossiping ladies, a domestic brawl and children fighting. Under the pall of factory smoke he saw accidents, evictions, fist-fights and protest marches, finding a stark beauty in all the grime of his industrialised city and painting it with an unflinching gaze. Two groups of landscapes are also included. The smaller early works offer a bleak and depressing vision of nature, with its polluted swamps and rivers, but this is replaced in the Fifties with his largest canvasses that offer a grand view of what was already Britain’s industrial past. Lowry was painting from his imagination, but using familiar motifs to depict the ravaged beauty of these green and rolling hillsides. Lowry’s social document of an industrialised Britain is unchallenged and his place in the heart of the people equally secure. This exhibition will no doubt present his slice of history to a new audience, but it is hard not to imagine his disdain at a new deference to his work. Lowry wasn’t used to being invited inside. One of the stars of the National Gallery’s Vermeer show, The Guitar Player, is usually on permanent display, free, in a room which includes work by Frans Hals and one of the most moving self-portraits Rembrandt ever made. Their home is the glorious Robert Adam house, Kenwood, on Hamp46

stead Heath, which is just round the corner from me and is currently under scaffolding while it is being restored. I can’t wait for them all to come home, so a Sunday walk on the Heath can be finished off with a visit to see them. No crowds, no queues. There are only 36 Vermeer paintings in the world - London’s National Gallery own two, the Queen has a bigger, earlier one and now, with access to another while Kenwood is closed, art historians have had an opportunity to do some scientific research into this Dutch artist who is so popular, despite the paucity of his output. In fact, with a total of five Vermeers on view, there are more together in London right now than at the Rijksmuseum. In Vermeer and Music – The Art of Love and Leisure (until 8 Sept) the National Gallery offers a unique perspective on art. All of the Vermeers displayed depict someone making music. Combining other artists of the same period, the curators have themed works of musical performance with instruments from the time, as well as the chance to hear musicians of today playing on similar pieces. It’s a very civilised combination, bringing the subtleties within these very quiet and contemplative works to new life. So you see Vermeer’s rather gauche girl strumming her guitar, with its strange black and white edging and behind the painting is the identical instrument. Or Ter Brugghen’s swaggering musician, playing on a lute and can then study an instrument from the period. There is also an exquisite interior by Gerrit Dou of a woman playing a clavichord, reminding one that although Vermeer may be the drawcard, there were others who captured the same intimacy and social subtext as he did. These tiny canvasses hold enormous power as they detail a moment in a story that is left for the viewer to complete. The final room is a technical examination Vermeer’s application of paint and pigments, giving a conservator’s perspective on the artist. The show won’t be to everyone’s taste, but it’s worth ensuring that you visit at a time which coincides with the live performances. This exhibition is featured on the current Ster-Kinekor ‘Great Art on Screen’ series and will be shown in South African cinemas at the end of October. RB Kitaj is considered a cerebral artist, whose Jewish roots inform much of his work. An American living in London, he turned his back on Britain after a retrospective at the Tate in 1994 was savaged by critics, and blamed them for the death of his wife soon after. A collection of his prints at the British Museum (until 1 Sept), given by the artist shortly before his suicide in 2007, includes much of the challenging intellectualism typical of his work. They also show a softer, more accessible side, with portraits of friends and family. The use of text within his work results in collages more interesting than the recent show of Schwitters. The works engage visually, with a series of book covers, or 19th century newsprint, alongside those that demand more intensive decoding. SA ART TIMES. August 2013

The National Gallery, London: Johannes Vermeer (1632 - 1675): The Guitar Player, about 1672; A Young Woman standing at a Virginal, about 1670-2; The Music Lesson, about 1662-3. Lowry and the Painting of Modern Life (25 June - 20 October 2013) Tate Britain : Coming Out of School; Industrial Landscape 1955; Piccadilly Circus, London 1960; British Museum: R.B. Kitaj: Artists Prints: Yaller Bird; Boys and Girls!; Self-portrait (After Matteo);

The South African Print Gallery The Home of Fine Art Printmaking

Join us at The Joburg Art Fair 2013

Joshua Miles . Siphungela Zolani . Theo Paul Vorster . Chris Diedericks . Eunice Geustyn . Judy Woodborne For stunning catalogues of handmade prints and more information see

SA Art Times August 2013  

South Africa's leading Visual Art Magazine

SA Art Times August 2013  

South Africa's leading Visual Art Magazine