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The South African Art Times: SA’s leading visual arts publication | March 2014 | Free | Read daily news on


Enjoy a Visual Art feast at The KKNK 2014

Fine South African & International Art, Furniture & Decorative Arts Online auction 7-23 April 2014 Consignments close Monday 24 March 011 728 8246 / 021 683 6560

Richard Penn Field of View xcvii (detail) R3 000 – 5 000

Walter Oltman Cricket (detail) R3 000 – 5 000

Walter Battiss Red Nude (detail) R15 000 – 20 000

Armando Baldinelli Eagle Eye (detail) R1 000 – 2 000

Alexis Preller Red Angel

signed and dated ‘71, oil on canvas, 107,5 by 119,5 cm R2 500 000 – 3 500 000

Important South African & International Art, Furniture, Decorative Arts & Jewellery Cape Town, 17 March 2014 021 683 6560 / 078 044 8185

Alexis Preller (1911 - 1975) Icarus (detail), 1973, oil on canvas, Sanlam Art Collection

Shock of the New? The New Group and after A Selection from the Sanlam Art Collection 11 – 28 March 2014 Sanlam Art Gallery, Sanlam Head Office, 2 Strand Road, Bellville Monday to Friday 09:00 – 16:30 Tel: 021 947 3359 • email:


c/o Oude Libertas & Adam Tas Roads, Stellenbosch 082 415 5609 /



March Visual Art Highlights

March 2014 Daily news at Commissioning Editor: Gabriel Clark-Brown Advertising: Eugene Fisher

Subscriptions: Jan Croft

Listings: Jan Croft

Content: Lyn Holm

Durban Decorex Durban : What?: Design Expo When?: 20-23 March Where?: Durban Exhibition Centre What else?: Johannesburg Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life. What?: Large exhibition of artworks, photographs and films about SA history When?: Now until 29 June Where?: Museum Africa What else?:

Cape Town Design Capital of the World What?: One massive design festival When?: All of 2014 Where?: All over Cape Town What else?:

Cover Art: Louis Jansen van Vuuren

Da Vinci: The Genius What?: Expo of Leonardo Da Vinci’s Life When?: Now extended to 23 March Where?: Chavonnes Battery Museum at the V&A Waterfront What else?:

Send Artwork To: Designer Letters to the Editor:

Woordfees What?: Festival of art and literature celebrating the Afrikaans language. : When?: 1-16 March Where?: All over Stellenbosch What else?:

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

Deadline for news, articles and advertising is the 12th 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.

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GRAYDIENT +27 72 190 8787

Cape Town ABSA KKNK What?: Arts and culture festival When?: 29 March – 5 April Where?: All over Oudtshoorn What else?:

Infecting the City What?: Public arts festival When?: 10-15 March Where?: Cape Town City Centre What else?:

Pretoria Scenes What?: Exhibition of artworks 1857-1990’s depicting Pretoria When?: Now until 16 March Where?: Pretoria Art Museum What else?: Bloemfontein The Purple Shall Govern What?: Exhibition of work by Mary Sibande, recipient of the Standard Bank Young Artist Award for Visual Art 2013.When?: Now until 9 March Where?: Oliewenhuis National Art Museum Port Elizabeth Journeys What?: Select works from the gallery’s permanent collection When?: Now until 1 June Where?: Nelson Mandela Metropolitan Museum

Editorial I would like to give my heart-felt thanks to you, our readers, contributors and advertisers for your patience and loyalty over the last four issues of the Art Times. We changed the AT format 3 times recently to find out what works best. From this point forward, we won’t change much from the Classic AT great read that has made us the leading South African Art read. I am sure that you will agree with me that the Art Times is now better than ever! Some of the developments made during our transitional period are as follows: We discovered alternative paper and printing options and chose the one that is prefered by your responce. We have begun to include an educational art poster - to brighten up your studio, art classroom and office. We have been hard at work sourcing extra information about art events happening around the country to keep you informed. We have greatly reduced printing costs by using our own quality Heidelberg Press. Each colour page is hand-registered and hand-printed individualy by a skilled hand – one could say of this magazine that “each page is a hand crafted masterpiece. I believe from this new edition, we will continue to grow and dominate the printed and digital SA art media for the next number of beautiful years. Yours in art, Editor


On the art media radar READ NEW FULL STORIES - DAILY MON- FRI - ON WWW.ARTTIMES.CO.ZA E-tolls are sucking the life out of us – artist Money Web | Antoinette Slabbert: Reaction to e-toll artwork overwhelming. E-tolls, taxes, levies and licence fees are sucking the life out of South Africans, says Mike Woolfson, digital artist and owner of MBW Art galleries. Woolfson was explaining what drove him to create an artwork illustrating this sentiment. The artwork shows an e-toll gantry against a background of gathering dark clouds. One person hangs from the gantry and others are stumbling away from it in a zombie-like state. An artist who lived to dispel the dark arts Mail & Guardian | Ashraf Jamal: Shunned by the serious arts establishment, Paul du Toit embraced the naive and innocent. Always curious: Paul du Toit had a ‘constant hunger to discover new things’. Visual artist Paul du Toit died of cancer on January 9. He was 48 years old. There has been enough talk of dying lately, but, when thinking of Du Toit, it is not his passing that preoccupies me but his vivacity. It is telling that he understood human fallibility well, the virulence of time and the inevitability of an uncompleted life. “I can’t live with dark art,” he said. “It depresses me.” And yet it is precisely dark art – or the dark arts – that has consumed the South African imagination and that Du Toit sought to overturn. Kenyan company turns flip-flops into fine art Mother Nature Network | Jaymi Heimbuch: Facing marine pollution, unemployment and conservation education all at once, a biologist-turnedbusinesswoman started a company that collects discarded flip-flops from beaches and transforms them into animal sculptures. One of Ocean Sole’s creations. Marine pollution is a persistent problem, and some coastal communities fight a never-ending battle to stop the tide of trash washing ashore. One biologist witnessed Kenya’s east-facing beaches becoming the eventual host of trash from all over the world, including millions of cheap rubber flip-flop sandals. Her solution? Turning these pieces of colorful trash into treasure. Kentridge show hits new heights The West Australian | Lyn Diciero: There’s a palpable air of excitement in visual art circles because The Refusal of Time by South African-born artist William Kentridge is having its Australian premier at PICA tomorrow as part of the Perth International Arts Festival. With Kentridge considered one of the top ten artists in the world, PICA director Amy Barrett-Lennard says the exhibition marks a thrilling coup for Perth. Kentridge’s lecture next Wednesday at the Heath Ledger Theatre is sold out. Barrett-Lennard says for a ticketed lecture by a visual artist to sell out the 500-seat theatre is amazing. “It really shows Perth audiences are interested in world-class, contemporary art and artists, and what they have to say. Kentridge will certainly not disappoint,” she says.

johans borma n F I N E



‘The sold continent’ (2013)

Oil on canvas

Richard Mudariki OPEN AGENDA 8 TO 29 MARCH 2014 Tel: 021 683 6863 E-mail: 16 Kildare Road, Newlands Mon-Fri: 09h30 - 17h30 Sat: 10h00 - 13h00 or by appointment


Musha received her Bachelor of Fine Art from Rhodes University in 2005. She worked at the Sasol Art Collection for four years, and lectured at Unisa in 2009. She has taken part in numerous group exhibitions and held her first solo exhibition in 2008. She has received awards at the Sasol New Signatures competition in 2005 and 2006. She was the Aardklop Arts Festival Young Curator for 2008 and was one of six artists who received a one-month residency at the Atelier Pons in Paris from the Rendezvous Art Project in 2010. She has been the Education Officer at the Johannesburg Art Gallery since 2010. Musha will be managing the Contemporary Collection and steering Contemporary exhibitions. Musha’s statement: : Although JAG is a museum, it still exists within the Contemporary South African landscape and must operate within this system. My mission therefore would be for JAG to become a more significant player within the Contemporary art scene and shift the idea of museums and the roles they play in the display and collecting of Contemporary art. My mission and vision falls in line with the greater vision of the museum and I hope to contribute to make JAG a dynamic, fresh and exciting place in the years to come.

SA ART TIMES. March 2014

‘Business and pleasure’ (2013)

Oil on canvas 07


Visuele Kuns by die KKNK 2014: Ervaar visuele kuns saam met kenners

Rondleidings van die visuele kunsuitstallings deur Sandra Hanekom, Absa KKNK se kurator vir visuele kuns, en dr. Paul Bayliss, Absa Korporatiewe-kurator, verskaf ’n dieper waardering vir die onderskeie kunsuitstallings by die fees. 180 min. R50. Prince Vincent-gebou. 31 Maart tot 5 April om 11:30 (Bespreek deur Computicket)

Gordon Froud: A retrospective of exhibitions I never had

Gordon Froud is vir die laaste 30 jaar aktief betrokke by die Suid-Afrikaanse en internasionale kunswêreld as kunstenaar, opvoeder, kurator en galery-eienaar. Hy het al uitgestal as deel van honderde solo- en groepuitstallings in Suid-Afrika en oorsee en het al op verskeie kunskomitees regdeur Suid-Afrika gedien. Hy was die hoof van Gordart Gallery in Johannesburg vanaf 2003 tot 2009. Hy was die hoof van Gordart Gallery in Johannesburg vanaf 2003 tot 2009. Froud se eie werk word op meer as 20 uitstallings per jaar gesien.

Louis Jansen van Vuuren: Oogwink – ʼn Kunstenaarsblik

Die tema vergestalt losweg rondom konsepte van die meta-modernisme wat weifel tussen ʼn modernistiese betrokkenheid en post-modernistiese onbetrokkenheid. ʼn Skeppende kom-ons-kyk-proses. Om te sien is om te begryp, daarom die klem op die oog en die blik. Ogenblik = oomblik. Die tentoonstelling word in drie dele aangebied: 1) ʼn Solo-tentoonstelling waarvan die onlangse werke ʼn reeks reuse portrette is wat die toeskouer met ʼn direkte blik konfronteer. In kontras met die reuse werke is daar ʼn reeks oogjuwele wat as miniatuur-kunswerkies aangebied word. 2) Die kunstenaar as kurator. Nege kunstenaars word genooi om ʼn werk binne die tema, Beskawing, te maak. Kunstenaars sluit o.a. in, Ruan Huisamen, Klara-Marie Den Heijer en Marie Stander. 3) ʼn Herskepping van die kunstenaar se werkruimte /studio om vir die publiek ʼn blik te bied op hoe en waar die kunstenaar werk en wat hom inspireer en bemoedig. Die kunstenaar sal gedurende die tentoonstelling vir periodes hier werk.

Willem Boshoff: Big Druid in his cubicle

Willem Boshoff, een van Suid-Afrika se vooraanstaande kunstenaars is bekend vir sy konseptuele kunswerke en installasies. Sy leefstyl is soortgelyk aan dié van ʼn Druid – spartaans, nadenkend en eerbiedig toegewy aan die studie van die natuur, die kunste en die heelal.Vanjaar bied Boshoff hierdie ervaringe in persoon aan as die Big Druid. Hy woon en werk in ʼn spesiaal ingerigte ruimte wat sy beddegoed, klere, ʼn werksarea met houtwerkstasies en toebehore insluit. ʼn Reeks nuwe werke word in hierdie ruimte uitgestal. Word deel van Willem Boshoff se daaglikse gratis Druid Walks wat jou na interessante plekke sal neem en jou met nuwe oë na hierdie plekke sal laat kyk. 31 Maart – 5 April om 09:00. Besprekings moet by die Prince Vincent-gebou gemaak word. Beperkte plek.

Absa Korporatief – groepuitstalling – Post-Koloniale Afrika/Post-Colonial Africa In hierdie treffende Absa KKNK-uitstalling word Afrika se sin van identiteit in post-koloniale Afrika ondersoek. Suid-Afrika herdenk 20 jaar van demokrasie in 2014, en tesame hiermee vier die Absa KKNK sy 20ste bestaansjaar. Dit is dus gepas dat Absa teen hierdie agtergrond ’n verskeidenheid uitstallings na die fees toe bring wat die temas van regering en bestaan in post-koloniale, post-demokratiese state ondersoek. Een van hierdie uitstallings is die gekureerde groepuitstalling getiteld Post-Koloniale Afrika / Post-Colonial Africa. Werke deur 40 kunstenaars wat in die verlede ingeskryf het vir die Absa l’Atelier kompetisie, of betrokke was daarby. Kurator: Dr. Paul Bayliss

Dr. Peter Magubane: A Struggle Without Documentation is No Struggle

Dr. Peter Magubane is een van Suid-Afrika se mees internasionaal bekroonde fotograwe. Vanaf dietownship strate tot die gange van mag het dr. Peter Magubane meer as ’n halfeeu spandeer om die stryd teen apartheid en ander sosiale knelpunte te fotografeer. Dr. Peter Magubane het al verskeie toekennings ontvang vir sy toewyding en uitstaande bydrae tot die wêreld van fotografie. Van die toekennings wat hy al ontvang het is: die Mother Jones-Leica Lewensbydrae-toekenning, die Martin Luther King Luthuli-toekenning, ’n genootskap van die Tom Hopkinson Skool van Joernalistiek, en vier ere-doktorsgrade van verskeie Suid-Afriaanse universiteite. Benewens hierdie toekennings, was hy ook die eerste swart Suid-Afrikaner wat ’n toekenning ontvang het vir sy fotografie – in 1958 deur die Best Press foto van die jaar kompetisie te wen by die eerste nie-rassige kompetisie aangebied deur die Progressive Photographic Society. Kurator: Dr. Paul Bayliss

Leon Vermeulen: Tussen twee oewers

Tussen twee oewers is ’n uitstalling van onlangse werk deur een van ons land se vooraanstaande skilders. Die titel van die uitstalling verwys na die kunstenaar se geforseerde bestaan tussen die oewer van realiteit en die oewer van skilder interpretasie en die onderbewussyn, wat beide van gelykstaande waarde tot die ‘werklike’ vir die kunstenaar is. Hierdie dualisme plaas die kunstenaar dus gereeld in gevaarlike waters ter see. Kurator: Trent Read 08

SA ART TIMES. March 2014


Hannalie Taute: Rubber Ever After

Eendag, by die 20ste Absa KKNK, gaan Hannalie Taute ʼn sprokie visualiseer. Jy mag dalk net vir Bloubaard, Eva en Ysterman raakloop. Maar moenie vrees, want daarna is alles rubber ever after. Voetnotas: Die titel Rubber ever after dui op die happily ever after van sprokies, maar ook op die medium wat nie sommer gou sal vergaan nie. Sprokies, verganklikheid en rolle in die samelewing word ondersoek. Met naald en gare borduur sy karakters op rubber om in die ‘sprokie’ sekere rolle te vertolk, waarmee sy vrouwees, moederskap en verhoudings probeer peil/verstaan. Die werke in hierdie uitstalling sentreer rondom bogenoemde temas en sy stroop dit van enige sentiment.

Hennie Meyer: Die gras is altyd groener aan die ander kant, maar jy kan nie daarop lê nie

Die gras is altyd groener aan die ander kant, maar jy kan nie daarop lê nie is ’n keramiekinstallasie bestaande uit 24 individuele panele van 50 cm x 50 cm. Elke paneel bestaan uit skuinsgesnyde silinders van verskillende hoogtes. Die werk skep die illusie van die ideale grasperk. Hierdie suburban dream waarna mense streef is netjies, grasgroen en byna ’n simbool van status. Hierdie grasperk is egter nie sag nie, inteendeel is dit hard, skerp, breekbaar en sal jou seermaak. Ons is geneig om te dink ander is altyd beter daaraan toe, hetsy geld, werk, verhoudings – alle vlakke van ons lewens.

Jan du Toit: Opklim

Catharina (Opklim) van Bengal was die stammoeder van die kunstenaar se oumagrootjie Vermeulen wat Giliomee getrou het. Sy het haar stammoeder se naam met trots as doopnaam gedra. Binne ’n klimaat van veranderinge, ondersoek die kunstenaar in sy onmiddelike omgewing na miskende of oorgesiende individue.

Marinda du Toit: Johanna Brandt die Klein Karoo

Marinda du Toit is bekend om haar skrootbeeldhouwerke waarin sy ou gebruiksartikels kombineer en subtiel omskep in komiese portrette van vergange en eietydse karakters uit ons samelewing. In samewerking met Fopspeen Moving Pictures is Marinda se beelde ook die hoofkarakters in twee bekroonde animasieflims, Little Bang en Agenda. Vir vanjaar se fees verken Johanna Brandt die Klein Karoo en Oudtshoorn se geskiedkundige en hedendaagse figure: die helde en heldinne, die berugtes en beroemdes, die geliefdes en die vergetenes. Karakters soos Baron Van Reede, CJ Langenhoven, St Vincent en Buurman word tot lewe herroep tydens hierdie kunsuitstalling. Beeldhoufigure versinnebeeld nostalgie, emosie, herinnering en humor soos vergestalt in die gedagte- en ervaringswêreld van die kunstenaar. As subjektiewe observeerder, is elke beeldhouwerk oop vir narratiewe interpretasie deur die kyker en kunsliefhebber.

Odyssee: Swerftog met Alexis Preller

In hierdie visueel uitbundige uitstalling tree die kunstenaars, Louis Jansen van Vuuren, Mari VermeulenBreedt, Margaret Gradwell en Jaco van Schalkwyk, en die skrywers Riana Scheepers en Louis Jansen van Vuuren in ’n visuele en literêre gesprek met Alexis Preller na aanleiding van sy skildery, Mango. Die resultaat is ’n grensverskuiwende, opwindende kuns-odyssee, ’n swerftog deur ’n trans-kulturele landskap. Alexis Preller word opnuut waardeer en beskou, maar terselfdertyd word nuwe reise van ontroering en inspirasie deur beeld en woord geopen. Die kunstenaars inkorporeer verwysings na hul eie lewens en hul geboortegrond deur die gebruik van hul eie en geliefkoosde objekte in hul kunswerke. Preller het hierna verwys as sy ‘huisgode’. Kurator: Jaco van Schalkwyk

Phillemon Hlungwani: Mi kondzo ya tinghwazi (in the footsteps of heroes)

Hierdie uitstalling van groot tekeninge is die eerste uitstalling deur hierdie uitsonderlike jong kunstenaar sedert sy uiters suksesvolle London debuut-uitstalling. Hlungwani werk meestal op papier in ’n verskeidenheid van dissiplines, en sy uitstekende tegniese vaardighede gekombineer met ’n skynbaar inherente talent vir skets is wat sy werke al hoe meer gesog maak onder groot versamelaars op vier kontinente. Kurator: Trent Read

Roelof Petrus van Wyk: Afrikana / Afrikanus

ʼn Fotografiese herstrukturering van die Versamelings en Versamelde Werke gehuisves in die Zuid-Afrika Huis in Amsterdam. Verfbom-bespatte rugkante staan ISBN en alfabeties opgelyn en kordaatsoldaat, Afrikana en Afrikaanse hardebandboeke, ondiskriminerend swart gemerk deur geslingerde protesgranate, gebars deur die glasvensters van die Zuid-Afrika huis op die Keizersgracht in 1984. Van Afrikanermites tot Zulu-meisieborsfoto’s, gepunt trots Suid-Afrika, kleurvolle en volreeks herdenkingsuitgawes, rak-op-rak, kas-op-kas, kamervol van straatvlak gepak tot reg onderkant die vyfde vloer se gemufte plafon en dak.

Lees verder op die KKNK webwerf: SA ART TIMES. March 2014



Gordon Froud’s Retrospective of Exhibitions I Never Had In David Paton’s opening gambit for Gordon Froud’s Retrospective of Exhibitions I Never Had, he describes the exhibition as “evidence of a thinking mind made visible through a thinking hand” with “content which, while never having been polite, never having been without its wry and often black wit, reimagines a deeper, bleaker, edgier, more critical world.” The Art Times caught up with Froud to shed some light on the exhibition, which promises to be a prominent featured at the KKNK this year: AT: Gordon Froud, you seem to have had your finger in quite a number of pies. As artist, curator and gallery owner, you have become world-renowned. Your work has been consistently shown in 20 or more exhibitions a year and you are a well-respected figure in the art community. Now, after 3 decades of active participation in the art-world, you are holding a ‘kind of’ retrospective of your own work, but with a twist. How is your retrospective different from those of your peers? GF: I have become well known for the modular repetition sculptures that I have developed over the last 20 years and yet I have worked in a large varieties of other mediums and have exhibited these on various shows. This show includes ceramics, bronzes, linocuts, etchings, glass sculptures, drawings, animation, photography, artist’s books and digital printmaking. It is thus a retrospective of shows I never had. AT: Unlike many artists who stick to a particular style and medium, your art moves freely around this convention. How would you describe your art practice? GF: I never really had toys as a kid, so I made my own - in this way I guess that the practice has not really stopped. I still play with material and form and through this meaning is made. I have always been more fascinated by materials and form than in deep social or political content. However in reviewing my work over the last 30 years, I am aware of quite a lot

of (often quite cynical) commentary in my work. The forms and mediums differ greatly but in true PostModern fashion still somehow cohere into a style that has common threads that go back 30 years. AT: What would you say have been the greatest influential factors in your practice over the years? GF: I guess it has been my desire to succeed at all I do. I was influenced to carry on making art by my former lecturer Karel Nel at an opening 25 years ago - he asked why I no longer made art, listened to my lame self-indulgent excuses and replied that I had always worked with materials in an interesting way and and that I needed to keep playing. Guy duToit also once told me “make the work and they will believe it”. And of course my 29 year relationship with possibly the greatest artist in South Africa, Diane Victor, has kept me going in the art world. I am also influenced by the teaching that I do at tertiary level ( I am a Senoir lecturer at the University of Johannnesburg’s Visual Art department). I get a kick out of working with students, getting their responses and helping to shape their thoughts and careers. I have been influenced by many artists materially and formally, but most importantly by attention to obsession and hard work. From Richard Deacon, Tony Cragg and Jeff Koons through to Walter Oltmann, Willem Boshoff, Alan Alborough and Paul Edmunds. AT: With a fresh perspective on your practice gained through curating your past works, in what direction do you see your art heading? GF: I am enjoying the eclecticism of my own work and the variety that this affords me in making things. I can see myself developing digital print as a medium in which my commentary can live and in which I can reach a greater audience than with sculpture alone. I am also looking forward to casting my first large scale bronze in many years. I certainly intent to keep playing, curating and teaching.

Above: Artist Gordon Froud / Middle: Gordon Froud run over by his own taxi “Taxi Crash” / Below: “The Last Tea Party”

Bastiaan van Stenis

Peter Pharoah

Philip Badenhorst

Lolly Hahn-Page

Shop 2, 9 Cavendish Street, Claremont Tel: 021 671 7315


The Hourglass Collection

Aidon Westcott 05 March - 04 April 2014

The Ryno Swart experience 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 98A Park Drive, Central, Port Elizabeth

Opening address: Nicolaas Maritz Khwa Ttu San Cultural & Education Centre T: +27 (0)22 492 2998

Landscape Through an Artist’s Eyes A Retrospective Feb – May 2015 Pretoria Art Museum

7351 Yzerfontein R27 West Coast Road (70km from Cape Town)

Colours of Change An Exhibition of Contemporary San Art from the Kuru Art Project

In partnership with: National Art Council, National Heritage Council and the Ubuntu Foundation

OPENING 7 MARCH 2014, 15h00

Alice Elahi : Looking into the Desert 2005

Stephan Erasmus

Jaco van Schalkwyk

Lauren Palte

HINTERLAND Join us for the opening on Saturday 15th March at 12h00 Exhibition closes 5th April

140 Jan Smuts Avenue Parkwood | T: 011 447 0155/98 | E-mail: | |

ART TIMES | ARTIST’S BIRTHDAYS IN MARCH Jean Welz 4 March 1900 – 24 December 1975

South African artist, best known for his simplified portraits in pastel or oils. It is likely that Jean Welz would never have come to South Africa had he been a bit wealthier. The trip from Europe to South Africa was significantly cheaper than to his chosen destination, Australia. He was working as an architect at the time and his wife urged him to apply for work in South Africa, even if it was just for a while until they could set sail again. Welz never did leave the tip of Africa and was inspired to make art of its beauty, thus leading him to become one of South Africa’s most well-loved artists. “WELZ, Johann Max Friedrich (Jean)”, Artefacts webpage: php?archid=1866

Michelangelo : 6 March 1475 – 18 February 1564

Michelangelo di Lodovico Buonarroti Simoni was an Italian artist, best known for sculpting David (1501-1504) and for painting the ceiling of the Sistine Chapel (1508-1512). Evident in Michelangelo’s art is his love of male beauty. This love caused him great anguish, and he expressed the struggle between platonic friendship and carnal desire in his fine art and his poetry. The sculptor loved many young men, many of whom posed for him. Sixteen year old Cecchino dei Bracci, died scarcely over a year from their meeting, inspiring Michelangelo to write forty eight funeral epigrams. In answer to Michelangelo’s love poem, another youth, Febbo di Poggio, asked for money. Yet another, Gherardo Perini, stole from him without remorse. His greatest male love was Tommaso dei Cavalieri who was 23 years old when Michelangelo met him at the age of 57. Cavalieri loved Michelangelo until his death, by which time Michelangelo had dedicated over 300 sonnets and madrigals to him. “I feel as lit by fire a cold countenance That burns me from afar and keeps itself ice-chill; A strength I feel two shapely arms to fill Which without motion moves every balance.” (Michael Sullivan, translation) -“Michelangelo the man” from DU Academics Course Material: euroart/hyperlinks%202/Michelangelo%20titbit.htm

Athi-Patra Ruga : 9 March 1984 –

Johannesburg-based artist. Best known as a big afro/bunch of balloons with long legs and high heels. “He has been known to wear a black bodysuit covered in charcoal and then run inside and throw himself at gallery walls, leaving a stain behind as art.” His tapestries, which others often view as art, are just to pay the rent. -“The dramatic rise of Athi-Patra Ruga”, City Press (16 March 2012):

Pieter van der Westhuizen : 22 March 1931 – 30 December 2008

South African artist, he is best known for his childlike depictions of chickens and women. “Born, as he puts it, ‘between the great drought and the Second World War” Pieter discovered at a very young age that “the world I found myself in was not a comfortable one... At around the age of four I decided that this life was not for me. I began creating another world for myself - in pictures.’” - “Pieter van der Westhuizen”, Old Master Art Gallery webpage: http://www. ”Steadily the world I live in is improving. Today is always better than yesterday but not quite as good as tomorrow.” - “Pieter Van Der Westhuizen - 1931 - 2008 Gauteng”, Fine Art Portfolio webpage:

Christo Coetzee : 24 March 1929 – November 2000

International artist, born in South Africa. Coetzee was best known for his abstracted depictions, specifically of women. “Growing up in Turffontein, Coetzee had no lack of material to spark his imagination, and he often spent his evenings making mud-sculptures in the garden after the five-o’clock-rains. During his childhood he built a miniature theatre complete with furniture and grand piano, and also made chessmen for his four-sided chessboard out of washers and screws which he glued together and painted in bright colours. A friend of Christo’s parents, Finie Basson, owned many interesting works of art, and Christo found inspiration in her collection. When he was 13, she gave Coetzee his first commission – a medium sized oil painting of pink and white roses – for which she paid him £5.” - “Christo Coetzee (1929 - 2001)”, Johans Borman webpage:

Churchill Madikida : 25 March 1973 -

Born in Butterworth, Eastern Cape, Madikida is best known for his work about Xhosa culture. Madikida once told an interviewer: “I used to be hoodlum”. He was a member of a gang of car thieves who operated in Port Elizabeth, East London and Umtata. In one of his many short stays in jail he found an advert for the Visual Arts and Crafts Academy, in Germiston. “I cut it out the newspaper and kept it safely hidden because that advert gave me a vision. I knew I could draw, and if I went, I knew would succeed.” Through his struggle with poverty, Madikida graduated top of his class and carried on to complete his Masters degree at Wits University. - Sean O’Toole (2004) “Churchill Madikida”, Art Throb webpage:

Francisco Goya : 30 March 1746 – 16 April 1828

Francisco José de Goya y Lucientes was a Spanish painter and printmaker best known for painting The Third of May 1808 (1814). When Goya’s remains were exhumed in Bordeux for return to Madrid 60 years after his death, his head was mysteriously missing. A local shop owner then claimed to have found it in a wooden onion box whilst he was cleaning out his attic.“ I realised who it was immediately, I held it up to the light and straight away I recognised his distinct features”. The head was taken to the police station for further investigation. The police spokesmen told a reporter that such finds where very rare events, although Van Gogh’s ear had recently turned up one starry night in Amsterdam. “It was found in a hamburger alongside some cucumber and tomato ketchup”. -Egg Man, “Francisco Goya’s head found in string of onions”, The Spoof! webpage:

Vincent van Gogh : 30 March 1853 – July 29 1890

Painter born in the Netherlands, he is best known for becoming insane and cutting off his own ear. “Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don’t know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can’t do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can’t’ once and for all.” - Vincent van Gogh: “The uglier, older, meaner, iller, poorer I get, the more I wish to take my revenge by doing brilliant color, well arranged, resplendent.” - Vincent van Gogh, Arles, September 9 and 14, 1888, in a letter to Willemien van Gogh: http://www.denverartmuseum. org/article/staff-blogs/20-quotes-vincent-van-gogh

Conrad Botes new lithographs

Self portrait. Hand printed lithograph, 42x 42 cm. Edition 9.

The Artists’ Press

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

Art Times Conrad Feb 2014 advert.indd 1

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Photographic and audio visual works, 2010â&#x20AC;&#x201C;2014

27 Marchâ&#x20AC;&#x201C;2 May 2014, Mondayâ&#x20AC;&#x201C;Friday, 09:30â&#x20AC;&#x201C;16:00 NWU Gallery, Potchefstroom, 018 299 4341


Louis Jansen van Vuuren At the KKNK 29 March – 4 April 2014 “Oogwink: ’n kunstenaarsblik / Moment: an artist’s glance” By Marilyn Martins : The human figure has been ubiquitous in Louis Jansen van Vuuren’s paintings and drawings since the late 1970s. The depictions took the form of self-portraits, portraits, figures in landscapes, icons. Titles alluding to re-creation, metamorphosis, disillusion and mythology were indicative of the artist’s concerns at the time. In the 1990s an enigmatic male – simultaneously voyeur, observer, beholder – would dominate interiors. Towards the end of the decade profound changes occurred in Jansen van Vuuren’s creative experience and expression. Portraits and memories from childhood were captured in small images which were carefully placed on the picture surface, as if in a photo album or collage. They were meticulously drawn and iconic in their isolation, but the monochromatic palette and indeterminate backgrounds suggested that the artist was dealing not with perception, but with the true nature of reality which exists behind the eye. In 2012, more than a decade later, the artist would return to his youth, this time working directly from family albums, with all the intimacy and emotions that they contain. Van Vuuren the poet emerged powerfully, with words becoming an integral part of the imagery. Although at first Jansen van Vuuren’s work for his solo show at the KKNK seems completely different, his preoccupation with portraiture can be traced throughout his oeuvre. The major difference is the scale and approach to the genre. These portraits confront the viewer directly and unblinkingly, even when the subjects turn away or the eyes are closed. For the artist to see means to understand, hence the emphasis on the eye and the glance in the title – the impact of the look, the moment (Ogenblik=oomblik). The encounters are all the more arresting because of the sheer size of the works, 1.5m by 1.8m. It is no mean feat to deal with the challenges of portrait painting on such a vast scale, and Jansen van Vuuren achieves this through a complex technique that he has devised. He photographs the person, and then follows a process of scanning and manipulating the photograph and preparing a small pastel sketch from which to work. The canvas is stained with monochrome acrylic paint and glazed with oil paint; this sets the chromatic and emotional tone for the portrait. He mimics the photographic printing process by creating his own Ben-Day dots (named after the illustrator and printer who invented this particular printing

process in 1879) and then reverts to the toothbrush to spatter cyan, magenta and yellow on the picture surface. While the starting point is a photograph of a friend, an acquaintance or a person who lingered in the artist’s studio, creating a naturalistic or realistic portrait is not his intention. Jansen van Vuuren gravitates towards personalities that remind him of archetypes and that inspire him to achieve a certain ambience or mood, one that speaks of the moment, but also of transience. Following his intuition, he may change the expression on the face and the colour of eyes and hair. The effect is particularly striking in the portrait of a young woman clad in greyish white, with hair almost the same colour and eyes of the brightest blue. Each portrait takes on its own characteristics, so the spectator can never be sure of the original glance or look – did one sitter look away to avoid the lens? Did another shut her eyes or did the artist close them for her? Did one of them really shout at him? We are stimulated to trace the artist’s imagination and in so doing discover our own. A gaze and engagement of a different kind are required for the miniature pieces of eye-jewellery that Jansen van Vuuren has created. These precious portraits of the eyes of loved or lost ones – surrounded by precious jewels and worn as brooches, pendants or bracelets – date back to Georgian England and continued throughout Victorian and Edwardian times. A glance is captured in painting or drawing, but because the identity of the subject is not obvious and could in fact remain a mystery, the eye-jewellery is sometimes referred to as “lover’s eyes”. Jansen van Vuuren has revisited and re-interpreted this historical genre into contemporary art works that are displayed in little glass boxes – not to be worn, but to be treasured as reliquaries of love. He drew the eyes in pastel to be transformed by jeweller Petre Prins and his team into extraordinary objets. * Stop Press* Large portraits will also be shown in Stellenbosch, when Jansen van Vuuren will open the renovated Distel Oude Libertas Gallery on 5 March with his large portraits, entitled Oog (Wink) en Ander Stories. The work will be on view until 11 April, to coincide with the Stellenbosch Woordfees.

100 Great South African Works of Art Series

Jodi Bieber : Bibi Aisha (2010) Jodi Bieber’s portrait of Bibi Aisha. Jodi Bieber : Time Magazine Cover, 9 August 2010 Bibi Aisha now Image source: top-press-award-for-photo-of-disfigured-afghan-woman Jodi Bieber Image source: 1,104407,12173345,Co_laureatka_World_Press_Photo_ fotografuje_w_Lodzi_.html


Sarah Phillips, “Photographer Jodi Bieber’s best shot”, Interview with Jodi Bieber, The Guardian, 20 November 2011: nov/20/photography-jodi-bieber-best-shot# 2011, World Press Photo of the Year , Jodi Bieber” (2010), World Press Photo webpage: http://www.worldpressphoto. org/photo/2011jodibieberyear “Update on Bibi Aisha from the Women for Afghan Women Website” (2011), Jodi Bieber webpage: http://www. Ghanizada, “Top Press Award for Photo of Disfigured Afghan Woman”, Khaama Press, 14 February 2011:

By Lyn Holm : At the age of 12, Aisha and her little sister were given up to a Taliban fighter in order to settle a tribal dispute. When Aisha reached puberty, she was forcibly married to the fighter. She later fled to her parents’ home because of the violence she suffered at the hands of her in-laws. Members of the Taliban stole her away one night, demanding that she be punished for running away from her husband. They took her to a secluded area where they held her down and cut off her ears and nose (in the local idiom, a man who is shamed by his wife is said to have lost his nose). Aisha was abandoned, but later found and taken to a shelter in Kabul. Here she received both physical and psychological help. In 2010, South African artist and photographer, Jodi Bieber, was asked by Time magazine to go to Kabul to photograph for an article on the plight of Afghan women. Jodi Bieber at the Women for Afghan Women shelter: “The director told us more about her psychological state. She couldn’t determine how Aisha would respond to a photographer: if at any point Aisha became uncomfortable, we would have to terminate the shoot... I could see that Aisha was quite extraordinary... I asked: ‘Would it be possible

to not think about what happened to you for a few minutes and just focus on your inner power and beauty?’ So she did and I took the picture.” Bieber was worried that Time magazine would reject the image because Aisha was not painted as a victim, but Time loved it and decided to use it as the cover for the featured issue. Jodi Bieber’s portrait of Bibi Aisha went on to win the 2010 World Press Photo award. Competition judge, Ruth Eichhorn, said in a statement: “It’s an incredibly strong image. It sends out an enormously powerful message to the world, about the 50 percent of the population... are women, so many of whom still live in miserable conditions, suffering violence. It is strong because the woman looks so dignified, iconic.” The story doesn’t end here. Aisha’s portrait brought forth such kindness in those who saw it, that Aisha was assisted in escaping Afghanistan. She was taken to the USA, given a home, surgical assistance and an education. Although she suffers from post-traumatic stress, she is thriving and has a bright future ahead of her; all because somebody took her photograph.

100 Great South African Works of Art Series

Willie Bester : Trojan Horse III (2007)

By Lyn Holm : In October 1985, police ventures into non-white residential areas were continually met with strong resistance; barricades of burning tires, stone-throwing and ‘traps’ dug into the road. The residents demanded: “Troops out of the townships.” One day, police entered Athlone hidden in crates on a truck and drove up and down a busy street. Eventually people began throwing stones. Immediately, the policemen burst out of their crates and opened fire on the crowd. Thirteen people were injured and three youths died that day. Eleven year-old, Michael Miranda lost his life simply walking to the shop. Because the attack was an ambush, the incident became known as the “Trojan Horse Massacre.” Despite countless other acts of violence in South Africa during apartheid, this massacre marked a pivotal point in the struggle against the movement. Captured by CBS cameraman Chris Everson, footage of the massacre took the horror of apartheid to the world, strengthening the resolve of international communities to move against apartheid. Artist, Willie Bester, felt that the actions of the apartheid police were underhanded in this incident.

He was moved to create a series of three sculptures about the massacre, “Trojan Horse III” being the last and most powerful in the series. “Trojan Horse I and II” are reminiscent of the recycled scrap toys made by children in township areas. “Trojan Horse III”, however, is more sinister. The horse’s body is comprised of car and motorcycle parts, cogs, bombshells and machine guns. The beast is a war-machine, devoid of the innocence of youth. The cold rationality of the massacre is echoed in the artillery. Bester created the “Trojan Horse” series long after the abolition of apartheid. Looking back at this time, he comments, “We were naïve about the state of things in South Africa; we thought things would be different... We so badly wanted things to be different so that we could move forward. But it’s impossible to forget the past because it influences our future. This is why I document these events, so that we do not forget.” Sources: - “Willie Bester (1956 – )” (2013), NLA Design and Visual arts webpage: - “Robert Bowman Modern Shows Willie Bester’s Trojan

Horse III” (2010), webpage:

Artist : Willie Bester

“Love Loss” by Varenka Paschke

The Yard, 38 Huguenot Str Franschhoek 7690 Tel: 021 876 4280 |

02-04-14 Art Times.pdf



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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: Mandla Vanyaza


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

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

Hermanus FynArts A Celebration of South African Arts Announcing

The Tollman Bouchard Finlayson Art Award 2014 Tondo Competition â&#x20AC;&#x2DC;Originsâ&#x20AC;&#x2122;

First prize of R30 000 plus three merit awards of R5 000 Approximately forty works will be exhibited on the barrelheads in the Bouchard Finlayson wine cellar

Hermanus FynArts 6 - 16 June 2014 All details and entry form at or email


Eastern Cape




Quin Sculpture Garden A permanent exhibition of Maureen Quin’s sculpture’s, drawings and paintings. Alexandria / T. 046 653 0121 Bathurst The Workshop Art and Craft Gallery Showcasing over 100 local artists & crafters. Bathurst East London Ann Bryant Art Gallery Coach House Hannah’s exhibition Sense, Sight and Space. Hannah Minkley. Portraiture, emotive fashion, and landscape.- 27/03/2014 till 12/04/2014 – Southernwood T. 043 7224044 Ann Bryant Art Gallery main gallery ABSA Atelier 2014. South Africa’s most prestigious art competition. The closing date for entries in all regions is 07/03/2014. Southernwood T. 043 7224044 Floradale Fine Art Ongoing: ‘Poetic Licence.’ Greg Schultz, Rose Warren, Jeff Rankin, Glenda Gendall, Judy Fish, Bazil Raubach, John Steele, Dianna Castle, Hela Bonell, Pierre Marc are all participating. Ranges from abstract to watercolour sketches of note. Beacon Bay / T. 043 7402031 Port Elizabeth ART Gallery Regular exhibitions showcasing leading South African artists, in particular artists from the Eastern Cape. Central Hill ArtEC - EPSAC Community Art Centre. Non profit organisation and community art center. Central Port Elizabeth. T. 041 585 3641 Fischers Art Gallery The Gallery’s unique Art Nouveau architecture houses a stunning display of Fine Art and giftware.Central Port Elizabeth. / T. 041 585 6755 GFI Art Gallery This Art Gallery is unique in South Africa and possibly the world, as a corporate collection devoted to the science of aviation. T. 041 586 3973 Nelson Mandela Metropolitan Art Museum ‘Journeys in Beadwork’ The Art of the Mfengu. Eastern Cape beadwork, with a special focus on the historical beadwork of the Mfengu. From the Art Museum‘s Permanent Collection.- ends 24/03/2014- 1 Park Drive T. 041 5062000 Journeys in Beadwork’ Dialogues in Contemporary Style. A display of contemporary fashion inspired by traditional beadwork, featuring designs by award winning fashion designer and NMMU Alumni, Laduma Ngxokolo Laduma Ngxokolo & various other artists & designers.26/02/2014 till 24/03/2014 Journeys. Description: A passage through time, moving places or spaces, adapting, changing, metamorphosing, these themes as they relate to the idea of a journey will be expressed in this exhibition. From the Art Museum’s Permanent Collection ends 15 June 2014 Legacy ‘A tribute to Juliet Armstrong. Exhibition of ceramics made by past and current lecturers and alumni of the Ceramic Studios based at the University of KwaZulu Natal’s Centre for Visual Art. 05/03/2014 till 11/05/2014 Underculture Contemporary Aidon Westcott explores fragments of culture through the use of collage. As collected compositions of familiar symbols, objects and imagery, these collages propose investment of continually shifting meaning.- 05/03/2014 till 04/04/201498A Park Drive, Central T. 041 373 0074

Art Afrique Gallery Miniture Exhibition. Vusi Khumalo, Abe Mathabe.- 20/03/2014 till 03/04/2014Sandton T. 011 292 7113 Absa Art Gallery Curated exhibition ‘Post Colonial Africa’ and ‘Dr Peter Magubane’ - 29/03/2014 till 05/04/2014- At the Absa KKNK 2014. T. 011 350 5139 Alice Art Gallery ‘Art in the Garden’ Petro Neal, Christelle Pretorius and Giorgio Trobec Ruimsig. T. 011 958 1392 Art etc Showcasing a wide variety of SA artists, ranging from old masters to the budding future masters. Sandton City T. 011 783 0842 Art Eye Gallery 50 Shades of Grey’ - Opens 05/03/2014- Fourways T. 011 465 7695 Art Unlimited Gallery The Gift’ Louwtjie Kotzé- Ongoing- Sonneglans Extension 4, Randburg Artist Proof Studio Mixed Tape’ Pontsho Sikhosana, Charles Thabiso Kholobeng, Motsamai Thabane, Bevan de Wet, Sara-Aimee Verity, Thami Mbenekazi, Zwelethu Machepha, Kim Berman, Lucas Nkgweng- 08/03/2014 till 05/04/2014Newtown Cultural Precinct / T. 011 492 1278 Bayliss Gallery Inaugural Exhibition. Featuring a combination of young and emerging, and established contemporary South African artists. - Opening 16/03/201470 Grant Ave, Norwood Candice Berman Fine Art Gallery John Moore: Retrospective. Walkabout with John Moore Wed Evening 18:30.08/03/2014 till 15/03/2014- Bryanston T. 011 463 8524 Carol Lee Fine Art ‘The VISTA’ showcases sought after artists like Guy du Toit, Carl Becker, Kagiso Pat Mautloa, Sarah Ballam, Gregory Kerr and Jaco Benade. Cobus Haupt, Mary Visser, Kobus Walker and Kobus la Grange.- 1/03/2014 till 9/03/2014Upstairs@Bamboo, Melville T. 011 486 0526 CIRCA on Jellicoe “DSS2” Lyndi Sales- Until 22/03/2014- Rosebank T. 011 788 4805 Crouse Art Gallery A Variety of South African artists. From new talent to old Masters.All year long- Florida / T 011 672 3821 Everard Read Jhb New Work’ Pam Guhrs- Opens 06/03/2014- Rosebank T. 011 788 4805 We are here’Kerri Evans13/03/2014 till 29/03/2014 4 Major Bronzes’Dylan Lewis Opens 18/03/2014 Ferreira Art Gallery Works of Rob MacIntosh on permanent display. Open 7 days a week. Bryanston T. 011 706 3738. Gallery 2 ‘Hinterland’ Jaco van Schalkwyk, Stephan Erasmus and Lauren Palte- 15/03/2014 till 12/04/2014- Parkwood, Johannesburg T. 011 4470155

Free State

Gallery AOP Collection of contemporary prints. Braamfontein Werf T. 011 726 2234


Gallery MOMO Group Show: Joel Mpah Dooh, Andrew Tshabangu, Mary Sibande, Blessing Ngobeni.- till 12/03/2014- Parktown North T. 011 327 3247

Oliewenhuis Art Museum Free State Towns. : Philippe Burger and Jan van der Merwe.- 13/02/2014 to 23/03/2014- This photo exhibition is a compilation of the most beautiful pictures of the Free State and its people by two well known Free State photographers, Philippe Burger and Jan van der Merwe. The exhibition will take the viewer, on a visual tour of the vast plains of the Free State and into the hearts of its hospitable people and towns. Waverley/ Oliewenhuis Art Museum Retrospective Exhibition by Maureen Quin. Maureen Quin. - 13/03/2014 to 21/04/2014- This travelling retrospective exhibition celebrates the life work of Maureen Quin from the 1950s to the present. It is curated by Virginia Reed. Maureen Quin explains her art: “Sculpture is my passion. It’s an extension of myself, reflecting my thoughts, my loves, hates, joys, and fears. Whether I am involved in representational wildlife studies, realistic figure studies or abstractions, I put my heart and soul into it. Each sculpture is an exciting journey. Starting with a vague concept, sketching it to achieve a visual form, building the armature, fleshing it out and having it cast in bronze are the elements which ultimately are to me the most rewarding and satisfying.“ Gallery on Leviseur ‘Layers of Black’ Jean Dreyer- 08/03/2014 till 06/04/2014- Westdene C. 082 835 2335

Goodman Gallery JHB ‘Faces of War’ Artist: Gabrielle Goliath- Until 15/03/2014- Parkwood T. 011 788 1113 History doesn’t Laugh’Artist: Hank Willis Thomas Until 29/03/2014 In the Viewing Room ‘Haroon Gunn-Salie Until 29/03/2014 Graham’s Fine Art Gallery South African Masters: The gallery showcases a selection of South African artists Irma Stern, J.H. Pierneef, Gerard Sekoto, Maggie Laubser and Alexis Preller amongst others Bryanston T. 011 463 7869 16 Halifax Art Specialising in contemporary art. Bryanston In Toto Gallery Crossing Paths Sarel Petrus, Maria Patrizi- 13/03/2014 till 05/05/2014 T. 011 447 6543 Isis Gallery Range of paintings and stone sculpture by leading South African artists. Rosebank T. 011 447 2317


Johannesburg Art Gallery JAG SNAG’ Stephen Hobbs- Opening 16/03/14- Johannesburg T. 011 725 3130/80

Art & Wine Gallery on Main Frederike Stokhuyzen, Gregoire Boonzaier, J.H. Pierneef, Erik Laubscher and Jean Doyle. /

Lizamore & Associates Gallery Johannesburg Sensorium Dirk Bahmann- 06/03/2014 till 26/03/2014 Parkwoord T. 011 880 8802

Johan Smith Art Gallery Johan Smith, Elga Rabe, Graham Carter, Gregoire Boonzaier, amongst others. Hennie Meyer, Karen Sinovich, and Heather Mills, among others.

The Photo Workshop Gallery ‘Soft Walls’ A solo exhibition by Sydelle Willow Smith. Gisèle Wulfsohn Mentorship in Photography - Until 02/04/2014- Newtown, Johannesburg T. 011 834 1444

Richard Rennie Gallery April: Check in 6th, check out 11th MAY. June: Check in 18th, check out 23rd. For more information and bookings please email Frank at Clarens/ C. 083 4479925

Protea Gallery Specialising in well-known South African Artists, as well as those up-and-coming. / T. 011 8285035

The Gallery Clarens Dedicated to exhibiting and promoting established, mid-career and emerging artists of imagination and ability. C. 083 447 9925

Purple Heart Gallery Currently showcasing a variety of established, as well as new, SA Artists. T. 011 475 7411

Serengeti Crossroads (The Shepherd Principle Project 2011-2014) Georgia Papageorge. In collaboration with June Liversedge and Charl van der Merwe. Georgia Papageorge. In collaboration with June Liversedge and Charl van der Merwe - 05/03/2014 till 09/04/2014- APK Campus, Auckland T. 011 559 2099 White House Gallery Renowned masters such as Chagall, Marini, Miro, Moore, Stella, Picasso, Dine & Hockney. T. 011 268 2115

Pretoria Alette Wessels Kunskamer Art gallery and art consultancy, specialising in SA art as an investment, dealing in Old Masters, and selected contemporary art. T. 012 346 0728 Art in the Park Art works in watercolour, oil, pastel, acrylics, batik, sculpture, pottery and photography. Association of Arts Pretoria Promoting the enjoyment of the visual arts in all it’s forms. T. 012 346 3100 Centurion Art Gallery A commercial satellite of the Pretoria Art Museum. T. 012 358 3477 Fried Contemporary Art Gallery Bloodlines’ Georgie Papageorge, Diane Victor- 08/03/2014 till 19/04/2014 T. 012 346 0158. Front Room Art ‘Small packages’ Corné Joubert, Katlego Modiri, Tania Summers & Mimi van der Merwe- Until 15/03/2014- Rietondale T. 082 451 5584 Leonardo Gallery Art mediums range from Bronze Sculptures, Sterling Silver Sculptures, Oil and Acrylic Paintings to Mosaic and Photographic Art. Moreleta Park T. 012 997 0520 Pretoria Art Museum An art museum of world renown, specialising in South African art. T. 012 344 1807. St. Lorient Fashion & Art Gallery “Butterflies find the way”, Helen Voutsas Solo Exhibition. - Opens 07/03/ T. 012 460 0284. Telkom Art Collection A collection featuring artworks by over 400 artists, some of them well established and some still up-and-coming./ T. 012 311 7260 UNISA Art Gallery The UNISA Art Gallery aims to provide a range of experimental and challenging exhibitions that invite debate and educational stimulation. T. 012 441 5876

Kwa Zulu Natal Ballito Imbizo Gallery Work from leading South African artists. Ballito T. 032 946 1937

Durban Artspace Durban Contemporary arts gallery adjacent to and in collaboration with dedicated artists’ studio spaces. Millar Rd Artisan Gallery Ranging from contemporary fine art to jewellery and cutlery, the Artisan Art Gallery also showcases many of South Africa’s award-winning ceramicists. Morningside T. 031 312 4364 Durban Art Gallery Collections include everything from current and historical art and artefacts of KwaZulu Natal. T. 031 311 2264 Elizabeth Gordon Gallery New artist: Peter Croxon. Morningside. T. 031 3038133 Bellevue Gallery New Work’- Vicky Verbaan, Sharleen Boaden, Desire Pelser, Jan Coetzee and Guilia Forman. Also ceramics by Louise Jennings and Frank Ntunya.- Kloof. T. 031 717 2785 Gallery Umhlanga Contemporary African art. Umhlanga. / T. 031 561 2199 KZNSA Gallery Aberdeen to Durban’ Nicolé Maurel.- Until 09/03/2014- Glenwood T. 031 277 1705 Tamasa Gallery A broad variety of contemporary KZN artists. Berea / T. 031 207 1223 The African Art Centre Exhibits the work of both young and established black artists, working in contemporary and traditional styles. Morningside T. 031 312 3804/05 Pietermaritzburg Blue Caterpillar Gallery Gallery exhibiting wide range of styles and mediums covering both established and up-and-coming artists from South Africa and beyond. T. 033 387 1356 Tatham Art Gallery Serving Msunduzi through the Visual Arts. T. 033 392 2801 The House of Makiwa Makiwa Mutomba. Boughton T. 033 344 1762 Newcastle

Resolution Gallery Light Whisperer’Andrew Hart Adler- Until 13/03/2014- Parkwood T. 011 880 4054 Nothingness ‘Johann Ryno de Wet March/April

Carnegie Art Gallery, Newcastle Permanent collection of South African landscapes. Good collection of ELC Art & Craft, Rorkes Drift ceramics, prints and tapestries. Well stocked gallery shop.South African artists. Permanent Exhibition. - Newcastle. T. 034 328 7622

Rubixcube Gallery Works by young and promising South African artists Arts on Main, Johannesburg CBD

Nottingham Road

Smithfield Biba’s Gallery Wendy Malan Screen prints and etchings till end March, 2014 Smithfield, C. 082 7116866

Standard Bank Gallery ‘In the Weave’ Walter Oltman- Until 29/03/2014- T. 011 631 1889.

Aladdin’s Art and Ceramics Gallery Stained glass art. Nottingham Road T. 033 266 6460 Ardmore Ceramic Art Feature in leading galleries and collections, including the Museum of Art & Design in New York, the Museum of Cultures in Basel, Switzerland, and the Tatham Art Gallery in Pietermaritzburg, South Africa. Caversham Road T. 033 940 0034

Kokstad Dog on a Leash Art & Gift Art gallery and coffee shop. Arts and crafts. Kokstad C. 083 690 3437

Stevenson ‘Of Love and Loss’ Zanele Muholi- Until 04/04/2014- T 011 403 1055/1908 Wim Botha Until 05/04/20144 The Fine Art Studio Offers part-time courses in Oil Painting and Drawing. Beginners and experienced artists alike. UJ Art Gallery

Underberg The Underberg Studio Set in a delightful garden facing the mountains, the gallery specializes in landscape photography & ceramics. T. 033 701 2440


Two Art Patrons at Rust-en-Vrede’s Visual Manifesto opening CT Rust-en-Vrede “Visual Manifesto” Opening CT

Katrine Claassens with one of her works on exhibition / Admiring Christiaan Conradie’s work / Attendees - Jean(left) Cecile (right) / Kate van Putten with her ceramics Slee Gallery Opening, Stellenbosch, opening of Sabina Feroci, “Paper Child”

Fawa Conradie, Sona Buys & Nelis Koegelenberg / Gerhard & Di Van Niekerk / Heleen Bossi & Terry de Vries / Libby De Villiers and Amanda & Imke Bekker St Lorient “Colour Romance” – a group exhibition

Andre Naude guest speaker & guests / Drini Jacob next to her work for art time / Guests / Petra Neal with Patron The “Art Meets Camera” initiative was founded by Michaela Limberis to support local photographers. All photos: Michaela Irving for the SA Art Times

Brett Charles Seiler and Hayden Demes / Getting to know Adam Munro’s self portrait / Jenny Altschuler and Milia Lorraine Khoury / Michaela Limberis, who curated the exhibition, shows her father Nolly around


Mpumalanga Graskop Artistic Journey Art Gallery Workshops, Art classes and Art Gallery. Panorama Rest Camp and Chalets. White River The Artists’ Press Professional collaboration, printing and publishing of original hand-printed artists lithographs, by the Artists’ Press. 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. White River T. 013 758 2409 The White River Gallery It’s All About Light’ Bob McKenzie- 14/03/2014 till 31/03/2014- White River

North West Lichtenburg Jonel Scholtz Art Gallery Mielieland Exhibition is an on-going exhibition of South African artists in the heart of Mielieland country Jonel Scholtz, Stan Polson, Isabelle le Roux, Maria M, Derick van Rensburg, Mariaan Kotze en Nic Oosthuizen- 01/03/2014 till 31/03/2014- Lichtenburg T. 082 853 8621 Potchefstroom North-West University Gallery Venus at Home’ Artist: Usha Seerjarim- Until 20/03/2014- Potchefstroom Campus T. 018 299 4341 Hartbeespoort Dam Edwards Fine Art, Modern and Contemporary Featuring works by William Kentridge, Marlene Dumas, Robert Hodgins, Cecil Skotnes and Edoardo Villa. Sculpture by Anton Smit. Xanadu, Hartbeesport. T. 076 472 9812.

Northern Cape Kimberley William Humphreys Art Gallery Collection of 16th and 17th Century Dutch and Flemish Old Masters, British and French paintings, antique furniture and other objects d’art. Civic Centre T. 053 8311724/5

Western Cape Cape Town 34FineArt Inventory’ Ongoing Group Exhibition. Woodstock T. 021 461 1863 A Word of Art Focus on art activism projects within communities in South Africa. Woodstock Absolute Art Gallery We stock superior quality art by the Masters, as well as contemporary artists. Bellville T. 021 914 2846 Alex Hamilton Studio Gallery Painter whose work is heavily influenced by, and reflective of, pop culture. Woodstock T. 021 447 2396 ArtB Gallery, Bellville Membership Exhibition. The opening will take place on 19/02/2014 at 18h30 for 19h00 - Until 20/03/2014- Bellville T. 021 917 1197 ArtMark A selection of artworks from established and new South African artists. Imhof Farm Kommetjie. Artvark Gallery New work by Milene Rust. Water colours, collages and prints. Kalk Bay T. 021 788 5584 Barnard Gallery ‘Yonder’ Lien Botha- 20/03/2014 till 24/04 2014- Newlands T. 021 671 1553 Blank Projects ‘The Two Insomnias’ James Webb- 26/02/2014 till 29/03/2014- Woodstock T. 021 462 4276 Bronze Age Art foundry specialising in casting of bronze sculpture, as well as undertaking sculpture, interior and architectural commission work. Woodstock T. 021 447 3914 T. 021 685 0676 Deziree Finearts A Collection of Contemporary Colonial and African Oil Paintings. Deziree Smith- Ongoing exhibition.- Fish Hoek T. 021 785 1120 Die Kunskamer Works by leading Artists, Irma Stern, Hugo Naude, Cecil Skotnes, Cynthia Villet, Norman Catherine, Hardy Botha, Bill Davis, Gail Catlin, Simon Stone, David Brown and Pierneef. Sea Point T 021 4349529 Donald Greig Gallery & Foundry Private Gallery permanently exhibiting artworks of Donald Greig. V&A Waterfront T. 021 418 0003 Eatwell Art Gallery Exclusively exhibits the artwork of the Eatwell family. The artists, Lynne-Marie Eatwell, Eric Oswald Eatwell and Mags Eatwell. Noordhoek T. 021 789 2767

Sophea Gallery & Tibetan Teahouse Various forms of fine art including photography, glasswork and digital art. Simonstown T. 021 786 1544 South African Jewish Museum Interactive multi -media displays and engaging accounts of South African Jewish History.Cape Town Central T. 021 465 1546 South African Print Gallery Work by leading South African artists. Woodstock T. 021 462 6851 South African Society of Artists Art by leading South African artists. Cape Town Central T. 021 6718941

Eclectica Art & Antiques Fine arts, antiques and objects d’art. Wynberg / T. 021 762 7983

StateoftheART Gallery Permanent gallery in Cape Town offering a dynamic selection of contemporary art by South African artists. Visit our online gallery for a full inventory of available art. Claude Chandler, Helen Joseph, Chris Denovan and Catherine Ocholla- till 31/03/2014- Cape Town Central T. 021 801 4710.

Everard Read, Cape Town ‘A small collection of recent cat sculpture’ Dylan Lewis.- 12/03/2014 till 26/03/2014- V&A Waterfront T. 021 418 4527

Stevenson Cape Town Solo Exhibition by Wim Botha. - Until 05/04/2014- Woodstock T. 021 462 1500

EBONY Cape Town Cape Town Central T. 021 424 9985

G2 Art Offering a diverse range of contemporary art and sculpture by artists including Adolf Tega, Nicole Pletts and Cornelia Stoop amongst others. - 10am - 5pm - Cape Town CBD T. 021 424 7169 Ghuba Gallery Ongoing collection of new works and contemporary African art. Hout Bay T. 021 790 0772 Goodman Gallery Cape Town ‘Rosenclair Colour Theory’ - Until 15/03/2014- Woodstock T. 021 4627567 Heather Auer Art and Sculpture Original paintings, sculptures and ceramics by Heather Auer and other SA artists. Simonstown T. 021 786 1309 Hout Bay Gallery Specialises in the work of South African artists. Artworks include paintings, sculptures and furniture Hout bay T. 021 7903618 Infin Art Gallery A gallery of work by local artists. Cape Town Central T. 021 423 2090 Infin Art Gallery A gallery of work by local artists. Wynberg T. 021 761 2816 Iziko Michaelis Collection Ongoing: Dutch works from the 17th–20th centuries in Iziko collections Cape Town Central T. 021 4813800 Iziko SA National Gallery Objects in the Tide of Time’ Celebrating our permanent collection.- till 31/03/2014- Cape Town Central T. 021 467 4660

The Art Connection Kaleidoscope’ Nicole Pletts, Jimmy Law, Laura Wenman, Helen van Stolk, Karen Burns, Lesley Charnock, Kim Woodman- Until 12/03/2014- Kalk Bay T. 021 465 5744 The AVA Gallery - Association for Visual Arts Gallery ‘The Face of Cape Town’ Nicholas Esterhuizen. T. 021 7863908 or C. 082 451 1572. - 03/03/2014 till 10/04/2014- Cape Town Central T. 021 424 7436 The Cabinet Pop-up exhibitions and events that will showcase local and international design ideas. Cape Town Central C. 082 08444 22 The Cape Gallery Talking about Cape Town’ Tyrone Appollis, Kenneth Baker, Patrick Cordingley, Christopher Mafafo, Charles Maleka, Billy Mandindi, Philip Mbusi, Vuyisani Mgijima, Solomon Siko, Gerald Tabata, Meshack Tembani, Tyrrel Thaysen and Mandla Vanyaza- 06/03/2014 till 29/03/2014- Cape Town T. 021 423 5309 The Cellar Private Gallery Dealing exclusively in original and investment art, offering works by a variety of renowned and upcoming SA artists. Bellville T. 021 913 4189

Johans Borman Fine Art ‘Open Agenda’ Richard Mudariki- 08/03/2014 till 29/03/2014- Newlands T. 021 683 6863

The Framery Art Gallery Original South Africa and African work in all mediums. Seapoint T. 021 434 5022

Kalk Bay Modern ‘Art on Paper V’ Kalk Bay Modern’s annual exhibition showing new works from South Africa’s leading artists working with paper Barbara Wildenboer, Claudette Schreuders, Conrad Botes, David Koloane, Johan Louw, Lehlongolo Mashaba, Lyn Smuts, Sanell Aggenbach, William Kentridge and more. - 19/03/2014 till 23/04/2014- Kalk Bay T. 021 788 6571

The Framing Place Conservation framing, Framing of art, Block mounting and Box frames. Observatory / T. 021 447 3988

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. Kalk Bay / T. 021 788 8736. Lindy van Niekerk Art Gallery A selection of artworks by new and prominent SA artists and SA old Masters. Bellville T. 021 913 7204/5 Lutge Gallery Cape and architectural antiques,art,ceramics and tables designed by Allan Lutge from reclaimed wood. Cape Town Central T. 021 424 8448 Michaelis Galleries ‘Evidence of Things Unseen.’ Artist: Nike Romano.- Until 12/03/2014Orange Street OutoftheCUBE ‘Legacy - The Caversham Community’ Four new ‘current exhibitions’ from 24 Feb on - a virtual platform to promote contemporary South African art. - Until 10/04/2014- Quincy’s Antiques Art and Collectables Art, Antiques, Curios & Gifts. Rondebosch / T. 021 685 1986 Red! The Gallery Red! The Gallery is a dynamic art gallery featuring work from South Africa’s best contemporary and emerging artists, including works by Andrew Cooper, Derric van Rensburg and Michael Waters. Tokai T. 021 701 0886 Rialto Art Centre Strand Experrt Art Framing. Strand / T. 021 853 8061

The Lisa King Gallery Specializing in top SA abstract/contemporary art, sculpture and exotic glassware. Green Point T. 021 421 3738 The Lovell Gallery ‘What’s Going On?’ Experience South Africa today through the eyes of artists who reflect on and respond to what’s going on around them. Bamanye Ngxale, Benon Lutaaya, Mbongeni Buthelezi, Neill Wright, Neville Petersen, Pierre le Riche, Riaan van Zyl, Robyn Denny, Thonton Kabeya, Vivien Kohler, Zyma Amien, Mak1one and Skumbuzo Vabaza - 08/02/2014 till 04/04/2014- Woodstock T. 021 447 5918 The Photographers Gallery za & Erdmann Contemporary Actuality & Illusion - group exhibition that requires more vision than eyes’ Nomusa Makubu, Connor Cullinan, Bronwen Vaughan-Evans, Hannelie Taute, Clare Menck & Jeannette Unite.- 03/02/2014 to 07/03/2014- Cape Town Central T. 021 422 2762. The Studio Kalk Bay ‘Kaleidoscope’ Curated by Priscilla Schoombie. Comprising established Cape Town and KZN artists amongst others, Nicole Pletts, Jimmy Law, Laura Wennman, Kim Woodman, Helen Van Stolk.- 27/02/2014 till 12/03/2014- Kalk Bay T. 083 778 2737 The Studio Kalk Bay Splash’ By Nola Muller.- 13/03/2014 till 26/03/2014The Studio Kalk Bay Cape Seascapes & more’ By Lolly Hahn-Page.- 27/03/2014 till 16/04/2014-

Brundyn+ ‘Nihiliphobia - Expeditions into the Unknown #1-15’ Carla Liesching- 06/02/2014 to 13/03/2014- Bo-Kaap T. 021 424 5150 New works Mohau Modisakeng- Coming in April- Bo-Kaap Video Show Various Artists Curated by Portia Malatjie- Coming in May- Bo-Kaap

Rose Korber Art Rose Korber’s Summer Show 2013 - 2014: a comprehensive anual overview of the current state of contemporary South African art - paintings, original prints, photograph and Shangaan beadwork. Includes William Kentridge, Sam Nhlengethwa, Robert Slingsby, Willie Bester, Richard Smith, Deborah Bell, Anthony Lane, Georgia Lane, John Kramer, Pamela Stretton,Stephen Inggs, Louise Gelderblom- Until 15/03/2014- Camps Bay T. 021 438 9152

Carmel Art Dealers in fine art, exclusive distributers of Pieter van der Westhuizen etchings. Green Point T. 021 4213333

Rosendal Art & Framing Fine art, community craft and affordable picture framing. Durbanville T. 021 976 8232

What if the World/Gallery ‘I Saw This’ drawing, sculpture, textiles and ceramics by Cameron Platter. - Until 29/03/2014- Woodstock T. 021 802 3111

Casa Labia Gallery ‘Perceptions’ Lyn Gilbert- 01/03/2014 till 13/04/2013- Muizenberg T. 021 788 6068

Ryno Swart Art Gallery Valentine special. 30% discount on work bought for a loved one. Ryno Swart- Until 31/03/2014- Simon’s Town T. 021 786 3975

Windermere House The private art collection of Cape Town based artist Rachelle Bomberg. Artist available by appointment. Muizenberg T. 021 788 1333

Rust-en-Vrede Gallery Visual Manifesto’ Group exhibition.- Until 13/03/2014- Durbanville T. 021 976 4691

Worldart Gallery Contemporary South African art. Cape Town Central T. 021 423 3075

Salon91 Contemporary Art Collection Connectivity’ - A Solo exhibition of paper artworks by Tahiti Pehrson. Tahiti Pehrson (International artist, currently based in San Francisco)- 26/02/2014 till 22/03/2014- Gardens, Cape Town T. 021 424 6930

Breede River

Christopher Møller Art Andre Stead. - Until 20/01/2015- Gardens T. 021 422 1599 “From the Heart’Curated by Carol Hodes. Artists include: Hanneke Benade, David Brown, Ben Coutouvidis, Adriaan Diedericks, Dee Donaldson, Jan du Toit, Andries Gouws, Pauline Gutter, Jolante Hesse, Eugenie Marais, Diane Mclean, Mark Midgley, Andrew Salgado, Henk Serfontein, Lionel Smit, Cobus van Bosch. 10/04/2014 till 22/05/2014” Clementina Ceramics Showcase of contemporary South African ceramics featuring one-off works by Clementina van der Walt and complemented by designer crafts. Open Mon to Fri 9-5 Sat 9-3 - Ongoing exhibition.- Woodstock T. 021 447 1398. Commune.1 Gallery ‘Sediment’ Roger Palmer.- 13/03/2014 till 16/04/2014- Cape Town Central T. 021 423 5600 Culture urban+contemporary Gallery ‘The Secret Love Project Guto Bussab; Michael Elion; MJ Lourens; Lorenzo Nassimbeni; Ree Treweek; Gwen van Embden.- Until 22/03/2014- Woodstock T. 021 447 3533 David Krut Projects Cape Town Gallery and print room. Montebello Design Centre. Newlands

Salon91 Contemporary Art Collection ‘Ceremony’ A Solo Exhibition of Oil Paintings by Mia Chaplin. Mia Chaplin26/03/2014 till 26/04/2014- Gardens, Cape Town T. 021 424 6930 Sanlam Art Gallery Permanent collection of South African art and a large exhibition space. Bellville T. 021 947 3359 SMAC Art Gallery, CT Provide a platform to continually present exhibitions that assist in the process of reviewing and revising South African art. Cape Town Central T. 021 422 5100

UCT Irma Stern Museum “A Selection of Drawings and Paintings from 2008-2013” Stanley Hermans will conduct a walkabout of his exhibition on Sat 01/03/2014 at 11am. Hours: TueFriday 10am-5pm and Sat 10am-2pm- until 15/03/2014- Cecil Road Rosebank T. 021 685 5686

Edna Fourie Gallery Edna Fourie’s ethereal art: oil paintings, readymades and installations. McGregor T. 083 302 5538 Calitzdorp Kraaldoring Gallery Ceramics by Clementina van der Walt and others. Mixed media, including photography by Albie Bailey. Gallery open by appointment only. Email and whatsapp only. Calitzdorp T. 082 575 7969 Marinda Combrinck Studio & Gallery A Fine Art Miscellanium of recent drawings and oil paintings Marinda CombrinckRunning Exhibition- Calitzdorp T. 044 2133 602

WESTERN CAPE / OVERBERG / KAROO | GALLERY GUIDE De Rust Portal Gallery Selected contemporary artists, including Carl Becker, JP Meyer, Estelle Marais, Diane McLean and Hermann Niebuhr. Gallery hours flexible. 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. De Rust / T. 044 241 2014 Clanwilliam Kunshuis Art by leading South African artists. T. 027 482 1940 Elgin The Gallery at South Hill ‘1. Passed’ - The first in a Trilogy relating to themes on Past, Present and Future. Group Show - Marc Alexander, Nadine Hansen, Derick Smith, Laurel Holmes, Sandile Nzuza, Lientjie Wessels, Eugenie Marais, Andre Prinsloo, Gerhard Deetlefs, Madelein Marincowitz, Grainne McHugh, Roelie van Heerden, Sarah Richards and many more.- Until end March 2014- Elgin www.facebook. com/pages/Art-Event/410886465695179/ C. 084 412 4107 Franschhoek Art in the Yard Summer Group Exhibition’- Local and international talents using mixed media and varied subject matter. Varenka Paschke, Lindsay Patton and Johannes Du Plessis plus lesser known talents such as Sally Berg and Mia Hohls. - March and April- Franschoek T. 021 876 4280 EBONY Franschoek Franschoek T. 021 876 4477 Is Art An exhibition of paintings by Fiona Rowett and ceramic work by Ralph Johnson. - 02/03/2014 till 07/04/2014- Franschoek T. 021 876 2071 The Gallery at Grande Provence New work by Shany van den Berg and Barry Barichievy Shany van den Berg Barry Barichievy- 01/03/2014 till 31/03/2014Grande Provence Estate T. 021 876 8630

Sally Bekker Art Studio Exhibition of Pastels by Marion Weymouth and Oils and Watercolours by Sally Bekker and Dave Croad. Knysna L’Agulhas Shell, Sealife & Art Experience Shells and More - a permanent exhibition of silk scarves, original oils, watercolours and constructions by Mosie Hope. Mosie Hope T. 028 435 7888 Langebaan Bay Gallery Supporting excellent, local artists, many of whom are members of S.A.S.A. All mediums exhibited. Langebaan Langkloof Sheena Ridley At Langkloof Gallery and Sculpture Garden meet the artist, learn about her mediums in which she works, and see where her inspiration comes from. Langkloof McGregor Edna Fourie Gallery Ongoing exhibition which includes a permanent collection as well as works for sale- all by the artist Edna Fourie, Oudtshoorn ArtKaroo Gallery Authentic Karoo Fine art. Oudtshoorn T. 044 279 1093 Rosenhof Art Gallery Studio gallery of Lisl Barry. Diverse range of subjects done in oil: inspired by the Klein Karoo landscape and it’s people to water studies, among others. Baron van Rheede / T. 044 2722232 Paarl Hout Street Gallery Specialising in paintings and fine art by more than thirty SA artists. Paarl T. 021 872 5030

Oude Libertas Gallery RE-OPENS with LOUIS JANSEN VAN VUUREN: OOGWINK/BLINK - opens 05/03/2014 and walkabout 11/03/2014. Longtable Gourmet Dinner 22/03/2014 - Booking essential. LOUIS JANSEN VAN VUUREN - OOGWINK/BLINK OPENS: 5 March 2014 at 18h00 Closes: 11 April 2014 Walkabout 11 March at 11h00 Longtable event: 22 March 2014 BOOKING ESSENTIAL for Walkabout and Long table Gourmet Dinner- 05/03/2014 till 11/04/2014- Stellenbosch T. 021 809 8412 Rupert Museum Showcasing the unique private art collection of Anton and Huberte Rupert. Stellenbosch T. 021 888 3344 Sasol Art Museum Permanent collection of paintings, graphic works and sculptures, as well as an anthropological collection. Regular temporary art exhibitions of national and international artists. Stellenbosch / T. 021 808 3691 Slee Gallery Platinum-juwelierskuns/ Platinum Art Jewellery ‘Back to the Future’. A group exhibition by selected graduates from the University of Stellenbosch. Opening by Dr Elizabeth Gunter, Head of Department: Visual Arts.- 06/03/2014 opening at 18:30 till 16/03/2014- Stellenbosch T. 021 887 3385 SMAC Art Gallery Provide a platform to continually present exhibitions that assist in the process of reviewing and revising South African art. Stellenbosch T. 021 887 3607 Stellenbosch Art Gallery An extensive selection of paintings, sculpture, handmade glass & ceramics by selected Western Cape artists Stellenbosch T. 021 887 8343 US Art Gallery Regular temporary art exhibitions of national and international artists, as well as permanent exhibitions of the visual art collections, anthropological and cultural historical objects, and the University history. Stellenbosch www.usmuseum. T. 021 828 3489 Swellendam


Kunstehuijs Fine Art Gallery Representing a variety of established and up-and-coming South African artists. Swellendam T.028 5142905

The Shop at Grande Provence Fine African Artefacts & designer Jewellery by Ilse Malan. - 01/03/2014 till 31/03/2014- Grande Provence Estate T. 021 876 8630

The Art Business Contemporary Gallery and Art Consultancy Specialising in: painting, drawing, printmaking, photography, ceramics, sculptures end limited edition Artists’ books by South African artists. Piketberg

Die Steg Art Galery Solo exhibition of new paintings by resident artist Marnitz Steyn. Swellendam / T.028 514 2521


Plettenberg Bay


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.

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. Plettenberg bay / T. 044 533 2210

Dale Elliott Art Gallery Gallery, Framing and a teaching studio for Art Courses. Villiersdorp / T. 028 840 2927


Old Nick Village A selection of individual shops and galleries showcasing some of the best of South African creative manufacturers and fine artists. Plettenberg bay www. / T. 044 533 1395

Beatrix Bosch Studio Unique works in leather, paintings & photography can be viewed at her studio. Wilderness T. 044 877 0585

Adele Claudia Fouche Ongoing exhibition. Adele also offers workshops and retreats in this beautiful setting./ T. 082 522 4010 Mossel Bay Artbeat Gallery Pottery and sculpture, by Alex Potter. Mossel Bay Art@39Long The magic of glass fascinates me-how it plays with light. My passion is to shape,mould and layer it into expressions with deeper meaning’ Anika GroblerGlass Artist- Running Exhibition- Mossel Bay T. 044 620 4036 Hermanus Abalone Gallery African Reflections III (ANNEX). An exhibition with works on paper and sculpture by: Nils Burwitz, John Clarke, Amos Letsoalo, Leonard Matsoso, Colbert Mashile, Pippa Skotnes, Lynette ten Krooden. Ironwood sculpture by Shepherd Nduzo . MAIN GALLERY : A group exhibition in different media with contemporary artists and old masters. Sculpture by Susanna Swart in bronze and stainless steel. - Until 30/03/2014 – Hermanus T. 028 313 2935 Rossouw Modern Art Gallery Hermanus Featuring fine artworks from a select group of talented South African artists. Hermanus T. 028 313 2222 Village Art Gallery Artist and owner Brian Robertson, who exhibits work in both oil and watercolour. Hermanus 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. Hermanus T. 028 312 2928 Willie Botha Sculpture Gallery Permanent exhibition of work by Sculptor Willie Botha, Paintings by Pieter Vermaak, Johan Calitz and Shelley Adams. Hermanus T. 028 313 2304 Knysna A Different Drummer Small bronze sculpture by Talitha Deetlefs, Guy Thesen & Briget Randall. Talitha Deetlefs, Guy Thesen, Bridget Randall.- 01/03/2014 till 31/03/2014 Thesen House T. 044 382 5107 Dale Elliott Art Galleries Leaders of the painting course concept in South Africa. Knysna T. 044 382 5646 Knysna Fine Art An important collection of bronzes by Deborah Bell, ‘’Dark Paradise’’ photographs by Krisjan Rossouw. Deborah Bell and Krisjan Rossouw.- 01/03/2014 till 31/03/2014- Thesen House T. 044 382 5107 Lynn Schaefer Gallery Artworks and ceramics by SA artists including Derric van Rensburg, Ann Nosworthy, Darryl Legg and Lynn Schaefer. Knysna

The White House Venue & Theatre Exhibition venue. Plettenberg bay T. 044 533 2010


Pharoah Art Gallery Summer Collection Peter Pharoah- Until 31/03/2014- Wilderness

Port Owen The West Coast Art Gallery New exciting local artists have joined our gallery. We currently exhibit 28 artists. 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. Prince Albert T. 023 541 1057 Riebeek Kasteel The Gallery - Riebeek Kasteel Curated by Astrid McLeod, The Gallery features a selective mix of paintings, sculptures and ceramics by established and emerging South African artists. Riebeck Kasteel Robertson The Robertson Art Gallery We specialise in original art of more than 60 top South African Artists. Robertson T. 023 626 5364. Somerset West Gallery 91 Collection incorporates scultpure,ceramics,functional art, paintings, etchings and photography. Somerset West T. 021 852 6700 Wallace Hulley Gallery Unique Collection of Watercolours, Oils and sculptures. By appointment only. - Studio Spanish Farm,- Somerset West Stellenbosch Art at Tokara ‘Walls’ : Helen Timm, Foni Kofi, Nicky Leigh, Michael Meyersfeld and more.. - Until 30/4/2014- Stellenbosch T. 021 808 5900

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Art on 5 A studio gallery run by 2 artists, Maryna de Witt and Emzi Smit, exhibiting their work. Stellenbosch / T. 021 887 7234. Equus Gallery, Cavalli Wine Estate Shimmering - artists unearth light’ Bronwen Findlay, Katherine Bull, Marco Cianfanelli, David Koloane and many more R44 between Stellenbosch and Somerset West. / T. 011 788 0820 D-Street Gallery Magicus - Woordfees Exhibition.: Andries Gouws, Clare Menck, Cobus van Bosch, Peter van Straten, Shany van den Berg, Jan du Toit, Ingrid Winterbach, Niel Jonker and Lionel Smit. - 08/03/2014 at 18:30 by Lina Spies- Stellenbosch T. 021 883 2337

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Nushin Elahi’s

London Letter

When Martin Creed won the Turner Prize in 2001 for lights that switch on and off, it was the subject of heated controversy. Those lights still flicker in a room at the Tate, as part of the British art display, in case one needs to see what level of enlightenment modern art has reached. Creed, along with two other Turner Prize finalists, is the subject of a retrospective at a major London gallery. The Hayward Gallery is showing the full scope of his irreverent works in Martin Creed: What’s the Point of It? (until April 27). I have to admit that I went expecting nothing, and was pleasantly surprised. Creed takes the mickey out of everything to do with art, whether it is a pile of steel girders, a squidge of blu-tack (or Prestick) on the wall or the noise of a fart. That seems to be what the teeming crowds were drawn to - the palpable sense of excitement at what else would be included in Creed’s line-up. Individually, not a single one of these items amounts to much, and some are quite simply atrocious artwork. There’s an awful lot of stuff you would get from a builder’s yard too. As an outing though, it’s a pleasant afternoon, from the moment you squeeze past the sofa across the entrance, duck under the spinning neon sign that threatens to decapitate you, past piles of empty cardboard boxes, Ikea frames with coloured inners, stripes of tape on the walls and scrunched up bits of paper, right till you see the lady in the film walk off and hear a kid’s voice pipe up, Mummy, she did a poo and didn’t wipe! Banal, pointless, stupid and often downright disgusting, Creed has a breezy flippancy that saves his work from being pretentious. Perhaps if I saw the price tags I would think differently, but the only point he seems to be making is that there actually isn’t a point at all. Which may make him a social commentator, but it doesn’t make him an artist. He falls more into the category of a comic who makes his audience laugh at themselves and the funny things they do. But at least the next time your lights go off, you can take comfort in the fact that you may be in the midst of an art installation! Richard Deacon (at Tate Britain until 27 April) is entirely different - an artist who can turn an unimaginable concept into a perfectly executed form. A sculptor with a penchant for wood, he plays with a variety of materials, teasing them into shapes they were never meant to be. Sensuous and tactile, his works get more and more complex over the years. No image actually does them justice. You need to be able to appreciate them in their monumental command of space, in the way they sinew and swoop differently from every angle. Having an engineer at my side I was better able to understand the construction complexities of what looks so simple: the meticulous detail in how he bends and folds metal as if it were paper, makes wood curve and twist and the precision

with which the nuts and bolts of each piece are applied. Deacon won the Turner prize in 1987, and his career spans 35 years. This collection at the Tate features large and fascinating works where the viewer can get lost in the spatial interplay of contrasting materials such as wood and metal, but Deacon’s smaller works are lost against the power of these imposing pieces. Their abstract forms are open to whatever interpretation the viewer wishes to give them. Perhaps they don’t show the full range of his career, but they are a breath-taking and intriguing delight to see, and one that restores one’s faith in art that engages and inspires the viewer in the sheer beauty of form. Bill Woodrow designed cut-outs from white goods: a bicycle from a spin dryer, a space satellite from a twin-tub. He dipped old vacuum cleaners in concrete, smashed the glass on television screens and spelt out words, or unpacked every last screw on an upright cleaner. His work was witty, bright and rooted in our urban environment. A contemporary of Richard Deacon and a Turner Prize finalist in 1986, he also came to the fore in the late Seventies. In fact, the two have collaborated on a series of small glass and ceramic works. Woodrow’s recent retrospective at the Royal Academy opens with all the charm and wit that shot him into public consciousness, but unlike his fellow sculptor, the years have knocked away that element of fun, and replaced it with a ponderous social commentary. The exhibition avoids any of his big bronzes, such as the open book with ball and chain that is a rather appropriate bench at the British Library. Instead it sweeps across series such as the Beekeeper, the Revelator and the Navigator, which leave one with few images and an abiding impression of using art as social consciousness. One of the few pieces that captures something of that early zing is Anaconda, where the bright colours and reference to a toy train snake into one’s perception, but for the rest, reading a pamphlet would do the trick. A Chinese sculptor with a sense of timelessness squares up to these British sculptors at the White Cube in Mason’s Yard until 15 March. Liu Wei uses found objects to recreate enormous geometric shapes in his exhibition Density. Based in Beijing and born in 1972, he is only a few years younger than Creed, but his work has a gravitas that is entirely lacking from his British counterpart. He, like the young Woodrow, collects his material from scrap yards and the street, recreating a new form for them in carefully designed sculptural installations, creating beauty out of a city’s trash. The urban jungle is canvas in carefully stitched patterns, buildings reappear in their individual metal components, but it is particularly the texture that he finds in spheres made of books that has an ethereal splendour.

Top left - middle: Martin Creed installations, Richard Deacon - Out of Order 2003. Bill Woodrow - Anaconda installation shot Bottom left: Martin Creed installation shot - builderâ&#x20AC;&#x2122;s yard materials


Quin won’t quit! By Lyn Holm Far from dozing away in a rocking chair, eighty year-old, Maureen Quin is spending her golden years in the same place that she has spent the last sixty, her studio. Having recently completed a private commission of a life-size human figure, she is far from slowing down or settling for smaller challenges. In an interview with David Macgregor for the PE Herald last year, she made her resolve clear: “ I want to die with a great big sculpture going ‘splat’ on top of me... I am enjoying my work – there’s still lots to do, lots to make and lots to create.” Left: Mother and child, Middle: Maureen Quin, Below: Nelson Mandela Commission, Top Mandela and child

When explaining her creative process Quin will take you down an equally surreal path: “I draw until I get under the skin of my subject – till I can “feel” that sculpture in me. After constructing the armature I concentrate on the shapes and forms in space - composition and silhouette – then suddenly the work takes on a life of its own – the emotional content starts to manifest itself – the dialogue begins, between myself and the sculpture. This dialogue is essential for me; it’s a tremendous stage of discovery. An adventure into my own inner self. The sculpture acquires a spirit and a personality. While I work I’m constantly looking at the composition in space – the tensions within the individual forms and the relationships between them….to me this is the essence of sculpture.” (Quin, Artist’s Statement, 2005) The spirit that Quin imbues in her sculptures is no less palpable that she imagines it to be. Having keen observation skills and a developed sense of expression, her sculptures come alive with haunting emotion, whether they are captured realistically or in Giacometti-esque abstraction. This month, Quin releases a book about her sculptural practice over the years. The launch of “Maureen Quin Master Sculptor; Six Decades of Sculptural Excellence” will coincide with a retrospective exhibition of her work at Oliewenhuis Art Museum (Bloemfontein), opening on the 13th of March. Thereafter, the exhibition will travel to NWU Gallery (Potchefstroom) in May and Sanlam Gallery (Bellville, Cape Town) in July. Quin has only just completed a larger-than-life bust of Nelson Mandela for the University of New South Wales. In 2009, the UNSW received the gift of a bust of Mahatma Gandhi from the government of India. The University wished to continue to pay tribute to global leaders with admirable values and principles and in so doing, inspire their students to great heights. Thus, the University commissioned Quin to sculpt a bust of Nelson Mandela to be positioned opposite the bust of Mahatma Gandhi. The bust was unveiled on Mandela Day, 18 July 2013 by Ms Koleka Mqulwana, the High Commissioner for the Republic of South Africa in Australia. Quin grew up on a farm in Free State, playing with clay and drawing. She now lives in Alexandria, a small town in the Eastern Cape where she settled with her late husband, Ettiene du Plessis some fourty years ago. Hidden away among the trees, her gallery is surrounded by a garden that has flourished not only in greens but in bronzes, and if you visit her today, you will be treated to tea in a garden wonderland, all her own.

All images and Artist’s Statement (2005) courtesy Dorothy du Plessis for the Maureen Quin Sculpture Garden: Other sources: - David Macgregor “Sculptor’s magic touch for Madiba”, for the PE Herald (26 March 2013 ): - “Honouring Nelson Mandela - Her Excellency Ms Koleka Mqulwana”, UNSWTV: http://

Oliewenhuis Art Museum : Retrospective Exhibition by Maureen Quin. 13/03/2014 to 21/04/2014- This travelling retrospective exhibition celebrates the life work of Maureen Quin from the 1950s to the present. It is curated by Virginia Reed. Maureen Quin explains her art: “Sculpture is my passion. It’s an extension of myself, reflecting my thoughts, my loves, hates, joys, and fears. Whether I am involved in representational wildlife studies, realistic figure studies or abstractions, I put my heart and soul into it. Each sculpture is an exciting journey. Starting with a vague concept, sketching it to achieve a visual form, building the armature, fleshing it out and having it cast in bronze are the elements which ultimately are to me the most rewarding and satisfying.“

P o p A r t

E x h i b i t i o n

@ The White House Gallery Join us for a cocktail on the opening night

12 March @18h00-20h00

Shop 17, Thrupps Illovo Centre, Oxford Road Tel: 011 268 2115 Website: Email:


Corporations, Once Happy Buyers of Art, Are Now Happy If They Can Get Rid of It To Unilever’s credit, the company held a public sale of the 92 photographs, raising $400,000 that was donated in full to the Marwen Foundation, which provides free art classes to Chicago’s disadvantaged youngsters in grades six through 12. More recently, Altria, which had changed its name from Philip Morris Cos. in 2003, disposed of half of its 700-piece art collection when it relocated its headquarters to Richmond, Va., from New York City’s Park Avenue last March. “Our Richmond headquarters now features a lot of Virginia artists,” a spokesman said. The move ended the company’s 25-year-long relationship as a branch of the Whitney Museum of American Art, but its parting gift to the city was almost 200 works from its collection (featuring pieces by Jennifer Bartlett, Romare Bearden, Philip Guston, Betty Saar and Andy Warhol) to 10 institutions, including the Whitney, the Studio Museum of Harlem, the Brooklyn Museum of Art and El Museo del Barrio.

The Huffington Post | Daniel Grant: A much happier subject than this is the joy of collecting art. The newspapers are full of record sale prices for artworks at auction, and art fairs promote their A-list dealers, artists and buyers. But what if your aim is getting rid of art? I’m not talking about museum “deaccessioning” of certain pieces in a permanent collection, with the aim of using the proceeds of a sale to acquire more art, or even about estate sales. I mean getting rid of it. Lehman Brothers, the financial services firm that filed for bankruptcy protection in 2008, had that problem. Its 3,500-piece art collection, with works by such bankable artists as Jasper Johns and Andreas Gurky, looked good on the walls, but the offices were emptied and a bankruptcy court was demanding that all remaining assets be monetized. During the 1960s, ’70s and ’80s, major corporations were highly active in the art market, building significant contemporary art collections, but those days have long passed. Companies in trouble sell whatever can raise them money, and art collections are but one more asset. Arthur Andersen, the accounting firm brought down by the Enron scandal, for instance, turned two floors of its Chicago offices into a gallery showroom in 2002, selling more than 2,000 artworks over a five-day period. In 2006, the New York futures broker Refco Inc., which filed for bankruptcy protection the previous year while under investigation for hiding $430 million in debt, sold 321 photographs for $9.7 million at Christie’s auction house over a three-day period. “The major sales of corporate art collections that I’ve been involved with have been distressed situations,” said Joshua Holdeman, senior vice president at Christie’s, who in 2003 had also helped both Enron and Seagram sell artworks from their collections when he worked at Phillips, de Pury & Luxembourg. At other times, corporate consignors of art at the auction houses are not identified out of fear that the sale “may be seen as a sign of distress,” he said. “In the grand scale, of course, no one’s art collection will get it out of trouble.” Corporations get rid of their art collections for other reasons than doom and gloom, of course. Mergers and acquisitions bring in new leadership that simply doesn’t want the old stuff around. Or yesterday’s art doesn’t work in today’s new building. Take Unilever. In 1982, the company had bought a 92-work collection of black-and-white museum-quality photographs for its then-new headquarters on Chicago’s Wells Street. Assembled quickly by an art consultant, the collection included such renowned photographers as Diane Arbus, Henri Cartier-Bresson, Robert Frank, André Kertesz, Irving Penn and Alfred Stieglitz. By 2003, however, the company was ready to move again to a somewhat smaller building on North Michigan Avenue, and so it was time for the art to go. “The old space was classical and elegant, with muted colors, and the black-and-white photographs worked,” said Jessica Jolly, facilities manager at Unilever. “The new building had a different design idea, and people wanted bright colors.” In fact, they didn’t want art at all but large-scale photographs of the company’s products splashed about on the walls. “We show images of Suave shampoo, Ragu bottles, tea packages — images employees can connect to.”

Once proud buyers of A-list art, corporations are taking a second look at collections. Amid the corporate downfalls and takeovers, we are seeing signs that the heyday of corporate art collecting is over, replaced increasingly by budget-priced decoration. “The 1980s was the high point in corporate art collecting, but the crash at the end of the ’80s started the process of killing it off,” said David Galenson, an economics professor at the University of Chicago and the author of the 2006 book “Old Masters and Young Geniuses: The Two Life Cycles of Artistic Creativity.” “Company executives found out that the art market could be a very volatile thing that they didn’t want to be part of.” Other factors contributed as well. The prices for top-flight art have risen to astronomical levels, draining corporate resources, and the type of art that is expected to appreciate in value “costs money to maintain, in terms of storage and climate control and state-of-the-art facilities in which to display it,” said Mary Lanier, former director of the Chase Manhattan Bank art collection and now a private corporate art adviser. Shareholders and board directors have less and less tolerance for major art expenditures, according to Princeton University economist Orley Ashenfelter, who noted that “firms, especially when the economy starts to sour, recognize their need to stick to their core business.” The result has been a 20-year-long disposal of one corporate art collection after another. The question of what to do with no-longer-wanted company artwork received one answer from the New York-based Business Committee for the Arts, which in 2006 established the From Workplaces to Public Spaces program. In its first two years, the program has placed about 1,000 artworks deaccessioned by Manhattan-based businesses in 16 hospitals, schools and cultural organizations in the Greater New York area. Among the corporations that have donated posters and original artwork to the From Workplaces program are Bank of America, JP Morgan Chase, Deutsche Bank and Pfizer, and the cumulative value of this art is in excess of $275,000. Among the recipients are Medgar Evers College, Hospital Audiences Inc., P.S. 20, Tools for Schools Inc., the Henry Street Settlement and Bronx-Lebanon Special Care Center. JP Morgan Chase also has made donations separate from the From Workplace program, including artworks to hospitals and the New York City Board of Education, brightening school hallways. So, too, has Xerox Corp., which gave away 221 framed prints to the Norwalk, Conn., public schools. After it moved into a new building four years ago, the Kansas City, Mo., law firm Shook, Hardy & Bacon found its “older art didn’t fit with the new building,” donating almost 20 prints and paintings to Catholic Charities of Kansas City-St. Joseph, said Walter Cofer, partner in the law firm. Over the years, the Hebrew Home at Riverdale, a Bronx, N.Y., retirement home, has received so many donations of artwork from law firms, banks and other corporations, as well as from individuals, that it is a member of the American Alliance of Museums. Read this and other interesting art-icles at source: Image source:





On the business art media radar Will the Scots sack the British Museum?

The Art Newspaper | David J. Black: If Scotland votes for independence later this year, some very important native artefacts in UK institutions could be heading north. The British Museum plans to lend six of the Lewis Chessmen to the museum at Lews Castle on Stornaway, Isle of Lewis, which is due to open this year Thirteen years ago, with my tongue firmly in my cheek, I raised a hypothetical, if mildly vexatious, question in Scotland’s Herald newspaper. If Scots vote to leave the UK later this year, might they be entitled to assert a pro-rata claim upon any part of the cultural patrimony of Britain as a whole? If so, which major institutions might be vulnerable?

How to buy art (for absolute beginners)

Vogue | Alexandra Brown: A step by step guide with the help of art advisor Mark Hughes: If you’re a Vogue reader we already know you appreciate fashion and beautiful things and more than likely desire to bring them into your home. But when it comes to entering the world of art acquisitions and collecting, the process can be intimidating. Vogue spoke to art advisor Mark Hughes and got the how-to guide to starting your at-home gallery.

The art of measuring worth of collectibles

South China Morning Post | Benjamin Robertson:Rapid rise of global wealthy individuals is spurring demand for tools to track the price and performance of this new diverse asset class. The Liv-ex index highlights an evolving consumer palate as buyers shy away from premium Bordeaux wines like Chateau Lafite. Photo: AFP They appeal to the heart as much as the wallet and are notoriously difficult to price and chart. Even so, this has not stopped analysts trying to introduce their spreadsheets into the arcane world of investment collectibles as investors and portfolio managers demand more tools to track this diverse asset class.

No cash accepted at Brussels art sale

Deutsche Welle: Want to buy that painting? Put away your wallet and pick up a pen and paper. At a Brussels art fair, art lovers are trading everything from a home-cooked meal to an anatomy lesson for their favorite creation. Inside a crowded Brussels art gallery, Julien Antoine (pictured above) quickly scribbles on a post-it note and sticks it on the wall beside a framed photograph. Certainly not appropriate behavior for a wine and cheese art sale, but at the Art Truc Troc exhibition his note is just one of thousands.

As the price of art rises, is its value plummeting?

The News-Herald | The Washington Post | Philip Kennicott: As 2013 came to an end, the art world took stock of its remarkable fortunes: Leading auction houses announced records for total sales, as new wealth and new collectors clamored for art and collectibles. For the fourth year in a row, Christie’s broke its own record, with more than $7 billion in sales. And they were still giddy from one day in November when they sold almost $700 million of art. A Christie’s employee poses with an arte povera work ‘United Enemies’ by Thomas Schutte on display at Christie’s Mayfair gallery in London.

Great art needs an audience

The Art Newspaper | Blake Gopnik:Art dealers who believe galleries are no longer necessary have forgotten an essential reason why works are valued. Christian Marclay’s The Clock, 2010, at White Cube Mason’s Yard As the virtual replaces the physical and the world gets globalised, we’ve been hearing that art galleries, material and settled in a single place are bound to be on their way out. Collectors are now more likely to buy at a fair than from a dealer’s home base; some may do their art shopping online. A few mid-range dealers, especially, are already closing their galleries, to conduct all their business in private, at fairs, or by jpeg. Some newly prominent art middlemen, such as Vito Schnabel in New York, have never even opened a permanent space. I believe that these changes put art itself at risk.

China becomes world’s top art buyer for fourth straight year amid record 2013 global sales

South China Morning Post | Agence France-Presse: Global art sales hit a new record high of US$12.05 billion last year, with China keeping its spot as the top buyer, a leading art market data firm said on Wednesday. Chinese art lovers stand beside picture frames on display at the three-day Art Beijing Contemporary Art Fair in Beijing. Photo: AFP France-based Artprice said sales of artworks around the globe – which include paintings, sculptures and photographic prints – grew 13 per cent last year.

Centenary of Great War could fuel theft of historic artefacts, police say

The Art Newspaper | Anny Shaw: Members of the trade downplay the threat because the market for objects from the First World War is small. One of the lots in Bonhams’ centenary sale on 24 September, the Gold Albert Medal awarded posthumously to Second Lieutenant Grey de Leche Leach, Scots Guards. He died after saving his comrades in a grenade incident at Morlancourt, France, 3 September 1916. Estimate £10,000-£15,000

Art dealer, 81, who made a ‘fortune from fake paintings’: Veteran accused of selling thousands of copies of modern works as genuine for £250

Daily Mail Online | Chrigs Greenwood: A veteran dealer was accused yesterday of selling fake paintings on an ‘industrial scale’ at some of Britain’s best known arts and antiques markets. Bill Harbord, 81, is suspected of earning hundreds of thousands of pounds from the sale of works purporting to be by highly collectible modern artists. Pensioner Bill Harbord, 83, and his wife Enid, 80, have been accused of selling fake artwork worth hundreds of thousands of pounds from stalls in Portobello Road (pictured) and Covent Garden

What the Art Market Can Teach Us About Branding

Ad Age | Al Ries: Who Is the No. 2 Drip-Painter? Exactly. At Christie’s recent post-war and contemporary-art sale, a black-and-white painting of a Coca-Cola bottle sold for $57.2 million. What made a black-and-white painting of a Coca-Cola bottle worth that kind of money? It was the brand, Andy Warhol. Not the painting. Now suppose you were a company in the business of creating art and your major competitor was Andy Warhol. You might do what most companies do when they have to compete with a market leader. Create a better product at a cheaper price.You might decide to create a full-color painting of a Coca-Cola bottle and sell it for less than $57.2 million. And to include a complete Coca-Cola trademark instead of just a partial one.

Italy threatens to sue Standard & Poor’s for failing to value its history and art

The Guardian | Jennifer Rankin: Ratings agency would not have issued damaging downgrade if it had taken account of cultural wealth, state auditor claims. Italy is threatening to sue the credit ratings agency Standard & Poor’s for failing to value its historical and cultural treasures. Michelangelo’s David at the Gallerie dell’Accademia in Florence. Photograph: Alamy The country that bequeathed the world Dante, da Vinci and an enviable vision of La Dolce Vita, thinks financial analysts would not have issued a damaging credit downgrade against Italy if they had paid more attention to its cultural wealth than its spiralling budget deficit.


Art collecting with Albie Sachs

Former Constitutional Court justice Albie Sachs is bound to art and politics by love and lineage. He chats about this and his years of art collecting.

A Reggie Bar​David artwork. (All photographs by David Harrison, M&G) one drawing just after the Soweto uprising, but the other pieces I bought at galleries in London. I raised funds in the United States for his sculptural masterpiece History to be enlarged, cast in bronze, and placed at the entrance to the Constitutional Court.

Published in The Mail & Guardian Written by Stefanie Jason Photos : David Harrison, M&G)

Judge for yourself: Albie Sachs in his home at Clifton beach in Cape Town with a mural painted by his son Alan. (David Harrison, M&G) In 1945, seven years before former Constitutional Court judge Albie Sachs joined the liberation struggle in apartheid South Africa, his appreciation for art had already bloomed. Paintings by his mother’s artist friend adorned the walls of his childhood home. Around the same time in his life, his trade unionist father sowed the idea of fighting for freedom in Sachs’s mind. In an interview with the Mail & Guardian in 2010, Sachs recalled how his father sent him a postcard during World War II that read: “Dear Albert, congratulations on your sixth birthday. May you grow up to be a soldier in the fight for liberation.” You could say his relationship with politics and art are bound by lineage and love. Sachs began his career fighting against South Africa’s oppressive laws at the age of 17, when he took part in the Defiance of Unjust Laws Campaign. At 21, he was already an advocate at the Cape Bar. Despite the rising political turmoil in the country at the time, which saw him being targeted by the Security Branch and placed in solitary confinement, Sachs’s interest in art did not wane. He went into exile in 1966: first to England for just over a decade, where he studied and taught law, and later to Mozambique. While in exile, he took an active interest in the arts. Sachs acquired some of his most prized artworks outside of South Africa and also made friends with legendary artists such as Dumile Feni.

Albie Sachs alongside a Walter Oltmann creation. As the armed struggle engulfed South Africa, many freedom fighters left the country. But the apartheid regime cracked down on dissenters, regardless of their location. In Maputo, in 1988, a bomb that was placed in Sachs’s car exploded – resulting in the loss of his right arm and

SA ART TIMES. March 2014

the sight in his right eye. This event did not deter Sachs from continuing his active role in the fight for democracy in his home country and he continued to work closely with leaders of the ANC to help to draft the party’s statutes and code of conduct. On his return to South Africa in 1990, Sachs assisted with negotiations between the ANC and the National Party to end apartheid. And four years later, after the first democratic election, then-president Nelson Mandela appointed Sachs as a judge in the newly established Constitutional Court. This is where his appreciation for art manifested itself. Sachs was asked to help to develop the architectural and artistic vision of the Constitutional Court at Constitution Hill in Johannesburg. The father of three – he has two sons from his first marriage and one with his current wife Vanessa – has also donated a large part of his personal art collection to the court. When did you start appreciating visual art? At the age of 10, [the late South African artist] Gregoire Boonzaaier was a friend of my mom and used to hang his pictures in our flat before packing them in the dickie [exterior] seat of his Chevrolet and driving out to the platteland to sell them. “A house without a painting is a house without a soul,” Boonzaaier would say. For you, what elements create a visual masterpiece? Imagination, colour, design, intensity, mystery. What was the first piece of art you bought or were given? I bought a book of lithographed woodcuts by Picasso – many dealing with bullfights. I cut out pages and had them framed. What’s the most prized art piece in your collection? An eight-headed woodcarving by the late Mozambican artist Alberto Chissano. Indira Gandhi wanted it, but he had promised it to me. After Ruth First was killed by a letter bomb in Maputo, he had it delivered to me. The sculpture is now part of the collection of Mozambican art, which I donated to the University of the Western Cape (UWC). CNN refers to you as a “passionate art collector”. I’m passionate when I acquire art, my heart beats wildly, whether it’s a Makonde sculpture bought at the roadside, a Malangatana painting purchased at his studio or a Dumile Feni drawing found at the Marlborough Gallery. I often feel sick afterwards at having spent so much money, but have never once regretted the acquisition. You were given a collection of Dumile Feni’s drawings and you also feature in the documentary about his life, Zwelidumile. Do you still have many of his pieces? We were close friends in exile in London. He gave me

What are your thoughts on Feni’s artworks? His work with pen and in clay is exquisite. He had all the extraordinary creativity and all the anguish of being a genius. I gave all his drawings to the Constitutional Court and only have two small ones left. During apartheid, there were many forms of activism that challenged the regime – and visual art was one of them. Which artist do you feel truly fought against oppression through their work? Many fought in different ways. Dumile, Bill Ainslie, William Kentridge, Jane Alexander, Sue Williamson, Peter Clarke are just a few of them. What about in contemporary South Africa? Do you feel that there is tolerance for activist artists such as The Spear’s Brett Murray or Ayanda Mabulu, whose art piece was banned from the 2013 Art Fair in Johannesburg? As a former judge it is best that I say: No comment! You were instrumental in assembling the Constitutional Court’s art collection at Constitution Hill. What, in the collection, is your favourite? Not a fair question. It’s like asking who is your favourite child: Judith Mason’s Blue Dress or John Baloyi’s Ghost or Marlene Dumas’s tapestries or … or… or… While in exile in Mozambique and England, what art movements and artists from the two countries moved you the most? In Mozambique I immersed myself in the artists’ movement. Art was life, it was death, it was hope, it was despair. I particularly admired the painter Malangatana and the sculptor Chissano, both of whom had created distinctive art forms and become more famous in their country than football stars. In the United Kingdom, I read about art, went to a few exhibitions, followed the public debates, but never felt deeply involved. How did living in the two countries shape your appreciation for art? In very broad terms, in England I found visual art became increasingly based on technique and concept, rather than on deep inner vision and emotion. The heartbeat, the passion, the mystery and inventiveness of art in Mozambique captured me far more profoundly. I learnt to admire public art. It has given me joy to donate 95% of my artworks to UWC and the Constitutional Court. And the works are happy there. Who is your favourite contemporary South Africa artist and why? Uh uh, must I choose between Willie Bester and William Kentridge, or Wilma Cruise and Willem Boshoff, just to mention those whose names begin with the letter “W”? What was the last piece of art you bought or were given? Three murals painted by my son Alan Sachs on the walls in our completely rebuilt home on Clifton beach.



Stephan Welz & Co Sale

Heroism as Explored by Simon Stone

Simon Stone : No News Today (2008)

Simon Stone’s ‘heroic’ paintings were painted from 1990 to 2013. The term ‘heroic’ is thematic rather than chronological, as these paintings are defined by their subject matter, which celebrates the ethos of heroism. Heroes answer to a deep-seated human need; they are expressions of both the personal and the collective unconscious and they are a fundamental element in all mythologies, legends and epics. The hero is a man of courage and determination who answers the call of nature. He forsakes the comforts of his familiar home and pattern of life, and embarks upon a journey or quest involving trials and privations. In the course of his wanderings, he acquires self-knowledge and insight, and he returns to his point of departure, an older, wiser man. The lynchpin of the heroic paintings is one or more compositionally dominant or prominent males of introspective bent, engaged in an attempt to discover the meaning of life. The hero is generally surrounded by cityscapes, buildings, seascapes, Karoo landscapes, still lifes, a nude and the occasional domestic interior. His thoughts are of the surrounding imagery and concern his experience of the city, the country, his travels and his involvement with women, and by extension, mankind. In No News Today (2008), the deeply pensive heroes on either side of the canvas are juxtaposed with a dotted nude, flanked by a ‘wife-like’ figure; all of this around a central townscape empty of life, giving the painting a dream-like unreality. The Stonian hero is defined in contrast with women. The polarity between the sexes is stereotypically defined by binary contrasts, creating irreconcilable differences between the two sexes. The females in this painting are passive in contrast to the males: the woman on the left is standing deep in thought, obviously waiting for something or someone, and the dotted nude is curled up in a restful sleeping position, oblivious to what is going on around her. The men on the other hand are both clothed and look busy – they portray a purpose and an energy; they have duties and obligations. To further the contrast, the wife-like figure obviously longs to engage with the man, however, he is so deeply self-absorbed that she entirely escapes his attention. Although the lady appears aggrieved by his failure to pay her court, she is otherwise at ease. As opposed to Stonian men, Stonian women seem to enjoy an untroubled sense of oneness with the world which absolves them of any need to justify their existence, or question whether there is a purpose to their lives. The Stonian male is never blessed with the careless ease that appears to be a woman’s birthright, and these trudging men, engrossed by sombre thoughts, come close to an autobiographical statement on the part of the artist. However, all these elements are not always present, and many heroic paintings merely contain one or two of the essential components, such as the endless road, a view of the highway or the boundless vista beyond the horizon line. All the paintings with some of the essential elements of the heroic paintings should be read en bloc as a single body of work, in which each painting comments on all the others, so that their meaning only emerges when one surveys the entirety. The heroic paintings examine how the hero acquires wisdom and insight, and as travel is essential to this process, the hero is frequently portrayed in transit, journeying between Johannesburg and the highways and byways of the Karoo. Stephan Welz & Co. Decorative and Fine Art Auction in Johannesburg Saturday 8 March. Pre-auction viewing open to the public at no charge, daily from Friday 28 February – Saturday 8 March from 10h00-17h00. For more information contact 011 880 3125 or e-mail


Bonhams South Africa Sale

Strauss & Co.

Justice Under A Tree At Bonhams

A Groovy Kind of Love at Strauss & Co

Bonhams is delighted to be offering an outstanding selection of South Africa’s former neglected black artists. Their intense longing for justice in a deeply segregated society would find fervent expression in their artworks conveyed with a superb artistic, technical and creative skill. In 1994, with Nelson Mandela occupying the presidency, a small brass logo featuring a group of people gathered under a sheltering tree, designed by the Cape Town based artist, Carolyn Parton; became the official emblem of the South African Constitutional Court, inaugurated on the 14 February 1995. ‘Justice under a tree’ presupposed openness, the equal dignity of all participants in the conversation, respect for and celebration of diverse voices. South Africa’s former regime was a bastion of racist and repressive laws, restrictive orders of every kind, forced removals and death sentences. Consequently the art produced by the marginalised majority was explicitly connected to human rights and in this case, the lack thereof. The powerful and unique voices of Dumile Feni, Gerard Sekoto, George Pemba, John Koenakeefe Mohl, Ernest Mancoba, Lukas Sithole, Michael Maapola amongst other township artists, provided a glimpse into apartheid’s impact on the human condition, society and the environment. Denied the freedom to exhibit their works and demoralised by the turbulent times, Sekoto and Feni would seek their fortunes abroad never making it home. The others stayed behind, segregated yet they continued to breathe creative expression into their daily adversities. Today, these former neglected South African artists are considered the pioneers of Modern art significantly contributing to South Africa’s fragmented art narrative. Although George Milwa Mnyaluza Pemba never positioned himself as a political artist he joined the ANC in 1945. Depicting the joys and sorrows synonymous with township life, Pemba asserted that he painted freely with no motif; ‘It just happens by accident that I do something expressing political oppression’. ‘Bisho Massacre’ (£50 000 – 80 000) is an exceptionally important artwork in which Pemba poignantly rendered the tragic repercussions taking place in Bisho in 1992. Prior to a planned protest in Bisho; the former capital of the Ciskei and independent Bantustan, the ANC requested the diffusion of the existing military regime. Rejected by President De Klerk on the grounds that the area did not fall under South Africa’s jurisdiction, top ANC officials: Chris Hani, Cyril Ramaphosa, Steve Tshwete and Ronnie Kassrils organised a mass march protest. The protesters were fired on and in the ensuing bloodshed 28 marchers died and 200 activists were injured. Pemba vividly depicts the mass funeral held for the victims weeks after the massacre. Each character is depicted with dignity demonstrating decorum and grace in the face of a painful and shocking circumstance. Pemba’s distinguished draughtsmanship, colour handling and ability to depict his subjects and situations with candour and simplicity, renders empathetic portrayals of the community groups with which he concerned himself. Bonhams is honoured to be offering such distinguished and important artworks by these artists who were determined to use their potent creative skill to demonstrate the black experience in an increasingly pressurized and white controlled climate. Bonhams : South African Sale: 19 March 2014 at 14h00 at 202 New Bond Street, London, W1S 1SR Enquiries: see more at

All eyes are on Strauss & Co’s upcoming auction scheduled for 17 March 2014 at the Vineyard Hotel, Newlands in Cape Town. Whether your interests lie in South African or international fine arts, decorative arts or jewellery, there’s plenty to tempt the senses. Amongst the gems by Irma Stern, Maggie Laubser, Pieter Wenning and Robert Gwelo Goodman is Stanley Pinker’s Love (R500 000 – 700 000). This rare, previously undocumented painting by Pinker is a sassy interpretation of swinging sixties style, strongly influenced by the artist’s training and experiences in the United Kingdom and France from 1951– 1964. Britain’s post-war prosperity fuelled a youth-oriented, mod-culture with London at its epicentre. It was epitomised by music from The Beatles, The Rolling Stones and the The Kinks, amongst others, while fashion guru Mary Quant popularised the miniskirt. Jean Shrimpton, called “The Face of the 60s”, became the world’s first supermodel and Twiggy followed, ushering in a new look. Who does not remember that self-conscious theatricality that models emulated – the gawky girlish posture of knees together, feet apart and hand over pouted lips? While drawing on that trendy look, Pinker imbues his model with elegance if not a rather world-weary ennui. This is no child-like supermodel but a woman whose awareness of her own power lends her a sexy, Bohemian appeal. Her bouffant hair a la Brigitte Bardot, is tousled as if she were recently aroused from sleep, but still remains stylish. And her attitude, poised with cigarette in hand, reminds us that smoking was not only de rigeur, it was positively sophisticated and consciously defiant of bourgeois attitudes. It was a time when old guard conventions were being challenged across the board. Artists such as Robert Indiana were able to bridge the gap between Hardedge Abstraction and Pop Art with his iconic, Love. According to Judith Hecker, Assistant Curator of Prints and Illustrated Books at MoMA, LOVE was commissioned by The Museum of Modern Art in 1965 as a Christmas card, and has appeared in prints, paintings, sculptures, banners, rings, tapestries, and stamps. Full of erotic, religious, autobiographical, and political underpinnings – especially when it was co-opted as an emblem of 1960s idealism – LOVE is both accessible and complex in meaning. Within a year or two, Pinker had created this unforgettable painting. Not only is the nude’s fleshy sensuousness structured by a thorough understanding of Cubist principles but his up-to-date knowledge of the very latest cultural developments on the international scene assure the artist of his rightful place at the helm of South African art. Quips Ann Palmer, Art Department Head at Strauss & Co: “As a product of the swinging sixties myself, I find this painting of particular appeal. It is one of the most exciting works on the sale. What more can I say? All You Need is Love”. South African & International Art, Furniture, Decorative Arts & Jewellery, Cape Town Monday 17 March 2014 The Vineyard Hotel, Newlands, Cape Town Preview: Friday 14 to Sunday 16 March, 10am to 5pm Enquiries: +27 (0) 21 683 6560 Contact numbers during viewing and auction: mobile +27 (0) 78 044 8185 Fax +27 (0) 21 683 6560 For further information contact: Bina Genovese Tel: +27 21 683 6560 Website: Catalogues are available online and can be purchased at R150 or from our offices.

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Lot 115, Helmut Starcke, ‘Return of the Exile’ To be acquired from the Bonhams The South African Sale, 19 Mar 2014. £5,000-8,000

SA Art Times March 2014 ws  

South Africa's leading visual Arts Read

SA Art Times March 2014 ws  

South Africa's leading visual Arts Read