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The South African Art Times: SA’s leading visual arts publication | September 2012 | Free | Read daily news on


Gina Heyer Order and Division Photo: Michael Hall

Photo: John Hodgkiss

PRINTMAKING 2012 Includes Artists represented by:


Drinks will be served. Opened by Gabriel Clark-Brown, Printmaker

OLD SANDTON GALLERY Next to Sandton Library


OPEN DURING THE FNB JOBURG ART FAIR (an easy stroll from Sandton Conference Centre over Nelson Mandela Square 200m) Artists include: Alan Grobler Alma Vorster Amanda Ballen Anton Kannemeyer Bambo Sibiya Bevan De Wet Bianca Wretschko Brett Murray Catherine Trope Charles Kholobeng Chonat Getz Chris Diedericks Claudette Schreuders Colleen Ross Collin Cole

Conrad Botes Debbie Glencross Derek Zietsman Dina Kroon Eunice Geustyn Gabriel Clark-Brown Hanneke Benade Ivy Grobler Jan Tshikhuthula Jane Eppel Jonathan Comerford Joshua Miles Judith Mason Judy Woodborne Katherine Bull Lebohang Sithole

Lehlohonolo Dhlamini Lena Woolf Leroye Malaton Linda Hess Liz Reed Lizette Chilvers Lucas Ngweng Malcolm Payne Marilyn Southey Minenkulu Ngoyi Mongezi Ncaphayi Patricia Jackson Pauline Hugo Peter Eastman Peter Heck Peter Midlane

Ramarutha Makoba Richard Forbes Rudi Benade Sam Nhlengethwa Sandi Kuper Solly Gutman Sue Fox Thabo Moteski Thami Mbenekazi Themba Khumalo Theo Paul Vorster Velile Soha Xolani Malindi Zak Benjamin Zolani Siphungela Zwelethu Machepha




September 2012 Daily news at Editor: Gabriel Clark-Brown

Advertising: Eugene Fisher

Subscriptions: Tracey Muscat

Listings: Tracey Muscat

Send Artwork To: Designer

Letters to the Editor:

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

Deadline for news, articles and advertising is the 15th of each month. The Art Times is published in the last week of each month. Newspaper rights: The newspaper reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the SA Art Times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved.

Global Art Information Group


Like it or not, spring is in the air and that means that the FNB Joburg Art Fair is upon us, and a call to the faithful goes thoughtout the land to bring together part of the local visual arts community to meet in Sandton for three intense days of catching up, networking and selling art. Many artists and galleries are taking the spring incentives to further commit themselves to the art market by changing their game plan to going large, and focus on going to international art fairs and art markets - with more potentually richer clients, while taging their artists on international prices. This is indeed the time were the shift between small and large galleries might swing - were large galleries make a local and international plan, and smaller galleries struggle on, focusing on their smaller pool of loyal and local clients. This example is no more evident in the articles in our Business Art section where Dealers are both questioning the need to have galleries and turning to Art Fairs as a real means of reaching clients vs other Galleries that are going the other way and building larger galleries. In other quarters our means of gathering and disseminating news has changed to focus on a rapidly changing market were many young collectors what quality news and information about the market, in smaller amounts, more quickly. The days of quarterly show reviews and market trend forecasts are pretty much over, collectors want something light, trust worthy and to sustain their interest in a fast moving and exciting world. To this this regards see our daily website and that triples our Art Times readership. Please meet us at The SA Art Times stand at The FNB JAF 2012 Sandton, and also at the SA Print Show at The Sandton Gallery in that we would like to make an annual event.

I would like to bring the following under your attention: the following two Adriaan Boshoff paintings – which we own – have disappeared from a consignment given to Ms Louise Boshoff in August 2010. The paintings have since disappeared and Ms Boshoff claims she has no knowledge of where our paintings are. We have registered these paintings as “missing” with artinsure, as well as the South African Police Service. I would appreciate it if you could keep an eye out for the following (please see attached photographs): Gutting Table (unframed size: 122 x 70 cm) West Coast Dockyard (unframed size: 98 x 75 cm). Please do not hesitate to contact me. (contact her via Kind regards

All the very best for a great Spring and thank you for your support.

Lomaré Kriek

Gabriel Clark-Brown


the loop art foundry

t 27(0)13 7582409 f 27(0)11 5075747 &

striving in our passion towards excellence


SA ART TIMES. September 2012


Art highlights in the SA Newsmedia Find the story first at daily art news PTA-FIRMA KRY OPDRAG IN VENESIË BEELD: Mathews & Vennote, die Pretoriase argiteksfirma wat die laaste tyd verantwoordelik was vir die ontwerp van die Nellma­pius- brug oor die N1 net buite Pretoria, het opdrag gekry om ’n installasie te maak vir die binnehof van die ­Palazzo Bembo in Venesië. Vir dié installasie, wat saamval met die argitektuur-biënnale in dié Italiaanse stad, het Mathews & Vennote teruggegryp na die oorspronklike planne vir die Nellmapius-brugontwerp.Pieter Mathews van die firma beskryf dié aan­vank­like lyntekeninge op die installasie as ’n manier om die kyker te lei na die oorprong van die kreatiewe proses FACEBOOK VERWYDER NAAKSTUDIES BEELD: Johan Myburg:Facebook het ’n foto van ’n skildery van die Duitse kunstenaar Gerhard Richter van die Pompidou-sentrum in Parys, Frankryk, se blad verwyder omdat dié sosiale netwerk dit as ’n naakfoto gelees het. ’n Oorsiguitstalling van Richter se werk is tot 24 September in die Pompidou te sien. Die werk, Ema (Naak op ’n trap), olie op doek (200 x 130 cm), is in 1966 geskilder. WERKE OOR DIE LYF LOK KYKERS BEELD: Marguerite Gauthier-Lathuille (sonder jaartal) is ’n werk in olie op doek (61 x 50 cm.) van Édouard Manet. Dit is een van die skilderye wat tot 15 September te sien is in die Standard Bank-galery in Johannesburg.Johan Myburg: Sedert die uitstalling 20th Century Masters: The Human Figure in Julie in die Standard Bank-galery in Johannesburg begin het, het 6 000 besoekers dié galery reeds besoek. Die uitstalling is saamgestel deur kurator Sylvie Ramond, direkteur van die Musée des Beaux-Arts de Lyon, en die sowat 50 werke sluit in dié van die vorige eeu se voorste kunstenaars soos Fernand Leger, Georges Braque, Pablo Picasso, Henri Matisse, Félix Vallotton, Victor Brauner en Wilfredo Lam – voorlopers en eksponente van vroeë modernisme – asook Impressioniste soos Berthe Morisot, Edgar Degas en August Renoir. KENTRIDGE KRAAI KONING BEELD: Carla Lewis-Balden: JOHANNESBURG. – Die Suid-Afrikaanse visuele kunstenaar William Kentridge (1955) se gesogtheid onder kuns­versame- laars is weer bevestig toe een van sy werke op ’n veiling R313600 gehaal het. Rhino, ’n houtskool-tekening van ’n renoster, is verlede week vir hierdie bedrag deur die ­veiling­huis Stephan Welz en Kie. opgeveil. Die kunswerk is in 1989 geskep en is een van talle werke van Kentridge met renoster as onderwerp. ’n Gedeelte van die bedrag is geskenk aan Rhino Force, ’n organisasie wat hom vir die stryd teen renoster­stropery beywer. “Die benarde toestand van die renosterbevolking kry weer ’n inspuiting van hoop en ­ondersteuning van Stephan Welz en Kie. THE BIG INTERVIEW: WHAT DOCTORS ORDERED THE TIMES (RSA) Tymon Smith | SELF-MADE MEN: Anton Kannemeyer, artist and Bitterkomix creator, with his portrait of rapper Ninja from Die Antwoord If you Google Anton Kannemeyer, the third suggestion offered by the search engine is “Anton Kannemeyer racist”. The founder of Bitterkomix, creator of the persona of Joe Dog and of the art series Papa in Afrika and the Alphabet of Democracy, has often produced work that makes people uncomfortable about race, politics and white identity in post-apartheid South Africa. Despite this, no one has hauled him in front of the Film and Publication Board and slapped an age restriction on any of his exhibitions.He’s certainly not a racist, but when you challenge middleclass complacency and questions of race in a country as divided by the topics as ours, it’s an easy tag to pin on him. In person, Kannemeyer is a gentle, earnest and quietly humorous presence, as far removed from his Joe Dog alter ego as Joe Dog is from the artist himself. BLACK LABELS WHITE SPEARS MAHALA: by Tobela Pemba: In light of Brett Murray’s Spear painting controversy and the rise of the Secrecy Bill, one could argue that our constitutionally enshrined right to free speech is under attack. Against this backdrop, the old Laugh It Off judgment might just be the constitutional precedent, the thin black line that protects our right to say what we like. Let’s recap: early 2001, SABMiller sued Justin Nurse, for printing and selling t-shirts that lampooned SABMiller’s Black Label packaging design. Nurse had replaced. STREET OF A PAST THAT FORETOLD A FUTURE MAIL & GUARDIAN: NECHAMA BRODIE : Rockey Street was a beachhead of the new South Africa in the late Eighties and the Nineties, but it has seen a lot of changes since those heady days. I was eight or nine when my parents opened their shop at 20 Rockey Street in what we called Yeoville, but is apparently, technically, Bellevue. It was 1984 or 1985. The shop had black-and-white tiles at the front and an old door with a wooden frame and glass panes. In the back was a big stockroom where my mom would sit and do accounts, or something like that, and my brother and I could hide and fight and draw pictures and plot how to kill each other. Once I stapled my thumb. MAGIC HANDS FOR WIRE ART SOWETAN LIVE: PERTUNIA RATSATSI: A MAN shot and paralysed during a robbery on his way home from work 10 years ago now makes a living out of wire art.George Mongwayi, 35, from Pretoria, and his business partner Siphiwe Khumalo, 30, are turning wire into beautiful and stylish luxury cars, buses, home decorations and many other interesting art works.The creative pair from Block KK in Soshanguve, north of Pretoria, use tennis balls and the bottom part of cool drink tins to make car and mag wheels. Mongwayi said he started his business in 2003 when he realised he could not find employment after the shooting in 2002 that left him paralysed from the waist down. INSTITUTIONAL ART: A PUBLIC AFFAIR MAIL & GUARDIAN: MPHO MOSHE MATHEOLANE: How do public institutions make use of art, and what is the purpose of having a collection, asks Mpho Moshe Matheolane.I have asked myself these questions on a number of occasions, and I find that the answers are in short supply. Perhaps it all comes down to the institutions themselves, although one cannot say that this is a phenomena that is unique to South Africa, and there are countless reports of institutions in the more developed countries suffering just as much from dried up funding or the total lack thereof. Public institutions (and here I include, somewhat reluctantly, corporates) play an important role in sustaining the works of artists, by guaranteeing the value of their works through budgeted acquisitions and conservation. Museums are the most obvious form of “public institution” but it is possible that they also take the form of bodies such as the Constitutional Court.

SA ART TIMES. September 2012



Evelyn Cohen Courtauld Institute of Art, set rigorous academic standards and her example helped establish the teaching of art history on a firm footing in South Africa. In 1975, Professor Neville Dubow appointed Cohen to teach art history at UCT’s Michaelis School of Fine Art. She was the first full-time appointee in the subject at UCT and drove the establishment of art history as a full 3-year qualifying course for the undergraduate BA degree. By the late 1980s this led to the establishment of an independent art history department at UCT and the introduction of courses at postgraduate level.

Many former students from the Fine Arts departments at UCT and Wits University will remember Evelyn Cohen, a talented lecturer who dedicated her life to teaching art history from the 1960s until the early 1990s. A passionate art educator, she also took a deep interest, as a trained secondary teacher herself, in the broader problems of education at school level in South Africa. Born to Austrian-Jewish refugee parents in Salisbury, Southern Rhodesia, Cohen was one of the significant postgraduates, along with her colleagues Elizabeth Rankin and Rory Doepel, to emerge from Wits under the tutelage of Professor Heather Martienssen in the 1960s. Martienssen, the first woman to become a full professor at Wits and a doctoral graduate of London’s


Cohen was a regular contributor, even in retirement, of pithy and pointed letters to the Press, fearlessly entering the fray in public debate on matters artistic, educational and political. Possessed of a rather theatrical disposition, and a deep love of English literature from an early age, her lectures ignited an enthusiasm for art history in her many students. With them she shared her passion and unique insights on many aspects of the visual arts. Her interests ranged from landscape to fashion and artistic representations of the body; areas which she developed following her studies for an MA in Art History at Sussex University under one of Britain’s most prominent and radical art historians, Marcia Pointon. Among Cohen’s former undergraduate students at UCT can be numbered Tamar Garb, a remarkable feminist art historian who is now Professor of Art History at University College, London (UCL). In raising standards and adding depth to the teaching of her subject at UCT, Cohen played an important, but often unacknowledged role. Tragically, health problems thwarted her further academic career. Her diagnosis with Motor Neurone Disease, an incurable and fatal degenerative neurological illness, led to her early retirement. In spite of medical opinion that she would only live another three years at most, she survived with determination for well over fifteen, never relinquishing her independence. An unrelated condition she endured was the onset of retinal degeneration, a particularly cruel affliction for someone who had spent a lifetime engaged with the visual arts. The wasting of the muscles in her hands and arms also made writing painfully difficult. A further curse; a form of blood cancer, eventually took her life on 29 July. Although she seldom published, Cohen’s legacy lies in the dedication that she inspired in her students and in the foundations that she laid for the development of the discipline of art history at UCT. Her book 150 South African Paintings, Past and Present (Struik,1989), co-authored with Lucy Alexander, established a benchmark for what good, collaborative writing on South African art for a popular readership could and should be. Accessible, intelligent, engaging and unpretentious in its scholarship, it generated new insights into the fractious origins and nature of our art and is now deservedly a collector’s item

SA ART TIMES. September 2012

2012_Aug_ArtTimes_70x297 8/17/12 10:09 AM Page 1


Gina Heyer Order and Division Exhibition at Brundyn and Gonsalves sunlight, while seductively enticing the viewer.

First Published in

Though, aside from Heyer’s ability to expertly capture how the cold sterile holding cells allow individuals to confront their anonymity, she also depicts the way the order, discipline and symmetry provide a certain amount of safety in the structural design and principles of the public institution. “I see these spaces as archetypal of my experience growing up in South Africa. More than light on surfaces, I aim to capture the way these surfaces and spaces feel, the way they smell, the way they negotiate interactions with the ‘other’ and the way these types of public spaces are collectively remembered,” explained Gina Heyer, in an interview with Hayden Proud. The exhibition runs through to 3 October, 2012.

The collection unravels and dissects the skeleton of a school building, taking the viewer from empty corridors and bathrooms to expansive landings. It explores the concept that a building shaped by human hands, in turn, shapes the minds of those who attend its classes.

Gina Heyer: Having graduated with a Master of Fine Arts degree from Stellenbosch University in 2011, Heyer is now based in Stellenbosch as a full time artist. She also teaches drawing part time at Stellenbosch University’s Visual Arts Department.

For one, the photorealistic exhibition reinforces the absence of individuality through its portrayal of the cold, hard and repetitive façades of the architecture. Linoleum, porcelain and painted walls reflect the harsh fluorescent lighting and mellow

See more at:

SA ART TIMES. September 2012

Images: Top: Lower Landing, oil on canvas Below: Single File, oil on canvas





Can you make any kind of living as an artist? With the exception of household names, most people in the creative arts need a day job to make ends meet. But should artists have to work or should they be supported by the state? First Published in The Observer (UK) Elizabeth Day : Playwright Archie Maddocks, who has worked as a pallbearer and a steward at Wembley Stadium. Jennie Rooney is the first to admit she has something of a split personality. By day, she is an in-house lawyer for a television company. By night, she is something different altogether: a novelist. Typically, she will cycle into the office in central London, where she spends much of her day “drawing up contracts involving production companies buying formats such as The X Factor”. At 5.30pm, Rooney returns home, eats an early supper and then sits down at her laptop for four hours to write, immersing herself in the world of cold war espionage that provides the backdrop for her third book. Rooney would like her life to be different. She’d like to be a full-time novelist and, given the success of her books (her first, Inside the Whale, was nominated for the Costa first novel award in 2008), one might expect this to be possible. But the financial reality of such a move would make her life extremely difficult. In order to make a reasonable living, Rooney finds herself juggling a full-time job alongside her artistic endeavours. “I do feel resentful,” she admits. “I don’t have as much time to think or to read as I’d like. I don’t dislike my job and the people I work with are really nice but, in and of itself, there’s a limit to how excited I can get about selling TV programmes such as Farmer Wants a Wife to Slovenia, although,” she adds, drily, “it was a ratings hit.” Is it possible, in the current economic climate, for someone working in the creative arts to make a

living from it? Unless you have the good fortune to be a Damien Hirst or a JK Rowling, the answer increasingly seems to be no. For artists who are already faced with low job security and the absence of company benefits such as pensions or paid holidays, the impact of the global financial crisis has been keenly felt. The statistics make for uncomfortable reading. Almost a third of visual and applied artists earn less than £5,000 a year from their creative work, according to a survey conducted last year by Artists’ Interaction and Representation (AIR); 57% of the 1,457 respondents said that less than a quarter of their total income was generated by their art practices and only 16% of them paid into a private pension fund, raising questions about how professional artists will support themselves once they reach retirement age.

alongside Benedict Cumberbatch as the lovelorn Molly Hooper in the BBC’s hit show Sherlock. “The recession, and the government’s handling of the recession, has just made it that much harder.Politicians certainly see the arts as an easy target. The arts are not obviously saving lives, but I think they improve lives.”

The figures are not much better for musicians. PPL, a music licensing company that collects royalties on behalf of 24,000 performers, says that 90% of them earn less than £15,000 a year. A similar proportion of songwriters and composers earn less than £5,000 a year.

\For Brealey, the fact that jobs in the arts are underpaid and underfunded has serious repercussions. “In journalism and TV production, it’s getting more difficult all the time for kids from poorer backgrounds to break in because you’re expected to work for nothing in endless internships,” she says. “Without someone bankrolling you, that’s impossible. The upshot is that working-class voices will be heard even less frequently than they are already.” Rob James-Collier, who plays Thomas the footman in Downton Abbey, aired similar concerns in an interview earlier in the year with the Radio Times in which he claimed that working-class performers were being squeezed aside because they did not have the “comfort blanket” of a wealthy family to support them.

Then there is the added pressure of austerity-era cuts. Local authorities anticipate cuts of 7.1% each year for the next two years and the arts are often earmarked as dispensable in comparison with “frontline organisations”. This leads to an inevitable loss of commissions and grants, in a climate where competition is already rife – individuals applying for grants to the Arts Council already have only around a 32% success rate nationwide. “Arts history is full of double jobbers,” says the actress Louise Brealey, who recently starred

Brealey, like many of her contemporaries, has a portfolio career. She used to juggle acting jobs with journalism and was the deputy editor of Wonderland magazine: “At one point, I was rehearsing at the Royal Court and editing a piece about Twin Peaks’ 20th anniversary in my tea breaks.” More recently, she has been working as a documentary researcher and has just produced a children’s comedy drama for the BBC, The Charles Dickens Show.

“Indelible Moments”

with Cheryl Curnick, FWSSA, & Angela Eidelman, FWSSA

Preview : Saturday, 29 September 2012 Opening: Sunday, 30 September at 3 pm Last Day : Saturday, 3 November

Gallery Hours : Tues-Fri 9:30-4:30; Sat 9:30-3:00 (Closed Public Holidays)

At The Art Place, 144 Milner Avenue, Roosevelt Park Enquiries : 011 888 9120 P O Box 49, Greymont, 2035

CAN YOU MAKE ANY KIND OF LIVING AS AN ARTIST? / READ | ART TIMES Collier, who was raised in Stockport and funded his career by working as a bricklayer’s assistant and packing frozen pasties in a factory, said that in order to get into acting, “you have to work for a year without money”. According to Equity, the performers’ union, at least two-thirds of actors are out of work at any time. The union’s minimum rates (£379 per week for regional repertory; £497 per week for a West End play in a 799 seat theatre; £607 in an 1,100 plus theatre) are set at a level intended to see them through the lean times of silent phones and failed auditions, but it can still be challenging to make ends meet. Authors’ advances are supposed to perform a similar function but they, too, have dwindled dramatically since the days when a 21-year-old unknown called Zadie Smith received a £250,000 golden handshake for her debut novel, White Teeth, while still at university. Debs Paterson, who directed her first feature film, Africa United, last year to considerable critical and popular acclaim, found that the money she was paid as a novice director “spread pretty thin”. “I was paid properly and I felt very lucky; I’ve got no complaints,” she says. “But it represents a year-anda-half of work, plus the exhaustion, plus the time we’ve put in before that getting it off the ground.” Paterson worked in a cinema, directed corporate videos and designed websites to raise money for her first short film. “A film is basically like a high-risk start-up,” she says. “It can work brilliantly or it can be a total disaster and there’s a weird alchemy behind whether it’s going to work or not. Nobody knows.”Even established artists find it hard to make ends meet. In March, Susan Hill took to her Twitter page to claim that, despite the film adaptation of her bestselling book The Woman in Black having grossed more than £100m worldwide, “I am still broke”. Likewise, when Hilary Mantel won the Booker prize in 2009 for Wolf Hall, the £50,000 went – rather unglamorously – on reducing her mortgage. “I had been publishing for over 20 years and although the reviewers had been consistently kind, I had never sold in great numbers,” Mantel wrote last year. “It is hard to make a good income from fiction alone.” It was ever thus. Gillian Wearing used to be a telephone market researcher while Billy Bragg once worked at an all-night petrol station. Emma Chaplin, the guitarist and keyboard player from the five-piece indie rock band the Long Blondes supplemented her income by working in a Leeds library. Calvin Harris made his debut album while stacking shelves in the Dumfries branch of Marks & Spencer. In other countries, there are different approaches. In Denmark, selected artists are awarded life-long annual stipends. In Sweden, the government offers five- and 10-year arts scholarships. Interestingly, however, the majority of people I spoke to in the UK SA ART TIMES. September 2012

prefer to maintain their artistic independence rather than taking money from the state. “I think it’s amazing there are public subsidies,” says Paterson. “But I think there’s a danger to it as well. Nobody owes me a living and if I’m going to spend someone’s money, I want to be able to give it back to them. Obviously it would be nice to go on holiday a bit more often and not be worrying about money, but I have this whole theory that when people get too comfortable, they become rarefied. “If you have a computer and a degree, you’re already in the top 1% of the planet, so why should I get to float around without having to earn a living? I want to earn my stripes. I don’t want anyone to say, ‘You don’t deserve to be here.’” Rooney agrees: “It’s been alarming to see how much grants have been cut, but I’ve always thought I’d wait until I really needed them to apply. I can have these two jobs at the moment, but if I were to have a kid, for instance, I couldn’t. “I’ve seen Arts Council grants and subsidies as being there for people who really require them: if you’ve been a writer for 10 years and there’s nothing else you can do and you can’t get another job, for instance. For me, it’s similar to unemployment benefit really.” And there is an added advantage to getting out and working in the real world. Although the romantic notion of a penniless artist living in a garret has plenty of cultural precedence, it does leave said artist without much in the way of day-to-day inspiration (plus, they almost always end up addicted to absinthe or dying of consumption).

Frans Oerder Still life 1000 x 800mm oil on canvas

Masters exhibition with selected contemporary artists 31 August - 30 September

Having a day job, says Rooney, can feed back into your work: “I was a history and English GCSE teacher for a while after the publication of my first book and there’s nothing like teaching a class of 15-year-olds to make you realise what holds the attention. I got better at the ‘talking’ part of writing and at how to present a book in a way that keeps people’s interest.” As someone who is a full-time journalist and also writes novels, I tend to agree. My job as a journalist means I’m privileged enough to meet people from all walks of life and ask them nosy questions, which is one of the best insights into the human condition anyone could ask for. And as Rooney puts it: “Having another job does drive me on more because I know I only have a certain amount of time to write, so I get on with it.” But whether such a lifestyle continues to be feasible as the years go by is a moot point. Louise Brealey says that she knows “a lot of people who’ve stopped acting because they were paying the bills with temping and telesales and in the end it ground them down. It’s hard to stick with it if you’re breaking your heart in TFI Friday’s every night,” she adds. “That’s fine when you’re starting out, but after a decade it can get a bit wearing.”

Marjorie Wallace Chez Janna 645 x 805mm oil on canvas

Shop 43, Willowbridge Lifestyle Centre (Below the Barnyard)

39 Carl Cronje Drive Tygervalley, Bellville Gallery 021 914 2846 Gerrit Dyman Jr 072 699 5918 Email: 11


Owl House Artwork Colour row rocks Karoo Village

First Published in The Cape Times Adele Baleta: The tourism lifeblood to the Karoo village of Nieu Bathesda in the Eastern Cape has taken a knock after the plug was pulled on the Athol Fugard Festival and tourists cancelled trips to the famous Owl House saying brightly coloured restorations has turned it into a garish amusement park. The main sponsor of the three-day festival, due to take place next month, has withdrawn funding, putting an end to the annual event which had attracted a capacity crowd of 3000 tourists a year since it was started in 2008. Next months festival was due to showcase eight of Fugard’s plays in honour of his 80th birthday and the playwright himself, was to attend. Every year at least 15 000 people marvel at artist Helen Martin’s Owl House, a national monument, put on the map after Fugard published his play The Road to Mecca in 1985. The play centres on the reclusive Martins, whose art-world house has ironically, since her death, turned into a money spinner for the town that shunned her for supposedly being crazy. Now, there are bitter complaints about painting restorations to Martin’s visionary Camel Yard, crowed with concrete owls, camels and

mermaid sculptures, with some saying it has been transformed into a “Disneyland gone wrong” with figures painted in bright awful colours”. Owl House Foundation chairwoman Huldah van Wyk, who repainted the sculptures has denied that tourism has been negatively affected. The foundation had received positive feedback, she said. “Helen used enamel paint and I used a polvin. We will in future try glass to get some of the glitter back.” She said the house was difficult to maintain and the foundation worked without sponsorship or government support. But Paarl artist Stephane Siegruhn said Martins would have “used natural pigment like ochre and ground glass to create an otherworldly quality to her work. There were no acrylics or polvins in her day. They have robbed the Camel Yard of its ethereal quality. There was never a glare and her work was subtle, mystical, soft and delicate, not crude and unfeeling.\”. Martins’ relative]\, Anita Victor, said \: Maybe I am stupid or do not have enough knowledge, but the appearance is not e\what Helen had left behind.” Jackie Ravenscroft, who lives in the Crags, said in a letter to the foundation that she haad been visiting for the past 12 years and it “was extremely disappointing that it “is losing its soul.”

Idil Sheard, a former foundation board member, says she had received several complaints. ‘Restoration must be done as the original colour had faded. But you don’t restore masterpieces in that way. You would not do that to a Van Gogh or a Da Vinci. There is enough research to find out what paints Martins has used.” She said some regular visitors were no longer keen to return. Owl House administrator Arno du Toit said the complaints were part of a campaign instigated by one person. “In the annex to the museum you can view the products and tools used by Helen. The renovations are not out of line with what she did.” Referring to Sheard he said : “One person is sour because she was asked to leave the board six years ago for being counter productive.” A resident, who did not want to be identified, said it was a fight for supremacy. “Everyone wants to be the top dog without considering the village or anyone else. Miss Helen would be turning in her grave if she was here.” The festival organiser Reinet le Roux, said “preposterous small town politics and jealousy” was the real reason behind the festival’s cancellation, and negative letters had been sent to the sponsor. However, Community Tourism Organisation chairwoman Heidi Boekkooi said the sponsor pulled out for economic reasons.

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




25.09 - 03.10.2012


Artist makes art with dagga smoke First Published by The Associated Press. A Brazilian painter is making an art out of smoking pot. At his studio in Rio de Janeiro on Monday, Fernando de la Rocque (pronounced hockey) took a deep drag on a marijuana joint and blew onto a stencil overlaying paper. After several puffs an image began to appear - a golden-hued version of “Ecstasy of Saint Teresa” by Italian sculptor Giovanni Lorenzo.


THOUGHTS IN G MINOR 04.10 - 18.10.2012

Smoking marijuana is illegal in Brazil, but some of Rocque’s pot-stained prints are selling for $2,500 each. A show featuring the work opened last week at an alternative gallery in Rio’s stylish Ipanema neighborhood. The 32-year-old Rocque says he stumbled on his toking technique in 2009. It takes him a week to do a single print - blowing about five joints of smoke onto a paper daily. Some pieces of art by the Brazilian artist Fernando de la Rocque are seen at his studio in Rio de Janeiro, Brazil. Some of Rocque’s pot-stained prints are being sold for $2,500 each.


It takes him a week to complete a single print blowing about five joints’ worth of smoke onto a paper daily.

ENJOY OUR ART TIMES SPRING SUBSCRIPTION SPECIAL Get South Africa’s leading source of Visual Arts to your door for just R 240 See for easy payment details SA ART TIMES. September 2012



Highlights from the International Art Media BALLOONS TO TRANSFORM HADRIAN’S WALL INTO WORLD’S LONGEST WORK OF ART. INDEPENDENT (UK) Artists will use 450 balloons and thousands of light emitting diodes to turn the 2,000-year-old Hadrian’s Wall into the world’s longest work of art. New York digital arts collective YesYesNo has been invited by organisers of the London 2012 festival to transform the wall, built by Roman invaders to guard the northern frontier of their empire. “Connecting Light” will suspend hundreds of white weather balloons above the 73-mile wall, which snakes across hill and dale in northern England just south of the Scottish border. The balloons will be fitted with lights and networked so they can communicate with one another. Viewers will be able to submit short messages which will be transformed into pulses of colored light that pass along the wall in patterns reminiscent of Morse code. HAVE PUSSY RIOT SPARKED A NEW WAVE OF GRRL POWER? GUARDIAN (UK) The Pussy Riot trial sparked global protest. Will it mobilise artists, too? Laura Snapes meets music’s angry young women Laura SnapesIt’s a Thursday night in Leeds and people are gathering outside the gay bar Queens Court for a march in support of Russian punk collective Pussy Riot. Maria Alyokhina, Yekaterina Samutsevich and Nadezhda Tolokonnikova are due to be sentenced the following day, the culmination of their trial on charges of “hooliganism motivated by religious hatred”. (For performing their 40-second, Putin-denouncing “punk prayer” in Moscow’s Cathedral of Christ the Saviour in February, they will each receive two years in jail.) In the meantime, this solidarity march is one of many taking place around the world. LOVING HOME WANTED FOR SAATCHI COLLECTION. THE ART NEWSPAPER What will happen to Charles Saatchi’s collection? Two years ago, the high-profile British collector offered the cream of his holdings to the nation, under a grand plan to bring works such as Tragic Anatomies, 1996, by the Chapman brothers and Tracey Emin’s 1998 piece My Bed to the people. But culture secretary Jeremy Hunt’s suggestion that the Arts Council accepts Saatchi’s bequest has stalled according to the Daily Telegraph. A spokesperson for Tate, meanwhile, reportedly said that it had not wished to intervene in ongoing discussions with the Arts Council, leaving Saatchi’s collection homeless. MAYFAIR’S ART GALLERIES UNDER THREAT FROM DEVELOPERS. GUARDIAN (UK) Cork Street gallery scene, hub of London art world for almost 90 years, could be broken up by luxury apartment deal.Nearly a third of Cork Street’s galleries will be forced out if £90m property deal goes ahead, including the Mayor Gallery which opened in 1925. As one of the country’s most important art hubs for nearly 90 years, the exhibition spaces of Cork Street have launched the British careers of many major modern artists – with the Mayor Gallery alone giving Paul Klee, Francis Bacon, Max Ernst and Joan Miró their first London shows.But now seven of the 22 galleries, including the Mayor, will have to leave the Mayfair location as early as next year in what owners fear could be “the death of the whole street”. AUSTRALIAN LAWYER DOESN’T REMEMBER STEALING THOUSANDS OF DOLLARS WORTH OF ART. HUFFINGTON POST By Lucas Kavner: It’s the oldest criminal defense in the book, heard in courtrooms and on soap operas the world over: the old “I don’t remember doing it” defense. Well, this time it actually worked.Michael Gerard Sullivan, a lawyer in Sydney, Australia, was accused of stealing two paintings from the Katoomba Fine Art Gallery in December 2008.


He was dining in the gallery’s restaurant, “in between courses,” when he decided to pop upstairs on the fire escape, enter the gallery, and steal two paintings under the watchful eye of the security cameras. ABC News in Australia recently aired the security footage from the incident. At one point, Sullivan lines the paintings up in the gallery and assesses them before deciding to head out, seemingly oblivious to his crime. ART IN THE AGE OF DIGITAL REPRODUCTION: LIBERATING OR CHEAPENING? MEMEBURN: Talita Calit. Walter Benjamin famously wrote in The Work of Art in the Age of Mechanical Reproduction that “even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the time of its existence.” Since then (and even more so today, much more) people have become accustomed to seeing copies of original artworks reproduced as posters, album covers, calendars, books and endless other mediums. In Benjamin’s context, mechanical reproduction referred to copies of photographs and film for example. Today digital reproduction can reproduce and manipulate thousands of photographs, songs, artworks, videos etc. Think of scanners, fax machines, downloading and copying songs. The number of things that are being digitally reproduced today are beyond quantifying. ART COLLECTOR’S HOPES FOR A VAN GOGH REST ON ONE RED HAIR THE GLOBE AND MAIL: MICHAEL KESTERTON: “A human hair that may have belonged to Vincent van Gogh has been removed from a painting in an attempt to prove or disprove whether he painted the work of art,” The Daily Telegraph reports. “In a bid to settle one of the mysteries of the art world, the three-inch-long[(8-centimetre] red hair was lifted from Still Life with Peonies and DNA samples taken from it will be compared with those from van Gogh’s living relatives. If confirmed as a van Gogh, the painting could fetch … £39-million [$61-million].” ROBERT HUGHES: THE GREATEST ART CRITIC OF OUR TIME Guardian (UK) Robert Hughes, who has died aged 74, was simply the greatest art critic of our time and it will be a long while before we see his like again. He made criticism look like literature. He also made it look morally worthwhile. He lent a nobility to what can often seem a petty way to spend your life. Hughes could be savage, but he was never petty. There was purpose to his lightning bolts of condemnation. That larger sense of purpose can best be seen in his two classic books on art, The Shock of the New and Nothing If Not Critical. MR BRAINWASH: BANKSY’S STREET-ART PROTÉGÉ AND HIS LATEST BRAINWAVE INDEPENDENT (UK) The master of hype arrives in London for a blockbuster new show. Matilda Battersby meets him Mr Brainwash first came to the world’s attention as the star of Banksy’s Oscar-nominated documentary Exit Through The Gift Shop. The film was so extraordinary it was met with a storm of hoax accusations. It followed the then Thierry Guetta, a perfectly ordinary (well, ordinary-ish) French-born owner of a vintage clothes shop in Los Angeles, who had an obsessive hobby for filming things. With a camcorder permanently attached to his face and no need for sleep, Guetta began turning his lens on other nocturnal creatures: street artists.



2012 Corobrik National Ceramics Exhibition Celebrating 40 Years of Ceramics Pretoria art Museum. October 7 – 21. See updates on This is an important year for Ceramics Southern Africa as we are celebrating the Association’s 40th Anniversary and will be using the opportunity to do so specifically at the opening of the prestigious 2012 Corobrik National Ceramics Exhibition on Sunday, 7th October 2012 at the Pretoria Art Museum in Arcadia, which will be opened by Dirk Meyer, Managing Director of Corobrik. The exhibition will run from 7th to the 21st October and the best of South African ceramics from our members countrywide (including Namibia) will be on show. We are bringing out Daphne Corregan, well known international ceramist from France as the award judge. Whilst here she will also be presenting workshops in Gauteng, Kwa-Zula Natal, Eastern- and Western Cape and Namibia. In addition, the National Ceramics magazine celebrated its 100th issue in June with a bumper issue. The Award Judge for this year’s National Exhibition will be international ceramic artist, Daphne Corregan, who lives and works in the South of France. Apart from her own studio work Daphne teaches ceramics at the University of Monaco. She has a long an impressive CV, including many academic awards, has had solo and group exhibitions and conducted workshops in various countries in Europe, Korea, China, Canada and Australia. She is an accomplished speaker and in 2011 was invited to give a lecture at the Museum for Decorative Arts in Paris. Her work can be seen in many public and private collections. Daphne will be accompanied by her partner Gilles Suffren, who is also a well known ceramic artist, and during their visit they will give workshops in all the regions on the following dates: August 18th, September 15th, September 22nd, September 29th, Namibia.

Gauteng, Tshwane South College, Centurian Western Cape Durbanville Prebyterian Church Eastern Cape Venue TBA Kwa Zulu Natal Venue TBA Date and Venue TBA

SA ART TIMES. September 2012




GALLERY GUIDE Peter van Straten: An invitation from the depths. See his show at The Casa Labia Gallery, Cape Town


Tell us more about yourself. – I have studios in France, Spain and South Africa, and also studied, lived and worked in Germany and England. Apart from Art I have qualications in Philosophy, Theology and Social Science and published a number of books in these disciplines. Is painting the genre you prefer. – Yes and I intentionally choose it as it is in this genre that I explore, experiment with and develop the Western tradition of painting. Early in my career I realized that I work in series (of 2, 3, 5 etc) rather than develop a certain set style. Each series is in a sense self-contained, but all of them together reveal my aesthetic ideals and vision. Gerhard Richter is the only other painter who works in this manner. Apart from him, I appreciate the work of the Bauhaus of Klee and Kandinsky, as well as Hartung and Twombly. Have you got any ideas that can assist us to understand your work.- I can respond to this in different ways, for example, there is a spiritual side to my work, in so far as I wish to express that what is eternal, innite and universal by means of the concrete and nite activity of painting. The invisible is made visible through my work. Always nearer to the (he)art of Creation, but never close

enough, yet. Then again I can refer to different frames of reference to be used to look at my, or any work of art, namely the formal (technique, forms, colours, styles, composition, etc), the personal, cultural and contemporary. One can use these or others, depending on what one wants from art. The endless changes and developments in the Western tradition of painting require that new generations of artists and viewers be educated how to experience and make sense of art in always more advanced and subtle ways. This is the reason for the following statement: The human mind treats smaller paintings as if it is looking AT an object or a thing such as a table or chair, while larger works are experienced (like installations) by participation as if one is part of them. Now that we know this, please do not treat these images as if they are just more objects to look AT, but experience and participate in them. The original interview can be found on the following website: Where can your work be seen? At YOU TUBE,, FACEBOOK and a number of places on intern et, for example







“Intervening”in the environment

7 - 25 September 2012

This is an art exhibition of more than 50 artworks from the Unisa Art Collection. This art exhibition seeks to explore the potential of artistic/creative interventions within the discourse of the environmental issues.

Norman Catherine

Russell Young

The White House Gallery Dealers in Fine Art

Mbongeni Buthelezi, Untitled, 1997, Burnt plastic on masonite board

UNISA Permanent Art Collection on display UNISA Art Gallery, Kgorong Building Ground floor, Main Campus, Preller Street Pretoria E-mail: Tel no: (012) 441-5683

Learn without limits.

Sam Nhlengethwa Shop 11 Thrupps Centre, Oxford road Tel: +27 11 268-2115 * Fax: +27 11 268-2129 Website: Email: * *

university of south africa Art Gallery

5 – 26 September 2012: Rendezvous Focus Painting – group exhibition 22 – 27 October 2012: Greek Diaspora – group exhibition From 28 November 2012: Clare Menck – solo exhibition

Diek Grobler; Eclipse, oil on canvas, 100 x 80 cm

Bettie Cilliers-Barnard: Prophets of the Nation, oil on canvas, 150 x 150 cm UJ Art Gallery c/o Kingsway and University Road Auckland Park Johannesburg +27 11 559 2099 [tel] | +27 11 559 3178 [fax] |


Free State Bloemfontein Oliewenhuis Art Museum 28 May – 2 Sept, “Oil Painting: Portraits and People” (Main Building) Artworks selected from the Art Museum’s Permanent Collection. 30 Aug – 16 Sept, “24th Sophia Gray Memorial Lecture and Exhibition” in the Main Building. 1 June – 30 Sept, “The Umabatha series and other works” by Lucky Madlo Sibiya (Main Building) 20 Sept – 4 November, “People, Prints and Process Twenty Five Years at Caversham” (Main Building) 27 September – 24 October, “Fractal Young Artists’ Exhibition – Penumbra” (Annex Gallery) 16 Harry Smith Str, Bloemfontein. T.051 447 9609

Clarens Art & Wine Gallery on Main The Gallery houses an exquisite collection of art by well-known artists like Gregoire Boonzaier, J.H. Pierneef, Pieter van der Westhuizen, Erik Laubscher, Jan Vermeiren, Marjorie Wallace, Eben van der Merwe, Conrad Theys, Hennie Niemann, Hannetjie de Clercq, ceramics by Laura Du Toit, sculpture by Fana Malherbe & Jean Doyle, glass by David Reade & Shirley Cloete and numerous others. 279 Main Str, Clarens T. 058 256 1298 or Anton Grobbelaar. C. 082 341 8161

Bag Factory 3 Aug – 10 Sept, “21BF” a retrospective exhibition from 21 Years of The Bag Factory Artists’ Studios. 10 Mahlatini Str, Fordsburg. T. 011 834 9181

Russell Kaplan Auctioneers Auctioneers of Fine Art, Antiques and Collectables. Ground floor, Bordeaux Court, Corner of Garden & Allan Rds, Bordeaux. T. 011 789 7422 or 083 675 8468

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

Sandton Auctioneers Fine Art, Furniture, Carpets & Collectables. Showroom: No 8 Burnside Ave, Craighall Park, Jhb. T. 011 501 3360

CIRCA on Jellicoe 30 Aug - 6 Oct, “Love Land” a Solo Exhibition by Wayne Barker. 2 Jellicoe Ave. T. 011 788 4805 Everard Read Jhb 2 Aug – 9 Sept, Southern Guild Exhibition will showcase some of South Africa’s design greats and upcoming greats, co-ordinated by Trevyn and Julian McGowan and Arcelor Mittal and featuring works by artists and designers alike such as: William Kentridge, Conrad Botes, Brett Murray, Gregor Jenkin, Haldane Martin, Athi Patra, Michael McGarry, Egg, Tonic, Adriaan Hugo, Conrad Hicks, Ardmore, James Mudge, Silvio Rech, Pierre Swanepoel and many other luminary names. 6 Jellicoe Ave, Rosebank, Jhb. T. 011 788-4805 Gallery 2 1 – 22 Sept, “Landscape Alone” An Exhibition of Drawings by Karin Daymond. 140 Jan Smuts Ave, Parkwood. T. 011 447 0155

Blou Donki Art Gallery Opening 22 Sept @11:00, Exhibition by Elzette Welgemoed. Windmill Centre, Main Str, Clarens T. 058 256 1757

Gallery AOP 5 - 29 September, “Stand Alone”Etchings by Fiona Pole. 44 Stanley Ave, Braamfontein Werf (Milpark) Jhb. T. 011 726 2234.

Johan Smith Art Gallery The gallery permanently exhibits a wide variety of classical and selected contemporary art works featuring Johan Smith, Elbè van Rooyen, Elga Rabe, Graham Carter, Nicole Pletts, Gregoire Boonzaier, Otto Klar, and various others. Specializing in ceramics, the gallery supports artists such as Hennie Meyer, Karen Sinovich, and Heather Mills, among others. Collectable bronzes and handmade glass by David Reade also available. Windmill Centre, Main Str, Clarens T. 058 256 1620

Gallery MOMO 23 Aug – 17 Sept, “A Slice in Time” an exhibition of paintings and sculpture by Paul du Toit. 20 Sept - 15 Oct, “Nobody can take away the good times we’ve had” by Martin Y Sicilia. 52 7th Avenue, Parktown North, Jhb. T. 011 327 3247

Gauteng Johannesburg Absa Art Gallery 5– 27 Sept, “Inzalabantu Artist” by Sibusiso Duma. Members of the public are requested to bring their ID books along for parking and entry purposes. Absa Towers North, 161 Main Str, Jhb. T. 011 350 5139 Alice Art 1 and 2 Sept, “Cityscapes” by Isabel le Roux 8 and 9 Sept, Derric van Rensburg’s “Natal Midlands” 15 and 16 Sept, Stan Polson (most promising up and coming artist for 2012) 22 and 23 Sept, Harry Erasmus with fun new impressionistic figures. 217 Drive Str, Ruimsig. T. 083 331 8466/ 083 377 1470 The Art Place Opening Sunday 30 September at 3pm “Indelible Moments” by Cheryl Curnick & Angela Eidelman, until 3 Nov. 144 Milner Ave, Roosevelt Park. T. 011 888 9120 Artspace Jhb 1 – 22 Sept, “Transience” by Ruhan Janse van Vuuren. 27 Sept – 24 Oct, “I Am Safe Here” by Danelle Janse van Rensburg & Gina Niederhumer. Chester Court, 142 Jan Smuts Ave, Parkwood T.011 880 8802

SA ART TIMES. September 2012

Grahams Fine Art Gallery The gallery exhibits fine examples of South African art including works by; Maggie Laubser, J.H Pierneef, Irma Stern, Freida Lock, Walter Battiss, Alexis Preller, Gerard Sekoto, Robert Hodgins, Stanley Pinker & Peter Clarke. Unit 46, Broadacres Lifestyle Centre, Cnr Cedar & Valley Rds, Broadacres, Fourways, Jhb. T. 011 465 9192 16 Halifax Works by Michael Heyns, Leon Muller, Braam van Wijk, Marina Louw, Mimi van der Merwe and other artists can be viewed by appointment in Johannesburg at 16 Halifax Str, Bryanston. Dana MacFarlane 082 784 6695 In Toto 4 Sept – 9 Oct, “Helen Joseph-New Work” latest series of paintings in oil and watercolour. 6 Birdhaven Centre, 66 St Andrew Str, Birdhaven. T. 011 447 6543 Isis Gallery Leading Art Gallery in Rosebank showcasing today’s most Modern Contemporary Artists. Shop 163, The Mall of Rosebank. Contact Daniel Erasmus T. 011 447 2317 Johannesburg Art Gallery JAG 15 July – 14 Oct, “MMXII” a solo exhibition by James Webb. 5 Aug – 28 Oct, “Oblique” a solo exhibition by Abrie Fourie. King George Str, Joubert Park, Jhb. T. 011 725 3130 Manor Gallery 7 – 9 Sept, Little Artists’ Exhibition “All things bright and beautiful” The 3rd Dulcie Robinson Memorial Exhibition. 27 Sept - 10 Oct, 88th National Open Exhibition of the Watercolour Society Africa /2nd Open Exhibition of the Art Society Africa. Stunning artworks in all media by top South African artists to be exhibited. Norscot Manor Centre, Penguin Drive, Fourways. T. 011 465 7934

Standard Bank Gallery 13 July - 15 Sept, “20th Century Masters: The Human Figure” The exhibition offers a fascinating survey of ways in which mainly French artists have depicted the human body over the last 100 years. Cnr of Simmonds & Frederick Str.’s, Jhb. T. 011 631 1889 Stephan Welz & Company Auctioneers of Decorative and Fine Arts. 13 Biermann Ave, Rosebank, Jhb. T. 011 880-3125 Stevenson Johannesburg 8 Aug – 21 Sept, “Some Deleted Scenes Too” an exhibition by Kemang Wa Lehulere. 62 Juta Str, Braamfontein, Jhb. T. 011 326 0034 Strauss & Co. Fine Art Auctioneers & Consultants. Country Club Johannesburg, Corner Lincoln Rd & Woodlands Drive, Woodmead. T. 079 407 5140 UJ Art Gallery 5 Sept - 10 Oct, “Rendezvous Focus Painting” the fourth undertaking by the Rendezvous Art Project, presents a travelling exhibition of works by 60 artists using paint as medium. Cnr Kingsway & University Rd, Auckland Park, Jhb. T. 011 559 2099 The White House Gallery The gallery has a wide ranging portfolio featuring renowned masters such as Chagall, Marini, Miro, Moore, Portway, Pasmore, Stella, Picasso, Dine & Hockney - to name a few. Also the more affordable works of up and coming artists in Britain and France, along with globally acclaimed South African artists. Shop G11 Thrupps Centre, Oxford Rd, Illovo, Jhb. T. 011 268 2115

Pretoria Alette Wessels Kunskamer The Alette Wessels Kunskamer operates as an Art Gallery and Art Consultancy, specialising in South African art as an investment, dealing in Old Masters, and selected contemporary art. Maroelana Centre, 27 Maroelana Str, Maroelana, Pretoria. T. 012 346 0728 Association of Arts Pretoria 17 Aug - 8 Sept, “Namibian Women Artists’ Exhibition” Presented in collaboration with the National Art Gallery of Namibia and the South African National Association for the Visual Arts. 24 Aug - 8 Sept, an exhibition of paintings by Magda Joubert. 31 Aug - 26 Sept, an exhibition of recent works by Lynette ten Krooden. 173 Mackie Str, Nieuw Muckleneuk, Pretoria. T. 012 346 3100 Brooklyn Theatre Pretoria 16 Aug – 1 Oct, “Die mooiste, mooiste maand – a foretaste” Purple Jacaranda Splendor of Spring by artist Jenny Boon. c/o Thomas Edison & 13th Street, Menlo Park, Pta. T. 012 460 6033 Centurion Art Gallery 3 -14 Sept, “Centurion Artist of the Year exhibition” c/o Cantonment and Unie Avenues, Lyttelton T. 012 358 3477


1000mmx 700mm

Pastel on white cotton paper

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Art Times Reach over 52 000 people in the visual arts target market 75 issues later, our cross platforms of print, social media, online networks and affiliates gets your message out to those who matter. Chat to Eugene at 021 424 7733

GAUTENG, MPUMALANGA & WESTERN CAPE | GALLERY GUIDE Fried Contemporary 15 Sept – 13 Oct, “Me 2” with Erna Bodenstein, St John Fuller, Lucas Thobejane, Aidon Westcott, Marlise Keith, Johan Moolman, Pascual Tarazona. 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 Front Room Art Two- and three-dimensional art by a variety of contemporary artists available. Viewing by appointment. 116 Kate Ave, Rietondale. Jennifer Snyman 082 451 5584 Gallery Michael Heyns The Gallery has moved to 194 Haley Str, Weavind Park, Pretoria. T. 012 804 0869 Pretoria Art Museum 30 Aug - 30 Sept, “Sasol New Signatures 2012 Exhibition” (North Gallery & Henry Preiss Hall) and “Peter (Mohau) Modisakeng Exhibition, 2011 Winner of the Sasol New Signatures” (Albert Werth Hall) Until December in the North Gallery, “A Story of South African Art” a selection of artworks from the permanent collection of the Museum (South Gallery) Until December in the East Gallery, “Abstract Art” a selection of abstract artworks from the permanent collection of the Museum. Until December in the Ceramic Gallery, “Corobrik Ceramic Collection” a selection of ceramics, representing the development of studio ceramics and the work of traditional rural potters of South Africa over the past 30 years is on display. Until December, “Study Collection” art media and techniques are illustrated in the Information Centre. Cnr Schoeman and Wessels Str, Arcadia Park, Arcadia, Pretoria.T.012 344 1807/8 Sandton Auctioneers Fine Art, Furniture, Carpets & Collectables. Showroom: 367 Lynnwood Rd, Menlo Park, Pta. T. 012 460 6000 St Lorient Fashion and Art Gallery Contemporary Art on show during September. 492 Fehrsen Str, Brooklyn Circle, Brooklyn, Pta. T. 012 4600284 UNISA Art Gallery 7 – 25 Sept, “Intervening in the Environment” an exhibition of more than 50 works from the UNISA Art Collection. Kgorong Building, Ground Floor, Main Campus, Preller Str, Pretoria. T. 012 441 5683 University of Pretoria 25 May – 15 Nov, “High Tea @UP” fine porcelain and antique teawares from the ceramic collections of the University of Pretoria Museums. Mapungubwe Gallery, Old Arts Building, UP. T.012 420 2968 University of Pretoria 1 Aug - 30 Nov, “Villa in Bronze” showcasing the life of Edoardo Villa (1915 – 2011). Hatfield Campus, UP, Lynnwood Rd, Pretoria. T.012 420 2968

North West Potchefstroom Edwards Fine Art, Modern & Contemporary Large selection of top South African Art, Kentridge, Dumas, Skotnes, Villa, Feni, etc. Large selection African Art – paintings, sculptures, ceramics, etc. Hartbeespoort Dam. C. 0764729812 NWU Gallery 16 Aug - 14 Sept “Standard Bank Young Artist 2011 Nandipha Mntambo: Faena” a Solo exhibition by Nandipha Mntambo. North-West University Gallery, Building E7, NWU Potchefstroom Campus, Hoffman Str, Potchefstroom. T. 018 299 4341 email:

SA ART TIMES. September 2012

Mpumalanga Dullstroom Art @ sixty seven A selection of fine art, ceramics and blown glass art pieces, by well-known local artists. Shop no9, 67 Naledi St, Dullstroom, Mpumulanga. T. 013 254 0335

White River The Artists’ Press Professional collaboration, printing and publishing of original handprinted artists lithographs, by the Artists’ Press. Also artists books, monotypes & letterpress prints, particularly for artists working in SA. Waterfield Farm near White River, Mpumalanga T. 013 751 3225 The Loop Art Foundry & Sculpture Gallery A collaboration and network for the avid art patron and collector as well as a full service facility for the artist. This is the place where you will find a unique and superior item or have something commissioned that you have always envisioned. Casterbridge Complex Corner R40 & Numbi Rds White River T. 013 758 2409 The White River Gallery 1 – 16 Sept, “Chay Chadash” new works by Ilona Petzer. Casterbridge Centre, R 40 Cnr. of Hazyview & Numbi Gate Rd, White River. C. 083 675 8833

Western Cape Cape Town Absolut Art Gallery Permanent exhibition with the best Masters and Contemporary artists. Namely : JH Pierneef, Gerard Sekoto, Hugo Naude, Adriaan Boshoff, Frans Oerder, Maurice Van Essche, Tinus De Jongh, Gerard Bhengu, Ephraim Ngatane, Cecil Skotnes, JEA Volschenk, Conrad Theys, William Kentridge, to name a few. Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive, Tyger Valley, Bellville. T. 021 914 2846 Art b 22 Aug – 29 Sept, Vuleka 2012 Art Competition Exhibition of Selected Works. The Arts Association of Bellville, The Library Centre, Carel van Aswegan Str, Bellville. T. 021 918 2301 Art on the Green On Sunday 2 Sept, 20 artists will gather together in one fabulous fun exhibition in the middle of the village (weather permitting). Noordhoek Farm Village, Village Lane, Noordhoek Irene 082 303 6798 Artvark Gallery An innovative collection of recycled rubber tire baskets and mats, woven and crocheted, designed by Mara and beautifully hand crafted by Artisans’ Nelson and Petronella. 48 Main Rd, Kalk Bay Tel 021 788 5584 AVA 27 Aug - 21 Sept, The AVA will be hosting two shows, the first is “Our Fathers” with participating artists Anton Karstel , Damien Schumann , David Brits, Frank van Reenen , Lyndi Sales, Monique Pelser , William Martin, Zolani Siphungela, Elize Vossgatter, Paul Painting , Charles Maggs, Lien Botha , Paul Birchall, Ken Rees Gibbs, Chad Rossouw, Lynette Bester. The second show is works by Makhosandile Mbuku. Association for Visual Arts, 35 Church Str, CT. T.021 424 7436 The Avital Lang Gallery 30 Aug – 5 Sept, an exhibition by Tityiana Binovskaya. 27 Sept – 3 Oct, “Remember Me” by Nadea Victor. Art Classes also available. Two Oceans House, Surrey Place, Mouille Point, CT.

(Next to Newport Deli) T. 021 439 2124 Barnard Gallery 3 Sept till 3 Oct, “Cacophony Collection” various collection of artworks by represented artists. 55 Main St, Newlands. T. 021 671 1666 Blank Projects. James Beckett exhibition in September. 113-115 Sir Lowry Rd, Woodstock, CT. C.072 507 5951 Brundyn & Gonsalves 22 Aug - 03 Oct, “Order & Division” by Gina Heyer. 71 Loop Str, CT. T. 021 424 5150 Cape Gallery 12 Aug – 15 Sept, “The World We Live In: Foreign Exchanges or Subtle Connections” Annual Wild Life Exhibition. Opening 16 Sept @ 4.30 p.m, a Solo Exhibition of Paintings by Hilary Iwanski, until 6 Oct. 60 Church Str, CT. T. 021 423 5309 Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings. Cape Quarter Square, 27 Somerset Rd, Green Point. T. 021 4213333 Casa Labia Gallery 1 – 30 Sept, “An Invitation from the Depths” a solo exhibition of new and previously exhibited works by Peter van Stratten, curated by Joao Ferreira. There will be an exhibition walkabout with Peter and Joao on Saturday the 8th of September at 11am. Casa Labia Cultural Centre, 192 Main Rd, Muizenberg. T. 021 788 6068 Cedar Tree Gallery Contemporary Fine Art Gallery at Rodwell House. Rodwell Rd, St. James, CT. T. 021 797 9880 The Cellar Private Gallery The Cellar Private Gallery of Art deals exclusively in original & investment art, offering works by a variety of renowned & upcoming SA artists.12 Imhoff Str, Welgemoed, Bellville T. 021 913 4189 Christie’s International Auctioneers. Juliet Lomberg, Independent Consultant. T. 021 761 2676 Christopher Møller Art New arrivals: Visit our website to view Barry Jackson’s, “Bushman bowhunter ” & “ Cheetah family”. Barry Jackson specializes in Bronze Sculpture which is a medium that lends itself to depicting and capturing the human figure and wildlife. Through his realistic style of sculpture he hopes to capture the essence of The Bushmen and the power and beauty of African wildlife. 7 Kloofnek Rd, Gardens, C T. T. 021 422 1599 The City Bowl Gallery Hand thrown decorative and functional wares. Pottery Classes. Ceramic Design. Bespoke Pottery. 2 Norwich Ave, Observatory. T. 021 447 4884 C. 083 412 8098 Garth Meyer Commune.1 Gallery 14 September, “SELVO”- Commune1 group show. 64 Wale Str, CT. T. 021 423 5600 Dante Art & Decor A modern Art Gallery since 1995. Proudly South African Art, Ceramics, Gifts & Decor. Furnishing your home with a modern touch of Beauty. Shop L90- Cavendish Square, Claremont. C. 084 700 9196, David Krut Projects 1 Sept – 13 Oct, “Ex Nihilo” an exhibition of paintings by Maja Maljević. David Krut Projects, Montebello Design Centre, 31 Newlands Ave. T. 021 685 0676


Susan Greyling Alice Art Gallery manages to nd balance between popular and discerning art without alienating a new-comer or disappointing an art lover. Honesty is something we all strive for in our lives and nd in the most unexpected of places. Take the art world for example, where it’s often a challenge to nd an honest opinion of true value if you’re a buyer. There’s also a reluctance by the public to be honest about a piece of art for fear of being labelled an art ignoramus or un-educated about something that carries a “highbrow” tag.

This is particularly true of Susan Greyling’s work of which Alice holds a number of pieces. She’s known for her ‘bar ladies’ who evoke a realistic sense of sexiness and fun for a pastime with which these are associated. Greyling’s work shows women going about their daily lives with a poignance and reection that draws out warmth and subtle emotion. All the girls are exceptionally beautiful and some are sensually portrayed fullling a household chore without any demeaning connotation or overt sexual undertone.

Alice Art Gallery is one such emporium where artists are sought who carry a common touch and whose paintings are understandable, and customers are sought who may not have an educated view on art, but who feel moved by something they see and carry their convictions on their sleeves.

Colours are vivid and the atmosphere is warm, homely and comforting. The subjects are either caught mid-stream, as though they are oblivious to the presence of the artist, or they offer a brief moment to look up and stop what they’re doing, almost to pose for the artist.

Owner Alice Pitzer believes people are buying art without really understanding what it means. “The main thing is that people must appreciate a painting”, she says. And for her it’s all about the work communicating with the buyer.

Alice Pitzer says Susan has a way of bringing out the best in a woman and I don’t think too many people will disagree.

Greyling’s work shows women going about their daily lives with a poignance and reection….

The philosophy of Alice Art Gallery is to select artists who are honest, have soul and paint from the heart, never copying a piece of work or another artist’s style. Pitzer looks for artists whose work is decorative, attractive and understandable.

Tel: 083 331 8466 Alice: 083 377 1470 217 Drive Street, Ruimsig

STELLENBOSCH Kunsgalery Art Gallery

THE QUIET 3 - 27 October 2012

Experience the abundance of South African artistic talent by prominent South African Artists for the discerning buyer.

AN EXHIBITION BY KIRSTEN LILFORD Curated by Andrew Lamprecht & Proudly Presented by Salon91

Francois Krige, Still life with fruit, oil 91 Kloof Street, Gardens, Cape Town +27 21 424 6930 +27 82 679 3906 e-mail: Tel/Fax: 021 887 8343 Cell: 082 566 4630 / 076 279 2175 34 Ryneveld Street, Stellenbosch

Art Times ad august 1 FINAL 8/3/12 1:32 PM Page 1 C







Hugo Maritz • Annelie Venter • Lynie Olivier • Paul Birchall Robert Plotz • Leon Vermeulen • Anthony Holmes • Brad Gray • Annette Pretorius • Corlie de Kock • Dee Donaldson Natasha de Wet • Lyn Gilbert • Greg Kerr • Audrey Anderson • Marie Stander • Lance Friedlande • Elizabeth Gunther • Aidon Westcott • Henk Seymore • Jan du Toit Claire Menck • Jaco Benade • Rafal Karcz • Janna Prinsloo Anita Bodenstein Booyens • Christiaan Diedericks • Brent Record • Vernon Swart • Selwyn Pekeur • Wendy Gaybba Anna Carien Goosen • Madelein Marincowits • Brahm van Zyl • Margaret Nel • Adele Adendorff • Hanneke Benade OPENING: TUESDAY 28 AUGUST @ 19H00 TO 20 SEPTEMBER 2012




twenty-six years on

an exhibition of photographs and ceramics Francois Swanepoel

Nicolene Swanepoel

Regency Sideboard, c1820

Wednesday 24 October 2012 18:00 Oude Libertas Gallery Stellenbosch

Roland Paris, 1894-1945

Please join us for the opening or view the exhibition until 21 November Francois +27(0)839544428 Nicolene +27(0)834578695 Oude Libertas +27(0)218097463

Eleanor Esmonde White, 1914-2007

Qing Moonflask (1644-1912)


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Nico van Rensburg “African Stone Henge through my window II”

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WESTERN CAPE | GALLERY GUIDE Ebony Ebony has added to their Winter exhibition with exciting new work including hand-felted sculptures by Larita Engelbrecht, new ceramics by Kahmilla Abrahams’s and Ayalah Zohar and paper sculpture by Pieter Henning. Also hanging are several abstract works by John Murray and Hannes Harrs. 67 Loop Str, C.T. T. 021 424 9985.

Iziko Michaelis Collection, Old Town House, Greenmarket Square, CT. T. 021 481 3800

Erdmann Contemporary & the Photographers Gallery za Solo exhibition by Roger Ballen in September. 63 Shortmarket Str, CT. T. 021 422 2762

Johans Borman Fine Art 18 Aug - 22 Sept, “-scape” a juxtaposition of the interpretation, symbolism and metaphorical aspects of the South African landscape by 20th Century Modern Masters such as Hugo Naudé and JH Pierneef with the works of Contemporary landscape artists. 16 Kildare Rd, Newlands, CT. T. 021 683 6863.

Everard Read CT 25 Sept – 3 Oct, “Berlin” Solo exhibition of paintings by Sasha Hartslief. 3 Portswood Rd, Victoria & Alfred Waterfront, CT. T. 021 418 4527 34 Fine Art 21 Aug – 8 Sept, “Emulate” a group exhibition. 11 – 22 Sept, an exclusive preview of “numberrs” Asha Zero’s first London solo exhibition. 2nd Floor, The Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock. T.021 461 1863 The Framery Art Gallery The Framery Art Gallery is celebrating it’s 17th birthday this month and wishes to thank all the talented artists and loyal clients for the important part they have played in our lives over the years. Until 21 Sept, a group exhibition of Landscapes by artists Sophie Peters, Kim Mobey, Colette Tait, John Kramer, Michael Waters, Phill Hetherington, Herbert Wiedergut, Barbara Lewis, Veronica Ramsay, Bill Mitrovich, Hannes Meintjes, Carlo S’doya, F. Mqhayi & Lindike. 24 Sept - 15 Oct, “Hypnos’ Mixed media on paper by Francois Mouton. 67g Regent Rd, Seapoint. T. 021 434 5022 C. 0781227793 G2 Art A gallery of diverse and interesting work by local artists, with exciting new offerings by Nicole Pletts, Ronel Human, Adolf Tega, Vanessa Berlein and sculpture by Armand du Rand and Aleri Odendaal. 61 Shortmarket Str between Loop Str & Bree Str. T. 021 4247169 Gill Allderman Gallery The Gallery is dedicated to promoting some of South Africa’s valuable talent. Having moved into cyber space, but based in Kenilworth, Cape Town, the gallery will be specialising in home and corporate visits. C.083 556 2540 Goodman Gallery Cape Town 11 Aug – 15 Sept, “Remembrance” by Hasan & Husain Essop. 22 Sept – 27 Oct, Mounir Fatmi “Suspect Language” 3rd Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock. T. 021 462 7573/4 Hout Bay Gallery New artworks by Sarah Danes Jarrett, David Kuijers, Koos De Wet and many more. 71 Victoria Ave, Hout Bay. T. 021 790 3618 Infin Art Gallery A gallery of work by local artists. Wolfe Str, Chelsea Village, Wynberg. T. 021 761 2816 & Buitengracht Str. CT. T. 021 423 2090 Irma Stern Museum From 21 -29 Sept, 40 years retrospective exhibition of jewellery by Michael Cope. Cecil Rd, Rosebank, CT. T. 021 685 5686 Iziko SA National Gallery 12 July – 14 Oct, “Rendez-vous 12” an exhibition of international contemporary art from the Lyon Biennale in France. 16 Aug – 30 Sept, “Uncontained: Opening The Community Arts Project Archive” 25 Queen Victoria Str, CT. T. 021 467 4660 Iziko Michaelis Collection Ongoing, Dutch treat: Dutch works from the 17th–20th centuries in Iziko collections

SA ART TIMES. September 2012

Iziko Castle of Good Hope Until 26 Feb 2013, “Fired” an exhibition of South African ceramics. Buitenkant Str, opposite the Grand Parade, CT. T. 21 464 1262

Kalk Bay Modern Opening 12 Sept @6pm, Photography by Jurgen Schadeberg and Andrew Barker on show until 6 Oct. 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 Lindy van Niekerk Art Gallery A large selection of artworks by new and prominent South African artists and SA old Masters. 31 Kommandeur Rd, Welgemoed, Bellville. T. 021 913 7204/5 The Lovell Gallery The gallery specialises in fresh, contemporary, fine art by artists who are going places. We make investment quality fine art available to collectors while it is still affordable. 139 Albert Rd, Woodstock. T. 021 820 5505 Michaelis Galleries 14 Aug – 4 Sept, “A Shot to the Arse” group exhibition. University of Cape Town, 31 – 37 Orange St, CT. T. 021 480 7170 The Pot Luck Club Gallery July – end Sept, “Forest reflections” A collection of landscape paintings featuring trees and light by Cape Town painter Fiona Hart. Contact curator Las Madurasinghe on 074 180 4895 The Old Biscuit Mill, 375 Albert Rd, Woodstock. Provenance Auction House Auctioneers of Fine Art, Antiques and Home Luxury. 8 Vrede str, Gardens, CT. T. 021 461 8009 Red! The Gallery RED! The Gallery is a dynamic art gallery featuring work from South Africa’s best contemporary and emerging artists , including works by Andrew Cooper, David Kuijers, Wakaba Mutheki and Donna McKellar to name a few. Steenberg Village shopping centre, Reddam Ave, Tokai. T. 021 7010886 Rose Korber Art 1st – 30th Sept, “Making Faces” an exhibition featuring work by contemporary South African artists that draws on the tradition of portraiture. The selection comprises works made in a variety of media from the 1950s to today, and includes names such as Jurgen Schadeberg, William Kentridge, Richard Smith, Zwelethu Mthethwa, Sam Nhlengethwa, Robert Slingsby, Anthony Lane, Claudette Schreuders, Pamela Stretton, Diane Victor, Georgia Lane and Hanneke Benade. The invention of the camera revolutionized the concept of portraiture as a whole, and, concurrently, painting was released from its documentary role. This did not see the end of the depiction of the human form, however, and both the traditional and new media tended to be put to use for the purposes of portraiture. Today, with the internet, mass media and the moving image all streaming simultaneously, portraiture continues to penetrate ever more deeply into our everyday experience. The phenomenon of social media platforms (and Facebook in particular) exemplifies our current obsession with our own image. 48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152 C. 082 781 6144 or 083 261 1173 Rossouw Modern Groot Constantia An Extensive collection of Cobus van der Walt’s works are on exhibit at Bertram’s Tasting Room on the Groot Constantia Wine Estate. Groot Constantia Wine Estate, Constantia Main Rd, Constantia. T. 021 794 2605

Rudd’s Auctioneers Antique, Fine and Decorative Art. 87 Bree Str, CT. T.021 426 0384 Rust-en-Vrede Gallery Until 20 Sept In Salon A & B & C: “Alter Ego” a group exhibition by Hugo Maritz, Annelie Venter, Lynie Olivier, Paul Birchall, Robert Plotz, Leon Vermeulen, Anthony Holmes, Brad Gray, Annette Pretorius, Corlie de Kock, Dee Donaldson, Natasha de Wet, Lyn Gilbert, Gregory Kerr, Audrey Anderson, Marie Stander, Lance Friedlande, Aidon Westcott, Henk Seymore, Jan du Toit, Claire Menck, Jaco Benade, Rafal Karcz, Janna Prinsloo, Anita Bodenstein Booyens, Christiaan Diedericks. And in the Clay museum: “Majolica” works by Ian Calder. 25 Sept – 18 Oct, In Salon A: Theo Kleynhans exhibits “Island” in Salon B: Vasti Wilkinson exhibits “The Swan and the Beauty Shop” and in Salon C: Paula van Coller Louw exhibits “Siklus” In the Clay museum: Ceramics by Yvonne Martin and Ineke Nicolle. 10 Wellington Rd, Durbanville. T.021 976 4691 Salon 91 5 - 29 Sept, “Liefde Leegte / Love Loss” a solo exhibition by Varenka Paschke. Her latest collection of paintings is depicted in her signature style, characterized by her unique ‘canvases’, made up of eclectic blocks of fabric, colour, texture & pattern, skillfully married with her sensitive treatment of line, light, & a subtle palette in her largely figurative oil paintings. 3 - 27 Oct, “The Quiet” a solo exhibition of paintings by Kirsten Lilford. Her technically accomplished paintings echo the work of early nineteenth-century realists but she has already developed a unique style of her own that is at once naturalistic and also informed by contemporary painting practices. 91 Kloof Str, Gardens, CT. T 021 424 6930 South African Print Gallery 01- 27 September: Judy Woodborne’s Tarot Card Show. A wide selection of fine art prints by South African masters and contemporary printmakers. 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851 Sanlam Art Gallery 24 July – 28 Sept, Gerard De Leeuw Centenary Exhibition of bronze sculptures. Sanlam, 2 Strand Rd, Bellville. T. 021 947 3359 SMAC Art Gallery, CT 16 Aug – 27 Sept, “SMAC Plus: Contemporary Collection” 30 Aug – 27 Sept, “Maximilasm” by Barend de Wet. In-Fin-Art Building, Buitengracht Str, CT. T. 021 422 5100 Online Art Gallery A curated online art gallery showcasing original and affordably priced artwork by Fine Arts graduates and emerging artists. Each artist has been hand-picked by our curatorial panel to ensure the quality of the work that you are purchasing. Shop directly from the website and have your art delivered to your office or home. Start building your contemporary art collection today! Added value bespoke services include: Corporate Art Solutions; Art Specifier for Interior Designers and Architects, Collectors Resale and Art Commissions. We Ship Worldwide - art delivered to your doorstep. T.072 470 9272 Stephan Welz & Company 2 & 3 October, Auction of Decorative & Fine Arts. The Great Cellar, The Alphen Hotel, Alphen Drive, Constantia. T. 021 794 6461 Stevenson Cape Town 26 July - 1 Sept, “Mo(u)rning” Zanele Muholi solo exhibition. 6 Sept - 13 Oct, “New Paintings” Zander Blom solo exhibition. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500 Strauss & Co. 8 October Auction of South African Art, Jewellery and Decorative Arts. The Oval, 1st Floor Colinton House, 1 Oakdale Rd, Newlands. T. 021 683 6560


Colbert Mashile new monotypes

Alice Elahi: Rio Yachts at Night

REFLECTIONS Cape Town docks and other works

Empty thought II. Monotype, 66 x 50 cm.

Alice Elahi Studio Gallery, Pretoria - October 27 to November 4 2012

The Artists’ Press

Box 1236, White River, 1240 ‡7HO013 751 3225 PDUN#DUWLVWVSUHVVFR]D‡ZZZDUWSULQWVDFRP

Art Times Colbert Aug 2012 advert.indd 1

21/08/2012 9:39 AM

WESTERN CAPE | GALLERY GUIDE What if the World Gallery 11 Aug – 15 Sept, “Mad Bad Sad Glad” paintings by Janet Werner. 208 Albert Rd, Woodstock, CT. T. 021 448 1438

Franschhoek Ebony Continuation of Winter exhibition of classic South African artists including James Thackwray, Matthew Whippman, Diederick During, Gordon Vorster, Alexis Preller and more. Also showing new work by contemporary artists Henk Serfontein, Claudia Ongaro, Shany van den Berg, Olaf Bisschoff and Erik Laubscher. 4 Franschhoek Square, 32 Huguenot Str, Franschhoek. T. 021 876 4477 The Gallery at Grande Provence 12 Aug – 26 Sept, “Walk This Earth Alone” a group exhibition inspired by each participating artist’s individual reference to the conservation or destruction of our environment. This exhibition will be extended into the Project Room. The Cathedral features a permanent selection of artworks by eminent South African Artists. A collection of photographic works by Klaus Tiedge will be on show in The Shop. Main Rd, Franschhoek. T. 021 876 8630. Is Art 15 July – 21 Oct, Franschhoek Artists Group Exhibition. 16 Huguenot Str, Franschhoek. T. 021 876 8443

George Hyatt Regency Oubaai “Transitions” a collection of new sculptures by Anton Smit. 406 Herolds Bay Rd, George. T. 044 851 1234 Strydom Gallery Selection of SA art to be seen in Sept. 79 Market Str, George. T. 044 874 4027

Hermanus Abalone Gallery During Sept in the Main Gallery: Selected works by established artists and Old Masters: Christo Coetzee, Hannes Harrs, Cecil Higgs, Tadeus Jaroszynski, Elzaby Laubscher, Judith Mason, Lynette ten Krooden & Louis van Heerden. In the Annex: 7 - 30 Sept: “African reflections” - Works on paper and on canvas by Amos Letsoalo, Nyangiso Lindi, Nomthunzi Mashalaba, Leonard Matsoso. Sculpture by Jackson Hlungwani and El Loko. 2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935 Art Amble Hermanus Village Ten diverse and unique Galleries all within walking distance in the heart of Hermanus Village. Four resident artists’ studios to visit. Collect your Art Amble Guide at any one of the Galleries in Main Road or at the Hermanus Tourism Office. Contact Terry Kobus on 083 259 8869 or email for more information. Bellini Gallery & Cappuccino-Bar 28 Sept - 8 Oct, “Big Dreams and Little Moments” recent paintings by Tanya Swiegers-Loots and Henrie Koekemoer. 167 Main Rd, Hermanus. T. 028 312 4988 Originals Gallery The art studio and gallery of Terry Kobus. See the artist at work in his studio and view his latest paintings in an intimate gallery space. Shop 22 Royal Centre, 141 Main Rd, Hermanus. T. 083 259 8869 Rossouw Gallery Hermanus 1 – 10 Sept, Jenny Jackson, 78 year old South African artist, will have her very first exhibition at the Rossouw Modern in Hermanus. 3 Harbour Rd, Hermanus. T. 028 313 2222 info@rossouwmodern.

SA ART TIMES. September 2012

Walker Bay Art Gallery View the wide selection of paintings, sculpture & ceramics by established as well as up and coming South African artists. 171 Main Rd, Hermanus. contact: Francois Grobbelaar 028 312 2928

Paul Vorster. 17 Main Str, Piketberg. C: 083 739 6196 / 072 659 1973

Prince Albert

Sheena Ridley Open Studio and Sculpture Garden Sculptures and Paintings N9 Langkloof near Uniondale, Klein Karoo T. 083 5892881

Prince Albert Gallery Established in 2003, the Prince Albert Gallery always has an eclectic mix of art on display. From George Coutouvidis’s quirky post-modern cartoonism to Guy du Toit’s striking bronzes 57 Church Str, Prince Albert. T. 023 541 1057 C. 082 749 2128 (Brent)


Somerset West

Dale Elliott Art Galleries Leaders of the painting course concept in South Africa! 2 Galleries: Woodmill Lane Shopping Centre & The Knysna Mall T. 044 382 5646

Dante Art & Decor A modern Art Gallery since 1995. Proudly South African Art, Ceramics, Gifts & Decor. Furnishing your home with a modern touch of Beauty. Waterstone Village shop 37, Somerset West. C. 084 700 9196,

Klein Karoo

A Different Drummer Featuring new ceramics by Marylou Newdigate and furniture by Wally Rossini as well as an ongoing exhibition of paintings, sculpture, photographs and object de vertu. Thesen House, 6 Long Street, Knysna. T. 044 382 5107 C.082 552 7262

Gallery 91 Showcasing New Exciting Artworks by Kwazulu-Natal Artists. New functional Handmade Ceramics. 91 Andries Pretorius Str, Somerset West. T. 021 852 6700 C. 084 441 7233

Knysna Art Gallery 3 Sept - 29 Sept, The Knysna Arts and Crafts Society presents its member’s group exhibition: “Annual Members Spring Exhibition” Old Gaol Complex, cnr of Main and Queen Street, Knysna. T. 044 382 7124

Liebrecht Art Gallery 6 - 22 Sept, “On the street where you live” an exhibition of the longawaited latest en plain air paintings in oil by Jaco Coetzee since his sell-out debut exhibition in the Liebrecht Gallery two years ago. 34 Oudehuis Str, Somerset West. T. 021 852 8030 C. 082 682 5710

Knysna Fine Art In Sept an exhibition of paintings by Margaret Vorster and Elise Macdonald. Featuring bronze sculpture by Lionel Smit. Thesen House, 6 Long Str, Knysna. T. 044 382 5107 C. 082 552 7262


Sally Bekker Art Studio Ongoing exhibition of recent watercolour and oil paintings. Upstairs in the Knysna Mall. C.082 342 3943

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

Oudtshoorn ArtKaroo Gallery Original works of art by established and emerging artists. 107 Baron van Reede, Oudtshoorn. T.044 279 1093

Paarl Hout Street Gallery The Gallery specialises in South African paintings and fine art and features an extensive range of paintings, ceramics and sculptures by more than thirty South African artists. 270 Main Str, Paarl. T. 021 872 5030

Sasol Art Museum Until end Oct, “20Stellenbosch”: two decades of South African Sculpture (inside sculptures) David Brown, Jackson Hlungwani, Noria Mbasa, Collen Maswanganyi, Samson Mudzunga, Meshack Raphalalani & Philip Rikhotso. 52 Ryneveld Str, Stellenbosch T. 021 808 3691 Slee Gallery Opening 3 Sept @ 18:00, “Lyne & Name” by Eduard Haumann, until 14 Sept. Opening 20 Sept @ 18:30, Exhibition of Mexican Vintage Silver Jewellery, until 29 Sept. 101 Dorp Str, Stellenbosch. T. 021 887 3385 SMAC Art Gallery 20 Sept – 25 Nov Solo Exhibition by Sandile Zulu. 1st Floor, De Wet Centre, Church Str, Stellenbosch. T. 021 887 3607 Stellenbosch Art Gallery An extensive selection of paintings, sculpture, handmade glass & ceramics by selected Western Cape artists are on offer to the discerning buyer. 34 Ryneveld Str, Stellenbosch. T. 021 887 8343

Swellendam Kunstehuijs Fine Art Gallery Representing a wide variety of established and up-and-coming South African artists. 19 Swellengrebel str, Swellendam. T. 028 5142905 C. 082



The Art Business Contemporary Gallery and Art Consultancy 11 Aug - 17 Sept, a group exhibition entitled “Beyond Skin – the intimacy of portrait”. Participating Artists are: Arlene Amaler-Raviv; Alex Hamilton; Angus Taylor; Annelie van der Vyver; Annelie Venter; Brahm van Zyl; Christiaan Diedericks; Cobus van Bosch; Greta Mcmahon; Henk Serfontein; Jaco van Schalkwyk; Jan du Toit; Judy Bumstead; Juria le Roux; Li Smith; Loni Drager; Madelein Marincowitz; Maria van Rooyen; Marieke Kruger; Marie VermeulenBreedt; Mary Duncan; Pieter Bruwer; Richard Smith; Sarah Danes Jarret; Tanya Poole; Andrew Mogridge; Elizabeth Miller-Vermeulen; Zach Taljaard; Janice van der Westhuizen; Vanessa Berlein; Theo

Dale Elliott Art Gallery Leaders of the painting course concept in South Africa! 80 Main Rd, Villiersdorp. T. 028 840 2927


6-6-12 Art Times .pdf



4:47 PM









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: Hilary Iwanski


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

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wide selection of works by leading South African contemporary artists Exclusive distributors of

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Reach over 52 000 people in the visual arts target market 75 issues later, our cross platforms of print, social media, online networks and affiliates gets your message out to those who matter. Call Eugene at 021 424 7733 to chat more


Wilderness Beatrix Bosch Studio Unique works in leather as well as paintings & photography can be viewed at her studio. 57 Die Duin, Wilderness. T. 044 877 0585 Pharoah Art Gallery The gallery features an exquisite collection of Peter Pharoah’s fine art originals & prints including rich colourful portraits, unforgettable African wildlife and bold textured abstracts that are inspired by his travels around Africa. Wilderness Centre, George Road, Wilderness T. 044 877 0265 C. 076 976 2629

Kwazulu- Natal Durban The African Art Centre 15 Aug – 9 Sept, “Contemporary Voices” an exhibition of paintings and sculptures by a group of contemporary artists from Durban. 12 Sept – 6 Oct, Contemporary Zulu Pottery by Jabu and Thembi Nala. 94 Florida Rd, Durban. T. 031 312 3804/5 ArtSPACE Durban 3 – 22 Sept, “Science | Art | Art | Science Project” in the Main Gallery a Group exhibition of collaborations between 18 scientists/mathematicians from UKZN and 25 artists from Durban and Pietermaritzburg. “Evolving Movement” Susan Knight Solo Show in the Middle Gallery. 24 Sept – 13 Oct, “Body, Vessel, Archetype” Roz Cryer Solo Show in the Main Gallery. Rob Mills, Peter McKenzie, Matthew Ovendale and Wayne Reddiar group show producing work that intersects with the public and urban sphere in the Middle Gallery. 3 Millar Rd, Stamford Hill, Durban. T.031 312 0793 Christie’s International Auctioneers. Gillian Scott Berning, Independent Consultant. T 031 207 8247 The Collective 27 Aug – 15 Sept, “Round and Round” Printmaking by a group of students from Centre for Visual Art, UKZN Pietermaritzburg. 17 – 29 Sept, Centre for Fine Art and Design Interns Exhibition. 48b Florida Rd, (entrance in 4th Avenue) Greyville, Durban. T. 031 303 4891 Durban Art Gallery Visual Art Schools Curriculum Show. This semi-permanent exhibition is aimed at giving students an opportunity to view and reflect on the artworks whilst preparing for final examinations. Featured artists include Gerald Bhengu, Dumile Feni, MaggieLaubser, J.H. Pierneef, Irma Stern, Gerald Sekoto, Robert Hodgins, ThembaShibase, DineoBopape and Brett Murray. 2nd Floor City Hall, Anton Lembede (Smith) Str, Durban. T. 031 311 2274/5 Elizabeth Gordon Gallery A gallery situated in vibrant Florida Road, offering a variety of SA art. Stockists of Dave Tomlinson bronzes. 120 Florida Rd, Durban T. 031 303 8133 KZNSA Gallery 21 Aug - 9 Sept in the Main Gallery, Terence Bray and Jeannie Kinsler: “Where We Live”. A collaboration between the award winning fashion designer and the painter. 21 Aug - 9 Sept, in the Park Contemporary Gallery Louis de Villiers, aka Skull Boy. “You & Me: A Series of First Times”. 11 Sept - 30 Sept in the Main Gallery Large scale oils on canvases by Heather Conyngham. 166 Bulwer Rd, Glenwood. T. 031 277 1705 Tamasa Gallery A small commercial gallery, Tamasa exhibits a broad variety of contemporary KZN artists. 36 Overport Drive, Berea, Durban. T. 031 207 1223

Pietermaritzburg SA ART TIMES. September 2012

Tatham Art Gallery 16 Aug – 7 Oct, “Lumo” a solo exhibition of recent works by Dr Valerie Leigh in the Schreiner Gallery. 20 Sept @18h00 “Retinal Shift” by Mikhael Subotzky 2012 Standard Bank Young Artist opens. On show until 2013, in the First Floor Galleries, South African Landscapes: “Storm in the Wheatfields” - History of the Tatham Art Gallery 1903 to 1974.Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str. (Opposite City Hall) Pietermaritzburg. T. 033 392 2801

A selection of drawings from the contemporary SA WHAG collection. Malcolm Payne – ‘Face Value’, and exhibition of graphic prints on loan from Oliewenhuis, Bloemfontein. 10th Annual David Walters and Friends Ceramic Exhibition in the newly opened Bonnie Ntshalintshali Ceramic Wing. 1 Cullinan Crescent, Civic Centre, Kimberley. T. 053-8311724/5

Underberg The Underberg Studio Set in a delightful garden facing the mountains, the gallery specializes in South African Fine Art landscape photography & Ceramics. Owned by photographer Lawrance Brennon and his potter wife, Catherine Brennon, the gallery is regularly updated with their latest work. 21 Ridge Rd, Underberg. Signage from R617 T. 033 701 2440 / 072 141 9924 / 082 872 7830

Eastern Cape Alexandria Quin Gallery & Sculpture Garden Enjoy refreshments under the jacaranda tree while enjoying the sculptures of international sculptor Maureen Quin. 5 Suid Str, Alexandria, Eastern Cape, following the signs from the main street. T. 046 6530121 C. 082 7708000

East London Ann Bryant Gallery 23 Aug - 22 Sept, “Paper Cuttings from Shaanxi” and “Selected Chinese Prints of the 20th Century”. 9 St. Marks Rd, Southernwood, East London. T. 043 722 4044 Floradale Fine Art Gallery A newly opened gallery at the Floradale complex showcasing a wide variety of works by local artists including paintings, ceramics, sculpture, mixed-media, photography as well as jewellery & decorative arts. Floradale Centre, Old Gonubie Rd, Beacon Bay. T. 043 740 2031 C. 078 294 7252 Malcolm Dewey Fine Art Ongoing exhibition of oil paintings by Malcolm Dewey plus works by a selection of local artists. 60 Darlington Rd, Berea, East London. T. 043 7260421

Sibusiso Duma, Isinkwa sabantwana Bread for the children, Acrylic on canvas. Mfundo Mthiyane, Preparing Supper, Acrylic on canvas. See African Art Centre for listing.

Port Elizabeth ArtEC 28 Aug – 7 Sept, TAXI Exhibition that will be curated by Bamanye Ngxale. 36 Bird Str, P.E. T. 041 585 3641 Nelson Mandela Metropolitan Art Museum 7 July – 30 Sept, “Melting Pot” artworks such as Indian miniatures, Chinese textiles, Japanese wood-cuts, Xhosa beadwork, British oil paintings, International prints and everything else in between. 1 Park Drive, Port Elizabeth. T. 041 506 2000 Ron Belling Art Gallery 5 – 19 Sept, Heritage Exhibition.Opening 25 Sept, “Four Rooms” Bretten-Anne Moolman’s solo exhibition of oils, acrylics and mixed media, until 16 Oct. 30 Park Drive, P.E. T. 041 586 3973

Northern Cape Kimberley William Humphreys Art Gallery 30 Aug – 30 Sept: Work from the WHAG collection, Dutch, Flemish, British and French work.

Robert Siwangaza - Unemployment. Lino. See SA National Galllery, CT - CAP for details.





Jeannette Unite and British Consul-General Christopher Trott./ Dr Nicholas Mangeya of the Desmond Tutu HIV Centre, Marion Rudner of Discovery Health, filmmaker Bjorn Rudner/ / Franci and Johannes Cronje / Jeannette Unite and performance artist Tossie van Tonder. THE ROOF WETTING OF REVAMPED LIEBRECHT GALLERY -SOMERSET WEST.




Top: Tali, Stuart, Desire,/ Bottem: Jenne Irving admiring a wooden sculpture by Von Dee / Below: Desire De Klerk posing with some of her artworks / Chandre Bronkhorst with one of her paintings WALK THIS EARTH ALONE EXHIBITION AT GALLERY @ GRANDE PROVENCE, Photo’s: Janet Botes (


Middle Row: Gerhard Jacobs, Marelize Kruger, Gordon Froud, Christina Naurattel, Jacki McInnes, Ant Smith Bottom Row: Gordon Froud/ Richardt Strydom, Diane Victor, Ian Marley/ Artist: Jacki McInnes WHITE RIVER GALLERY

Danien Esselen Marlize meyer/ Karin Daymond with On This Day / Tamar Mason with My Mt DNA

Ingrid Bolton wins 2012 Sasol New Signatures Prize Artistic empowerment has no boundaries or age restriction and Ingrid Bolton, a 48-year-old Franschoek-based emerging artist, demonstrates that you can follow your passion despite your career path or age. With her cutting edge artwork, ‘Un(sea)n’, Bolton captivated the Sasol New Signatures judging panel and walked away with the coveted title of the 2012 Sasol New Signatures winner. Bolton received the grand-prize of R60 000 and a solo exhibition at the Pretoria Arts Museum next year. ‘Un(sea)n’ presents a construction of microscopic diatoms made from delicate porcelain, representing a ball, suspended above a circular tray of oil. The runner-up was Kenyan-born, Mandy Martin, who walked away with a cash prize of R20 000, for her winning pieces titled ‘Trembling Giant’ and ‘Virgin Pulp’. ‘Trembling Giant’, is named after what is said to be one of the oldest trees found in nature. The entire piece is made from paper, paper threads and paper pulp, cast into thin veil sheets and 06

imbedded in a layer of concentric circles. The five Merit Award winners were: Brendon Erasmus, Martin Pieter Klaasee, Lindi Lombard, Renzke Scholtz and Zelda Stroud who each received R5 000.

(Top) Ingrid Bolton: ‘Un(sea)n (Left) Mandy MartinTrembling Giant (Right) Zelda Stroud reference no 76 SA ART TIMES. September 2012

Vuleka Art Award 2012 Selected works on show at Art.b Gallery until 29 September 2012

Ten special commendation awards sponsored by the South African Art Times were presented.

Vuleka is aimed at inspiring creativity and artistic vision amongst emerging and established South African Artists. The competition is open to all artists who are South African citizens, 18 years or older who have not held a solo exhibition in the past three years. This prestigious event is an enormous stimulus for amateur artists and without a doubt the barometer for the future of art in our region.

The recipients of these awards are: Adriaan Alkema, Gill Cowen, Inge Dawn, Corlie de Kock, Jono Dry, Francesca Louw, Benjamin Mitchley, Patrick Nanjinje, Chris Ruthven and Mawande Zenzile Three merit prizes, sponsored by Ecozone, The Arts Association of Bellville and Suzette Bell-Roberts were also awarded. Joe Dolby’s diptych entitled The Laying Out, together with Marna Hattingh’s acrylic works titled Everybody Loves Everyone and Navigators, received Merit Awards. Colleen Ross and Rae Goosen’s collaborative piece titled Whose Art is it Anyway? received the third merit award. This art competition forms part of the city’s on-going attempts as part of its arts and culture strategy to nurture and grow local art and artists, by providing a platform to both showcase their talents and receive acknowledgement and feedback from a

The popularity of this competition is growing rapidly. This year, the competition drew close to 300 entries. A selection of 67 works is currently on exhibition at Art.b Gallery. A series of oil paintings by Janice Rabie was selected as the best overall work. She is the recipient of the R20 000.00 cash prize, sponsored by artist Conrad Theys. SA ART TIMES. September 2012

broader community in which they live. Councillor Pascoe, Executive Councillor for Tourism, Events and Marketing, said “The portfolio is geared towards growing the diversity and opportunity of local artists to participate in as many platforms as possible. The city’s primary focus has almost exclusively focused on music and major events in that genre, such as Cape Town International Jazz festival, Cape Town Carnival, all of which celebrates Cape Town’s rich heritage in music. This is our first attempt to begin to redirect some of the energy towards highlighting and showcasing some of the other talents in the city”. The Art.b gallery is situated in Bellville Library Centre, Carel van Aswegen Street 1. Janice Rabie: Conrad Theys Prize for the best overall work / Joe Dolby: The Lying Out, Oil on canvas 2. Colleen Ross and Rae Goosen’s collaborative work: Whose art is it anyway? / Jono Dry 3. Marna Hattingh / Francisca Louw 4. Corlie de Lock Photo’s Tiaan van Deventer



Kentridge, Goldblatt Headline Prince Albert Art Festival (PArt) Friday 28 - Sunday 30 September 2012 To mark the town’s 250th birthday celebration and the Prince Albert Gallery’s tenth anniversary, more than 30 of South Africa’s most renowned visual artists will be participating in the village’s first Art Festival.

Exhibiting Artists include : Sally Arnold, Philip W. Badenhorst, Hennie Boshoff and the Villa Kruger, Louis Botha, David Chancellor, Neels Coetzee, George Coutouvidis, Sheila Coutouvidis, Guy du Toit, Richard John Forbes, David Goldblatt, Charmaine Haines, Martin Haines, Clive Heyne, Lesley-Ann Hoets, Diane Johnson-Ackerman, William Kentridge, Estelle Marais, Nico Masemola, Gill Maylam, Diane McLean, JP Meyer, Joshua Miles, Hekkie Moos, Hylton Nel, Hermann Niebuhr, Samantha Reinders, Mikhael Subotzky, Hannalie Taute, Jill Trappler, Christine Thomas, Shany van den Bergh, Strijdom van der Merwe, Michael Vlok, Gareth Williams, Derek McKenzie, Alex Hamilton, Alf Gundersen (retrospective).

The festival is scheduled for the weekend of the 28th of September 2012 and interrogates the theme of The Vulnerable Landscape. Artists will explore all aspects of landscape: interiors, the mind, urban renewal and destruction, the veld and closer to home, the beautiful and vast landscapes of the Karoo. In addition to the Gallery, housed in the historic Seven Arches Building, other venues around the architecturally acclaimed village will be in use. “We wanted to include as much of the town as possible,” said Gallery owner Brent PhillipsWhite. “We’ll be offering lectures and workshops as well as the exhibitions in some of these venues.” He said art lovers will find work by painters, photographers, ceramicists, print-makers, sculptors and land artists at the festival.Prince Albert Gallery co-director, Mary Anne Botha explained: “The arid Karoo is vulnerable to climate change and human intrusion. Water for food and settlement is scarce. Fossil water held in deep aquifers is irreplaceable. New work will be on display by David Goldblatt, William Kentridge, Hylton Nel and

Hermann Niebuhr. Other artists exhibiting include Standard Bank Artist of the Year 2012 Mikhael Subotzky, internationally celebrated Philip W. Badenhorst and land artist Strijdom van der Merwe. An exhibition will be curated featuring Karoo artists’ response to the threat of fracking. Workshops will be on offer by photographer Louis Botha, Jill Trappler and reduction woodblock printmaker Joshua Miles. Prominent paleontologist Judy Maguire and artist JP Meyer will offer lectures in the evenings. And the town’s recreational cooking school, African Relish, will have a special weekend cooking course uniting JP Meyer and Chef and designer Jacques Erasmus for From Palate to Palette. Other restaurants around the village will host dinners with artists. The Gallery will be updating its website with any additions to the programme. The town’s accommodation fills up quickly. To book: For further information contact: Brent Phillips-White Tel: +27 (0) 23 5411 057 Mobile: +27 (0) 82 749 2128

Joshua Miles Reduction Woodblock Workshop

Garingbome, reduction woodblock print by Joshua Miles Well-known reduction woodblock artist, Joshua Miles, is presenting a 2 day workshop as part of Prince Albert’s inaugural Prince Albert Art Festival (PArt) on the 29th and 30th September 2012 at a cost of R950.

For further information and booking please contact Brent

The South African

Print Gallery is proud to present:

Judy Woodborne 01 September - 27 September 2012 The Tarot Card Portfolio is a series of etchings by Judy Woodborne illustrating the 22 cards of the Marjor Arcana of the Tarot. This collection of images presents a unique and personal interpretation of the traditional cards, and is the result of a four year collaboration between Tarot reader, Joanne Jardine and the artist. The etchings are limited to an edition of 30, with the first 10 prints collected in a portfolio

The South African Print Gallery: 109 Sir Lowry Road, Woodstock, Cape Town. Home of South African Fine Art Prints


There are a small group of art dealers in South Africa who have a secret As with all dealers catering to a niche market there is always the challenge of how to get exposure to the right market where a dealer has the opportunity to meet, get to know and build a relationship with clients who are of the right calibre for him. A successful art dealer needs to have the professional expertise to understand the artistic needs of his clients, and match that with quality works that will complement their collections. So how does one do this? Well three South African dealers have found a way that is working for them. In a market where expert knowledge and a reputation of honesty and credibility are key, they have successfully found an opportunity to endorse these positive attributes of theirs and gain exposure to the right market. Jeremy Du Mughn of Jeremy Stephen Antiques, Johans Borman of Johans Borman Fine Art and Alan Uria of The White House Gallery are all members of the South African Antique Dealers Association (SAADA). This allows them the privilege of being able to exhibit at each of SAADA’s two annual fairs, the first in Cape Town in February and the second in Johannesburg in October each year. SAADA is a particularly prestigious association that is 48 years old and has as its members the top antique dealers in the country. SAADA’s standards are continually maintained ensuring that both the standard of stock of its dealers and the integrity of both its members and itself always remain extremely high. A fair like the SAADA fair is ideal for a dealer like Jeremy Du Mughn of Jeremy Stephen Antiques as he not only deals in art, but also in glass and in 20th century design furniture. Jeremy says that this fair gives a more holistic picture to his customers than a specialist art fair. “I find that my customers like to see a combination of items that they enjoy collecting and having in their homes” says Jeremy. SAADA Fairs always showcase a selection of collectable items of the highest quality of what has come onto the market at

Pemba, George - ‘Girl with firewood’


the time. At the fair in October at the Wanderers club Jeremy will be exhibiting an early Alexis Preller painting showing a luba figure on a magical blue background. The painting is full of symbolism typical of Preller’s works. Johans Borman agrees with Jeremy adding “SAADA represents the cream of antique experts today and as such attracts the top collectors and buyers who know that they are dealing with knowledgeable and reputable dealers who are offering items that are authentic and of the highest quality. To participate at a SAADA fair means that the members collectively offer collectors and buyers an opportunity to view high grade antiques and works of art under one roof. It is therefore the ideal event to offer unique and interesting top quality works because one is dealing with an informed audience.” Johans Borman will primarily be showing modern works of art by the S.A. masters, which will be juxtaposed by relevant contemporary works in order to focus on social developments and progress reflected on by artists over the past 100 years. Another art dealer who has successfully been exhibiting at the SAADA fair is Alan Uria from The White House Gallery. “We have been exhibiting at the SAADA fair in Johannesburg for seven years now” says Alan, “I love the intimacy and exclusivity that you feel at the SAADA fair” Alan says that he always finds the calibre of the SAADA client high and always manages to forge new relationships. “Besides…” adds Alan “I always find it rewarding and fun to be a part of!” Alan travels extensively internationally to select pieces for both his gallery and the fair and will this year again showcase paintings, prints and lithographs by artists such as Kentridge, Catherine and Chagall. The S.A. Antique Dealers Association’s 48th annual fair will be held from the 26th to the 28th October 2012 at the Wanderers Club 21 North road Illovo from 10am to 6pm daily. For more information visit or call 011 880 0815. The gala opening is held on Thursday 25th October by invitation only.

Marc Chagall, William Kentridge- Radio, Alexis Preller

SA ART TIMES. September 2012


Joburg Fringe: A Joburg Art Fair sideshow

5 to 9 September 2012 Braamfontein The Joburg Fringe running in sync with the Joburg Art Fair will give art lovers the chance to see some extraordinary, less commercial and emerging work; pieces that might push boundaries not risked on the Art Fair’s more formal programme. Last year all our sideshow action unfolded in the Blackburn Building ground floor garage on Melle Street; this year we change our venue but remain loyally located in Braamfontein, we open one day ahead of the Joburg Art Fair on the 5th of September. Joburg Fringe 2012 is generously supported by The Goethe Institut – and courtesy of the Goethe Institut and the Joburg Art Fair we have a stand on the main show !The submitted work has been considered by our jury comprising: Anthea Buys, Alexandra Dodd, Joseph Gaylard Khwezi Gule and David Koloane. In 2008 Fouad Asfour, Sharlene Khan and Claudia Shneider, wondering if and where the fringe of the new-to-be JoburgArtFair was happening; staged Esikhaleni - Spacial Practices in collaboration with the Dead Revolutionaries Club and the Afrika Culture Centre. They presented a curated show featuring fearless exhibitionists from the vanguard of the South African collective art scene: Blank Projects, Spaza Art Gallery, Outlet Gallery, Worldart, Gugulective and The Bag Factory. Individual artists included Johan Thom, Sharlene Khan, Claudia Shneider, Senzo Nhlapo, Bev Price and Jonathan Garnham. Blank Projects commissioned a manic fresh road video piece filmed by Jeremy Puren and Daniel Naude – The Movie, en route to the fringe. Reflecting the zeitgeist of 2009, the Joburg Fringe retreated to a one-personshow hosted by Right on the Rim Project Saloon and courtesy of Jonathan Liebmann in the raw building site of Arts on Main. Staging a pre-exhibition fringe event Claudia Shneider built the Living and Dying in Africa dead elephant sculpture from global shoppers. Little reviewed by the main stream art press, its memory lives on in the minds of those lucky enough to have experienced its brief existence next to the first floor deceased lift shaft at Arts on Main. In 2010, Joburg Fringe presented a two-team line-up of local and visiting video artists. Curatorial intervention was kept to a minimum. Participants were given no set themes to follow and no time limits were imposed. The works provided diverse viewings of what was out there; eye candy, serious short narratives, lyrical non-performances and a local classical gem The Fridge ca1989 directed by Robert Weinek . The list of venues reflected the growth of the Joburg Fringe. It included The Bioscope, Canteen at Arts on Main, The Bag Factory, Mofolo Art SA ART TIMES. September 2012

Centre in Soweto, Sports Bar at The Troyeville Hotel, Anglo Gold Ashanti and Maraschinos in Sandton. 2011 Joburg Fringe was subscribed to beyond expectations, necessitating a jury comprising: Khwezi Gule, Matthew Krouse, Kagiso Pat Mautloa, and Claudia Shneider. . So much happened that Spring – at the Blackburn Building ground floor parking garage (sponsored by South Point) Joburg fringe took charge, transformed the space (mini story in itself) and performed beautifully alongside The Neighbour Goods Market debut (fresh from The Bisucit Mill in Woodstock) next door , and Pride’s Side Dish debut in Braamfontein. Historical context To formally participate in art fairs, galleries are required to cough up loads of bucks. Participating to make money from sales and showcase their latest discoveries, they are naturally inclined to show works capable, in the main, of generating serious commercial incomes. Not so for a fringe event, which can strut its stuff on a floor space that costs a fraction of the Fair’s real estate. It is mainly underexposed artists – relishing the possibilities for exposure – who use the Fringe platform. But established and well-known contributors often join fringe events to participate in an alternative platform with fresh talent and boost their street cred. Fringes and fringers are by nature opportunistic, feeding off the buzz that is generated by the staging of an art fair, busking for the audience who pitched up for the main event. The stage is set, the public is in an art-hungry frame of mind and the international buyers are in town looking for good work – and, of course, looking to the fringe for little-before-seen artworks and ideas. Globally, fringes have gained a special place. What would the Edinburgh Festival be without its fringe? In fact, these days, what respectable art fair doesn’t have its fringe? With time, art fairs are linked to their fringes; Art Basel (Liste, Volta4 and Scope), Art Cologne (Rheinschau, Tease Art), Art Basel Miami Beach (Nada, Pulse, Scope, to name but three of 23+ accompanying fairs!) and Art Forum, Berlin (Kunstsalon, Berliner Liste, Preview). Locally, the Grahamstown Arts Festival and her gorgeous fringe draw the crowds with a double-bill performance. 43

Latest Public Art Project: Marco Cianfanelli’s

Nelson Mandela Capture Site

The site being leveled and cleared of grass.

A side view of two sample columns at the manufacturer.

The focal point where the image comes into view will be about 30m from the base of the sculpture. The total length of the art work will be around 50m long and 10.5m high.Pouring the concrete base for the sculpture columns.The face plates being laid out before being welded to the support columns.

Spray painting the mild steel columns with a black etch primer. After two years the etch primer will fade and the columns will turn to a deep rust color. 15 columns are up and you can start to see the back of the head.

Side view of the sculpture at night. The sculpture only comes into focus when you stand 35m from the sculpture base.

AMAFA / Heritage KwaZulu Natal, the uMngeni Municipality and The Department of Co-operative Governance and Traditional Affairs have commissioned a large scale sculpture by Marco Cianfanelli and Culture Mechanics to commemorate the 50 year anniversary of the arresst of Nelson Mandela which happened at the site on the 5th of August 1962. Brendan Copestake project managed the sculpture fabrication and installation as well as the building works. Photo by Jonathan Burton. The sculpture is comprised of 50 columns that are placed onto a concrete base. From a standing position of 35m from the sculpture, the columns come into focus and the image of Nelson Mandela can be seen.The sculpture was unveiled by President Jacob Zuma on the 4th of August 2012. Directions -29° 28′ 6.07″, +30° 10′ 15.70″ Take the N3 highway to Durban / Johannesburg. Outside of Howick, take the Howick Midmar Dam turnoff and follow the R103 to Lions River. The sculpture is 5 min from the N3 turnoff and is well signposted.

Close up of the column.

Marco Cianfanelli, the artist, inspecting a 6.5m high sample column. The start of the earth excavation

The face plates being welded to the support column. Completed support columns waiting to be cleaned and then painted. Lifting the columns into place. Each column weighs between 400 kg and 700 kg. The truck arriving with 20 of the columns loaded. The columns starting to go up.

Marco and Jurie measuring out the exact focal point of the sculpture.You can start to see the face coming into view. Jurie van der Westhuizen from Estee Automation, fabricated the steel. Standing in the sculpture forest. Sunset through the columns.

Marco Cianfanelli, Jurie van der Westhuizen and Christopher Till discussing the sculpture details. President Jacob Zuma is seen with KwaZulu-Natal premier Zweli Mkhize , provincial Speaker Peggy Nkonyeni and Mandla Mandela, grandson of former president Nelson Mandela at the unveiling of the sculpture. (Sapa)


The South African Society of Artists Celebrates 110 years of existence

Exhibitions, the Annual – which is a judged exhibition – and the Merit. Over 470 works were submitted by the members at this year’s Annual Selection Day in August, of which over 220 were selected for inclusion by judges drawn from academic institutions and who’s-who in the art world. Scoring by the three judges is done through a computerised system which delivers fast and accurate results. This year’s judges all agreed that this is the fairest method of judging and one where each work gets an equal chance. The Merit, held early in the following year, is an exhibition to which the top scoring artists selected for the Annual are each invited to exhibit several new paintings.

On 26 September 1902 a notice appeared in the Cape Times inviting those interested in the formation of the proposed South African Society of Artists to a meeting at 16h30 that afternoon at Kamp’s Café, Plein Street, Cape Town. The goal of the newly formed Society was “the encouragement of art and artists.” This still holds true; the Constitution states: “The objectives of the Society shall be the advancement, encouragement and promotion in South Africa of the representational and abstract graphic arts, especially drawing and painting, and also sculpture.” 110 years later, a number of people highly esteemed in the art world have commented on the services and standing of the Society. Some of these comments are: From Hayden Proud, Curator of Historical Paintings and Sculpture, Iziko Museums of Cape Town: “After 110 years the South African Society of Artists (SASA) can look back over a varied and proud history. At its inception in 1902 it promised to offer a “helping hand” to all artists in the subcontinent. May the SASA flourish in the years ahead and always strive to live up to these aims.” From Andrew Lamprecht, Senior Lecturer, Michaelis School of Fine Art, UCT: “I am always amazed at the energy, vivaciousness and passion that SASA and its members exude whenever I have anything to do with the organisation. It really is a group that is unified by a common interest and it is impossible not be drawn into the moment with them and give over to that blissful pleasure of making, looking at and loving art.” From Derric van Rensburg, internationally acclaimed artist: “SASA encompasses the totality of the human being, mind, body and spirit. Ideas, emotions, the natural and supernatural come into play as paint is applied to canvas or paper creating the “language of art”. Through this language two ideals are forged - one of living in the now and of course the legacy that is left behind for the future! It is an absolute pleasure to be involved with SASA in realizing these ideals” It has been a long journey since then, but today, the South African Society of Artists (SASA) remains one of the longest standing organisations of its kind in South Africa. SASA nurtures a sense of community among practicing artists and is growing from strength to strength with nearly 500 members spread country-wide. Among its early members were artists such as Maggie Laubser, Hugo Naude, JH Pierneef and Ruth Prowse. Another was Professor Edward Roworth, whose daughter, Ivanonia, has been a member for 76 years and still takes part in the Society’s exhibitions. Current Patrons are Alice Goldin, Conrad Theys and Sam Nhlengethwa, and SASA is delighted that Sam Nhlengethwa has confirmed that he will travel to Cape Town to open its 106th Annual Exhibition on 1st October this year. Four major exhibitions per year are now held; two unselected Members’ 46

SASA’s first exhibitions were held in the Drill Hall in Darling Street, where over 450 paintings were shown, mounted on lengths of cloth. Many of its members were well-known professional artists who kept studios in Burg, St George’s and Long Streets. In its early years the Society had its own premises in Burg Street. SASA has come a long way since then, and today we are privileged to use the excellent facilities at the Sanlam Hall at Kirstenbosch Gardens for exhibitions which attract many regular buyers and collectors as well as overseas tourists. SASA organises many varying activities for its members; plein-air outings are arranged during the summer at scenic Cape spots and life drawing sessions are held during the winter months. One-day workshops are held with instruction by well-known artists such as Dale Elliott, Gavin Collins, Wallace Hulley and Derric van Rensburg. Three further in-house competitions are held during the year: “Landscape, Life and Still Life”, “Drawing,” and at the end of the year, the “Eleanor Palmer Trophy” painting competition. Many highly experienced art teachers in all mediums are members. Although the Society is based in Cape Town, members living elsewhere take part in its exhibitions by sending their works by courier. Monthly meetings, held in the evenings on the last Thursday of the month, bustle with members, friends and guests who attend the demonstrations and art-related talks at the Athenaeum in Newlands. Recent speakers and demonstrators have been Hayden Proud, Andrew Lamprecht, Louis Jansen van Vuuren and Derric van Rensburg. Local members are encouraged to use the well-stocked library, which holds over 500 books, local and overseas art magazines and DVD’s. Many new plans are in the pipe-line for 2013, one of which is a one day Art Fair, where members will be able to display and sell their works; another is computerising the library system. Also planned are demonstrations of various art materials showing the ever-expanding product ranges possible for experimentation in artistic creation. The Society’s Outreach programme seeks to support and encourage artists who need and deserve assistance. It provides an annual prize to a graduating student from the UCT Michaelis School of Fine Art and has recently donated to the “Sometimes Children” project run by the Frank Joubert Art Centre. SASA also sponsors membership to deserving artists who will benefit from its extensive activities, as “Helping Tomorrow’s Artists” is its Outreach motto. In November 2011 SASA organised a children’s poster competition and exhibition involving 3 schools, where the children were supplied with donated paper and art materials. This exhibition was held at the Central Library in Cape Town and was officially opened by Councillor Beverley Cortje-Alcock, Mayoral Committee member of Social and Early Childhood Development. People join SASA for various reasons, some simply want an outlet to sell their work, others join to meet other artists, or to enjoy the monthly talks, demonstrations and outings. Eunice Geustyn, Executive Head of the Ruth Prowse School of Art and one of the Judges at our recent Selection, says: “I really enjoyed the diversity of work and it is always wonderful for me to see that people are exploring their creativity, developing, growing, perfecting their skills as artists and adding to our cultural capital.” To join SASA on-line or for more information please visit the website: Alternatively email the Secretary: or telephone (021) 671 8941. SA ART TIMES. September 2012

Above: Over 470 works submitted by SASA members at the 2012 Annual Selection Day. Middle: Tough decisions 2012 Judges include: Natalie Hirschman, Eunice Geustyn and Gabriel Clark-Brown. 2011 Judge Andrew Lambrecht at a critique session of members work.

The South African Society of Artists ‘Best of’ award paintings at the 2012 Annual Selection along with a quote by the artists of how they feel about their win Awarded “Best of” Acrylics ‘Sunbird & Hibiscus’ by Elva Palombo “Painting is what I do and who I am, winning this prize is just the icing on the cake”

Awarded “Best of” Oil ‘3 Beauties ‘ by Lynn Northam “I was thrilled when it won ‘Best Oil’ , being acknowledged for my oils at this level is a huge honour”

Awarded “Best of” Watercolour” ‘The Secret’ by Marion Langton “To me winning this award means that I feel I have come to understand that perhaps my work can hold its own against fierce competition” Awarded “Best of” Pastels ‘Dry Cleaned’ by Veronica Reid “Really thrilled about my painting being chosen when there are so many good artists exhibiting”

Awarded “Best of” Drawing ‘Danny the Flower Seller’ by Cathy McShannon “It feels great to have the hard work rewarded, I am still smiling!” Awarded “Best of “ Sculpture ‘Vulnerable’ by Chris Sharpe “I am a new member and was very thrilled to have won the Best Sculpture award for my figurative work”

Awarded “Best of” Print Media ‘The Avenue’ by Marilyn Southey “All I can say is that I feel deeply honoured to receive an award from a Society with so many brilliant artists among its members!” Awarded “Best of” Mixed Media ‘Ville de Paris’ by Margie Johnson “It’s a great feeling that now and then, someone who teaches, can!!”

Wedgewood Drawing by Adele Galgut

Boesman’s Gif. Oil by Phyllida Louw

Sunny Street, Radda, Tuscany Oil by Bill Brown

The South African Society of Artists Presents an Exhibition of their Members’ Work for 2012

The 106th Annual Exhibition will be held at the Sanlam Hall at the Kirstenbosch Botanical Gardens from 1 - 11 October 2012

This is an exhibition of work that has been selected by an elite panel of judges

• Natalie Hirschman – Renowned Artist and Art Teacher • Eunice Geustyn – Executive Head of the Ruth Prowse School of Art • Gabriel Clark-Brown – Editor and Publisher of SA Art Times The exhibition will be opened by Internationally Acclaimed Contemporary Artist

Sam Nhlengethwa The exhibition is open to all and we invite you to come along and view our members’ work. The exhibition will be open daily from 1 – 11 October, from 09h30 – 17h30.


Life is a buzz at SASA: (Top) Plein-Air painting outing on the slopes of Constantia (Right) Past Presidents of SASA Middle: Derric van Rensburg opening speaker for the Merit Exhibition 2012. Louis Janson van Vuuren demonstrating his pastels to SASA members. Dale Elliott giving his acrylic instruction at his workshop for SASA members. Gavin Collins give demo classes demonstrating his oil painting at a SASA monthly members meeting Below: Guests enjoy the display of paintings at SASA’s Members ‘1’ Exhibition. (Right) Acclaimed artist Paul Richard Smith opening SASA’s Members ‘1’ Exhibition.



Fred Scott Wilhelm van Rensburg :

have acquired DVD’s of all Tarkovski’s films over the years” says Scott.

“The Jan Wiegers landscape painting looks rather like an Ernst Ludwig Kirchner work”, don’t you think?” asks Fred Scott Managing Director at Stephan Welz and Co (Pty) Ltd. “My father Dr F.P. Scott acquired it when he was a medical student in Groningen, in the Netherlands. Wiegers, a Dutch expressionist artist, I later found out, suffered from tuberculosis and met Kirchner in a Swiss sanatorium. He happened to be Kirchner’s first student. Many years later I came across a reference to Wiegers in Kirchner’s collected letters.” This account typifies Fred Scott - the indefatigable researcher’s - approach to art. Carefully, over long periods of time, he eventually makes sense of all the visual data he has obtained throughout his interesting life. For many years, to cite another example, Scott thought the Else Berg work, which his brother Professor Louis Scott inherited from his father, was a self-portrait, but drawings shown at a recent retrospective of the artist in Amsterdam (2012), revealed that it was a portrait of a friend. An image of the Berg painting is included in a sumptuous catalogue on her work as well as that of her partner Mommie Schwarz. His father rented a room from an artist in Groningen who instilled a lifelong appreciation of the arts in the young medical doctor, who eagerly started collecting modern Dutch art and works on paper. Scott’s mother’s side can claim equally illustrious appreciation of the arts. Her father was a friend of Belgian impressionist artist, James Ensor. Scott is the proud owner of an important Ensor etching, The Seven Deadly Sins. Scott grew up in Bloemfontein, surrounded by art and by artists. The Scott family quickly became leading art patrons, establishing what can today be called an art salon, engaging with South African artists like Walter Battiss, Maurice van Essche, Cecil Skotnes as well as with members of the Bloemfontein Group to mention a few. Work of these artists as well as a selection of the Rorke’s Drift artists take prime position in Fred Scott’s home today, where they are displayed two, three or four layers deep on every conceivable wall space. His father wrote the definitive biography of Gregoire Boonzaier in 1964. The sculptor, Gerard de Leeuw was a close family friend. Fred Scott still has a photograph of himself as a four-year old boy, posing next to one of De Leeuw’s famous bronzes, a larger than life pelican that was later stolen from outside the offices of the Receiver of Revenue in Johannesburg. As a teenager Scott never imagined he would be an art collector one day:”I thought collecting art was what one’s parents did!” he laughs. He still recalls purchasing his very first art work, an etching by Patrick Proctor, from a gallery in Cape Town.

Back in South Africa, Scott took up a Chemistry lecturing and research position at the University of Fort Hare in Alice. Through his passion for art, he familiarized himself with the pioneering research on African art by EJ de Jager who had published Contemporary African Art in South Africa in 1973 and who was engaged in research for his second book Images of Man: Contemporary South African Black Art and Artists which was published in 1992. It was at the same time when Scott first encountered the work of Dan Rakgoathe, an artist whose work he admired and only managed to add to his private collection many years later. He also familiarized himself with the work of the Grahamstown Group as well as artists of the Eastern Cape. But the artist to whom he felt most drawn was certainly Fred Page from Port Elizabeth, whose work abounds in the Scott household today.

Scott initially chose a career in the sciences, and quickly obtained a scholarship to do Chemistry research in Paris at the University of Pierre and Marie Curie during 1977. This was followed by a further sojourn in Belgium and he returned to South Africa in 1980. The young art lover and collector could not have chosen a better environment to develop his eye! Museums at that stage granted free admission on Sundays, and Scott frequented the Louvre and the Palais de Tokoyo during weekends. ‘It was, alas, long before the D’Orsay museum opened. But the best, most vibrant contemporary art space was the Centre Pompidou, a controversial architectural structure since the onset of its construction. Many Parisians referred to it as ‘Scandaleuse ! ‘ One of the most remarkable exhibitions I saw there was the major retrospective of Salvador Dali; humorously Dali’s uttered in the press at the time: ‘Now the scandal is complete!’. He also recalls attending a series of memorable exhibitions tracing the art movements and relationship between Parisian- and other major artists and art centres in the world from 1900 to1957, namely: Paris - New York, Paris - Moscow, Paris - Berlin and Paris - Paris. In Paris he eagerly collected works on paper by artists such as Braam van Velde, Ossip Zadkine and Pierre Alechinsky, a member of the CoBrA group. Works by Corneille, Appel and Lucebert, other famous CoBrA members, were added later to his collection. “Another favourite pastime in Europe was to view films, the most memorable certainly the Tarkovski film, Andrei Rublev, which was part of a Russian Film Festival in Paris and a first screening in the West of this Russian film director’s work. Although the film was in Russian, without subtitles, I understood it completely because of the incredibly strong visual iconography used by Tarkovski. I 52

In Johannesburg, where Scott moved to in 1983, he took up a Chemistry lecturing position at the then Rand Afrikaans University (RAU). His interest in the arts flourished in the city. He befriended many prominent young artists and avidly collected their work; Norman Catherine, Wayne Barker, Conrad Botes and Karl Gietl. While at RAU, he was granted Sabbatical leave during 1988. A prestigious Max Planck Fellowship determined Germany as his destination where he settled in the vicinity of Düsseldorf. “One of the highlight in terms of art was certainly a major exhibition of the work of Joseph Beuys. Comparing the art of these two worlds, I would say that Johannesburg art was more figurative at the time, as opposed to the more abstract, conceptual European art with which I was very familiar” Scott reflects that besides the South African Masters, it is the elusive artists that introduce novelty in their work which interests him, as well as the half forgotten ones, he confesses, for example, Allerley Glossop who came from the UK to South Africa in 1900. Says Scott: “Nita Spilhaus relates the story in her unpublished memoirs of how she, upon coming to South Africa, asked her uncle who the garrulous woman driving through the streets of Cape Town on the ox-wagon was, only to be told: ‘There goes the best South African woman artist!’. Now there’s the seed of a next retrospective!” When Scott left RAU he worked in the Chemical Industry. He completed commerce training and was inadvertently exposed to the intricacies of economics, business and intellectual property management. These experiences are now standing him in good stead in his new position at Stephan Welz and Co (Pty) Ltd. ”I was one of their regular clients; it was like a home coming. Stephan Welz and Co (Pty) Ltd is synonymous with fine art auctioneering in South Africa and we have the best known brand in the industry.” Scott was quick to initiate further projects as part of Stephan Welz and Co’s educational programmes. Their first lecture on the sculptor Anton van Wouw was followed by evening talks on Irma Stern, Contemporary Art, as well as a discussion on the market value of art work on paper. The most recent event was a very successful bronze sculpture exhibition on the company’s premises. Scott is astutely aware of movements in the art market: “The art market is no different from the stock market: it is in constant flux and it is cyclical. Predictions are certainly towards an upswing. During the 2012, 25th anniversary of the European Fine Art and Antiques Fair (TEFAF), the annual event in Maastricht, a symposium aimed at determining the difference between collecting for passion and collecting as investment, pointed out that the art market is the only market that will never go bankrupt as art always has currency value.” Thus, one can invest confidently in art, a maxim which Scott embraces. Few people know that Fred Scott is an accomplished curator. To date he can count six major retrospective and other exhibitions to his name: Modern and Contemporary Art: Then, Now and Beyond, Polokwane, 2008; Braam Kruger 1950-2008 the retrospective in 2009; White City, an exhibition of the work of Samson Mnisi in 2010; The Eleven Football and Art – South Africa 2010 - Brazil 2014, in 2010; Celebrating 20 Women Artists in 2011; and the most recent, Gerard de Leeuw 1912 – 1985: A Centenary Exhibition of sculptures, which is currently on show at the Sanlam Art Gallery in Bellville, Cape Town. SA ART TIMES. September 2012


Art Galleries Go Big

Gallery system is structurally weak First Published in The Art Newspaper Gallery visits are declining with the rise of art fairs, according to Cinoa’s report. A new report by the non-profit dealers’ federation Cinoa finds that fair-led and online business is taking over as the main source of revenue By Charlotte Burns. BRUSSELS. The traditional gallery model is in decline, according to a new report by the non-profit dealers’ federation Cinoa (Con­féd­ération Internationale des Négociants en Oeuvres d’Art), which found that fair-led and online business is taking over as the main source of revenue. Gallery visits are declining as the art market expands to new international centres served better by art fairs or electronic media. “We do much more business at the fairs than at the gallery—no question,” said Dominique Lévy, the co-director of L&M gallery. András Szántó, consultant and contributing editor to The Art Newspaper, said: “The fairs have done very well in exploiting a structural weakness of the gallery system—it is inchoate and based on local markets.” With the withdrawal of those markets during the downturn “the overall weight has shifted to clients who don’t live where you work—so you service them through art fairs,” said dealer David Zwirner. According to a recent report from Capgemini, the Asia-Pacific region has overtaken the west in terms of the number of individuals with investable assets worth $1m or more. It is no coincidence that the Hong Kong art fair, Art HK, in which Art Basel bought a 60% stake in May, attracted such a stellar line-up of western dealers this year. The growth of fairs brings with it huge pressures for dealers to fund travel, staff fairs and find enough material. Whether the traditional gallery model can sustain all this outreach remains to be seen. Some think not. “It is more convenient and inspiring to work in a more unconventional format, having an office and platform, and doing temporary projects and pop-up shows,” said Berlin dealer Matthias Arndt, when he announced earlier this year that his gallery would now open only sporadically for shows. “We are in a major systemic shift,” said Szántó. “The expansion of the auction business and art fairs is adding a whole layer above the gallery system as it evolved in the 20th century.” A handful of galleries, including Gagosian, Hauser & Wirth and David Zwirner “have pulled away from the pack, but the question is, where does that leave the regular rank and file gallery?” he added. Dominique Lévy is sanguine. “The proliferation of fairs is ridiculous. They will strangle each other in the end,” she said. She suggested that the old-fashioned benefits of a gallery may, in fact, be key to their survival. “The secret is to inform new buyers of all the options—and galleries offer a special service, whether it’s taking care of shipping, hanging works, advis­ing on exhibition loans, refram­ing or insurance. Collectors will realise [this],” she said, but added that it “may be later [rather] than sooner”. Several web-based ventures, including the VIP art fair, and Paddle8, have recently emerged. However, dealers remain to be convinced that online business will work for expensive art. “There’s a lot of potential for cheaper works…but nobody is going to spend a huge amount on a work without seeing it,” said the New York-based, secondary market specialist Christophe Van de Weghe. “The comfy price limit is $100,000,” confirmed Alexander Gilkes, the co-founder of Paddle8. 54

First Published in The Art Newspaper Art galleries are getting huge. This campaign season, the talk across America is about tightened belts and reduced expectations. The art world hasn’t heard it. New York’s biggest galleries are about to get bigger, and some smaller players are expanding as well. “We’re doing well as a gallery, and the ambitious new space reflects that,” says Maureen Bray, a director of the Sean Kelly Gallery. She’s barely audible above construction being done on an arena-size space due to open late in October. The gallery is moving up from 6,500 square feet in the neighborhood called Chelsea, home of the world’s biggest art souk, to almost four times that floor space farther uptown. The 21-year-old business is known for showing avant-gardists such as Marina Abramovic (lots of nude bodies) and Joseph Kosuth (neon writing as art), but has recently added market favorites such as Kehinde Wiley, court painter to the lords of hip-hop. Sean Kelly says that “instead of feeling the pinch in the recession—and I almost feel guilty for saying this—the high end of the market has been inured ... We’re in a unique kind of insulated bubble.” The “über-wealthy,” he says, have more money than ever and have a vastly enhanced interest in art—as do Americans of all classes. “There’s this incredible hunger for understanding our culture visually, and we’re the happy recipients of it.” Kelly insists that furthering such understanding is the true reason for his expansion. “I do not want to be Larry Gagosian light, like several of my colleagues do,” he says. “It’s about quality issues—I want to make the best shows.” Art-world giants are also growing. David Zwirner’s gallery already fills most of a block, but he’s adding a new five-story building—plus a vast new venue in London. Hauser & Wirth, one of the European market’s most important forces, with galleries in Zurich and London, is adding 23,000 square feet in Chelsea. Even the 52-year-old Pace Gallery continues to grow, adding a new Chelsea space to its three other New York locations. New York is still the center of the global art market, but with so much competition dealers are looking elsewhere; Pace expanded to Beijing in 2008 and is opening a second gallery in London this October. Architectural rendering of Sean Kelly Gallery at 475 10th Avenue, Main Gallery (© Toshiko Mori Architect, 2012 Courtesy: Sean Kelly, New York) Marc Glimcher, president of Pace, explains that galleries are now judged by how many notable artists they represent, and as the rosters grow, the spaces must too. Expansion, he says, seems to be the art world’s main business strategy— and every dealer mocks his colleagues for embracing it when the bubble could burst any time. “Are we completely insane? Absolutely not—says the lemming to the cliff. I think it’s the blaze-of-glory thing. SA ART TIMES. September 2012


Twelve Art World Habits to Ditch in 2012 Mat GleasonArt Critic, ‘Coagula Art Journal’ It is 2012, but in the art world it is often still 1966. Some of the “traditions” underlying the business side of the gallery and museum world date back decades. Don’t let ‘em fool you that they are hip. The art world is a bunch of stubborn ninnies who learn to do things one way and insist that things never be done a different way. Everyone has great career advice for you that is current for 1979, or 1985 or 1994, whatever year they broke into the art world -- that is the master plan they insist everyone must follow; they assert you will not succeed unless you, too, do things like they did back then. Understand two things: The art world doesn’t replace its dinosaurs, it gives them retrospectives, and two, the first caveman who left the cave was the first performance artist and nobody has topped him since. Here are 12 things about the art world that need to disappear for good.

of course, if your piece did not sell, don’t expect the non-art non-profit hacks to know how to handle and return it to you.

Consignment Painter Mark Kostabi’s slogan sums it up “Ending Lending is Beginning Winning”. Artists have traditionally consigned artwork to galleries. When the artwork sells, the gallery and the artist splits the sale 50/50. When the work does not sell, the artist gets the art back. This is the way the game is played and it is ludicrous. In this scenario, the artist literally loans the gallery collateral at no risk to the gallery and with no interest on the loan. An alternate way of doing things might be to imitate, oh I dunno, how about... the way every other business on earth operates: The gallery should just buy the art from the artist. How hard is that? If the gallery cannot afford it, either they should find an artist who will sell them work for what they can afford or they should get out of the gallery business, which they are not in if they cannot afford to purchase inventory. Of course, this works in the benefit of the gallery too -- you can mark up the work 200 percent if you like. Buy 10 paintings for $100 each. Sell them for 20 grand each.

Diploma Mills Tens of thousands of dollars of student loan debt used to at least get you a diploma that led to a decent job. Those jobs are gone now. Long gone. They are not coming back. No matter how prestigious the school and how fantastic the program, MFA art programs are just a summer camp experience with pretense and attitude. The art they produce is not demonstrably better than art produced outside of academic dialogues. Many people enjoy MFA programs. Cut-throat capitalist bankers at student loan portfolio departments love them more than any student or faculty member would ever realize, until it is too late...

Academic Curators The realm of the visual is inherently non-verbal. Academia is a lecture-based system of auditory and linguistic learning. Pretty much the polar opposite of art. And yet here come the pinheads with their Ph.D. theses (rhymes with feces) getting every damn thing wrong about the art and making sure none of their presentation is enjoyable nor accessible to people outside their peer group. Their ruse is the implication that art is intellectual. Art is sensual. Academics are not. Sleep with a few (your grad school professor is almost always willing) and tell me I am wrong. Marketers Who gets paid first in the art world these days? Promotional idiots with tired gimmicks and antiquated postcard mailing lists. The marketers are taking the cream off the top of the art world latte. Marketers are people who know nothing abut the creative process and feel happier watching an episode of Friends than they do looking at new and exciting work or having an interesting gallery space experience. Art is the antidote to culture, not another client of the machine. Paid Writers Think about it. A painter struggles in his or her studio with a stack of canvasses, tubes of oil paints and nothing but time. It is a romantic vision we can all accept. It is also pretty much the only way that great painting takes place. But ask an art writer to write about your art and they want $3 a word. Where is the romance and pursuit of pure artistic vision for the writer? Suddenly the slob at your opening is quoting prices like your 401K advisor. Writers have become sharks because, like the academics, people who are good with words either manipulate you with them or exclude you from the discussion. Verbosity is often used as a weapon to seize power in the arts, populated as they are by visual learners and masters of non-verbal expression. Beware of the writer whose desk has blank invoices in the drawer. Charity Auctions I ranted about this on the Huffington Post last year. Bottom line is the price your art goes for at a charity event is the golden “what the market will bear” amount. Do you want the world to know that in a roomful of millionaires eager to support a good cause your donated painting could not get a minimum bid of $50? And SA ART TIMES. September 2012

China I can make a lousy painting today of George Bush performing a sexual act with Barack Obama. Nobody is going to like it or buy it but nobody is going to knock on my door tonight and take me away for painting it. Call me when you have two billionaire army general art collectors bid up the price on your painting of Hu Jintao having a threesome with Confucius and Mao Tse Tung. Until then, you can let a thousand sub-par Thomas Kinkades bloom -- it is the only way to stay out of jail.

Rules There are too many of them. You do whatever you want. You can even be so great that you actually achieve a complete and total failure. Then you can make art. But you never have to follow any of the rules and anyone who says you do... well he or she just hasn’t failed enough to realize this. Experts Art is subjective. There inherently cannot be experts. Series Artists are told to work in series. It is one way of doing things. To posit that it is the only way or the best way is as dumb as saying every painting should be 40 percent earth tones. Huh? Yeah, that dumb. Reading Graffiti Art Street art is the best abstract painting of the past 60 years. Rationalizing one wall as somehow better because of individual authorship (instead of innovative composition) misses the whole point. Let’s not take the people’s medium against the power of property and make it into another celebrity manufacturing game. Enjoy abstract vandalism at its most beautiful without obsessing over who authored the specific letters on the wall. And what is closer to the bottom of the barrel: Street art gallerists, street art curators or street art academics? On what sad date did aerosol spray paint become synonymous with cotton candy? Artists As Their Own Manager You gotta do this, and you gotta do that, and most of all you have to buy the art advice book on how you can make it on your own as an artist by doing all of this stuff on your own. Advice is now an industry. Just make the art and sell it for whatever it takes to get it out of the studio and make more. Don’t buy the book. It is probably rehashed if not flat-out plagiarized from the other books. There is no blueprint for a masterpiece and there is no blueprint for a successful art career. Like Gandhi said, “What you do will not be important but it is important that you do it.” he didn’t add “ buy the overpriced book and DVD series on how to succeed at doing that unimportant important thing.” Happy New Year to all the artists and art appreciators. Let’s hope 2012 is a masterpiece in which all can exalt the fruit of the creative process and ignore the pretense and hype. Follow Mat Gleason on Twitter: 55


The ten most expensive South African paintings sold at auction in South Africa 9 of the 10 top prices reached by Strauss & Co

Above: Irma Stern: Two Arabs, Arab and Gladioli Irma Stern, Two Arabs. 1939 Strauss & Co September 26, 2011 Irma Stern, Arab, 1939 Strauss & Co. June 11, 2012 Irma Stern, Gladioli, 1939. Strauss & Co. October 11, 2010 Irma Stern, White lilies, 1936 Strauss & Co November 01, 2010 Irma Stern, Still life of delphiniums, 1938. Strauss & Co, March 07, 2011 Jacob Hendrik Pierneef, Extensive Landscape Northern Transvaal Strauss & Co, March 07, 2011 Irma Stern, Young Arab, 1945 Stephan Welz & Co, August 16, 2011 Irma Stern, Lilies, 1944 Strauss & Co, November 01, 2010 Irma Stern, Portrait of a Woman Wearing a Pink Hijab, Strauss & Co, February 06, 2012 Irma Stern, Still life with gladioli and fruit , 1934 Strauss & Co, May 24, 2010 Read more on


21,166,000 ZAR SOUTH AFRICAN RECORD 17,267,000 13,368,000 ZAR 11,140,000 ZAR 10,583,000 ZAR 10,583,000 ZAR, WORLD RECORD 8 ,750,000 ZAR 8,355,000 ZAR 8 355 000 ZAR 7,575,200 ZAR


Everard-Haden’s star at Stephan Welz & Co Johanesburg auction

Watch out: women at work! Stern focus on women and labour at Bonhams South Africa’s leading artist, Irma Stern, is set to make waves at Bonhams again in the upcoming sale of South African Art in London. Two important early works dated 1925 – Washer Women, £200,000-300,000 and Backyard, £120,000180,000 – have recently emerged, and will be auctioned alongside a number of compelling portraits of woman.The two works from 1925 both portray the theme of work: the first is a group of women washing clothes at a stream, and the second a woman hanging laundry. Stern painted a number of images depicting labour – carrying water, harvesting fruit – but instead of creating narratives, these were rich symphonies of colour and rhythm. Both paintings were exhibited on the landmark Irma Stern Memorial Exhibition at the Grosvenor Gallery in London in 1967. The exhibition catalogue noted:“In South Africa she became accepted as the most important single artist born and active in the country. This exhibition, whilst noting that Irma Stern was a great South African and a painter of special historical importance in her own country, makes the claim that she deserves to be seen and evaluated on a wider horizon.” In October, Bonhams in London will once again present the impressive range of Stern’s career to the international art market. Other pictures on offer include works from the 1940s such as Mangbetu woman carrying fruit, 1942, £300,000-500,000, Malay Lady in Yellow, 1942, £350,000-550,000, and Young Xhosa woman, 1941, £150,000-200,000. Mangbetu woman carrying fruit is informed by the artist’s journey to the Congo in 1942, the first of three visits to the country. The piece reflects Stern at the height of her powers, demonstrating her mastery of vivid colour and lively brushwork. Previous director of the Irma Stern Museum, Neville Dubow, commented, “In the Congo [Irma Stern] found a society whose primary needs were still met to a degree by the work of the artist/craftsman; and she responded to this first-hand encounter with creative tribal functionalism with a fundamental creativity of her own. She produced a body of painting of extraordinary vigour and decorative control.” Young Xhosa woman and Malay Lady in Yellow reflect inspiration closer to home. Typically, Stern’s paintings of people from other cultures tend to focus more on cultural aspects – such as visible differences in appearance and dress – than individuals, though always with a sense of common humanity. In this portrait of a Xhosa woman, Stern devotes lavish attention to her model’s headdress (a sign of social status) and the deep orange blanket gathered in rich folds around her, setting them off against a backdrop of rolling hills of blue and green, purple and brown. Similarly, the ochre tones of the headscarf of the sitter in Malay Lady in Yellow are heightened by the bright yellow background as the scarf flows over her shoulder. As Neville Dubow asserts, in Stern’s paintings of the 1940s we witness “a peak of excellence that could stand comparison with representational paintings anywhere else in the could claim international stature for her work of the 1940s. Nationally...there was no one to touch her.” SA ART TIMES. September 2012

by Michael Coulson With not a single Irma Stern, and no major Pierneef, it was up to lesser names to make the running at Stephan Welz & Co’s art auction in Joburg this week. And while neither Keith Alexander sold, in contrast to the interest he has attracted at some recent sales, the two landscapes by the rarely seen Ruth Everard-Haden filled the bill. Both estimated at R400 000-R600 000, one went for R840 000 (the only major lot to beat the upper estimate) and the other for R538 000 (as always, reported prices are “hammer plus”, estimates just the hammer price). Overall, 75 of the 117 lots in the main evening session were sold, a respectable 74.2%. Other than the Alexanders, casualties among the top 12 estimates (low estimates starting at R250 000 and upwards) were two Maggie Laubser landscapes and a Cecil Skotnes painted panel. Other sales in this category were headed by R672 000 for Anton van Wouw’s Scout (est R500 000-R800 000), followed by R392 000 for a John Meyer New England landscape (est R250 000R350 000), R314 000 each for a Walter Battiss oil (est R300 000-R500 000) and a William Kentridge drawing (Rhino, est R250 000-R300 000) and R291 000 for a Pierneef landscape (est R250 000-R350 000). Overall, this session grossed about R6.1m, against the low estimate of just over R8.2m. Others to do well included a Thinus de Jongh landscape, at R101 000 (est R60 000-R80 000) and another Van Wouw, Slegte Nuus, at R336 000 (SA casting, est R120 000-R180 000). Boosted by a few excellent prices, a gross of just under R330 000 in the afternoon session actually topped the low estimate of about R285 000. In particular, some graphics by Dirk Meerkotter and Fred Schimmel went for well above the upper estimates. Having said that, the top price in this session was only R29 000 for one of the Schimmels, estimated at R4 000-R6 000. In all, 38 of the 57 lots sold. Overall, therefore, 113 of 175 lots (64.6%) found buyers, for a gross of R6.4m, fractionally under 75% of the low estimate of R8.5m. There were some unusual returns for individual artists. Only three of the seven Gregoire Boonzaaiers sold, and not one of the four Edward Roworths, showing how completely that artist has fallen out of favour. Conversely, all five Ted Hoefsloots and four Adelio Zeelies went (though the latter grossed less the R50 000), as less surprisingly, did all four Maurice van Essches and four of the six Pierneefs. 57

Nushin Elahi’s London Letter Read more at They said it would be a summer to remember. Even with a good dollop of cynicism, it has surpassed itself. The London 2012 Festival has meant that at every turn in the city you find yourself face to face with art, some of it awful, some of it pure sponsorship, but most of it opens your eyes to something new. The telephone boxes that have popped up everywhere may simply be a BT ad, but there’s some wonderful humour in the different takes on this iconic London landmark. The Olympic organisers couldn’t have chosen more hideous mascots, but tourists don’t seem to mind snapping away at those one-eyed monsters wherever they find them. Cross the Millennium Bridge and you see the Olympic rings hanging off Tower Bridge downstream, while the soundscape of an installation swirls around you, pure voices raised in song and bringing added intensity to an already blue sky. Tate Modern is quite the hippest place to be right now. The cavernous space of the Turbine Hall has hosted some amazing installations, from the jagged crack through the concrete floor, to an enormous black box, the giant spider, the huge slides, and the weather project. The Unilever series is now at number 13, and Tino Sehgal (until 28 Oct) makes use of the energy of the human form to create an experience that will be unique to every viewer. An ever-changing group of actors move across the space, at times running, walking with tiny steps, in lines or in random formations. One may stop to tell a passer-by a personal experience. The power of seeing these people advancing on you or flowing around you is quite compelling. The Tate Modern is set to expand hugely when its new addition is complete. In the basement of this section, The Tanks (until 28 Oct) have opened; the old oil tanks of the original Bankside building. Spatially fascinating, with the round walls of the tanks, and the cross hatching of supporting concrete, they aim to promote the cross-over of live art forms, particularly dance. A fastchanging programme makes it difficult to assess, but what I have seen there has been underwhelming to say the least. There’s a video installation of five pieces from Korean artist Sung Hwan Kim presented in a pitch dark space where one video distracts from the other, and the revival of a minimalist dance that opened the performance space didn’t have patterned shadow play of the original. Instead of being a mesmeric flow of sound and movement, it felt tedious. A few weeks later, there were psychic screenings and a talk by an artist using hypnosis to express himself. The public is flocking to the space to find out what’s happening there, and my guess is many of them leave wondering what on earth that’s all about. It’s an exciting raw space, yes, and good that the museum is trying to engage with its public about art, but the programming is a desperate attempt to be cool and catch the young crowd. In a field where so many try and don’t succeed, a museum is surely where those who have proved their worth find recognition, rather than a random selection of new artists. Not all the Olympic celebration is officially endorsed though. The Banksy protégé, street artist Mr Brainwash aka Thierry Guetta, has opened his own homage to the Olympics on the ground floor of an abandoned warehouse in the heart of the West End. Outside, The Old Sorting Office (until end Aug) assaults you with graffiti that stretches up the entire five floors: the Beatles dressed as bandits; Kate Moss’s pouting face and the Queen giving a regal twist to anarchy. Guetta rose to fame with Banksy’s Oscar-nominated film Exit through the Gift Shop, surprising fellow guerrilla artists when his very first show ever created such hype in LA that he sold works totalling a million dollars. There’s a twist in there somewhere, when anti-establishment becomes the new establishment, but as one artist in the film says, “The joke’s on… I’m not sure who the joke is on.” 58

SA ART TIMES. September 2012

Top Left: Banksy meets Van Gogh by Brainwash / Life is Beautiful - Mr Brainwash’s show / MBW’s take on Hirst’s dots / God save the people- MBW Mural.Right: Bandits on the street - The West End Old Sorting Office

Banksy rather sourly comments: “His art looks like everyone else’s” and he’s absolutely right. Guetta has no qualms about gathering any and every iconic image, chucking a paint splodge at them and signing in the corner. He’s already written himself into the history books with the sort of money he’s raking in and the audacity of his projects. Inside there are images of Mickey Mouse, Charlie Chaplin, Albert Einstein and the queen, looking like an old bag lady. We see Posh and Becks awkwardly transformed into Gainsborough’s Mr and Mrs Andrews; the dark outlines of Banksy in his film are placed against Van Gogh’s yellow bedroom; Madonna has spray-painted eyes à la Warhol, whose Campbell soup cans have been turned into spray cans; George Washington wears aviators and Bob Marley is made out of vinyl records. There seems to be nothing that Brainwash balks at making his own. My personal favourite has to be the Damian Hirst spots: who says only Hirst can get his team to paint coloured

circles? Entitled Life is Beautiful, there’s a contagious enthusiasm to the show that makes one understand why Guetta has made it big, no matter what a copyright lawyer may say. Across the river, Tate Britain looks at how photographers from around the world have interpreted this city between 1930 and 1980 in Another London (until 16 Sept). Featuring almost 150 photographers including Henri Cartier-Bresson, considered the father of photojournalism, the black and white images take one on a journey of the city from smoggy vistas and Lyons tearooms in the Thirties, through the war and a flattened city, to the back streets, alleyways and offbeat markets, taking in bowler hats, pearly kings and punks. Much more than marking the tourist spots, it is the faces that grip you, whether the bewildered face of a runaway or the cheeky arrogance of a child showing off his new jeans.

Top Right: Tanks at Tate - enticing space, Tino Sehgal at Tate Modern, Below Left: Soundscape on Millennium Bridge Olypmic mascot as a phone booth. Below: Art all over the city Left: Photographic work from Another London at Tate Britain. Art is to be found all over the city




Viewing 28 – 30 September 10h00 - 17h00 +27 21 794 6461 |

Viewing 16 - 18 November 10h00 - 17h00 +27 11 880 3125 | Walter Battiss | JUNGLE POOL (detail) | oil on canvas | 50 by 60cm | R300 000 – R500 000

The South African Sale 16 & 17 October 2012 New Bond Street, London

Jacob Hendrik Pierneef (1886-1957) A view in the Stellenbosch Valley, with Simonsberg and the Hottentots Holland beyond oil on board ÂŁ100,000 - 150,000 ZAR1.3 - 2million

+44 (0) 20 7468 8213 Catalogue +44 1666 502 200

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South African Art Times  

SA Art Times

South African Art Times  

SA Art Times