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The South African Art Times: SA’s leading visual arts publication | Dec 2012 -Jan2013 | Free | Read daily news on

Mary Sibande Standard Bank Young Artists: Visual Arts Award Winner 2013 Photo: Adam McConnachie

Pieter Wenning, Wash Day, Malay Quarter R300 000 – 400 000

Š The Estate of Maria Magdalena (Maggie) Laubser | DALRO

Maggie Laubser, Portrait of a Girl with Geese R1 500 000 – 2 000 000

South African and International Art, Furniture, 4JMWFS Ceramics, Glass & Jewellery Monday 4 February 2013 Vineyard Hotel, Newlands, Cape Town Enquiries and catalogues 021 683 6560 / 078 044 8185 /

Angels 7 I am an afrIcan 9 December 2012 – 27 February 2013 The Gallery at Grande Provence Heritage Wine Estate, Franschhoek, Proudly presents the ‘Angels 7 - I am an African’ exhibition, opening on Sunday, 9 December 2012 at 11h00. In 2006 a group show titled ‘Angels’ was established by The Gallery at Grande Provence. The title was playfully based on the name of the award-winning collection of ‘Angels Tears’ wines that is produced by the Grande Provence Estate. Over the years the exhibition has progressed to a thought-provoking exhibition that addresses a range of current social and environmental matters. This year ‘Angels 7’ is themed ‘I am an African’. The theme references to one of the greatest African speeches, delivered by former President Thabo Mbeki, to visually celebrate our identity, growth, achievements and the beauty of our people, land and cityscapes. However, the exhibition also aims to communicate the critical social and other challenges that currently face our society and environment. All aspects of life in contemporary South Africa will be represented. Some of the contributing artists in this year’s exhibition include: Christiaan Diedericks, Eugenie Marais, Strijdom van der Merwe, Gordon Froud, Mbongeni Buthelezi, Richard Smith, MJ Lourens, Ruhan Janse van Vuuren, Wilma Cruise, Frank van Reenen, Ricky Dyaloyi, Greg Lourens, Katie Barnard Du Toit, Uwe Pfaff, Loni Drager, Mongezi Gum, Niel Visser, Koos de Wet, Sanna Swart, Talitha Deetlefs, JP Meyer, Nadine Hansen, Marieke Prinsloo, Ingrid Coerlin, George Holloway, Zhann Solomons, Marleen Wolters, Thokozani Mthiyani, Erika Prinsloo, Anastasia Sarantinou, Janet Botes, Noelene Kleve, Anton Smit, Martin de Kock, Marieke Kruger, Frans Smit, Debbi Morkel, Paula van Coller Louw, Lynette ten Krooden, Jacques Dhont, David Brits, Susara Steenkamp and Rae Goosen among others. A selection of angel artworks, distinctive gifts and crafts feature in The Shop at Grande Provence to complement the ‘Angels Tears’ collection that is available in the retail area off the courtyard, behind The Gallery. For more information regarding this years exhibition please contact the Curator Carina at T +27 (0)21 876 8630 or E

Visit The Restaurant & enjoy our new bistro style menu, which runs parallel with our signature a la carte menu. The bistro menu also includes a glass of Angel Tears wine. For reservations contact The Restaurant on T +27 (0) 876 8600. Wine specials: Purchase 12 bottles of GP Shiraz 2008 or GP Cabernet Sauvignon 2009 and only pay for 11. Free delivery anywhere in South Africa for purchases of 12 bottles of Grande Provence wine.

Main Road Franschhoek Western Cape T + 27 21 876 8600 F + 27 21 876 8601 E

Simon Moroke Lekgetho (1929 - 1985) Self Portrait / Selfportret, n.d. oil on paper / olie op papier 350 x 430 mm Sanlam Art Collection

SPI National Portrait Award 2013 R100 000

Prize awarded for the winning portrait.

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



Dec 2012 - Jan 2013 Daily news at Commissioning Editor: Gabriel Clark-Brown Advertising: Eugene Fisher Subscriptions: Julia Shields Listings: Julia Shields Accounts: Bastienne Klein Send Artwork To: Designer Letters to the Editor:

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This year seems to have been different to previous years in so far as many artists and art markets are simply looking to change their environment within their means, rather than wait for the world’s financial markets and local art leaders to make changes for the better. Possibly the biggest technical change came from an unlikely source in the form of Facebook, (which we all thought at first was a fad) that has, to a large extent, changed the timing and way artists keep in touch and market their art and personal profiles to the art loving masses. Facebook profiles are free, one can set it up before your 2 minute noodles are ready, (no need for expensive, drawn out, web developers ). News travels fast and the content is more relevant, to similar minded “friends” and interest groups. In addition, social media is easily linked to your smartphone and hence one can be reached anywhere, including by the art world. In essence with this reach and distribution of news, information and market promotion leaves everyone with a smartphone as a Saatchi, Rupert Murdoch, and a self appointed art critic- who needs a gallery, newspaper or even an art school? The storming of the PR networks by artists with smartphones (previously the almost exclusive domain of galleries) is fueled by the current realisation that not all galleries can guarantee being sole provider of income to artists; artists are behaving like galleries, and to a large extent PR companies. Because most galleries seemingly can’t carry all their artists’ financial independence, the artists’ work is available in many outlets (including the artists’ studio). Perhaps the ultimate challenge is for artists to make a stronger brand appeal than the gallery brand host, at least for a

while. To these technical changes, galleries seem to have re-invented themselves as local cultural hubs wh ere at least the wine, walls and work are physical and one then has the pleasure of meeting the galleries in real time, and conversations are more than 140 characters at a time, opinion is endorsed by a similar set of people, not just one. However, some larger galleries are joining the uber globalisation of International Art Fairs Club (artists not allowed), whereby a huge amount of money is spent on branding, speed dating international and the best local collectors. My guess is that the existing market forces generally adjust themselves over time - recently at an art auction a bidder paid R 20k more for a Kentridge print that was easily available from another gallery. Buyers generally want to know that what they buy has provenance, that the price is stable, and that a choice of educated selection and editing has been made. Galleries, newspapers and art critics are there to filtrate; to quietly over time, like chameleons (whether they go online or not) assess the market and build on it. These chameleons are there to provide a secure ongoing environment, providing a somewhat trusted stability in an ever-changing, and now, somewhat massed “Liked” world, until the next - even quicker medium hits the airwaves. I would like to wish all our readers a relaxing festive season and a great & prosperous new year for 2013. Thanks for all your support to the SA Art Times (now on it’s 66th edition), we look forward, as the leading source of visual arts news, to providing you with the best and trusted source of South African visual art news and information. All the very best and a Heartfelt “Like” to each of you today, Ed


Behind the DALRO copyright campaign By Michael Coulson A disaster for the art market or a belated attempt to collect artists’ due entitlements? Just which definition better suits the bid by Dalro (Dramatic, Artistic & Literary Rights Organisation) to charge auction houses and others for the reproduction of illustrations of artistic works depends on who you talk to. To Dalro CEO Gerard Robinson, it’s simply an enforcement of a hitherto largely ignored law that provides visual artists with the only financial reward they’re entitled to once they’ve sold a work of art. To the auction houses, it’s an unwelcome added cost that threatens to destroy their already squeezed margins. It’s common cause that when an artist sells a work, he (or she) retains the copyright, however many times the work may physically change ownership. Until the copyright expires (in SA, 50 years after the artist dies), any reproduction of the work, for whatever purpose, must be licensed by the artist. In many legal jurisdictions, an exception is made when the reproduction is made to help sell the work, whether in an auction catalogue or an advertisement. But SA copyright law, though largely based on its UK counterpart, does not contain this provision. Robinson says there were a couple of attempts in the 1990s to establish a rights organisation for the visual arts, but they came to naught. Then, in 2006, Dalro was asked by the trust company handling the Irma Stern estate to take over the management of her rights. It did so, but not proactively, and only late last year was its attention drawn to a newspaper advertisement for an auction with a colour pic which it knew no licence had been applied for. At that point it started “engaging” with the auction houses on Stern’s behalf. Also last year, Vansa approached Dalro to say that one of its priorities was to get visual arts rights administered in the same way as other forms of intellectual property. While Dalro was not keen to take on this burden, it eventually agreed, and has since added to its stable the estates of Maggie Laubser and Cecil Skotnes, as well as living artists Jane Alexander and Tommy Motswai, and is still talking to others. It has drawn up a standard contract and set of tariffs, which it says are in line with international norms. For example, for a print run of 1 501 to 3 000, which probably covers most local auction catalogues, these range (before Vat) from R344 for less than a quarter page to R3 740 for a cover SA ART TIMES. Dec 2012 - Jan 2013

plus R3 500 for each placing of a print advertisement, regardless of size. This has the auction houses fuming. Says industry doyen, Stephan Welz of Strauss & Co, “We usually place four press adverts for each of our sales. Together with a full-page pic and the cover, that adds up to almost R20 000. If you take Tommy Motswai, his works average R4 000 on auction. If you have to pay R576 for a quarterpage pic, or R1 152 for a half page, it simply won’t be economic to sell it. Auction houses either won’t take works in this price range, or won’t illustrate them, This can kill public exposure for many artists. Not only could this cost us hundreds of thousands of rand a year, it’ll be a catastrophe for the whole art world.” Robinson seems puzzled by the hostility to the plan. “We believe it’s only fair and just that artists should be rewarded when their works are reproduced. Artists have no right to any of the proceeds when their work is resold -- as they have in Europe -- so this is their only source of revenue after the original sale.” He also makes the point that an artist is still free to give any individual or organisation a free licence, if they wish -- as commercial galleries will no doubt require when they hold exhibitions of living artists Robinson believes auction houses are coming to accept this, but he may be unduly optimistic. It may be no coincidence that the last time Stern appeared on a local catalogue cover was Strauss’s June auction. And though the auction houses have not formally banded together, there have certainly been informal talks about combating the charge. One (not Strauss) has gone so far as to obtain a legal opinion that argues strongly that, when an artist sells a work, s/he knows that the buyer may at some point wish to resell it, which may entail publishing a representation of the work. Because s/he knows this, without relinquishing any other rights the artist does give the buyer an implied licence to so publish. It would be a pity -- and expensive to all concerned -- if a court has to test this. Anything that means more money for chronically under-rewarded artists must be applauded, but on the other hand the transaction costs of buying and selling art are already so high that anything that adds to them can only damage the market.



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SA’s Marlene Dumas’s Amy Winehouse portrait goes on display at the National Portrait Gallery (UK) Dumas, Kentridge, Emsley, South African Portraiture tradition strong on International standards By Ben Bryant : A portrait of Amy Winehouse made shortly after her death has been bought by the National Portrait Gallery. Amy-Blue by Marlene Dumas (above) a portrait of singer Amy Winehouse who died in July 2011. : The pale blue oil is the first painted portrait of the singer to be acquired by the gallery, and was created by South African-born, Amsterdam-based artist Marlene Dumas. It was bought for an undisclosed sum with support from art fund-raising charity the Art Fund and goes on display today. Using a palette of blue and black with hints of pink and white, the painting is cropped tightly on Amy Winehouse’s head on a canvas just larger than a sheet of A4 paper. Sarah Howgate, Contemporary Curator at the National Portrait Gallery, London, said: “Dumas’s

liquid handling of paint carries tremendous emotive power. “Detail bleeds into and out of her work, directing and dispersing the gaze of the viewer. The rich, translucent blues of this portrait allude to Amy Winehouse’s musical influences as much as to the melancholy details of her career.” rne, Director of the National Portrait Gallery, London, said: “The National Portrait Gallery is very pleased to acquire this important portrait of an influential singer and songwriter, and I am grateful for the help of the Frith Street Gallery and the Art Fund that has made it possible.” Above left: (Parents: Mitch and Janice Winehouse at The National Portrait Gallery, London) Right: The beautiful Amy Winehouse

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Anthea Moys wins new Standard Bank Young Artist Award for Performance Art This year, the Standard Bank Young Artist Awards includes a new award for Performance Art. The first recipient of the Performance Art award, Anthea Moys from Johannesburg, believes that creativity and risk-taking is an important generator for initiating newer approaches in engaging with the arts. “I think it is just fantastic that Performance Art is being recognised for the first time in South Africa with this award, since Performance Art is relatively new here. I see myself playing a role as both an artist and a teacher in developing new spaces for performance art in South Africa,” said Moys. Moys completed her Masters degree at the University of the Witwatersrand, with a focus on structured play and performance in public space. Her interest in play finds expression in her work through the staging of playful collaborative performances. “I knew since I was young that I wanted to express myself through the arts, but it took me a long time to figure out if I was a dancer, an actor or a visual artist. When I was registering for my first year at Wits, I filled out two forms - one for visual arts, and one for drama. I held them behind my back, mixed them up, and then pulled one out at random - it was visual art,” she said. “One moment stands out for me during my studies when my lecturer David Andrews told me to stop worrying and to start playing. He was 10

encouraging me to be more honest with my work. I am a playful person, and he was telling me my art should reflect who I am. That helped a lot to steer me in the direction of the kind of performance work that I do,” said Moys. Her performances aim to foster new connections between different communities and the spaces they inhabit. They might involve boxers at an inner city boxing gym, the residents of an old-age home, or the security guards at an art gallery. “Although I enjoyed my studies in visual arts I was never really good at making things and was more interested in creating experiences that evolved over time and in space,” said Moys. ”I think I really only found my feet when I went to Switzerland. I was there as part of a programme for my Masters degree and it was there where I really started experimenting with performance (alone and with others) in public space,” said Moys. “I love this art form because it is immediate. It takes art out of the gallery or theatre. It’s art that uses the body; and I’ve always felt that I am much more expressive with my body than with my words. I think embodied experiences that transgress language – which can often divide - are important and this is a big reason why I do what I do,” she added. Moys has shown her work at group shows in South Africa, and abroad, in Sweden, Switzer-

land, London, Australia, Miami and Berlin. In 2009, as the winner of the Everard Read Brait Award, she staged her first solo show in South Africa. She has been on residency programmes including ‘Infecting the City’ in Cape Town and the Monash University residency in Melbourne, Australia. She has been lecturing periodically at the University of Witwatersrand since 2007 and is currently Vega School of Brand Leadership’s Creative Development lecturer. “I think artists have an amazing capacity to make connections between things that did not exist before. I think that this then gets people questioning and then opens up a platform for exchange to take place. I think this changes perceptions and then has the capacity to change the world,” said Moys. “Winning this award is a huge affirmation. I feel braver to do what I want to do and even though I feel a bit afraid, it’s a good kind of fear… Change or an engagement with anything new is usually scary – but it means that there is risk and where there is risk I feel most alive… so it’s that good kind of fear…”

See more work at Photos: Top : John Hodgkiss Right: Suzy Bernstein SA ART TIMES. Dec 2012 - Jan 2013


Sibande’s critique of stereotypes leads to Standard Bank Young Artist Visual Arts Award 2013 The 2013 Standard Bank Young Artist Award winner for Visual Arts, 30 year old Mary Sibande, is celebrated for her practice in which she employs the human form as a vehicle through painting and sculpture, to explore the construction of identity in a postcolonial South African context. Johannesburg-based artist, Sibande attempts to critique stereotypical depictions of (particularly black) women in our society. “Growing up, my grandmother used to say I was very talented and creative. I guess that sparked confidence in me,” said Sibande about why she decided to pursue a creative career. “When I had to choose between Fine Art and Fashion, I chose Fine Art because it is more open, and it explores more creativity.” Sibande obtained a Diploma in Fine Arts at the Witwatersrand Technikon in 2004 and a B-Tech degree from the University of Johannesburg in 2007. For Sibande, the Standard Bank Young Artist Award means personal growth, and is a validation of the years of hard work and an expression of the appreciation for her creative development and growth as an artist. “It is also a compliment and honour to me personally to be rewarded in this way, and to be recognised for my dedication and 12

focus on my art,” she said. The body, for Sibande, and particularly the skin and clothing is the site where history is contested and where fantasies play out. Centrally, she looks at the generational disempowerment of black women and in this sense her work is informed by postcolonial theory, with the domestic setting acting as a stage where historical psycho-dramas play out. “I have joined a small group of women artists who have shaped and are still shaping perceptions about women’s narratives,” said Sibande who believes her influence primarily lies within the South African artistic community. Her interest in fashion has also been apparent from a young age, and is still evident in her art. “I think I realised in matric that I would like to be in a creative environment. I owned a couple of sketchbooks full of mostly dress designs. I designed my own dress and my friends’ dresses for their matric dance farewell,” she said. Sibande’s work also highlights how privileged ideals of beauty and femininity aspired by black woman discipline their body through rituals of imitation and reproduction. She inverts the social power indexed by Victorian costumes by reconfiguring it as a domestic worker’s “uniform”,

and thus adding complex notions to the colonial relationship between “slave” and “master” in a post-apartheid context. The fabric used to produce uniforms for domestic workers is an instantly recognizable sight in domestic spaces in South Africa. By applying it to Victorian dress, Sibande attempts to make a comment about the history of servitude as it relates to the present, in terms of domestic relationships. Her solo exhibitions include Long live the Dead Queen, Gallery MOMO (2009) and later at the National Arts Festival, Grahamstown (2010), and the Joburg City World Premier Annual Exhibition (2010) in the inner city of Johannesburg. Sibande is also fascinated by visually stimulating material like documentaries on history and sociology. “I collect fashion books and quirky erasers,” she added. “I think this kind of validation is needed and is very encouraging for young up-coming artists, in particular female artists, to be recognised nationally in South Africa for their artistic talents and contributions to South African art,” said Sibande. Photo’s: Momo Gallery, Right: Adam McConnachie (detail) SA ART TIMES. Dec 2012 - Jan 2013


SA ART TIMES. Dec 2012 - Jan 2013



Mikhael Subotzky at the opening of his show: Retinal Shift at The SA National Gallery: Photo: Michaela Irving

2012 in review by Sean O’Toole There is a single funny scene in Cloud Atlas, a painfully convoluted film by the makers of The Matrix series currently in circulation. It involves Tom Hanks delivering a remarkably bad portrayal of an Irish gangster, Dermot Hoggins. The Duster, as he is nicknamed, has just published a book. Following a tête-à-tête with a waggish critic at a social event, Duster violently ejects the critic out of a window. Splat! The simulated death of the critic in this overblown film speaks to a deep wish fulfilment, one that many slighted artists will identify with. “So who’s expired in an ending flat and inane quite beyond belief now?” quips Hanks, in a scene that makes the careers of Sylvester Stallone and Jason Statham seem respectable. The lesson: we don’t mourn the death of a critic, we simply make bad punning jokes. Robert Hughes died in August. True, the great Australian critic never made any meaningful pronouncements on South African art – although Amazon, in a wonderful slip of the hand, has mistakenly substituted Robert Hodgins’s name for that of Hughes as Deborah Bell and William Kentridge’s collaborator on the 1986 book Hogarth in Johannesburg. Despite not paying attention to us, allot of artists here paid careful attention to Hughes. He is one of those rare art critics who delivered more than just “foam,” an elegant word used by Roland Barthes to describe the flotsam that routinely washes up with the media tide. Sure, Hughes got the scratchy, scrawled work of Jean-Michel Basquiat wrong, but time and again he shouted a valuable point: price is not coequal with value or quality in the art market. It was a point repeated by Piet Viljoen three months after Hughes’s passing. “A serious investor would be crazy to trust the market to price her investments,” Viljoen, founder of asset management firm RE:CM, stated in a speech at the launch of The New Church, a retrofitted late Victorian house on New Church Street that is home to South Africa’s first privately owned contemporary art museum devoted to work made after 1994. “For a real investment value determines price, while for art price determines value. As a result, most art will never – and I do not use this word lightly – show any return at all, except possibly a negative one.” Viljoen’s collection runs to 480 works. For its inaugural showing Viljoen asked artist Penny Sioipis to make a selection. Most of the works she picked were very recently on view at Stevenson, Goodman, Whatiftheworld or SMAC. One artist on Subject as Matter, the name of Siopis’s cannily organised showcase of Viljoen’s interest in figuration, however delivers the viewer to a different period entirely. The name of that artist: Walter Battiss. Subject as Matter includes an undated oil on canvas titled Fook Island Alphabet. A 14

curious melding of text and abstract painted forms, the work compiles a long list of nonsense words. Noopie. Pob. Tibben. Seeing it reminded me of the “sculptural book object” – read old wooden tomato box – exhibited on Alet Vorster’s stand at this year’s Joburg Art Fair. (Gallery AOP’s stand, which also showed Jonah Sack’s gorgeous pen and ink Thunder Storm Installation, was hands down the best booth at the fair.) Entitled Thorncliff Boerdery, Battiss used the wooden box to narrate – in cursive script – the story of his trip to Oranjemund. He describes it as “a desert paradise”, also as “a dicey paradisey”. Battiss recently achieved R2,3 million at the November Strauss & Co auction in Johannesburg for a lurid paradisiacal fantasy painted in oil in 1950. Like Matisse, Battiss was an accomplished colourist. His later works drew inspiration from his travels to Greece and Seychelles. Like Stanley Pinker, that sorely overlooked Cape Town modernist who passed away in June, Battiss found allot of juice in the Mediterranean. Hughes, writing on Matisse, helps explain why. Celebrated for its chemical blue waters and uncomplicated kitchen manners, the Mediterranean gave modernism its “one practical utopia of the senses, a bourgeois Eden”. The draw of Battiss, I would argue, is seeing how, in a career far more exemplary than that of our trophy expressionists, he catered to and rejected the imperatives of bourgeois modernism and its stock scenographies. But this is meant to be a summary, not a sermon. My highlights from 2012: David Goldblatt’s On the Mines at Goodman Gallery – in the wake of Marikana, a timely and sober look at what was, and how it defines what is; the inclusion of Alfredo Jaar’s 1985 photographs from the Serra Pelada opencast mine in Brazil doubly enriched the viewing experience. Mikhael Subotzky’s Retinal Shift at Monument Gallery – his film installation is a thing of carefully choreographed beauty. Joost Bosland’s April Lunchtime Lecture at Michaelis – a funny and smart account by Stevenson’s curator of his “Gee whizz, it happened 15 years ago” tribute show to the 1997 Johannesburg Biennale. Also: hanging out with Mohau Modisakeng, a talent to watch; seeing a shirtless Stuart Bird dancing to Rage Against the Machine as part of Belinda Blignaut’s whimsical group exhibition A Shot To The Arse; encountering former UCT student Theaster Gates’s Huguenot House project and fellow Chicago artist Michael Rakowitz’s absorbing installation at dOCUMENTA 13 in Kassel; Jane Alexander’s career survey at the Savannah College of Art and Design; Rodney Graham’s Edgar Allen Poe books at his Berlin solo; and – as if proof were needed that Brett Murray, Kendell Geers and Ayanda Mabulu are not alone in their penile obsessions – all those roadside posters across South Africa offering penis enlargements. SA ART TIMES. Dec 2012 - Jan 2013


2012 in review by Peter Machen 2012 was not a great year for the Durban art scene, or for culture generally in the city. I’ve been writing about the creative life of Durban for nearly two decades and for much of that time the city has been written off as a cultural backwater, something that’s always irritated me given the rich contributions Durban has made to South Africa’s cultural scene over the years, producing many artists and other creatives of national and international acclaim – even if they seldom raise the flag of their origins very high. This year, however, for the first time, it pains me to acknowledge that there was a strong degree of accuracy to the backwater label, and the only two local exhibitions I saw that moved me to any extent were the same two artists who I mentioned in SAAT last year as being highlights of 2011: Hendrik Stroebel and Kevin Goss-Ross. Stroebel gave us ‘Reconnect’ a follow-up show to his highly acclaimed exhibition ‘Recollect’, both held at the KZNSA Gallery and both featuring his exquisite blend of ceramics and embroidery, while Goss-Ross held a beautifully curated one-night-only show at Colombo Coffee which chronicled a journey through India taken by himself and two other Durban photographers. Stroebel is off to Dubai in March next year to exhibit his work at Art Dubai, while Goss-Ross has headed off to Ireland for a few years, leaving precious little in his wake that excites me very much. (Although if the Durban University of Technology’s Fine Art Department had publicised their end of year show perhaps I would have been able to provide some glimmers of future excitment). Other than Stroebel and Goss-Ross, the only shows I saw in Durban this year that were worth mentioning were from out-of-towners, including Johann

Van der Schijff ‘s Community Punching Bag Project and Dale Yudelman’s show Life Under Democracy, which he produced as the inaugural winner of the Ernest Cole Award for photography, and the travelling exhibition The A.R.T. Show from Make Art Stop Aids, curated by Carol Brown and David Gere. (All three exhibitions showed at the KZNSA). Speaking to other art fans, there is a palpable sense of the city shutting down in cultural terms , something that I dearly hope will be reversed in the future – cities and their cultural scenes are by nature cyclical beasts – although I can’t see any sign of that happening any time soon. That said, Angels Place, the high-spectacle event which closed the French Season which ran across the country for six months, offered something in the way of hope and inspiration, even if it was largely metaphoric and the product of non-indigenous talent. Joining the largest crowd I’ve seen in years in the square outside the City Hall, I stared in awe and then in wonder as a troupe of feathered trapeze artists from France’s Studios de Cirque made their way through the sky above, moving between skyscrapers and the neoclassical baroque of the building which houses the City Hall and the Durban Art Gallery, all the time releasing an accelerating volume of feathers, until the air itself grew white. Studios de Cirque don’t posit the feathery work as fine art but the display was easily the most moving piece of expression I’ve seen in Durban this year. While it might be tempting for some to describe the event as just so much eye-candy, the kind of visual exquisiteness on display was hard to write off. Watching a ton of feathers – literally – float down towards the earth, beautifully lit and choreographed (Yes, you can – amazingly enough – choreograph feathers) was like seeing universes being born, galaxies spiralling deftly out into existence – and then non-existence. And yes, I was completely sober. The Angel’s Place event also pointed to the fact that while Durban Art Gallery’s Red Eye events pioneered the expansion of the gallery into the street and the holding of giant art parties in the city, Red Eye is no longer a feature of the Durban cultural calendar and such large-scale events are as rare as the large-scale artworks that we also used to see in more interesting – and more affluent – times. This year the DAG has been notable in its inactivity and hosted very few visiting shows. Although, would you want to send an exhibition to a gallery whose roof leaks and whose air conditioning system doesn’t exactly constitute archival conditions? Which is perhaps why Mikhael Subotzky’s Standard Bank Young Artist of the Year show was hosted at the Tatham in Pietermaritzburg, instead of the DAG as has been the case for many years. And then there are Andries Botha’s abandoned elephant sculptures, a subject of which the national press (and SAAT) has understandably long since grown tired. But they still there still there, years after their construction was stopped by the dark forces of local politics, occupying a liminal freeway island, incomplete, deteriorating, unresolved, a sadly appropriate metaphor for Durban’s art scene (which has stopped being listed on Artthrob so meagre were the pickings this year). I could go on. I could talk in detail about how other creative disciplines in Durban are dying slipping into similar comas. But I don’t really want to. It makes me too sad. Image: Hendrik Stroebel

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2012 in review by Mary Corrigall Lowest Common Denominator Mary Corrigall recounts the art world events that had mass appeal during 2012 As I shuttled between e-TV’s studios and SABC’s in Auckland Park during the height of debacle caused by Brett Murray’s Spear of the Nation it with was with a frisson of excitement, and utter dread. Never had my opinion on an artwork seemed so significant, and so arbitrary. Sitting across from Jeremy Maggs during a 6pm news bulletin, it was as if I had entered a surreal parallel universe; where contemporary art had become relevant – at least to the mainstream media, the general population. Except, of course, for the small fact that the work didn’t chime-in with the masses. There was insufficient time to explain that art was engineered to be ambiguous and was therefore vulnerable to claims - and counterclaims. This wasn’t what Maggs wanted to hear. Nor the public. People wanted straight answers, though even if Murray himself was willing to supply them, some argued that his explanations weren’t reliable either; he wasn’t fully conscious of the forces that shaped his art. The Spear of the Nation drew battle lines between friends and neighbours; there wasn’t a man or a woman on the street who didn’t have an opinion about it. By the time ANC heavyweights, Gwede Mantashe and Jackson Mtembu had rallied a mob outside the Goodman Gallery to protest against the display of the artwork it was clear that the art world’s intrinsic exclusivity had become a cipher for white elitism – and perhaps it wasn’t a stretch. Undoubtedly, The Spear of the Nation had generated a dialogue (of sorts), but was it good for the art fraternity? Corporate art sponsors became nervous; contemporary art was proving to be more of a divisive tool than one benefitting social cohesion – imagine the horror of being associated with a work that was not politically correct! If anything the furore around the contentious artwork gave us insight into our society, and the fragile - and, paradoxically, robust - state of race relations. We also learnt how the masses consume art: through the mainstream press, not in galleries or exhibition settings – even the ANC’s top brass were alerted to Murray’s portrait through a newspaper article. Ultimately, Murray and the Goodman Gallery become household names and the president’s draconian rejection of his satiric portrait ensured that representations of male nudity would for some time remain politicised. Certainly, it coloured how Ed Young’s wryly titled self-portrait My Gallerist Made Me do It was received at the Joburg Art Fair. There was hardly an onlooker who didn’t twist their neck around the miniaturised sculpture to observe whether his member had been rendered in the same life-like manner as the SA ART TIMES. Dec 2012 - Jan 2013

rest of his body. After The Spear of the Nation, this work was easily the most photographed work of 2012. But just as the art fraternity asked whether this made Murray’s work “good”, so too did this question haunt Young’s. The public may have gone potty for Young’s hairy naked frame, but there was hardly an artist (or critic) who responded favourably to it. It wasn’t simply a predictable head-turner; it too closely mirrored Maurizio Cattelan’s aesthetic – at least that was the prevailing sentiment. It wasn’t just populist art or art designed to challenge populist leaders that caught the media’s attention in 2012 but the ‘new face’ of art commerce; Thandi Sibisi, owner of the newly established Sibisi Gallery in Melrose Arch. The striking twenty-five-year-old’s penchant for designer threads ensured she made it into just about every glossy, proving that with the right amount of dash and cash, anyone can shimmy their way into the art industry. Though, of course, you could argue that she has yet to really crack full membership of this seemingly exclusive club; she may have been a darling of women’s glossies but her gallery and exhibitions have yet to attract any serious interest or critique – albeit that it received more publicity than the new Wits Art Museum, which after a decade in the making finally opened its doors this year. The Standard Bank Gallery might have hoped that 20th Century Masters: The Human Figure would have made headlines as the Picasso and Africa exhibit had done in 2006, when Picasso’s precarious, if not troubled, relationship to African expression came under the spotlight. A bit of controversy is good for the business of art. There was much nudity on show in 20th Century Masters: The Human Figure, but it seems the unclothed female frame doesn’t carry the same gravitas as that of the male. It was thought that the “masters” in the title of the show, which was imposed by the SA contingent attached to the gallery and not instigated by Sylvie Ramond, the curator, who serves as the chief curator and director of the Musée des Beaux Arts de Lyon, would attract Joburgers who queued in droves to catch sight of Picasso’s “masterpieces.” The opening of 20th Century Masters: The Human Figure was well attended and marked the official start of the France-South Africa Seasons 2012/2013, a cultural exchange programme, which has been a prominent feature of the cultural scene this year. This show may have affirmed French artists status as “masters” of western art but the Social Landscape Project, another France/SA event, which opened at the end of November, includes an initiative that aims to overturn relationships between the art world/artists and the public by inviting the latter to submit photographs documenting aspects of the country they deem significant, but its unlikely to be a show that will garner much attention. (Above image: ANC march on Goodman Gallery from 17


Artwork: My gallerist told me to do it, Ed Young

2012 in review by Andrew Lamprecht These lists where one is asked to list the highlights of the year or exhibitions that ‘stand out’ for one are always hugely anticipated by the compiler’s partner(s), former partner(s), friend(s), and family for the inevitable prominence customarily given to them when compiled. If anyone not in the above-listed Google circles should accidentally read them, then the list serves as valuable and authoritative evidence in the next opening-night gossip-rant about the (a) stupidity; (b) out-of-touchness; (c) favouritism; (d) promiscuity and (e) even greater stupidity shown by the compiler. Thus they generally please everyone. Except the compiler who feels (a) ashamed at their callowness the next morning; (b) sad because they didn’t have a very exciting year; (c) alarmed at the rapidity with which terminal memory-loss is manifesting; and (d) even more ashamed at their callowness the next morning. Thus I have decided to do something a it different here and not list favourite shows, thus avoiding Facebook defriending from Stuart Bird, Georgina Gratrix, Gretchen van der Byl, Chad Rossouw, Unathi Sigenu, Dan Halter, and Catherine Ocholla, amongst others. Rather I will offer highly personal nods and winks at some of those (including a few friends, just to be on the safe side) who made me notice that art exists in Cape Town, where I live. Please forgive this local bias and banality here displayed (I didn’t get out much in 2012) but be consoled that you can talk about it with scorn, should you wish to, at the next opening. So here are my nods for 2012: Matthew Blackman for reminding me why I don’t vote DA with his ceaseless quest to root out things that start with ‘alleged’ in the murky depths of governmental and other art bodies. It’s a pity that the Scorpions were disbanded because he would have been a great special investigator for the Artistic Crimes Division, had there been one, and would have been placed in a difficult position should they have been required to investigate dignity crimes this year. Jacob Zuma’s disaster management people for showing us how fragile our little art world’s formerly-smug assumptions are; making us think, debate and take a stand; bringing a tiny bit of unity to our fractious and bitchy community and ba18

sically scaring anyone who is creative out of their wits. I would like to say it was nice that art was headline news and the subject of South African’s thoughts and actions for a while but we all know that The Spear debacle/debate/détente was not about art…. Jay Pather (and also Adrienne van Eeden-Wharton) for re-energising GIPCA, organising what seemed to be three million events this year and providing a space where visual artists can - if they only would let themselves - interact, learn and create across the boundaries separating creative disciplines; boundaries which sometimes seem as rigid and unwieldy (not to mention plain dumb) as any Apartheid-era ‘separate development’ legislation. Oh, and also for that little ‘Infecting the City’ thing you did in your spare time. Energy, Dedication and Application, thy names be Jay. Ross Douglas and Artlogic for doing the Joburg Art Fair again. Even though I did not go this year I am reliably informed it was the best yet (maybe because I didn’t go this year). People constantly grumble about it but I sleep easier knowing that it exists. Unathi Kondile for bringing out Isigidimi SamaXhosa, a newspaper published in isiXhosa with a strong art focus. I’m going to hazard a guess that most of the people in Cape Town who run and own galleries, curate shows, formally educate aspiring artists, administer art budgets, write knowingly and with authority about art, pontificate on the failings of the DAC, professionally consult on art, etc., etc. would not be able to understand a single sentence in it. (I count myself in that number, by the way). Like me, I think they should reflect about that state of affairs and be grateful for their day-job. To you for reading down this list so far (unless you just skipped here). If you did read this far you have probably made some contribution to the arts this year as a buyer, promoter, student, framer, gallerist, writer, or something else. If you are an artist, then a deeper nod, because I’m pretty sure you could have made more money doing something else with less trouble and greater appreciation. You have all contributed to sustaining and developing the thing that, for me at least, gives me the most joy and pleasure in my life: art. Have a happy and rewarding 2013. SA ART TIMES. Dec 2012 - Jan 2013


SA ART TIMES. Dec 2012 - Jan 2013


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Free State Bloemfontein Oliewenhuis Art Museum Until 20 Jan, “Stylistic Links: The Bloemfontein Group and Other South African Artists”, an exhibition exploring the link between the Bloemfontein Group artists’ individual styles and other South African artists. Until 27 Jan, “Christ and the Other Person” by Father Frans Claerhout (Annex Gallery). 24 Jan – 10 March, “Surface”, solo exhibition by Helena Hugo (Main Building). Until 31 March, “Contemporary Bloemfontein Artists”, a must-see exhibition of artworks by contemporary artists living in Bloemfontein or who have grown up and studied in Bloemfontein (First Floor, Main Building). 16 Harry Smith Str, Bloemfontein.

Clarens Art & Wine Gallery on Main The Gallery houses an exquisite collection of art by wellknown artists like Frederike Stokhuyzen, Aviva Maree, 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 Blou Donki Art Gallery Windmill Centre, Main Str, Clarens T. 058 256 1757 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

Gauteng Johannesburg Absa Art Gallery Until 24 Jan 2013, ”Re-Sampled”, an exhibition that takes selected works from the Absa collection and puts the work forward to be ‘re-sampled’ by younger artists. Absa Towers North, 161 Main Str, Jhb. T. 011 350 5139 Alice Art 217 Drive Str, Ruimsig. T. 011 958 1392. C.083 331 8466 The Art Place 144 Milner Ave, Roosevelt Park. T. 011 888 9120 Artist Proof Studio Until 31 Jan, “iReflect”, the annual third year exhibition. Bus Factory, 3 President Street, Newtown Cultural Precinct. T. 011 492 1278 C. 084 420 7998


Artspace Jhb Until 30 Jan, “New Voices”, a group exhibition curated by Ronél de Jager. Until 12 Dec, “Beginsel”, a solo exhibition by Louis Olivier at WorldArt Gallery Cape Town in association with Artspace Jhb. 2 Feb – 2 March 2013, a solo exhibition by Lehiogonolo Mashaba. Gallery closed from 15 Dec – 12 Jan. Chester Court, 142 Jan Smuts Ave, Parkwood. T.011 880 8802

Grahams Fine Art Gallery Until 16 Dec, “Caballos” (horses), by Eduardo Navarro. 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

The Bag Factory Until 5 Dec, “(dis)locations / (trans)formations”, an exhibition by visiting artists Karrie Hovey, L.J Roberts, Miche Fabre Lewin and Flora Gathorne-Hardy. 10 Mahlatini Str, Fordsburg. T. 011 834 9181

16 Halifax 16 Halifax Str, Bryanston. Dana MacFarlane, C. 082 784 6695

Christie’s International Auctioneers. Gillian Scott Berning, Independent Consultant. T 031 207 8247 CIRCA on Jellicoe 6 – 22 Dec, two exhibitions: Speke Photographic opens CMYK, an exhibition showcasing the work of an eclectic group of artistic photographers and “As it is in Heaven”, an installation by Beezy Bailey. 2 Jellicoe Ave. T. 011 788 4805 David Krut Projects Until 13 Jan, “Fragments of a Burnt History”, an installation by Faith47 comprised of found objects and artwork created in the artist’s studio. 142 Jan Smuts Avenue, Parkwood. T. 011 447 0627. Contact Claire Zinn. Everard Read Jhb 1 – 22 Dec, 3 solo exhibitions running concurrently: “Duets with Egon” by Kim Berman; “Hinterland” by Shany van den Berg; “Moving Flowers” by Bronwen Findlay. 6 Jellicoe Ave, Rosebank, Jhb. T. 011 788-4805 The Fine Arts Studio Offering part-time courses in oil painting and drawing, designed for beginners and experienced artists alike. Rivonia, Sandton. C. 082 904 3720 / 083 306 3972 michelle@thefineartsstudio Gallery 2 Until 22 Dec, an exhibition showcasing work by various artists including Eric Duplan, Lauren Palte, John Moore, Themba Khumalo, Jan Tshikhuthula and Bill Ainslie. 140 Jan Smuts Ave, Parkwood. T. 011 447 0155 Gallery AOP Contemporary artworks on paper, and sculpture. 44 Stanley Ave, Braamfontein Werf (Milpark) Jhb. T. 011 726 2234. Gallery MOMO 52 7th Avenue, Parktown North, Jhb. T. 011 327 3247 Goodman Gallery JHB Until 14 Dec, “On the Mines” by David Goldblatt and “Gold in the Morning” by Alfredo Jaar. 163 Jan Smuts Avenue, Parkwood. T. 011 788 1113

In Toto 31 Jan – 4 March, “Trees”, an exhibition featuring Sandy Behrmann, Belinde Fourie, Vivianne Jaques and Maria Angela Patrizi. 6 Birdhaven Centre, 66 St Andrew Str, Birdhaven. T. 011 447 6543 Isis Gallery From Dec to March, take advantage of introductory prices for new artist, Bastiaan van Stenis. View new works by Mauro Chiarla, Ian Hertslet and Brian Rolfe. Shop 163, The Mall of Rosebank. Contact Daniel Erasmus T. 011 447 2317 Johannesburg Art Gallery JAG Until 10 March, “French Connections”, a partnership with l’Institut Français d’Afrique du Sud presents an exhibition of French works, curated by Sheree Lissoos and Antoinette Murdoch. King George Str, Joubert Park, Jhb. T. 011 725 3130 Market Photo Workshop Gallery Until 15 March, “Transition”, part of The Social Landscape Project, which investigates ideas around land, and the role that photography continues to play in the representation and re-imagining of land. 2 President Str, Newtown, Jhb. T. 011 834 1444 info@marketphotoworkshop Manor Gallery Wonderful artworks (landscapes, still life, portraits, abstract art ) in various mediums and at excellent prices. Don’t miss the year-end art sale where you can find the perfect gift. Sale runs until 26 Jan. Norscot Manor Centre, Penguin Drive, Fourways. T. 011 465 7934 Resolution Gallery Until Feb, “Aesthesia”, an exhibition by André S Clements. Unit 4, Chester Court, 142 Jan Smuts Avenue, Parkwood, 2193. T. 011 880 4054 Russell Kaplan Auctioneers Auctioneers of Fine Art, Antiques and Collectables. Ground floor, Bordeaux Court, Corner of Garden & Allan Rds, Bordeaux. T. 011 789 7422 C. 083 675 8468 Sandton Auctioneers Fine Art, Furniture, Carpets & Collectables. Showroom: No 8 Burnside Ave, Craighall Park, Jhb. T. 011 501 3360

SA ART TIMES. Dec 2012 - Jan 2013

GAUTENG / NORTH WEST / MPUMALANGA / GALLERY GUIDE | ART TIMES Standard Bank Gallery Cnr of Simmonds & Frederick Str.’s, Jhb. T. 011 631 1889 Stephan Welz & Company 13 Biermann Ave, Rosebank, Jhb. T. 011 880-3125 Stevenson Johannesburg Until 15 Dec, “Zombie Babylon”, a solo exhibition of new works by Conrad Botes. 62 Juta Str, Braamfontein, Jhb. T. 011 326 0034 Strauss & Co. 89 Central Str, Houghton. T. 011 728 8246 C. 079 367 0637 UJ Art Gallery Until 17 Jan, “Hidden Life”, 20 years of painting (1990 – 2010) by Clare Menck. Exhibition closes for holidays from 12 Dec – 7 Jan. 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. Gallery will be closed from 14 Dec – 14 Jan. Shop G11 Thrupps Centre, Oxford Rd, Illovo, Jhb. T. 011 268 2115

Pretoria 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

Fried Contemporary Until 8 Dec, “Me 3”, an exhibition curated by Elfriede Dreyer, with numerous participating artists. 1146 Justice Mahomed Street, Brooklyn, Pretoria. T. 012 346 0158 C. 082 523 6989 Front Room Art Until 8 Dec, The big “R1,000 & below” Art Sale Open Saturday Dec 8 (11am-4pm). Otherwise viewing by appointment. 116 Kate Ave, Rietondale. Jennifer Snyman 082 451 5584. Gallery Michael Heyns 194 Haley Str, Weavind Park, Pretoria. T. 012 804 0869 Pretoria Art Museum Until 27 Jan, “Call and Response”, a retrospective photographic exhibition by Cedric Nunn. Until 9 Dec, “Flatlands”, an exhibition by Marc Shoul (North Gallery). Until Dec, “A Story of South African Art” a selection of artworks from the permanent collection of the Museum (North Gallery). Until Dec, “Abstract Art” a selection of abstract artworks from the permanent collection of the Museum (East Gallery). Until Dec, “Study Collection” art media and techniques are illustrated in the Information Centre. Cnr Frances Baard and Wessels Str, Arcadia Park, Arcadia, Pretoria.T.012 344 1807/8 Sandton Auctioneers Fine Art, Furniture, Carpets & Collectables. Showroom: 367 Lynnwood Rd, Menlo Park, Pta. T. 012 460 6000 St Lorient Fashion and Art Gallery 492 Fehrsen Str, Brooklyn Circle, Brooklyn, Pta. T. 012 4600284

UNISA Art Gallery 1 Dec – 11 Jan, The Visual Arts Graduate Show. 25 Jan – 8 Feb, The Advance Diploma in Visual Arts Student Exhibition. Gallery closed from 20 Dec – 2 Jan. Kgorong Building, Ground Floor, Main Campus, Preller Str, Pretoria. T. 012 441 5876 University of Pretoria Mapungubwe Gallery, Old Arts Building, UP. T.012 420 2968

North West Potchefstroom NWU Gallery North-West University Gallery, Building E7, NWU Potchefstroom Campus, Hoffman Str, Potchefstroom. T. 018 299 4341

Hartbeespoort Dam Edwards Fine Art, Modern & Contemporary 1 Dec – 4 Jan, mixed exhibition, works on paper by William Kentridge, Marlene Dumas, Robert Hodgins, Cecil Skotnes & Lucky Sibiya. Sculpture by Anton Smit. Shop 24, Xanadu X-ing Shopping Centre, Cnr. Xanadu Boulevard & R511, Xanadu, Hartbeesport. C. 076 472 9812

Mpumalanga Dullstroom Art @ sixty seven A selection of fine art, ceramics and blown glass art pieces by well-known local artists. Shop no.9, 67 Naledi St, Dullstroom, Mpumulanga. T. 013 254 0335

Anton Smit Sculpture Park Until 13 Dec, “Resolve”, a showcase of new work by Anton Smit. Bronkhorstpruit Dam, Bronkhorstpruit. C. 082 653 7659 Association of Arts Pretoria Until 14 Dec, three exhibitions running concurrently: paintings and ceramics by Philip Badenhorst; drawings and sculptures by Sanna Swart and “Black and White”, a year-end exhibition of ceramics, porcelain, jewellery and synthetic wildlife skulls. 18 Jan – 5 Feb, annual members’ exhibition. Gallery closed from 15 Dec – 16 Jan. 173 Mackie Str, Nieuw Muckleneuk, Pretoria. T. 012 346 3100 Centurion Art Gallery A commercial satellite of the Pretoria Art Museum. c/o Cantonment and Unie Avenues, Lyttelton T. 012 358 3477

Brad Grey: This nation’s saving grace. 150 x 150 cm, Oil on Canvas SA ART TIMES. Dec 2012 - Jan 2013



White River

Port Elizabeth

The Artists’ Press Professional collaboration, printing and publishing of original hand-printed 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

ART Gallery Until 15 Dec, “PE – Portraits and the Environment”, two remarkable painters who have mastered their personal genre. 15 Jan - 23 Feb, “COLLECT!VE III”, a selected exhibition of contemporary fine art from professional artists of the Eastern Cape. 51B Cuyler Street, Central Hill, Port Elizabeth. Contact: Anthony Harris. C. 072 379 5933

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 Until 10 Jan, an exhibition by Warren Cary. Casterbridge Centre, R 40 Cnr. of Hazyview & Numbi Gate Rd, White River. C. 083 675 8833.

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 9 Dec – 26 Jan, “Ann Bryant Art Gallery Permanent Collection”, a selection of European Paintings from the Victorian era as well as a cross-section of South African art spanning ten decades.Until 15 Dec, East London Fine Art Society Annual Exhibition. 5 - 22 Dec, “Shift”, a solo exhibition of new painting and cut-outs by Greg Schultz. 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

Klein Karoo Sheena Ridley Art Studio & Sculpture Garden Langkloof, Klein Karoo. C. 083 589 2881


ArtEC 4 - 14 Dec, a solo exhibition by Esme Goosen. 36 Bird Str, P.E. T. 041 585 3641 Nelson Mandela Metropolitan Art Museum Until 9 Dec, “The Art of a Stamp”, a unique collection of designs for stamps to celebrate International Mail Month. Until 6 Jan, “Fun in the Sun”, a light hearted exhibition inspired by summer. Until 27 Jan, “Ship & Shore”, an exhibition displaying a variety of nauticallythemed artworks. Until March, “100 Shades of Grey”, an exhibition exploring the use of monotones in a selection of work from the NMM Art Museums Permanent Collection. 1 Park Drive, Port Elizabeth. T. 041 506 2000 Ron Belling Art Gallery Until Jan, Military Aviation Collection of paintings on display. 30 Park Drive, P.E. T. 041 586 3973

Northern Cape Kimberley William Humphreys Art Gallery Unitl 27 Jan, “The Last of Us”, an exhibition by Pauline Gutter. Until 31 Jan, “Face Value”, an exhibition of graphic prints by Malcolm Payne, on loan from Oliewenhuis, Bloemfontein. Currently showing new acquisitions and work from the WHAG collection. 1 Cullinan Crescent, Civic Centre, Kimberley. T. 053 831 1724/5

Western Cape Cape Town /A Word of Art Until 17 January, “Postcards from Molotia” an exhibition by the Blackheart Gang. 66 Albert Road, Woodstock Exchange. C. 083 300 9970 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 Until 11 Jan, UNISA Cape Town Third Level Visual Arts and Multimedia Students Exhibition 2012. The Arts Association of Bellville, The Library Centre, Carel van Aswegan Str, Bellville. T. 021 918 2301.

Artvark Gallery 5 Dec – 15 Jan, Tessa Wessels launches her playing cards. 48 Main Rd, Kalk Bay. Tel. 021 788 5584 Ashbey’s Galleries Antiques and fine art auctioneers and appraisers. 43-51 Church Str, CT. T. 021 423 8060 AVA Until 11 Jan, four exhibitions running concurrently: “La Sape”, by Zemba Luzamba; “Places to get Lost in – Empty Traces” by Vernon Williams; “A Well Worn Road” by Timothy Zanzi; “Generation V3.0” by Restive Association for Visual Arts, 35 Church Str, CT. T.021 424 7436 Alex Hamilton Studio Gallery Until 7 Dec, “Boy Toy (Including 8 Bit)”, a mash up exhibition with guest artists Aidon Westcott, Michele Rolstone, one88one and Barry Barichievy. 30 Jan – 25 Feb, “Street View: Woodstock”, an exhibition showcasing drawings of Woodstock, Salt River and Observatory by Mark Hilltout. 3rd Floor, 9 Barron st, Woodstock. T. 021 447 2396. C. 084 409 6801 The Avital Lang Gallery Two Oceans House, Surrey Place, Mouille Point, CT. (Next to Newport Deli) T. 021 439 2124 Barnard Gallery 20 Dec – end Jan, “The Dinner Collection”, an exhibition showing a collection of work reflecting on the past year and to showcase what to expect from the Barnard Gallery in 2013, as well our first collaboration with David Krut Projects. Artists include William Kentridge, Ndikhumbule Ngqinambi, Robert Slingsby, Debra Bell, Willie Bester, Jaco van Schalkwyk, Senzo Shabangu, Tracy Payne, Lyndi Sales, Barry Sullivan, Felix Anaut to mention a few. 55 Main St, Newlands. T. 021 671 1666 Blank Projects Until 19 Jan, “When Form Becomes Attitude”, a group exhibition focusing on an emerging generation of South African artists.113-115 Sir Lowry Rd, Woodstock, CT. C.072 507 5951 Brundyn + Gonsalves Until 23 Jan, “Material / Representation”, a summer exhibition showcasing new and recent work by the gallery’s represented artists, in addition to a selection of associated artists. 71 Loop Str, CT. T. 021 424 5150 Cape Gallery Until 8 Dec, an exhibition of ceramics by Anton & Hanlie Bosch. 10 Dec – 12 Jan, a show of recent works by David Kuijers. 13 Jan – 9 Feb, An exhibition of work by Mandy McKay, Helen van Stolk and Veronica Reid, to be opened by Margie Johnson on the 13th at 16:30. 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

SA ART TIMES. Dec 2012 - Jan 2013

11-8-12 Art Times Davd Kuijers.pdf

1 Dec 2012

26 Jan 2013






I’d Rather Be






Another crazy spectacular big group show by some of Salon91’s favourite artists!

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:David Kuijers

End of year show held in association with I AM WATER see website for more details & participating artists.


91 Kloof Street, Cape Town +27 21 4246930 Art Times ad HENNIE 11/22/12 3:09 PM Page 1 C






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


10 Wellington Road, Durbanville

Tel. +27 (021)976 0437 Eclectica is a purveyor of fine arts, antiques and objects d’art. We stock desirable, quality pieces and the investment element is a bonus as the acquisition of art is both a discretionary expense and a pursuit of the heart.

Bettie Cilliers-Barnard

Qunci inspired

ceramics by Hennie Meyer & photographs by Tabu Stegmann


Pieter Van der Westhuizen

Hosvep Pushman

Marie Vermeulen Breedt

William Carrol

Ruben Dante



CAPE TOWN / WESTERN CAPE / GALLERY GUIDE | ART TIMES Casa Labia Gallery 14 Dec – 24 Feb, “The Summer Show”, a show curated by João Ferreira showcasing work by artists such as Robert Hodgins, Brett Murray, Julia Rosa Clark, Beezy Bailey, Lynette Bester, Judy Woodborne and Eris Silke. Casa Labia Cultural Centre, 192 Main Rd, Muizenberg. T. 021 788 6068 www.

Christopher Møller Art Until 22 Dec, a summer show featuring artists Aldo Balding, Albert Coertse, Christiaan Diedericks, Ryan Hewett, MJ Lourens, Louis Nel, Nora Newton, Jaco Roux, Carla van Zyl. 31 Jan – 21 Feb, a solo exhibition by Barry Jackson. 7 Kloofnek Rd, Gardens, C T. T. 021 422 1599

Cape Town City Hall 25 – 27 Jan, “Cape Tattoo Expo”, Now going into its 5th year, it has evolved into the most important lifestyle festival of its kind on the African continent. With a great range of top international tattoo artists attending and a very exciting arts and concert event schedule. Darling Street, Cape Town CBD. C. 074 921 5170.

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:

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

Commune.1 Gallery 4 – 21 Jan, “Rational Animal” by Stan Wannet and Leila Anderson. Dutch artist Stan Wannet and South African performance artist Leila Anderson collaborate on a series of installations, performances, video works and prints. 64 Wale Street, 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 8 Dec – 12 Jan, “DKW Review 2012”. Showcasing new work produced in 2012 by artists in collaboration with the David Krut Print Workshop (DKW). David Krut Projects, Montebello Design Centre, 31 Newlands Ave. T. 021 685 0676.

Ebony Showing 2 works from the ‘Delft - by Spider Murphy’ range. Also showing new works by Claudia Ongaro, Hannalie Taute and Dave Robertson and recent acquisitions by Hannes Harrs and many more. Ebony Loop Street is also part of First Thursdays in Cape Town - join us on Thursday 6th December and walk from gallery to gallery for a night of great art and entertainment within just a few city blocks. 67 Loop Str, CT. T. 021 424 9985. Eclectica Art & Antiques Purveyor of fine arts, antiques and objects d’art. Emphasis on finding beautiful, interesting pieces both locally and internationally. 11A Wolfe Str, Chelsea Village, Wynberg, CT. T. 021 762 7983 Erdmann Contemporary & The Photographers Gallery za Until 31 Jan, “Sojourn/Landskap” an exhibition by Brent Meistre and Carla Erasmus. 63 Shortmarket Str, CT. T. 021 422 2762 Everard Read CT Until 6 Dec, “Gender Issue etc...” by Florian Wozniak and “Edition” by Ed Hodgkinson. Until 1 April, “A Summer of Sculpture”, in association with the Mount Nelson, an exhibition of sculptures in the grounds on the hotel, celebrating top South African sculptors. Portswood Rd, Victoria & Alfred Waterfront, CT. T. 021 418 4527

The South African

Print Gallery Handmade Prints: Woodstock, Cape Town. The home of fine art prints


Miles Cape Beauty 2012: 15 Dec. – end Jan 2013 109 Sir Lowry Road, Woodstock Tel 021 462 6851 (next to Karen’s Kitchen)

Level O, Cape Quarter Square 27 Somerset Road, Green Point, Cape Town Ph: 021 421 3333 or 083 252 8876 email: website:

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

Pieter van der Westhuizen etchings


SUBSCRIBE TO SOUTH AFRICA’S LEADING VISUAL ARTS MAGAZINE SA ART TIMES R240 For 11 issues Posted to your door See or Call Julia at 021 424 7733

Zizamele Ceramics

full selection on website

the art of changing lives Visit our new retail outlet at Imhoff Farm, Kommetjie

Contact Toni Burton Studio: Cnr Chasmay & Kommetjie Rds, Sunnydale Cell: +27 84 556 6423 Email:


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

an exhibition of african textiles, beaded jewellery and wooden carvings

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


Custom colour wood frames

Conservation Framing

Framing of art, objects, mirrors & prints

Stretcher frames

ART TIMES | GALLERY GUIDE / WESTERN CAPE / CAPE TOWN 34 Fine Art Until 8 Dec, “Compendium”, a solo exhibition by Lionel Smit. 11 Dec – 2 Feb, “Blend”, a group exhibition by South African and international artists. 2nd Floor, The Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock. T.021 461 1863 The Framery Art Gallery 67A Regent Rd, Seapoint. T. 021 434 5022 C. 078 122 7793 The Framing Place 46 Lower Main rd, Observatory. T. 021 447 3988 C. 072 731 7682 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. 021 424 7169 The Great Cellar Until 8 Dec, “Ceramics SA: Western Cape Regional Exhibition 2012”.Alphen Estate, Alphen Drive, Constantia. T. 021 671 6139 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. Concord House (Pam Golding Building), Cnr Main & Summerly Rds, Kenilworth.C. 083 556 2540. Goodman Gallery Cape Town Until 7 Dec, Spring Show - A group exhibition of new and recent works by represented artists. 18 Dec - 2 Feb, “No, It Is”, an exhibition by William Kentridge. 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 8 Dec – 19 Jan, “Tablescapes: Ceramics, Still Life and the Turning World’, an exhibition by Clementina van der Walt. To be opened on 8 Dec at 11:00 by Wilma Cruise. Cecil Rd, Rosebank, CT. T. 021 685 5686 Iziko SA National Gallery Until 9 Jan, “Retinal Shift”, an exhibition by Standard Bank Young Artist Mikhael Subotsky. 25 Queen Victoria Str, CT. T. 021 467 4660 Iziko SA National Gallery Annexe Until 19 Jan, “Black Folk”, the culminating exhibition by 2012 Donald Gordon Creative Arts Fellow Jared Thorne. St John’s Road, Gardens, Cape Town. C. 082 316 5272


Iziko Michaelis Collection Ongoing, Dutch treat: Dutch works from the 17th–20th centuries in Iziko collections Iziko Michaelis Collection, Old Town House, Greenmarket Square, CT. T. 021 481 3800 Iziko Castle of Good Hope 13 Dec - 28 Feb, MTN New Contempories Award 2012 (William Fehr Collection, Block B). Until 15 Dec, “Remnants and Ancestors, Anarchives of Krotoa and Anne Barnard”, an exhibition by Carine Zaayman. Until 26 Feb 2013, “Fired”, an exhibition of South African ceramics. Buitenkant Str, opposite the Grand Parade, CT. T. 21 464 1262 Johans Borman Fine Art Summer Collection: Currently showing a selection of works by SA Masters: Walter Battiss, Cecil Skotnes, Erik Laubscher and Ephraim Ngatane. New works by Jacobus Kloppers, Philip Barlow, Hussein Salim, Ben Coutouvidis and Jaco Sieberhagen. 16 Kildare Rd, Newlands, CT. T. 021 683 6863. Kalk Bay Modern This gallery and craft shop showcases an eclectic mix of local South African art talent along with quality crafts from developing community groups. 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 Until 22 Dec, “Spectacular but Empty”, an exhibition by Neill Wright. 139 Albert Rd, Woodstock. T. 021 820 5505 Lutge Gallery Currently showing a selection of portraits by John Murray, photographs by Glen Green, ceramics by Lisa Ringwood and Christo Giles as well as tables designed by Allan Lutge. 109 Loop Str, Cape Town. T. 021 424 8448 MM Galleries Shop 3, 31 Palmer Road, Muizenberg, Cape Town. T. 082 739 7567

a few. Steenberg Village shopping centre, Reddam Ave, Tokai. T. 021 7010886 Rose Korber Art 16 Dec – 15 Jan, “Summer Show 2012 -2013”, a comprehensive overview of the current state of South African art, featuring paintings , mixed media works, original limited-edition prints, photography, sculpture, ceramics and contemporary beadwork. 48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152 C. 082 781 6144 or 083 261 1173 Rudd’s Auctioneers Antique, Fine and Decorative Art. 87 Bree Str, CT. T.021 426 0384 C. 083 406 4261 Rust-en-Vrede Gallery 10 Wellington Rd, Durbanville. T.021 976 4691 Salon 91 1 Dec – 26 Jan, “I’d Rather be Swimming”, the end of year Group Salon in association with the I am Water Ocean Conservation Trust, featuring some Salon91 favourites as well as some fresh all-new local talent. 30 Jan – 23 Feb, “Aurora”, an all-female illustration show by Kirsten Lilford, Maria Lebedeva, Adrie Le Roux and Kirsten Sims. 91 Kloof Str, Gardens, CT. T 021 424 6930 South African Print Gallery 15 Dec – end Jan, an exhibition by Joshua Miles. 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851 Sanlam Art Gallery 2 Strand Rd, Bellville. T. 021 947 3359 SMAC Art Gallery, CT Until 26 Jan, “PAINT I: Contemporary South African Painting 2002-2012”. 31 Jan – 2 March, an exhibition by Johann Louw. In-Fin-Art Building, Buitengracht Str, CT. T. 021 422 5100 Spencer Street Studio 1 – 9 Dec, an exhibition of new works. Visit website to view the online catalogue.6 Spencer Rd, Observatory, CT. C. 083 410 3460

Michaelis Galleries University of Cape Town, 31 – 37 Orange St, CT. T. 021 480 7170 The Pot Luck Club Gallery Contact curator Las Madurasinghe on 074 180 4895 The Old Biscuit Mill, 375 Albert Rd, Woodstock. Provenance Auction House Auctioneers of Fine Art, Antiques and Home Luxury. 8 Vrede str, Gardens, CT. T. 021 461 8009 Red! The Gallery 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

The South African Society of Artists’ Merit Exhibition will be opened by well-known

Cape Town artist and struggle veteran Lionel Davis on 25 January 2013 at the Sanlam Hall, Kirstenbosch Botanical Gardens, Cape Town. The Merit Exhibition is a special exhibition for members who achieved excellent results at the previous year’s Annual Exhibition Selection. It will run until 3 February. For more information or an invitation to the opening please contact SASA’s secretary, Liz Pearson, at (Above) Nasturtiums - New Beginnings by Wyn Rossouw FSASA SASA Merit 2013

SA ART TIMES. Dec 2012 - Jan 2013

WESTERN CAPE / GALLERY GUIDE | ART TIMES 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.. We Ship Worldwide - art delivered to your doorstep. T.072 470 9272 Stephan Welz & Company The Great Cellar, The Alphen Hotel, Alphen Drive, Constantia. T. 021 794 6461 Stevenson Cape Town Until 12 Jan, “Fiction as Fiction (or, A Ninth Johannesburg Biennale)”, the third exhibition in the year-long “Trade Routes Project”, in which the gallery pays tribute to the 1997 Johannesburg Biennale. 17 Jan – 23 Feb, “Black Cargo”, a solo exhibition by Serge Alain Nitegeka. Working in sculpture, painting and installation, this show follows Nitegeka’s debut Johannesburg solo, Black Lines, in March 2012. Gallery open throughout holiday season, except public holidays. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500. Strauss & Co. The Oval, 1st Floor Colinton House, 1 Oakdale Rd, Newlands. T. 021 683 6560 The Sudio Kalk Bay 6 – 19 Dec, “Legacy”, A fine art portrait series by Marc Alexander. 20 – 31 Dec, “Metanoia”, an exhibition by Leigh Tuckness. The Art Connection An online gallery curated by Priscilla Schoonbee, offering top class artwork by established and up-and-coming artists. Also attends to the on-going art curatorship at The Bay Hotel in Camps Bay and Le Franschhoek Hotel & Spa. The formal launch of the gallery and the opening exhibition at Le Franschhoek Hotel will take place on Friday, 14 December 2012, from 6 to 8.30pm. C. 082 463 6307 Truly Fantastic Specialising in custom furniture and joinery, as well as canvases and easels. 1 Pine Tree Park, Lekkerwater Rd, Sunnydale. T. 021 785 1161 What if the World/Gallery 1 Argyle Str. Woodstock, CT. T. 021 802 3111 Worldart Gallery Until 12 Dec, “Beginsel” a solo exhibition by Louis Olivier in association with Artspace JHB. 54 Church Street, Cape Town CBD. T 021 423 3075 Zizamele Cnr Chasmay & Kommetjie Roads, Sunnydale. T. 021 789 1491


Ebony Showcasing some new furniture designs and wonderful new sculpture by Carl Roberts, Nic Bladen, Jaco Sieberhagen and others. Also some great ceramic pieces by Clementina van der Walt, John Bauer, Hennie Meyer,

SA ART TIMES. Dec 2012 - Jan 2013

Lisa Firer, Ian Garrett and John Newdigate. We’ll also be showing beautiful new paintings by Marinda Combrinck, Sandra Hanekom, Ashleigh Olsen and of a wide range of classic, SA masters. Shop 4, Franschhoek Square, 32 Huguenot Str, Franschhoek. T. 021 876 4477

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

The Gallery at Grande Provence 9 Dec - 27 Feb, “Angels 7 – I am an African”, an exhibition showcasing work by various artists. Main Rd, Franschhoek. T. 021 876 8630.

Rossouw Modern Art Gallery Hermanus View work by new artists Debbie Loots and Koos de Wet, as well as new work by Bas van Stenis, Hugo Maritz, Mario Leibner, Glenn Cox, Sandy Diogo, Jenny Jackson and Obert Jongwe. 3 Harbour Rd, Hermanus. T. 028 313 2222

Is Art Until 5 Dec, “Fine Ounce Goldsmith Collective Jewellery Exhibition”, a group exhibition. Le Quartier Français, 16 Huguenot Str, Franschhoek. T. 021 876 8443

George Cape Palette Art Gallery 7 Dec - 15 Jan, a summer exhibition showcasing paintings, drawings and pottery. Participating artists are: Fiona Rowett, Leanete Botha, Neels Coetzee, Marinda Combrink, Benjamin Vandyk, Anny Maddock, Bridget Drewitt and Doris Brand. Engen Centre, CJ Langenhoven Str, Heatherlands, George. T. 044 873 6581 Hyatt Regency Oubaai 406 Herolds Bay Rd, George. T. 044 851 1234 Strydom Gallery 13 Dec - March, “George 44”, a summer exhibition. New works by Guy Du Toit, Pauline Gutter, Clare Menck, Jaco Sieberhagen, David Brown, Sarel Petrus, Willem Boshoff, William Kentridge, Simon Stone and the Artist Proof Studio. 79 Market Str, George. T. 044 874 4027

Mossel Bay Artbeat Gallery 35 Gys Smalberger Str, Mossel Bay, T. 081 356 5295

Hermanus Abalone Gallery Until 5 Jan, “Circumspect”, a solo exhibition by Andre Naudé (Annex). Showing in the Main Gallery, a selection of works by Lien Botha, Christo Coetzee, Hannes Harrs, Cecil Higgs, Elzaby Laubscher, Leonard Matsoso, Lynette ten Krooden and Louis van Heerden. 2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935 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. Terry Kobus: C. 083 259 8869. Bellini Gallery & Cappuccino-Bar 167 Main Rd, Hermanus. T. 028 312 4988

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

Knysna Dale Elliott Art Galleries Leaders of the painting course concept in South Africa! Shop 11, Knysna Mall Shopping Centre, Main Rd. T. 044 382 5646 A Different Drummer Featuring new lamps by Trevor Opperman and retro comic book art by Helene Vale Xenos as well as an ongoing exhibition of African Artefacts, sculpture, ceramics and object de vertu.Thesen House, 6 Long Street, Knysna. T. 044 382 5107. C.082 552 7262 Knysna Art Gallery Until 22 Dec, an exhibition by Tiffy Krynauw. 24 Dec – 5 Jan, members group exhibition. Old Gaol Complex, cnr of Main and Queen Street, Knysna. T. 044 382 7124 Knysna Fine Art Until 15 December, “Everyday Findings” by DP Ferreira and “Familiar Places” by Jill Trappler. 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

Piketberg The Art Business Contemporary Gallery and Art Consultancy 15 Dec – 28 Jan, 5 solo exhibitions running concurrently. Participating artists are: “I Object” by Sandra Hanekom; “Vel(d)” by Annelie Venter; “(S)kin” by Loni Drager; “Inside out” by Judy Bumstead and “Art(i)fact” by Aidon Westcott. Guest speaker is Corlie de Kock. 17 Main Str, Piketberg. C. 083 739 6196 / 072 659 1973

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

Somerset West Dante Art & Decor A modern Art Gallery since 1995. Proudly South African Art, Ceramics, Gifts & Decor. Furnishing your home with a modern touch of Beauty. Waterstone Village shop 37, Somerset West. C. 084 700 9196, Gallery 91 91 Andries Pretorius Str, Somerset West. T. 021 852 6700. C. 084 441 7233 Liebrecht Art Gallery 6 Dec – 13 Feb, “Facing the Future: Portraits for Africa”, a national project with 550 portraits by 55 artists from all over South Africa. Some prominent artists included in the group are: Philip Badenhorst; Anthony Harris; Tanya Poole; Clare Menck and Kennett Sinclair to mention but a few. Exhibition marks the end of the gallery’s fifth birthday celebrations. 34 Oudehuis Str, Somerset West. T. 021 852 8030 C. 082 682 5710


Sasol Art Museum Until 19 Jan 2013, “Altyd Lig”, Maggie Laubscher (1886 - 1973 ), retrospective exhibition, curated by Prof. Muller Ballot. Gallery will be closed from 22 Dec – 2 Jan 52 Ryneveld Str, Stellenbosch T. 021 808 3691. Slee Gallery 101 Dorp Str, Stellenbosch. T. 021 887 3385 SMAC Art Gallery 6 Dec –19 Jan, “Udaka”, an exhibition by Valerio Berutti. 24 Jan – 9 March, “Mirror Mirror”, A Tradition of Portrai-


ture in South African Art (1912-2012)” and “Still Life”, an exhibition by Simon Stone. 1st Floor, De Wet Centre, Church Str, Stellenbosch. T. 021 887 3607

Until 10 Dec, “11x11: Inanimate Objects”, this exhibition takes place as a lead up to “16 days of Activism for No Violence Against Women and Children”. 3 Millar Rd, Stamford Hill, Durban. T.031 312 0793

Stellenbosch Art Gallery Until 31 Jan, 2012 Gala Summer Exhibition. 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

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

US Art Gallery Until 12 Jan, “Accumulation of Disorder”, an installation by Lionel Smit.Gallery will be closed from 22 Dec – 2 Jan. Cnr. of Dorp & Bird str, Stellenbosch. T. 021 828 3489

Swellendam Kunstehuijs Fine Art Gallery Representing a wide variety of established and up-andcoming South African artists. 19 Swellengrebel str, Swellendam. T. 028 5142905 C. 082 4349291

Villiersdorp Dale Elliott Art Gallery 7 Dec – 15 Jan, “Festive Season Exhibition”, showcasing Dale and Mel Elliot’s latest works. 80 Main Rd, Villiersdorp. T. 028 840 2927

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. C. 082 935 8354 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

The Collective Until mid Jan, “It’s a Wrap”, year-end show. 48b Florida Rd, (entrance in 4th Avenue) Greyville, Durban. T. 031 303 4891 Durban Art Gallery Until 27 Jan, “Bridges”, A photographic project by Andrew Tshabangu and Rene-Paul Savignan on the religious practices in South Africa and in Reunion Island. 2nd Floor City Hall, Anton Lembede (Smith) Str, Durban. T. 031 311 2264/332 7286 Elizabeth Gordon Gallery Until 21 Dec, “Durban - City for All Seasons - Season II”, an exhibition to celebrate Christmas. 16 participating artists have been asked to contribute paintings on a Durban related theme. 120 Florida Rd, Durban T. 031 303 8133 KZNSA Gallery Until Jan, the KZNSA Galleries and the KZNSA Shop join forces to bring you a huge range of gifts, collectibles and just darn right desirable stuff. 166 Bulwer Rd, Glenwood, Durban. T. 031 277 1705 Tamasa Gallery A small commercial gallery, Tamasa exhibits a broad variety of contemporary KZN artists. 36 Overport Drive, Berea, Durban. T. 031 207 1223

Ballito Imbizo Gallery Until 24 Dec, “Reflections”, a solo exhibition by Katherine Wood. Shop 7, Ballito Lifestyle Centre. T. 032 946



Tatham Art Gallery 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

The African Art Centre 94 Florida Rd, Durban. T. 031 312 3804/5


Kwazulu- Natal

Artisan Gallery Until mid Jan, “Artisan 2012 Ensemble”, the annual end of year exhibition is now on. Showcasing a wide range of new works by some of Durban and South Africa’s most creative and talented artists. From fun and funky to elegant and classic, there is sure to be something for everyone. 344 Florida Rd, Morningside, Durban. T. 031 312 4364

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

ArtSPACE Durban

SA ART TIMES. Dec 2012 - Jan 2013

The Nelson Mandela Metropolitan Art Museum’s permanent collection consists of South African art (particularly that of the Eastern Cape), British art, international printmaking and Oriental art (including Indian miniatures and Chinese textiles). These are supplemented by an active programme of temporary exhibitions. Guided tours of exhibitions can be arranged during opening hours.

Opening times Weekdays: 09h00 – 17h00 (closed Tuesday mornings); Saturdays & Sundays: 13h00 – 17h00 Public holidays: 14h00 – 17h00; Last Sunday of the month: 09h00 – 14h00

1 Park Drive, Port Elizabeth, 6001, South Africa Telephone: 041 506 2000 Fax: 041 586 3234

FA artist warehouse advert final paths.indd 1

2012/10/17 6:41 PM



Sandra Hanekom

Loni Drager - Annelie Venter


Inside Out

Aidon Westcott

Judy Bumstead

15 Dec - 28 Jan 2013 Hoof Straat 17 Piketberg Opening 18:30 Inge Bruwer 083 393 5862 Aidon Westcott 083 739 6196




Finalistts in the PPC YCSA Awards Ceremony . (Right) This years winner of the PPC YCSA Award: Zyma Amien. with her work: The day they came for our house. MTN NEW CONTEMPORARIES AWARD 2012 - TO BE HELD AT THE B-BLOCK, THE CASTLE, CAPE TOWN

Unathi Sigenu and Khanyisile Mbongwa’s work in progress, Farieda Nazier and Mocke J van Veuren, From left Maleka, Sadie and Mtembu, Khanyisile MTN New Contemporaries Award 2012 MTN New Contemporaries Award for 2012 is a biennial competition managed by the MTN SA Foundation designed to identify and promote young artists, who have not yet received critical acclaim but who are positioned to be the next leaders in the contemporary art sector. Identifying these emerging participants for the competition was in itself something of a quest. As one of the Award’s mandates is to reflect on the traits and trends in the current art scene, the project starts with the nomination of a young curator who is a specialist in contemporary South African art. The exhibition will be curated by lecturer and art historian, Portia Malatjie.

This year, MTN New Contemporaries Award finalists comprise of four collaborations instead of the accustomed 4 individual artists. ‘More and more artists are finding new artistic expressions, and one such expression is that of working collaboratively. This mode of working needs to be highlighted by platforms that aim to indicate the current state of art affairs,’ says Malatjie about the selection of the collaborations. The finalists will mount an exhibition of their work in the B Block at the Castle of Good Hope. The area referred to as B Block, is maze-like, intricate and winding with surprising staircases, linking the three floors in different combinations. These spaces, pregnant with the history of colonialism are among the oldest remaining parts of the Castle, are soon to be transformed with contempo-

rary art works including video projections, installations, photographs, sculpture and performance art, exploring history and contemporary meanings. The group of artists has been working in collaborative units under the leadership of guest curator, Portia Malatjie. ‘The collaborations for this year’s award concentrate mainly on the idea of relational art, extending the idea that artists do not operate in a vacuum. What relational, collective or collaborative art also fosters is the idea of interdisciplinarity. By fusing dance with performance and fine arts, the artists blur the lines between all these different genres or disciplines,’ Malatjie concludes.


Justin Davenport, Charlotte Slingsby, Roxanne Wylie, Nargis Motala, Ebby Windell, Kerri van Geusau, Armin Barnard. Ruth Golemba,Janis Slingsby, Charlotte Slingsby

SA ART TIMES. Dec 2012 - Jan 2013



Donna McKellar outside her newly opened Studio and Gallery in Kalk Bay RICHARD SMITH OPENS AT THE IRMA STERN MUSEUM, ROSEBANK, CT. ORGANISED BY ROSE KORBER ART


SA ART TIMES. Dec 2012 - Jan 2013


Anthea Moys, Mary Sibande, Prince Lamla, Shane Cooper,FanaTshabalala at the announcement of the 2013 Standard Bank Young Artist Awards. Mandie van der Spuy, Jay Pather, Gilly Hemphill, Ismail Mahomed. Mary Sibande and Jay Pather. Mary Sibande and her grandmother. Anthea Moys and Brenton Maart, Anthea Moys. All Pictures: Dominic Barnardt


Elinor Auerbach : Sketch # 2, Leigh-Anne Crafford : Glencairn Quarry 3, Anjah Badenhorst : Installation View, Casey Driver : Got your head in the clouds, Adam Munro : Scanner on body, Amber Caplan : installation view, Catherine Bennett-Horak : Blossoms know they must blow in the wind someday, Emma Dee Padoa : Arid Underbelly, Emma Dee Padoa : Purpose, Megan McNamara : Daniel in the back of my mind


SA ART TIMES. Dec 2012 - Jan 2013


Leigh Bassingthwaighte : Untitled (Tuesday, May 15, 19.31.2012), Astrid Gebhardt : Untilted, Figures 1b - 1f, Juliet Forsyth : Video still, Kerry Chaloner : Presence with objects I, Jesse Stevenson : The punchline, Liesl Potgieter : untitled (bucket), Herman de Klerk : Mass (detail)

SA ART TIMES. Dec 2012 - Jan 2013



Haroon Gunn-Salie, Witness, a site-specific video-mapping intervention, Megan Mc Namara : all nighters, installation, blind, flourescent,studio plant,backwards ticking clock, Jesse Stevenson, Boxed in (Installation), Hannah Lewis : Black and White, Installation View, Mia Swanepoel : Transcendere 15


SA ART TIMES. Dec 2012 - Jan 2013


Mia Couvaras : Muizenberg, Roxy Kawitzky, Witness, Sethembile Msezane, Trauma, Nobukho Nqaba, Untitled, Mia Couvaras : Seapoint Sarah Ommanney, Lion’s den II, Miranda Moss : Installation shot of Ephemerology2, Roxy Kaczmarek : Abyss

SA ART TIMES. Dec 2012 - Jan 2013



Jean Matthee : Vliegtuie, Leanri Nieuwoudt : Keel, Leanri Nieuwoudt : Untitled, Chloe Humby : Logo design, Roann Louw : Media


SA ART TIMES. Dec 2012 - Jan 2013


Alain Lotriet : Where’s Mally, Ydi Coetsee : Landscape with green sky, Mari Muller : Versamelbare Afrikaanse Stereotipe kaarte Katharien de Villiers : The invisible terrors, Jeanne Gaigher : Green Trophy

SA ART TIMES. Dec 2012 - Jan 2013



Jamie Wadington, Francios Knoetze, Oikos Odyssey, Lauren Fletcher, Infected, modified found object, Charlton Rheimers, from Infighting series, Photographic print


SA ART TIMES. Dec 2012 - Jan 2013


Lindi Lombard: Pyshological and Spatial Liminality, Catherine Ash: Shard, porcelain, Kathleen Sawyer: Autopsy, Nina Grindlay : Andrea, Luke Calder


SA ART TIMES. Dec 2012 - Jan 2013



Bianca Tovey, Hemisha Bhana, Yael Feldman, Josephine Vorster, Marissa Venter, Josephine Vorster, Mary Mandivavarira, Marissa Venter


SA ART TIMES. Dec 2012 - Jan 2013


Mbali Khoza, Michelle van Straaten, Paul Samuels, toilet1 by Victoria Wigzell, wallpaper by Victoria Wigzell, Zakara Raitt, Yael Feldman

SA ART TIMES. Dec 2012 - Jan 2013



Guests in front of Zyma Amien’s desks, Heidi Mouret’s Instalation, The Six Graduates at the opening Speech


SA ART TIMES. Dec 2012 - Jan 2013


Veiw through Pierre le Riche’s Instalation, Suzanne Shaw, Anje Schoeman Hoarded Memoirs, Marinda Thomas, Engela van der Hoven, Engela van der Hoven, Graeme Watt

SA ART TIMES. Dec 2012 - Jan 2013



Illustration from graphic novel by Rashieq Sasman, Photography by Danielle Bischoff Drawing by Emily Jane Long 2-4 Photograph by Callen Jefferson


SA ART TIMES. Dec 2012 - Jan 2013


Photograph by Roche Pienaar 1 - 3, Installation by Natalie Mosdell, Painting by Philip Wassung, From an installation by Juanette Smuts 1

SA ART TIMES. Dec 2012 - Jan 2013



Artist Robert Slingsby explores the consequences of man’s exploitation of the Earth in an explosive exhibition. “Money and God in his pocket” at the Barnard Gallery. The drawing and sculpture series highlight the victims of this exploitation, from rhinos to the people of the Richtersveld to the Earth itself. Slingsby is both an artist and an activist and hopes that his work will bring attention to excessive mining, overdevelopment, poaching and other industries that threaten the habitats of people and animals alike. “There has to be a shift of consciousness to change things,” he said. “It can’t all be done through legislation”. Rhinos feature prominently in this exhibition, which includes haunting images of slaughtered animals. Slingsby uses the “brave, intuitive and sensitive” rhino as a symbol of African identity. “I didn’t want to do the rhino in the ideal.” It had to be the stark reality that the rhino is part of our African psyche and it is on the verge of extinction because of consumption gone mad. The emotionally charged drawings are made up of sharp, harsh charcoal and chalk strokes. Slingsby shows the impact of habitat destruction on less visible creatures. For more see:


SA ART TIMES. Dec 2012 - Jan 2013

HENNIE MEYER SHOWS AT RUST EN VREDE, DURBANVILLE / SHOW | ART TIMES design. As the basic unit, I used an open-ended cylinder (pypie), based on the concept of on an old-fashioned telescope. These cylinders are created in the same way that he creates the spouts of his teapots. The clay is rolled to form a coil, then a dowel is pushed lengthwise through the center. The coil is rolled again, enlarging the opening with a thicker dowel until the opening is wide enough, creating a seamless slab. Each of these cylindrical units is individually shaped, glazed and fired. Some are fired several times. Each is a unique piece of ceramic art. Hennie packed the cylinders, 100 per m², one square meter at a time, over and over again in his studio. This enabled him to execute the installation on-site in Lombok with random precision, focusing his innate creative energy in placing the cylinder at hand in a random way – similar to the order found in nature. There is an obvious conversation between nature and the organic design of his installations. In Lombok, the organic shape of the clay cylinders and the variety of colors complement the extraordinary natural beauty of the environment. This conversation is further heightened by the fact that some cylinders

Hennie Meyer A fascination with multiples Dr Elbé Coetsee : Hennie Meyer is one of South Africa’s best-known ceramic artists. He works mainly in earthenware and continually experiments with the expressive qualities of clay, and its tactility and responsiveness, to create a variety of individual pieces: jugs, teapots, blocks, bowls, and vases. His iconic milk jugs and teapots, with spouts reminiscent of the curved shapes of the Sydney Opera House, feature in several books and numerous magazines. He also combines individual pieces, which are similar in shape, to create large-scale installations. His wall vase installation is a beautiful example. The repetitiveness of the individual shapes included in these large-scale installations creates a composite rhythm, a meditative work of art. This repetition – doing the same over and over again – is a recurring theme in Hennie’s work. He sees the Qunci Villas project as a manifestation of his fascination with multiples. The water installation that Hennie created at Qunci Villas in Lombok, Indonesia, exemplifies this meditative essence. In 2008, the owner of Qunci Villas, Scott Coffey, commissioned Hennie to create ceramic art for the entrance of the Pool Villas. In 2012, this project has further developed to include sitespecific installations of major artworks for the new villas. Hennie says: This has been the largest and most exciting project I have been involved in. I was given complete freedom with regard to the concept and SA ART TIMES. Dec 2012 - Jan 2013

are installed in a pond, with the water moving subtly through them. Other installations allow light to filter through the open cylinders. He believes that consistency and development are important aspects that facilitate growth and establish integrity as an artist. At the same time, he embraces mistakes and celebrates serendipity: You allow the clay to lead you, piece by piece, day by day. You always try to exert as much control as possible in striving to be perfect. And then, after working so closely with the clay, you give it to the kiln …. Hennie has won many awards for his work and exhibits throughout South Africa and internationally – at Ceramic Art London, the Royal College of Art, seven times; the United States of America, China and Korea. His work is found in numerous South African public collections, including the Corobrik Collection at the Pretoria Art Gallery, the Ceramics Collection of Iziko Museums in Cape Town, the Nelson Mandela Metropolitan Art Museum in Port Elizabeth, The Clay Museum at Rust-en-Vrede in Durbanville, Cape Town, the William Humphreys Art Gallery in Kimberley and the Tatham Art Gallery in Pietermaritzburg. International collections include the Icheon World Ceramic Centre in Korea and the 2007 Lilliput Ceramics World Exhibition of Small and Miniature Ceramics in Zagreb, Croatia. Hennie works and teaches from his studio in Cape Town. He plays an active role in the development of ceramics in South Africa and is a member and fellow of Ceramics South Africa (CSA), as well as the International Academy of Ceramics (IAC). Dr Elbé Coetsee : Founder & Director: Mogalakwena Craft Art Development Foundation & Mogalakwena Research Centre Author: Craft Art in South Africa 55


A great night for Strauss & Co. By Michael Coulson : When most art auctions struggle to reach the low estimate, it’s a great achievement to go way beyond that and even beat the top estimate, but that’s what Strauss & Co did in Cape Town on Monday, even if only just and it took the buyer’s premium and Vat to do it, as hammer prices fell just short. Still, that’s how auctions are recorded. And this was in spite of the failure of three top lots to sell: the cover lot, a Ruth Everard-Steenkamp still life (estimate R800 000-R1.2m), Irma Stern’s Four Figures (est R1.5m-R2m) and an Alexis Preller abstract (est R600 000-R800 000). The sale was in fact made by amazing R4m+ prices for two other Prellers. Grand Mapoggo III, estimated at R1.8m-R2.4m, was bid up to R4.7m, and Girl with an Oriole (the inside back cover) to R4.0m (est R800 000-R900 000). In the first session of minor work, 130 of 157 lots sold (82.8%) for a hammer-plus gross of R3.5m, against the low estimate of R4.0m. In the main session, 61 of 80 lots (76.3%) sold for a gross R29.4m. The estimate range was R20.56mR28.7m. Overall, sales were 191 of 237 lots (80.6%) for R33.0m. The estimate range was R23.4-R32.7m. Remarkably, including two other lesser items, Preller contributed R9.9m of this, or exactly 30%. The two Sterns sold (of three) grossed only R1.18m, against the low estimate of R2.32m, less than the R1.93m of six Pierneefs (all sold -- low estimate R1.01m). Of others in the top 12 estimates, starting at R500 000 and upwards, a group of figures by Walter Battiss went for R2.56m (an artist’s record -- the estimate was only R700 000-R1.2m); a Stern Head for R1.11m (est R800 000-R1.2m); an Edoardo Villa sculpture for R891 000 (est R700 000-R900 000); Anton van Wouw’s The Scout (the frontispiece) for R836 000 (est R750 000R1m); Preller’s Anubis (the inside front cover) for R668 000 (est R600 000-R900 000); and an Adolph Jentsch landscape (the inside back cover, est R600 000-R800 000) fetched just R557 000; as did a Robert Hodgins triptych (est R500 000R700 000). Also featuring in the top 10 prices attained were several works that sold for well above their estimates: Hodgins’ Three Golem Figures was bid up to R891 000 (est R400 000-R500 000), a Pierneef landscape (R802 000, est R300 000-R400 000) and a Battiss landscape (R780 000, est R250 000-R350 000). Other notable prices include R423 000 for Thomas Baines’ book Scenery & Wild Animals in South East Africa (est R80 000) and R290 000 for a Sydney Kumalo Head (est R80 000-R120 000). And of other featured items, Preller’s Egg Box, the second frontispiece, went for R334 000 (est R250 000-R350 000); the third frontispiece, a William Kentridge drawing of A Head, for R535 000 (est RR350 000-R450 000); and the frontispiece for the second session, Jean Welz’s Irises, for R613 000 (est R300 000-R400 000). 56

Of the most represented artists, all 12 Battisses and Kentridges sold, eight of 11 Hodgins, all eight Villas, all six Pierneefs, five of six by both Gregoire Boonzaaier and Preller, and just two of six Edward Roworths. Next week the focus stays in Joburg for the year’s final auction, by Stephan Welz & Co. One can always hope, but’s hardly conceivable that they’ll end the year on as high a note as this.

A mild finnish to the auction year By Michael Coulson : If November’s Strauss & Co auction gave rise to hopes that the SA art auction year would end on a high note, it was not to be. This week’s closing sale by Stephan Welz & Co, in Joburg, started well, but tailed off badly, with only three of the top 12 estimate lots selling. No sale can do well when the top lots fall like this. The Tuesday afternoon session of minor work actually beat the low estimate, helped by keen buying of two Pierneef graphics: a linocut estimated at R8 000-R12 000 reached R56 000, and an etching, estimated at R10 000-R15 000, R35 840. A Baldinelli mosaic diptych, Organic Forms, estimated at R6 000-R9 000, fetched R47 040 and the total for the session was just under R960 000, against the low estimate of about R810 000 (as always, one must make the caveat that sales are reported hammer-plus, estimates are hammer price only). The mood darkened with the early evening minisession of contemporary art, when 24 0f the 37 lots were either withdrawn or didn’t sell, including the evening’s potential top lot, a William Kentridge drawing estimated at R1.2m-R1.5m. Despite R392 000 for a Norman Catherine oil (est R200 000-R300 000) and R291 000 for Robert Hodgins’ Nude in a Green Chair (the cover lot, est R250 000-R300 000), this session grossed barely a third of the low estimate: just over R1m against the estimate of marginally under R3m. There was a similar return in the main session: a gross of about R4.2m against an estimate over R12.3m. That brought the total take to about R6.2m, or just under 40% of the total low estimate of about R16.1m. The three top works that didi sell, though all below estimate, were a Pierneef landscape, for R728 000 (est R900 000-R1.2m) and two Stanley Pinker oils, both estimated at R600 000-R800 000 and fetching R560 000. Also notable were Pranas Domsitis’ triptych, The Crucifixion, at R314 000 (est R240 000-R280 000) and a Willem Hendrikz bronze Faun, at R224 000 (est R200 000-R300 000). Of the most represented artist, Walter Battiss and Catherine each sold five of eight, Frans Claerhout four of eight; Errol Boyley all six but Maggie Laubser none of six. On five, Sydney Carter, Gabriel de Jongh and Ted Hoefsloot sold all, W H Coetzer four, Gregoire Boonzaaier three, Maurice van Essche two and Mel Brigg none.

Citadel Art Price Index (CAPI)

Volumes down, prices up in a memorable year

By Michael Coulson : While the Citadel Art Price Index (CAPI) is still 20% off the peak it set in the first quarter of 2008, before the world financial crisis, it is still 18% higher than a year ago, with most of the recovery coming in the final quarter. Releasing these figures in Johannesburg, Citadel’s George Sherman said that while traditionally art prices lagged the equity market, since 2008 this relationship has almost completely broken down; but though art prices generally have fallen way behind equities, art has still performed better than most asset classes, including cash, bonds and residential property. CAPI’s data and methodology are provided by AuctionVault and Econex, from sales at seven auction houses in SA and London. Since its inception in 2000, CAPI has grown by an average annual 13%, beaten only by the JSE all-share index (17%) and gold (17% in US$, 16% in rand). But CAPI also illustrates the volatility of art prices. From a peak of 503 in Q1 2008, it moved erratically down to 332 in Q1 2012, rallying to 359 in Q2, dipping again to 356 in Q3 before closing the year at 396, a level last seen in Q3 2010. The 2008-2012 decline was not even the biggest ever: at its inception in Q1 2000, CAPI was 159, plunging to 91 in Q3 2001 and only recovering to the opening level in Q1 2004. Sherman provided some fascinating figures on the market. Since 2000, less than 1% of auction prices have been above R1m, but they’ve contributed 43% of total value. Conversely, 57% are below R10 000, they contribute only 3.4% of total value. Total sales over the period have been R1.6bn. The impact of high prices for individual works is shown in the huge gap between the mean price (in layman’s terms, the average) of R61 000 and the median (the price at which 50% of works sold for more, and 50% for less) of R7 500. It was only in 2007 that the median climbed above R10 000; in the past two years it has been between R30 000 and R35 000, indicative of a step change in SA art prices. Clearly, the occasional R20m or R30m for an Irma Stern or Pierneef are not always reflective of the market as a whole. It must also be said that, though Citadel and its associates have tried to compensate for the relatively narrow SA art market, where individual pictures seldom change hands, not everybody accepts the validity and accuracy of their methodology. It’s also idle to deny that CAPI is as much a marketing tool for Citadel as a service to the community. Still, it’s the best market indicator we have, and the correlations of the background data are enlightening. SA ART TIMES. Dec 2012 - Jan 2013

Duly instructed by Mrs Riva Cohen

Hannes Thiart



Fully illustrated catalogue on from Wednesday 16th January 2013 Printed Catalogues available from Rudd’s Tel: (021) 426-0384 E-mail: Cell: 083-4064261

Paintings, Watercolours & Lithographs representing South African Artists from 1950 to 2010

Once off sale of unsung art heroine’s personal art collection SA ART’S UNSUNG HEROINE By Hazel Friedman published in June 2010 SA Art Times Some believe that art is the second oldest livelihood in the world and one of the most avaricious. Recently British artist and octogenarian Sir Anthony Caro, bemoaned the fact that the market value of paintings had become more meaningful to artists than creating beautiful work. “Some art has got some stupid, outrageous values and it is very sad that money has become a very important part of the art world,” he said at the opening of a new sculpture exhibition in Monterrey, Mexico. He might have thought differently had he spent time with gallerist and fellow octogenarian Riva Cohen. If there existed an award for integrity in the South African art scene then she would be the uncontested frontrunner. And in a world often notorious for its limited shelf-life Cohen exemplifies longevity. Other galleries have risen and subsequently been relegated to the appendix section of contemporary art - courtesy of the credit crunch, the speculative vagaries of the art market and the increasing tendency among dealers to equate soaring prices with sometimes arbitrary value. Cohen is not that kind of dealer. Ever since she began selling art in 1968, with her late husband, Issy, from their Oranjezicht home in Cape Town, she had embodied the role of the dealer as nurturer and supported artists, not as cash cows, but creative manifesters. “When we started out my husband owned four paintings by top artists and a set of encyclopaedias,” she reminisces. “We used to visit the artists in their studios, like Marjorie Wallace and Gregoire Boonzaaier, just to mention a few. “ Forty-something years later, Cohen is regarded as something of a national treasure and her Atlantic Gallery more an institution than an art space. Although there are overlaps between the two roles - as with the collector versus the investor - there are clear distinctions between art as a passion and art as a business. Cohen exemplifies the former. She doesn’t own a stable of contemporary art thoroughbreds who make massive, headline-worthy margins and get the invitations to the most coveted global art extravaganzas , She isn’t a

card-carrying member of the coterie of galleries who writer and editor Sean O’ Toole aptly describes as “the tastemakers”, like the Goodman and Stevenson Galleries. “What makes Riva’s contribution to South African art so monumental is not only her continuity but the fact that she thinks outside the bathtub by supporting truly independent artists,” says Janis Slingsby, whose husband Robert, is one of Cohen’s most successful artists. “Many of the artists she nurtures have been overlooked by the cultural cliques, but have succeeded through Riva’s patronage, in acquiring considerable acclaim and sustaining a decent livelihood. “ “I support artists whose work I love and believe in. It’s as simple as that,” she says. “The importance in selling art - as with collecting - is that it always starts with passion.” She adds “Even if you can’t afford to buy, I guarantee you there will be at least one artwork in this gallery that moves you” Unlike her commercial counterparts, Cohen rarely holds exhibitions. She simply doesn’t have the space. The downside of this is that her artists don’t enjoy the kind of visibility that their peers do in South Africa’s leading contemporary galleries; the upside is that each of the artists at the Atlantic Gallery have equal representation. Guaranteed, you will always find a Gail Caitlin, a Robert Slingsby, Willie Bester or Conrad Thys - to mention but a few of the 23 artists supported by Cohen. But you have to do some rummaging. “Spending time in Riva’s Gallery is an adventure in itself. It’s unlike the more staid experience of visiting a conventional gallery because it makes the ritual of finding a treasure, among the paintings stacked up against the wall, all the more exciting, “ says Dan Ahern - the Managing Director of Cadiz Securities and an avid art collector, who began buying art from Cohen many years back. ...We are sitting in the Atlantic Gallery against a backdrop of colour, stroke and image: paintings propped up , literally floor to ceiling in her Wale Street Gallery. She has moved three times since establishing her first gallery in 1973; after 18 years in Burg Street, she relocated to nearby Church Street. In 2005 she opened her doors in the current location along Wale Street.

Although super-cool Long Street borders her space, the Atlantic gallery is not on the chic side of the street. There are no trendy eateries, boutiques or bars enticing the young guns who tend to also frequent the contemporary art scene. Yet the Atlantic Gallery is buzzing. Literally. The doorbell, that is. Artist John Kramer has just arrived, delivering another of his eponymous paintings of small Karoo towns. Two architects stopped by earlier. The phone rings relentlessly and there’s the routine buzz from the homeless, the unemployed and the indigent. Cohen treats all and sundry with gracious equanimity. At four score years and five, physically she’s slightly frail but her azure eyes are as alert as ever and her memory a darn sight sharper than a woman half her age. There is nothing and no-one she doesn’t know about in the art world. But what is most notable about her is her self deprecation - verging on shyness - and her humility. She clearly feels uncomfortable being the focus of a profile, preferring instead to shift attention to the artists represented in her space. On the Atlantic Gallery website artist Mark Midgely describes his relationship with Cohen as beyond any “artist-art dealer” relationship. It has become a great trusting and sincere friendship that cannot be replaced.” He adds: “ Riva is a genuine friend to clients, artists, fellow gallery owners and agents. In the words of a fellow artist, Simon Jones: ‘she is the artist’s saint’.” But making it in the boom ‘n bust world of cultural currency takes more than being regarded as the Mother Theresa of the visual arts. It requires the tenacity of a terrier. With the deflation of the contemporary art bubble, commercial galleries are all singing the recession blues. Cohen acknowledges that it’s tougher than ever to remain afloat. And it’s not only because the market has shrunk. “In the early years most of the artists I represented didn’t expect to make much money in their lifetime. Nowadays it the other extreme with artists, who haven’t yet proven their consistency, overpricing their works sometimes at the expense of quality and integrity.” She adds: “I’m not interested in making huge profits; as long as the artists I look after and respect continue to survive - and hopefully - thrive.”

Let us get the best prices for your Prints Sell your South African Fine Art Prints for the best prices through our great community of fine art print enthusiasts and collectors. Contact us at : SA Print Gallery: 109 Sir Lowry Road, Woodstock, CT. Tel. 021 4626851

Alice Elahi : Surf


A poor year ends on a brighter note By Michael Coulson A few highlights apart, it’s not been a great year for the art market, but there were signs of hope as 2012 drew to a close. The last three auctions -- one from each of the main local houses and Bonhams in London -- each grossed more than the corresponding event in 2011 and consensus in the trade is that underlying sentiment is improving. But despite this late steadying -- still a stabilisation rather than a recovery -- auction room values were almost R100m less than in 2011, a decline of 73%. Had it not been for the frenzied bidding for two Alexis Prellers at Strauss & Co’s last sale, which each fetched way above estimate prices at R4m-plus, the decline would have been even steeper As always, I must spell out the rules of the game. I include only auctions with proper printed catalogues, which excludes some firms included in the Citadel Art Price Index; figures are based on the lists published immediately after the auctions; and prices are hammer-plus, which includes

buyer’s premium and any other charges. So it’s not a complete coverage, but it is the cream of the market. Art works can also be found in house sales -- for example, Strauss sold three pictures for about R1.4m at its sale of the Keerweder estate contents -- but these aren’t included either. Apart from the overall decline, the most notable feature of the year was the switch in relative activity back from London to SA. In only three or four years, Bonhams came from virtually nowhere to over 40% of the total market, proclaiming that London was THE place to sell SA art. But though its two auctions were the biggest of the year, Bonhams’ sales fell by more than a third, trimming its share to only 36%. Just as in 2011 Strauss & Co was the main beneficiary of the withdrawal of Graham Britz, so it was from Bonhams this year, pushing its share up to within a decimal point of 50%. Stephan Welz & Co continues to lag in third place, but held its market share. The only eight-digit sales were again Irma Sterns, both attained in the first half of the year, but there are signs that the long-awaited broadening of the market is at last developing. We no longer find

Stern and Pierneef contributing 50%-plus of a sale’s gross. It’s sad that artists so often have to die before they’re properly appreciated, but apart from Preller and Walter Battiss there has been growing interest in the work of recently deceased artists like Robert Hodgins, Stanley Pinker and Edoardo Villa. Both Strauss & Co’s Stephan Welz and Bonhams’ Giles Peppiatt repeatedly stress that there’s sustained demand for good quality work; it’s lesser items that fail to sell. Welz adds that he’s seen well-heeled new buyers enter the market this year. “Black diamonds” remain few, but there are some, and they tend to collect traditional rather than emerging artists. He agrees that growing interest from this sector is essential to the market’s long-term health. Last year ended on an apprehensive note, which turned out to be justified. Though 2012 has been a tough year, at least it’s ending more hopefully. In a couple of months’ time, when Cape Town will host the first sales of 2013, we’ll see just how warranted this is.

Table One -- the local market House Venue


No of lots % sold Low est (Rm) Gross (Rm)

Top price (Rm}

Strauss, CT Welz, CT Welz, Jhb Welz, CT Strauss, Jhb Welz, Jhb Welz, CT Strauss, CT Strauss, Jhb Welz, Jhb

Feb Feb Apr May Jun Aug Oct Oct Nov Nov

204 238 258 279 281 175 295 223 237 289

Irma Stern portrait P Wenning l/s L Sithole sculpt K Alexander l/s Stern Omani R Ev-Haden l/s P Clarke l/s Stern s/l A Preller figure Pierneef l/s

81 56 71 59 78 64 60 79 81 60

23.4 17.2 8.2 11.0 25.2 8.5 20.3 26.8 23.4 16.1

26.5 5.8 6.9 4.9 38.0 6.4 6.4 27.1 33.0 6.2

4.8 0.54 0.72 0.67 17.3 0.84 0.80 7.8 4.7 0.73

Table Two -- Bonhams in London Month March October

No of lots % sold Low est (Rm) 121 47 59.1 42.3 355 50 61.1 49.1

Gross (Rm) 11.6 Stern 4.9 Stern,

Top price Woman in Sari Malay Lady

Table Three -- slicing the cake House

Gross (Rm) Market share (%) -------------2012-------------------- Strauss 124.6 49.2 Welz 37.0 14.6 SA total 161.6 63.9 Bonhams 91.4 36.1 Total 253.0 SA ART TIMES. Dec 2012 - Jan 2013

Gross (Rm) Market share (%) --------------2011-----------------153.5 44.2 50.3 14.5 203.8 58.7 143.3 41.3 347.1 59


Millions for minors, miners and minions on Strauss’s Summer Auction Drill provides a strong social statement on mining and labour in South Africa at the turn of the century. Figures in a Landscape by Walter Battiss (estimated surface contrast with the roughly hewn rock face that surrounds it. Working with hand-held implements in the flickering light of a candle, Miner with Hammer at R1 600 000 – 2 200 000) is exciting much interest as paintings on this scale and of comparable quality are seldom seen at auction. Battiss’s Bathers, sold by Strauss & Co in March 2010 for R1 336 800, is similar in size and treatment. Both display the technical skill and sensual subject matter that have made him one of the most popular artists at auction today. Across a painterly surface of warm tones flecked with white are gathered serried rows of African people busy with their daily activities of carrying, collecting, cooking and chatting. The even distribution of figures across the picture plane owes much to Battiss’s pioneering research into San rock art paintings. Battiss’s African Figures broke all auction records for this artist when it sold for R2 562 200 at Strauss & Co’s Johannesburg sale in November 2012. Anton van Wouw : Miner with Hammer Drill

portrait since Strauss & Co sold Stern’s Arab in June 2012 for R17 267 000. Anton van Wouw’s Miner with Hammer Drill, dated 1911 and estimated at R1 600 000 – 2 200 000, is a rare and remarkable example of the sculptor at his best. Few castings exist of this large bronze measuring 60 centimetres in height, as even in Van Wouw’s lifetime its price was exceptionally high according to Professor Dr Alexander Duffey. This bronze was cast at the G. Massa Foundry in Rome under the sculptor’s close supervision. The Pretoria Art Museum owns an example of similar quality cast at the Nisini Foundry in Rome.

Irma Stern: Malay Girl One of Irma Stern’s most compelling portraits ever to come to the market will be offered at Strauss & Co’s upcoming auction to be held on 4 February at the Vineyard Hotel in Newlands. Malay Girl, painted in 1938 and estimated to fetch between R10 000 000 – 15 000 000, provides extraordinary insights into the curious life of a child. The girl looks directly at the viewer, engaging us in a way that is neither challenging nor retiring. She meets the viewer’s gaze on equal terms. Rather than infantilising the child, the artist has provided a portrait of a thoughtful individual. Stern makes imaginative use of warm, seductive colours like tangerine, cyclamen, yellow and maroon. The bold colour blocking and the pink hair ribbon are apparently simple yet highly sophisticated compositional devices that focus attention on the emotional heart of the painting – her large, captivating eyes. These formal elements remind us why Stern’s paintings are unique and highly sought-after and why she remains unparalleled as an artist. The South African auction world has seen no comparable

Connoisseurs recognise the dramatic differences between these bronzes cast by the best Italian craftsmen and those local and posthumous casts of inferior quality. Van Wouw’s sculptural skill is apparent here in the accurate anatomical detail of the figure which was originally modelled in the nude. Its exquisite light brown patina and highly polished

The discovery of two exceptional paintings by Maggie Laubser, one of which was acquired more than 80 years ago and has been cherished by generations of the same family, is creating great interest amongst art lovers and collectors. Laubser’s Portrait of a Girl with Geese (estimated to fetch between R1 500 000 – 2 000 000) and Still Life with Poppies (R350 000 – 500 000) are both examples of her early and most sought-after works. Also included in the February auction are rare paintings by Hugo Naudé and Pieter Wenning, a bold Wolf Kibel oil for the connoisseur, unusual paintings by Stanley Pinker, early works by Penny Siopis including one from the History Paintings Series most of which are now in museums, a William Kentridge drawing and paintings by younger artists who are making waves on the local and international art scene such as Matt Hindley and Kudzanai Chiurai. For purposes of quoting, the text on the works of art was written by Emma Bedford, Senior Art Specialist, Strauss & Co.

AUCTION : Monday 4 February 2013 The Vineyard Hotel, Conference Centre, Newlands PREVIEW : From Friday 1 to Sunday 3 February from 10am to 5pm WALKABOUTS : Conducted by Stephan Welz and Emma Bedford : Saturday 2 and Sunday 3 February at 11am

Walter Battiss : Figures in a Landscape

ENQUIRIES : +27 (0) 21 683 6560 CONTACT NUMBERS DURING VIEWING AND AUCTION : Mobile +27 (0) 78 044 8185 Fax +27 (0) 21 683 6560 Catalogues are available and can be purchased at R120 online or from our offices.

© Irma Stern Trust | DALRO

Irma Stern, Malay Girl, 1938 R10 000 000 – 15 000 000

South African and International Art, Furniture, 4JMWFS Ceramics, Glass & Jewellery Monday 4 February 2013 Vineyard Hotel, Newlands, Cape Town Enquiries and catalogues 021 683 6560 / 078 044 8185 /

Nushin Elahi’s London Letter Read more at Photography is all the rage in London at the moment, with no fewer than six major shows focussed on it. The National Gallery presents its first photographic show, the Barbican tells the history of the 60s and 70s through photographs, Somerset House shows Luc-Bresson’s work, the National Maritime Museum in Greenwich the great American landscape artist Ansel Adams’, the V&A contemporary Middle Eastern photography and the Tate Modern has pitched the work of William Klein against that of Japanese photographer Daido Moriyama. Seduced by Art: Photography Past and Present (until 20 Jan) is admittedly the National Gallery’s first foray into this field, and it doesn’t claim to be a history of the art form, but it feels very slight, despite the interesting premise: that paintings influenced photographers. Using iconic images like Gainsborough’s Mr and Mrs Andrews alongside other minor paintings, it goes to intricate lengths to draw parallels that largely leave one feeling, ‘So what?’ Among the photographers that really stay with you are Julia Margaret Cameron and other early pioneers who were pushing the boundaries of this medium. Despite the large scale, there is little truly significant work from today, rather self-conscious modern interpretations of old masters. The fault for that, though, lies in the curatorial choices. In sharp contrast to these few big blow-ups is the enormous range of small photographs at the Barbican, a simple presentation that allows the images to portray all the explosive power of those tumultuous decades, the Sixties and Seventies. Everything Was Moving (until 13 Jan) presents photographs from across the globe that captured these changes, including, of course, in South Africa, represented by David Goldblatt and Drum photographer Ernest Cole. Alongside familiar images from Soweto, the struggle for civil rights in America’s Deep South, in Mao’s China, in India and the Ukraine make this a fascinating view of the tidal wave of social revolution that affected the world then. American photographer William Klein’s images will be recognised by many who may not know his name. By contrasting him with Japanese photographer Daido Moriyama in William Klein + Daido Moriyama (until 13 Jan) the Tate Modern introduces us to an Oriental counterpart who also explored the gritty side of urban life both in Tokyo and later in New York. This enormous collection of work features Klein’s fashion photography, his films and his urban portraits, counterpoised by the probing close-ups of Moriyama, all blown up huge and packed in blocks to suggest central role of the photo-book for both artists. The fact that the images are mainly in black and white renders them timeless. South African artist William Kentridge (20 Jan) is featured in a touring show from the Hayward Gallery, which travels across the UK but also in what seems to me the first really successful use of the circular walls of the Tate Modern’s Tanks: I am not Me, the Horse is not Mine. In Kentridge’s distinctive almost monochromatic style he offers a series of eight simultaneous films. The cavernous darkened space gives one an almost surround cinematic view of disjointed images which constantly form and reform to create an immersive experience which will be unique to each viewer. The images have a flavour of Russia, some of them based on his drawings for the Shostakovich opera for the New York Met, The Nose, which was based on a Gogol story. With expert assurance, the films mesmerize one in their absurdist interplay as Kentridge draws African imagery through shapes and figures that tantalise with a bizarre historical narrative. This is performance art with a theatricality that challenges and entertains rather than demands artistic indulgence.

Tate Britain promises a radical new interpretation of the Pre-Raphaelites with their exhibition Pre-Raphaelites: Victorian Avant-Garde (until 13 Jan), but judging by the throngs of viewers no such review is needed. The public obviously adores them anyway, but I have to admit to being one of the cynics who finds them often little more than Victorian pin-ups, sticky, sweet and syrupy, their women lionesses with rather masculine jaws and rugged shoulders, the colour bordering on crude, the subjects twee and the morality irritating. However, this is a massive show and one which explores the full trajectory of the movement, from its roots to the final swansong from Holman Hunt, his psychedelic The Lady of Shalott 1886-1905 which has been coaxed from an American museum for this occasion. I challenge anyone not to find at least one ravishingly beautiful painting among this enormous array. For me it was an evocative October landscape of a lake, owned by Andrew Lloyd-Weber, who apparently has a large collection of works. Among the range of exhibits are textiles, stained glass and furniture, showing their influence on the Arts and Crafts movement and William Morris. It’s a sumptuously rich show, proving the popularity of a movement that pursued beauty for its own sake, among a public that perhaps finds a sad lack of it today. It’s hard to fathom why Zeng Fanzhi is hailed as one of China’s superstar artists when you see his enormous paintings at Gagosian’s Britannia Street gallery. Nine may be a lucky number, but it leaves the walls looking quite bare in what is his first showing in the West. True, the three works that greet you dwarf any viewer, but there is nothing particularly Oriental about them. He has taken iconic Western art images – Durer’s hare and praying hands, and an old man’s head by Rembrandt, blown them up and then placed a lattice-work of tangled thorns over them, one that is not very visible in reproduction. The colours are bold and, certainly in the landscapes, rather unsubtle, but there is a glow to them and the technique of overpainting the thorns without smudging the basic image shows great skill. It’s only when paging through catalogues that you begin to understand how subversive and challenging this artist is, with his shocking depictions of people hiding behind masks. And to understand that perhaps he too felt the need of one when coming to the West. Seduced by Art: Photography Past and Present Show: National Gallery Maisie Maud Broadhead: Keep Them Sweet, 2010, C-type print, Jeff Wall : The Destroyed Room, 1978, printed 1987, Julia Margaret Cameron, Kate Keown, about 1866, Gregg Wilson, Wilson Centre for Photography Barbican,Everything Was Moving Show: David Goldblatt: Saturday morning at the Hypermarket: Semi-final of the Miss Lovely Legs Competition. 1979-1980, Bruce Davidson (b. 1933) Black Americans, New York City. From the series ‘New York (Life)’ From New York, 1961-65 C Bruce Davidson / Magnum Photos Kentridge: Haywood Gallery: Ubu Tells the Truth (1996-97) Image Courtesy David Krut Fine Art, New York and London. Tate Modern: William Klein + Daido Moriyama : Daido Moriyama, Another Country In New York, 1971, Boris Mikhailov: Yesterday’s Sandwich /Superimpositions, Late 1960s - late 1970s. Pre-Raphaelites: Victorian Avant-Garde : Ford Madox Brown: The Pretty Baa-Lambs 1851-1859 Gagosian Gallery: Zeng Fanzhi – Chinese artist (Below) William Kentridge Portage [detail] (2000) Image Courtesy David Krut Fine Art, New York and London.

The South African

Print Gallery Handmade Prints: Woodstock, Cape Town. The home of fine art prints

Joshua Miles Cape Beauty 2012: Saturday 15 Dec. – end Jan 2013 109 Sir Lowry Road, Woodstock Tel 021 462 6851 (next to Karen’s Kitchen)

SA Art Times Dec 2012- Jan 2013  

South African Art Times,

SA Art Times Dec 2012- Jan 2013  

South African Art Times,