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The South African Art Times | December 2010 - January 2011 | Free


Jurgen Schadeberg Exclusive interview and photographs of Schadeberg by Jenny Altschuler


Maud Sumner Sold R 2 450 800, November 2010

Stanley Pinker Sold R 2 450 800, October 2010

Jane Alexander

Sold R 1 058 300, March 2010

Walter Battiss Sold R 1 336 800, March 2010

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Irma Stern Sold R 13 368 000, October 2010

Anton van Wouw Sold R 2 228 000, March 2010

Cecil Skotnes Sold R 2 005 200, May 2010

Pieter Wenning Sold R 1 225 400, November 2010

Enquiries: Johannesburg 011 728 8246 Cape Town 021 683 6560

J.H. Pierneef (1886-1957), Leadwood trees, Bushveld, 1944, oil on canvas, Sanlam Art Collection.



Representations of the South African Landscape Curated by Michael Godby 15 October 2010 to 28 January 2011

Sanlam Art Gallery 2 Strand Road, Bellville Hours : Monday to Friday 09:00 to 16:30 Telephone 021 947 3359 • Catalogue on sale • Entry Free


The South African

Art Times December 2010 January 2011 Daily news at

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Braamfontein: from dumpster to state of the art By Percy Zvomuya

On the other side

First published in the Mail & Guardian

The gallery Afronova, owned by Frenchman Henri Vergon, has also moved from Newtown to De Beer, an adjoining street. On the other side of Bertha Street the road that leads to the Nelson Mandela bridge graffiti artist Rasty and his partners Curio and Angel have moved to a bigger space, next to his former shop. The Wits Gallery, to be housed on the corner of Bertha and Jorissen streets, is slowly taking shape, and will be opened next September or October, a development that Brodie describes as the “single most important event”. Brodie is looking forward to a “dynamic exchange between himself, his artists and the Wits Gallery”. The Mail & Guardian spoke to Brodie on a Thursday mid-morning, a few hours before the opening of photographer Pieter Hugo’s exhibition Permanent Error.

When the Co-op gallery opened more than a year ago, it was the only creative space on Braamfontein’s Juta Street. In its vicinity, there was a car dealership, high-rise buildings housing students, a “hotel” that still charged hourly rates and the offices of a wastecollection company. Fast forward to November 2010 and Juta Street has become the city’s newest and most vibrant creative district. The galleries Brodie/Stevenson and Afronova have moved to Braamfontein; the old army surplus shop on the corner of De Beer and Juta has morphed into 70 Juta Street, a swanky creative space containing a coffee shop, a florist, an architectural practice, an interior-design studio and a film and camera company. The mall, which has officially been opened, completes Juta Street’s metamorphosis; that and the news that the French Institute of South Africa, fashionista David Tlale, visual artists Wayne Barker and Johannes Phokela and iconic pianist Abdullah Ibrahim are to move into the area to establish their studios and offices. Brodie/Stevenson has moved from, in the words of David Brodie, a ”peculiar part of Jan Smuts Avenue” to crouch at the foot of the Nelson Mandela bridge.

The decision to be in Braamfontein “the most exciting part of Jo’burg at the moment” was motivated by the “idea to relocate to a part of the city with lots of energy”. Most of this energy exudes from the students who attend Wits University, Rosebank College and other tertiary institutions in the area. “You sit here [in the gallery] and look at the bridge, an important marker of the relationship of the city with the northern suburbs,” Brodie says. (continues on page 07)

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NEWS | ART TIMES Braamfontein is different; its life is lived on the streets: barber shops, newspaper kiosks, hotels, flats, fast- food restaurants, spaza shops and internet cafes are evidence of the people who call it home. Perhaps the Paris-born Vergon finds the Braamfontein vibe oddly familiar; Parisians, he says, “like to live on the street”.

Hipper times: A cleaner, more trendy, Juta Street in Braamfontein, Jo’burg, is reflected in the window of one of its new shops. (Samantha Reinders, M&G)

(continued from page 06) Connecting bridge The naming of the bridge after the country’s favourite citizen is, of course, an attempt to connect the north and the south. The bridge connects the multitudes who live in the south and earn their bread in the north and the northerners who work in Jo’burg’s CBD. Even though Juta Street sits in the shadow of the famous bridge, it has nothing of the saint’s halo. In fact, the offices of Pikitup, the city’s waste management company, are on Juta; that seemed to be ominous. For some time, this particular street has been the proverbial dumpsite of Braamfontein. It was safe only during the day. As nightfall descended, so did an air of menace. The signs that Braamfontein could one day sprout into life have always been there; indeed, when the Alexander Theatre was reopened a few years ago, most people thought it was the moment. A few productions later, it soon became apparent that Braamfontein, which already has the Joburg Civic Theatre and Wits Theatre complexes, wasn’t quite ready to have three theatre venues. Months later, the top-end restaurant Narina Trogon on De Korte Street was opened, bringing suburbanites who wanted to eat out in a place that felt a bit like town, but without the city’s attendant terrors. Further down the street, Rand Lords, a high-end rooftop bar, hosts functions and parties for the city’s high-flyers. Much of this renewal (or gentrification) of Braamfontein has been spear-headed by Southpoint, the property developer that owns and runs many apartment buildings in the area (as well as Rand Lords). The ingredients of a street life were always there, to be sure, thanks to the teeming student population. Braamfontein has boasted a pavement culture that is perhaps without parallel in the whole of Jo’burg. Although pockets of street life exist elsewhere in the city, for instance on 7th street in Melville or at Arts on Main in Jo’burg’s inner city, there’s something not quite organic about a lot of it. Go to Arts on Main on, say, a Monday afternoon, and the only people you will see are the security guards.

SA ART TIMES. Dec 2010- Jan 2011

Moving to Braamfontein His decision to open his gallery in Braamfontein wasn’t motivated by monetary concerns. “If I was considering the business aspect, I would have gone to Parktown or Parkhurst,” he says. It’s a decision that people questioned. Vergon says when some heard that he was moving to Braamfontein, “they thought it was a crazy decision”. But he and his fellow creatives are in Braamies to stay. His ethos reminds one of the proverb, “a man does not plant a tree for himself; he plants it for posterity”. So, Vergon and his fellow folk recently planted trees. “We planted trees last week and one day they will be big,” he says, while showing off his gallery to visitors. “We have a chance to make an impact on the city, to make it enjoyable.” Braamfontein has something endearing about it, something safe in its make-up. “Braamfontein isn’t scary for a lot of people,” Vergon says. It could be the stability that is gestured by Civic Hill, Constitution Hill beside it and Wits University down the road. In spite of the shelter of being close to Constitution Hill, that bastion of South Africa’s democracy, Braamfontein is still part of the CBD and so fragments of fear still exist, which is why there are some who believe that people like Vergon “are idealists”. Vergon dismisses the idea, saying instead, it’s because “we are free”. One of the first creative people to set up base in Braamfontein was Rasty, the graffiti artist. In the three years he has been around “much has happened”, he says. He and his business partners started with a shop that sold spray cans for creating graffiti and other paraphernalia, but now have a gallery space where graffiti and tattoo artists showcase their works. “We want to be known as the place where cool is happening,” he says of a space that hosts monthly exhibitions by the denizens most in touch with street culture. “We have the kind of work you wouldn’t see in any other gallery space. Everything we do has its foundations in street culture,” Rasty says. He’s wary of the sudden interest in Braamfontein and its possible consequences: “When we moved in, it was because it was a central spot, cheaply priced. Suddenly, it’s a cool space to be. We hope the renewed interest won’t squeeze out the young people,” Rasty says. When renewal happens, squeezing out follows, but for now Braamfontein is just basking in the spotlight. 07



Man stole R2.2m Stern paintings out of car David Thomas First published in The Cape Times Car seats are often littered with miscellaneous objects -hamburger wrappers, old books, an odd running shoe. But an Irma Stern painting? Rarely Yesterday the Wynberg Magistrate’s Court heard that Hout Bay man Nazeem Said had noticed the R2.2 million painting Still Life with Fish in a vehicle parked outside the owner’s house and had swiped the valuable work. Said was ordered by magistrate Haflesa Mohamed to be remanded in custody until November 29 while police compile a criminal profile of him. Last month, a Stern painting fetched a record price when it was sold in London. Bahora Girl was bought for R26m at a Bonham’s auction. Prosecutor Kepler Uys said that Said, 31, had broken into the unnamed owner’s car at 7.30pm on November 16 by smashing a window. Two other paintings, which were part of the same private collection, had been stolen from the vehicle. Paintings were stolen off car seat. When taken together, the value of the three works is around R3m, according to court documents, with the 1934 Stern painting being by far the dearest. A handful of CDs were taken along with the paintings. Said was arrested three days later when the police found him in possession of the paintings at his home. The works were returned to the owner undamaged.


Kentridge awarded the 26th Kyoto Prize for lifetime achievement In November in Kyoto, Japan, William Kentridge was awarded the 26th annual Kyoto Prize for lifetime achievement in Arts and Philosophy by the Inamori Foundation. Kentridge, the first South African to receive this award, was selected for his originality as an artist whose wide-ranging activities encompass drawing, animation, stage direction and writing. As Japan’s highest private award for global achievement, the Kyoto Prize honours significant contributions to the betterment of society.

Nandipha Mntambo announced as the 2011 Standard Bank Young Artist Award winner for Visual Art Nandipha Mntambo announced as the 2011 Standard Bank Young Artist Award winner for Visual Art. Well known for her experimentation with natural materials, cowhide in particular, Mntambo is as concerned about the creative process as she is with the end result of her work. Her creativity has crossed many national, cultural, emotional and artistic boundaries. “My intention is to explore the physical and tactile properties of hide and aspects of control that allow or prevent me from manipulating this material in the context of the female body and contemporary art,” Mntambo explained.

David Goldblatt reaches a young 80 in November Born in Randfontein, South Africa in 1930, David Goldblatt has been documenting the changing political landscape of his country for more than five decades. His photographic essay South Africa: the Structure of Things Then was made into a monograph and also shown at the Museum of Modern Art, New York, in 1998. Goldblatt’s work was included in Documenta 11 in 2002, Documenta 12 in 2007, and the traveling mega-exhibition “Africa Remix” (2004–07). His limited edition book, Particulars, won the award for the best photography book at the Rencontres d’Arles festival, France, in 2004. Goldblatt won the 2006 Hasselblad Foundation International Award in Photography. He received an Honorary Doctorate in Literature from the University of the Witwatersrand in April 2008.

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Johannesburg Art Gallery turns 100 Centenary celebrated by launch of a catalogue : One Hundred Years of Collecting: Johannesburg Art Gallery In 2010 the Johannesburg Art Gallery celebrates one hundred years of collecting art. Established by Florence Phillips in 1910, the JAG collection has had a significant impact on both the local and global art community. JAG is committed to preserving and providing access to our national heritage and giving due recognition to South Africa’s neglected artists through our exhibitions, publications and education programmes. JAG’s collection contributes to the cultural backbone of Johannesburg and our collection has served to open dialogue and make a path for meaningful, intellectual and academic debate, ultimately contributing to change and impacting on society at large. In order to celebrate the centenary of the collection JAG has launched a catalogue entitled: One Hundred Years of Collecting: Johannesburg Art Gallery. The publication features essays by Khwezi Gule, Nessa Leibhammer and Bongi Dhlomo, amongst others, and has been edited by Jillian Carmen. The initial celebrations will be followed by a strategy to improve the facilities and upgrade the building for 2015, the year which marks the centenary of the construction of the JAG building. The centenary publication as well as the celebration evening is sponsored by Anglo American in South Africa. The event will centre on Transformations, an exhibition of work from the collection by women artists. Other works displayed in the Foundation Room and the Matters of Spirit permanent exhibition will also be on view and there will be a video performance by artist Stephen Hobbs on the same evening. Hobbs’ projection will interrogate the gap between the old and the new buildings and how this serves as a space of aesthetic and political questioning. The Johannesburg Art Gallery is located in Joubert Park with the entrance in King George Street (off Wolmarans or Smith depending on the direction that you are coming from). For further information, please contact: (t) +27(0)11 725 3184/3130 or SA ART TIMES. Dec 2010- Jan 2011




Ceramics SA: Potter’s Market

Potters transform Rondebosch Park into a hub of ceramic expression By Leila Bloch. Photos : Anna Stielau In Cape Town, obsession with pottery is an unassuming but popular pastime. A visit to the Rondebosch Potters Market highlights this; with over eighty potters congregating to exchange notes, reconnect and generate a thriving industry. This biannual event takes place in March and November and is an intersection of art, character and functional products. Shaded by the leafy oak trees of Rondebosch Park, regulars diarise this event well in advance and come early to get the best of the lot. Recent clay wheel demonstrations and guided tours make this an interactive experience which is also a direct linkage to the ceramic network of Cape Town. Gas, wood or horsehair- fired there is enough Pottery to make your eyes glaze over with variations of textures and shapes.

There is a great concentration of ceramics in Cape Town. Being rich in resources such as clay, colour, kiln and cheap electricity help make it the ceramic capital of the world. The Potters Market has been established since 1969 and as the saying goes: “Each pot has the smell of the potter”. Reasons for creating and participating are as varied as the ceramics themselves. For reputed artist John Bauer it’s the historic value of pottery. He finds comfort in knowing that “every civilisation since the cavemen have engaged with this tactile art” and pieces of this medium will be long-lasting even after they have been lost or broken. Henny Meyer - established in galleries in Shanghai and soon to be exhibiting at the Irma Stern Museum in Rosebank - is drawn back to the market for the opportunity to directly engage with his viewers. What inspires him is giving over to the chance effect of pottery once you place it in the kiln- just like the market there is always an element of surprise. Chairman of Ceramics SA, Ralph Johnson, is delighted by the accessibility of so many handmade and original products, made by the finest local and internationally selling artists to be had at village market prices at the Rondebosch market. Next Potter’s Market: Sunday March 20th 2011.

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Shirley Cloete Doyenne of South African Glass artists 19 January 1921 - 3 November 2010 Shirley Cloete began her career as a glass artist only in her early forties, but became the foremost and, for many years the only, exponent in this field in South Africa. She was born on the farm Glendower outside Johannesburg to Colin Bain Marais, farmer and member of the South African parliament and his wife, Dinky. Dinky was the daughter of Sir Thomas Cullinan, owner of the Premier mine outside Pretoria, where the Cullinan diamond, the largest diamond ever found, was discovered... In 1944 Shirley met and married Sandy Bairnsfather Cloete, owner of the historic wine farm, Alphen in the Constantia Valley. For the following 16 years Shirley played the role of wife, mother and society hostess. She raised money for charities and joined the Black Sash, using this platform to protest against the injustices of apartheid. Shirley and Sandy divorced in 1961 and, with her children almost adult, she found herself free to pursue her artistic talents. She attended the Michaelis School of Fine Art at the University of Cape Town and studied design under May Hillhouse. Attracted by the medium of glass, she scoured dump sites for bottles and other glass to make collages, but found the colours and shapes limiting. From there she went to London and Annette Meech of the Covent Garden workshop gave her her first lessons in glass blowing. She became a member of the British Artists in Glass (BAG) and visited and worked with them in London annually for many years, extending the range of her work way beyond her original panels. No-one had yet attempted the technically challenging art of blowing glass in South Africa. This did SA ART TIMES. Dec 2010- Jan 2011

not deter Shirley. Her mother had bought the farm Morgenster in Somerset West outside Cape Town and she appropriated a range of farm buildings on this beautiful Cape Dutch wine estate for her studio. She persuaded a series of male friends with engineering skills to set up her studio, build kilns, annealing ovens and grinding and polishing machinery, which they continued to maintain. Over the years she practised and perfected her craft, often inspired by the light and colour of the underwater scenes she enjoyed while diving off the Danger Point coast, where she had a seaside cottage. Shirley exhibited in South Africa, London, Germany and Canada and her annual open days at Morgenster became a pilgrimage for collectors. She accepted many commissions, among them one from interior designer Graham Viney for a pair of glass sculptures for the Mount Nelson Hotel in Cape Town. This work was one of 100 pieces out of 2,500 international entries recognised by the Corning Museum of Glass in New York for their “New Glass Review 27” in 2005. Albie Sachs, judge and anti-apartheid activist invited her to create a panel for the new Constitutional Court in Johannesburg, along with works by other prestigious South African artists. And she made 10 wall lamps, her legacy to Alphen, home during her marriage and now an hotel owned by her daughter Nicky. Shirley was official artist in residence at the National Arts’ Festival in Grahamstown in 1996 and was asked by Renault to exhibit at a special exhibition with other selected artists in 2005. Shirley died peacefully at home in the Waenhuis, attached to her studio at Morgenster. She leaves her daughter, Nicky Cloete-Hopkins and son, Pieter Bairnsfather Cloete, five grandchildren and eight great-grandchildren. From her 11

ART TIMES | FEATURE / 2010 IN REVIEW What influence has the recession had on the arts community as a whole in 2010? None. It still obsessively talks about money, only now the chatter focuses on the apparent lack thereof. It’s still money talk. How boring. One year there is too much and it is sullying the purity of the artistic impulse, the next there is not enough to sustain every whim. Let’s ask other questions about art. Has the recession perhaps played a positive creative role in terms of artists producing more focused work, or has it led to artists trying to please a shrunken commercial market? Focussed on selling? In 2008, and the years leading up to the Joburg Art Fair, the argument was that young artists were already too calculated and aware of the market. Judging by this year’s MTN New Contemporaries, Kemang’s contribution excepted, young artists are doing what they did in 2008, making focussed work that will sell. All good. But where’s the teeth in that. As uneven as Young Blackman’s programme is, it at least manages to focus on play. What influence has the recession had on the type and price bracket of artwork bought?

Sean O’Toole Arts journalist

Interesting question, because if we accept that 2010 was the year auction houses got to crow from on top of the dung heap, the sad truth is that the type of work being feted and iconised through these auctions makes me feel that 1994 never happened. If anything, 2010 represented the victory of white capitalist wealth propping a fake canon of overrated Moderns. Why hasn’t Ernest Mancoba received his due? He far surpasses Stern, in my view.

Art highlights of 2010?

Do you think the worst of the recession is over?

In no particular order:

I don’t know. But more importantly, I think it behoves you to establish a causal relationship that links defined economic data to art buying patterns. No-one I know is doing this locally, not that I’m aware of. Everyone, including myself, is extrapolating from foreign data. In the end, all we’re doing is speculating.

1. Zander Blom’s accomplished debut as a painter seemingly unencumbered by the history of abstract painting, at Michael Stevenson. 2. The overlooked KZN narrative woven into Riason Naidoo’s From Pierneef to Gugulective obese compilation show, especially Trevor Makhoba’s oil on board, Pain in the Mountain (1999), on loan from the Tatham Art gallery. Also Roger Meintjes’s portfolio of 26 photographs, entitled Van Riebeecks Hedge - A Voyage Around an Object (1992), and Albert Newhall’s undated photo, Lion’s Head Cave Roof, and monochromatic abstraction, Opposition of Related Forms (1969). All wonderful. 3. Listening to Willem Boshoff talk about “the duck” at the Dada South? Symposium, an object lesson in wit, grace and lightness of gesture. 4. Zwelthu Mthethwa’s first New York museum show, in Harlem, at the Studio Museum. It may have been a poor show, but that doesn’t lessen its significance, this off the back of a new monograph and record auction result. 5. Mikhael Subotzky’s photos of Ponte City on Liza Esser’s In Context exhibition at Arts on Main. 6. Gerard Benghu utterly beguiling 1926 depthless drawing of British colonial soldiers on the soccer field on Fiona Rankin-Smith’s Halakasha! show at the Standard Bank Gallery 7. The Blk Jks at the opening ceremony at Soccer City. What a riot! How do you think the current recession influenced South African art in 2010? Two world records at auctions in two weeks. What recession? Zander Blom’s sell-out show. What recession? Kizo Gallery selling a 32-piece set of prints featuring the flags of all 32 participating countries, ostensibly carrying Mandela’s signature at an asking price of R273 600 for the full 32-piece collection, or R8 550 each. What recession, I ask you?


Who should we look out for and what trends do you think will emerge in 2011? The new Wits Art Museum A3 gatefold, spot varnished invitations with gold leaf detailing from all the major auction houses, each touting yet another significant Stern. It’s almost as ridiculous as the buzz surrounding the planned Trechikoff retrospective. Trasi Henen’s paintings. What would you like to see happen in the South African art in the coming year? I would like to have someone to phone me and say, “Sean, I know what the question is”, and tell me. I mean this sincerely: What is the question? Surely there is more than one? My sense, though, is that we – the visual art community – are avoiding so many obvious questions about the fundamentals of practice, display, appreciation and commerce. I don’t care about record prices or imprecise articulations about the white hegemony of local art. Both are rote patterns of conversation that don’t broach the fundamentals. Kathryn Smith is at least asking different questions. I admire her for it. Jo Ractliffe is doing the same with her photography. Ashraf Jamal too with his angry broadsides against our false local canon. What other issues do you see playing a role, or somehow affecting the arts landscape in 2011? Critics having to eat more humble pie, or worse still, their own words.

SA ART TIMES. Dec 2010- Jan 2011


2010 In Review The Art Times went walk about around the SA arts community and asked some questions about 2010 Yes it has, making many artists re-think their approach to the economics of scale. What influence has the recession had on the type and price bracket of artwork bought? In my experience buying is still being done across all the various price brackets, clients are just more sober and discerning in the decisions they make as a result Do you think the worst of the recession is over?

Warren Siebrits Director, Warren Siebrits Gallery Art highlights in 2010? Kendell Geers exhibition at Goodman Cape in June 2010 titled “Third World Disorder”. He remains in a league of his own as a conceptual thinker and strategist, which explains the great level of success he has achieved internationally. How do you think the current recession influenced South African art in 2010? Unfortunately it has made most collectors even more cautious and conservative in their outlook, with most people only interested in backing what they consider to be “safe bets”. Contemporary artists and the work they make have been the ones most adversely affected by the current mood of despondency evident in financial and political circles at present in South Africa. “IRMA STERN GETS 28 MILLION WHILST YOUNG SOUTH AFRICAN ARTISTS STRUGGLE” could be an appropriate headline at present to sum up our current situation. The upside of the recession in 2010 is that it has highlighted the depth and quality of South African art production, and that it is not necessary to spend a fortune to buy something culturally and historically significant as the market becomes more competitive. Has the recession played a positive creative role at all?

SA ART TIMES. Dec 2010- Jan 2011

No I don’t, I think 2011 is going to be a testing year for the art market in South Africa, as demands on liquidity in financial markets is going to become more prevalent, facilitating a trend where more sellers will be operating in the market place than buyers, generally causing demand and therefore prices to fall due to over-supply. What, and possibly who, should we look out for in the coming year? Kendell Geers, who has his first mid-career retrospective opening at IZIKO SA National Gallery next year. If his prices are already too high for some, I would recommend the work of Michael MacGarry, who is a talented artist in his own right and whose conceptual thinking has been strongly influenced over the years by artists like Kendell. What would you like to see happen in South African art in the coming year? I would like to see collectors become more broad-minded and holistic in their approach. In my opinion there seems to be too much ego and status involved in the acquisition of so-called “blue chip investments” like Maggie Laubser, Irma Stern and J H Pierneef. The shrewd and more philanthropically minded collector is still in the position to put a museum quality collection together of over a hundred significant artworks by leading modern and contemporary South African artists for the price on one non-descript and run-of –the-mill work by the above mentioned artists, who are incidentally not really of great significance in the broader scheme of things. I would rather have a collection of Kentridge’s, Dumas’, Breitz’s, Rhode’s, Geers’, Van Zyl’s, Hugo’s, Ballen’s, Goldblatt’s, Mofokeng’s, Hlobo’s, Schoenfeldt’s, Subotzky’s and Botha’s, than one work by a third generation German Expressionist painter born in South Africa. It poses the question, are you trying to make a difference as a collector to the lives and well-being of South African living artists, or is it all just about money, ego and investment? In the end it boils down to foresight and emphasis.


ART TIMES | FEATURE / 2010 IN REVIEW powers they represent, rather than pandering to them. An example of this is the recent MTN New Contemporaries, a competition exhibition where four nominated artists make work for a curated show, and from them a winner is selected. All four artists this year: Donna Kukama, Kemang wa Lehulere, Stuart Bird and Mohau Modisakeng, worked in idioms like performance and installation, showing a commitment to social commentary rather than the lip-service many artists working in a product-based idiom would pay to this kind of criticality. What influence has the recession had on the type and price bracket of artwork bought?

Michael Smith Managing editor, Art Throb.

I think one of the tragedies of the recession is the loss of major corporate sponsor, Sasol, who each year sponsored the Sasol Wax Art Award. These kinds of awards tended to create awareness of, and feed, works by recognised artists into the corporate collecting market. Its demise marked the end of an important showcase for top-end art of high social value, typically the kind of work purchased by major corporate collectors like Hollard, Standard Bank and SABC. This is not good, as corporates have, over the past ten to fifteen years, been far more active purchasers of good contemporary art than government-funded institutions like the South African National Gallery and the Johannesburg Art Gallery. But, as I have mentioned before, the bottom end has also suffered. I often go to shows and see works priced affordably, in the in the R3 000 – R15 000 bracket, that just don’t move. There have been some notable exceptions, but I think, overall, most in the art world would agree that it is now more difficult to get buyers to take chances on young, unproven artists pricing their work in this bracket. Buyers would rather make safe bets on lesser works (prints, multiples) by well-known artists than risk any money on supporting unknowns.

What for you were the highlights in South African art over the past year?

Do you think the worst of the recession is over?

I would have to say a highlight for me in Johannesburg was David Goldblatt’s mini-retrospective at the Goodman Gallery: ‘TJ: Some things old, some things new and some much the same’. While Johannesburg as physical and conceptual terrain seems to lure many artists, few have the authority of an artist like Goldblatt to comment on its inequities and vicissitudes.

Who knows? If I could tell you that with any authority or certainty I wouldn’t be typing this, I’d be onto my broker at the NASDAQ, trading furiously. Earlier this year there was some talk about a ‘double-dip’ recession, and that we hadn’t really felt the effects of the second round of lows… I hope they’re wrong. As much as the socialist in me thinks a healthy dose of ascetics was just what the doctor ordered for the art world’s pre-2008 excesses, I certainly don’t wish hardship on artists, nor do I think that the effects of long-term fiscal conservatism and safe buying are good for an art scene.

Economy: how do you think the current recession influenced art in South Africa in 2010? 2010 definitely had an impact on the lower-to-middle strata of the market. I think at the upper end, where art is still readily associated with investment, one saw records continuously being broken in the SA Modern Art secondary market, most notably by works of Irma Stern’s. But the lower to middle section definitely felt the recession. There were fewer sell-out shows, more artists and writers scrabbling for the same pieces of the pie, and generally a bit of panic for those directly dependent on art as a means of income.

What, and possibly who, should we look out for in the coming year? I think ex-Durbanite, now resident in Johannesburg, Vaughn Sadie, is someone to watch. His beautiful work has a rare combination of conceptual acuity and good nature. And as the gallery scene coagulates around a few powerful players, I think the trend of pop-up galleries and artists squatting their exhibitions in disused commercial spaces will really begin to take hold in 2011. I want to see performances in shopping malls, installations at casinos!

What was the influence of the recession on the arts community as a whole in 2010?

What would you like to see happen in South African art over the coming year?

I believe that one can’t look at the effect of the recession within the temporal isolation of 2010: the effect of the recession has been accumulating for a number of years. However, 2010 saw its share of attrition, with a few more galleries in Johannesburg closing their doors or moving around to get better rents. In terms of the shift in the way artists operate, I think there is something to the fashionable belief that a recession is good for art. Let me explain what I mean: in SA a few years ago, i.e. before 2008, sell-out shows by young and mid-career artists were not uncommon. There was huge incentive for artists to be working in a product-based idiom, making drawings, paintings, photographs, sculptures etc. for sale. Now, as the market for these commodities shrinks, we find more and more artists taking chances on non saleable art forms, like performance, intervention, film, etc. This is a healthy scenario, because it means artists are critically (and sometimes combatively) engaging with market forces and the

I think a lot of focus on transformation in the art world has been given to gallerists, artists and tertiary-level academics. While this is vital, no-one seems to be asking, ‘where do artists start becoming artists?’ My feeling is that this starts to happen at high school. I think transformation, or at least a more inclusive professional fabric, needs to extend down into secondary-level art teaching. In my day gig as a teacher I see woefully few black art teachers, and frankly would like to see more.


Further comments: Despite our political situation turning from a farce into full-blown Theatre of the Absurd, I think some artists are paradoxically feeling free enough to embrace pure aesthetics or visuality as adequate concerns around which to base their work. I am interested to see what the next move artists like Paul Edmunds and Zander Blom will be. SA ART TIMES. Dec 2010- Jan 2011

2010 IN REVIEW / FEATURE | ART TIMES ence that saw artists, writers and architects reflect on the politics and social drivers that shape Joburg’s urban landscape. What influence has the recession had on the arts community as a whole in 2010? Fewer exhibitions, longer runs. Less corporate sponsorship. Less money being ploughed into advertising art events, which has had an impact on art publications and audience numbers. The tightening of the purse strings in the realm of the media has meant less reviews and reporting on the arts. Fewer sell-out shows. Harder for young emerging artists to break into the scene. Less room/opportunities for those producing video works, performance and installation art. Has it perhaps played a positive creative role in terms of artists producing more focused work, or has it led to artists trying to please a shrunken commercial market? I don’t think artists have tried to adapt their work – gallery owners have adapted their strategies What influence has the recession had on the type and price bracket of artwork bought?

Mary Corrigall Arts writer for the Sunday Independent Art highlights in 2010?

The smaller galleries are showing a range of works at different price points. There is little change at larger galleries. Do you think the worst of the recession is over? No. Standard Bank has just cut their sponsorship of sporting events – clearly large institutions are still reeling from the economic slump. Though the art market overseas does seem to be picking up it will take some time for the South African economy to recuperate.

Nicholas Hlobo’s exhibition Paintings at Brodie/Stevenson.

Who should we look out for and what trends do you think will emerge in 2011?

Lulu Xingwana’s removal from her post as Minister of Arts and Culture.

Gabrielle Goliath. Carmen Sober. More foreign curators curating local shows.

Gimberg Nerf befriending the entire art community on Facebook before ‘defriending’ them.

What challenges do we face in the coming year and how can they be overcome?

Michael MacGarry’s solo exhibition: THIS IS YOUR WORLD IN WHICH WE GROW, AND WE WILL GROW TO HATE YOU – at Michael Stevenson.

The arts community is so fragmented; this has meant that it has no united voice in political/public spheres. The Xingwana and Andries Botha elephant sculpture debacles brought this sharply into focus as did the second Artspeak, a public forum initiated by the NAC which took place at Africa Museum in November, where it was clear that the arts community is in a state of crisis and needs to challenge existing government policies on the arts.

The way Die Antwoord appropriated Roger Ballen’s aesthetic and popularised it around the world, evincing how the visual arts/performance can operate within popular culture.

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SA ART TIMES. Dec 2010- Jan 2011

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The first Architecture Biennale in Joburg. It was an interdisciplinary confer-


ART TIMES | FEATURE / 2010 IN REVIEW What would you like to see happen in the art world, or South African art community in the coming year? I’d like to see the divisions between the three main metropolitan areas begin to fade away. At present it often feels like we live in three different countries – which is odd considering how mobile our artists are (and if you live and work outside the Metros, good luck to you). I’d also really, really like to see Andries Botha’s freeway elephants in Durban completed. And I’d like to see a whole lot more public art in Durban.

Peter Machen Arts Writer Economy: How do you think the current recession influenced South African art in 2011? I think that the art market is, for the most part, sharply segmented into two different sectors, one of which consists of the relationship between galleries and investors and another which consists of the relationship between the public and artists. The former is where all the money is but not necessarily where all the art is. The direct effects of less money means less galleries and presumably less sales. But most artists I know continue to make their work regardless of financial viability. That said, the galleries are vitally important in their roles as connectors and I think most galleries and agents in South Africa provide invaluable services. Every gallery closure hurts. What influence has the recession had on the arts community as a whole in 2010? Most artists usually struggle to pay their bills, so little is different on that front. The closure of galleries obviously reduces the possibilities for exhibitions and sales but most artists are driven by creativity not by money, although it is of course a major factor in all our lives. But the lucre of commercial success doesn’t necessarily produce great art. Has it perhaps played a positive creative role in terms of artists producing more focused work, or has it led to artists trying to please a shrunken commercial market? Again, I think that only the most commercially driven of artists think about pleasing the broad base of the art market. Which doesn’t mean that artists aren’t interested in pleasing their agents and individual clients. What influence has the recession had on the type and price bracket of artwork bought? Do you think the worst of the recession is over – please comment? Despite the official figures, I don’t think that South Africa is in fact in a full-blown recession. One of the first things you’re taught in economics is that cranes are are a visual indicator of a boom. So while certain sectors of the economy are definitely struggling, there are cranes all over South Africa and only a few of them have stopped moving. So it seems that we’re having a boom and a recession at the same time. Additionally, the boom years of the last decade-and-a-half coincided with more than a million people falling into unemployment and an increase in the number of working poor. Most people struggle financially on a continuous basis, regardless of booms or busts, and the same is true for artists. Who trends do you think will emerge in 2011? I think that a move away from ostentation and conspicuous consumerism will continue to hold sway. I think globally we’ll start to see more galleries with gardens and attached lifestyle spaces, and a lot of smaller galleries rising from the ashes of the art crash. 16

Joost Bosland Director of the Michael Stevenson Gallery, Cape Town What for you were the highlights in South African art over the past year? This was the year of Nicholas Hlobo. How do you think the current recession influenced art in South Africa in 2010? I don’t know if it influenced the art much, I suppose less art was sold. Has it perhaps played a positive creative role in terms of artists producing more focused work, or has it led to artists trying to please a shrunken commercial market? I have not seen any significant shift in this regard in either direction from artists I work with. What influence has the recession had on the type and price bracket of artwork bought? Anecdotal evidence suggests it has led to a renewed focus by collectors on ‘big names’, and a shift away from lesser known artists. But again, I am not sure if I have witnessed this firsthand. Do you think the worst of the recession is over? Ask an economist. What, and possibly who, should we look out for in the coming year? 2011 will probably be, again, the year of Nicholas Hlobo. What would you like to see happen in South African art in 2011? Time will tell. If we can keep going the way we have been for the last few years, all should be fine. Further comments: Braamfontein is looking exciting. SA ART TIMES. Dec 2010- Jan 2011

2010 IN REVIEW / FEATURE | ART TIMES The second revelation was Steven Cohen’s video Golgotha. I normally consider video the Cinderella of the visual arts as 95 % of the videos I have been subjected to are messy and self-indulgent drivel. Golgotha was a piece of pure video art, rather than a mere filmed record of a performance and I sincerely believe it was a masterpiece. The work, created in the wake of a searing bereavement, mourns a victim of homophobia and presents Steven Cohen as a Jew, a queer, a representative of all marginalized beings, even the vanishing animal kingdom and the threatened planet. His critique of homophobia and the fear of the ‘other’ opened out into an indictment of capitalism and materialism, foreign interventionism and all imperialisms. Both the imagery and the quality of imagination behind it was truly original, and displayed a Surrealist flair for bringing disparate realms of experience into collision in an intensely meaningful and poignant visual spectacle complimented by a magnificent sound track. Thirdly, Jan Booyen’s show at Whatiftheworld was another eye-opener. I was not aware of this artist’s earlier works and was stunned by his Abstract paintings, their grandeur of scale, the density and appositeness of their art historical references, the cerebral ingenuity of the artist’s rationale, the deeply personal palette of unusual colours, the magisterial compositions and the sheer painterly splendour of the work. Booyens is undoubtedly one of the best painters at work in this country. The effects of the recession? I am afraid I never think in economic terms and cannot answer the questions as I do not have informed opinions on such issues. What would you like to see happen in South African art in the coming year?

Photo: Jenny Altsculer

The South African art world remains desperately immature and the proof of this is the astronomic price often shelled out for totally unexceptional Sterns marred by many flagrantly unresolved details. It would be wonderful if people started to judge by quality, rather than by name, and evinced a healthy distrust of the auctioneer’s puffery and shtick and the press’s obsession with meaningless prices. Auction houses are businesses committed to the profit motive, and not the cause of art, and we should never forget this.

Lloyd Pollak Arts journalist

South Africa has always been a philistine society, and the newspaper industry is contributing further to that philistinism and dumbness by abandoning its traditional responsibility of enlightening the general public by cutting down drastically on arts coverage.

2010 Art highlights?

What other issues do you see playing a role, or somehow affecting the arts landscape in 2011?

For me there were three great highlights during the course of 2010. The first, I can state without demur, was Katharine Smith and Roger van Wyk’s Dada South at the South African National Gallery. For me this was undoubtedly the supreme art event of 2010. I thought Dada was dead and safely interred in the pages of art history, but Roger and Katharine demonstrated that it is a potent living force with a continuing impact on the South African visual tradition. Dada encourages artists to bypass the glum, issue-driven art of our past and to strike out toward the enticing subjunctive realms of perhaps, if and maybe. Scholarship is rarely so thrilling as it was at this exhibition that captured the authentic spirit of Dada, cast a new light on our art history by displaying the work of many unfairly marginalized and forgotten figures, and providing a new take on established old masters like Walter Battiss and Christo Coetzee. A later exhibition at Blank Projects, the Menippean Uprising curated by Pierre Fouche and Hentie van der Merwe, picked up where Dada South left off, and confirmed that our art was heading in new directions.

In the past the canon of indisputable masterpieces was established by a consensus between the visually educated elite of collectors, dealers, critics, art historians, curators and museologists. With the decline of connoisseurship, this has changed, and in our media-saturated world, the new touchstone of quality is increasingly becoming the inflated prices paid by uninformed, mega-wealthy, nouveau riche collectors at auction. The obvious result is general critical unreflectiveness, the triumph of spin and spiel and the dumbing down of the art market. Paul Harris’s contemporary art collection at Ellerman House embodies this tendency - it is an assembly of indifferent works of art by all the currently fashionable names. The collapse of critical standards plays straight into the rapacious hands of auction houses that now have the power to manipulate the market through the excessive publicity the press gives them. I have no doubt that in 2011 the art world will become even more undiscriminating and subject to covert manipulation, and that the sun of stupidity will shine ever more brightly.

Because art in South Africa happens every hour of everyday, we cover it on our daily updated news agency website at . Catch up to our daily SA Art News on our website it’s where we take daily and breaking SA Art news seriously SA ART TIMES. Dec 2010- Jan 2011


Wavescape Surfboard Art Exhibition From this heady mix flows the juice that concocts the creative result of the Wavescape Surfboard Art Exhibition that runs 1-7 December at the Depasco Café on Kloof Street, and culminates in the Wavescape Art Auction on Wednesday 8 December.

Ilona Petzer (AWSSA) “My paintings are highly personal, influenced by memories, experiences, pain, joy, and visual stimuli. Yet can be understood by each viewer who experiences their own “reality” when confronted with the complete art work” Founder: Lowveld Association of Arts Art Curator: Innibos Kunstefees 2008/9/10 AWSSA 082 893 6718 LOWVELD ASSOCIATION OF ARTS Promoting and supporting visual arts contact: Ilona Petzer 082 893 6718

Proceeds of the auction, in which 12 decorated retro 80s ‘Pottz Twin Fin’ surfboards will be sold by funny man Mark Sampson, goes to ocean charities such as the NSRI, Shark Spotters and Ticket To Ride Foundation. Look out for the asymmetrical, manga-on-acid-like-characters of Black Koki and 35ten73, from the Love and Hate crew. Enjoy and decipher the out-there tapestry of underground grafster Ice7. Ewok, renowned beat poet and graffiti legend works with underground talent Bones on their board. Cape Argus cartoonist and Kommetjie charger Chip Snaddon brings extra surfing cred to the party. Stalwart ND Mazin, the author of What’s so Funny?, a cartoon history of South Africa, and You Must Be Joking - The Year in Cartoons, works on a celestially-charged commentary on the darker side of humanity in the Mystic Duiker. Also with the old guard, come the Durban-based design duo of Scott Robertson and Kim Longhurst who share a board for a two-sided view of their cryptic wit. For more info go to or call 079 0260 669



1 Park Drive, Port Elizabeth, 6001, South Africa Telephone: +27 (0)41 5062000 Fax: +27 (0)41 5863234 E-mail: website:


South African art (particularly that of the Eastern Cape), British art, international printmaking, Oriental art (including Indian miniatures and Chinese textiles).

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South African National Gallery Louis Khehla Maqhubela – A Vigil of Departure A Retrospective 1960-2010 27.10.2010 - 13.02.2011

Roger Ballen and Boarding House Photography 06.11.2010 - 17.04.2011

Imagining Beauty

Body Adornment including young SA designers 27.11.2010 - 03.04.2011

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Contemporary international and SA artists 27.11.2010 - 13.03.2011

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Free State Bloemfontein Oliewenhuis Art Museum 04 November - 16 January, “Rendezvous” a group graphic design exhibition. (In the Main Building) Until 05 December, “Escape Artists” Planet Pixl Student Exhibition 2010 Until 05 December, “Plug” Fractal Young Artist Exhibition 2010 16 Harry Smith Street, Bloemfontein T.051 447 9609

Gauteng Johannesburg Art Afrique 25 November-07 December, “Dissolved Boundaries” by Petros Ghebrihiwot. Shop U45, Level 4, The Da’Vinci Hotel, Legacy Corner, Cnr 5th & Maude Streets, Sandton. T. 011 292 7000 Art One Sixty Until 09 December, Rhythm and Hues by Glen Josselsohn. 160 Jan Smuts Ave, Parkwood, Jhb. T. 011 447 4967 Artspace –Jhb Until 29 January, “OPPITAFEL X 2010” will be presented in two venues: Thirty artists (OPPITAFEL 20+10) will be exhibiting at the Artspace Warehouse ten artists (OPPITAFEL 20(10) will be exhibiting at Artspace’s main gallery. The exhibitions close 11 December 2010, re-open on 11 January. 1 Chester Court, 142 Jan Smuts Ave., Parkwood, Jhb. T. 011 880 8802 Artspace Warehouse Until 29 January, “OPPITAFEL X 2010” will be presented in two venues: Thirty artists (OPPITAFEL 20+10) will be exhibiting at the Artspace Warehouse, ten artists (OPPITAFEL 20(10) will be exhibiting at Artspace’s main gallery. The exhibitions close 11 December 2010, re-open on 11 January. 3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 Bag Factory 02 December, A side of Audience 2010, a one night event where artists Min Kim and Moon Choi from South Korea will present their works: a virtual-audience entitled “Aside of Audience 2010”, and “Find your ring size, and take rings as you can.” The event will run from 5pm to 8pm on the evening of Thursday 2 December. 10 Mahlatini Street, Fordsburg, Jhb. T. 011 834 9181 Brodie/Stevenson Until 15 December, “Permanent Error” a solo exhibition of new work by Pieter Hugo. 20 January - 18 February 2011, Works by Billy Monk. 62 Juta Street, Braamfontein, Jhb. T. 011 326 0034,

SA ART TIMES. Dec 2010- Jan 2011

FREE STATE, GAUTENG, MPUMALANGA | GALLERY GUIDE Carol Lee Fine Art 07-15 December, Photography by British photographer Emma O’Brien. Documentary and portrait photographs taken in and around Johannesburg. upstairs@bamboo Cnr 9th Street & Rustenburg Road, Melville, Jhb. T. 011 486 0526 CIRCA on Jellicoe Dec/Jan, “Homage to Hermes” by Angus Taylor. 2 Jellicoe Ave. T. 011 788 4805 David Brown Fine Art Until 15 December, “A Subtropical vision” group show. 39 Keyes Avenue, off Jellicoe, Rosebank T. 011 788 4435 David Krut Projects 27 November 2010- Early February 2011, Collaborations II, a solo exhibition by Deborah Bell. To accompany this exhibition, David Krut Publishing has produced Deborah Bell’s Alchemy; a publication dealing with the last ten years of Bell’s collaborative printmaking. 140 Jan Smuts Ave., Parkwood, Jhb. T. 011 447 0627 5th Avenue Auctioneers 12 December 2010, Auction 404 Jan Smuts Ave., Craighall Park, Johannesburg T. 011 781 2040

Grayscale Gallery until 22 Dec: “Conscience Under Pressure”, a group show of artworks made from used spray-paint cans. The artists that include graffiti writers, illustrators and tattoo artists. 33 De Korte St, Braamfontein. (above Signarama) 16 Halifax Works by Michael Heyns can now also be viewed by appointment in Johannesburg at 16 Halifax Street Bryanston. Dana MacFarlane 082 784 6695 Johannesburg Art Gallery Until end January, “Transformations: Woman’s art from the late 19th century to 2010” artists taken from JAG’s Collection. Until 11 January 2011, “Apartheid – Struggle – Freedom, South African Photography 1950 – 2010” Until 16 January 2011, Reflex| Reflexión, a group exhibition 28 November-30 January, Gerard Sekoto Festival and exhibition. King George Str., Joubert Park, Johannesburg T. 011 725 3130 Jozi Art:Lab Until 31 January 2011, “bitter fruit/ bittervrug” Photo and sound installation by Photo and sound installation. (Curated by Indra Wussow) Arts on Main, cnr of Berea Street, 076 501 4291

Gallery 2 From 02 December, Graduates of the Artists Proof Studio. 140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98

Manor Gallery Until 25 January 2011, “The Year End Fine Art Sale 2010” a selection of paintings- framed and unframed. Gallery closed 14 December-10 January. Norscot Manor Centre, Penguin Drive. T. 011 465 7934

Gallery AOP From 04 December, silkscreen exhibition by Walter Battiss From 29 January, Solo exhibition by Mark Kannemeyer. 44 Stanley Ave., Braamfontein Werf (Milpark), T. 011 726 2234

Market Photo Workshop Until 01 December, Borders Master class exhibition. Closed 17 December-05 January. 2 President Street, Newtown, Jhb. T. 011 834 1444

Gallery MOMO Until 31 December, Group show featuring Mary Sibande, Theresa- Anne Mackintosh, Rodney Place, Lyndi Sales and Ransome Stanley. Until 31 December, Dumile Feni Sculptures. 52 7th Avenue, Parktown North, Jhb. T. 011 327 3247

Museum Africa Until 31 January 2011, “l’Afrique: A Tribute to Maria Stein-Lessing and Leopold Spiegel” co-curated by Nessa Leibhammer and Natalie Knight. 121 Bree Str., Newtown, Jhb. T. 011 833 5624

Gertrude Posel Gallery This gallery has a permanent exhibition of traditional southern, central and West African art. Address: University of the Witwatersrand, Senate House, Jorissen Street, Braamfontein. Tel: 011 717 1365 GoetheonMain until 15 December, “Aleph” an installation by James Webb GoetheonMain, 245 Main Street, City & Suburban, Jhb. T. 011 442 3232 Goodman Gallery Until 16 December, Resonant Structures by Stefanus Rademeyer. Until end January, “Layers” a conversation between two artists and a curator about the same and new ideas over again with an aim to create new Meanings. Curated by Nontobeko Ntombela. (Jhb Project Space-Arts on Main) Gallery Closed from 17 December-11 January. 163 Jan Smuts Ave., Parkwood, Jhb. T. 011 788 1113

Nirox Foundation (Arts on Main) Until 15 December, “The Mystery of the Elements” featuring works by the Spanish artist Enric Pladevall (Nirox Sculpture Park. Corner Berea and Main Street, City and Suburban, Jhb. | | | Nirox Projects (Arts on Main) Until 05 January, New paintings by Anton Karstel. Obert Contemporary Until 31 Dec: “Life Staged” by Michael Meyersfeld 14 the High Street, Melrose Arch hours: 11am to 7pm daily Braamfontein: 6th fl, 155 Smit Street, Braamfontein hours: appointment only T. 011 684 1217 Resolution Gallery Until 11 January 2011, “Public Perception” a poster show by Andy Robertson. 142 Jan Smuts Ave., Parkwood, Jhb. T. 011 880 4054



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FREE STATE, GAUTENG, MPUMALANGA | GALLERY GUIDE Right on the Rim Gallery From 04 Dec, “Primal” an exhibition by Ashley Johnson. Opening Saturday, December 4 • 2:00pm - 5:00pm. Arts on Main, 264 Fox St City & Suburban Johannesburg T. 011 6 222 444

Centurion Art Museum 03-17 December, Rene Naude School of Creative Art Group show. Opening @ 6:30pm. c/o Cantonment and Unie Avenues, Lyttelton T. 012 671 7477

Rooke Gallery Until 17 December, “Study of Trees” photography by Garth Meyer. The Newtown, 37 Quinn Street, Newtown, Jhb. C. 072 658 0762

Fried Contemporary 24 November - 22 January 2011, “UP Fine Arts Staff Show” 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158

Seippel Gallery Until 30 January 2011, “Floating Underwater Dreaming” by Jill Trappler. Arts on Main, Cnr of Fox and Berea, Jhb. T. 011 401 1421

Gallery Michael Heyns Until 09 December, “R5,000 & less” Michael Heyns ends off the year with an eclectic exhibition of his paintings and clay works priced at R5,000 and less. The gallery closes for the festive season on 9 December and re-opens on 25 January with an exhibition of new work. 351 Lynnwood Road Menlo Park Pretoria. (next to Schweickerdt Art Shop) T.012 460 3698 C.082 451 5584

Spaza Art Gallery From 27 November, “Christmas Show” group multi-media exhibition. 19 Wilhelmina Street, Troyville. T. 011 614 9354 C. 082 494 3275 Standard Bank Gallery Until 04 December, “People, Prints and Process-Twenty five years at Caversham” Until 04 Dec, “Translations: Art into Jewelry.” Cnr of Simmonds & Frederick Str.’s, Jhb. T. 011 631 1889 Strauss & Co 01 November, Auction of Important Paintings and Sculpture. Country Club Johannesburg, Woodmead Corner Lincoln Road & Woodlands Drive, Woodmead.

Pretoria Association of Arts Pretoria Closed from 15 Dec-11 Jan 2011. 173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012 346 3100 Brooklyn Theatre in association with Trent Gallery Until 30 January, “Deux ex Machina”, group exhibition. Greenlyn Village Shopping Centre, Thomas Edison Street, Menlo Park. Stuart @ 082 923 2551

Imaginarium Art Gallery at Lucit Restaurant 01 – 24 December, “R1000 & below” Affordable art and craft items by a variety of Pretoria and Cape-based artists. Gallery hours: Tues – Sat 11:00 – 15:00 or by appointment Jennifer Snyman 082 451 5584 / Gideon van Eeden 083 306 2830 Platform on 18th 18 November - 04 December, “12 Altaarstukke”, Solo exhibition of paintings and mixed media by David Smuts. 232 18th Street Rietondale, Pretoria. T. 084 7644 258 Pretoria Art Museum 02 December-23 January, Student exhibition. TUT Department of Fine and Applied Arts. The exhibition will be opened on 2 December @ 6pm for 7pm by Dr Mzo Sirayi, Executive Dean, Faculty of the Arts. Until 15 December, “A Story of South African Art” 04 December-31 January, “Children’s Tile Art Project 2010” North Gallery and Preiss Hall. T.012 344 1807/8

embroided textiles, the best of central Asia. 6 Koedoeberg Rd, Faerie Glen, Pretoria. T. 012 991 1733 Trent Gallery. 26 November - 09 December, solo exhibition by Jan-Henri Booyens. 11-24 December, “Boudiccea Castings show” Featuring Susanna Swart and Kay Potts. Opening Friday 11 December at 6:30pm. Curated by Klaus Fischer. 198 Long Street, Waterkloof, Pretoria. T. 012 460 5497. Unisa Gallery 04 December-21 January, Final level exhibition of visual arts and multi media students 2010 Opening @ 12:30. Main Campus, Theo Van Wijk Building B-block, 5th Floor T.012 429-6255/6823.


Dullstroom Dimitrov Art Gallery Ongoing, “Expression of freedom” by Branko Dimitrov Lifestyle Complex, shop no.4 on Cnr. Teding Van Berkhout & Hugenote/ Naledi Street, Dullstroom, Mpumalanga. 9:00am to 4:00 Wednesday till Monday T. 013 254 5024 C. 082 679 5698

White River White River Gallery From 29 November “Strange Acquaintances”, sixty pastel paintings over monotype by Gregory Kerr. Casterbridge centre, R40 cnr Numbi gate rd and R 40 to Hazyveiw. White River. C.0825538919 The Loop Art Foundry & Sculpture Gallery Casterbridge Complex Corner R40 and Numbi Roads White River T. 013 751 2435

The Tina Skukan Gallery Until 18 December, An exhibition of handcrafted furniture and décor, wooden sculptures, Suzanis and other hand

“Study of Trees” photography by Garth Meyer to be seen at The Rooke Gallery (See listings above)

SA ART TIMES. Dec 2010- Jan 2011


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A quality selection of SA masters and selected contemporary art Tel (+27) 12 346-0728 / Fax (+27) 12 346-0729 Alette 082 652 6663 Gerrie 084 589 0711 Maroelana Centre, 27 Maroelana Street, Maroelana, Pretoria OPEN: Mon to Fri 09h00 - 16h00 Saturday 09h00 - 13h00 Closed 20 Dec - 10 Jan 2011






Western Cape Cape Town Absolut Art Gallery Until 19 December, a group exhibition featuring works by Ryan Loubser, San-Maré Raubenheimer, Pieter Uitlander and Raché Gerber. Ongoing, permanent exhibition with some of the best Masters and contemporary artists. Namely Irma Stern, JH Pierneef, Cecil Higgs, Adriaan Boshoff, Tinus De Jongh, Adolf Jentsch, William Kentridge, to name but a few. Shop 43 Willowbridge Life Style Centre, Carl Cronje Drive, Bellville, CT. T. 021 914 2846 Alliance Française of Cape Town 29 November- 18 December, “Couleur Mouvement Forme” Painting Exhibition by Marie-Anne Vorlet In partnership with the General Consulate of Switzerland. T. 021 423 5699 /A Word Of Art 14-16 January 2011, “Guten Tag” We Are Visual Gallery will be colonizing the the Woodstock Industrial Centre from Hamburg Germany,3 Artists will be inhabiting and creating in the space as part of the new /A WORD OF ART/ Woodstock Industrial Centre residency program official launch. This will culminate with an installation made of materials and objects salvaged from the streets of Cape Town as well as a 3 day exhibition of paper works from the Gaengeviertel artist squat in Hamburg and local Cape Town artists curated by /A WORD OF ART and We Are Visual. 25 January-11 February, “Body of Work” presented by Cape Town Tattoo Convention. An exhibition of customized hands and Tattoo inspired artwork Curated by Manuelle Grey (Wildfire.) Opening 25 January 6pm-9pm. 66 Albert Rd, Woodstock Industrial Centre. T. 021 448 7889 Art b Until 03 December, “Santam’s Child Art travelling exhibition.” 06-12 December, Prestige Academy final year photography students 14 December- 19 January, Permanent Collection Exhibition The Arts Association of Bellville, The Library centre, Carel van Aswegan Street, Bellville. T. 021 918 2301 AVA Until 10 December, “Milnerton Market” photography by David Southwood 13 December - 21 January 2011, “Monotype by Warren Editions.” 13 December - 21 January 2011, “Category Error 2” group exhibition. Participating artists: Joanne Bloch, Jann Cheifitz, Mandy Darling, Josie Grindrod, Verna Jooste, Leora Lewis, Lynne Lomofsky, Khanyisile Mbongwa, Philip Miller and Jane Solomon. Association for Visual Arts, 35 Church Street, T.021 424 7436 Barnard Gallery Until 26 January, “In my Backyard” by Willie Bester. 55 Main Street, Newlands. T. 021 671 1666 Blank Projects. 09-30 December, The immanent inauguration of the 5th corner - From a series of paintings in progress by

SA ART TIMES. Dec 2010- Jan 2011

WESTERN CAPE | GALLERY GUIDE Dorothee Kreutzfeldt. Opening 09 December @ 6pm by Peter Anderson. 06 - 29 January, Works by Jaques Coetzer comprising photography, sculpture & installation. 113-115 Sir Lowry Rd, Woodstock, CT. T.072 1989 221 Cape Gallery Until 04 December, “Natures & Patterns” recent work by Christopher Langley. 06 December-08 January 2011, New Works by David Kuijers. 09-29 January, “Montagu, Bruges and Burgundy” New paintings in oil by Roelof Rossouw. 30th January 2011 – 19th February 2011, Recent work by: Lesley Charnock, Jenny Parsons, Veronica Reid, Sheilagh Price, Anne-Marie Sloan and Frederike Stokhuyzen. 60 Church Street, Cape Town. T. 021 423 5309. web@ Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings. Relocation of their Claremont and Constantia galleries is now complete visit the new gallery at the Cape Quarter Square –Cape Town’s newest upmarket and trendy shopping mall where Leonard Schneider and Beila are available to assist you. Cape Quarter Square, 27 Somerset Road Green Point (on the first floor above the Piazza & restaurant level) T. 021 4213333 Casa Labia 17 November - 29 January 2011, Africa Nova presents Casa Labia in Bloom - a celebration of indigenous flowers. Casa Labia in Bloom is a multi-media festival of art, inspired by South Africa’s indigenous flora developed by Margie Murgatroyd of AFRICA NOVA. The exhibition will feature works in a range of media and styles, including painting, ceramics, photography, sculpture and jewellery. 192 Main Rd, Muizenberg. T. 021 788 6067 Cape Town School of Photography Until 03 December, “Inner and outer landscape impressions” by Michel le Sueur. 4th Floor, 62 Roeland Street, Cape Town. T. 021 4652152 Cathy’s Studio 09-10 December, “Studio Sale” paintings by Cathy Layzell and Amanda Dinan. 2 Ocean View Flats, Winsor Rd, Kalkbay. T. 0794491311 or 021 7882011 Cedar Tree Gallery 30 November - 06 February 2011, Photography by Malcolm Dare. Opening 30 November @ 6pm. Rodwell House, Rodwell Road, St James, CT. T. 021 787 9880 Centre for African Studies Gallery Until 18 December, “Juggling with the Familiar II : Exhibition of Works in Progress” the exhibition brings together photographic and mixed media projects by South African female artists who utilize extreme subjectivity and intimacy within their methodology and style in one way or another. Artists included are: Ingrid Masonda, Tracey Derrick, Suzanne Duncan, Sophia Claassens, Siona O’ Connell and Jenny Altschuler. Harry Openheimer Building, Engineering Mall, Upper Campus, UCT. T. 021 650 2308 Club Voom Voom 03 December-16 January, “The seven year bitch - fashion meets victim” by Veronique Malherbe. Opening 03 December @ 9pm.

70 Loop street, Cape Town T. 021 426 2011 David Krut Projects Cape Town December, Collection of new prints from the Johannesburg print studio including works by Deborah Bell and William Kentridge. Montebello Design Centre, 31 Newlands Avenue, CT. T. 021 685 0676 David Porter Antiques Buyers and sellers of South African art. T. 021 6830580/083 452 5862 The Donald Greig Bronze Foundry and Gallery Donald Greig is a specialized wildlife sculptor and his sculptures ranging in size from life-size to paperweights will be on display at the gallery. The foundry will do a bronze pour on most days and the entire ‘Lost Wax Casting Process’ can be viewed by the public through special glass windows. The Nautilus Building, No.14 West Quay Road, V&A Waterfront, Cape Town. T. 021 418 4515 Duende Contemporary Art & Framing Until 05 December, “h-u-m-a-n book 1” Surisa-Surisa shows acrylic on canvas together with word paintings. 7-18 December, “Revival” by Stuart Valentine-Rambridge in the mezzanine gallery and group show including Niall Molloy, Miche, Tyrone Appollis downstairs. 21 Dec-10 January, “Always” by Richard Lawrence (in mezzanine) 13-27 January, “Contentment and other stories” by Nicolas Truman Baker Shop 1, Trafalgar Place, Regent Road, Sea Point. T. 021 434 5022 Erdmann Contemporary /Photographers Gallery 20 November-end January 2011, “Summer group exhibition” featuring works by Lindeka Qampi, Fanie Jason, Karlien de Villiers, Lien Botha, Nomusa Makhubu, Johann Louw and Barbara Wildenboer. 63 Shortmarket Street, Cape Town. T. 021 422 2762 Everard Read Gallery Until 31 Jan 2011, “Untamed”, an installation by Dylan Lewis at Kirstenbosch Gardens. Until 05 December, “Never & Always” by Mark Sheilds. We will be showcasing some of our finest works by leading contemporary artists during December & January. Please note that we are closing early on the 24th & 31st of December (2pm). We will be closed for the days of December 25th & 27th & the 1st of January 2011. 3 Portswood Road, Victoria and Alfred Waterfront T. 021 418 4527 34 Fine Art 09 November - 15 January 2011, “Then: Now” a group exhibition featuring William Kentridge, Damien Hirst, Marlene Dumas, Asha Zero, Norman Catherine, Roelof Louw, Takashi Murakami, Willie Bester, Robert Hodgins, Bettie Cilliers-Barnard, Lionel Smit and Cindy Sherman. / C. 082 354 1500 Focus Contemporary 29 November-12 January, “The Best of Summer 2010”, featuring Karin Miller and Christian Diedericks. 67 Loop Street, Cape Town. T. 021 422 5996


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Katrine Brink Claassens. ‘The Jacaranda Girls’.

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‘ The Jacaranda Girls & Other Stories’ | 18 Jan - 19 Feb 2011

91 Kloof Street | CPT M| +27 82 679 3906

Marlise Keith. ‘Tools like these require patient hands’.

A solo exhibition of oil painting, watercolour & print by Katrine Brink Claassens

‘Coppertone 77’ | Summer Salon. 4 Dec 2010 - 14 Jan 2011. A selection of works by Sanell Aggenbach, Tom Cullberg, Marlise Keith, Jade Klara, Motel7, Lorenzo Nassimbeni, Gabby Raaff, Dave Southwood, Paul Senyol, Frank van Reenen, Leonora van Staden, Michael Taylor & Zelda Weber to mention but a few...

WESTERN CAPE | GALLERY GUIDE G2 Art 24 November - 10 December, “Road trip” Paintings by Roelie van Heerden. Opening 24 November @ 6pm. 61 Shortmarket Street, Cape Town. T. 021 424 7169 Gallery F Contemporary and archival South African Art. 221 Long Street, Cape Town. T. 021 422 5246 Gill Allderman Gallery Continuous Exhibition, “Exhibition # 36” A Group exhibition featuring abstract art, graffiti, paintings, drawings. 278 on Main Road, Kenilworth. C. 083 556 2540 Goodman Gallery, Cape 20 November - 08 January 2011, “Hail to the Thief” by Brett Murray. 3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock, CT. T. 021 462 7573/4, iArt Gallery Dec/January, “9 Linocuts” in association with The Artists’ Proof Studio. A selection of embroidered/beaded work will be on show alongside the linocuts. During December, “The Gift of Fine Art”, as part of “Summer in the City 2010.” Small affordable works of art. 12 January-16 February, “After Baines” by John Walters. Walters’ long-awaited exhibition of Masters work, and his first solo exhibition outside of the university environment. 71 Loop Street, Cape Town. T. 021 424 5150 info@iart. iArt Gallery Wembley 29 November - end December, “Tempermes” by Louis Jansen van Vuuren. Louis Jansen van Vuuren will launch his first and long-awaited anthology of Afrikaans poetry, entitled Tempermes. The book will be accompanied by an exhibition of painting entitled “Memory and Desire” Wembley Square, Gardens, Cape Town. T. 021 424 5150 Infin Art Gallery A gallery of work by local artists. Wolfe Street, Chelsea Village, Wynberg. T. 021 761 2816 and Buitengracht Str. Cape Town. T. 021 423 2090 www. Irma Stern Gallery 14 December- 15 January, “Ceramics Clementine exhibition.” Cecil Rd, Rosebank, CT. T. 021 685 5686

Iziko SA National Gallery Until 30 January 2011, Borders presents a distillation of work from the Bamako Encounters 8th African Photographic Biennale, 2009. Mali’s pan-African exhibition is travelling for the first time to Sub-Saharan Africa, providing South Africans with a unique opportunity to engage with contemporary photographic production from across the continent and its diaspora. Curated by Michket Krifa and Laura Serani. Until 13 March 2011, “In Context” group exhibition of contemporary international and South African artists. Curated by Liza Essers. 06 November - 17 April 2011, “Boarding House” photographs by Roger Ballen. 27 November - April 2011, “Imagining Beauty” body adornment from Iziko collections and young SA designers. 25 Queen Victoria Street, Cape Town T. 021 467 4660 Iziko Michaelis Collection Until 30 January 2011, “Home and Away: A Return to the South” curated for the ifa lethu foundation. Iziko Michaelis Collection, Old Town House, Greenmarket Square, Cape Town. T. 021 481 3800 Iziko Good Hope Gallery Until 31 January 2011, “Ghoema & Glitter: New Year Carnival in Cape Town” Ongoing, William Fehr Collection Buitenkant Street, opposite the Grand Parade, Cape Town. T. 21 464 1262 Iziko SA Museum Until September 2011, “Made in translation: Images from and of the Landscape.” 9 December to 13 March 2011, “Wildlife Photographer of the Year 2010 exhibition.” 25 Queen Victoria Street, Gardens, Cape Town T. 021 481 3800 Johans Borman Fine Art Gallery 13 November - 04 December, “Seebriewe” an exhibition of oil paintings by Jacobus Kloppers. 06-10 December, The Homestead Annual Online Charity Auction. Paintings by Walter Meyer, Hennie Niemann Jnr, Marlene von Dürckheim, Ben Coutouvidis and Hussein Salim have been donated by the artists and the gallery. In Fin Art Building, Upper Buitengracht Street, Cape Town. T. 021 423 6075.

Kanon 21 06 December, “15 x 15”, Miniature Art Group exhibition presented by “The Haas Collective” Friday Evening, 10 December, 6 pm onwards and Saturday morning, 11 December from 10am - 1pm. A great selection of miniature art works by many well and lesser know contemporary SA artists at very affordable prices! 40 Dorp Street, Bo-Kaap. Haas Design Collective: T. 021 422 4413 C. 083 290 1638 Liebrecht Art Gallery 3 November - 28 January 2011, “Slice of Life” a group exhibition. In what must surely be one of the largest national exhibition projects ever undertaken by a small privately-owned gallery - run by one gallerist and his dog – in this country, 630 paintings by 63 artists from all corners of South Africa are being showcased in the Liebrecht Gallery in Somerset West for a period of three months. Opening 03 November @ 6:30pm. 34 Oudehuis Street, Somerset West. T. 021 852 8030 C. 082 304 3859 Michael Stevenson Contemporary 02 December 2010- 15 January 2011, 15th annual summer exhibition. Michael Stevenson’s 15th annual summer exhibition will comprise five solo shows, by Anton Kannemeyer, Viviane Sassen, Claudette Schreuders, Serge Alain Nitegeka and Hylton Nel. 20 January-26 February 2011, Works by Wim Botha and Daniel Naude. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500 Red! The Gallery 27 November-15 December, Double Vision’ Derrick van Rensburg, Donna Mckellar. Steenberg Village, Reddam Ave, Tokai T. 021 701 0886

Kalk Bay Modern


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SA ART TIMES. Dec 2010- Jan 2011

15 Dec 2010 - 15 January 2011, Textile & Jewellery Exhibition. Opening Wed 15 December @ 6 pm. 35 Designers on display. 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571

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Opening speaker : Johann du Plessis | Curator : Carina Bekker

16 January - 16 February 2011 Henry Hopkins

Craig Muller

20 February - 23 March 2011 MJ Lourens

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WESTERN CAPE | GALLERY GUIDE Raw Vision Gallery 16 December - January 2011, Marina Cano wildlife exhibition 89 Sir Lowry Rd, Woodstock, CT. T. 076 581 9468 info@ Rose Korber Art Until 12 December, “Abstraction and Meaning” New oil on canvas by a master of Minimalism, J P Meyer. 16 December 2010 - 17 January 2011, “19TH Annual Art Salon” An exciting innovation this year will be the inclusion of a ‘Salon within a Salon’, presented by well-known Cape Town curator, Andrew Lamprecht, and entitled the Salon des Confuses. He will present a varied mix of younger, emerging artists, alongside some well-known names, but with a focus on the unusual, unexpected and surprising. At the opening event, two performances by Angelique Kendall and Gerald Machona will also take place as part of his contribution. 48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152

Waterkant Gallery Until 08 December, “African Archival Photography” 123 Waterkant Street, Cape Town. T. 021 421 1505 Wessel Snyman Creative Until 07 December, “Ocean Drive Series”, guache on paper by Wayne Durno. 08 Nov -08 January, “Early Retrospective”, photography by Stuart Sandford. 11 - 23 January, “Human Earth & Bigwood Collective”, a mixed media exhibition. 27 January - 12 February, A solo exhibition of oil paintings by Danny Shorkend. 17 Bree Street, Cape Town. T. 021 418 0980. What if the World… 10 November - 04 December, Solo Exhibition by Andrzej Nowicki. 08-15 January 2011, “WITW Summer Group Show” First floor, 208 Albert Rd, Woodstock, T. 021 448 1438

Rust-en-Vrede Gallery Until 15 December, “From the Vine”, Jewellery designed by Ilke & Marc Whitehorn; “Alternative Realities” oils by Janna Prinsloo; “Legkaart” oils by Lynie Olivier; In the Cube in the Clay Museum: Rice Bowls by various potters. 10 Wellington Rd, Durbanville. T.021 976 4691

Worldart Gallery 16 December-14 January, Group Painting exhibition featuring Richard Scott, Gavin Rain, Alex Hamilton, Thembinkosi Kohli and Ayanda Mabulu. 54 Church Street, Cape Town. T.021 423 3075

Salon 91 04 December-14 January, “Coppertone 77”, Summer Group Salon. Various media. 18 January-19 February, “The Jacaranda Girls and Other Stories”, solo exhibition of oil painting, print and watercolour by Katrine Brink Claasens. Opening Tuedsay 18 January @ 7:30pm. 91 Kloof Street, Gardens, Cape Town. T 021 424 6930.

Youngblackman Gallery Until 12 December, “The Body in Question IV: La Mamma Morta” by Athi-Patra Rugha. 69 Roeland Street, Cape Town. T. 083 383 0656

South Gallery Showcasing creativity from KwaZulu-Natal including Ardmore Ceramic Art. Fairweather House, 176 Sir Lowry Rd, Woodstock, Ground Floor. T. 021 465 4672 South African Jewish Museum Until February 2011, “Kith, Kin & Khaya”, South African Photographs by David Goldblatt. Over 100 of Goldblatt’s finest gelatin silver prints. In the Company’s Garden, 88 Hatfield Street, Gardens, Cape Town. T. 021-465-1546 South African Print Gallery 11 December-15 January 2011, new works by Joshua Miles. A wide selection of Fine Art Prints by South African Masters and contemporary printmakers. New prints in stock 107 Sir Lowry Rd, Woodstock, Cape Town. T. 021 462 6851 These Four Walls 03-11 December, Sadly these four walls will be closing. Please join us for the last exhibition opening Fri 3 Dec, at 6pm, to celebrate the gallery’s many happy and successful years. 169 Lower Main Road, Observatory, Cape Town. C. 079 302 8073

SA ART TIMES. Dec 2010- Jan 2011


Galerie L’ Art A permanent exhibition of old masters. Shop no 3, The Ivy, Kruger Str., Franschhoek T. 021 876 2497 The Gallery at Grande Provence Until 01 December, “Painters who Print-Art on Paper” an exhibition that celebrates some of the artists who have worked at The Artists Press. Until 01 December, “Fragile Earth” by Jeannette Unite (The Project Room) 05 December- 12 January, “Angels V”, the fifth annual Christmas exhibition featuring works by selected SA artists. Opening 05 December @ 11am with opening speaker Johann du Plessis. Curator: Carina Bekker. 16 January-16 February, Works by Henry Hopkins and Craig Muller; The Shop: Sally Arnold; Project RoomGeorge Hugo. Main Road, Franschoek. T. 021 876 8600. Is Art 05 December-Mid February, A group exhibition of paintings, sculpture, ceramics and jewellery. Opening 05 December @ 11am. Ilse Schermers Art Gallery at Le Quartier francais, 6 Huguenot Street, Franschhoek. T. 021 876 8443

George Strydom Gallery From 27 November, “George 24”, 42st Summer Exhibition of South African Art.

Opening Saturday, 27 November @ 6pm with opening speaker Prof Lize van Robbroeck (Art historian, Stellenbosch University) 79 Market Street George. T. 044 874 4027

Hermanus Abalone Gallery During Dec/Jan, Main Gallery: “Inspired by Africa”, works by Raymond Andrews (wooden panels), John Clarke (pastel drawing), Hannes Harrs (collages and totems), Leonard Matsoso (oil pastel ), Carl Roberts (sculpture), Solomon Sekhaolelo and Lynette ten Krooden (painting). Side Gallery: Collection of graphic and photographic works by: Hardy Botha, Lien Botha, Norman Catherine, Braam Kruger, Judith Mason, Dirk Meerkotter, Cecil Skotnes, Andrew Verster. 2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935 Bellini Gallery and Cappuccino Bar During December, “Summer selection”, Works by Annette Barnard, Anna Barth, Ed Bredenkamp, Maeve Dewar, Annemarie du Plooy, Charlene Langguth, Elizabeth Miller-Vermeulen, Shannon Phillips, Alison Riordan, Vernon Swart, Louis Stroh van der Walt. 03 -12 December, “People and Places” paintings by Alyson Guy. 167 Main Road, Hermanus. T. 028 312 4988 Harbour Road Art Gallery Until 15 January, Kirstenbosch Biennale artists exhibit in Kleinmond. Hangklip, Kleinmond. T. 028 271 5689 Municipal Auditorium, Hermanus “Opportunity Art” will be hosted by Overstrand Hospice on 7 January 2011 at the Municipal Auditorium in Hermanus, which in short is a fundraising event focusing on Art, and includes an Art Sale and Auction. All artists (professional and amateur) are encouraged to donate a painting(s) to this event. All donated paintings, except the painting donated for auction, will be sold at very reasonable prices, ranging from R100 to R500. Artists include Gail Catlin, Tay Dall, Lynda de Wet, Carol Mangiagalli, Hennie Niemann, Hennie Niemann Jr, Helmut Starcke, Charles van der Merwe, Louis van Heerden, Derick van Rensburg, Jan Vermeiren and Angela Key. 07 January, “Opportunity Art”, art sale and auction. Preview 07 January 12am. The art sale and auction will start at 4pm. For more enquiries, contact Dieter Odendaal at Overstrand Hospice on 028 312 4679 fundraising.

Knysna Dale Elliott Art Gallery Garden Route and Knysna themed exhibition by Dale & Mel Elliott Woodmill Lane Shopping Centre, Knysna. Tel:044 382 5646 Knysna Fine Art From December, Working drawings by Peter Cazalet. (The primary costume designer for theatre, opera and ballet, both locally and internationally) Continuous exhibition, paintings by Leon Vermeulen. Knysna Fine Art has relocated to Thesen House, 6 Long St, Knysna. T. 044 382 5107 C. 082 5527262



Oudtshoorn Artkaroo Gallery Until 18 December, mixed & multi media and lithographs by Chris Spies supported by ceramics by Elsable Pretorius. 107 Baron van Reede, Oudtshoorn. T. 044 279 1093

Paarl Hout Street Gallery 25 November - 28 February 2011, “Annual Summer Salon.� this exhibition features an extensive range of paintings, ceramics and sculptures by more than thirty South African artists. 270 Main Street, Paarl. T. 021 872 5030

Piketberg AntheA Delmotte Gallery 25 November - 15 December, “16 days of activism� 47 Voortrekker Street, The Old Bioscope, Piketberg. 073 281 7273,


Art on 5 Permanent exhibition of paintings and ceramics by Maryna de Witt, Pera Schillings, and Karen Kieviet. 7b Andringa Str., Stellenbosch. T. 021 887 7234

University of Stellenbosch 11 November - 14 Febuary 2011, “Mother Nature. Art and Psychology in conversation.� A multi-media group exhibition. Curated by psychologist Elzan Frank. Cnr Dorp & Bird Street, Stellenbosch T. 021 808 3524/3489

Dorpstraat Galery Dec/Jan, Group show featuring Walter Meyer, Shany van den Berg, Nora Newton, Greg Lourense, Eugenie Marais, Frank van Reenen and Vincent da Silva. 10 Oude Bank Church Street, Stellenbosch. T. 021 887 2256 Glen Carlou Estate On exhibition is The Hess Art Collection, including works by Deryck Healey, Ouattara Watts and Andy Goldsworthy. Simondium Rd, Klapmuts. T. 021 875 5314 SMAC Art Gallery 08 December-27 February, New paintings by Johann Louw. De Wet Centre, Church Street, Stellenbosch. T. 021 887 3607

Stellenbosch University Until 12 December, “Gradex 2010� an exhibition of works from the graduate students of the Department of Visual Arts. Department of Visual Arts, Stellenbosch University. US Art Museum 02 December-08 January, “Huis, paleis, pondok..� by Brahm van Zyl; “Mnemonic Devices by Madelein Marincowitz. Cnr of Dorp and Bird Streets, Stellenbosch. T. 021 808 3524/3489

Villiersdorp Dale Elliott Art Gallery Festive Season Exhibition of latest oil paintings by Dale & Mel Elliott. Demonstration programme available. T. 028 840 2927

Stellenbosch Art Gallery 25 November - 31 January 2011, “2010 Gala Summer exhibition.� 34 Ryneveld Street Shop 1 Ryneveld Plaza. T. 021 887 8343

11-17 Art Times.pdf



1:46 PM










in the Companies Garden Ă?(ATlELDĂ?3TREET Ă?'ARDENS Ă?#APEĂ?4OWN

The Cape Gallery, 60 Church Street seeks to expose fine art that is rooted in the South African tradition, work which carries the unique cultural stamp of our continent. Featured above is artist Xolile Mtakatya



Open: Mon - Fri: 9h30 - 17h00 Sat: 10h00 - 14h00 Tel: 27 21 423 5309 Fax: 27 21 424 9063 E-mail: Web: www.capegallery

American express, Mastercard, Visa & Diner cards are accepted. Reliable arrangements can be made to freight purchaces to foreign destinations.

Kwa Zulu Natal Durban The African Art Centre Durban 17 December - 05 December, A solo exhibition of landscape paintings by Derrick Nxumalo. 08 December - 09 January 2011, A New Range of Summer Jewellery and a selection of artwork in a variety of mediums by the Velobala Group. 94 Florida, Durban. T. 31 312 3804/5 Artisan Contemporary Until 04 December, “Coastal Reflections” paintings by Jenny Meyer and Jewellery by Bianca Ladds. 08 December-15 January, Recently published works by the Artist Proof Studio. Accompanying the prints on display is jewellery and ceramics by leading South African artists including Sarah Walters, Loren Kaplan, Martha Zettler, Katherine Glenday, Evette Weyers and Catherine Brennon. 344 Florida Rd, Morningside, Durban. T. 031 312 4364 ArtSPACE Durban 29 November - 15 January 2011, “8th Annual Affordable Art Show” 24 Jan – 12 Feb, Petros Ghebrehiwot paintings. 3 Millar Road, Stamford Hill, Durban. T.031 312 0793 Durban Art Gallery Until February, Monty Naicker. 26 November- Until 13 Feb,

EASTERN CAPE | KZ- NATAL | GALLERY GUIDE “Samsara – A Continuous Pursuit (1860s settlers)” 04 December-23 January, Jabulisa 2010” Until end December, “Frequency Luness”, a sound exhibition. 2nd Floor City Hall, Anton Lembede St (former Smith St) Durban. T. 031 311 2264 DUT Art Gallery 07 – 09 Dec, Jewellery & Fine Art Exhibition 13 – 15 Dec, Emma Smith Exhibition 10 – 31 Jan, Exhibition of works by Celeste van der Merwe T. Nathi 031 373 2207 Fat Tuesday Dec, Exhibition of photographic work by Lesley Goodman entitled “In the rain” as well as beautiful ceramic by Helen Vaughan, De Holley and Catherine Brennon and magnificent carvings from Zambia in ebony of Noah and His ark along with all the animals Dec, Illana Lloyd’s “Art for Life” creative Christmas workshops for children aged 6 and up and bear Hansen’s Cartooning course for all ages. Bellevue Road, Kloof. Shannon T. 031 717 2785 Kizo Art Gallery Dec & Jan: Keith Calder’s impressive 3m bronze entitled Slide Tackle will be on exhibition together with an enormous collection of artworks from the 2010 Fine Art Collection and others. Gateway Theatre of Shopping T. 031 566 4322/4 KZNSA Gallery 14 November – 09 January 2011, “Buzz Art” Christmas gift fair extravaganza. 25 Jan –19 Feb: “The Bold and The Beautiful: Annual Member’s Exhibition” 166 Bulwer Rd., Glenwood.

Eastern Cape

Port Elizabeth

East London

Alliance Francaise Until 03 December, “Réunion Chroniques” (Reunion Chronicles), a photographic exhibition from Reunion Island. 7 Mackay Street, Richmond Hill T. 041-585-7889

Ann Bryant Gallery The Main Gallery Until 04 December, East London Fine Art Society’s Annual exhibition. The Coach House 02-16 December, Group Mosaic exhibition. 9 St. Marks Rd, Southernwood, East London. T. 043 722 4044 Vincent Art Gallery 01-07 December, Ceramic exhibition by Charmaine Haines, Taking Place at the The Vincent Park Centre. From 10am-6pm. Usual Gallery Hours Tues-Fri 9am-5pm; Sat 10-1. 2 Donald Road Vincent, East London. T.043 726 4356 C. 083 700 4711

SA ART TIMES. Dec 2010- Jan 2011

Epsac Gallery Until 10 December, Works by Niek Hiemstra. 03-15 December, Fixated. An exhibition of fashion, photography and film by NMMU School of Art & Design students. 36 Bird Street, P.E. T. 041 585 3641 Montage Gallery Until 23 December, “Nexus”, oil paintings by Greg Schultz and sculpture by Wehrner Lemmer. 59 Main Road, Walmer, P.E. T. 041 581 2893 Nelson Mandela Metropolitan Art Museum Permanent exhibition, “Art in Mind” Until 05 December, “RE.SPONSE” Lecturers, students and Alumni from the Nelson Mandela Metropolitan University School of Music, Art and Design. Until 12 December, “Fauna and Flora” images and ceramics 10 December - 06 February 2011,

T. 031 2023686 Nourish Café on Kensington: Dec & Jan: First exhibition of photographs by amateur photographer Annelise Willis Nourish is a place where art and food can be mutually experienced. Kensington Drive, Durban North. T. 031 564 3126 The Village Green, Umhlanga: 4 Dec: 9:30am – 3pm North Coast Art Group open-air art exhibition in aid of Animal Anti-Cruelty T. 031 568 1957

Margate Margate Art Museum Museums art collection on display. T.039 312 8392 C.072 316 8094

Pietermaritzburg The Blue Caterpillar Art Gallery 01-30 December - Spanish artist Didier Lourenço’s watercolour and original oil paintings will still be on view in the gallery and on our website. 02-31 January, Still lifes and landscape oil paintings by Jocelyn Boyley and Charmaine Eastment both artists where influenced and tutored by the late Errol Boyley. The Blue Caterpillar art gallery at Butterflies for Africa 37 Willowton Road, Pietermaritzburg. T. 033 387 1356 or Tatham Art Gallery 05 December-16 January 2011 , “Circles of Tranquility” by fibre artist- Jutta Faulds. Cnr of Chief Albert Luthuli (Commercial) Rd. and Church Str. (Opposite City Hall) Pietermaritzburg. T. 033 342 1804

Nelson Mandela Metropolitan Art Museum Biennial Exhibition and Award 2010. 18 December - 18 March 2011, “Faces and Places” An exhibition of paintings, photographs, prints and ceramics from the Art Museum’s Permanent Collection. 1 Park Drive, Port Elizabeth. T. 041 506 2000 New Creations Until 16 December, Ceramics SA Eastern Cape Regional exhibition. 13 Newington Street, Richmond Hill For enquiries T. Stephanie Liebetrau at 041 3737136/ 082 8774138 P.E. Summer Arts fair 10-12 December 2010, a 3-day event which includes a fashion show, live performance competition and drama production as well as art exhibitions. Ron Belling Art gallery From 29 November, Architecture Student exhibition from Nelson Mandela University. 30 Park Drive, P.E. T. 041 586 3973



Lloyd Pollak interviews Brett Murray regarding his show entitled: “Hail to the Thief” currently on at The Goodman Gallery, Cape. Photo: Jenny Altschuler

We are currently inviting submissions for our forthcoming Cape Town and Johannesburg auctions. Entries close end December 2010 and mid March 2011 respectively. Enquiries: Johannesburg 011 728 8246 Cape Town 021 683 6560

Irma Stern, The Lemon Pickers, signed and dated 1928, oil on canvas, 100 by 95cm R10 000 000 - R14 000 000 Cape Town, Monday 7 March 2011


Elevenses with the dark Prince of Pop Text by Lloyd Pollak Photos: Jenny Altschuler I succumbed to the period charm of Cromdale Villa, the home of Brett Murray, his wife, Sanell Aggenbach, and their daughter, Lola, as soon as I glimpsed its stately mustard façade from the road. The blocky cubic silhouette of this spruce turn of the century Cape Georgian villa is crowned by a lofty pediment with Greek revival detailing, and the ensemble exudes the security, solidity and stability of the British Empire at the height of its glory. Trim iron railings and walls divide the property from the street. Graceful arched double front doors, spacious sash windows and a deeply shaded verandah, patiently await you, giving the villa a convivial air of invitation. So sturdy and robust is its construction that I felt my Claremont bonk-box was made of Styrofoam. The slate walls are thick enough to survive a siege. Ceilings are lofty, and proportions so perfect they immediately induce a sense of restful harmony. There is an expansive generosity about the Edwardian architecture: the tall, broad windows are equipped with folding wooden shutters and ledges so deep and wide they can comfortably accommodate even the plumpest of buttocks. No corners were cut. The carved marble fireplaces surround cast-iron grates relieved with floral tiles. Weighty marble slabs are interspersed between the parquet in all the doorways, and elaborate plaster ceiling roses burst into bloom on high. Back in the days of the Dutch East India Company, this was a farm. Later when Woodstock became a seaside suburb with the beach just down the road, the seashells provided the raw material for the Kalkbrandery Lime factory. The previous owner was Signore Lorenzi, an Italian stone mason who embellished Deco buildings with carved ornament, and staged operatic recitals in Sanell’s study where ringed marble columns support a beam from which fringed and tasseled velvet curtains once parted to reveal Tosca hurling herself from the ramparts of the Castel St Angelo. This is a house with a history, and it wears that history with pride. Brett and Sanell’s policy is one of loving neglect, and the signs of wear and tear only enhance the character of their home. Neither are twee titivators. There is nary a flower-box, hanging basket nor coach lamp to be seen. The lid of the splendid mahogany lavatory seat is not embellished with ribbons and bows. It is what it is, and rather like its owner, it is honest and down to earth in character. Brett has certainly stamped his forthright lack of airs and graces upon his surroundings. Furniture is minimal; taste, austere, and nothing interferes with the easy flow of space from room to room. Although this is a suburban home, Brett and Sanell are most emphatically artists, and not suburbanites. Their décor eschews bourgeois status symbols and hints at student digs, the artist’s garret and the counter culture. What 42

they love about Cromdale villa is its aura of bygone days, and they have preserved even its quaint inconveniences. The vast, and defiantly un-modernized, kitchen oozes nostalgia for the 1940’s when women wore aprons and baked, and hapless husbands did not come home to boxed pizza delivered by students in dinner jackets. Brett’s wacky humor expresses itself in a passion for kitsch. The connoisseur of tack continually regales the eye with bizarre conclaves of animals and figures rising from the top of fireplaces, bookshelves, tables and ledges. An African crocodile in charred wood nestles up to a matronly Russian babushka; a wooden aeroplane prepares for take-off next to a tin Cadillac. Pageants of skittishly juxtaposed colon figures, catholic religious icons, African airport art and plastic toys, process along every available surface. Sanell’s life-size black sheep vainly attempt to graze a bedroom’s parquet floors, and gaze out of the window with hopeless longing for the rasping grass of the Karoo. The spoils of the church bazaar rub shoulders with paintings and sculpture by Kevin Brand, Lisa Brice, Conrad Botes, Lindy Sales, Doreen Southwood, Andrzej Nowicki, Zander Blom, John Murray and Hylton Nel, and although such works are valuable, they are nonetheless displayed with a throwaway insouciance that subverts the very notion of display. The sunny spring morning lures us outside. I seat myself on a swing, and interview Brett in the midst of a ramshackle patio where two arthritic old olive trees provide pools of shade. This secluded pocket of garden is walled, and overlooked only by Table Mountain which peeps over a crumbling brick wall to eavesdrop on our conversation. All is charming disorder. Rambling bougainvilleas and climbing vines tug at the walls, and rosemary and lavender grow any which way. Sanell does not patrol the herbaceous borders armed with sécateurs, and weeding, I observe, is not Brett’s strong suite. Tea materializes, rather than is served, and in the course of conversation, we drift into the large modern studio to view the subject of our discussion, the work in progress for Brett’s forthcoming exhibition at the Goodman, “Hail to the Thief!” Brett’s art works are little ticking bombs artfully disguised as suppositories to be placed in the flabby rectum of our ANC government, and his antagonism to it is so overt, that many gallery goers were outraged at Saturday’s opening, and complained bitterly to the staff. Further faecal matter will surely hit the fan. Earlier this year the then Minister of Arts and Culture, Lulu Xingwana demanded to know why Zanele Muholi’s controversial exhibition examining black lesbianism, had not been censored. I suspect that Brett is playing the agent provocateur and deliberately throwing down the gauntlet at Xingwana’s successor, Pallo Jordan, and challenging him to close the exhibition, or remove certain works, in order to prove that the freedom of the artist, and by extension that of every citizen, is in jeopardy. Brett is playing a dangerous game to defend our civil liberties and one can only applaud the artist’s courage and shout ‘Viva Brett!” and ‘Bravo, Bravo, Bravo!’ SA ART TIMES. Dec 2010- Jan 2011


Jurgen Schadeberg Interview and photographs of Schadeberg by Jenny Altschuler. November 2010. Jurgen Schadeberg in his hotel November 2010 Jenny Altschuler 2010 Jurgen, you are an iconic figure in our country’s history, photographically because of the 52 years of photographing and documenting in South Africa from your arrival in the early 50s up until this 1st decade of the 21st Century, and also politically, because of your ongoing deep socio political concerns and investigations into the social development of South Africa. You have made films on topics such as Nelson Mandela and the Rise of the ANC in 1990; Voices from Robben Island in 1994 and you published Voices from the Land – a major photo essay on the conditions on South African Farms, in 2005. You have lived for long periods of time elsewhere so why has South Africa’s state of being consumed you so wholly? Well, South Africa became my home. All in all I have lived in South Africa for the longest periods of time; round about thirty five years in total if you add it all together. The first thirteen began in 1950 and that period scanned my formative career period from the age of 19, through my 9 years at Drum Magazine as photographer and photo editor and later as freelancer until I was coerced out of the country in 1964 by the police and immigration restrictions. I returned

twenty years later on a visit in 1984, to find and fetch my work. I had been afraid to try and carry the negatives out in the 60s in case they would be found on me and destroyed by the apartheid police. I did find my work in some abandoned cabinets on the Bailey farm, and then I returned a year later in 1985 with Claudia to begin realisation of the many documentaries we had planned together. We stayed till 2007 and produced many of those documentaries on South Africa in video and film during those twenty two years. Voices from the Land was shot during this time, late in 2005. Not many people know about this body of work and some of those that did see it as an exhibition or book, misunderstood its’ intention, calling it a continuation of apartheid obsession. I had intended an expose of the fact and the conditions on the farms, which were still steeped in gross inequality systems present under the old regime. Even now there are still grey areas such as this and I find that hard to ignore. It is not only the poverty that I wanted to draw attention to, but also the systems and the power relationships still in place. The project also highlighted the positive elements in daily life on the farms and hopefully in time this will be apparent.

Schadeberg lived in Britain on and off for roughly 20 years between 1964 and 1984 between his long periods of living in South Africa. He has also lived and worked in Spain, Germany and a number of cities on the African continent. He currently resides in France in a village just outside Paris.

ART LIFE | FEATURE / JURGEN SCHADEBERG However Germany is also your country. You were born, raised and educated in Berlin and are back here in Cape Town at the preset moment as the guest of the Cape German Consulate with your exhibition, Mauerbilder 1961: Images of the Berlin Wall that forms part of the Cape Town German Cultural Weeks festival hosted by the Consulate. Even though you live in France currently, you

Avoiding the Pass Johannesburg. c. Jurgen Schadeberg 1955

were chosen as the visiting cultural figure because the dual nature of your concerns, the artistic and the political, (in this case German and South African), fit the dual focus of the program: celebrating the parallel 20 years of the fall of the Berlin wall and the 20 years since Nelson Mandela was released from prison.

All Residents of West Berlin, waiting to get passes to visit the eastern town of the newly constructed wall. c. Jurgen Schadeberg 1961 Yes, my life’s work has had resonance on both these levels, the artistic and the socio politic. The works that are going to be viewed by the city during the festival, have been circulating internationally for a long while , and are apt examples of what I have engaged myself in, as a photographer, a socio political film maker and someone who continues to mentor South African photographers. Contributing to the German interest of the festival is the exhibition of the 1961 body of work, Mauerbilder: Images of the Berlin Wall, showcasing at the Photographers’ Gallery ZA. This body of work has been travelling and showing internationally at the Goethe Institutes around the world since 1998. It was not a planned project. I happened to get an opportunity to visit Berlin in 1961, and to my surprise I found myself in the middle of the Cold War. The space was filled with the soldiers and other battle icons and the rest of the city went on almost innocently about its daily mechanics.

Jurgen Schadeberg at the opening of Mauerbilder at the Photographers GalleryZA Photograph: Jenny Altschuler November 2010

Miriam Makeba posing for Drum cover c. Jurgen Schadeberg 1955

Back in South Africa you had left Drum magazine, after being extremely influential in the documentation of the life and atmosphere of the black culture of writers, poets, music and theatre, as well as the living conditions and general life in South Africa under apartheid.

Waiting for the Trucks, Sophiatown c. Jurgen Schadeberg 1958

Nelson Mandela during the Treason Trial c. Jurgen Schadeberg 1959

It was during this period that Schadeberg photographed the life and struggle of South Africans during Apartheid and documented pivotal moments at important historical events such as during The Defiance Campaign of 1952, The Treason Trial of 1958, The Sophiatown Removals and the Sharpeville Funeral in 1960. “When I arrived in South Africa in 1950 from Germany I found two societies running in parallel with each other without any communication whatsoever…As a newcomer and outsider I managed to quite easily hop from one world to another…for example in the evening I might photograph a white masked ball in The City Hall, the next morning an ANC Defiance Campaign meeting, or a shebeen in Sophiatown….all followed by The Durban July” (Schadeberg on the publication of The Black and White Fifties in 2002). The exhibition is presented courtesy of the Johannesburg Goethe Institute where it was exhibited in 1998 as one of the legs of an exhibiting tour of all the Goethe Institutes worldwide.


Jurgen Schadeberg studies each set of photographs brought by participants to the Masterclass in Cape Town. Jenny Altschuler November 2010

You had yourself amassed a huge amount of poignant images of the times as well as cultivated and nurtured the blossoming of black photographers who evolved to be this countries historic photographic figures, among these, Ernest Cole, Peter Magubane and Bob Gosani, all of who you assisted with your mentorship, cultivation through your books you showed them on a daily basis of international photographers and with the photographic bravado you encouraged and supported them through. By this time in 1961, among other things, you had completed a photographic project, on the San (Bushmen), where you accompanied a research expedition into the Kalahari Desert that studied the lives of the tribe. Other photographers have researched and photographed this since but that was the first. However that series only got published in 1982 in The Kalahari Bushmen Dance. Other long term projects also began in those earlier years and only became realised for you in the mid 90s after the change in Government. Documenting the state of affairs is never an easy task. But to my mind, if this is your intention, you need to engage in many layers of research and visual consciousness. You need to able to see up, down, side ways and through. This is what I tell the photographers who I mentor and mentoring is one of the activities I have dedicated myself to throughout my life, even past the Drum era. Claudia and I have taken on interns continuously also because we are always involved in projects at different points through their progression. One such partnership was with Vatiswa Ruselo who interned with us and I mentored with her series of portraits of Black South African veteran boxing champions. She was a pleasure to work with but afterwards the series was linked with the Market Photo Workshop and my input was never acknowledged. I have And that is what I will do here for the festival too. As we were already coming all the way from France for the exhibition, it was natural that I should be involved with a few additional side events. So I have been involved in a masterclass to photographers who have been working on substantial projects and who asked for my input and guidance. I spent a full day with the photographers all together but looking at separate projects, one by one, through different stages of their progress. I was moved by your ability to home in to the real essence of most of the photographers’ intentions as well as your intuition about the things they were as yet unaware of that was coming across. Often you mentioned a quality or deduction that no-one else had thought of and then it became clear to all. Even when suggesting an unexpected shift or additional context that the photographer might have been surprised at initially, your suggestion definitely made us all think bigger, broader than ourselves, broader than the South African context and opened up ways of continuing that could register more specifically and more universally. I did however sense a barrier towards contemporary Fine Art photography and the gallery space. What is your experience of this market in Europe and the international world?

The gallery market is indeed a difficult context for documentary photographers. On one hand many of the newer galleries do not understand the medium really and wish and need to make money off pictures that people want on their walls, but on the other hand there is little space and money any more in the media for documentary photographers to show their work satisfyingly. Museums are indeed a better bet, but the newer development of the portfolio of a curator also disturbs the purer showcase. In the old days there was no such thing as a curator. You would ask the people you trusted to help you edit and you would do everything yourself. Nowadays you have to first get the museum to want to showcase “you” and then the curator to make all the choices. In our experience many of them have had no research experience around your subject or knowledge of the variety of contexts of your work or the documentary side of things. It is left to a large extent up to the individual photographer to make a mark and push to become seen. Make sure you have a website. Do research and active marketing of your work and completed projects. Nurture your own archives as well as network. Don’t do the final edits all by yourself though. Ask other photographers, artists, writers. Ask a bank manager. See which pictures speak to others. Then find out who is interested in buying the kind of work you do. You have worked extensively in the larger range of the photographies, in both the still and motion disciplines. The Schadeberg Movie Company has produced film and video documentaries such as the Voices from Robben Island (1994), screening at the Alliance Francaise for this festival). Your style is distinct with beautifully shot footage, in this case, of the Island, intertwined with one on one highly intimate studio interviews of historic characters pertinent to the issue. In the Robben Island film ex political prisoners, including Mandela, Walter Sisulu and Govan Mbeki, father of previous president Thabo Mbeki, recount their experiences during their incarceration as well as their comments, opinions and personal statements on the significance of the events in retrospect. This seems to draw a more intimate and poignant picture of the place and the atmosphere of the societies that built and lived under the systems that created it. In this way the atmosphere of times is re-created and the viewer can imagine into this haunting place. The voice over also traces a general history of this territory (which has been a symbol of expulsion from society) from its 17th Century role as a leper Colony to its time as a maximum security prison. The other videos and films also have these same intimate qualities. The Ernest Cole film for example, combines an explicit memorial to Cole’s genius in photography, his own presence through photographs and interviews of him by others, later interviews of significant from his life, as well as your insights and memories of the photographer who grew from your mentorship as a young intern. The 52 minute movie creates an intimate understanding of the photographer against the backdrop of the South African atmosphere under apartheid and in fact, world attitude at the time towards Black people. These movies should be part of our history and art history education syllabi.

Schadeberg’s biography and CV with biographical details, a long list of exhibition and lists of books, video and film projects can be viewed at In 1987, George Mendonça filed a lawsuit against Time Inc. in Rhode Island state court, alleging that he was the sailor in the photograph and that both Time and Life had violated his right of publicity by using the photograph without his permission. In 2008, after public claims by many others to be the subject in the image, Glenn McDuffie was legally recognized on his 81st birthday as the “Kissing Sailor”.

ART LIFE | FEATURE / JURGEN SCHADEBERG Yes, but it does not seem that the learning institutions here offer history of photography or related subjects. We have not had requests for the movies for this. We have produced many educationally valuable projects and we have often spent a long time getting a project realised. Claudia and I plan them, research and produce them over considerable periods of time while looking for funding. We are not always successful in attracting funders as the projects are not really commercial ventures. However lack of outside funding does not deter us and should not disillusion one. Perseverance is essential and the willingness to work really hard. At times I have had to double up as the director, the photographer and the sound technician, even more. One particular recent film project, the entire venture was produced by Claudia and I alone, hands on, as we could not get funding. Yet it has been one of our most successful, travelling and screening all around Europe at the moment. But you are right, at any point in time I might be in the middle of shooting a project at specific times during the week (such as the French village series that I have been working on over the past year and a half in our home village close to Paris), but I would also be printing towards a series of photographs going into an exhibition or that have been purchased, at home on other days, finishing the final design for a book to be published, such as my latest, Horizon of Hope and planning another book already for 2011. I make the mock ups myself in the In Design program before I look for a publisher.

did a bit here and there, most of my serious life’s work until around the 2000s was with black and white film. I have also always printed in my own darkroom or with assistants that I have mentored. Peter Magubane and Bob Gosani were among the earliest candidates of those whom I taught the darkroom processes to. Nowadays when I have interns, I take them through it all and they need to know how to negotiate the digital technology and the digital ‘darkroom’. So at 79 years of age, what do you envisage for your future?

France has very strict laws pertaining to the photographing and usage of photographs for publication of people in public places. How does one deal with this and how did you manage to photograph your village and all the people in it? Well firstly there are those restrictions but no-one really abides by them. Then if there are more than five people in a picture, it is considered a crowd and that is alright. If you are going to publish something in an advertising context or use a picture for a public poster, even an art poster, you had better have consent. The famous Eisenstaedt photograph, V-J Day in Times Square taken of a sailor kissing a nurse, in 1945, was the centre of a long running lawsuit between an alleged subject of the photograph and the magazines that had used them. Sagas such as this are the reason for the copyright laws. The mayor of our village gave the go-ahead for us to do the project after approaching, and in some cases convincing, members of the community to participate. But it is also personal ethics that makes all the difference. Getting permission is especially important if you are focussing on contexts where people’s personal lives are involved, but stopping your process to make in-depth contracts with every person who is going to come into under your lens in public spaces, is impossible. You too have been involved in a copyright lawsuit over images on the bailey archive site. Has this been resolved? I have read that other photographers have sworn that they shot the images that you claim are yours. No, unfortunately it has not been resolved. There were about 400 images that I had shot that were on the site, one after each other, all together as a body of work. After we made our claim public the images were scrambled on the page, other photographers’ work was inserted around and in between them so it was more difficult to single mine out. Some images were even attributed to other photographers. We have two really good pro bono lawyers working on this, one German and one South African, and we are persisting.

Claudia and Jurgen Schadeberg at their hotel in Cape Town. Jenny Altschuler 2010. Claudia and I do the planning and execution of all projects together. We feel about things the same way. `We have a number of projects already on the horizon, some still in various conceptual stages and some about to complete. The French Village will be launched in December this year. I am going back to print over 100 of my images, for an exhibition that is planned for next year. I will be working on a series edited from my many years of shooting in Britain. The body of work will show daily life in the city as well as in the countrysideand we will be producing it as an exhibition and of course a book. And I have another idea that I’m playing with at the moment, in In Design on my computer...

Can you comment on your latest work in colour. On The Beach 2004, Tales from Jozi 2008, as well as the images from your currently launched book, Horizon Espérance, (Horizon of Hope) all of which are mostly works in colour. You were also still choosing to shoot in black and white during that same period, such as your small body of work on The Young String Orchestra also shot in 2004, which I see as an interesting connection to and continuation out of your long attraction to photographing Jazz which began in Sophiatown for Drum magazine. Can you elaborate? Horizon Espérance (Horizon of Hope) is a combination of selected works from many projects shot during the last nine years including works from On the Beach and Tales from Jozi. I combined digitally shot colour images with those shot in colour film. All my black and white images are shot in negative. I do all that printing myself as well, whether in the darkroom or digitally through the computer and printers. Colour is a whole different medium and although everyone moved over to colour in the 1960s when it surfaced originally, and I

School Playground, London. c. Jurgen Schadeberg1968

Athough Schadeberg answers generously and immediately with ease as if it is all frozen right there in the front of his mind’s archive, what he does not exactly remember, he confers with Claudia who is clear and voluptuous with her offerings. There is spontaneous laughter between them and sometimes a short spate of sadness when sharing a less positive detail, but generally the sense of commitment and pleasure for their partnered role in the relay of life shines through. The trust and collaboration is complete in every instance.


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Casa Labia in Bloom The Labia family has long been involved in the art world and the reins are now passed to Count Luccio Labia’s daughter Antonia Labia Hardes-Williams as she manages the new contemporary South African art gallery at Casa Labia. Her passion for African art and design combined with her heritage has fuelled her desire to create a space that celebrates the best of South African art. Adding a new dimension to Casa Labia’s more historic rooms, the Galleria’s current exhibition is a must-see for all residents and visitors to Cap Town this Summer. Curated by Margie Murgatroyd of AFRICA NOVA, Casa Labia in Bloom is a festival of art, inspired by South Africa’s indigenous flora. The multimedia exhibition is open to the public from Tuesday to Saturday between 10:00 hrs and 16:00 hrs until 29 January 2011.



Casa Labia in Bloom is a celebration of our unique floral kingdom and is also a reminder of our role as custodians of this extraordinary heritage. The exhibition features works produced by some of South Africa’s most creative talents across a range of media and styles including: painting, ceramics, photography, sculpture and jewellery. Indigenous plants in a range of unique African containers are also on sale; and the Africa Nova boutique (located in the former boudoir) will be open throughout the exhibition with its trademark collection of the best of South African contemporary art, craft and design. For information on how to exhibit your own work at Casa Labia Galleria, or for a complete schedule of the festivities during Casa Labia in Bloom please contact Sally on 021 788 6068 or email her at





Tracy Payne 1. Wildflower-I 2. Bobbejaantjie 3. Wildflower-II Claudia Gurwitz 4. Malawian Plant #5; Oil on Canvas; 80cm x 100cm 5. Pincushion #3; Oil on Canvas; 100cm x 80cm Pippa Lea Pennington 6. Sabie Aloes with Starling 7. Ngwenya Aloe 7

55 Main Street, Newlands, Cape Town Tel: 021 671 1553 Fax: 021 683 2630

La bellezza resiste Beauty fights back

Intimations of immortality. Oil on canvas.

Storm. Oil on canvas.

The white feather boa. Oil on canvas.

In January this year, Ryno Swart had a small one-man-show in Venice. The theme of this exhibition was “Beauty fights back”, chosen, in a city of beauty, now ravaged by commercialism and visual brutality, to celebrate the revival of an art founded in truth. From his youth in Springbok, Ryno loved drawing and admired the art of the masters. Their skill and their sense of beauty and truth were the inspiration for a life dedicated to understanding the secrets of vision, of imagination, and of light. Around the age of 14, in an essay, he named his greatest ambition in life as “learning to see.” To his surprise, he found his true teachers in nature, first in the intense concentration of an eagle, and later in the colour vision of a butterfly. The chief lesson, however, was that we see not by the light of sun nor lamp,

His current one man show runs until the end of January at the Ryno Swart Art Gallery in St George’s Street, Simon’s Town. Phone number: 021 786 3975.

Silver coffee pot in low key. Oil on canvas.

but by the light of attention, and that everything we see, ugliness or beauty, is a choice. Much of the history of art in the 20th century is the celebration of the ugly, and the rejection of beauty. It was against this that Ryno Swart set his ideal as truth, and his muse as beauty. Much of his work revolves around music, eros, and the dance. In search of his ideal, he travelled, first to Paris, and later to the Indian Ocean islands, the U.K, Holland, Greece, Venice and the U.S, resulting in one-man-shows in Den Haag, Paris, Chartres, Venice, and recently, in Montana. In a debate with an opponent who challenged him to define art, he wrote: “All art is celebration. Good art is the celebration of a good mind, and great art, the celebration of a great mind.”

Fiona’s Cello. Oil on canvas.

We only paint what we love. If we love beauty, we paint beauty. Every artist in every creative act has a duty to himself and to humanity.

Ryno Swart’s work can be seen on his website at and you can subscribe to his newsletters by emailing him at

Treat yourself to Frederike Stokhuyzen’s new book: Born to be an Artist

Cape Gallery, 60 Church St. Cape Town | Clarke’s Bookshop, 211 Long St, Cape Town Select Books, 232 Long St, Cape Town | Wordsworth Books- Cape Town area Fogarty’s Bookshop, shop 20, Walmer Park, Port Elizabeth Thorold’s Bookshop, 3rd Floor, Meischke’s Building, 42 Harrison St, Johannesburg Hout Street Gallery, Paarl | Stellenbosch Gallery, Stellenbosch | Art and Wine Gallery, Clarens Harbour Road Gallery, Kleinmond | Walker Bay Gallery, Hermanus For further enquiries contact Frederike Stokhuyzen, email

Thijs Nel • Paintings • Sculptures • Ceramics • Books

49 Raubenheimer Drive, Oudtshoorn Tel 044 272 0713 Cell 082 854 5131

Final level exhibition of

Visual Arts and Multimedia students 2010


Still from animation piece by Meshak Sello Mahlangu

UNISA Art Gallery invites you to an exhibition by the Visual Arts and Multimedia final level students in the department of Art History, Visual Arts and Musicology To be opened by Ania Krajewska Saturday, 4 December 2010 at 12h00 for 12h30 The exhibition closes on Friday, 21 January 2011 Please take note that the exhibition will be closed over the festive season from 23 December 2010 to 5 January 2011 Gallery hours: Tuesday-Friday, 10h00 to 16h00

Unisa Art Gallery, Kgorong Building (New Entrance Building) Ground Floor, Main Campus Preller Street, Pretoria, 0003 Email: Tel: (012) 441-5683

web: email: tel: 082 779 0230

Photography Ewald Germishuys

Keeping up with Carl

Photography Jason Furness

My Red Sky - 200 x 200cm Impasto and Acrylic on Canvas by Richard Scott

The Onrus Gallery 2 Lagoon Drive, Onrus River, 7201 Tel: 028 316 2103 Fax: 028 316 2821 Derrick: 082 566 8324

Hennie Niemann and Derrick Benzien rst formed a friendship and then a unique partnership to market the works of both South African Old Masters and more contemporary artists by establishing The Onrus Gallery at the beginning of 2008. Today Hennie numbers among the country’s senior and most revered living artists, with a career of virtually ve decades and his knowledge of South African Art is well regarded. Hennie’s own paintings are marketed exclusively through The Onrus Gallery. An impressive CV containing his best works is available to browse through. Derrick has been dealing in art across the country for several years and has a sound repport with many galleries, auction houses, collectors and artists. Derrick’s passion and expertise in art is evident in the tasteful manner in which he display works in an atmosphere that is conductive to promoting its dignity.

Irma Stern, Mother & Child, Oil, 54 x 69

The gallery houses works by Irma Stern, Maggie Laubser, JH Pierneef, Marjorie Wallace, Hugo Naude, David Botha, Gregoire Boonzaier, Paul Du Toit, Piet Van Heerden and other important names. Corporate and Collectors of Investment Art are well accommodated.

Irma Stern, Boats, Madeira, Oil, signed and dated 1958, 86 x 68

“Free Evaluations” Monday - Sunday 9am - 5pm Derrick 082 566 8324

BUSINESS ART South African Art Graduate 2010 Feature inside

To see more comprehensive grad school listings go to

Art Students of TUT, Pretoria go through their paces

Michaelis School of Fine Art (University of Cape Town, Western Cape) Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Rose Kotze: Staying at a Friend (Club Bliss, Claremont)

Rose Kotze

Rose Kotze : Water Babies (Vudu Lounge Foam Party, City Bowl) 2010

Samantha McCulloch

Christine Gouws

Ian Grose Debbie Loots

Lauren Franklin

Stefanie Schoeman

Karin Groenewald

Safia Stodel


Tatum Paulsen

Sarah Ferguson-Brown

SA ART TIMES. Dec 2010- Jan 2011

Michaelis School of Fine Art (University of Cape Town, Western Cape) Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Suzelle Stander

Grant Arendse

Alice Gauntlett

Cameron Richards

David Brits

Io MakandalPlasti

Tamarin Phillips

Tamryn Kirby

SA ART TIMES. Dec 2010- Jan 2011

Lauren Franklin

George Chapman


Rhodes Art School (Grahamstown, Eastern Cape) Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Amirah Tajdin

Willem Venter

Jessica Foli

Emalie Bingham

Xanthe Jackson

Amy Tarr


Siphesihle Biyela

Nicole Robinson

Warren Kernick

SA ART TIMES. Dec 2010- Jan 2011

Ruth Prowse Art School (Cape Town, Western Cape) Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Taahira Daniels

Ashley Wood

Lydia Richter

Katharina Forster

Stuart Fairbairns detail of installation Adele van Heerden

Jacques de Jager

Jacques de Jager

Katharina Forster Anya Kovacs

SA ART TIMES. Dec 2010- Jan 2011

Bianca de Klerk detail of installation


University of Johannesburg : Department of Fine Arts (Johannesburg, Gauteng) Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Nadine Froneman

Siyasanga Madyibi

Nkosinathi Simelan

Claire Attewell

Loreal Muller

Amber Jade Geldenhuys

Claire Attewell

Michael Erasmus


Claire Attewell

Eva Faerch

Chivonne Naude

SA ART TIMES. Dec 2010- Jan 2011

NMMU : Department of Art (Port Elizabeth, Eastern Cape) Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Liam Pretorius


Machela Liefeldt

Clanelle Burger

Leminah Chifadza


Emma Minkley

Bantu Mtshiselwa

Chumisa James

Mary-Ann Kella

Zeiss Angela Ah Hing

Josua Strumpfer Luxolo Bukani

Wilmot Mellaney Ruiters

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

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

SA ART TIMES. Dec 2010- Jan 2011


Stellenbosch University : Department of Fine Art (Stelllenbosch, Western Cape) Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Jeannie Roux

Abri de Swardt - the father my father

Hedwig du Toit

Alexandra Meyer

Hilde Malan

Darren van der Merwe

Dedrik Ruben Lourens

Stuart Cairns

Christien Laatz

Andrea Burger

Lyn Sieborger

Kate van Zyl

Johan van der Merwe

Stuart Buttle Magicon (far left) Georgia Fane Hervey (middle) Nastasha Buratovich (left)


SA ART TIMES. Dec 2010- Jan 2011


As seen at the Casa Labia in Bloom Show : Margie Murgatroyd and Antonia Labia Hardres-Williams, Antonia Labia Hardres-Williams and Sylvia Labia, Meiskine Driesens and Grant Donson (Below) Joanna Orr and Claudia Gurwitz, Shirley Tobias and Katherine Spindler, Hanien Conradie

Dale and Mel Elliot (Art Classes in Villiersdorp) donned their Auctioneer caps for a worthy cause, at their organised Art Auction at the Castle, Cape Town. The Auction raised over R 50 000 for Anchors Away charity.

The opening of Duende Art Gallery, Sea Point, Cape Town with the artist Surisa Surisa (acrylic and word).

Art Action held @ St Lorient Fashion & Art Gallery, Pretoria. Paintings were inspired by perfume and its magic. Over R80 000.00 for charity was raised . Photographer: John Coumbias Carl Barnardi (the auctioneer) with a piece from Anton Gericke. Paul Boilitrau and curator Celia de Villiers. Lucy Anastasiadis wearing a piece by Hester Viles around her neck made from a used Versace perfume bottle with Carl Barnardi.

SA ART TIMES. Dec 2010- Jan 2011


Art Times Profile on Jenny Altschuler SA Art Times: (AT) : This year you have ‘come out of the bottom drawer’ somewhat. You have left your 10 year head of department of photography post, been creating lighthearted photo essays on the culture hubs of Kalk Bay, False Bay, Woodstock and Observatory, had work exhibited in 1910-2010: From Pierneef to Gugulective at the Iziko SA National Gallery, Juggling with the Familiar II at the Centre for African Studies UCT and had 4 portraits published as covers for the SA Art Times. What are all these changes about?

Deon, Cape Town Stroller Jenny Altschuler 1984

Here for Moments A Pinhole Collaboration Jenny Altschuler and Tim Timlin 2010

I suppose to most it may seem like changes but the one thing about life that is constant,

is change. So perhaps on the surface it may seem as if there are now sudden changes,

but a deeper search will reveal that the jump is not a leap. When I took up the post in formal education 10 years ago people thought that I had changed with a huge jump, but I had been in informal education for almost 20 years because I spent my free time volunteering at community arts programs like Zonnebloem Art Centre and CAP and even at Michelis School of Art when the Centre for Photography was still based there. I ran the workshops program (teaching at night on a voluntary basis) and made the money for the telephone! Ha ha ha. All through my 19 year post as medical photographer in the education institution of the Red Cross War memorial Children’s Hospital, I taught nursing staff to present lectures and worked with medical and paramedical practitioners on the presentation as well as visual elements of their lectures. I loved it at all times. I also photographed the rarest and most common cases for record purposes and mostly witness intense miracles. I am mentoring a talented young photographer at present who cannot afford traditional FET education. I love spending time doing this with students. In this way I learn so much because when they grapple I get into their shoes and grapple. So I don’t think that will ever get this out of my system. I have been pretty constant on the most perceived levels of artistic output even while working full time. I have exhibited portraits of strangers made in public and private spaces of my own environments for 30 years, albeit the formats or conceptual context may have differed. I have also created other bodies of work, less known and some unknown lurking in my dark, dangerous and almost untapped archive of 30 years. I

100 year Sleep from Inside Out: A Family Album Jenny Altschuler 2010.

have been represented in quite a few exhibitions, it is true, but I have been a prolific and energetic image maker 6 – 10 images shown here and there per year mean that at least as many are unshown per year and I am talking about a cruel edit. Even 10 images per year that I may be proud of, is huge, considering that I have produced many bodies of work per year. 10 images per year for 30 years accumulates to 300 images and then another cruel or perhaps fair edit to half would be surely appropriate. When I think of David Goldblatt’s Kith, Kin and Khaya with 114 photographs in the Jewish museum right now (only a taste of his prowess at almost 80), to profess 150 good images seems boastful, but If I would have created 50 really worthwhile images in my entire lifetime, that’s also great! Interviewer: Jenny, you won the Katrina Harries Print Cabinet Collection award in 2009 for your Masters of Fine Art practical body of work, Platform 24. Was this not a large body of work? Yes, my thesis has over 80 images edited down from an initial “successful s” folder of at least 130 images taken over a number years, beginning in 1981. For the masters exam exhibition at the end of 2009, 48 images saw the light of the exhibition room. My supervisor and I chose 35 black and white images (1981, 2006 and 2007) and 15 colour images (2009). Although some of that work was chosen for the Paris Inaugural Photoquai Paris November 2007, the actual final body of work has not had its exhibition yet. 10 Billboard size images were exhibited on the banks of the Seine River under the Eifel Tower. It was one of the highlights of my life.

Above: About to Return: Outside Wellington 09. (Below) Honeymoon through the Karoo 09.

Jenny Altschuler 2010 . SA Arttimes covers:

Dad at home May 2010

Dad in the City October 2010

Platform 24 Jenny Altschuler. Photoquai Paris 2007

If you wanted to pinpoint what I am busy photographing, you could also ask me where I spend my life living. Most times I am photographing what I am living. The public only really gets to see the commercial images like the SA Art Times covers but that’s a small percentage of my photographic output.


Coulson’s last word : A staggering year for art on auction By Michael Coulson Fears that the non-recurrence of a focal interest point like the Brett Kebble sale would crimp activity in the local art market this year proved wide of the mark, as record on record was broken. And there was no fading away as the year ran down, with the two highest grosses and sell-through rates coming in the final three sales. Nor was interest restricted to the local front. Though offshore sales of SA art had decidedly mixed results, the highest gross of the year for SA art – and probably the second-highest ever, anywhere – was set in London, by Bonhams, within weeks of the two big grossers in SA. Just to clarify, the table includes only sales from leading art auctioneers with printed catalogues. Many other auctioneers sell art, ranging from well-established firms like the Bernardis in Pretoria and Ashby’s in Cape Town to some with less savoury reputations, but I would guess the majors command at least 90% of the market. And remember that, in line with international practice, gross sales figures, unlike the estimates, include buyer’s premium and any taxes. Given those caveats, the SA art market was “worth” just under R250m this year, almost 30% up on 2009’s R193m. On the rule of thumb generalisation that auction sales are usually about half the total value of traded art, this implies that total sales of visual art in SA this year will be about R500m; not that much, considering the hordes of artists, gallerists and other hangers-on whose mouths must be fed. Remarkably, too, and somewhat contrary to my expectations, Strauss & Co, led by the redoubtable Stephan Welz, showed that its debut year was no flash in the pan. Unlike many cricketers, it more than maintained its averages in its second season, with gross sales of almost R175m, or 70% of the total, up from R94m, or 50%, last year. Strangely, Strauss’s main rival, Welz’s previous firm Stephan Welz & Co (Swelco), with R64m, held its market share, at 25%; the casualty was Graham Britz Fine Art Auctioneers, which couldn’t repeat its 2009 success with the Kebble sale. Britz’s May sale was the major flop of the year, realising only 35% of the low estimate – a result that took an unconscionable time to emerge, and constituted only a 5% market share. Britz cancelled its proposed second sale of the year, scheduled for November – when the competition would have been awesome – and it remains to be seen whether it will re-emerge next year.

The overall gap between Strauss and Swelco may be less than these figures suggest. Strauss claims a total turnover this year of R184m-plus, implying that sale of other lines are less than R10m. Swelco, with a more varied product range, may outdo this. Last year, Swelco deputy chairman Jack Rosewitz told me 20% of the house’s sales were in furniture, motor cars and the like. While the year brought increased interest in the likes of Walter Battiss, Cecil Skotnes, William Kentridge, Stanley Pinker and Alexis Preller, the old favourites continued to hog the headlines. Streets ahead, of course, was Irma Stern, with Pierneef as runner-up and the likes of Maggie Laubser, Maud Sumner and Anton van Wouw also finishing strongly. Indeed, on occasion Stern and Pierneef accounted for more than half of a sale’s gross take. Remember, it was only in 2009 that a Stern set the then record of R7.24m. That was just beaten by Strauss in May and pushed up to R13.4m by the same house in October, almost immediately smashed by the equivalent of R26.3m by Bonhams in London – happily, not for one of her assembly-line floral vase still lifes, but for a delightful portrait of a Zanzibari Indian woman. Even Strauss won’t be able to talk that away, though its web site still claims that its November sale was the highest gross for SA art anywhere in the world. Strauss is sufficiently well regarded not to need such porkies: as I’ve pointed out, even if you take only the Bond Street session of major work, Bonhams’ October sale topped this, if not by much. Indeed, Bonhams think this was the second highest sale for SA art ever, surpassed in rand values only by its own sale some years ago. Emphasising Bonhams’ success is no mere debating point. By my count, sales of SA art in London last year grossed only about GBP2.9m; this year, in London and New York, almost GBP9m. This equates to almost 30% of the total market in SA art, of just under R350m. True, one swallow doesn’t make a summer, but if this can be built on, Bonhams’ desire to make London the leading market for SA art will come just a little bit closer to fruition. Of course, there can’t be buyers without sellers. The converse of the high prices recorded this year is the quality of work on offer. Stephan Welz attributes this largely to a generational factor: those who picked up Stern and the like for a song in the 1940s, 1950s and 1960s are now, for various reasons, scaling down, and high prices bring out even more sellers. So the standard of work in the sale rooms should be maintained next year; question is, will the buyers still be there, especially if the tempo of economic recovery slackens both in SA and the wider world.

Table One – local art auctions House

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

Top price (Rm)

Swelco Strauss Swelco Britz Strauss Swelco Swelco Swelco Strauss Strauss Swelco

CT CT Jhb Jhb Jhb CT Jhb CT CT Jhb Jhb

1.74: 2.23: 0.90: 1.71: 7.58: 1.68: 1.23: 2.24: 13.4: 11.1: 0.56:

Feb Mar Apr May May Jun Aug Oct Oct Nov Nov


232 259 278 281 273 228 241 344 171 206 298 2 8711

74.0 78.0 62.2 47.0 61.2 58.0 53.9 59.0 79.5 82.0 57.7

10.5 26.1 10.8 34.5 34.9 12.6 11.1 18.1 22.5 44.2 9.9

8.6 28.2 8.3 12.0 40.1 14.7 7.1 14.7 40.7 65.8 9.0



Pierneef landscape Van Wouw sculpture Preller still life Stern still life Stern still life F Lock, Hout Bay Pierneef landscape Kentridge drawing Stern still life Stern still life Pierneef l/s, Van Wouw sculpture

Table 2 – Offshore sales House



Low estimate


Bonhams Bonhams Phillips de Pury Bonhams

New York London New York London

Mar Mar May Oct

US$158 000 GBP2.14m US$372 000 GBP3.71m

$14 000 GBP2.5m US$220 000 GBP6.3m



% sold 12.5 67.8 55.0 60.6

Rand equivalent (Rm) 0.1 27.2 1.7 69.9 98.9

SA ART TIMES. Dec 2010- Jan 2011


SA Art Auctions 2010 Review

Irma Stern : Gladioli, Sold: R13,368,000, October 2010 / Pieter Willem Frederick Wenning : The Apies River and Union Buildings, Sold:1,225,400, / Maud Frances Eyston Sumner, Nature Morte: Sold: R 2,450,800 Cecil Edwin Frans Skotnes, African Figures: Sold: R2,005,200 / Walter Whall Battiss : Bathers: Sold: R 1,336,800

Strauss & Co.

Top South African fine art auctioneers Strauss & Co are upbeat at the end of 2010, with turnover for the year clocking in at R187-million, an increase of 86% over the same period last year. Chairman Elisabeth Bradley said the performance, following their maiden year in 2009, reaffirmed the strong demand for premier South African art, notwithstanding the unpredictable economic climate. “Our market share remains the highest not only in South Africa, where we lead the market and have done so since our inception, but also worldwide, despite our lower commission rates and buyer’s premium.” Irma Stern had dominated 2010 auctions, with three of four catalogue covers dedicated to masterpieces by her, and two major records established. The trend had started in 2009, with Magnolias in an Earthenware Pot selling for R7,200-million. This had been followed by the sale of the “captivating” portrait of Carla and six months later Still Life with Gladioli and Fruit had sold for R7,480-million. “Undoubtedly the highlight of our year was the record price of R13,368-million paid for Gladioli in October, the highest price ever for any South African painting sold at auction in South Africa,” said Bradley. Masterpieces by Pierneef and Maggie Laubser were snapped up, with a top SA ART TIMES. Dec 2010- Jan 2011

price of R7,575-million being paid for Pierneef’s Baobab Tree. Other artists that achieved records were Anton van Wouw, Maud Sumner, Pieter Wenning, Stanley Pinker, Walter Battiss, Cecil Skotnes and Jane Alexander, among others. In the R2-million plus price bracket, a Maud Sumner oil on canvas, Nature Morte, fetched a record R 2,450 800 in November 2010. Stanley Pinker’s oil on canvas. The Wheel of Life also achieved R 2,450 800 in October 2010. And a Cecil Skotnes, ‘African Figures’ just pushed over the R2-million mark, fetching R 2,005,200 in May 2010. In the R1-million plus price bracket, a record R 1,336,800 for Bathers’ by Walter Battiss was achieved in March 2010. Jane Alexander’s Racework - in the event of an earthquake sold for R 1,058,300 in March 2010. Bradley believes that packed venues and competitive bidding herald well for the future. “In addition to the familiar faces of our loyal clients, we saw a marked increase in new, active and competitive buyers bringing renewed confidence in a market which is now sustained by a growing number of players.” 71


SA Art Auctions 2010 Review

Bonhams Giles Peppiatt describes the 27 October sale of Irma Stern’s Bahora Girl for a world record price of R25-million as a “defining moment for South African art and in particular Irma Stern’s work”.

Bonhams, London, UK Bonhams: Old masters defy economic collapse On the back of record sales of South African “masters” in 2010, British auction house Bonhams is confident enough to state that “without doubt the market is in very good state”. Director of South African art at Bonhams Giles Peppiatt describes the 27 October sale of Irma Stern’s Bahora Girl for a world record price of R25-million as a “defining moment for South African art and in particular Irma Stern’s work”. “The sale of this work for such a high price does illustrate that this market is no different from all the other international markets in which we deal. The masterpieces are fetching ever higher prices.” Peppiatt said the bidders on Bahora Girl showed that the market for Stern’s work had achieved global interest, with interested parties coming from collections in the US, UK and Europe. Anyone lucky enough to be in possession of a Stern work would be “delighted” by this development. However, Peppiatt conceded that the sky-high price obtained for Bahora Girl had not translated her lesser works. “There are very few £2.4 million Sterns out there!” But Stern was not the only South African artist rising in popularity. Apart from Stern, interest in J.H. Pierneef was on the up. “His work is so redolent of South Africa, his images can represent no other place and it is this facet that makes his work so strongly marketable.” Prices for Pierneef’s work had increased substantially. The current world record, achieved in a sale two years ago, was R11-million paid for The Baobab Tree.


His paintings had “a great impact with South Africans, both at home and abroad who wish to place a piece of the ‘veld’ on their wall.” Stern contemporary Frieda Lock’s paintings were also fetching “respectable prices”, a development that was “highly deserved as she is hugely underrated artist and for many years lived in the shadow of her great rival Irma Stern.” Alexis Preller (1911 – 1975) had also seen a “significant jump” in prices. Peppiatt also mentioned Gerard Sekoto. “His pre-exile (1947) work is very rare. These works are wonderful and the prices for these works will increase dramatically as collectors realise the supply of these works is very limited.” Peppiatt predicts that, following on Modern British and other markets, the sculpture “will and does deserve a renaissance”. Works on paper would continue to be “sluggish” performers. “Buyers are always so concerned with condition on these works and unless you have a museum environment, it is difficult to preserve this.” An exception, however, would be William Kentridge, who worked almost exclusively on paper. “His later work with the biting political statements will, in my view continue to be good buys.” With turbulent economic times continuing in the global economy, Peppiatt believes that even higher prices will be paid for the masterpieces because they were in short supply and came onto the market rarely. As for the middle market, Peppiatt said he thought it was “pretty robust”, although managing client expectations when the top end of the market was rising so fast was a very difficult balancing act. “The low end of the market is always going to be tricky and I see no change here,” he said. SA ART TIMES. Dec 2010- Jan 2011


SA Art Auctions 2010 Review

William Kentridge : Drawing for the film stereoscope, R2,240,000 / Freida Lock : Hout Bay Valley : Sold: R1,680,000 / Irma Stern : Zulu woman : Pre-sale estimate: R16,000,000 - R20,000,000 (To be sold in Cape Town on 22 Feb 2011)

Stephan Welz & Co. Contemporary South African art has stepped up to the plate in 2010, say fine art auctioneers Stephan Welz & Co. Phillippa Duncan, from the Stephan Welz & Co. paintings department, said million-rand figures were no longer reserved exclusively for South African masters like Irma Stern and J.H. Pierneef. In 2010, world records had been set for Edoardo Villa’s Mapogga Man, which had fetched R1,232,000, and William Kentridge’s Drawing for the film stereoscope, which had sold for a “breathtaking” R2,240,000. “This was a world record for the artist and most certainly the highest price paid for a contemporary artist on South African soil,” said Duncan. South African masters still dominated auctions in 2010, but the year saw previously overlooked South African masters also making headlines. Duncan said Freida Lock and Maud Sumner had risen amongst the ranks of “those being chased at auction”. Lock’s Hout Bay Valley had sold for a “staggering” R1,680,000 in June this year. “This year’s sales across the board have proven that top quality South African art is sought after by collectors. Collectors are showing a greater SA ART TIMES. Dec 2010- Jan 2011

appreciation for South African art and given the positive international profile that South African art now enjoys this is unsurprising,” said Duncan. The main trend was the search for quality, she said. “Whether it be painting, sculpture or work on paper, collectors and investors are vying for the best. This has been proven by minor works by well-known names failing to sell on the day of a sale.” Duncan said Stephan Welz & Co. believed 2011 would be a “platform for records to be reset and benchmarks raised”. She said the top-end of the market had until now remained “relatively unscathed” by the world economic crunch and this had been proven by sales internationally. As London reported with each sale that new records had been broken, local sales had followed suit. In this market, collectors will no doubt be looking forward to the February 2011 Stephan Welz & Co. sale, which will show-case Irma Stern’s Zulu Girl. This work, painted by Stern in 1935, was last seen at auction in November 1996 73


SA Art Auctions 2010 Review

Diane Veronique Victor : No Hope, No Guts, No Glory Sold R 72 500 / Keith Savel Alexander : Grasplatz Revisited: Sold: R130,000

Bernardi’s Auctioneers While South African art has held its ground both locally and internationally in a volatile market, the trend has moved towards collectors being a lot more conservative and selective in their acquisitions. That’s the view of Michael Bernardi, owner of Bernardi’s Auctioneers, who believes this trend will continue into 2011 due to the globally depressed markets. But on a positive note, Bernardi believes buyers will always look to “alternative avenues of income returns” and this includes art, even if the approach might be more cautious. Bernardi said the trend in the South African market both locally and internationally, had been to collect the “old masters” which had “a tried and tested track record”. However, he said there was a “revived interest” in the contemporary market. William Kentridge’s prices and popularity had risen dramatically since the demand for his work - locally and internationally - exceeded the supply. Walter Battiss, Robert Hodgins, Johann Moolman, Alexis Preller, Dianne Victor, Gerard Sekoto and Ephriam Ngatane had all gained in popularity and

price. In terms of what came under the hammer in 2010, Bernardi said it had been “wonderful to witness” the contemporary artist Dianne Victor’s triptych No Hope, No Guts, No Glory fetch a new auction record of R72,500. On the Pierneef scale, he said the linocuts and etchings had increased dramatically in value, with prices reaching R 27,000 for Kameeldoringboom. Another highlight had been Keith Alexander’s oil Grasplatz Revisited, which sold at R130,000, a “generous price for a small work estimated at R40,000 - R60,000”. In terms of trends coming into the market, Bernardi said there seemed to be a “marked increase” in South West African art and artists, especially the “old masters”, who had worked both in South Africa and Namibia. Sculpture had also awakened a new following, with bidders paying in excess of a million rand for works by both old masters and contemporary artists. This again illustrated the “strong, yet fickle demand for works both privately and through auctions”.

5th Avenue Auctioneers Art buyers are becoming very selective with their purchases, but good quality works are selling with ease, says Philip Bishop from 5th Avenue Auctioneers. Bishop, the 5th Avenue Auctioneers appraiser, said the middle to lower quality works that used to be good sellers were not attracting the interest they used to. “I think the economy has dictated that people are very careful with what they spend their money on. They no longer want to fill a spot on the wall, but want to see a return.” But he said that “across the board, art of good quality is selling, but buyers are not squandering their money on mediocre art”. The highlight for the year at 5th Avenue Auctioneers had been the sale of a Walter Battiss oil, Interior theme with abstract figures, in May for R429,000. This had been followed closely by a Gregoire Boonzaire oil, Groote Kerk, Kerk Straat, Kaapstad, which had sold in October for R352,000. An Ephraim Ngatane work had sold for R242,000 and a Keith Alexander item called New Arrival, had sold in July 2010 for R231,000. 74

Bishop said artists that were rising in both price and popularity were Conrad ThEys, Kobus Louw, Mike Parsons and Adelio Zagni Zeelie. “These are the ones that people are asking for repeatedly. People are trying to stockpile these works, covering their bases for when it does sell. You can just see they are going to be old masters in the future.” He said works from these artists had all increased steadily in price. Bishop said he believed 2011 would continue to show increased interest in art as an investment. “With buyers keen to get quality examples of the top artists they will be prepared to pay to get exceptional examples,” he said, adding that prices would continue to rise, but buyers would be more inclined to buy a proven name rather than on spec. “Buyers that are prepared to hold on to their paintings will reap bigger rewards in the long term rather than flash buying,” he said. SA ART TIMES. Dec 2010- Jan 2011

London Letter by Nushin Elahi

Left: Banksy’s show in Soho, (M) Cézanne’s Card Players (R) Fiona Banner’s silver birds at The Tate By Nushin Elahi Deep in the seedy heart of Soho, a pop-up art gallery is causing waves in London. Guerrilla art goes mainstream here, with cardboard doodles tagged at over £1,000. The elusive street artist Banksy has brought graffiti art to the sales room, where his work, once painted over zealously by councils, now reaches sums of five figures. Using the kudos of his name, this venue has the punters lining up to see what all the fuss is about. The organisers expect people to be sleeping in the snow to be able to buy a Banksy print, although they do concede that the recession has affected sales somewhat. For nearly a month Londoners can view Banksy originals, alongside works by an artist called Dran, who specialises in cartoon children – a sort of modern day Dennis the Menace. In a publicity stunt few could hope to equal, the tabloids have also placed an unknown Muslim artist from Bristol on the map. Mark Sinckler’s depiction of one of the buses in the 7/7 bombing with the passengers portrayed as Rococo angels ascending to heaven has caused such outrage that he will no doubt soon be able to match Banksy’s price tags. Canaletto’s picture postcard views of the shimmering canals of Venice are on display at the National Gallery. For the rich English aristocrat of the 18th century, this was the ultimate souvenir to bring back from your Grand Tour, with the result that there are more in British country houses than in Venice itself. His monumental scenes of the city may seem light years away from controversy, yet during the Fifties more than one British landowner discovered that his prized Canaletto was in fact painted by the artist’s nephew Bellotto. In fact, some Bellotto’s here still wear their Canaletto plaque. Boston’s Museum of Fine Art has a work on display which was bought in 1949 from Castle Howard, Yorkshire (the setting for Brideshead Revisited), a year before a devastating fire destroyed all the castle’s remaining Canaletto’s. The paintings are displayed chronologically, and Canaletto’s earliest work is surprisingly moody, depicting light on the lagoon in a manner which heralds his successor, Guardi, whose delicate and poetic scenes depict atmosphere rather than place. Canaletto’s superlative views offer such sharp focus and crisp outlines that viewers pour over every work to appreciate the details of buildings and ships, and the outrageous splendour of Venetian spectacle. The Courtauld is one of London’s finest small museums and the paintings by Cézanne form the heart of its rich collection. Samuel Courtauld declared that when he first saw the artist’s work in 1922 at the Burlington Fine Arts Club, “I felt the magic, and I have felt it in Cézanne’s work ever since.” As a SA ART TIMES. Dec 2010- Jan 2011

result, the artist is represented by twelve oils, many of them evocative landscapes of Normandy and Aix-en-Provence. Figure studies include two of peasants, and it is around this theme that the intimate exhibition Cézanne’s Card Players has been built. Considered the man who freed art from its traditions, and whose influence is still felt in modern art, there is irony in his theme of time-honoured rituals. He said: “I love above all else the appearance of people who have grown old without breaking with old customs.” In conjunction with New York’s Metropolitan Museum of Art (which hosts the exhibition from 9 Feb to 11 May 2011), three of the five group studies of peasants playing cards, as well as individual portraits and preparatory studies have been assembled. There is still debate as to why the artist couldn’t “get two eyes to tally” as Walter Sickert complained, or for that matter, a pipe to originate in a mouth rather than a cheek. The paintings are muted in tone, but they capture an intensity in look and a fatality of expression that brings the French peasant alive. Health and Safety reared its ungainly head in a terse statement from Tate Modern, which stopped public access to the Chinese artist Ai Weiwei’s Sunflowers Seeds shortly after it opened. The 100 million handmade porcelain replicas of seeds had taken Chinese artisans two years to produce, but “the enthusiastic interaction of visitors resulted in a greater than expected level of dust in the Turbine Hall.” The “sensory and immersive” experience was summarily halted, and looking at them from a distance has proved about as exciting as looking at a gravel driveway. You can, however, get close enough to experience the sheer monumental scale and power of Fiona Banner’s installation of two fighter planes in the neo-classical elegance of the Tate Britain. The Harrier jet is in a perpendicular nose-dive, like a monstrous grey bird, suspended by two single wires while the Jaguar fighter jet, huge and gleaming silver, lies incongruously belly-up on the floor of the Duveen Hall, allowing visitors to revel in the patterns of their reflections. When in London catch: Street art at Marks and Stencils, 1 Berwick Street until 23 December 2010 Venice: Canaletto and his Rivals, National Gallery until 16 January 2011, (then National Gallery of Art, Washington, from 20 Feb to 30 May 2011) Cézanne’s Card Players, The Courtauld Gallery, Somerset House until 16 January 2011 The Unilever Series: Ai Weiwei, Tate Modern, Bankside until 2 May 2011 Fiona Banner, Harrier and Jaguar, Tate Britain, Millbank until 3 January 2011 75

De Wet Centre, Church Street, Stellenbosch, 7600 | 021 887 3607 | |


Alexis Preller



Francois Krige SPRINGTIME



Edoardo Villa MAPOGGA MAN




Lucas Sithole STANDING FIGURE sold R 168 000

Cape Town next auction 22 & 23 February 2011 021 794 6461

Johannesburg next auction 19 & 20 April 2011 011 880 3125 Irma Stern STILL LIFE WITH POPPIES AND FRUIT WORLD RECORD FOR A STILL LIFE ON PAPER BY THE ARTIST sold R 1 344 000

The South African Print Gallery exclusive gallery for quality fine art prints by South African artists, is proud to present:

Joshua Miles An exhibition of new prints opening Saturday 11 December 2010 Until mid January 2011 107 Sir Lowery Road, Woodstock (along the Gallery Strip). See our website at:

December 2010 SA Art times  

Art south africa, SA Art Times

December 2010 SA Art times  

Art south africa, SA Art Times