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Let’s all take our pants off and shake our spears once in a while I am enjoying getting older, one isn’t reading Superman comics on changing the world anymore. At this age one draws from volumes of amazing reruns of the stupidities of humanity, especially when autocratic leaders seem not so powerful when their pants are down. Derek Bauer drew PW with his pants off almost twenty years ago (before Brett Murray’s Zuma), PW almost looked camp, and funny. After a while one couldn’t take him seriously when his TV face told you, sometimes through a gun barrel, it’s his way or the highway. Funny as I also exhibited with Brett and Jonathan and Sue Williamson in “Towards a peoples culture” in mid 80’s - a seemingly silly show that was

banned 1 hour into the opening. Now much later on I can see why autocrats don’t like art that questions, and after all that, I think us artists are pretty powerful people. Maybe one day just like many peoplesaid that they never supported Botha, they will say that of Mbeki HIVAids denial or Zuma’s potential ability to crush hard fought for democracy and human rights. This week’s responses to Brett Murray’s The Spear, has been refreshing too- as art objects seem to have turned a corner from being just an investment commodity, market this and that, and is getting on in challenging the status quo of our constitutional health. Imagine if just 50 artists had to do great satirical portraits of corrupt politicians as a form of a civil rights campaign, maybe then our democratic future looks brighter -or scary, depending on what side of the canvas you are on. A moments silence to those who died and sacrificed in the struggle so that we could enjoy our human rights today, lets learn from our not so distant past.

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

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Gabriel Clark-Brown hands out 400 copies of the Art Times within 5 minutes to visitors attending the Coming of Age Show by The Artist Proof Studios at Johannesburg Art Gallery. To the right of Gabriel is the lovely Tamar Mason, who together with Mark Attwood also celebrate a sweet 21 years of amazing SA printmaking at The Artist Press next year.

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SA ART TIMES. June 2012


Venice: Department of Arts and Culture feared Mokoena’s actions may ‘compromise the minister’ By Matthew Blackman First Published in Artthrob The South African Department of Arts and Culture (DAC) has finally handed over documents concerning South Africa’s controversial participation at the 2011 Venice Biennale. This came about after a High Court application was launched following the department’s failure to respond to a request under the Promotion of Access to Information Act (PAIA). The controversy surrounding South Africa’s participation at the Venice Biennale began when it was revealed that the minister, Paul Mashatile, had seemingly without any consultation selected a commercial gallerist, Mr Monna Mokoena, as commissioner for the Biennale. Furthermore Mr Mokoena had then been allowed to send two of his own artists to the Biennale with public money without any consultation having taken place. Also, despite several attempts by journalists to clarify these matters, substantive answers were never forthcoming from either Mr Mokoena and his spokesperson Mr Victor Dlamini nor the department. Previously, in answers to parliament, the department had stated that ‘there was no time to call for public participation since any delay would have caused South Africa to miss the [Biennale’s] deadline’ and that ‘the process was transparent since the Commissioner reported to the Department all plans for participation in the Venice Biennale’. However, what has now come to light is that the department met on the 15 March 2011 with Mokoena (before South Africa’s participation had been announced) to discuss, amongst other things, their concerns with his selection. The minutes of the meeting reflect that the department expressed concern that Mr Mokoena had not consulted with the rest of the arts industry. It is noted that Ms NdebeleKoka, of the department, raised the concern that Mr Mokoena’s actions ‘could not only get bad publicity from the sector if they have not been consulted, but parliamentary questions that can put the Minister in a difficult position.’ At the beginning of the meeting, Ms Ndebele-Koka is stated as saying that this event ‘should not compromise the minister.’ The minutes also indicated that Ms Ndabankulu, ‘anticipated a lot of questions for the industry at large’ and that consultation with organizations like Iziko Museums was perhaps required. Mokoena is noted saying that it was too late to consult with the sector because the deal was ‘done and dusted’. Mokoena stated that he had previously ‘discussed the artists and proposal with the minister and the he [the minister] approved.’ He is also noted as stating that ‘at this late stage [the inclusion of other artists was] not possible’. More bizarrely, he is recorded saying that he had in fact been working on this project since 2009 and had gone to consult with people in Belgium and the Netherlands. SA ART TIMES. June 2012

What does appear from the minutes is that Mr Mokoena seems to have been in a position to steamroll the department’s concerns regarding a lack of consultation: he was confident, following discussions with the minister, that his appointment had been secured. Mokoena’s attitude towards consultation both in this meeting and subsequently seems in stark contrast with a previous commissioner of the Venice Biennale, Louise Jansen van Vuuren, who stated that, ‘despite the extremely short notice we made every possible effort to consult regionally as widely as possible and so enlist the largest range of opinions.’ The minutes also go on to indicate that Mokoena’s spokesperson Mr Victor Dlamini responds to the departments concerns by stating that he will ‘avail himself to answer questions about concerns raised to the DAC’. Mr Dlamini is also noted as stating that: ‘Twitter YouTube, Facebook and Flikr will form part of the marketing campaign and strategy.’ However, when Dlamini was asked several weeks ago about how the R360 000 earmarked in the budget for ‘social media engagement’ was spent he stated: ‘I had nothing to do with it’. With regards to finances, the department did include proof of two payments made to Mr Mokoena’s company, CulArt, totalling R10 million. The director general also confirmed that the DAC did ensure that ‘the funds advanced were utilised for the purpose for which funding was approved’. For this they did not provide documentation. However a further request has been sent to the department for documents evidencing this oversight – at date of publication this had not been received. The director general of the DAC, Mr Sibusiso Xaba, stated in his responding affidavit: ‘I deny that there was any pre-existing relationship between Mokoena and the minister’. A legal expert has confirmed that Mr Xaba’s statement is, however, merely hearsay evidence that can only stand up in court if confirmed in an affidavit by the Minister or Mokoena – these were not provided. What has also been revealed is that Mr Mokoena was appointed as commissioner before the 5 January 2011. In a letter, sent on that date to the SA ambassador in Italy, Minister Mashatile states that ‘the services of Mr Monna Mokoena [have been engaged] to coordinate DAC’s participation.’ However, Mr Xaba admitted that ‘there are no minutes or other records relating to the appointment of Mokoena as commissioner’. Mr Xaba also confirmed that towards the end of 2010 Mokoena ‘the part-owner of CulArt’ (a company only officially registered on 19 January 2011) ‘approached the DAC with a proposal’ and that the department then accepted this proposal. Mr Xaba goes on to explain the lack of official procedure and documentation by saying ‘there were no guidelines or policy regarding appointments of commissioners for the Biennale.’ This is despite the fact that previous participations at Venice, in 1993 and 1995, had strict tender procedures. 07


On the real immorality of our society

Brett Murray: The Spear By Pierre De Vos There are approximately 1.7 million learners at over 5 000 schools in Limpopo. Think about this: For the last six months – almost half the academic year – the Department of Basic Education and the Limpopo Department of Education have failed to provide textbooks to these learners throughout Limpopo, violating their right to a basic education guaranteed in the Constitution. While the learners of rich parents attending the better schools were probably assisted and while their parents probably bought their own textbooks, those who really need the textbooks are having their education sabotaged by people who could not care less. Surely this is far more obscene than one painting could ever be? Politicians with their disgustingly large ego’s (often far larger, it seems, than their sense of pride in who they are and in their country or their sense of responsibility as elected servants of the people) and their small tolerance level for hard work have overseen this mess, while enjoying the perks of the Ministerial Handbook and while feeling important about being politicians whose dignity the rest of us are supposed to respect. Stuff the dignity of the poor! Stuff the dignity of the school children being denied a proper education! Let’s rather get into a blue light convoy and drive around Limpopo to show how important we are and to demand respect and to insists that OUR dignity be respected! Bureaucrats have been playing Tetris on their computers, filing their nails or scheming to land more government tenders by corrupt means (or whatever those bureaucrats do instead of doing their jobs), while indecently neglecting the interests of school children who have been forced to go to school without access to textbooks. It took Section 27, an NGO engaged in promoting 08

social and economic rights, to approach the North Gauteng High Court to do something about this disgrace. That is why last week Judge Kollapen ordered the delivery of textbooks to schools in Limpopo and the implementation of a catch-up plan for Grade 10 learners. Judge Kollapen ordered the DBE and the Department to deliver textbooks to all schools in Limpopo by no later than 15 June 2012.

happens to have a little willy, that organ is a rather silly, inconsequential and laughable appendage, not much different from the belly button or the small toe. Those who invest it with so much meaning - which includes the artist in question - are really just perpetuating male domination and a belief in male superiority by investing the phallus with an almost mystical importance – I almost wrote impotence. How ridiculous and irrelevant.)

He further ordered that a catch-up plan must be formulated and a copy lodged with the court and the applicants by 8 June 2012. The catch-up plan must identify gaps in curricula and the extent to which the quality of teaching and learning has been prejudiced by the lack of textbooks. The Court ordered the Department to indicate what remedial measures will be put in place to address these problems. They are also required to lodge monthly reports with the court and the applicants on their compliance with the catch-up plan, which must be concluded by the end of this academic year. In addition, Grade 10 learners throughout the Province will benefit from the catch-up plan, which will assist them in closing the gaps in their syllabi caused by the late delivery of textbooks.

What kind of a country do we live in where so many people can get so angry about a painting of a silly willy, but can blithely ignore the disgusting and even criminal neglect by our government of the education system in one of the poorest provinces in South Africa? Why are we not marching to the President’s house demanding answers about the fact that a new Unicef report - yet to be released – found that 11.5million of the country’s 19 million children are living in poverty. The report states that 7 million children are living in 20% of the poorest households and shows that poor children are 17 times more likely to experience hunger and three times less likely to complete school than children from wealthier backgrounds.

While many South Africans seem to have gotten rather upset (in a choreographed expression of moral outrage) about the supposedly inhuman, racist, degrading and humiliating painting of our President because the painting depicts – gasp! – a penis, the real inhuman, racist, degrading and humiliating neglect of our government selling the school children of Limpopo down the drain goes unremarked on. Why worry about a few million starving children when one can get cross about the Presidential willy. I guess it would be too shameful to feel disgusted by this criminal neglect of our government, because then we would have to confront the immorality of the very system which we often condone or benefit from. We would have to confront the fact that millions of South African children are not only denied decent schooling but also grow up hungry and exposed to preventable disease and that as a society we can do something about it but that – collectively – we do not care enough to take action or to force our government to take action. Far easier to howl in anger about the depiction of a Presidential willy than to confront the real moral decay at the heart of our society, namely our collective disgust and hatred of the poor and our blind celebration of those who acquire material things and our own mad chase after money and material things that might, momentarily, make us feel as if we are worthy of the kind of respect we demand being shown to a second rate politician. (In any case, what is so special about a man’s penis? Unless one is a patriarch who sees the penis as a symbol of male power and unless one believes a man deserves special treatment and can demand special respect merely because he

Why are we not outraged at the fact that the government is sabotaging the future of hundreds of thousands if not millions of (mostly black) children (in Limpopo and elsewhere) because government officials and politicians are either too lazy, or too lacking in respect for themselves and their fellow citizens, to do their jobs properly and because those who have money and power (also those working in the private sector) are too greedy to pay more taxes and so many others are too scared of speaking out about the injustices and coprruption around us for fear of being ostracised by friends and family who continue blindly to support the ANC government? We live in a country where the human dignity of millions of people are daily disrespected in a systematic and structural manner. What kind of dignity is it that we supposedly are so respectful of if we allow, through our silence or our greed, a situation to continue in which many South Africans are dying of hunger or go to bed at night shivering in the cold and wet under a bridge? Surely, we should all feel ashamed and disgusted that so many of our fellow citizens have very little freedom and cannot make meaningful life choices because they are unemployed, hungry and sometimes homeless? The immorality of the social and economic inequality and the depravation around us is something that should anger us all. Surely if we are going to get angry (and we should), it should not be because of a self-righteously fake morality conjured up by patriarchs about something as utterly banal as a (not-real) depiction of a rather small part of the human anatomy? So where is the anger about the true immorality that is at the heart of this society we live in? SA ART TIMES. June 2012

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Mike van Graan on The Spear past caused to our society”, he forgets that, in response to the DA’s march on Cosatu House, there were many Cosatu placards calling for Helen Zille to be “stripped naked”. In response to the ensuing criticism – including from the ANC Women’s League – Cosatu explained that this, of course, was taken out of context and they meant stripping Zille naked in an ideological sense. Politicians use words to express metaphor, artists use art – that’s how it is. (Above) Response by Zapiro Mike van Graan First Published in the Cape Times Politicians, whenever they are exposed for having said something offensive, often resort to the defence that they were “quoted out of context”. It’s been a while since an SA artwork has generated as much column space, political temperature and sadly, threats of violence against the artist, as the painting of The Spear by Brett Murray. I would like to suggest this work needs to be understood not simply as a work in its own right (although it stands its own on that basis too), but in a range of “contexts” to show it is not as unique or outrageous as its critics are claiming. First, President Jacob Zuma is not the first head of state to be exposed in this way. Just last week, Canada’s Conservative Prime Minister, Stephen Harper, was painted in the nude as a satirical statement by the artist Margaret Sutherland. Other political leaders who have garnered the unwanted attention of artists include a naked Barack Obama riding a unicorn, Hillary Clinton (not to mention her husband being done in the nude on television, in cartoons and in art) and even George W Bush. Artists generally portray political leaders in the nude to make some pointed satirical statement.

Fourth, The Spear should be seen in the context of the show as a whole. Hail to the Thief 2 comprises numerous works that are scathingly critical of the ruling party in selling out the dreams of millions of people, primarily benefiting a politically connected elite. Again, the show is simply an artistic expression of the much more vociferous – and highly commendable – critique by Vavi of the political elite where in his words “we’re headed for a predator state where a powerful, corrupt and demagogic elite of political hyenas are increasingly using the state to get rich”. In that speech, Vavi continued to say that just like a hyena whose daughters eat first, so, in a predator state, the chief of state’s family eats first. Imagine the outcry if an artist had to portray Zuma and his family as a bunch of hyenas, and yet, this is exactly what an alliance partner of the ANC and the president has said. What Murray has done is simply give artistic expression to angry and legitimate criticism also expressed by a close Zuma ally.

Second, the 1837 Hans Christian Andersen story The Emperor’s New Clothes is at least one historical artistic reference for such contemporary satire. The story is of a vain emperor who parades in the nude believing that he is wearing a wonderful suit of clothing. Out of fear and respect, his subjects go along with the pretence until a little child cries out that the emperor has no clothes. The role of the artist is no different from that of the child: to expose the vanity, the hypocrisy and the excesses of those who inhabit positions of political power.

A final “context” is Brett Murray’s history. We worked together in the cultural sector of the anti-apartheid struggle and particularly during the “Towards a People’s Culture Festival” during the state of emergency. The apartheid government banned that festival because it deemed it “a threat to national security”. Murray is not the first or the only artist or activist for that matter – black or white – who was active in the anti-apartheid struggle, to become disillusioned with the ruling party’s straying from its liberatory ideals. Ironically, it is further testimony to just how far we have strayed from the ideal of a non-racial, nonsexist, democratic and pro-poor society that Murray has attracted such vitriol and threats because he happens to have a white skin. It is not the role of artists to be praise singers for any political, economic or social entity, but rather to speak truth to power. As lonely as it may be for them, our society needs artists like Brett Murray now more than ever.

Third, the artist uses his art to express what politicians say in words. Thus, while Cosatu’s Zwelinzima Vavi critiques The Spear as something that “can only be the work of a very sick mind full of hatred reflective of the damage our apartheid

Mike Van Graan is a playwright and executive director of the African Arts Institute. He is participating in a series of meetings in Europe highlighting the ways in which freedom of creative expression is being compromised in Africa.

SA ART TIMES. June 2012






Assemblage launches Newtown Artist Run Centre & Studios (NewARC) Address: 41 Gwi Gwi Mrwebi Street, Newtown The NewARC was opened by the non-profit visual arts organisation Assemblage on 1 April 2012 and is the latest addition to the ‘cultural arc’ which stretches from Constitution Hill in Braamfontein, over Nelson Mandela Bridge, and into Newtown’s cultural precinct. The space is a central hub for visual artists working in a variety of media (including painting, sculpture, photography, curating, writing, video and printmaking) and emphasises community, collaboration, sustainability and the sharing of resources, knowledge and skills. Assemblage will continue to run its current activities in the NewARC and resident artists can benefit from peer mentoring group sessions, workshops and talks, professional practice training, exhibition opportunities and international residency exchange. As part of the first showcase of the NewARC, Mika Conradie will be curating a 5 day exhibition and talks programme, entitled Or As With. This title comes out of the exploration of what it means to ‘launch’ an object or an event and is derived from the term ‘or as with’ which dictionaries use in order to explain


how a word can be used in real life situations. Artists will explore notions of the word ‘launch’ and all of its manifestations: ‘to initiate’; ‘to throw or propel with force’; ‘to hurl, fling or hurtle’; ‘to set or thrust a self-propelled craft in motion’; ‘to propel a vessel from one state of being to another’; ‘to make known to the public’; ‘to plunge’; ‘to catapult’; ‘to impel’; ‘to project’; ‘to instigate’; ‘to strike’; ‘to give impetus to’; ‘to make smooth or smoother, as if by rubbing’; ‘to pierce’ ( Assemblage is a non-profit organisation which intends for the visual arts community of Johannesburg to connect, to share ideas, information and advice and to collaborate. It provides an inclusive forum where visual art students, graduates and professionals can network. Assemblage encourages production, participation, professionalism and the sharing of resources, knowledge and skills. Through an informative website, peer mentoring groups, workshops, group exhibitions, artist studios and other collaborative projects, it hopes to contribute and promote artistic innovation, collaboration and a proactive vibrancy within Johannesburg. For more information see:

SA ART TIMES. June 2012


Visual Art wins a Absa KKNK Kanna Prize after 2 years Vrees en verlies by Katie Barnard du Toit, was crowned with a Kanna award for Best Visual Arts exhibition. The site-specific theatre production, Babbel, was the big winner at the twelfth Kanna Awards of the Absa KKNK, scooping the accolades in six of the ten categories. The organist Winand Grundling received the Slurpie Kanna for Best Upcoming Artist for his 14 Stasies van die Kruis. This partially improvised recital was also crowned with the kykNET Kanna for Best Classical Music presentation. My broetjie, my bra, with Emo and Loukmaan Adams was crowned as Best Music Production. Emo Adams also received an honorable mention, as an established artist who stood out in various productions during the 2012 festival. The Visual Arts exhibition, Vrees en verlies by Katie Barnard du Toit, was crowned with the Kanna for Best Visual Arts exhibition. The Special Kanna for interpretation was awarded to theatre veteran, Louis van Niekerk. The Afrikaans Onbeperk-prize for lifetime achievement was awarded to Abraham H. de Vries; and Ronelda S. Kamfer was the first recipient of the Afrikaans Onbeperk-prize for a young voice. Louis von Zeuner, Deputy Chief Executive of Absa, was awarded a Special Kanna for exceptional contribution to the arts. (Photo’s right) Hans van der Veen.

Otto Klar Victoria Falls oil on board, 560 x 460mm

Leaders in Masters as well as Contemporary Art

Pieter Wenning Trees in a landscape pastel, 305 x 455mm

Shop 43, Willowbridge Lifestyle Centre (Below the Barnyard)

In Search of Robert Brooks’ Painting I am doing some research on Robert Brooks’ works. This painting won the Cebestos Award ( commercial paint company) in 1973 and subsequently disappeared from public view when the company went out of business. I can only assume that it ended up either at auction or in someone’s private home. Do you think your Art Times Reader could help track this painting down. Jean Wright E-mail: SA ART TIMES. June 2012

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

Rossouw Modern Art Galleries

Hugo Maritz, We Advance and Retreat 170 x 45 cm, oil on canvas Hugo Maritz, Forests of my Youth 100 x 80cm, oil on canvas

Adriaan de Lange, Flowers 100 x 120cm, oil on canvas

The success story of Rossouw Modern Art Galleries has its roots in very humble beginnings with Joshua Rossouw, intrepid and flamboyant curatorowner, plying his craft since the early 1990’s on street markets and art fairs such as the National Arts Festival in Grahamstown which he made his playground since 1989, for ten years. In 1995, he realized his strength was certainly his strong ability to sell art. Packing away his easel and brushes, he opened The Fisherman’s Gallery in Harbour Road, Hermanus where it still stands today. The quaint historic fishermans’ cottage offers a relaxed atmosphere in which to appreciate fine artwork. Special attention is paid to client and artist alike, ensuring a visit to the gallery a delightful and informative experience. The same year he also opened the Tug Gallery in Swakopmund. His expanding vision for South African art then led him to acquire premises in Cape Town near the V&A Waterfront in 2003, when he then closed the Tug Gallery and focused his attention in this area, representing both up-and-coming as well as established artists. During this period he established himself as a respected and dedicated participant in the arts environment. In 2007 Groot Constantia (, the oldest wine estate in South Africa, invited Joshua to establish an exhibition space on the estate. He decided to close the Waterfront gallery and moved to this historically rich site where he has a permanent show of artists in the Wine Sales and Tasting area with regular exhibitions hosted in the Cellar. The last three years has seen Joshua’s return to the NAF with a spectacular synergetic exhibition OFF THE WALL, showcasing work of the highest calibre

Jeanne Hendriks

Adriaan de Lange, Beach with Boat 150 x 120cm, oil on canvas Adriaan de Lange, The Golden Gate 120 x 80cm, oil on canvas

by a group of Western Cape artists. It is centrally situated, in the Steve Biko Building adjacent to the Village Green. In his arsenal of inspired artists he now counts, among others, Sandy Diogo, herself a longtime exhibitor at the Festival, now represented by RMAG. Sandy’s romantic style in pastel and mixed media is a direct extraction from her persona. Soft spoken and dainty, she produces magical images of people and places around her, sharing with the admirer the subtle art of soft contours and fine expressions. Hermanus-based artist, Hugo Maritz, is certainly a rising star with his self-taught style reminiscent of the artwork of Picasso. He has exhibited with RMAG since 1997. Hugo constantly strives towards perfecting his technique. For him there is nothing more important than bettering his style with every work he produces, Spending up to 10 hours a day in his studio painting with at least 3 hours’ daily meditation, this leaves very little time for anything else, which he prefers. Painting is the only thing that really makes him happy. Adriaan de Lange has been with the gallery since 2003 in a time when one of his popular ‘Ladies on the Beach’ or ‘Abstract’ work could by picked up for a mere R7 000. Nine years later, this has increased dramatically to figures flirting with the R100 000 mark. One of his Pop-surrealist pieces in oils may take him up to 2 months to complete, hence the increased demand and purchase price. Adriaan is considered one of South Africa’s premier fine artists and have been taken up in collections of corporate and private collections internationally.

Jeanne Hendriks, The Offering 140x160cm, oil and mixed media

John Botham

Due to popular demand, his work is now also available in high quality printed editions of 35. Adriaan lives and works in Stellenbosch. Once compared to Irma Stern, Jeanne Hendriks has been developing a radical new style with her leaning more towards experimental media such as crystallization on canvas and glazing. This has caused a revival in her popularity as a very passionate artist with her depiction of the feminine still holding sway. Jeanne participates in regular exhibitions country wide, and teaches art at her studio in Gordon’s Bay.

TIPS FOR BUYING ART By all means, jump in the deep end of the magical and fulfilling pool of ‘buying art’.

Joshua’s passion is evident in the collection of gifted South African artists he discovers, develops and proudly represents. This passion extends to the clients and art lovers he deals with and with his trained eye and experience, deliver outstanding investments, both financially and emotionally.

Although it can take years of experience and gathering knowledge to be able to distinguish between good and bad art (if there is such a thing), it is never too late to start. In art, the old adage of beauty being in the eye of the beholder rings especially true. Acquiring good works that will appreciate in value - not only in fiscal value, but also as food for the soul - can be a risky business and demanding on your pocket. 1. Before starting to look for work, decide what your budget is. Opting to pay off over a few months might enable you to increase your budget. Hard cash, on the other hand, always gets you a fabulous discount on the work. 2. Set up a gallery or exhibition-‘hopping’ day. And let the galleries know you are coming. Creating the expectation will guarantee the best service and prices. One painting in your hand is better than two on a gallery’s wall. 3. The decision to acquire must be yours, and please your eye aesthetically. Learn to train your eye first, though. A painting should balance – each little part of it being part of the whole. Divide the work first in 50, then 20 then 10 segments and see if the individual segments make sense. If it does, you know you have a winner. Getting advice here from your artist’s representatives (ie gallery owners, artist’s agents) is a good idea, since their eyes are trained. 4. Find a few works and eliminate. If they are in different galleries, request a hanging period (a credit card number left at the gallery normally guarantees time for approval) and view them together in your own space. If, however, you walk into a space and the work just talks to you, please, by all means, purchase it. Art is a direct link between the mind and the heart.

Follow his blog on the RMAG website: or call Joshua on 083 2288 651.

After a yearlong sojourn in Germany, where he has now secured studio space in Duisberg, Bastiaan van Stenis has returned for 6 months to enthrall his fans with his painted, scratched, stuck-on and glued musings on the meaning of life and everything else. This self-taught young artist has been capturing the imagination of his devotees and been the instigator of countless questions and conversations. An event not-to-be-missed will be the collaborative exchange between Bastiaan and a European artist, Mario Leibner in early September in Cape Town. More details will follow on the RMAG website: John Botham, now living in Somerset West, has had a long history with Grahamstown. Raised in Port Alfred, he studied art at Rhodes, and then taught there for many years. After a long stint teaching art and drama in England, he returned to South Africa and turned professional in 2002. He has been an exhibitor at the NAF every year since then, and has a passionate following by Eastern Cape collectors. Obert Jongwe hails from Zimbabwe, and has been invited by OFF THE WALL to exhibit with them this year. Obert, at 29, the youngest of the group, is making headway in the art world and his paintings are becoming very collectable. He visits the Cape three times a year, where he spends his time painting at a studio in the Hemel en Aarde Valley. His refreshing take on life as he sees it and the symbolic images he uses is proving to be very popular.

Bastiaan van Stenis Friends at the End, 160 x 150cm mixed media on canvas The three year old Storm, 100 x 70cm mixed media on canvas Wired on Daisies, 120 x 100cm mixed media on canvas

Obert Jongwe, The Hunter, 145 x 100cm, acrylic on canvas

Off The Wall Art Exhibition Seminar Room 1, Steve Biko Building Prince Alfred Street, Grahamstown 28 June - 8 July 2012 Open from 09h00 to 17h00 Joshua 083 2288 651

Sandy Diogo, Mother and Child, 94 x 114cm, pastel and mixed media on paper

Sandy Diogo, Amina, 94 x 114cm, pastel and mixed media on paper

Rossouw Modern Hermanus 3 Harbour Road, Hermanus 028 313 2222

Sandy Diogo, Mpho, 51 x 51cm, pastel and mixed media on paper

Rossouw Modern Groot Constantia Wine Sales And Tasting Room Groot Constantia Wine Estate Constantia 021 794 2605


Sunset, Circle of Life by Janet Ranson from her Cheng Long Wetland Park International Environmental Public Art Residency 2012 - Taiwan


Artist’s own words: Janet Ranson reports back from her: Cheng Long Wetland Park International Environmental Public Art Residency 2012

News from a sinking planet. What are the environmental issues on the other side of our small planet? Can artists say anything useful about them – this was the subtext of the Cheng Long Wetland Park International Environmental Public Art Residency 2012, ‘What’s For Dinner?’ It’s a mouthful of a title and indicates the project’s multiple aims. Together we tackled environmental education, community development, language lessons, art history, collaboration and cultural exchange - plus a great deal of fine food. Cheng Long Village is literally sinking into the mud. Farming is no longer viable, as the low-lying land is being swamped by sea-water. You can see old houses collapsing into the mud, graveyards looking like islands in a pond and fish farms where once were fields. How do local people react to environmental degradation? Everywhere, poor people turn to the next means to make a living – in this case oyster farms, fish farms, clam farms – and put pressure on government to help them. Environmentalists need a holistic approach. Teach the next generation, send the children home to educate their parents, negotiate solutions that are sustainable. This is the exciting part –public art can help! In Cheng Long, it’s a vehicle for consciousness raising. This is the third year of the Cheng Long Residency. It’s supported by the Kuan Shu Education Foundation, Forestry Department and local government. Curator Jane Ingram Allen, who has lived in Taiwan for 9 years, works closely with Chao-Mei Wang, the local education officer. I can see that there is a great deal of ongoing work, negotiating with residents, and managing logistics for transport and accommodation for more than 20 people. Projects were selected in consultation with local villagers, and we foreigners were given a fantastic welcome and superbly hosted. Participants selected from more than 180 entries included an American, Swiss/Japanese couple, Indian, two Taiwanese and me, the first African (‘Where are you from?’ ‘Nan-Fei.’ ‘Ah! Diamonds.’) I chose to use entirely natural materials and install my work in the wetland park itself, as did the Indian sculptor, Jogdand Prashant. We both used primarily bamboo and basketry techniques, and I also plaited banana leaves, feathers, palm fronds and other local plant materials to create a series of large and small creatures for my ‘Circle of Life’. My sculpture featured over 30 fantastic creatures chasing one another, mouths agape, in an endless hungry loop. The format encouraged collaborations – mostly achieved through sign language.

(L) American Isabelle Garbani at work on ‘Invasive Species’. (R) ‘Circle of Life’ detail,

Students make their way past Jogdand’s ‘Sinking Cup’

Volunteer working on ‘Food Chain’

Swiss/Japanese couple Markus Wernli and Madoka Yashitomi created a huge mosaic using local clam shells, spending almost the entire 3 weeks high on scaffolding. American Isabelle Garbani produced ‘Invasive Alien’, a creeper covering an old house in the village – made entirely of crocheted plastic bags. The Taiwanese artists, Yen-Ting Hsu and Yvonne Chiu, both made indoor installations based on local life – animation and sound work. Yen-Ting’s recordings of clam farmers, seagulls, waves and a local poet are extraordinarily evocative, even when you don’t understand a word. The Residency gave us an opportunity to experience rural Taiwan – something which was also new to the young volunteers who assisted us. Taiwanese are relaxed, full of fun, use any excuse for an extra ‘tea-time’, love to snack, joke, play games – and of course karaoke. A 25-day residency is, of course, pretty intensive. All the hard work included making new friends, cultural onslaught, experiments with new natural materials and a great deal of fun. I feel extraordinarily privileged to have been selected for this project, and encourage more South Africans to go out there and make public art! Janet Ranson : 16

Markuz Wernli’s ‘Food Chain’ 2012

SA ART TIMES. June 2012



Exhibitions in Port Elizabeth (Nelson Mandela Bay) during the National Arts Festival 2012 Arts Journey - Nelson Mandela Bay opens the visual arts journey to the National Arts Festival 2012 with 67 public art interventions on ROUTE 67 and a variety of top curated exhibitions at various institutions and galleries in and around the Arts Precinct of Nelson Mandela Bay.

selected – the only limitation was that the artist cannot exceed the limitation of the square they have chosen. XPRESSIONS 2012 moves from Port Elizabeth to the National Arts Festival in Grahamstown

“Treasures” - Annual Exhibition of the Friends of the Art Museum. Venue: Nelson Mandela Metropolitan Art Museum, 1 Park Drive, Port Elizabeth Contact: Emma Taggart 041 506 2000 Date: 21 June – 15 July Opening Times: Weekdays: 09h00 to 18h00 (closed Tuesday mornings) Saturdays, Sundays: 13h00 to 17h00 Public Holidays: 14:00 to 17:00 Organised and funded by the Friends of the Art Museum, this year’s theme of “TREASURES” challenges all artists, crafters, photographers, designers and bead workers to make something contemporary and exceptional in response to the theme.

In 2009 Nelson Mandela Bay was brought into fold of the National Arts Festival Fringe programme by hosting three large exhibitions including the Spier Biennale. This year we see twelve curated exhibitions showcasing contemporary works from top artists across South Africa. All venues and exhibitions listed below form part of the Fringe Program of the National Arts Festival. We encourage all “festinos” to the National Arts Festival to spend a day or two in the City Centre Arts Precinct to enjoy an extensive visual arts program. For details of the exhibitions please also refer to the National Arts Festival Booking Kit which is available through selected Standard Bank Branches as well as the listed venues below For more information on the Arts Journey please visit: www. ARTS JOURNEY - “take a walk on the ARTS side”. Contact: Anthony Harris C: 072 379 5933

Anthony Harris and Konrad Geel Voting Line ROUTE 67: Venue: Public Spaces in and around the Donkin Reserve, Port Elizabeth Contact: Dates: All year: Opening times: Public open spaces ROUTE 67 is one of the largest Public Art Commissions in South Africa. 67 Public Art Works and interventions symbolising Nelson Mandela’s 67 years of work dedicated to the Freedom of South Africa. The Public Artworks commissioned by the Mandela Bay Development Agency (MBDA), on behalf of the Nelson Mandela Bay Municipality with the financial support of the NLDTF, experience the 67 public art interventions in the inner city – ARTS JOURNEY - “take a walk on the ART side”. EXPRESSIONS 2012 Venue: 1: ART Gallery, 51B Cuyler Street, Central Hill, Port Elizabeth :2: National Arts Festival, Trinity Hall, Hill Street, Grahamstown. Contact: Anthony Harris C: 072 379 5933 Date: 1: 12 – 25 June 2: 28 June – 8 July at the National Arts Festival Opening Times: Monday – Friday: 9am – 4pm Saturday: 9am – 12pm This curated, multi media, biennial exhibition highlights the work of 22 professional artists living in Nelson Mandela Bay. Each artist were asked to respond, in their own genre and medium, to two square standard formats that they


exhibition of ceramics, sculpture and other three dimensional disciplines, that aspires to look at the nuances of vessels in the context of the Eastern Cape coast, the Indian ocean and the relationship between art and maritime trade.

Graham Jones: Expressions 2012 SACRED STEPS: FROM THE SHADOWS INTO THE LIGHT Venue: Ron Belling Art Gallery, 30 Park Drive, Port Elizabeth. Contact: Duncan Stewart: 073 704 3299 Date: 28th June - 27th of July 2012 Opening times: Monday to Friday 09H00 to 17H00 : Saturday and Sunday 10H00 to 13H00 A solo exhibition by Duncan Stewart: An exhibition to stimulate reaction and action around the reality of a supernatural, metaphysical, personal god through a visual drama in the form of painting, drawing and sculptural installations. HOME//an experiment Venue: Athenaeum, 7 Belmont Terrace, Central Hill, Port Elizabeth. Contact: Uthando Baduza Cell: 082864016 Dates: 25 June – 13 July Opening times: Monday – Friday 08h30 – 16h30 The experiment will destabilize the finite construct of ‘home’ as a ‘structure/objects’ but propel us to imagine a fluid, unstable notion that is re/made by the ‘people/things’ that inhabit/outside its domain. Through the interplay and juxtaposition of the works – using visual forms as catalyst – a kinetic energy will agitate/activate the works. Title: 4X4 Seasons Venue: ART Gallery, 51B Cuyler Street, Central Hill, Port Elizabeth Contact: Lydia Holmes: Cell 083 564 9430 Date: 26 June – 14 July Opening Times: Monday – Friday: 9am – 4pm Saturday: 9am – 12pm Four artists, Prof Gregory Kerr (painting), Lydia Holmes (ceramic sculpture), Lungiswa Gquanta (sculpture) and Sandy Coffey (photography) use their chosen media to respond to the theme. This is an exceptionally talented group of artists with a visually challenging exhibition. In Praise of Vessels Venue: Nelson Mandela Metropolitan Art Museum, 1 Park Drive, Port Elizabeth Contact: Emma Taggart 041 506 2000 Date: 21 June – 15 July Opening Times: Weekdays: 09h00 to 18h00 (closed Tuesday mornings) Saturdays, Sundays: 13h00 to 17h00 Public Holidays: 14:00 to 17:00 Ceramics Southern Africa Eastern Cape represents an

COMIX Venue: Athenaeum, 7 Belmont Terrace, Central Hill, Port Elizabeth Contact: Facilitators: Bretten-Anne Heath and Lawrence Westraadt: 083 728 5295 Dates: 28 June – 8 July Opening times: Monday – Friday 08h30 – 16h30 The Art Comix Project is an educational exhibition that showcases a collection of the art comix participators own artwork and documentation of the process in developing a hard copy comic that teaches the youth about the importance of public art in general and specifically Route 67 in Port Elizabeth. The Art Comix Project is funded by the National Lotteries Distribution Trust Fund and is implemented by the Mandela Bay Development Agency, working on behalf of the Nelson Mandela Bay Municipaltiy. 93rd artEC/EPSAC ANNUAL EXHIBITION Venue: artEC (Eastern Province Society of Arts and Crafts [EPSAC] Contact: Asanda at artEC 041 585 3641 Dates: 28 June – 13 July Opening times: Weekdays 9am-4pm :Sat. 9am – 1pm This is the most prestigious exhibition on artEC calendar. Traditionally this is an adjudicated Annual exhibition. This year, the Annual gets a further boost by being an official Fringe Exhibition of the National Arts Festival. The Curators are talented local artists Banele Njadayi and Bamanye Ngxale.

SA ART TIMES. June 2012


Join us on our Arts Journey 2012 With Nelson Mandela Bay now part of the National Arts Festival Fringe Program, we invite you to experience the 12 curated exhibitions at various venues along the Arts Precinct of Central, Port Elizabeth

For more

Donve Branch (Ceramics) and Anthony Harris (painting and mixed media) use their individual disciplines to explore the theme EARTH – evolving, complex, destructive, regeneration, fracking, spiritual…

Anthony Harris Mapping Fraking “ alone : together” Venue: Carinus Annex Room B (NAF) Contact: Sue Hoppe 083 261 9671 Dates: 28 June – 8 July Opening times: 9am – 5pm “alone : together” JIMMY NDLOVU, AYANDA MJI, SUE HOPPE As individuals, we have concerns which we address through our art, coloured by our unique paths through life. When independently generated works of sympathetic artists come together, they create a dialogue which is more powerful than the sum of its parts. EVOLVING EARTH/FIRED EARTH Venue: Trinity Hall, Hill St. (NAF) Contact: Anthony Harris 072 379 5933 Dates: 28 June – 8 July Opening Times: 8am – 7pm

SA ART TIMES. June 2012

“Intimate Spaces” Venue: Montage Gallery, 59 Main Road, Walmer Port Elizabeth Contact: Alida or Stephan Bothma Cell: 084 624 1284 Dates: 19 June – 21 July Opening times: Weekdays 9am – 4pm :Sat 9am – 1pm “Intimate Spaces” Solo Exhibition by Mein Greyling. “Shared spaces depend upon a commitment of body and soul. Our incompatibilities become the laughing stock of the shadows in the corners. Old furniture is like old trusted friends, and beloved objects the silent observers of our joys and our fears. The landscape serves as a metaphor for an unpredictable journey”.

Route 67 Lisbet De Meyer Welcome Carpet (Right) Dorelle Sapere and Artist Anton Momberg 19


Michaelis School of Art MFA June 2012 Grad Show From the 5th until the 22nd of June Michaelis Galleries will be hosting the Masters Graduate Show. The show consists of a selection of work from the final exhibitions of Masters graduates of 2011. This will be the second of what Michaelis is developing into an annual Masters Grad Show event to showcase the next generation of artistic thinkers. This was the aim of the experiments: to send emissaries into Time. Time has passed. It has passed in that calculating way that all time passes within institutions: with purpose and intent. The punctuation is that of deadlines, seminar papers, anniversaries, overseas trips, abstracts, studio visits, birthday drinks, a new car, new works, review exhibitions, drafts, kittens, meetings, more new works, printing quotes and external examiners. Point Counter Point. Alone in the studio with the winter light fading on a week awash with interrogations - that is the ordinary moment becoming a meaning filled memory. The Masters in Fine Arts programme is a stretch of time charaterised by a self-conscious ‘seizure of being seen’ as Sartre has coined. That moment when the gaze of the ‘other’ is invoked willingly, upon and by the ‘self’ as graduates cut their teeth on a rigorous interrogation of their art practices in a delicious two year dedication to their projects. The Master’s rite of passage, although a supervised process, is a predominantly personally motivated endeavour with critical engagement from the academic community at the Michaelis School of Fine Art. As such, Masters graduates exemplify the highest standard of practice at the school, being to date the highest academic level awarded for Fine Art at UCT. Curated by Cara van der Westhuizen this show seeks to address notions of the passing of time: between the present and the past as mirrored in the space where these recent graduates now find themselves. The participating graduates include: Sunnette Viljoen, Chad Rossouw, Monique Prinsloo, Lauren Palte, Nina Liebenberg, Katherine Spindler, Bryony Purvis, Nicola Dean, Renzske Scholtz, Vincent Bezuidenhout, Dominique Edwards and Natasha Norman. Perhaps this melancholy limbo has always been there as the titles of these graduate’s dissertations suggest: A History of Failure. Falling into Gentle Ruin. A Wounded Surface. Avant Lounge Exotica. Point Counter Point. At sea. Further Fictions. Between Echoes. Vlakplaas. Separate Amenities. The Distance Between Us. A Heritage of Secrets: in confessional mode. Michaelis Gallery, UCT Hiddingh Campus, 31–37 Orange Street, Gardens, Cape Town. For further information, contact Cara van der Westhuizen, Tel 021 480 7170 and

Dominique Edwards, Burst, Video still | Sunette Viljoen, Negative space installation | Katherine Spindler, Wave, About 70m | Monique Prinsloo, Winter garden photograph_III,

Vincent Bezuidenhout, Strandfontein Pavilion, Chad Rossouw, The De La Rey (Poster), Lithograph, 2011, Lauren Palte, The Bar Mitzvah (Light through the Trees), Oil on canvas, Renzske Scholtz, The Helipad 1 and 2, 2011 Natasha Norman, Swash Plate, Woodcut and monotype with lithographic inks. (Right) Nina Liebenberg, The Lovers, Sprockets, chain, windshield wiper, syringes, rose wood, sea water, 2009


Staff Stuff UNISA Staff Exhibition curated by Lawrence Lemaoana

19 JUNE -7 JULY 2012

Opening 19 June 18h0022, for 2011 18h30 Extended to //June Opening speaker // Lawrence Lemaoana Unisa Art Gallery, Kgorong Building Ground Floor, Main Campus, Preller Street, Pretoria Email:, Tel: (012) 441-5683

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Free State Bloemfontein Oliewenhuis Art Museum 20 April – 3 June, “Rendezvous Art Project: Focus Painting” (Main Building) a travelling exhibition of works by 60 artists which uses painting as a medium. 3 May - 17 June, “For Future Generations” - Hugh Tracey and the International Library of African Music in the Reservoir. 11 May - 29 July, “The New Acquisitions Exhibition 2008 – 2012” (Annex Gallery) An exhibition of artworks acquired in the last five years for Oliewenhuis Art Museum’s Permanent Collection can currently be seen in the Annex Gallery on the first floor of the Art Museum. This exhibition includes artworks by Anton Kannemeyer, Christo Doherty, Andrew Verster, Nandipha Mntambo and Samson Mnisi. It also includes sculptures by local woodcarvers David Padi and Bernett Phalasane. 15 June – 29 July, “Manfred Zylla Retrospective” (Main Building) (Coincides with the Vryfees, 9 – 15 July) Opening: Tuesday, 10 July at 19:00. This travelling retrospective exhibition of German/South African artist Manfred Zylla includes works from 1958 to the present. 22 June - 29 July, “Collateral” by Johannes Phokela (Reservoir) (Coincides with the Vryfees, 9 -15 July) Opening: Tuesday, 10 July at 19:00. Soweto-born artist Johannes Phokela is known for his large, dramatic works in oil, re-working the images of European old masters by adding references to their works, so that their meanings are changed.16 Harry Smith Str, Bloemfontein. T.051 447 9609

Clarens Art & Wine Gallery on Main The Gallery houses an exquisite collection of art by well-known artists like Gregoire Boonzaier, J.H. Pierneef, Pieter van der Westhuizen, Erik Laubscher, Jan Vermeiren, Marjorie Wallace, Eben van der Merwe, Conrad Theys, Hennie Niemann, Hannetjie de Clercq, ceramics by Laura Du Toit, sculpture by Fana Malherbe & Jean Doyle, glass by David Reade & Shirley Cloete and numerous others. 279 Main Str, Clarens T. 058 256 1298 or Anton Grobbelaar. C. 082 341 8161 Blou Donki Art Gallery 19 May- 10 June, “40 Days of Still Life, Landscapes and Figures” a solo exhibition of paintings by Makiwa Mutomba. Windmill Centre, Main Str, Clarens T. 058 256 1757 Johan Smith Art Gallery The gallery permanently exhibits a wide variety of classical and selected contemporary art works featuring Johan Smith, Elbè van Rooyen, Elga Rabe, Graham Carter, Nicole Pletts, Gregoire Boonzaier, Otto Klar, and various others. Specializing in ceramics, the gallery supports artists such as Hennie Meyer, Karen Sinovich, and Heather Mills, among others. Collectable bronzes and handmade glass by David Reade also available. Windmill Centre, Main Str, Clarens T. 058 256 1620

Gauteng Johannesburg Absa Art Gallery 7 June - 28 June, Absa will host award-winning artist, Ilka Van Schalkwyk, in her first solo show entitled “Yesterday”. Ilka was the winner of the 2010 Absa L’Atelier competition. Absa Towers North, 161 Main Street, Jhb. T. 011 350 5139 Alice Art Opening 3 June @11h00 – 17h00, Portchie’s 20 to 40 Winter Exhibition. 19 July – 17 August, New Signatures 2012 Alice Art Gallery Exhibition. 217 Drive Str, Ruimsig. T. 083 331 8466/ 083 377 1470 Bag Factory Opening Weds 4 July, “Sounding Out” group exhibition. Artists exhibiting include: Sanell Aggenbach, Lynette Bester, Brendon Bussy, Gordon Froud, Josh Ginsburg, Jared Ginsburg, João Orecchia,

SA ART TIMES. June 2012

Angie Mullins, Neo Muyanga, Nathan Janse van Vuuren. 10 Mahlatini Street, Fordsburg. T. 011 834 9181 Christie’s International Auctioneers. Gillian Scott Berning, Independent Consultant. T 031 207 8247 CIRCA on Jellicoe 24 May – 16 June, Speke Photographic “Exposure Now” 17 May – 16 June, “Between Rock: Grinding Stones from Southern Africa” 2 Jellicoe Ave. T. 011 788 4805 Everard Read Jhb 17 May – 16 June, Nicky Leigh “Visions of Eden – African Landscapes” 21 June – 28 July, Winter Exhibition. 6 Jellicoe Ave, Rosebank, Jhb. T. 011 788-4805 Gallery 2 Artists currently on show include Eric Duplan, Kate Gottgens, Lauren Palte, Colbert Mashile, Herman Niehbuhr, Carl Roberts, Claudette Schreuders and Jenny Stadler. 140 Jan Smuts Ave, Parkwood. T. 011 447 0155 Gallery AOP 19 May - 9 June, “King for a day” oils on paper by Wilhelm Saayman. 14 June - 7 July, “Printing the seventies: Battiss, Burwitz and Skotnes” prints and drawings by Stephan Gray and friends. 44 Stanley Ave, Braamfontein Werf (Milpark) Johannesburg. T. 011 726 2234. Gallery MOMO 26 May – 18 June, new works by Gary Stephens. 52 7th Avenue, Parktown North, Jhb. T. 011 327 3247 Goethe on Main Opening 7 June @18:30, “Looking Glass” performance & installation by Eduardo Cachucho on show until 1 July. Arts on Main, 245 Main Str, City & Suburban, Jhb. T. 011 442 3232 Goethe Institut On show until 7 June, “Témoin/Witness” a photographic exhibition from sub-Saharan Africa artists Sammy Baloji (DRC) Monique Pelser (South Africa) Calvin Dondo (Zimbabwe), Sabelo Mlangeni (South Africa), Abraham Oghobase (Nigeria) & Michael Tsegaye (Ethiopia). 119, Jan Smuts Ave, Parkwood, Jhb. Goodman Gallery 10 May – 16 June, Brett Murray’s “Hail to the Thief II” 163 Jan Smuts Ave, Parkwood, Johannesburg T. 011 788 1113 Grahams Fine Art Gallery The gallery exhibits fine examples of South African art including works by: Maggie Laubser, J.H Pierneef, Irma Stern, Freida Lock, Walter Battiss, Alexis Preller, Gerard Sekoto, Robert Hodgins, Stanley Pinker and Peter Clarke. Unit 46, Broadacres Lifestyle Centre, Cnr Cedar & Valley Rds, Broadacres, Fourways, Jhb. T. 011 465 9192 16 Halifax Works by Michael Heyns, Leon Muller, Braam van Wijk, Marina Louw, Mimi van der Merwe and other artists can be viewed by appointment in Johannesburg at 16 Halifax Str, Bryanston. Dana MacFarlane 082 784 6695 In Toto 31 May – 3 July, “The Other World” exploring the idea of fantasy in art featuring a large number of artists on show (about fifty). 6 Birdhaven Centre, 66 St Andrew Str, Birdhaven. T. 011 447 6543 Isis Gallery Leading Art Gallery in Rosebank showcasing today’s most Modern Contemporary Artists. Shop 163, The Mall of Rosebank. Contact Daniel Erasmus T. 011 447 2317

Johannesburg Art Gallery 6 May – 6 July, “Coming of Age: 21 years of Artist Proof Studio” a retrospective exhibition of Artist Proof Studio (APS) which celebrates 21 years of printmaking in Newtown. King George Str, Joubert Park, Jhb. T. 011 725 3130 Manor Gallery Opening Sat 9 June, the New Signatures Exhibition. Meet the artists and have light refreshments while viewing this juried exhibition. The show closes on Sat 30 June. Opening hours: Tues – Fri 10am - 4pm, Sat 10am – 2pm. Manor Gallery, Home of the Watercolour Society of South Africa. Norscot Manor Centre, Penguin Drive, Fourways, Gauteng. T. 011 465 7934 Market Photo Workshop 9 May – 13 June, “In this City” an exhibition by Mack Magagane. 2 President str, Newtown, entrance Bus Factory T. 011 834 1444 Russell Kaplan Auctioneers Auctioneers of Fine Art, Antiques and Collectables. Ground floor, Bordeaux Court, Corner of Garden & Allan Roads, Bordeaux. T. 011 789 7422 or 083 675 8468 Sandton Auctioneers Fine Art, Furniture, Carpets & Collectables. Showroom: No 8 Burnside Ave, Craighall Park, Jhb. T. 011 501 3360 Standard Bank Gallery 3 May – 9 June, “Faena” by Nandipha Mntambo (Standard Bank Young Artist 2011) as well as Leonie Marinovich’s photographic exhibition entitled “Not Me - Not Mine” consists of portraits of HIVpositive women from Ethiopia, Kenya, Namibia and South Africa. Cnr of Simmonds & Frederick Str.’s, Jhb. T. 011 631 1889 Stephan Welz & Company Auctioneers of Decorative and Fine Arts. 13 Biermann Avenue, Rosebank, Johannesburg. T. 011 880-3125 Stevenson Johannesburg 31 May - 29 June, “Paintings and Prints for Doctors and Dentists” by Anton Kannemeyer. 62 Juta Street, Braamfontein, Jhb. T. 011 326 0034 Strauss & Co. Monday 11 June 2012, Auction of Important South African and International Art. Country Club Johannesburg, Corner Lincoln Rd & Woodlands Drive, Woodmead. T. 079 407 5140 UJ Art Gallery 6 – 27 June, “De Magnete” Jacki McInnes’ solo exhibition interrogates the contradictions inherent in present-day human thought and behaviour, especially with respect to the disconnect between our material aspirations and their inevitable effect on our planet and ultimate future.Cnr Kingsway & University Rd, Auckland Park, Jhb. T. 011 559 2099 Upstairs@Bamboo Opening Sunday 24 June at 12:00, “Stillness” works by Michael Heyns, Laurel Holmes, Louise Jackson, Marina Louw, Leon Muller, Sharon Sampson, Gerrie van Tonder and others, on show until 15 July. Curated by Dana MacFarlane and 16 Halifax Art. Gallery hours: Mon to Sat 9am to 4pm, Sunday 9am to 2pm. 35 Rustenburg Road, Melville. Dana MacFarlane Cell: 0827846695 The White House Gallery The gallery has a wide ranging portfolio featuring renowned masters such as Chagall, Marini, Miro, Moore, Portway, Pasmore, Stella, Picasso, Dine & Hockney - to name a few. Also the more affordable works of up and coming artists in Britain and France, along with globally acclaimed South African artists. Shop G11 Thrupps Centre,Oxford Road, Illovo,Johannesburg. T. 011 268 2115


Creative Visionary & Leading Plein air Painter in SA

With its singular flair and arrestingly evocative scenery, Daniel Novela is understandably celebrated not only as one of South Africa’s most renowned painters but, specifically, also as an incomparable and iconic plein-air artist.

Born in 1964 and growing up in Mozambique in the tumultuous times leading up to its independence, Daniel faced many difficulties on the journey to realizing his ultimate goal: creating his own, unique works of art.

Eschewing from the practice of first securing the scenes he intends to paint on camera, Daniel immerses himself in the scene and captures the very essence of each moment. His work combines beautifully subtle nuances along with sophisticated, evocative African scenes, creating the unmistakable Impressionist tableaus that have earned him both national and international acclaim.

Today, Daniel still maintains the electrifying drive and consuming passion that initially drove him to overcome his childhood adversities; he is barely able to go through a single day without painting. And he welcomes you to explore his work and revel in the sophisticated beauty of his paintings.

FESTIVAL DETAILS: WHERE: Albany Museum Education Class Room, Somerset Street WHEN: 28 June – 8 July 2012 TIME: 09:00–17:00 No age restriction CONTACT DETAILS: EMAIL: WEB:

Karin Daymond new monotypes Victor Pasmore, Harmony of Opposites

The Whitehouse Gallery Victor Pasmore Show

Victor Pasmore, Burning Water MON—FRI 09.30am —17.00pm THURSDAY EVENING 17.00pm—21.00pm SATURDAY FROM 9.30am—12.30pm SUNDAY FROM 12.00pm—3.00pm

Karoo Stone I. Monotype, 50 x 66 cm.


The Artists’ Press

Tel : 27 11 268-2115 ◊ Fax : 27 11 268-2129 WEBSITE : EMAIL : :

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

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God the golden Egg by Fred Clarke, now known as Inkoom

Rudolph Tshie work from My Perspective Reflections Pretoria Art Museum

From Ink Music Show: Brand Suksesvolle Rebellie



North West

Alette Wessels Kunskamer The Alette Wessels Kunskamer operates as an Art Gallery and Art Consultancy, specialising in South African art as an investment, dealing in Old Masters, and selected contemporary art. Maroelana Centre, 27 Maroelana Str, Maroelana, Pretoria. T. 012 346 0728


Fried Contemporary 9 June - 7 July, “Terra pericolosa: dangerous grounds” Tribute artist: Diane Victor. Diek Grobler , Gwenneth Miller , Carolyn Parton , Sybrand Wiechers, Keith Dietrich, Karin Preller & Paul Cooper. 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 Front Room Art 1 - 23 June : “Best of the brightest” an eclectic exhibition in celebration of colour by a variety of artists. Open day 23 June 11am-4pm, otherwise viewing by appointment. 30 June – 21 July: “Trees” works by Liekie Fouche, Laurel Holmes, Inanda Page, Braam van Wijk and sculptor Karin Smith. 116 Kate Ave Rietondale. Jennifer Snyman 082 451 5584 Gallery Michael Heyns The Gallery has moved to 194 Haley Str, Weavind Park, Pretoria. T. 012 804 0869 Pretoria Arts Association 18 May – 6 June, “Images of dreams” by Rudi Trap. An exhibition of drawings in pen and ink and charcoal 173 Mackie Str, Nieuw Muckleneuk, Pretoria. T. 012 346 3100 Pretoria Art Museum Opening 2 June @ 11:00, “Artflux 2012” a partnership between the Gauteng Department of Education and the Pretoria Art museum wherein artworks from various schools in the districts of Tshwane East have been selected to form an exhibition celebrating youth month (June). Opening 13 June @ 18:30, “My Perspective Reflections” a midcareer retrospective by Rudolph Tshie. The exhibition closes on Sunday 22 July. Currently on show: Until July in the North Gallery “Resistance Art & Landscape Art” A selection of artworks by Resistance artists such as Magadlela, Martins, Dumile, Hodgkins and Kentridge are on display in the North Gallery. Also on display is a broad selection of landscape art by artists such as Pierneef, Battiss, Wenning, Barker and Boonzaaier. Until 29 July in the Henry Preiss Hall, “Lady Michaelis Bequest” a selection of 17th-century Dutch paintings from the Michaelis Bequest will be on view. Until December in the South Gallery, “A Story of South African Art” a selection of artworks from the permanent collection of the Museum. Until December in the East Gallery, “Abstract Art” a selection of abstract artworks from the permanent collection of the Museum. Until December in the Glass Gallery, “Corobrik Collection” a selection of ceramics, representing the development of studio ceramics and the work of traditional rural potters of South Africa over the past 30 years is on display. Until December, “Study Collection” art media and techniques are illustrated in the Information Centre. Cnr Schoeman and Wessels Str, Arcadia Park, Arcadia, Pretoria. T.012 344 1807/8 Sandton Auctioneers Fine Art, Furniture, Carpets & Collectables. Showroom: 367 Lynnwood Rd, Menlo Park, Pretoria. T. 012 460 6000 St Lorient Fashion and Art Gallery Contemporary Art on show during June. 492 Fehrsen Street, Brooklyn Circle, Brooklyn, Pretoria. T. 012 4600284 UNISA Art Gallery Opening 19 June, “Staff Stuff” on show until 6 July. Kgorong Building, Ground Floor, Main Campus, Preller Str, Pretoria. T. 012 441 5683 University of Pretoria 25 May – 15 November, “High Tea @UP” fine porcelain and antique teawares from the ceramic collections of the University of Pretoria Museums. Mapungubwe Gallery, Old Arts Building, UP. T.012 420 2968

SA ART TIMES. June 2012

NWU Gallery 17 May - 13 July “Ink-complete: Capturing Music II” photography by Sean Brand & Christelle Duvenage. Exploring the way that musicians modify their bodies as incomplete ever changing vessels through ink-art. North-West University Gallery, Building E7, NWU Potchefstroom Campus, Hoffman Str, Potchefstroom.T. 018 299 4341 email:

Mpumalanga Dullstroom Art @ sixty seven A selection of fine art, ceramics and blown glass art pieces, by well-known local artists. Shop no9, 67 Naledi St, Dullstroom, Mpumulanga. T. 013 254 0335 Dimitrov Art Gallery Lifestyle Complex, shop no.4 on Cnr. Teding Van Berkhout & Hugenote/ Naledi Street, Dullstroom, Mpumalanga T. 013 254 0524 C. 082 679 5698 The New Dimitrov Art Gallery Situated in the Trams Alley shop no.1, along the R 540 ( Naledi Drive ). Opening exhibition “Expression of Freedom” by renowned artist Dimitrov.

White River The Artists’ Press Professional collaboration, printing and publishing of original handprinted artists lithographs, by the Artists’ Press. Also artists books, monotypes & letterpress prints, particularly for artists working in SA. Waterfield Farm near White River, Mpumalanga T. 013 751 3225 The Loop Art Foundry & Sculpture Gallery A collaboration and network for the avid art patron and collector as well as a full service facility for the artist. This is the place where you will find a unique and superior item or have something commissioned that you have always envisioned. Casterbridge Complex Corner R40 & Numbi Roads White River T. 013 758 2409 The White River Gallery 2- 20th June, A Selection of Youth Art from local matric students. 23 June - 25 July, Tony Fredriksson’s exhibition of Driftwood Sculpture. Casterbridge Centre, R 40 Cnr. of Hazyview & Numbi Gate Rd, White River. C. 083 675 8833

Western Cape Cape Town Absolut Art Gallery Permanent exhibition with the best Masters and Contemporary artists. Namely : JH Pierneef, Gerard Sekoto, Hugo Naude, Adriaan Boshoff, Frans Oerder, Maurice Van Essche, Tinus De Jongh, Gerard Bhengu, Ephraim Ngatane, Cecil Skotnes, JEA Volschenk, Conrad Theys, William Kentridge, to name a few. Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive, Tyger Valley, Bellville. T. 021 914 2846 Alliance Française Cape Town 4 – 30 June, “Stipatio” a solo exhibition by Zena a French photographer who has lived in Hout Bay for four years and takes an interest in the biodiversity of the Western Cape. 155 Loop Str, CT. T. 021 423 5699 Art b 8 May – 18 June, “Uncontained” Opening the Community Arts Project Archive. 27 June -25 July, Selected Chinese Prints of the 20th Century 1900

– 1999. The Arts Association of Bellville, The Library Centre, Carel van Aswegan Str, Bellville. T. 021 918 2301 Art on the Green On Sunday 3 June and Sunday 8 July 20 artists will gather together in one fabulous fun exhibition in the middle of the village (weather dependent). Noordhoek Farm Village, Village Lane, Noordhoek For further information contact: Irene 082 303 6798 Artvark Gallery Artvark hosts a large variety of works from local South Africa artists. Situated in the vibrant fishing village of Kalk Bay, where art lovers roam the cobbled alleyways enjoying the galleries, restaurants and junk shops. Open 7 days a week 9-6. 48 Main Rd, Kalk Bay Tel 021 788 5584 AVA Opening 4 June @18:00, “Nothing New Under the Sun” a solo exhibition of paintings by Catherine Ocholla, on show until 29 June at 13:00. Association for Visual Arts, 35 Church Str, CT T.021 424 7436 The Avital Lang Gallery New at the gallery we start winter off with an amazing photographic exhibition by renowned artist Grada Djeri on show until 7 June. Our next show is by Loyiso Mkize 28 June - 5 July and many more to follow. Two Oceans House, Surrey Place, Mouille Point, CT. (Next to Newport Deli) T. 021 439 2124 Barnard Gallery 24 May – 27 June, “Another Man’s Vine” paintings by Barry Sullivan. 55 Main St, Newlands. T. 021 671 1666 Blank Projects. 17 May- 9 June, “Mamiya” drawings by Nomthunzi Mashalaba. 113-115 Sir Lowry Rd, Woodstock, CT. C.072 507 5951 Brundyn & Gonsalves 9 May – 20 June, “White Termite” Mixed Media by Liza Grobler. 27 June - 15 August, “Seeingeye” Participating artists: Sanell Aggenbach, Roger Ballen, Zander Blom, Alex Emsley, Matthew Hindley, Andrew Putter, Karin Preller, Matty Roodt and Chad Rossouw. Times: 10-5, Mon--Fri, 10-2 Saturday 71 Loop Str, CT. T. 021 424 5150 Cape Gallery Opening Sunday 3 June @ 4.30 p.m – 14 July, “Turn around Time” The Annual Cape Gallery Winter Solstice Group Exhibition. Participating Artists include: Helen Blackbeard, Paul Birchall, Mel Brigg, Carlos Carvalho, Peter Clarke, Leon de Bliquy, Alice Goldin, Gabriel de Jongh, Loni Drager, David Etherington, Rae Goosen, Margot Hattingh, Piet Kannemeyer, Thami Kitty, Lambert Kriedemann, David Kuijers, Christopher Langley, German Mahlase, Nicolaas Maritz, Shephard Mbanya, Xolile Mtakatya, Lawrence Mukomberanwa, Theo Ntuntwana, Sheila Petousis, Robert Pohl, Nico Prins, Arthur Prodehl, Janice Rabie, Nina Romm, Ada van der Vijver, Jules van der Vijver, Jan Visser, Pieter van der Westhuizen, Aidon Westcott, Judy Woodborne 60 Church Str, CT. T. 021 423 5309 Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings.Cape Quarter Square, 27 Somerset Rd, Green Point. T. 021 4213333 Casa Labia Gallery Casa Labia gallery plays host to world class African art exhibitions, featuring both established and emerging talent. Casa Labia Cultural Centre, 192 Main Rd, Muizenberg. T. 021 788 6068 Cedar Tree Gallery Contemporary Fine Art Gallery at Rodwell House. Rodwell Rd, St. James, CT. T. 021 797 9880 The Cellar Private Gallery The Cellar Private Gallery of Art deals exclusively in original & investment art, offering works by a variety of renowned & upcoming SA artists. 12 Imhoff Str, Welgemoed, Bellville T. 021 913 4189


5-17-12 SA Art Times Solcitce.pdf


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





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 and yet can touch the imagination of others who view it. Rotating exhibitions add to the diverse and often eclectic mix of work on show. The Church Street walking mall is the oldest in Cape Town.





featured artists: Paul Birchall (left) & Leon de Bliquy (right)

Terence McCaw 50 x 65 cm

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WESTERN CAPE | GALLERY GUIDE Christie’s International Auctioneers. Juliet Lomberg, Independent Consultant. T. 021 761 2676 Christopher Møller Art The gallery’s main focus is contemporary art, but does specialize in select South African masters. The aim of the gallery is to build up a reputation of offering it’s clients high quality art, and branding it’s artists as sort after names in the global art market. 7 Kloofnek Road, Gardens, C T. T. 021 422 1599 The City Bowl Gallery Hand thrown decorative and functional wares. Pottery Classes. Ceramic Design. Bespoke Pottery.2 Norwich Ave, Observatory. T. 021 447 4884 C. 083 412 8098 Garth Meyer Commune.1 Gallery Commune.1 Gallery is dedicated to large format installation and sculpture, providing artists with a devoted arena for their collective ideals. Commune.1 plans to provide an environment of intimate, heightened receptivity, a constantly evolving relationship between art and spectator. 64 Wale Str, CT. T. 021 423 5600 Ebony Ebony in Cape Town is a unique gallery that showcases a wide selection of work by classic and contemporary South African artists such as Cecil Skotnes, Gordon Vorster, Charles Gassner, Aidon Westcott, Henk Serfontein and many more. Work shown includes painting, sculpture, ceramics, photography and a small selection of furniture design. 67 Loop Str, Cape Town. T. 021 422 99 85.

71 Victoria Ave, Hout Bay. T. 021 790 3618 F. 021 790 3898 Infin Art Gallery A gallery of work by local artists. Wolfe Str, Chelsea Village, Wynberg. T. 021 761 2816 & Buitengracht Str. CT. T. 021 423 2090 Irma Stern Museum On show in June, a selection of artworks by Irma Stern in the Upstairs Gallery. Cecil Rd, Rosebank, CT. T. 021 685 5686 Iziko SA National Gallery 16 March – 8 July, “Iqholo le Afrika (Her African Pride)” A Centenary Celebration of the Life and Work of Barbara Tyrrell. 1 April – 1 July, Irma Stern’s Arab Priest. 26 April to 22 July, Candice Breitz’ “Extra!” 23 May – 16 June, the CPB’s (Community Punching Bags) exhibition. 25 Queen Victoria Str, CT. T. 021 467 4660 Iziko Michaelis Collection Ongoing, Dutch treat: Dutch works from the 17th–20th centuries in Iziko collections. Iziko Michaelis Collection, Old Town House, Greenmarket Square, CT. T. 021 481 3800 Iziko Castle of Good Hope From 26 Feb 2012 to 26 Feb 2013, “Fired” an exhibition of South African ceramics.Buitenkant Str, opposite the Grand Parade, CT. T. 21 464 1262

Erdmann Contemporary & the Photographers Gallery ZA Opening Weds 6 June, “Second Solo” Melanie Cleary’s second solo exhibition of photographs of New Years Day. 63 Shortmarket Street, CT. T. 021 422 2762

Johans Borman Fine Art 2 to 23 June 2012, “My Reality” an exhibition of paintings by Zimbabwean artist Richard Mudariki. This exhibition does not shy away from contemporary issues such as politics, power, human emotion and sexual tension, yet it manages to convey beauty and uniqueness through vivid imagery. 16 Kildare Road, Newlands, CT. T. 021 683 6863.

34 Fine Art 2 May – 31 August, “New Arrivals” Group Exhibition. 2nd Floor, The Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock. T.021 461 1863

Kalk Bay Modern Opening Weds 30 May @6pm, “Still Life” with Walter Meyer, Gail Catlin, Ben Coutouvidis & Hanneke Benade, on show until 30 June. 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571

Gill Allderman Gallery The Gill Allderman Gallery is dedicated to promoting some of South Africa’s valuable talent. Having moved into cyber space, but based in Kenilworth, Cape Town, the gallery will be specialising in home and corporate visits. C.083 556 2540

Lindy van Niekerk Art Gallery A large selection of artworks by new and prominent South African artists and SA old Masters. 31 Kommandeur Rd, Welgemoed, Bellville. T. 021 913 7204/5

Goodman Gallery Cape 24 May – 30 June, “Working Title” a group exhibition of young artists working in South Africa: Reshma Chhiba, Gabrielle Goliath, Murray Kruger, Gerald Machona, Kyle Morland, Monique Pelser & Thabiso Sekgala. 3rd Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock. T. 021 462 7573/4 Hout Bay Gallery New artworks by Sarah Danes Jarrett, David Kuijers, Koos De Wet and many more. Open 7 days a week.

The Lovell Gallery 22 May – 16 June: Neill Wright Exhibition. 139 Albert Rd, Woodstock. T. 021 820 5505 Michaelis Galleries Opening, Tuesday, 5 June At 6pm the Masters Graduate Show. The show consists of a selection of work from the final exhibitions of Masters graduates of 2011. This will be the second of what Michaelis is developing into an annual Masters Grad Show event to showcase the next generation of artistic thinkers. The participating graduates include: Sunnette Viljoen, Chad Rossouw, Monique Prinsloo, Lauren Palte, Nina Liebenberg, Katherine

Spindler, Bryony Purvis, Nicola Dean, Renzske Scholtz, Vincent Bezuidenhout, Dominique Edwards and Natasha Norman. Exhibition Walkabout: Friday, 8 June at 11am. Exhibition Closes Monday 22 June 2012.University of Cape Town, 31 – 37 Orange Street, Cape Town. T. 021 480 7170 Red! The Gallery RED! The Gallery is a dynamic art gallery featuring work from South Africa’s best contemporary and emerging artists , including works by Andrew Cooper, David Kuijers, Wakaba Mutheki and Donna McKellar to name a few. Saturday 2 June, Art Auction! See website for more details or their facebook page. Steenberg Village shopping centre ,Reddam Avenue, Tokai. T. 021 7010886 Rose Korber Art Extended until 30th June: “Some Special Works from Private Collections” an exhibition featuring a range of paintings and original prints by celebrated and lesser known, contemporary South African artists – all to be sold at specially reduced prices until the end of June 2012. Painters include names such as Jan Vermeirin, Louis Jansen van Vuuren, Lukas van Vuuren, Xolile Mtakatya and David Hlongwane; while fine, original, limited edition prints by Colbert Mashile, Kim Berman, Mandla Vanyaza, Tyrone Appollis, Patrick Holo, Robert Siwangaza and Godfrey Ndaba add a dynamic sparkle to the show. Hours: Monday-Friday: 9 am – 5 pm. Weekends and public holidays by appointment. 48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152 C.082 781 6144 Rudd’s Auctioneers Antique, Fine and Decorative Art. 87 Bree Street, CT. T.021 426 0384 Rust-en-Vrede Gallery 5 June – 28 June, In Salon A & B: Theo Paul Vorster: Arranged co-incidence. A collection of original hand coloured lino cuts and prints. Dianne Heesom-Green: Exodus: Garden of Eden. Ceramic sculptural pieces. In Salon C: Andrew Munnik: Like Games People Play. A collection of ballpoint pen drawings. In the Office Showcase: Ceramics by Christo Giles 10 Wellington Rd, Durbanville. T.021 976 4691 Salon 91 Wed 30 May – 23 June, “Into the Night” Niklas Zimmer- Solo photographic show. Curated by Jacqueline Nurse. Wed 27 June – 28 July, “Impression: Sunset- A new collection of contemporary painters” A Group exhibition of painters, which explores different styles and techniques of painting, as well as the boundaries of the medium itself, with landscape, space, and form as its focus. Featured artists include: Grace Cross, Alexa Karakashian, Hugh Byrne, Lorraine Loots, Mia Chaplin, Swain Hoogervorst, Chris Auret, Galia Gluckman, Lara Feldman, Christiaan Conradie & Mariette Bergh. 91 Kloof Str, Gardens, CT. T 021 424 6930 South African Print Gallery A wide selection of fine art prints by South African masters and contemporary printmakers. 26 May-28 June, New Work from the Artist Proof Studio 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851

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WESTERN CAPE | GALLERY GUIDE Sanlam Art Gallery 17 April – 8 June, “Index 40” leading works from the Sanlam Art Collection. 24 July – 28 Sept, Gerard De Leeuw Centenary Exhibition of bronze sculptures. Sanlam, 2 Strand Rd, Bellville. T. 021 947 3359 SMAC Art Gallery, CT 28 June 2012 – 11 August, “Youth Day” by Anton Karstel. Gallery Hours: Mon – Fri: 9am – 5 pm, Sat: 9 am – 3 pm. In-Fin-Art Building, Buitengracht Str, CT. T. 021 422 5100 Online Art Gallery A curated online art gallery bringing you original and affordable artwork created by selected Fine Arts students and graduates emerging from South Africa’s most prestigious art schools. With an extensive selection of styles and genres to reflect your taste, budget and requirements, and a range of services to support your choices, buying art couldn’t be any simpler. T. 0724709272



Hyatt Regency Oubaai “Transitions” a collection of new sculptures by Anton Smit. 406 Herolds Bay Rd,George. T. 044 851 1234

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

Strydom Gallery 2 May – 4 June, a selection of South African Art. 5 June – 6 July, South Cape Exhibition. 79 Market Str, George. T. 044 874 4027


Stephan Welz & Company Auctioneers of Decorative and Fine Arts. The Great Cellar, The Alphen Hotel, Alphen Drive, Constantia. T. 021 794 6461

Abalone Gallery During June in the Main Gallery: Group exhibition featuring works by well-known and upcoming artists including Titia Ballot, Lien Botha, Christo Coetzee, John Clarke, Jackson Hlungwani, Elzaby Laubscher, El Loko, Amos Letsoalo, Colbert Mashile, Judith Mason, Lynette ten Krooden, Anna Vorster and Yang Zulu. During June in the Annex: Louis van Heerden’s recent works on canvas and on paper. 2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935

Stevenson Cape Town 24 May – 7 July, “The Other Half: Past and Future Now” a solo exhibition by Michael MacGarry, a coherent body of work comprising new sculpture, installation, photography and video. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500

Art Amble Hermanus Village Ten diverse and unique Galleries all within walking distance in the heart of Hermanus Village. Four resident artists’ studios to visit. Collect your Art Amble Guide at any one of the Galleries in Main Road or at the Hermanus Tourism Office. Contact Terry Kobus on 083 259 8869 or email for more information.

Strauss & Co. Fine Art Auctioneers & Consultants. The Oval, 1st Floor Colinton House, 1 Oakdale Rd, Newlands. T. 021 683 6560

Originals Gallery The art studio and gallery of Terry Kobus. See the artist at work in his studio and view his latest paintings in an intimate gallery space. Shop 22 Royal Centre, 141 Main Rd, Hermanus. T. 083 259 8869

What if the World Gallery Opening Thurs 7 June @ 18h00 “Satellite Telescope” a Solo Exhibition by Lyndi Sales. Exhibition Closes 14 July 2012 208 Albert Rd, Woodstock, CT. T. 021 448 1438

Franschhoek Ebony Conclusion of Literary Festival exhibition as well as new acquisitions by Diederick During, Stanley Pinker, Matthew Whippman, Henk Serfontein, Leon de Bliquy and many more. 11 Huguenot Street, Franschhoek. T. 021 876 4477 The Gallery at Grande Provence 6 May until end July, “Altered Pieces” a group exhibition of contemporary altarpieces. This exhibition was arranged by Gordon Froud and include work by: Angie Banks, Annemarie Tully, Carl Jeppe, Sarel Petrus, Anni Snyman, Chris Diedericks, Diane Victor, Markus Steinmann, Audrey Anderson, Ruhan Janse Van Vuuren, Carol Nathan Levine, Kai Losgott, Carina du Randt, Jan Van der Merwe, Lourens Joubert, Sybrand Wiechers, Sandra Hanekom, Ronel de Jager, Tony Scullion, Ricky Burnett, Retha Buitendach, Paul Boulitreau, Ian Marley, Helena Hugo, Gordon Froud, Frikkie Eksteen and Diek Grobler, among others. The exhibition, “Transformed” by renowned sculptor, Anton Smit, will be presented in The Sculpture Garden and The Gallery. The Project Room and Cathedral will feature an exhibition entitled “The Painted Word.” This extensive group show will include artworks by prominent South African contemporary artists. Botanical artworks by Barbara Pretorius and a photographic exhibition of indigenous succulents by Riaan Chambers will be on shown in The Shop. Main Rd, Franschhoek. T. 021 876 8630. Holden Manz Collection New Karin Miller collages, Marie Stander charcoals and a set of 43 amazing Cecil Skotnes woodcuts are on show at the moment 30 Huguenot Str, Franschhoek T. 021 876 44 02 Is Art 22 April – 11 June, The Franschhoek Literary Festival Group Exhibition 2012. 16 Huguenot Str, Franschhoek. T. 021 876 8443

SA ART TIMES. June 2012

Shelley Adams Studio & Gallery A permanent exhibition of artworks by Shelley Adams in her personal studio space. She also offers ongoing art courses, crit classes and workshops. 19A Royal Centre, Main Rd, Hermanus. C. 072 677 6277 Walker Bay Art Gallery View the wide selection of paintings, sculpture & ceramics by established as well as up and coming South African artists. 171 Main Rd, Hermanus. contact: Francois Grobbelaar 028 312 2928

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

Knysna Dale Elliott Art Galleries Leaders of the painting course concept in South Africa! 2 Galleries: Woodmill Lane Shopping Centre & The Knysna Mall T. 044 382 5646 A Different Drummer Featuring functional artwork by Trevor & Lynn Opperman as well as an on-going exhibition of traditional African Artefacts, photographs, ceramics, sculpture, paintings and objects de vertu. Thesen House, 6 Long Street, Knysna. T. 044 382 5107 C.082 552 7262 Knysna Fine Art Currently on show are the recent works by Leon Vermeulen, Phillemon Hlungwani, Candace Charlton, Chonat Getz & Peter van Straten. Thesen House, 6 Long Str, Knysna. T. 044 382 5107 C. 082 5527 262 Sally Bekker Art Studio Ongoing exhibition of recent watercolour and oil paintings. Upstairs in the Knysna Mall. C.082 342 3943

Oudtshoorn ArtKaroo Gallery On show during June, “Child of Africa” celebrates an inclusive portrayal of the African soul. A great selection of portraits, photography, landscapes and sculptures embodying a vision of Africa. 107 Baron van Reede, Oudtshoorn. T.044 279 1093

Paarl Hout Street Gallery The Hout Street Gallery specialises in South African paintings and fine art and offers an extensive range of ceramics, sculpture, creative jewellery, glass, crafts and functional art. 270 Main Str, Paarl. T. 021 872 5030

Piketberg AntheA Delmotte Gallery 15 April – 20 July, “Images from the Platteland” a group show with John Kramer, Clare Menck, Merle de Jager, AntheA Delmotte, Annelie Venter The Old Bioscope, 47 Voortrekkerstr. C. 0732817273

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

Stellenbosch IS Sculpture 8 March – July 2012, an exhibition of sculpture by Ian Redelinghuys and curated by Ilse Schermers Griesel of IS Art will be on show at the Tokara Delicatessen, Helshoogte Road, Banhoek, Stellenbosch. T. 021 876 8443 Rupert Museum Until 1 Sept 2012, an extensive selection of works by Willem Strydom consisting of sculptures and unique drawings. Stellentia Avenue, Stellenbosch T. 021 888 3344 SMAC Art Gallery 14 June – 2 September, “Works on Paper” by Richard Long. Organised in collaboration with Haunch of Venison, London. 14 June 2012 – 2 September, “Text Works” by Willem Boshoff. Gallery Hours: Mon – Fri: 9am – 5 pm, Saturdays: 9 am – 3:30 pm. 1st Floor, De Wet Centre, Church Str, Stellenbosch. T. 021 887 3607 Stellenbosch Art Gallery An extensive selection of paintings, sculpture, handmade glass & ceramics by selected Western Cape artists are on offer to the discerning buyer. 34 Ryneveld Str, Stellenbosch. T. 021 887 8343 US Art Gallery (University of Stellenbosch) 23 May – 23 June, “Spectacular” an exhibition by Lauren Kalman includes wearable sculpture, electronic adornments, photographs, video, and performance. Cnr of Dorp and Bird Str, Stellenbosch. T. 021 808 3524/3489

Somerset West Liebrecht Art Gallery 16 May – 8 June, “Klankbeeld /Sound Image” an exhibition of 12 works each by Clare Menck and Anthea Delmotte. 34 Oudehuis Str, Somerset West. T. 021 852 8030 C. 082 682 5710



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

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

Kwazulu- Natal Durban The African Art Centre 16 May – 9 June, “Virgins and Graces” a solo exhibition of new works on paper by Sfiso Ka-Mkame. Opening Weds 13 June, “Tales from the Past and the Present” a Solo Exhibition by Sibusiso Duma. Closes 5 July 2012. 94 Florida Rd, Durban. T. 031 312 3804/5 ArtSPACE Durban 28 May – 16 June, “A Journey into Ink” acrylic and ink on canvas by Bradley Schwartz 3 Millar Rd, Stamford Hill, Durban. T.031 312 0793 Christie’s International Auctioneers. Gillian Scott Berning, Independent Consultant. T 031 207 8247 Elizabeth Gordon Gallery A gallery situated in vibrant Florida Road, offering a variety of SA art. Stockists of Dave Tomlinson bronzes.120 Florida Road, Durban T. 031 303 8133 KZNSA Gallery

19 June to 8 July, ‘Fine Lines’, a solo exhibition by Louise Hall. Through a series of figurative images reflecting change, transition and impermanence, the exhibition explores the medium of drawing and its relationship to painting. 166 Bulwer Rd, Glenwood. T. 031 277 1705 Tamasa Gallery 12 - 22 June, “A Trip to India” by Pippa Lea Pennington. The exhibition is a travel journal of the artist’s recent trip to India featuring a variety of works in different sizes, mediums and compositions. The works show an attempt to capture the incredible onslaught of visual information, and to give the viewer a sense of the richness of the buildings and the colour and patterns that adorn everything. 36 Overport Drive, Berea, Durban. T. 031 207 1223

Pietermaritzburg Tatham Art Gallery Currently on show until 17 June in the Schreiner Gallery, “Celebrating Creativity” - Spotlight On Russell High School visual art department. Opening 7 June @ 10h00, “Issues of Culture, Identity and Religion” Opening 21 June @ 18h00 Bheki Khambule: Solo Exhibition. 27 June @14h30 – 15h30 Walkabout by Bheki Khambule of his exhibition. On show until 2013, in the First Floor Galleries, South African Landscapes: “Storm in the Wheatfields” - History of the Tatham Art Gallery 1903 to 1974. Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str. (Opposite City Hall) Pietermaritzburg. T. 033 392 2801

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

East London Ann Bryant Gallery 15 May – 15 June, in the Main Gallery “Cedric Nunn Solo Exhibition” of photography. 26 May – 16 June, “Anything but Painting” East London Fine Art Society Exhibition. 9 St. Marks Rd, Southernwood, East London. T. 043 722 4044 Floradale Fine Art Gallery A newly opened gallery at the Floradale complex showcasing a

wide variety of works by local artists including paintings, ceramics, sculpture, mixed-media, photography as well as jewellery & decorative arts. Floradale Centre, Old Gonubie Rd, Beacon Bay. T. 043 740 2031 C. 078 294 7252 Malcolm Dewey Fine Art Ongoing exhibition of oil paintings by Malcolm Dewey plus works by a selection of local artists. 60 Darlington Rd, Berea, East London. T. 043 7260421 Vincent Art Gallery The gallery houses an exceptional collection of fine arts, sculptures, blown glass, ceramics, exclusive jewellery and decor items. 2 Donald Rd, Vincent, East London. T. 043 726 4356

Port Elizabeth ArtEC Until 9 June, “Siyadala” an exhibition of artworks created by students in Grade 4-10 from Joe Slovo. 36 Bird Str, P.E. T. 041 585 3641 The Athenaeum 5 – 14 June, the Antonio Leeuwskieter solo exhibition. 25 June – 13 July, two shows running simultaneously, “Home” (Curated by Uthando Baduza) and “Comix” 7 Belmont Terrace, Central, Port Elizabeth. T. 041 501 8300 Nelson Mandela Metropolitan Art Museum 12 May – 24 June, “Size Matters”Does size really matter? Find out which side of the scale tickles your fancy as we take a look at a variety of artworks from overwhelmingly large to breathtakingly small.17 May – 6 June, International Museum’s Day Exhibition: “Museums in a Changing World. New Challenges, New Inspirations” is the theme for the 35th International Museum Day on 18 May 2012. Come see how museums in Nelson Mandela Bay have kept up with the speed of the world as we compare the old and the new. 20 June – 15 July, “In Praise of Vessels” and “Treasures” These two group exhibitions, organized respectively by the Friends of the Art Museum and Ceramics SA Eastern Cape, will form part of the Nelson Mandela Bay Fine Art Fringe on the 2012 National Arts Festival. The exhibition challenges artists in the Eastern Cape to produce top craft. 1 Park Drive, Port Elizabeth. T. 041 5062000 Ron Belling Art Gallery Closing on the 21st of June: Leon de Bliquy “Bells and Pomegranates” recent works from the comeback man. Opening on the 28th of June: Duncan Stewart “Sacred Steps” please see full page advert on page 3 of this edition of the Art Times. 30 Park Drive, P.E. T. 041 586 3973

New Handbook serves migrant and SA start-up artists The African Arts Institute launched The Migrant Artist’s Handbook: A guide to living and working in Cape Town & Johannesburg in Cape Town last month. The handbook is now available as a free download from

SA ART TIMES. June 2012

“As Arts, Culture and Heritage in the City of Johannesburg, we are approached on a daily basis by migrant artists who are trying to find their way in the city in order to establish themselves as artists”, commented Alba Letts, Acting Director: Arts, Culture and Heritage at the City of Joburg, where a Migrant Help Desk has been active since 2007. Resources, references and tools

It includes two sections, the first covering five disciplines, Music, Film, Performing Arts, Visual Arts and Literature. Each discipline is introduced by an overview of the South African context, followed by personalized “how to” contributions from specialists in the respective fields. The second section of the book is resource focused, covering Communications, from how to use the internet as marketing tool, to where to access English language courses; Business, from opening a bank account to processing orders, deliveries and payments; and including substantial chapters on Personal Documentation and Legal assistance.

The handbook undertakes to provide both Migrant and South African start-up artists with resources, references and tools to approach various arts disciplines with self-fulfilling and self-sustaining imperatives.

The Institute invites and welcomes all suggestions, comments, corrections and additions to be sent to by 15 June 2012, in preparation for a first revision of the e-handbook by 30 June 2012. 33

ARTLife | GALLERY BUZZ FROM AROUND SOUTH AFRICA The Opening of Coming of Age Show by the Artist Proof Studio, Johannesburg Art Gallery

The Grand Opening of The Wits Art Museum, Braamfontein, Johannesburg

Jenny Andrew, Jacque Michau and Julia Twigg | Grahame Lindop and Nadine Gorimer | William Kentridge | Guests enjoy the evening (Catering by the forum| private label) Rendezvous Focus Walkabout At The Oliewenhuis Art Museum, Bloemfontein

Dot Vermeulen going through the paces, a great mix of art lovers, Annali Dempsey, Marjorie Human next to her painting, Pauline Gutter Liza Grobler’s exhibition White Termite at the Brundyn + Gonsalves Gallery, Cape Town. until 20 June


SA ART TIMES. June 2012


SA ART TIMES. June 2012



How SA artists survive financially By Carl Collison Although the art world has in recent times noticed a decided ‘boom period’, recession notwithstanding, the reality for many is that there is simply not enough money to be made through only their art practice. Although an age-old dilemma faced by artists (with a ‘lucky’ few, particularly in the middle ages, accepting the double-edged sword that opportunities that being court painters for kings and queens presented), the ever-fluctuating economic trends both locally and globally does present us with questions around artists and their security. How do artists continue to negotiate the financial vagaries of, well, being an artist? Visual and performance artist Athi-Patra Ruga is clear: “In terms of support, financial or otherwise, the government doesn’t really exist for me. People should not rely too heavily on expecting government support, especially if as an artist you are going to be having independent thought and possibly going against the grain.” Cold comfort these words must be however for the myriad artists out there who, faced with the realities of our small local art-buying market, are faced with the much-dreaded option of having to ‘opt out’ and take up that long-avoided corporate job. Ruga is after all one of a lucky few who has successfully carved out a career for himself as an artist (through a seemingly organic process, following up his initial sojourn as a fashion designer). Many are not that lucky. Despite many artists - and would-be ones - following the conventional path of studying fine art at a tertiary institution, all the while hoping that they would be one of the statistically chosen few who go on to live comfortable lives through their art, many, as we know, do not end up realising this dream. Even among those who do, through sheer tenacity, manage to gain recognition for their work, there are those who find that recognition alone is just simply not enough to pay the bills. Artist Liza Grobbelaar is one such case in point. Grobbelaar who now also teaches at the University of Cape Town’s School of Architecture says that although she enjoys teaching as she “loves the interaction with students”, there is of course the added benefit of it providing “a regular income”. A regular income that her artistic practice could not be expected to provide particularly given that, as she rightfully points out, “income from art in South Africa is very unpredictable”. This situation is also exacerbated by economic fluctuations. “As soon as the economy dips,” she says, “it affects art especially hard because it is often viewed as a luxury.” What about support programmes for artists, I ask? “There are a couple of programme such as those run by the Goethe and French institutes that support projects but these are really only short-term support programmes and not on-going. They are therefore not a long-term solution.” Though she admits to feeling that “the government could do more,” she correctly points out that “the problem in South Africa is that a large proportion of the population is unemployed so the government can’t very well prioritise supporting artists when it can’t feed the nation.” Fair enough. But what happens in a situation similar to what recently happened to photographer Zanele Muholi who recently had her home burgled - the thieves making away with 20 external hard-drives (on which much of her work was stored), cameras and a laptop. All of this effectively leaving the photographer - who tirelessly, and to much acclaim, documented the lives of black lesbian women in South Africa - with very little to show for her years’ worth of work. The tragedy of Muholi’s (and our) loss begs an interesting question: What kind of support can an artist realistically expect in a situation such as this? Very little it would seem. Jessica Smuts ,gallery assistant at Stevenson Gallery, which represents Muholi tells me:”Although there has been a lot of support for her internationally since this news broke, even in media [notably online in The New Yorker and Diva magazines]. The support locally has however been very poor. From government there has been none.” When I mention this to Muholi she retorts in her typical hard-nosed fashion, which in this case belies a possible sense of betrayal: “I have never had any support from anyone in government. In fact,” she adds wryly, “the last time I had any kind of feedback on my work was when [previous Minister of Arts and Culture] Lulu [Xingwana] walked out my exhibition and made those remarks about my work being ‘immoral’ and ‘going against the spirit of nation-building’.” Although she does feel that more could be done to help artists “feel safe in knowing that our work 38

won’t be censored or stolen”, she acknowledges that, despite this, “I’ve been pushing my projects without any direct support from the government”. Like Muholi, Kim Berman knows all about pushing on through without government support. Berman, who has taken up a position as Associate Professor of the University of Johannesburg’s Art Department, sees teaching as a “way of supporting [her] practice” and says that although she still produces art, she sees herself “as an educator first and then as an artist”. But it is in her capacity as Executive Director of Johannesburg’s Artist Proof Studios, which she founded in 1991, that she experienced first-hand many of the pitfalls of depending on State assistance. “We did at one stage receive a National Arts Council grant but that of course was erratic as sometimes we would get bursaries and sometimes R20 000, which is not really going to take us very far.” It was the because of the unpredictable way in which these grants were disbursed that Berman now says: “Because there’s no real dependable funding, our board of directors is now quite business-minded. The business model we now follow allows us to not be as dependent on government funding or grants because this is simply not sustainable.” The model Berman speaks of includes having a “range of different funding sources”, the most successful one being its Corporate Patron Programme, through which that students are awarded bursaries by different corporates. Says Berman: “Of the bursary money given, half goes to the Studio to cover materials and tuition with the other going to the student for additional materials and travel costs.” Providing students with more than just the basics is clearly foremost of mind for Berman. “Artist’s Proof,” she says, “provides its students with lots of support - such as access to resources, materials, clients and commissions - so many are able to support themselves once they’ve finished the three years because they have patrons. Commissions are also passed on to students who, through doing this, gradually get their names out there. And that is all income for them. Our endof-year exhibits also see lots of works by graduating artists being bought.” A few of the corporates it works together with take all of this a step further. Citing a few examples, Berman says: “One such company, the law firm Bell Dewar, has students exhibit their works at the company’s end-of-year functions where many are bought up. Another takes three students annually from first to final years and, at the end, gives them an exhibition – either a solo show or as part of a group. One such student, Nelson Makamo, had a sell-out student exhibition and has gone on to have a successful career thus far. What the company is in effect doing is investing in a young artist’s career. Johnson and Johnson as well have a programme in which they focus on leadership empowerment and how to develop young black leaders in the art community.” Though these programmes are noteworthy, Berman admits that because “it’s difficult being an artist, as an educator we have to equip students in a number of ways for them to be more flexible and not just paint pictures all day long. That image of what an artist is really is just a myth. Our mission is to have students graduate, not just as professional artists with good artistic skills, but as individuals with a range of skills that would have them become active and productive citizens.” Here Grobbelaar concurs: “Administration is a big part of it. If you want to survive in the art world a big part of it is administration and project management. I would definitely advise young artists to get out of the studio more. You have to network.” And what better way to network than through the ever-increasingly popular platform of social media? Ruga admits that sites such as MySpace helped him to not only have his work noticed by others in the art world, but also to connect with other like-minded artists. “MySpace played a big role for me because it allowed for community of artists to come together and view each others’ work without having to be in the same place – and without you needing money to exhibit or have work published. Nowadays there are also blog sites and things such as Twitter and SoundCloud that allow for this to happen. It’s actually come to the extent where gallerists nowadays make a point of looking at these sites to check out the work of new artists they might be considering representing.” Echoing this, Grobbelaar says: “As a young artist you have to be constantly aware of things around you and see opportunities in a wider range of things.” Ruga, however, cuts to the chase: “As an artist you need to be vigilant about what you want from your careers – unless,” he laughs, “you want to be a court painter in the court of Jacob Zuma.” SA ART TIMES. June 2012


Interview with Jay Pather by Carl Collison. Photo: Adrienne van Eeden-Wharton


Interview with Jay Pather

By Carl Collison

Photo: Adrienne van Eeden-Wharton

A day or two after the Gordon Institute for Performing and Creative Arts’ recent Exuberance project, its director, Jay Pather is feeling a bit worse for wear. Although Cape Town’s notorious Winter might be partly to blame for his unwanted bout of flu, Pather admits rather sheepishly that it’s more than likely as a result of him “surviving off little other than coffee and four hours sleep” in the run-up to the conference. A few days on, and having fully recovered, Pather is back in the saddle, and despite what must be a gruelling schedule of having to juggle several commitments, is the epitome of cool, calm and collected. In addition to serving as GIPCA’s director, Pather is also Associate Professor at the University of Cape Town, Artistic Director of Siwela Sonke dance company and Chairperson of the National Arts Festival Committee. It was in 2011, in his first year in this latter capacity that Pather bemoaned what he saw as the “lack of risk-taking and criticality” by artists on show at that year’s Festival. Speaking to the Mail & Guardian, Pather commented on how “there appear[ed] to be less risk-taking, less work on the edge or jumping off the edge with an idiosyncratic, singular vision that would keep us moving forward.” One year on and a fresh line-up secured, I ask Pather whether this year’s show’s looked to be a bit more promising in this regard. “My comments then were made largely because artists were, for whatever reason, whether for financial reasons or whatever, sidestepping the central premise as far as both form and subjects were concerned. Risk-taking is about taking art enterprise to some kind of edge because people look to the festival for succour. I think the festival is a space where audiences look for direction; as a sort of barometer of where we’re at” So, back to my original question then? “This year we [the Festival Committee] have been pretty vigilant about the work that goes on. There is a strong performance programme this year and we have also noticed a definite move towards finding a kind of edge.” For Pather, the new work to be shown by 2012 Standard Bank Young Artist for Visual Art, Michael Subotzky is particularly noteworthy. In addition to this body of work, Subotzky will also be collaborating with the multi-disciplinarian artist Athi-Patra Ruga on a performance piece entitled Performance Obscura. Anyone even remotely familiar with Pather’s work and/or creative ethos would know by now that collaborative endeavours, such as those promoted and facilitated by GIPCA – which, with its proud emphasis on interdisciplinarity, holds creative collaboration as a firm cornerstone – hold great significance to him. “Collaboration,” he says, “is important because it implies the layering of subjectivities. It is particularly important in a country such as South Africa, with such a strong history of singularities, as it allows for ideas to bleed into 40

one another.” Then, laughing, adds: “It’s not as smug, then as, say, writing a play about someone else’s existence when you have never lived it.” This search for a more in-depth and by extension more meaningful understanding of those people we are all guilty of, as he rightfully stated, ‘othering’ Pather takes even further with his career-long emphasis on public performance art. Aside from the acclaimed performances he has choreographed which harness the body, space and architecture to deliver moving, evocative and ultimately provocative performances, Pather has, with the Infecting the City festival (for which he serves as curator), secured public performance art greater visibility and validity. By their very nature, these performances have both regular theatre-goers and often unsuspecting audiences standing sideby-side viewing the same works – something which Pather believes to be one of its greatest successes. “Public performance art is important because it brings performance to the public but it also brings different people together, watching the same work. You’ll never get that kind of diversity in a theatre or gallery space and if so, very rarely.” This holds extra significance for the Cape Town-based choreographer, who was awarded a Fulbright scholarship to the University of New York, from which obtained an MA in Dance Theatre. “In a segregated city such as Cape Town this is very powerful as it also allows for slight power shift.” Recalling the audience response at this year’s Infecting the City festival to Mandla Mbothwe’s Xhosa performance piece, Uvuko! Resurrection, which took place at Cape Town’s bustling central station, Pather recounts how “there were regular theatre-goers, many of whom did not understand the Xhosa being spoken and would then turn to a Xhosaspeaking person next to them – someone who was not necessarily a regular theatre-goer – to find out what was being said. These are tiny interactions but if you multiply them by a thousand you get a pretty interesting wave of social interaction. With public art, the City would like the notion that it’s all about making the city beautiful and more palatable to tourists, but my view is that it’s really about finding the ambiguities, paradoxes and tensions. I don’t want to do another pretty Table Mountain spread. There is a certain beauty in making apparent the tensions that exist.” This continual questioning of societal dynamics – and its resultant search for possible new ways of existing and relating to both ’others’ and the spaces we occupy together with ‘them’ – is what Pather alludes to in an artist’s statements when he said “though I have tried working purely with form for the sake of its own vitality, in both a visual sense and within the moving body, I always seem to creep back to locating why things are and not just that they are.” When I ask him whether he has found any answers to this; whether he has come any closer to locating ‘why things are’, Pather concedes: “No, I seldom do. With my own personal work there have been criticisms that there’s just ‘too much’. But in trying to find out why things are the way they are, the moment is too much. In Qaphela Caesar! for example, I was dealing with issues of corruption and loyalty there were obvious references to South Africa. But I am more intrigued by why people have this reactionary impulse to see this connection. I’m more interested in how this impulse came to be; this reflex action. In my work I’m aware that there’s a tapestry of deception in this country; certain levels of unspokenness that still exist on every level of society. That’s why there’s so much in that moment: because it is overwhelming. What is my relationship as a black South African to issues such as corruption, for example? I have to take all of this into account. We live in a highly self-conscious and self-reflective age, and particularly so in a post-colony such as South Africa.” For now Pather is looking forward to the next step in his journey of self-reflection: a series of “very interesting workshops in Istanbul around ‘senscapes’.” Senscapes, I ask? “Well, it basically involves tracking the city using ways other than city- or landscapes. For example, through using sound or smell.” Then, revealing only a modicum of excitement, adds: “It will surely inform my future work.” Needless to say, those who have been following this agent provocateur-disguised-as-choreographer’s career trajectory to date and been mesmerised by the singularity, determination and – more importantly, sincerity – of his vision will be waiting with bated breath to see exactly what such future work will bring. Comments made in his artists statement.. Has he found any answers? Response... What next: Senscapes... SA ART TIMES. June 2012

ART LEADER: JAY PATHER | BUSINESS ART Work from various Performances as well as Infecting the City 2012

SA ART TIMES. June 2012



Phillippa Duncan

Shona Robie

Shona Robie, New Director at Stephan Welz & Co (Pty) Stephan Welz & Co (Pty) Limited is delighted to announce the appointment of Shona Robie, Head of Ceramics and Office Manager, Cape Town, as Company Director. A University of Cape Town Fine Arts sculpture graduate, Shona Robie has been a dedicated and key member of the Stephan Welz & Co staff for 10 years, where she has cultivated and shared her extensive knowledge and appreciation for ceramics. A self-proclaimed passion for Chinese ceramics and works of art has fuelled Robie’s exploration of oriental culture and history. In order to gain a better understanding of the current market and its trends, Robie recently travelled to mainland China, an experience which she describes as awe-inspiring, enlightening, enriching and a great privilege. Although remarkable growth in this global collecting category has already been observed, Robie suggests that there is still a lot of potential and opportunity for collectors at all levels, especially in South Africa where prices are currently competitive. More broadly, Robie also highlights the desirability of Art Deco and newfound interest in good South African pottery. A variety of excellent pieces, including a selection of quality Chinese items and the magnificent Koi Panel by South African master ceramic artist Esias Bosch (est R160 000 – R180 000), will come under the hammer in Session Four, 30 May 2012, at the forthcoming Cape Town Auction.


Ruarc Peffers

Strauss & Co, Jhb. appoints New Senior Painting Specialists Strauss & Co’s Paintings Department, headed by leading art expert and auctioneer Stephan Welz, features “handpicked” professionals, whose tenure and experience is difficult to match. They work in tandem to source the most compelling works for their high-profile auctions and endeavour to deliver strong returns to sellers. Their hard work and passion have attracted buyers from South Africa and abroad to their sales and have resulted in record prices and historic sales. These include, amongst others, Two Arabs, by Irma Stern, which sold for R21 million in September last year and is the most expensive painting ever sold in South Africa. Two respected and well known faces from the South African art scene, Phillippa Duncan and Ruarc Peffers, have recently joined the company as Senior Paintings Specialists. They will be based in the Johannesburg office. (Ann Palmer, Cape Town Department

Head and Emma Bedford, Senior Specialist, are based in the Cape Town office). Duncan and Peffers bring with them a wealth of knowledge, experience and expertise. Both Michaelis BA Fine Art graduates, and trained auctioneers, Peffers and Duncan headed the Paintings Department, during their time at Stephan Welz & Co. (the company founded by Stephan Welz and subsequently sold). Prior to joining Strauss & Co, Peffers, obtained an MSc in Curatorial Studies and Art Criticism from the University of Edinburgh, worked at the Visual Arts Network of South Africa (VANSA) and more recently, represented Blank Projects, a Cape Town based project space at the Super Market Art Fair in Stockholm. Strauss & Co. Johannesburg 011 728 8246 / Cape Town 021 683 6560 /

Upcoming SA Fine Art Auction Sales May 29-30 June 11 August 7-8 October 2-3 October 8 October 22-23 November 6-7

Stephan Welz and Co. Cape Town Sale Strauss & Co. Johannesburg Sale Stephan Welz and Co. Johannesburg Sale Stephan Welz and Co.Cape Town Sale Strauss & Co. Cape Town Sale Strauss & Co. The Contents of Keerweder Stephan Welz and Co.Joburg Sale

Invitation to consign 2012 31 May – 13 June End July 9 Aug – 22 Aug 4 Oct – 17 Oct 8 Nov – 21 Nov

Stephan Welz and Co.Cape Town Consigning Strauss & Co Cape Town Sale Consigning Stephan Welz and Co.Joburg Consigning Stephan Welz and Co. Jhb Contemporary Lecture Stephan Welz and Co.Cape Town Consigning SA ART TIMES. June 2012

The global leader in the South African art market

South African & International Art, and Books Johannesburg, Monday 11 June 2012 at 2pm, 3.30pm and 8pm Preview: Friday 8 to Sunday 10 June, 10am to 5pm Enquiries: 011 728 8246 / 079 367 0637

Emma Bedford

Ann Palmer

Stephan Welz

Irma Stern, Arab in the original Zanzibar frame R7 000 000 – 9 000 000

Phillippa Duncan

Ruarc Peffers


SA Art Auction Quarterly Review perienced something of a rollercoaster ride, certainly at the auctions. Despite some disappointing results for certain artists’ work, the demand for good quality South African works remains healthy. There is little doubt the last two years saw pressure on prices to the extent that the last quarter is still down compared to the previous quarter. The Citadel Art Price Index may present a bleak picture to buyers who only seek monetary return on their art investment. The downward trend appears overall and for those that bought at the top end of the previous auction season this appears pessimistic. A closer look at what sold or not would present a more sobering picture; investors would perhaps find some encouragement if they retained their focus on quality rather than follow the herd of speculators as it rumbles along seemingly desperate to see new record prices. At all the auctions held this quarter it was overwhelmingly good quality works which retained or even improved on the previous quarter’s prices, with a record or two being set by exceptional pieces. For many of the well-traded artists, such as Boonzaier, WH Coetzer and to some extent JH Pierneef, prices demonstrated a particular stickiness with some good quality works not finding buyers at the price levels demanded. There is no reason to conclude this indicates a downturn in the market, rather it would seem there has been a shift towards the more contemporary side. This is not dissimilar to what has transpired elsewhere in the world, where contemporary and modernist art sales still attract the most attention and have shown some of the greatest gains. Volatility is ever-present in these auction categories and this past quarter’s sales have demonstrated this amply. This next quarter promises to be equally interesting amongst the auction houses with some exceptional items on offer.

Photo: Jenny Altschuler

By Stefan Hundt: Head: Sanlam Private Investments (SPI) Art Advisory Service April/May 2012: The South African art market is in constant flux. The past few years have been particularly exciting as we have found our own niche in the global art world, not only on the auction stage with the regular South African Sale at Bonhams in London, but also in the contemporary art world with an “official” exhibition at the Venice Biennale last year. Irrespective of the questionable nature of how we got to Venice, representation in this international visual arts arena is critical for the success of South Africa’s artists into the future. For the serious art collector, the recognition of South African artist’s worth, exemplified by the record prices achieved in places in the last two years, despite economic contraction and recession, is but the cherry on the cake in terms of recognition of the underlying pool of talent and quality of vision that this country continues to foster. There is little doubt art has become a seriously investible commodity that should enjoy the same serious consideration as any other investment-grade asset class. In a recent Financial Times article, art was identified alongside prime property as a relative safe haven for international money. The Mei Moses World Art Index reported that investment-grade art grew 10.2% in value in 2011, outperforming both the S&P 500 and the FTSE All Share total return indices. South Africa is nothing like Europe or the United States in history or scale when it comes to art, and these reports, although encouraging, are not necessarily reflective of what is going on here. Nevertheless, they do provide a backdrop against which the expanding South African art market can be viewed as credible and growing. The first quarter of this year is over and the South African art market has ex44

Some notable items in the next Stephan Welz & Co sale are the largerthan-usual selection of contemporary works on offer, in particular a number of etchings by Diane Victor from the “Disasters of Peace Series”. The gut-wrenching images are expertly crafted and composed and a highlight in Victor’s career. No doubt for many visitors to the preview of this auction these images may present an unwelcome confrontation with the realities of a post-apartheid South Africa. In addition, this auction presents a selection of works by some of the big names such Irma Stern, Robert Hodgins, Francois Krige and in between some possible sleepers ready for the pickings by an insightful buyer. Every artwork is unique and in this respect art cannot be compared to many of the other investment asset classes in the investment universe, other than perhaps prime real estate. Artworks do provide benefits to the owner. Although these may be difficult to quantify they are clearly tangible and often outweigh monetary considerations. A world without art would be impossible to contemplate and it is rare that even the most humble home doesn’t have some aspiration to have artworks on the wall. Whether you are a serious collector, or only able to afford a limited amount towards acquiring an artwork, an informed choice is what differentiates between the piece which remains exemplary of the popular taste of the day and that which transcends its origins to be a meaningful experience for a viewer in time to come. The art market is not without its fashion episodes and marketing stratagems which may inflate prices beyond expectations. Thorough research and expert insight provide the tool that makes for better choices when buying art, and thus changing what would have been a sentimental decoration into an investment with significant meaning. The Sanlam Private Investments Art Advisory Service provides this insight and research to individuals wishing to extend and balance their existing investment portfolios into artworks. For those who have already embarked on building a collection or have inherited such and need to manage it over the longer term, our Art Advisory Service can provide equitable valuations and develop appropriate acquisition and disposal strategies that augment and preserve the value of an art collection within an individual’s personal expectations and requirements. Stefan Hundt at 021-947 3359 or SA ART TIMES. June 2012




EXHIBITION DATE: 2 - 14 July 2012

VIEWING: Monday to Friday 09h00 - 17h00 | Saturday and Sunday 10h00 - 14h00 VENUE: 13 Biermann Ave | Rosebank | Johannesburg WALKABOUTS: Hayden Proud, Curator: Iziko South African National Gallery - Friday 6 July, 11h00 Gerard de Kamper, Chief Curator: University of Pretoria Art Collection - Saturday 7 July, 11h00 Fred Scott (Dr), Managing Director: Stephan Welz & Co - Sunday 8 July, 11h00 BOOKING ESSENTIAL: R50 per person | All proceeds to be donated to Friends of Johannesburg Art Gallery Selected works available for purchase 011 880 3125 | | Moses Kottler (South African 1892-1977) | MARIE | Bronze | 39,5 by 26 by 32cm

Nushin Elahi’s London Letter

At the time of the National Gallery’s blockbuster Leonardo exhibition I remember thinking how I’d love to see more of the Queen’s collection of his drawings, not knowing I’d have that pleasure so soon. His anatomical drawings wouldn’t have been my first choice, but Leonardo da Vinci: Anatomist, at the Queen’s Gallery until 7 October, gives a fascinating insight into the artist’s work. I can’t have been the only viewer clenching muscles, tracing bones, surreptitiously poking my ribs and generally wishing I could test his findings on the body conveniently located in front of the pictures. There is probably more anatomy than I ever had at school, and for a moment you wish Leonardo had left this to a lesser artist. But then you realise that in any other hands it is doubtful we would still be seeing drawings that are in most areas entirely accurate. It’s hard in this era of 3-D photography to fully comprehend the intricacy of what Leonardo achieved in his art, with the materials to hand. It was only for a short period in the later part of his life that he regularly had corpses from which to work. At other times he was trying to extrapolate the human body from animal carcasses. Never one to finish a project before being distracted by some new problem, Leonardo’s anatomical work was never finalised. He was achingly close to completing the very first comprehensive study of human anatomy, but instead, through an accident of fate, and British luck, his entire collection of studies landed up in the royal archives. The collection is beautifully presented, with large captions and many blowups of the fine details, as well detailed medical discussions on the accuracy of the drawings. As one doctor said, “No medical illustration has ever produced images to surpass these.” There are quirky touches to the works: a quick diagram of a castle between a dog’s diaphragm, the puzzle of trying to figure out spherical muscles, the unfamiliar look of a woman’s reproductive organs, which he had based on those of a cow. Using the lost wax method of bronze casting, he discovered actual shape of the ventricles of the brain. His work is the point at which ancient beliefs were finally exchanged for factual realities, which is why Leonardo captures the modern man’s imagination. As you see him trace the arc that an arm can make, you see not only a man trying to penetrate the workings of the body, but an artist marvelling at the mystery of life itself. As something of a companion-piece to the Tate’s fabulous Picasso exhibition, the British Museum is showing the full collection of Picasso Prints: The Vollard Suite (until 2 Sept), a series of 100 etchings the artist completed in the mid-1930s. It is one of only a few public institutions to possess the entire series, which became a visual autobiography for the artist. Picasso completed most of them during his affair with Marie-Therese, and the work is enhanced by knowing some of the images he coded into them. For example,

the simple vase of flowers on the window ledge was a symbol of his lover. Her classical features link most of the images, both as lover and as work of art - an almost electric charge tangible between the model and the sculptor. Picasso explores classical mythology, using Ovid’s Metamorphosis to show how art becomes life, and later the symbol of the Minotaur transforms that gentle love into a violent passion. The dark shadow of a looming war begins to prefigure images that would feature in his masterpiece, Guernica. It’s hard to get away from the Queen’s Diamond Jubilee in London right now, but you don’t have to be a fan of royalty to find the National Portrait Gallery exhibition of The Queen: Art and Image (until 21 October) interesting. There are photographs of her posed throughout her reign, some of the most familiar being by Cecil Beaton, but those that draw your eye are those like Lord Litchfield’s unusual one of her laughing aloud. The portraits range from deferential formal images in the Fifties through to the subversive 1977 Sex Pistols poster and Lucien Freud’s miserable 2001 offering that is the size of a large postage stamp. They also trace the arc of the public view of royalty as it teetered on oblivion. That tension between tradition and modernism is cleverly played on in a 2007 image called Elizabeth vs Diana, where Korean artist Kim Dong-Yoo uses tiny images of Diana to build a picture of the queen. It is not easy bringing something new to such a truly iconic image, and yet Andy Warhol’s 1985 silkscreen prints of a very glamorous queen do just that, while German artist Gerhard Richter’s familiar blurring technique and the exaggerated features of his second portrait give a slightly surreal look. Finally, Chris Levine’s Lightness of Being (2007) shows the Queen with her eyes closed, poised perhaps between person and position. Sometimes design can still feel modern nearly a century later, and certain items that date from the Bauhaus era are startlingly fresh, such as the tubular steel chair by Marcel Breuer from the mid-twenties. The movement is associated with architecture largely because Mies van der Rohe was at the helm when the Nazis closed it down in the Thirties, but all forms of functional design were part of its teachings. The founder Walter Gropius advocated a marriage between art and technology that underlies much of our modern view of design. It is fitting to see an exhibition of the Bauhaus movement in the stark surrounds of the Barbican, but what surprised me was how long the queue was. Bauhaus: Art as Life (until 12 August) is a detailed exploration of the 14-year movement whose influence is still felt today. It covers a huge array of examples of work from photography to textiles, printing, sculpture, theatre and film by teachers and pupils alike. The two great artists who taught there from the early Twenties to its closure were Wassily Kandinsky and Paul Klee and the show includes a few significant works by both of them.

( Right Page -Top Left) Queen Elizabeth II by Andy Warhol, 1985: National Portrait Gallery, London (Top Right) ‘God Save the Queen’ poster promoting the Sex Pistols Artist: Jamie Reid, 1977. © Jamie Reid. Photograph by Victoria and Albert Museum Elizabeth II by Gerhard Richter, 1966 Tate: Purchased 1988. © Gerhard Richter. Photograph © Tate, London 2010 Queen Elizabeth II by Lucian Freud, 2001 The Royal Collection © Lucian Freud. Coronation Cross Gilbert & George, 1981 Tate: Purchased 1982 © Gilbert & George Leonardo da Vinci: A skull sectioned,1489; Studies of the foetus in the womb, c.1510-13; The muscles of the shoulder and arm, and the bones of the foot,c.1510. The Royal Collection (c) 2011, Her Majesty Queen Elizabeth II / (Above) Pablo Picasso Faun uncovering a sleeping nude figure reclining on a bed; plate 27 of the Vollard Suite (VS 27)., Etching & aquatint. Nude bearded sculptor working on staute with model (Marie Therese) posing; plate 59 of the Vollard Suite (VS 59). 1933. Etching. Copyright of Succession Picasso/DACS 2011

City, 2006. Lambada Print

Peter Eastman The South African

Print Gallery Leaders in the field of quality South African Fine Artist’s Prints Woodstock, Cape Town,

SA Art Times June 2012  

SA Art Times magazine June 2012

SA Art Times June 2012  

SA Art Times magazine June 2012